Sony News (Page 23) RSS Feed for Sony News

 Friday, May 6, 2022

Note that the new, faster Delkin Devices 512GB BLACK CFexpress Type B Memory Card is priced at only 499.99. That is less than $1/GB for a fast, premium-grade card.

The new Delkin Devices BLACK CFexpress Type B Memory Cards are in stock at B&H.

From Delkin Devices:

Delkin's New BLACK CFexpress™ Type B Memory Cards Surpass Nikon Z9 Limits

POWAY, CA, MAY 6, 2022 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the launch of its latest version of top-selling BLACK CFexpress™ Type B memory cards. With improved speeds, more capacity and guaranteed full compatibility with the latest Nikon Z9 firmware (v2.0), Delkin’s BLACK CFexpress™ cards offer photographers and videographers a solution that is both reliable and trustworthy for professional use.

Specially designed to meet the data-intensive demands of today’s broadcast, cinema and photography industries, Delkin BLACK CFexpress™ Type B cards provide minimum sustained sequential write speeds exceeding 1240 MB/s, guaranteeing flawless cinema-quality video recording, including 8K RAW 12-Bit @ 60fps (2.6 Gbps) in the Nikon Z9. These cards when used in the Nikon Z9 also allow shooters to surpass the maximums stated in the camera manual, capturing an unlimited amount of high-resolution RAW photos in a single press. The cards are also capable of offloading data at speeds reaching up to 1725 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production start time.

Delkin Devices BLACK CFexpress Type B Memory Cards

“What is the Delkin Difference?” asks Jenn Sherry, Delkin's Director of Retail Sales & Marketing. She continues, “a handful of key things make us rock. Our Delkin BLACK line offers the World’s Best Warranty for memory cards, the cards come serialized from authorized retailers and we offer customer service in four time zones around the globe. No other memory card company offers that to their customers. If you haven’t purchased a Delkin CFexpress card before, give us a chance. I’m happy to take your call personally and answer any questions.”

Each BLACK CFexpress™ Type B memory card has undergone extensive testing to ensure full functionality in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III, R3, R5 & R5C), Nikon® (D6, Z6 II, Z7 II & Z9), Panasonic® (S1/S1R & GH6) and Phase One® (XF IQ4). It is important to note though that CFexpress™ Type B cards are not backwards compatible with either CFexpress™ Type A, CFast 2.0 or CompactFlash hosts.

In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends), prior to receiving the non-working card. Cards can also be exchanged over-the-counter at any authorized Delkin BLACK reseller.

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Post Date: 5/6/2022 8:37:15 AM ET   Posted By: Bryan
 Thursday, May 5, 2022

Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Post Date: 5/5/2022 8:27:25 AM ET   Posted By: Bryan

While I'm sure the new show will offer great opportunities, I'm going to miss the old PhotoPlus Expo.

PHOTOPLUS Embraces New Identity as Create NYC, Relocates to Brooklyn to Welcome Creator Community

MAY 2, 2022

After two years of in-person event cancellations due to the COVID-19 pandemic, PHOTOPLUS is proud to return this year as Create NYC Powered by PHOTOPLUS. To be held from September 29 to October 1, 2022, the three-day event leaves the Jacob Javits Convention Center for the Duggal Greenhouse in Brooklyn, NY.

The photography industry’s premier trade show morphs into a festival experience. Create NYC immerses attendees in anything and everything Image Culture. It celebrates all visual storytellers whose work crosses various platforms, expresses shared experiences, inspires dialogue for change, and blurs the lines between art and cultural relevance.

Create NYC puts education and experience first, featuring a main stage of dynamic speakers who will strike meaningful conversations about the impact of imagery on society. Additionally, the event will offer attendees the opportunity for intimate educational moments through creator walks, sessions, and lab-style workshops – all known as Creator Experiences led by engaging visual creatives, including photographers, filmmakers, editors, artists, and more.

Tickets for Create NYC will be available starting June 13. Unlike in previous years, ticket quantities will be limited.

“The decision to reimagine PHOTOPLUS into Create NYC was in response to demand from a rapidly growing emerging creator community,” said Create NYC Show Director Joseph Kowalsky. “The definition of an imaging professional and visual storyteller has broadened. Create NYC aims to be the home for all using imaging technology to create stories that trigger emotion and impact society.”

About Create NYC Powered by PHOTOPLUS: A 3-day experience based in Brooklyn, NY, that celebrates the world of Image Culture, shedding light on visual storytellers that transcend the boundaries of the frame, page, or screen to broaden and share collective experiences, inspire meaningful conversation and change, and act as the bridge between artistic work and cultural relevance.

About Emerald: Emerald’s talented and experienced team grows our customers’ businesses 365 days a year through connections, content, and commerce. We expand connections that drive new business opportunities, product discovery, and relationships with over 140 annual events, matchmaking, and lead-gen services. We create content to ensure that our customers are on the cutting edge of their industries and are continually developing their skills. And we power commerce through efficient year-round buying and selling. We do all this by seamlessly integrating in-person and digital platforms and channels. Emerald is immersed in the industries we serve and committed to supporting the communities in which we operate. As true partners, we create experiences that inspire, amaze, and deliver breakthrough results.

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Posted to: Canon News, Nikon News, Sony News   Category: Photography Deals
Post Date: 5/5/2022 8:54:55 AM ET   Posted By: Bryan
 Tuesday, May 3, 2022

Image quality, vignetting, flare, and distortion test results along with specs and measurements are now available on the Sigma 30mm F1.4 DC DN Contemporary Lens page.

This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Post Date: 5/3/2022 9:20:05 AM ET   Posted By: Bryan
 Monday, May 2, 2022

Image quality test results are available on the Sigma 56mm F1.4 DC DN Contemporary Lens page.

This is a sharp lens that is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.

Save $75.00 instantly via the current Sigma promotion. Order the Sigma 56mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX

Rent the Sigma 56mm F1.4 DC DN Contemporary Lens from Lensrentals.

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Posted to: Sony News   Category: Camera Gear Review News
Post Date: 5/2/2022 8:33:51 AM ET   Posted By: Bryan
 Sunday, May 1, 2022

When other serious photographers are photographing you instead of the amazing scene in your viewfinder, your sanity feels questioned.

Despite appearing big in this image, Lathe Arch is relatively small. Making it appear large in the frame requires getting close to it relative to the background. Getting close from the best side of this arch offers very few options, and gaining this vantage point required getting into a small opening between the large, abrasive granite rocