Four Cinema EOS Cameras Selected as Netflix Post Technology Alliance Products
MELVILLE, N.Y., September 15, 2018 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce the company will be joining Netflix’s brand-new Post Technology Alliance, which brings together industry leaders committed to working closely with Netflix to innovate production workflows and support creatives globally.
As a part of the Post Technology Alliance program, products to receive the Post Technology Alliance designation logo – a mark of quality, service, and support. The logo signals that a product meets Netflix technical and delivery specifications and will continue to do so in the future.
Four Canon Cinema EOS cameras have been selected for the program, including Canon’s first full frame cinema camera, the EOS C700 FF, along with the EOS C700, EOS C300 Mark II, and EOS C500. These cameras have been chosen by the filmmakers behind many Netflix Originals, including the Academy Award-winning documentary Icarus, feature film Our Souls at Night, and Emmy-nominated series Grace and Frankie. Other Netflix Originals shot on Canon include Afflicted, Abstract: The Art of Design, Chelsea, Hot Girls Wanted, Strong Island, The Confession Tapes, The Mars Generation, and The Ritual, with more currently in production.
“Netflix’s Post Technology Alliance program aligns perfectly with Canon’s steadfast commitment to providing state-of-the-art, high-quality products and service and support programs,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “We are delighted to continue working closely with Netflix to support filmmakers and their dedication to storytelling and creativity.”
“At Netflix, empowering our creative partners is incredibly important, and the Post Technology Alliance will build a more seamless experience from production through post-production,” said Chris Fetner, director of post partnerships & integrations at Netflix. “Products that bear the logo are committed to better interoperability and faster innovation cycles, which will allow artists to focus their energy on what matters most—the storytelling.”
With the shared goal of supporting filmmakers through the Post Technology Alliance, Canon and Netflix will continue to serve the evolving needs of the production and post-production community.
I'll describe the results in more depth in the full review, but the processing standard uses Canon Digital Photo Professional with the Standard Picture Style and a
sharpness setting of "1" (on a 1-10 scale).
The Camera default uses the Standard Picture Style with an unsharp mask (USM) strength setting of "4" (too high).
NR represents noise reduction and MSNR is multi shot noise reduction.
With 250 test images with each needing many processing steps (thousands total), there is a possibility that I have an error (or two) somewhere in these results.
Please point them out if you find any.
Note that the ISO 40000 results are not showing due to a software bug in the tool.
I'll fix that, but ... you don't want to use ISO 40000 anyway.
Digital Experience Subscription Revenue Grows 25 Percent Year-Over-Year in Q3
Thursday, September 13, 2018 4:05 pm EDT – SAN JOSE, Calif. – Adobe (Nasdaq:ADBE) today reported strong financial results for its third quarter fiscal year 2018 ended August 31, 2018.
Adobe achieved record quarterly revenue of $2.29 billion in its third quarter of fiscal year 2018, which represents 24 percent year-over-year revenue growth.
Diluted earnings per share was $1.34 on a GAAP-basis, and $1.73 on a non-GAAP basis.
Digital Media segment revenue was $1.61 billion, with Creative revenue growing to $1.36 billion and Document Cloud achieving record revenue of $249 million, which represents 21 percent year-over-year growth.
Digital Media Annualized Recurring Revenue (“ARR”) grew to $6.40 billion exiting the quarter, a quarter-over-quarter increase of $339 million. Creative ARR grew to $5.66 billion, and Document Cloud ARR grew to $744 million.
Digital Experience segment revenue was $614 million, which represents 21 percent year-over-year growth. Digital Experience subscription revenue grew 25 percent year-over-year in the quarter.
Operating income grew 32 percent and net income grew 59 percent year-over-year on a GAAP-basis; operating income grew 32 percent and net income grew 57 percent year-over-year on a non-GAAP basis.
Cash flow from operations was $955 million, and deferred revenue grew 23 percent year-over-year to approximately $2.71 billion.
Adobe repurchased approximately 2.9 million shares during the quarter, returning $714 million of cash to stockholders.
A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.
"Adobe continues to inspire creativity and drive business transformation as reflected in our record Q3 results," said Shantanu Narayen, president and CEO, Adobe. "Students, creatives, enterprises and governments trust Creative Cloud, Document Cloud and Experience Cloud to create and deliver the transformative digital experiences required to compete today."
“Our strong momentum continued into the second half of fiscal 2018 as Adobe delivered another quarter of sustained revenue growth, strong earnings and cash flow of nearly $1 billion," said John Murphy, executive vice president and CFO, Adobe.
Brand new introductions to the FF High Speed Prime Line – 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF – will be debuted at IBC2018
September 11, 2018 – Sigma Corporation is pleased to announce the development of three new Sigma Cine lenses in the FF High Speed Prime Line: 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF.
With these additions, the FF High Speed Prime Line now includes ten lenses covering 14mm to 135mm and T1.5 to T2, giving cinematographers even more options to empower their artistic expression and take their cinematic vision to the next level.
Available for test-shooting at the 2018 IBC Show in Amsterdam from September 14-18, 2018, attendees are welcome to visit the Sigma booth 12.D64 to get hands-on with the new cine lenses.
New Models in the Sigma Cine FF High Speed Prime Line
All the lenses in the FF High Speed Prime Line, including the brand new 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF, are compatible with full-frame image sensors and optimized for ultra-high-resolution 6K-8K shooting.
All three lenses come in PL, EF and E mounts with lens support foot and cap included.
The 105mm T1.5 FF is expected to start shipping in October 2018, the 40mm T1.5 FF in the end of 2018, and the 28mm T1.5 FF in early 2019.
Pricing for each new model will be announced at the time of availability.
Development of LPL Mount
In the future, the Sigma Cine lens series will include an LPL mount, the new lens mount optimized for the large format sensor released by ARRI in 2018.
The planned release date for the Sigma Cine lenses in LPL mount is 2019 or later.
New Befree tripod to monopod solution and an additional option for their Befree Live expand the traveler segment.
Upper Saddle River, NJ – September 13, 2018 – Manfrotto, world leader in the photography, videography and imaging equipment and accessories industry, has expanded its travel tripod range with new additions to the Befree Collection.
The Manfrotto Befree 2N1 is the most versatile model in the Befree range, with an all-in-one solution that allows the tripod to be converted into a monopod in just a few steps.
It offers a secure, easy and fast solution to convert the tripod into a monopod, while retaining the same exceptional stability afforded throughout the Befree collection.
The technology behind the safety and stability of the Befree 2N1 is a dedicated locking system that ensures the total absence of play when working both as a tripod and as a monopod.
Furthermore, the conjunction cap on the center column of the Befree 2N1 firmly connects the tripod leg to the tripod column, giving shape to a solid travel monopod.
The Befree 2N1 is made to enable quick and easy switching from a tripod to a monopod.
After a half-turn anticlockwise, a red rubber ring will appear on the tripod leg, providing the user with visual feedback that the tube can be safely removed for use as a monopod.
The Befree 2N1 is available in two versions: the Quick Power Lock version with levers, and the M-Lock twist option.
Additionally, following the great success of the Befree Live in both aluminum and carbon versions, Manfrotto is releasing the Befree Live with Quick Power Lock, dedicated to independent content creators who prefer the lever lock system.
All three models will be available late September at select Authorized Manfrotto Dealers
Canon didn't hold back with the quality level of its initial lens selection for the Canon EOS R and the new RF 50mm f/1.2L warrants attention.
This lens is well-built, looks great, focuses quickly and with the R behind it and a little contrast in front of it, this lens focuses in ridiculously dark scenarios even when I cover the focus assist light (it is very impressive).
I need to talk about the EOS R image quality a bit to clarify the results we are seeing from this lens.
This EOS R vs. 5D Mark IV image quality comparison should be a decent one.
These two cameras have the same resolution and the compared lenses, stopped down to f/5.6, are both very sharp with little distortion.
What you will immediately see (and I think you are going to see this corroborated in forthcoming test results) is that the 5D Mark IV's image is sharper.
While it immediately looks like the 5D IV is delivering better image quality, that is not necessarily the case.
We have long been using a low Canon Digital Photo Professional sharpness setting of "1" (on a 1-10 scale) for lens testing as sharpening quickly masks differences between lenses.
While it seems that increasing the sharpness of an image is a cheap fix to poor lens quality, that sharpening quickly becomes destructive to details, ruining the fine image quality you were seeking in the first place.
Camera manufacturers know that you like sharp images and they crank up the default sharpness in attempt to make you happy.
Nearly always, that setting is at a very destructive level.
Fortunately, you can adjust the sharpness level to your taste.
There is a long pipeline between the imaging sensor and the final image file and not all cameras utilize identical hardware and software (more often, they do not).
More specifically to the point, the amount of sharpening showing in a final JPG image processed using the same settings is not always the same.
And, that is the case here.
If you zoom in your browser while looking at the 5D IV result, you will see some slight over-sharpening halos, slightly brighter colors around the border of the darker ones.
I gave strong consideration to using a sharpness setting of "2" as the default for the EOS R, but the halos began showing at that setting.
So, we are staying the course with the standard sharpness setting of "1".
You of course can increase your sharpness setting as desired.
A setting of about "2" approximately matches the 5D IV.
Download the crops shared here and apply your preferred sharpening routine.
Ready to be impressed?
Check out this comparison (visualize the resolution difference):
The newly announced Canon EOS R, RF lenses, big white super telephotos, and EF-M 32mm f/1.4 are now available for preorder!
There's a pent up demand for most of these products, so be sure to preorder early to ensure your gear goes out with the first shipment.
As always, your use of these links for any purchase supports this site!
Skylum’s Quantum HDR Engine harnesses the power of AI for a more streamlined editing experience than ever before. It reduces burned-out colors, loss of contrast, noise and unnatural lighting caused by halos and unstable deghosting.
The Quantum HDR Engine has taken three years to create within Skylum’s AI lab, and contains the vast knowledge of the development team paired with artificial intelligence to bring you seamless HDR editing, be it with a single image or multiple bracketed shots.
Skylum’s developers tested thousands of bracketed shots through a neural network, and used the results to develop the technology needed for creating incredible HDR photographs - whether it’s real estate, landscape, cityscape or any other type of HDR photography.
Here are the most essential changes:
New Quantum HDR Engine
LUTs support with 11 New Integrated LUTs
Photoshop plugins support
New HDR Smart Structure filter for realistic and artefact-free structure (can be found in the new HDR Enhance filter)
Presets are now called ‘Aurora HDR Looks’
Improved Adjustable Gradient filter with new sliders for Shadows and Highlights added
Improved HDR Details Boost Effect ( the photo is shown in high-resolution while fine-tuning the filter)
Aurora HDR 2019 is available for pre-order now and will be released on October, 4.
Current users may upgrade at a price of $49 USD ($59 USD MSRP)
New users can purchase Aurora HDR 2019 at a price of $89 USD ($99 MSRP)
Video Tutorial: Getting the Most from Aurora HDR 2019 by Trey Ratcliff
Landscape Photography Handbook by David Johnston
Burning Moods LUTs by Richard Harrington
Exclusive interior Aurora Looks by Richard Harrington
Size matters, it does. Because how much gear you have to carry matters. How much space you have to set up and work in matters. Being able to move fast, getting in, getting out and nailing the shot matters.
Something else matters too; knowing that the equipment you have will push you forward rather than hold you back - that you'll be inspired to grow and to express yourself creatively. To be you, at your best.
That's why when Profoto set out to create the Profoto B10, their brand new cordless off-camera flash, the company first considered size. Or rather, a lack of it. “We designed the B10 to be small,” said Göran Marén, Product Manager at Profoto. “Just a little bigger than a medium-sized zoom lens. That means you can fit it in your bag with the rest of your gear and because it’s cordless and lightweight, it’s easy to bring and set up anywhere. That said, this is in every way a Profoto light, so the power and quality of light is essential.”
And while the B10 is small, it’s small without compromise. The B10 gives you five times more light than a speedlight; it’s a light that has a natural and beautiful soft fall off.
But this is more than just a flash; it’s also a highly effective continuous light that you can use for both stills and video. And like all Profoto lights, it’s easy to use. A separate dial on the sleek B10 interface allows you to adjust both brightness and color temperature until it blends perfectly with the ambient light. The continuous light is just one example of the extreme flexibility contained within the B10. The stand mount and the battery are prime examples. The stand mount can be swiftly removed. As a result, you can mount the B10 on any camera tripod. It is just as quick to replace the battery too, and you can charge it while you’re using it.
Göran Marén continues: “every part of the B10 has been designed to help the photographer to be more creative with light on location. We felt that the more flexibility we built in, the more an image creator can adapt to any issues or opportunities that a location might offer.”
Better still, the possibilities don’t end there since your creativity can run riot with an enormous range of Profoto light shaping tools that are as flexible as the B10. There are a dozen light shapers in Profoto’s compact and lightweight OCF series to start with, and if they’re not enough, there are 120 more light shaping tools in the full Profoto range.
Controlling the B10 off-camera is also easy. You can trigger and control the B10 wirelessly from any Profoto AirTTL remote or the Profoto A1. From up to 300 m/1000 ft you can point and shoot with TTL or switch to manual control at any time. AirTTL Remotes are available for all major camera brands.
To further capture the imagination, Profoto has added smart connectivity in the form of a unique and innovative smartphone app. With the B10 connected to the Profoto app you always have the latest B10 updates available at your fingertips. The app also gives you an ingenious remote control that lets you view and control all B10 settings from your smartphone screen.
The most inspiring part of the app might the beta version of creative capture that brings smartphone photography and the creative use of light closer together than ever before. Göran adds: “we wanted to inspire new ways of being creative with light, and to give photographers a glimpse into the future of photography.” Ultimately the B10 is a big light in a small package. And that means the possibilities are enormous.
The final words belong to Göran. “It’s what we like to call, ‘the power of small.’ It’s the power to be creative with light in so many more ways. It's the ability to take all those incredible images that live in your imagination – and make them real.”
The Profoto B10 is light unleashed. Actually, it’s more than that – it’s you unleashed.
My wife and I would like to introduce the newest member of the The-Digital-Picture.com family.
Pictured above is Olivia Jane, born yesterday at 4:50pm. She was 7 lb 13 oz (3.54 kg) and 20" (50.8 cm) long.
She's healthy and, contrary to what last night's seemingly constant crying might indicate, probably very happy to be here.
I'm running on very little sleep, so... I'll make this post short and sweet. I'm a father now, and it's a whole new world. :-)
In this post, I'll address the Canon EOS R battery.
First, I love that the Canon EOS R uses the same LP-E6N Li-ion Battery utilized by a large number of recent and current
Canon EOS Cameras, including the 5D Mark IV,
5Ds R, 5Ds, 6D Mark II,
7D Mark II and 80D.
This has been a great battery, in both performance, reliability and size (several fit comfortably in my pocket).
Note that the older LP-E6 (no "N") is also supported by the EOS R (the "N" model has increased capacity, 1800 mAh vs. 1865 mAh).
That I have accumulated a large supply of these batteries is especially useful.
I love the simplicity of being able to share the LP-E6N batteries and chargers across my kit and also appreciate that I can take a single, small, direct-plug charger when traveling, even when I have multiple camera models along.
That I am accumulating a large number of these chargers is also convenient for those times I need to quickly charge a large number of batteries (my family loves when I plug 6 of these in the kitchen receptacles).
Battery life is a very relevant camera spec and mirrorless cameras typically have disappointingly-low battery life ratings and this one gets the same: approx. 370 shots (at 23°C).
However, CIPA battery life ratings and real-world experience can differ significantly and that is especially true with my EOS R experience to date.
My first fully-charged LP-E6N battery provided 1510 images with 3% battery charge remaining.
That is a very impressive number for any camera, though many short high-speed frame rate bursts surely aided that experience.
Still impressive was the second full charge delivering over 1100 images with 9% remainging for an expected life of well over 1300 images.
Again, some short bursts were captured, but many slow and carefully-aligned landscape images were also captured.
The third charge yielded 560 images at 17% battery life remaining for an expected life of approximately 670 images.
This set of images was captured in higher battery drain situations that including waiting for the perfect moments to occur at a low light event.
I'm very pleased with all of these results.
Those are numbers I can easily live with.
Note that scenarios generating a high number of images tend to incorporate high frame rate shooting which results in a correspondingly higher number of images per fully charged battery.
The EOS R provides a 6-level battery indicator on the top LCD and a specific percent remaining value in the Battery Information menu.
This menu also provides a shutter count and a recharge performance rating for the installed battery.
Few Canon announcements have been as eagerly anticipated as the brand's answer to Sony's high-performing a-series, mirrorless full-frame cameras.
Canon was extremely tight-lipped about the features of the soon-to-be-unveiled EOS R, the details of the new RF mount and the corresponding RF lenses – as well as mount adapters – that were coming down the pipeline, until right up to announcement time.
Of course, most of those details were floating around the interwebs before the actual announcement was made, but the flood of NDA'd material arrived much later than is typical for a Canon announcement, not to mention one as highly anticipated as this one.
It seems that Canon wanted to surprise and impress us.
Now the question is, "Did they?"
What I like about the EOS R & RF Lenses
Full compatibility with EF/EF-S/MP-E/TS-E lens, through adapters providing unique capabilities
Size & weight, but with a comfortable grip
Huge AF coverage, extremely sensitive in low light
Eye AF (we'll see how well it works)
High resolution EVF
4K combined with DPAF
SD memory card compatibility
Battery Grip to be available at launch
Lenses that demonstrate the advantages of the new mount – an f/2 constant max aperture general purpose zoom with full-frame coverage (a world's first) and a high-performing 50mm f/1.2 lens
Everyone looking at the EOS R will appreciate its highlighted features differently, but the list above represents what I liked most about the camera's available feature set when the camera was announced.
The most important of those features, in my opinion, is the first one – [nearly] full compatibility with Canon's existing EF-series lenses, including EF-S lenses, via an adapter.
But Canon turned what may otherwise be viewed as an inconvenience (the use of an adapter) into three separate products, two of which have very nice benefits.
The Mount Adapter EF-EOS R is the standard adapter. It is very low priced and does exactly what you'd expect.
Want to change a setting quickly and conveniently with your left hand without moving your hand off the lens, essentially giving your older lenses the same functionality as Canon's new RF-series lenses?
The Control Ring Mount Adapter is there for you.
Want to add an easy-to-use, universal variable ND or circular polarizer to your kit? Just get the Drop-in Filter Mount Adapter and either filter can be used with every EF/EF-S/MP-E/TS-E lens in your existing kit.
Canon definitely aimed to impress with the EOS R's autofocus capabilities with an AF coverage that spans nearly the entire frame, sensitive down to -6 EV (with ultra wide aperture lenses) and eye tracking AF.
Of course, we'll need to test the camera thoroughly to see if Canon's new AF system holds up well against the competition, but on paper, at least, things look promising.
Canon's Dual Pixel CMOS AF sensors are well regarded for subject tracking in video mode, and good AF tracking is especially necessary when recording in 4K; we expect the EOS R to perform equally well compared to its DSLR predecessors.
How annoying is it when your new camera is not compatible with any of your existing memory cards? The EOS R uses the perennial standard – Secure Digital – so you'll likely be ready to start shooting as soon as you open the box and charge the battery.
If you already have an LP-E6N/LP-E6 battery charged (very likely), then you won't even have to wait that long.
If you're accustomed to shooting with a battery grip, then you'll really appreciate that the EOS R's battery grip, the BG-E22, is scheduled to be available when the camera ships.
As far as the lenses go, the R-series kit lens, or RF 24-105mm f/4L IS USM, seems to be the perfect choice for a full-frame general purpose zoom lens.
It will be extremely useful and will easily cover a wide range of situations including portraiture, outdoor weddings, product, architecture and landscape needs.
Personally, I don't find general purpose lenses to fill me with inspiration. Like Swiss Army knives, they're great at doing so many things (and get used so often because of their versatility) but don't necessarily inspire me to carve a statue with the tool.
I find the RF 35mm f/1.8 IS STM Macro lens to be especially interesting as it'll be the first 35mm macro lens from Canon designed for a full-frame sensor camera and it is the widest aperture macro lens in the Canon lineup.
The other two lenses, however, were designed to provide the "wow" factor worthy of the new camera mount.
The RF 28-70mm f/2L USM is the world's first general purpose zoom for full-frame cameras with an f/2 constant max aperture.
Want to freeze motion in low light situations?
With a 1-stop wider aperture compared to an f/2.8 max aperture zoom, you can double your shutter speed without resulting in a twice-as-high ISO, resulting in better subject separation and cleaner, less noisy images.
Bryan spent hours using this lens including at a very low light event and thinks it is awesome. While the lens is not small or light, it is an ideal event lens and this lens alone is a great reason to buy an “R”.
Want to really blur out the background? Try reaching for Canon's newest f/1.2 prime, the RF 50mm f/1.2L USM, and watch the background melt away.
This lens takes full advantage of the new RF mount with increased sharpness and contrast over the entire frame and should prove to be a favorite prime for many photographers.
This might be the fast 50mm lens you’ve been waiting for.
What I don't like about the EOS R and RF Lenses
No in-body image stabilization (sensor stabilization)
No dual memory cards
1.75 crop in 4K recording
Incompatibility with EF-M lenses
When looking at where the EOS R falls a bit short, two missing features immediately come to mind – the camera doesn't have dual memory card slots or in-body sensor stabilization.
Both of those features would be greatly appreciated by photography pros and amateur shooters alike.
Fortunately, memory cards don't fail very often and we've been creating sharp Canon images without sensor stabilization all this time.
How? Through good camera techniques (elbows in), camera-shake negating shutter speeds, lens IS and tripods/monopods.
Keep in mind, the R-mount's new communications protocols allow much more data to flow between the lens and the camera body.
This results in a more effective in-lens stabilization (for those RF lenses that feature IS) because the lens can receive information from the camera itself.
So while you may not get the benefits of stabilization for every lens in your kit, you'll see even better performance than you're used to with RF lenses featuring IS.
Some will lament the 1.75x crop when recording in 4K.
However, keep in mind that the EOS R is compatible with EF-S lenses, and there are a ton of ultra wide-angle EF-S lens options, so that concern is mitigated to some degree.
And while we're on the topic of lens compatibility, it's important to note that the RF-mount is incompatible with Canon's APS-C EF-M mirrorless lenses.
I think this incompatibility shows Canon's lack of foresight in regards to its development of a full-frame mirrorless system and puts the future of the EOS M-series into question.
If someone purchases a Canon APS-C DSLR, the camera is compatible with APS-C specific lenses (EF-S) and those designed to cover full-frame sensors (EF/TS-E/MP-E).
If that same person wants to upgrade to a Canon full-frame DSLR, all EF/TS-E/MP-E lenses they had acquired would be compatible with their next camera (of course, the same is not true for EF-S lenses).
However, there is no easy upgrade path to a full-frame camera for EOS M-series owners.
If transitioning to a full-frame mirrorless setup, no native EF-M lenses will be compatible with the new camera.
Ultimately, that means a user must start with a blank slate when making the mirrorless APS-C to full-frame jump, a prospect that far fewer consumers will consider compared to DSLR users.
The Canon EOS R was designed to appeal to a very wide market in order to get the EOS R system off to a good start.
This is the beginning of a new line of cameras. I have no doubt that we'll see dual memory card slots in a future EOS R system camera, and whatever drawbacks we find in the EOS R will be refined as the series matures.
Some will miss the multi-controller joystick for choosing AF points, but using Touch and Drag with the LCD works very well (better in some regards), though it does take some practice.
That said, the EOS R is a very capable camera with an excellent feature set, many of those features being completely new to the EOS system.
Preorders for the Canon EOS R and RF lenses will go live Tuesday night at midnight (12:00am Wednesday, technically).
Please keep us in mind when placing your preorders.
Using our links doesn't cost you anything extra, but provides the vital support necessary to keep the site going.
Santa Rosa, Calif. – Being a photographer is about getting to the right location at the right time — which can often be challenging. To help photographers protect their lenses from the rigors of travel, Think Tank Photo has just released the Lens Case Duo series of six quick-access, dual-opening padded lens cases. A zippered lid and side opening is a unique feature compared to other lens cases.
With the Lens Case Duo, photographers can protect their delicate lenses while transporting them in rolling cases, backpacks or shoulder bags. These cases can then be converted into a modular system for quick access in a bag or on a belt. A shoulder strap is included for the six larger sizes: Lens Case Duo 5, Lens Case Duo 10, Lens Case Duo 15, and Lens Case Duo 20, Lens Case Duo 30, and Lens Case Duo 40. Two exterior stretch pockets provide space for a lens cap or a cleaning cloth. Soft zipper protectors and a plush lining protect sensitive and expensive lenses from scratches. All sizes come in black and green.
“The Lens Case Duo should be used by every photographer concerned about protecting their lenses, especially while in transit,” said Doug Murdoch, Think Tank Photo’s President and lead designer. “While our roller and backpack dividers provide ample protection, the Lens Case Duo provides just that extra protection layer that could help prevent damage in unforeseen circumstances.”
The Lens Case Duo 5 holds a Canon/Nikon 18-55mm f/3.5-5.6, Canon: 10-18mm f/4.5-5.6, Canon/Nikon 50mm f/1.4, Nikon 55-200mm f/4-5.6 AF-S, or Olympus: 12-40mm f/2.8, 40-150mm f/4-5.6
The Lens Case Duo 10 holds a Canon 55-250mm f/4-5.6, Sigma 8-16mm f/4.5-5.6, Tamron/Sigma 18-200mm f/3.5-6.3, or Sony 16-35mm f/4
The Lens Case Duo 15 holds a Canon/Nikon 70-300mm f/4.5-5.6, Canon/Nikon 18-200mm f/3.5-5.6, Tamron 18-400mm f/3.5-6.3, Nikon 18-300mm f/3.5-5.6, Nikon 10-24mm f/3.5-4.5, Tokina 11-16mm f/2.8, Canon/Nikon 24mm f/1.4, Canon/Nikon 35mm f/1.4, Canon/Sony 100mm f/2.8, or Nikon 105mm f/2.8
The Lens Case Duo 20 holds a Canon/Nikon/Sony 24-70mm f/2.8, Canon 24-105mm f/4, Nikon 14-24mm f/2.8, Sony 85mm f/1.4, Canon/Sony 100mm f/2.8, or Nikon 105mm f/2.8
The Lens Case Duo 30 holds a Canon 16-35mm f/2.8, Nikon 17-35mm f/2.8, or Canon 11-24mm f/4
The Lens Case Duo 40 holds a Canon/Nikon/Sony 70-200mm f/2.8, Canon/Sony 100-400mm f/4.5-5.6, or Nikon 80-400mm f/4.5-5.6
Durable water-repellant (DWR) coating
420D velocity nylon
Ultra Stretch front pockets
YKK RC zippers
3-ply bonded nylon thread
3-layer nylex liner
3-ply bonded nylon thread
Lens Case Duo 5
Interior Dimensions: 3” Diameter x 4.6” Height (7.5 x 11.5 cm)
Exterior Dimensions: 3.7” Diameter x 4.9” Height (9.5 x 12.5 cm)
Weight: 0.2 lbs. (0.1 kg)
Lens Case Duo 10
Interior Dimensions: 3” Diameter x 5.7” Height (7.5 x 14.5 cm)
Exterior Dimensions: 3.7” Diameter x 6.1” Height (9.5 x 15.5 cm)
Weight: 0.2 lbs. (0.1 kg)
Lens Case Duo 15
Interior Dimensions: 3.4” Diameter x 6.7” Height (8.5 x 17 cm)
Exterior Dimensions: 4.1” Diameter x 7.1” Height (10.5 x 18 cm)
Weight: 0.2 lbs. (0.1 kg)
Lens Case Duo 20
Interior Dimensions: 4.3” Diameter x 6.5” Height (10.8 x 16.5 cm)
Exterior Dimensions: 5.0” Diameter x 6.9” Height (12.8 x 17.5 cm)
Weight: 0.3 lbs. (0.1 kg)
Lens Case Duo 30
Interior Dimensions: 4.8” Diameter x 6.8” Height (12.2 x 17.2 cm)
Exterior Dimensions: 5.6” Diameter x 7.2” Height (14.2 x 18.2 cm)
Weight: 0.3 lbs. (0.1 kg)
Lens Case Duo 40
Interior Dimensions: 4.5” Diameter x 9.9” Height (11.4 x 25 cm)
Exterior Dimensions: 5.3” Diameter x 10.2” Height (13.4 x 26 cm)
Weight: 0.4 lbs. (0.2 kg)
An extra-large reference target to speed up color correction and save hours in post-production for filmmakers, DITs, editors and colorists.
X-Rite Incorporated, the world leader in color management and measurement technologies, today announces the addition of the new ColorChecker Video XL to the ColorChecker family.
For longer and wider shots, this extra-large format color reference target speeds up video production for more consistent and accurate color from capture to edit.
Given the popularity of the X-Rite ColorChecker Video and Video Passport targets among filmmakers and editors, adding a larger target for longer, wider and aerial shots was a logical addition to the family.
Often the distance between the camera and the subject is too great, or the angle is too wide, to effectively capture a smaller target.
With ColorChecker Video XL, users can increase capture resolution for post, maintain the same lighting conditions falling on their subject, eliminate the need to move the camera closer or adjust focal length, and minimize color casting from surrounding light.
Perfect for large production sets, event filmmaking, and aerial filmmaking, the ColorChecker Video XL allows users to accurately check highlights, shadows and mid-tones, match multiple cameras and achieve accurate color balance.
It provides the same chromatic colors, skin tones and gray reference chips of the standard size ColorChecker Video, but is twice as large, measuring 23” x 19.5” x 0.12’”(53.3 x 37.5 x 0.3 cm).
All X-Rite ColorChecker Video targets work with popular filmmaking tools like waveforms, vectorscopes, and zebras.
“Filmmakers and photographers tell stories with their images.
Along with light, color plays an essential role in these stories.
We want to make sure they tell their story as perfectly as possible, which means starting from an ideal neutral place,” said Liz Quinlisk, Marketing Director Photo & Video, X-Rite.
“Time is money, and the new ColorChecker Video XL helps filmmakers get to their creative look faster with less wasted time.
No matter how big their story is we now have the right target size for every situation.”
X-Rite ColorChecker Video XL is available as a stand-alone color reference target or combined with two forms of added protection – a choice of a simple carry sleeve or a more robust, fully configurable carrying case.
X-Rite’s ColorChecker Video XL and protective accessories are now available through the global photo and video reseller network.
SIGMA 50-100mm F1.8 DC HSM | Art for SIGMA (v.1.01) and Canon (v.2.01)
This firmware corrects the phenomenon that the AF performance occasionally becomes unstable when used via SIGMA MOUNT CONVERTER MC-11.
SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for Canon (v.2.03)
This firmware improves the AF speed in certain combinations with some cameras.
Firmware update for SIGMA 150-600mm F5-6.3 DG OS HSM | Sports (v.2.00) / Contemporary for Canon (v.2.00)
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. This firmware also improves the AF speed in certain combinations with some cameras.
* Compatible Canon camera models: 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)
For customers who own the SIGMA USB DOCK and applicable products, please update the firmware via SIGMA Optimization Pro.
Bellevue, WA – September 6, 2018 — Photolemur, a leader in AI technology in the photography industry and a winner of the 2018 Red Dot Award for High Design Quality, has released pre-order details for the latest product launch: Photolemur 3 With Photolemur, Skylum has taken the concept of photo enhancement back down to Earth, bringing the complex process of photo editing to the hands of mass consumers all over the world. The software has been developed with regular folks in mind, camera users who might not have the time for or a good grasp of editing, from amateur and beginner photographers to moms, bloggers, and occasional shooters.
Designed as an intelligent automated photo assistant that enhances images in the same way a professional photographer would, but much quicker than any standard editing software, Photolemur only requires its users to drag and drop an image. It takes care of the rest by automatically making pro-level enhancements and adjustments to the image within minutes. Photolemur uses 14 different AI technologies to think for itself, analyzing what aspects of a photo need to be tweaked to bring the image to its best. It saves its users from going through the long editing process or relying on unintelligent filters that aren’t exactly tailor-made for that particular image. The software is proving to be a gamechanger in the photography space, allowing everyone from basic social media users and amateur bloggers to the more seasoned pros to create the perfect photo. Photolemur is transforming the photography industry, benefitting both casual photographers and professionals, reducing an hour of complex photo editing to mere minutes.
At the heart of Photolemur is a smart engine with powerful technology that has analyzed millions of photos to find editing patterns. It enhances each photo accordingly based on those patterns. It utilizes similar technology used in manual editing software, from color recovery and noise reduction to auto color temperature and exposure compensation. Both pro photographers and casual shooters can trust its AI technology to recognize the differences in objects and make smart decisions when choosing the correct adjustments.
The software also allows users to batch enhance up to 200 photos at a time, making it a real time saver for users who don’t have a lot of hours to invest in photo editing. With this new update, Photolemur now fixes skin imperfections, whitens teeth, smoothes skin and hair, and sharpens and widens eyes, making it an ideal tool for casual photographers and social media enthusiasts.
By simplifying the editing process, seamlessly creating pro-level adjustments to any photo without any effort from its users, Photolemur is sweeping not only the photography community, but also the mass market. Photolemur is ahead of the trends in the photography industry, using its intuitive AI technology to make photo editing more accessible and to bring photography back to where it matters most, the millions of camera shooters who use it to capture memories and record important moments in their lives.
Photolemur 3 includes several updates across the software, from technology to user interface.
Automatic face enhancement with skin retouch and teeth whitening. This feature detects and clears skin imperfections as well as whitens teeth for a more glowing portrait.
Smart eyes enlarge. This feature analyzes your subjects’ eyes and makes eye enlargements accordingly.
Adding styles to photos. Six new, crazily creative styles are now available to really get the look you want.
New menu for opacity settings
Quick access menu for face enhancement, lens correction, and eyes enlarge
Apply settings from one image to all images in a batch, maximum 200 images
SmugMug export for Mac
Until September 13 Photolemur 3 is available at a special pre-order price for $49 for a family license (5 activations) with a collection of bonuses. The product will be released on 14 September 2018.
Photolemur 3.0 Regular Pricing (starting on September 14):
Current users may upgrade at a price of $19
New users can purchase Photolemur 3.0 Family at a price of $59
New users can purchase Photolemur 3.0 Single at a price of $39
Canon Also Introduces Three RF Mount Adapters, Providing EF & EF-S Lenses with Full Compatibility and Enhanced Functionality with the New EOS R Camera
MELVILLE, N.Y., September 5, 2018 – Helping to rewrite the rules of visual expression, Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a variety of new RF lenses and accessories to accompany the newly announced EOS R Full-Frame Mirrorless Camera System. The four new RF lenses are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras. The new RF mount enables new possibilities in optical design and lens formulation, allowing for faster and lighter lenses with higher performing optics.
The four new lenses, the Canon RF 28-70mm F2 L USM, RF 50mm F1.2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM capitalize on the robust optic foundation of Canon’s new EOS R system. The design behind Canon’s new EOS R camera and RF lens system started with the concept of the optimal rear lens element diameter and shorter distance (back focus) for a Full-Frame image sensor.
With over 130 million EF lenses in circulation since Canon launched the mount in 1987*, the Company is enhancing the possibilities for its loyal customers who own and love their EF glass. Canon is introducing three RF Lens Mount Adapters that expand the capabilities of existing EF lenses when paired with the EOS R camera. The Canon Mount Adapter EF-EOS R allows photographers to utilize the full breadth of Canon’s EF, EF-S, TS-E, and MP-E lenses on the newly introduced EOS R camera system. The Control Ring Mount Adapter adds a customizable control ring via the adapter that provides photographers with added functionality to their fingertips. The Drop-in Filter Mount Adapter now easily places circular polarizing or variable neutral density filters behind the lens, opening up new options for lenses such as the EF 11-24mm where using optical filters were previously not an option.
“Knowing exceptional optics are a vital tool in shaping the image a photographer captures, Canon designed the EOS R camera system from the ground up with optics as the starting point,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is very excited about the world-class optics we have developed to marry with the new RF mount. With our rich history and more than 130 million EF lenses being used across the globe, Canon optics will continue to be at the forefront of our digital imaging development now and into the future.”
New Canon RF Series Lenses
Three of the newly announced Canon RF lenses are counted among Canon’s top-of-the-line L-series optics; incorporating rugged, dust and water-resistant construction. All four new RF lenses feature a customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO.
The Canon RF 28—70mm F2 L USM lens, the world’s first standard zoom lens with an f/2 aperturei is excellent for capturing landscapes, weddings and portraits with its large aperture for stunning bokeh. Initial testing within Canon has shown this new lens to produce better optical image quality and sharpness over similar focal length EF-series lenses, including the extremely popular and highly regarded EF 24-70mm f/2.8L II USM.
A portrait photographer’s must-have, the Canon RF 50mm F1.2 L USM lens sports an ultra large-diameter f/1.2 aperture and Canon’s Air Sphere Coating (ASC) technology to dramatically reduce flares and ghosting.
Photographers seeking an all-around utility lens for the new EOS R camera system need to look no further than the Canon RF 24-105mm F4 L IS USM lens. Coming in nine percent shorter in length than the EF 24-105mm f/4L IS II USM, this compact lens employs a CIPA standard of 5 stops of IS and is equipped with NANO USM technology, the first L-series lens with the technology. This small chip-shaped ultrasonic motor is engineered to help deliver high-speed, smooth, precise and near-silent operation, plus full-time manual focus (when using one-shot AF).
A fast, wide-angle single focus lens, the Canon RF 35mm F1.8 MACRO IS STM lens is an excellent option for photographers looking for an affordable compact lens. Featuring a maximum shooting magnification of 0.5x, the lens can easily shoot macro photography of subjects such as flowers, food and even insects. The lens also utilizes a CIPA standard of 5 stops of IS and is compatible with Hybrid IS, compensating for both angular and shift camera shake.
Enhanced Capabilities for Canon EF Lenses
Thanks to its large lens mount design, Canon’s new EOS R series camera system delivers new capabilities in both design and function, but for existing Canon lens owners it does something incredible. It enhances the capabilities of existing EF and EF-S lenses with full compatibility and in some cases, enhanced functionality when paired with one of three RF mount adapters.
Canon lenses are historically top-rated, and the Company is looking to help customers gain even more value in their investment with three new RF mount adapters.
The Canon Mount Adapter EF-EOS R is a standard adapter that provides full compatibility with EF lenses. Autofocus, metadata, and Optical Image Stabilization on EF lenses all continue to work seamlessly with the new EOS R camera through this adapter.
The Control Ring Mount Adapter EF-EOS R continues full EF lens compatibility with the addition of a customizable control ring. Functions that can be assigned and adjusted by the control ring include aperture, shutter speed, ISO speed and exposure compensation.
In addition to full EF lens compatibility, the Drop-In Filter Mount Adapter EF-EOS R allows for lens filters to be used behind any EF lens and help photographers conveniently utilize variable ND and circular polarizing filters with any EF lens.
New Speedlite Series
Canon is also introducing a new compact and lightweight Speedlite, the EL-100. Designed for photographers who are just beginning to use an external flash or are in need of a secondary unit, the new Speedlite delivers both soft and natural lighting reproduction. In addition, the EL-100 can rotate upwards and to the left and right enabling photographers to bounce the flash off of nearby ceilings, walls or surfaces.
Additional Features of the Canon Speedlite EL-100 include:
Maximum Guide Number of Approx. 85 ft./26m at ISO 100
24mm Wide-angle Coverage
Optical Wireless Flash Function (Sender and Receiver)
Flash Exposure Control Including Support for Stroboscopic Flash and Continuous Shooting Camera-linked Functions Including Interlocked External Flash Power On/Off
Mode Dial with AUTO Position
Availability and Pricing
The Canon RF 50mm F1.2 L USM will be available in October 2018 for an estimated retail price of $2299. The Canon RF 28-70mm F2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM will all be available for purchase in December 2018 for an estimated retail price of $2999, $1099 and $499.99 respectively.
The Canon Mount Adapter EF-EOS R and Control Ring Mount Adapter EF-EOS R will be available for purchase in October 2018 for an estimated retail price of $99.99 and $199.99 respectively. The Drop-in Filter Mount Adapter EF-EOS R will all be available for purchase in February 2019 for an estimated retail price of $399.99 with a variable ND filter or $299.99 with a circular polarizing filter.
The Canon Speedlite EL-100 will be available for purchase in October 2018 for an estimated retail price of $199.99.
Optical Innovation Inspires the Next Leap Forward in Imaging
MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the next revolution in the company’s long history of innovative and award-winning camera systems, the EOS R system featuring the newly designed RF mount. Recognizing the need to advance optical design, the Company sought to create a versatile and powerful new system that supports all current EF, EF-S, TS-E and MP-E lensesi, and also provides the optical advancements and engineering flexibility to build upon for years to come.
When Canon set forth to develop a new interchangeable lens camera system, they focused on three core optical principles: high-image quality, high-specification performance, and compact design. Recognizing that optics is the foundation for any camera system, the RF mount was conceived to open new doors in optical design. Canon’s new RF mount features the same size diameter as the EF mount (54mm) and shorter back focus distance. This allows for lenses to sit closer to the sensor (the focal plane) and allowed Canon optical engineers to reimagine lens design utilizing larger rear lens elements to produce an image on the full-frame sensor. This new optical formula has paved the way for higher performing lenses. In addition, the Canon RF mount features a high-speed 12-pin communication system that provides faster and more in-depth communication between the camera and lens over existing Canon mount systems.
The EOS R system is designed for full, uninhibited compatibility with all existing EF, EF-S, TS-E and MP-E lenses through the use of mount adaptersii. In addition, through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter these lenses, in fact, gain functionality.
“There has never been a time in history in which visual expression has been so prolific. Imaging, both still and video, are the communication mediums of today’s society. Much in the same way we learned to type in the past, today’s youth are skilled in shooting, editing, and visual storytelling in ways that only the masters of each craft were decades ago,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Knowing this, we needed to step back and design a system that delivers all the creative expression and functionality today’s youth crave, now and in the years to come.”
The First in a New System: The EOS R
The new Canon EOS R full-frame mirrorless camera features a 30.3 megapixel CMOS sensor that is powered by the Company’s latest image processor, DIGIC 8, enabling shooting at up to 8.0 frames per secondiii. The new camera inherits a lot from Canon’s legacy in both EOS and Cinema EOS. Video storytellers can capture stunning 4K UHD video up to 30fps and record in 10-bit 4:2:2 (with an external recorder). The EOS R also comes with the ability to shoot Canon Log, providing 12 stops of dynamic range, minimal loss of detail in shadows and highlighted areas and an increased range of choices when color grading. Users with an existing collection of Canon lenses will be excited to know that all EF and EF-S lens are compatible with the camera. In order to do so, photographers and videographers can choose between using one of three new mount adapters, each uniquely designed to meet the individual needs of the user.
The new Canon EOS R camera features Dual Pixel CMOS Auto Focus with 5,655 manually selectable AF pointsiv, supporting AF at up to f/11 with a 384 zone (24x16) real-time metering system. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as EV-6. When using the RF 24-105mm F4 L IS USM lens with the EOS R, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AFv, making it the fastest autofocus speed in the worldvi. These features provide photographers and videographers with Canon’s most advanced AF system to date. The EOS R also features a silent shutter setting when shooting in single-shot mode; an important feature for those who need to capture imagery without disrupting the scene. An upcoming free firmware update will enable silent shutter in continuous shooting mode as well.
“The EOS R system is not just a new camera or a new lens mount, it is a new design that will allow us to produce visual tools that were previously impossible, and allow our customers to tell their stories with greater depth, richness of color, and creative flexibility, in optically stunning ways.” states Kazuto Ogawa.
Thoughts From the First Users
“I think every camera system has its place and it’s all about having the right tool for the job,” reported acclaimed outdoor photographer and Canon Explorer of Light Jimmy Chin. “The new EOS R system for me in particular is very useful for the kind of shooting that I do in the mountains, where I need to worry about the size and weight. Having the option to use the new RF lenses or the EF lenses is really great.”
“I was instantly impressed with how quickly the EOS R was able to focus,” remarked celebrated fashion photographer and Canon Explorer of Light Lindsay Adler. “Whether my subject was moving or I was shooting in near-complete darkness, I had no problem getting tack-sharp focus in every shot. It was a relief to know my gear wasn’t going to hold me back from executing my vision, but instead it would really help me to execute this vision.”
“For us, it's all about getting the shot no one else can get, and a lot of this has to do with the camera,” says Devin Graham, director and filmmaker behind YouTube’s DevinSuperTramp. “The new EOS R will become one of our main cameras. It has a very small footprint, yet is able to create amazing images. As for the lenses, the new RF 28-70mm F2 has just become one of my all-time favorites. I’ll be bringing it on every project.”
Conveniently placed just to the right of the EVF, Canon has introduced a new Multi-Function Bar that will allows users to more easily access their customizable settings, such as AF, ISO and White Balance. Users will have the option to either slide or tap the bar to gain access to the settings and adjust on-the-go as they deem necessary depending on each particular shooting situation.
Answering the demand for enhanced mobile editing of RAW image files, Canon is also announcing a new application, Digital Photo Professional Express (DPP Express). In combination with an updated Canon Camera Connect App, DPP Express enables users to send, view, edit and process CR3 RAW files on their iPadvii. A free download of the app will be available October 2018.
Additional noteworthy features of the EOS R Camera include:
RF Mount Compatible with RF Lenses and EF/EF-S Lenses
Built-in EVF with 3.69 Million Dots, Vari-angle Touchscreen LCD and Dot-matrix LCD Panel
ISO range of 100-40,000, expandable to 102,400
USB 3.1 in-camera charging support
Built-in Bluetooth and Wi-Fi providing easy sharing to compatible smart devices and social media sites
Single UHS-II SD card slot
CR3(RAW/C-RAW) and Dual Pixel RAW Support
Dust and weather resistant
Availability and Pricing
The Canon EOS R full-frame mirrorless camera is scheduled to be available in October 2018 for an estimated retail price of $2299 for the body only. It will also be sold as a body-and-lens kit with the new RF 24-105mm F4 L IS USM lens for $3399.
New Compact and Lightweight EF Super-Telephoto Lenses Are Well Suited for a Variety of Photographers’ Needs
MELVILLE, N.Y., September 5, 2018 – Most professional photographers need to carry multiple lenses in their camera bags. Helping to lighten their load, Canon U.S.A. Inc., a leader in digital imaging solutions, introduces two new super-telephoto lenses, the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM. Both lenses possess a dramatic weight reduction and high-image quality, making it ideal for shooters to easily transport and capture images during action-driven scenarios, such as sports and wildlife. Both lenses now hold the title of world’s lightest in their respective focal length*. The weight of the EF 400mm f/2.8L IS III USM and EF 600mm f/4L IS III USM lenses has been reduced by 2.2 lbs. (more than 25 percent) and 1.9 lbs. (more than 20 percent) respectively.
“When developing updates to some of Canon’s most popular legacy lenses, one common question that is asked by photographers was ‘can they be lighter,’” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “The significant reduction of weight in these two lenses addresses this customer need and delivers thoughtfully designed, high-quality optics .”
The new lenses are must-haves for advanced and professional photographers shooting wildlife, aviation, sports and news with Canon’s new EOS R full-frame mirrorless camera (with use of one of the three new Canon mount adapters), as well the EOS 1D and 5D series of DSLR Cameras. Both lenses feature two of Canon’s most advanced propriety lens technologies - Air Sphere Coating (ASC) and Super Spectra Coating (SSC), helping to reduce flaring and ghosting, and suppressing the reflection of light, leading to vivid images. These updated lenses inherit the excellent overall build-quality and ruggedness photographers have come to expect and admire from the Canon EF L series of lenses. In addition, the minimum focusing distance has been improved for both lenses, from 2.7m to 2.5m (8.8ft to 8.2ft) for the EF 400mm f/2.8L IS III USM and 4.5m to 4.2m (14.8ft to 13.8ft) for the EF 600mm f/4L IS III USM.
Additional noteworthy features of the lenses include:
Upgraded Optical Image Stabilization from three-and-a-half stops to five shutter speed stops1 of correction over the previous f/2.8 lens
Improved, flexible focus control with a customizable electronic-focus ring
Two fluorite lenses and one super UD lens, helping to provide high image quality
Circular nine-blade aperture
17 lens elements in 13 groups
Heat-shielding paint helps prevent lens temperature from rising during excessive exposure to sun
Fluorine coating on front and rear optical elements, helps to reduce smears and fingerprints
Inner focusing system with Ring Ultrasonic Motor
Availability and Pricing
The Canon EF 400mm f/2.8L IS III USM is scheduled to begin shipping in December 2018 with an estimated retail price of $11,999. The Canon EF 600mm f/4L IS III USM is scheduled to begin shipping in December 2018 for an estimated retail price of $12,999.
MELVILLE, N.Y., September 5, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a new EF-M wide angle fixed-focal-length lens, the EF-M 32mm f/1.4 STM. The EF-M lens is both compact and lightweight, serving as an ideal addition for any photographer shooting with an EOS-M series camera. Entry and enthusiast-level photographers who are passionately seeking to take their photography skills to the next-level will find this lens to be a great addition for portraiture, landscapes or general travel photography.
“As Canon continues to expand the company’s EF-M lineup, it is very important that users are provided the tools they desire for a variety of shooting situations,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “The new EF-M 32mm f/1.4 STM lens delivers great image quality in a compact and lightweight form factor, allowing photographers to capture the images they envision when they pick up their camera.”
The EF-M 32mm f/1.4 STM lens is the second EF-M lens to feature a large-aperture, delivering stunning bokeh with a soft blurred background that helps photographers isolate their subjects. In addition, the 32mm focal length converts to approximately 51m in 35mm format, providing an angle-of-view close to the field-of-view of the human eye.
Additional noteworthy features of the EF-M 32mm f/1.4 STM lens include:
14 elements in eight groups, including a glass molded aspherical lens
Super Spectra Coating technology and optimized lens element placement helps minimize ghosting and flaring
Lead gear-type STM stepping motor to help provide smooth and quiet focus operation when taking photos, and near-silence when shooting video
Wide focusing ring with full-time manual focus capabilities
Compact and lightweight design: maximum diameter of 60.9mm, total length of 50.5mm and approximate weight of 235g
Maximum magnification of 0.25x and minimum focusing distance of 0.23m
Availability and Pricing
The EF-M 32mm f/1.4 STM will be available for purchase in late September 2018 for an estimated retail price of $479.99*. Included accessories for the new lens are Canon lens cap E-43, lens hood ES-60 and lens case LP-1014.
September 4, 2018, Saitama, Japan – Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the launch of the 17-35mm F/2.8-4 Di OSD (Model A037) for Canon mount.
Summer is over and now it’s up to you to bring the heat. For the next 30 days, we’ll be providing you with prompts on the @AdobeStudents Instagram that are designed to ignite your creative spark and teach you some new skills along the way. We’ll also be giving out some incredible prizes at the end of the month, including a 13-inch MacBook Pro.
A new prompt will be shared every day of September on the @AdobeStudents Instagram and we are challenging you to complete as many as possible using tools from Adobe Creative Cloud. Don’t worry if you haven’t used them before, you can download a free 7-day trial here and complete any of the prompts for a chance to win. See below for further details on prizes and sweepstakes eligibility.
We can’t wait to see the amazing work you create, so be sure to share all of your work on Instagram by October 1, 2018 by tagging @AdobeStudents and using hashtags #AdobeStudents30 #Sweepstakes.
To be entered into the prize drawing, you must complete one or more of the prompts. For each prompt you complete, you will receive one entry into the sweepstakes. For example, if you choose to complete one prompt, you will receive one entry; if you complete 30 prompts, you will receive 30 entries into the drawing. The more prompts you complete, the higher the chance of winning one of the following prizes:
Grand Prize: 13-inch MacBook Pro & 12-month Creative Cloud Subscription
Second Prize: iPad Pro, Apple Pencil & 12-month Creative Cloud Subscription
Third Prize: iPad Mini & 12-month Creative Cloud Subscription
This challenge is all about building a creative routine, not about creating perfect work. All of these prompts are designed to be completed within 30-minutes. Whether you consider yourself a beginner or an expert, all we ask is you give your best effort! It’s time to get creative, get excited and most of all, enjoy 30 days of sharing your creativity with the world.
No purchase necessary. All entries must be submitted by October 1, 2018. Must be 18+ and a current or recently graduated student (2018 onwards). For complete details, eligible countries, and promotional item descriptions, see official rules. Void where prohibited. Winners will be announced by November 1st, 2018.
On 27.07.18, the century’s longest lunar eclipse occurred, forming a blood moon that was visible across South America, Europe, Africa and Asia. We went behind the scenes with astrophotographer Michi Rust on his mission to photograph it. In this video, Michi shows us his gear set up and the steps he follows to get shots that are truly out of this world!
Canon ‘refreshed’ the ever-so-popular 70-200mm f/2.8 lens from a ‘II’ to a ‘III’ with new optical coatings and paint, but no major changes. While the price is higher than the current II, it actually is the same price as the II was sold at for most of its life. A meh moment for almost everyone except those who scooped up the ‘II’ at reduced prices.
I did wonder if perhaps there might be a bit more under the hood than what Canon had announced. These are arguably the most popular lenses Lensrentals.com stocks; hundreds of copies with constant turnover. Since we do in-house repairs, over the years we’ve noticed some minor upgrades that have taken place; an internal ring and some gears have changed, etc. Internally, the 70-200mm f/2.8 is also one of the ugliest bits of engineering in the Canon fleet. We can understand why it had to be that way; it’s an incredibly complex lens. But we figure this bothered Canon’s optomechanical engineers as much as it did us, so maybe they snuck some changes in.
Just for fun, I hit the tool's "Generate" button a few times to come up with my own Tamron 15-30mm f/2.8 G2 press release:
This is a true advance that will inspire your craft and create new opportunities in your imaging world. Now you can possess a single wide-angle lens that coaxes you to seize images that are both extraordinary and impressive. Its performance is unquestioned with regards to tonal depth yet it provides astounding flare control. Like all of our products, this lens incorporates our extensive expertise. This lens provides a classic focal length, offering a unique opportunity to enhance your natural creativity.
We have created a galvanizing new benchmark in photography that will dramatically improve your images. This is a new breakthrough that will revolutionize your craft and create new opportunities in your imaging world. Like all of our products, this lens is in a class of its own. We have combined intuitive control with unsurpassed technology to provide you a singular experience. Catch an instant and make it your revenue photoGenerator forever.
Using advanced technology including multiple floating elements and the industry’s most accurate autofocus system, this lens can take your imaging to new achievements. Discover detail that you never saw was around you. Whatever the subject matter, in any working condition, in all lighting conditions, this lens offers amazing definition while maintaining excellent vignetting control. Designed for the connoisseur, it offers the finest craftsmanship most only wish for, at a price that most can’t afford. Capture images in a way you’ve always wished you could.
Well, that was easy.
The funny thing is, Tamron doesn't mention in their own press release that the G2 model features the exact same optical formula as its predecessor. Want proof? Check out the optical formula diagrams taken from Tamron USA's product pages.
So what's actually new in the G2 model? Here's a quick rundown of the updated features, sans marketing mumbo jumbo:
New coatings on the same ol' lenses
Improved Vibration Compensation - G2 model provides up to 4.5 stops of compensation; previous model's VC assistance was never specified
Improved autofocus performance through, primarily, a new AF algorithm
Possibly better weather sealing - the original model had some sealing that included a rear mount gasket, but the internal seals diagram was never provided
Rear filter holder
Updated exterior to match other G2 lenses
Compatibility with the TAP-in console
As usual, the improvements listed above come at a cost; the G2 version's MSRP is $100.00 more than the original one's and the price difference is even larger considering the current $100.00 instant savings on the G1 model. Check out our Tamron 15-30mm f/2.8 Di VC USD Lens Review for more information on the G2's predecessor.
August 31, 2018, Commack, New York - Tamron announces the launch of a new high-speed ultra-wide-angle zoom lens, the SP 15-30mm F/2.8 Di VC USD G2 (Model A041), for full-frame DSLR cameras.
The new model will be available in Nikon mount on September 21st and in Canon mount October 12th at a suggested retail price of $1299.
With a well-established reputation for ultra-high-quality wideangle zoom lenses with its Model A012, Tamron carries on the tradition of high optical performance with the new SP 15-30mm F/2.8 Di VC USD G2 (Model A041).
By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element, as well as multiple LD (Low Dispersion) lens elements, the distortion and lateral chromatic aberrations so common in wideangle shooting have been greatly minimized.
Furthermore, a newly developed AX (Anti-reflection eXpand) Coating has been applied to reduce ghosting and flare more thoroughly than ever before.
The optical performance in this high-speed F/2.8 ultra-wideangle zoom lens is outstanding.
In addition, the built-in Dual MPU (Micro-Processing Unit) enables vastly improved AF speed and precision and image stabilization.
This is a next-generation super high-quality, high-speed ultra-wideangle zoom lens with first-rate optics and a wide range of features that serve to revitalize the user's shooting experience.
With the release of this model, three of Tamron's high-speed F/2.8 zoom lens with VC (Vibration Compensation) are now G2 (Generation 2).
Super high-quality high-speed ultra-wideangle zoom lens
The Model A041 is an F/2.8 ultra-wideangle lens with a focal length starting at 15mm that offers high resolution even in the peripheral area of the image. By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element and multiple LD (Low Dispersion) lens elements to curtail distortion and lateral chromatic aberrations, Tamron has achieved a degree of resolution throughout the range that is just as good as a fixed focal length lens.
Newly developed AX Coating
The AX (Anti-reflection eXpand) Coating, especially effective for wideangle lenses that tend to let in harmful light from peripheral areas, was developed to control rays that affect image quality. It is a revolutionary new proprietary coating developed in-house by Tamron using specialized deposition technology. The new coating keeps the reflection factor for peripheral areas at the same high level as that for the center area, not only overcoming standard curvature issues, but even overcoming the problems of conventionally produced convex surface with large curvatures for which uniform deposition has always proved difficult to achieve. Furthermore, the Model A041, along with eBand (Extended Bandwidth & Angular-Dependency) Coating utilizing nanotechnology, and BBAR (Broad-Band Anti-Reflection) Coating, makes effective use of three different types of coatings, thereby enabling unsurpassed curtailment of ghosting and flare and consequently enabling superlative, exceptionally clear image quality edge to edge.
High-speed, high-precision AF
Superb AF speed and precision is delivered by equipping the lens with a Dual MPU (Micro-Processing Unit) system and employing an enhanced AF control algorithm to improve performance. The AF drive uses proprietary Tamron technology, USD (Ultrasonic Silent Drive), enabling high torque, high response, and silent operation. And because it comes with a Full-time Manual Focus override system, manual focus adjustments can be made on the fly.
VC promises sharp images for all varieties of shooting
Tamron released the first high-speed F/2.8 ultra-wideangle zoom lens in the world equipped with a VC (Vibration Compensation) mechanism, the original Model A012. The new Model A041 has been further improved with a newly developed VC mechanism that surpasses former versions and reaches 4.5 stops, according to CIPA standards. This makes it possible to shoot sharp photos over a wide range of photographic scenes, including indoor and outdoor shots as well as handheld shots at stopped-down aperture settings for landscape photography.
Rear filter holder
The Model A041 made for use on Canon (EF-mount) cameras comes with a filter holder as a standard feature that lets you insert gelatin and other sheet filters into the rear side of the lens. This makes photography using filters much easier and simpler by overcoming the problem of the curvature of the front lens elements that made shooting with filters so difficult in the past.
Vastly improved highly durable Fluorine Coating
Abrasion resistance capability has been vastly improved on the new Model A041. The front surface of the lens element is coated with a Fluorine Coating based on a newly developed fluorine compound with high water- and oil-repellent properties. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints, and enabling your important lenses to be continually protected on a long-term basis.
The new design provides greater operability and design consistency
With the new SP design applied, Model A041 shares the same feel of high quality and operability as the other two models in this series, SP 24-70mm F/2.8 Di VC USD G2 (Model A032) and SP 70-200mm F/2.8 Di VC USD G2 (Model A025). Tamron has merged beautiful craftsmanship with intuitive design in this new high-speed ultra-wideangle zoom lens. Even details like the shape of the switch box, distance-scale window, and the precision and stability of the metallic mount reveal a commitment to functionality, as well as design. The result is a next-generation lens that's easy to use yet loaded with cutting-edge technology.
Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new Model A041 is compatible with the TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer for easy updating of the lens's firmware as well as customization of features including fine adjustments to the focus position of AF and VC control.
Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.
Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series
Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product's robustness and improvements in a variety of individual functions. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.
Photolemur is the world’s first fully automated solution for creating perfect photos.
It works on Mac and PC, automatically analyzes and perfects your images, and doesn’t require any manual involvement.
Photolemur is powered by artificial intelligence that recognizes objects, faces, trees, sky, foliage and more; distinguishes between portraits, landscapes and macro photographs; and applies the appropriate enhancements for each type of image.
Photolemur 3.0 includes the world's first fully automatic processing and retouching of faces: skin smoothing, removing skin defects, smart eye enlargement and hair structure.
The new Photolemur 3.0 version has six new styles along with the ability to impose them on images. The program is also able to enhance a large number of photos simultaneously: more than 200 images at the same time, which will speed up a workflow considerably.
Photolemur 3.0 is possibly the greatest time-saver in the history of photo editing!
Here are the most essential changes in Photolemur 3.0:
Automatic Face Enhancement with skin retouching and teeth whitening
Smart Eye Enlargement
Adding Styles to photos
New menu for opacity settings
Quick access menu for face enhancement, lens correction and eye enlargement
Apply settings from one image to all images in batch
SmugMug Export (for Mac version)
Performance and stability boost
Photolemur 3.0 will be available for pre-order on August 28, and released on September 14.
New users can purchase Photolemur 3.0 Family at a special pre-order price of $49
A collection of bonuses will also be included in every purchase.
Photolemur 3.0 Regular Pricing:
Current users may upgrade at a price of $19
New users can purchase Photolemur 3.0 Family at a price of $59
New users can purchase Photolemur 3.0 Single at a price of $39
Fastest SD Card Completely Sealed One-Piece Molded Structure and Ribless, Switchless Design Keeps Images Safe and Guards against Drops, Bends, Water and Dust
Sony’s new “SF-G series TOUGH specification” UHS-II SD cards are designed to keep images safe in any shooting environment, combining the world’s fastest read and write speeds with an ultra-rugged design that is bend-proof, drop-proof to 5 meters, water-proof and dust-proof. The new cards are 18 times stronger than SD standard (180N compared to 10N rating) to guard against bending and dropping, and use the world’s first monolithic structure with a completely sealed one-piece molding that leaves no empty space in the card and prevents dust or debris from entering. The TOUGH spec. series uses materials of high-grade hardness, unlike conventional SD which uses a thin, 3-part ensemble. They are protected against typical physical damage that can affect conventional SD cards such as a broken plastic casing, broken data protection lock and broken connector ribs.
For photographers fighting the elements to get the perfect shot, the TOUGH spec. SD cards are also waterproof with an IPX8 rating and dustproof with an IP6X rating.
As the world’s first ribless SD card with no write protection switch, the new cards’ design ensures that easy-to-break parts are removed entirely.
Unleash the power of the camera
Continuing an industry trend driven by Sony, full-frame mirrorless cameras such as the a9 and a7 series are packing more and more performance into stills and video performance. These high-end cameras rely on fast memory cards to maximize their performance and with professional photographers now using SD cards more frequently, users are demanding higher levels of reliability and durability associated with other professional card types. With the world’s fastest write speed of up to 299MB/s, buffer clearing time is minimized, allowing photographers to shoot at the highest burst speeds.
The TOUGH spec. SD cards also support V90, the highest standard of video speed class, making it an ideal companion for shooting high-resolution video.
Transferring high-capacity photo and video files is made simple with the TOUGH spec. cards, thanks to a read speed of up to 300MB/s, another world’s fastest, which dramatically streamlines the post-shooting workflow. Addressing the practical needs of photographers, the SF-G series TOUGH specification range feature a bright yellow banding design, making the card easier to spot in dark shooting conditions.
The TOUGH spec. series SD cards include a SD Scan Utility, allowing the user to check that the card is in good condition and File Rescue Software to recover accidentally deleted data and photos. The new cards are also X-ray proof, magnet proof, anti-static, temperature proof and feature UV Guard.
Pricing and Availability
The new SF-G TOUGH series of memory cards are planned to be available in October, at the following suggested prices:
Today, we show you how to easily color match in Photoshop to create realistic composites. Nothing beats manual color work, but in some cases this automatic trick can make matching colors simpler than ever.
Most Creative Cloud applications receiving updates in the next major release will still support Windows 7. It is only Adobe video and audio tools that aren’t supporting Windows 7 – Lightroom and Photoshop will still support [Windows 7].
As we prepare for our next major release of Creative Cloud, we wanted to share some information on updated operating system requirements. To take advantage of the latest operating system features and technologies, the next major release of Creative Cloud will not support Windows 8.1, Windows 10 v1511 and v1607, and Mac OS 10.11 (El Capitan). For more detailed information about operating system requirements for the next major release of Adobe video and audio tools, see this post.
If you’re running Windows 8.1, Windows 10 v1511 and v1607 or Mac OS 10.11 (El Capitan), you can continue to run and install current and previous versions of Creative Cloud applications. However, you will not be able to install or run the next major release of Creative Cloud unless you’re on a supported version of Windows or MacOS.
Creative Cloud Desktop, which manages application installs, will continue to be supported on Windows 7 or later and Mac OS X v10.9 or later.
Focusing our efforts on more modern versions of Windows and Mac operating systems allows us to concentrate on developing the features and functionality most requested by members, while ensuring peak performance that takes advantage of modern hardware. Visit this site for detailed information on current Creative Cloud app system requirements.
Think Tank Photo’s Upgraded Retrospective Shoulder Bags Feature Increased Photography Gear Security and Lighter Weight
Santa Rosa, Calif. – When Think Tank Photo first released the Retrospective shoulder bag series, they took the photo industry by storm.
Think Tank has now upped the ante with the Retrospective V2.0.
While retaining the soft, form-fitting design, they are lighter than the original.
For greater security, the Retrospective shoulder bags now feature a zippered opening under the main flap that tucks away when not in use.
Each bag has a dedicated interior tablet or laptop pocket, luggage handle pass-through, and a compressible water bottle pocket.
Think Tank also improved its innovative “Sound Silencer” closure, allowing photographers to work more quietly.
The Retrospective V2.0 shoulder bags come in five sizes:
Retrospective 5 V2.0 – Fits a standard DSLR or Mirrorless body with a 17–40mm f/4 lens attached and a 9” tablet. Examples include a Canon 5DMIV with a 50mm f/1.8 attached, 24–70mm f/2.8, and an iPad Mini; or a Sony a7RIII with a 24–70mm f/4 attached, 16–35mm f/4, 55mm f/1.8, and an iPad Mini.
Retrospective 7 V2.0 – Fits a standard DSLR with a 24–70mm f/2.8 attached, 70–200mm f/2.8 unattached, flash, 10” tablet, and a 13” laptop. Examples include a Nikon D850 with 24–70mm f/2.8 attached, 70–200mm f/2.8, and a SB-5000 AFSpeedlight; or a DJI Mavic Pro drone, controller, batteries and accessories.
Retrospective 10 V2.0 – Fits a gripped DSLR with a 24–70mm f/2.8 attached, 10” tablet, 12” laptop, 70–200mm f/2.8 unattached, and a flash. Examples include a Nikon D5 with a 24–70mm f/2.8 attached, 70–200mm f/2.8 unattached, and a SB-5000 AFSpeedlight.
Retrospective 20 V2.0 – Holds a gripped DSLR with 70–200mm f/2.8 attached or a 300mm f/2.8 unattached, 24–70mm f/2.8, 10” tablet, 12” laptop, and a flash. Examples include a Nikon D5 with a 70–200mm f/2.8 attached, 14–24mm f/2.8, 50mm f/1.8, and a SB-5000 AFSpeedlight.
Retrospective 30 V2.0 – Fits two gripped DSLRs with a 24–70mm f/2.8 and 16–35mm f/2.8 attached, 70–200mm f/2.8 unattached, and a 15” laptop. Examples include two Nikon D5 bodies with a 24–70mm f/2.8 and 14–24mm f/2.8 attached, 70–200mm f/2.8 unattached, and an iPad.
“Reflecting on your past work helps you be more creative in the future,” said Doug Murdoch, Think Tank’s President and lead designer. “When we designed the original Retrospective shoulder bag series, we looked back on our personal experience for inspiration. We wanted to bring back the classic canvas look that is soft yet durable — but doesn’t look like a camera bag full of expensive gear. The Retrospective V2.0 series combines all our experience as photographers and product designers into a highly functional yet timeless camera bag.”
Dedicated pocket fits a tablet or small laptop (size dependent)
Luggage handle pass-through
Collapsible water bottle pocket
Hook-and-loop “Sound Silencers” offer discretion when needed
Webbing rail to accommodate modular pouches or carabineer
Additional dividers to sub-divide compartments for smaller lenses
Front pocket fits a 10” tablet (Retrospective 7, 10 and 20 only)
Wide storage pocket on back
Removable carrying handle
Zippered pocket for valuables and small items
Adjustable shoulder strap with cushioned non-slip pad
Retrospective 5 V2.0
Internal Dimensions: 9.5” W x 7.8” H x 4.9” D (24 x 19.5 x 12.5 cm)
Exterior Dimensions: 10” W x 8.5” H x 6” D (25.5 x 21.5 x 15 cm)
Tablet pocket (fits 9” tablet): 9.1” W x 6.3” H x 1.0” D (23 x 16 x 2.5 cm)
Weight: 2.0 lbs. (0.9 kg) including all accessories
Retrospective 7 V2.0
Internal Dimensions: 12.5” W x 8.8” H x 5.4”D (31.8 x 22.4 x 13.8 cm)
Exterior Dimensions: 13.5” W x 9.5” H x 7” D (34.3 x 24.1 x 17.8 cm)
Laptop Pocket (fits up to 13” laptop): 12.2” W x 8.7” H x 1.0” D (31 x 22 x 2.5 cm)
Weight: 2.7 lbs. (1.2 kg) including all accessories
Retrospective 10 V2.0
Internal Dimensions: 12” W x 9.5” H x 6.7” D (30.5 x 24 x 17 cm)
Exterior Dimensions: 13” W x 10.5” H x 7” D (33 x 26.7 x 17.8 cm)
Laptop Pocket (fits up to 12” laptop): 11.4” W x 9.1” H x 1.0” D (29 x 23 x 2.5 cm)
Weight: 2.7 lbs. (1.2 kg) including all accessories
Retrospective 20 V2.0
Internal Dimensions: 12” W x 11.75” H x 6.7” D (30.5 x 29.8 x 17 cm)
Exterior Dimensions: 13” W x 12.5” H x 7” D (33 x 31.7 x 17.8 cm)
Laptop Pocket (fits up to 12” laptop): 11.4” W x 11” H x 1.0” D (29 x 28 x 2.5 cm)
Weight: 2.8 lbs. (1.3 kg) including all accessories
Retrospective 30 V2.0
Internal Dimensions: 15” W x 10.5” H x 6.7” D (38 x 26.7 x 17 cm)
Exterior Dimensions: 16” W x 11.2” H x 7” D (40.6 x 28.5 x 17.8 cm)
Laptop Pocket (fits up to 15” laptop): 14.2” W x 9.8” H x 1.0” D (36 x 25 x 2.5 cm)
Weight: 2.8 lbs. (1.3 kg) including all accessories
Most higher-end image editing programs now feature automated panorama stitching, but if you don't rotate the lens on its nodal point while capturing the individual images for your spherical panorama, even the best image editing programs will find it challenging to stitch all of the images perfectly.
Instead, portions of the stitched areas don't precisely line up, a result of parallax errors.
Rotating the lens on its nodal point allows you to avoid those parallax errors, ultimately leading to a better panoramic image.
But how do you find the nodal point for your lens?
The solution is probably easier than you think.
Yesterday I determined the nodal points for eight lenses (one at two different focal lengths) using my pano rig.
To find your lens' nodal point:
1. Set up your camera along with aligned subjects.
Set up your tripod-mounted pano rig so that it is level and pointed at two objects that are perfectly lined up in the center of your viewfinder/frame using Live View at max magnification.
For me, that was two light stands set up in my studio about 6' (1.83m) apart.
The farthest light stand was extended just a little bit higher than the closest light stand to make aligning the two subjects easier.
2. Rotate the camera left or right and move the camera forward/backward to create an identical view.
Move your magnified live view frame all the way to the left or right, then rotate the camera so that the front object is within the magnified view.
Now, move the camera forward or backward using the nodal rail until the two objects are lined up just as they had been in the center of the frame view.
3. Record your results.
Record the position of the nodal rail in your clamp, such as "Clamp centered on 49mm rail mark," the lens being used and (if using a zoom lens) the focal length setting of the lens.
If using a zoom lens for your panos, you'll need to determine the nodal points for all focal lengths you intend on using for your panos.
Typically speaking, I usually calculate the nodal points for the shortest and longest focal lengths of a zoom lens.
I find it handy to record the measurements in a cloud-based document so that they can be accessed from any location where data services can be accessed.
Also, keep in mind that your nodal point calculations may be different depending on whether your camera is in portrait orientation or landscape orientation.
Typically, you'll want to orient your camera vertically to maximize your panorama's resolution.
However, if shooting horizontally, the plates in your L-brackets may be offset from one another.
For 5D Mark III L-bracket, the offset is 15.5mm, meaning I have to subtract 15.5mm from my vertical orientation measurement to get the landscape oriented one.
If planning to travel to remote areas to capture panoramic images, storing the nodal point measurement values locally on your smartphone in a notepad app (or alternately in a traditional paper notepad) would be best.
My particular pano rig consists of a bidirectional clamp and a multi-purpose rail.
Instead of moving the rail in the tripod's head, I move the bidirectional clamp that's connected to the camera.
Therefore, I have to ensure that the rail is clamped into the index rotator's clamp at the exact same position each time if I ever entirely break down the setup.
While that sounds a bit complicated, it's not in practice.
I just make sure the first measurement mark on the rail is lined up with the front edge of the index rotator clamp, and all is well.
After calculating the nodal points for several of my lenses, I got the itch to create another 360-degree panorama.
After a short time thinking about the possible locations to photograph, as you can see from above, our renovated second bedroom was the subject I chose.
To capture the image, I used a Canon EOS 5D Mark III and Rokinon 14mm f/2.8 lens a 3-shot exposure bracket at each 20° interval.
I then combined the exposure brackets in Lightroom (using identical settings for each HDR blend) and compiled the panoramic image with Hugin.
Want to step into our nursery?
Download and install FSPViewer and open this high-resolution version of the image above in the app for a cool virtual experience.
August 27, 2018 – New York, New York – Rokinon has announced its new Digital Photo 85mm F1.8 Compact Prime Lens, the 7th in its compact lens series. The new 85mm is sized and optically designed specifically for mirrorless cameras to deliver high resolution performance from the center of the image to its corners. It is a high speed telephoto lens that delivers equivalent focal lengths of approximately 128mm with APS-C Sony E and Fuji X cameras, 136mm with Canon M cameras, and 170mm with Micro 4/3 cameras.
Optically, the Rokinon 85mm F1.8 is constructed of 9 elements in 7 groups and features a High-Refractive Index element and an Extra-low Dispersion element. Additionally, it uses UMC ultra multi-coating to help minimize chromatic aberrations and unnecessary light dispersion. Intuitive, damped and precise manual focus control combine with its fast 1.8 aperture and rounded 9 blade diaphragm for exceptional low light, bokeh and selective focus capabilities.
The compact and light-weight design of this fast telephoto offers excellent portability and comfort that is perfect for travel, candid, portraits, and close up photography with mirrorless cameras. Additional features include a non-rotating 62mm filter mount, a reversible for storage lens hood and a soft pouch case.
9 Glass elements in 7 Groups
Aperture Range: F1.8-22
Diaphragm Blades: 9
Coating: Ultra Multi-Coating
Minimum Focusing Distance: 2.13ft (0.65m)
Filter Size: 62mm
Lens Hood: Removable
Maximum Diameter: 2.66” (67.5mm)
The new Rokinon Digital Photo 85mm F1.8 compact prime lens is expected to be available in September with a street price of only $399.00.
Mavic 2 Series Features Two Industry First Camera Options With New Intelligent Features And Optimized Flight Performance
August 23, 2018 – DJI, the world’s leader in civilian drones and aerial imaging technology, today introduced a new era for camera drones with two additions to its iconic Mavic series: Mavic 2 Pro, the world’s first drone with an integrated Hasselblad camera, and Mavic 2 Zoom, the world’s first foldable consumer drone with optical zoom capability.
The Mavic 2 is the most advanced DJI camera drone ever built, designed for professionals, aerial photographers and content creators. Incorporating the iconic folding design of the world’s most popular Mavic Pro, the Mavic 2 is a powerful platform with new gimbal-stabilized cameras and advanced intelligent features like Hyperlapse and ActiveTrack for easier and more dynamic storytelling. With an impressive flight time of up to 31 minutes and a more stable video transmission system, Mavic 2 delivers the optimal flight experience for capturing epic shots.
“When the Mavic Pro was launched two years ago, it redefined the way people looked at a drone and expanded possibilities for creators around the world,” said Roger Luo, President at DJI. “Today, we enter a new era of aerial photography with the introduction of DJI’s new flagship product, the Mavic 2 series. The Mavic 2 Pro and Mavic 2 Zoom will enable photographers and videographers to take their inspirations to the air quickly and elevate their creative ideas to new heights.”
Mavic 2 Pro: Superior Image Quality with Hasselblad
Co-engineered in partnership with Hasselblad, the leading manufacturer in medium format photography, the Mavic 2 Pro is the world’s first drone with an integrated Hasselblad camera for outstanding image quality with superior light and color performance. Housing a 1-inch CMOS sensor with a 10-bit Dlog-M color profile, the camera captures four times as many levels of color per channel compared to Mavic Pro to provide maximum flexibility for photo and video editing. The Mavic 2 Pro can capture 20-megapixel aerial shots with utmost color accuracy using Hasselblad’s unique Hasselblad Natural Color Solution (HNCS) technology, while an adjustable aperture from f/2.8-f/11 provides more control across a wide variety of lighting conditions. With 4K 10-bit HDR support, the Mavic 2 Pro can be plugged into a 4K TV with HLG and will play back footage with the right color tones.
Mavic 2 Zoom: A Dynamic Perspective with Optical and Digital Zoom
Powered by a 1/2.3-inch CMOS sensor, the Mavic 2 Zoom is DJI’s first foldable consumer drone with zoom, providing a dynamic perspective that ushers in a new era of creative storytelling. With the Mavic 2 Zoom, you can get closer to your subject at a moment’s notice by combining two-times optical zoom (24-48mm) with two-times digital zoom to simulate a 96mm telephoto lens that captures lossless video in full HD resolution. Hybrid auto-focus on the Mavic 2 Zoom combines phase and contrast detection for higher focus accuracy with an increased focus speed of up to 40% faster than before. Shoot vivid 12-megapixel photos or take advantage of the new Super Resolution feature that uses optical zoom to automatically capture and stitch nine photos together for a highly detailed 48-megapixel image, making it an ideal option for landscape photography.
Exclusive to the Mavic 2 Zoom, the new Dolly Zoom QuickShot mode opens a new visual language for storytelling that was previously reserved for professional cinematographers. It creates an otherworldly warped perspective by automatically zooming in as it flies away from its subject, keeping the subject the same size while the full background of the scene is revealed.
Mavic 2 Series: DJI’s New Flagship Consumer Drone with Powerful Camera Options
Both cameras capture vivid 4K ultra-high definition video with extreme detail, recording at a maximum bitrate of 100 megabits per second using the H.265 compression codec to give you an exceptional degree of latitude in post-production workflows. For photographers, new Enhanced High Dynamic Range capabilities blend a sequence of photos for ghost-free high dynamic range, giving the Mavic 2 Pro an impressive 14 stops of dynamic range and Mavic 2 Zoom up to 13 stops.
New Intelligent Tools For Epic, Cinematic Shots
The Mavic 2 is the ultimate tool for aerial content creation with new intelligent flight modes that make capturing professional-quality results almost effortless. A new Hyperlapse feature produces establishing shots that show the passing of time, which you can share to social media immediately. JPEG and RAW photos can be simultaneously saved on a Micro SD card or the internal storage, leaving more room for post editing. Choose between Circle, Course Lock, Waypoint or Free mode to create timelapses with a simple tap of a button in the DJI GO 4 Mobile App:
Free - pilots the drone manually while shooting a Hyperlapse video.
Circle - automatically flies the drone in a circular pattern around a subject you select to create a timelapse video that captures the action.
Course Lock - keeps the camera fixed on shooting subject while the drone flies in a straight direction to create a unique perspective.
Waypoint - plans a complex flight path based on both altitude and GPS coordinates to capture complex shots.
Keeping a moving subject in the frame is now easier than ever with ActiveTrack 2.0. This enhanced auto-track feature delivers a powerful combination of autonomous tracking and obstacle sensing capabilities never before seen in a DJI drone. Using the main camera and the front dual vision cameras, the Mavic 2 creates a three-dimensional map of the area in front of it, and uses new trajectory algorithms to analyze motion and predict the subject’s path up to three seconds in the future. When tracking a target, the Mavic 2 can recognize and avoid obstacles while shooting your target without interruption. It can stay on target, even if your subject momentarily goes behind an obstacle, and can track the subject at higher speeds of up to 44 mph (72 km/h).
Safer, Smarter and Stable Flight
The Mavic 2 delivers autonomous flight capabilities that help you capture shots with even more confidence in complex environments. A fully upgraded FlightAutonomy system transmits data to a more powerful central processor for more accurate obstacle sensing and safer flight. For the first time ever in a DJI drone, Mavic 2 has 10 sensors on all sides of the aircraft to automatically detect obstacles in its path and help prevent collisions, allowing you to focus on capturing the perfect shot.
An improved Advanced Pilot Assistance System (APAS) allows the aircraft to analyze its surrounding environment and automatically fly around obstacles without stopping. In addition, the Mavic 2 has a Bottom Auxiliary Light that turns on automatically to ensure safe and precise landings in low-light situations.
A newly designed OcuSync 2.0 video transmission system enables a more stable connection between the drone and its remote controller. The system features stronger interference resistance and auto-switching capabilities that support both 2.4 GHz and 5.8 GHz frequency bands with the capability to use different frequencies for uplink and downlink data streams. It delivers 1080p video transmission feeds at a distance of up to 8 km, allowing you to instantly edit and upload Full HD footage directly from the video cache in the DJI app in a wider variety of situations. Original resolution photos in JPEG can be saved directly to your mobile device, so you can immediately share what you create without the need to transfer files from the drone.
Aerodynamic Design and Extended Flight Time
The Mavic 2’s redesigned, more aerodynamic airframe reduces body drag by up to 19% compared to the Mavic Pro, allowing the Mavic 2 to fly at speeds of up to 44 mph (72 km/h) in Sport mode. Combined with a more efficient, quieter propulsion system and noise reducing propellers, the Mavic 2 has a maximum flight time of up to 31 minutes.
To ensure crisp photos and smooth, shake-free footage, the Mavic 2 houses an ultra-precise three-axis mechanical gimbal to stabilize its camera even during high-speed motion. Photos and videos can be saved directly to the drone using its 8 GB onboard storage. All DJI users have control over how their data is stored and managed, as part of DJI’s commitment to protecting its customers' data.
A redesigned remote controller features detachable control sticks for ease of storage and portability. The Mavic 2 is compatible with DJI Goggles with the gimbal (yaw) control range up to -75°– +75° in Head Tracking mode, offering users a more immersive FPV flight experience.
Price and Availability
The US retail price of a Mavic 2 Pro, including the drone, battery, remote controller, charger, and four pairs of propellers, is $1,449 USD. The US retail price of a Mavic 2 Zoom, including the drone, battery, charger, remote controller and four pairs of propellers, is $1,249 USD. A Fly More Kit, including two additional batteries, a multi-battery charging hub, a car charger, a battery to power bank adapter, two pairs of propellers and a carrying bag, retails at $319 USD. A gimbal replacement service exclusively for Mavic 2 will be available soon.
Starting today, the Mavic 2 is available for preorder at DJI authorized retailers.
I am very much looking forward to spending some time photographing whitetail buck during the rut in beautiful Shenandoah National Park this fall and would love to have you join me!
The Wed-Sat spaces have been filled, but space for two people remains available during the Sun-Wed dates. Interested in taking your wildlife photography skills to the next level? join me!
A 70-200mm telephoto zoom lens is an extremely versatile tool. So veratile, in fact, it's often a pro photographer's most-used lens (or maybe just behind their general purpose zoom).
Engagements, weddings, parties, events, theater, stage performances, high school senior, fashion, documentary, lifestyle, zoo, product and landscape photography are all great uses for this focal length range.
If you're looking to add a 70-200(ish) mm zoom lens to your kit, and don't need an f/2.8 max aperture and/or don't want the size/weight/cost penalties tied to the wider aperture, then the Canon EF 70-200mm f/4L IS II USM and Tamron 70-210mm f/4 Di VC USD Lens are likely at the top of your considerations list.
Both lenses feature an f/4 max aperture that can be stopped down to f/32, nine rounded aperture blades and built-in stabilization.
Where the two lenses differ, of course, will determine which one is the better candidate for your kit.
Canon EF 70-200mm f/4L IS II USM and Tamron 70-210mm f/4 Di VC USD Shared Features
70-200mm-class focal length range
Constant f/4 max aperture; can be stopped down to f/32
9 rounded aperture blades
High grade build quality with weather sealing
Optional tripod ring
Primary Advantages of the Canon EF 70-200mm f/4L IS II USM Lens
Better image stabilization: 5-stops vs. 4
Slightly lighter weight: 28.2 oz (800g) vs. 30.3 oz (859g)
Autofocus range limiter vs. none
Better AF performance, especially when using the outer AF points
Better balance: rearward positioned zoom ring vs. forward positioned
Primary Advantages of the Tamron 70-210mm f/4 Di VC USD Lens
Slightly smaller size: 2.99 x 6.9” (76 x 175.3mm) vs. 3.15 x 6.93” (80 x 176mm)
Higher maximum magnification: 0.32x vs. 0.27
Focus calibration can be adjusted by focal length range and subject distance in the lens via optional TAP-in Console accessory vs. adjusted by focal length range only in camera via camera bodies with Autofocus Microadjustment feature
Extra 10mm of focal length range on the long end
Other things to consider:
Filter size: 72mm (Canon) vs. 67mm (Tamron)
Large magnification change while zooming (Tamron)
Rings rotate in the Nikon-standard direction (Tamron)
The Canon is noticeably sharper at f/4 (especially at 200mm) and shows less flare
The Tamron shows less vignetting and geometric distortion
Who should opt for the Canon EF 70-200mm f/4L IS II USM Lens?
From an image quality perspective, most photographers will appreciate the sharpness of the Canon EF 70-200mm f/4L IS II USM's images compared to the better distortion and vignetting performance of the Tamron.
If you're shooting in situations where you can't afford to miss focus, the Canon's better autofocus performance (both in accuracy and consistency) will more than offset the lens' higher acquisition cost, especially in low light situations.
And in regards to low light situations, the Canon's 1-stop higher rated stabilization system will help you get sharper images of non-moving subjects under the same shooting conditions.
For those that will typically utilize the lens at its longest focal length, the Canon's better image quality at 200mm will certainly be appreciated.
If intending on having your 70-200mm lens mounted for long periods of time, the Canon's rearward positioned zoom ring will certainly be more comfortable to use.
And finally, if you currently only have Canon-made zoom lenses in your kit, acclimating to Tamron's reversed rotating zoom and focus rings can be maddening, especially when a fleeting shot opportunity requires a fast reaction speed.
Who should opt for the Tamron 70-210mm f/4 Di VC USD Lens?
If your budget does not extend to the Canon equivalent, the Tamron 70-210mm f/4 Di VC USD Lens offers many of the same benefits at at less than two-thirds the cost (without rebates).
For those who plan on using their medium telephoto zoom primarily for static portraiture, especially when a focus-and-recompose technique can be employed while using the enter AF point, the Tamron's AF performance should be more than sufficient for the task.
Do you own an EOS Rebel-series camera body without the ability to fine-tune AF parameters via Autofocus Microadjustment?
The Tamron may prove to be the safest choice as you can compensate for autofocus miscalibration issues via the optional TAP-in Console; if you experienced a similar issue with the Canon lens, you'd need to send your camera and lens to Canon's Service Department for calibration, a much less convenient solution to the problem.
Note about focal length range difference: The extra 10mm of focal length range provided by the Tamron will not be terribly significant from a practical standpoint. For instance, the difference in framing the an identical target at 200mm with the Canon and 210mm with the Tamron amounted to slightly more than 1' (305mm), meaning you could get the same basic framing with the Canon lens by leaning forward.
As you can see, from a specifications standpoint, these lenses are very similar.
If your budget extends to the Canon EF 70-200mm f/4L IS II USM, and you'll be using it with a body that features Autofocus Microadjustment, we highly recommend adding the L-series lens to your kit because of its sharpness, IS/AF and balance advantages over the Tamron.
However, if your budget is more limited, the Tamron 70-210mm f/4 Di VC USD is an excellent value when its versatility and overall performance are considered.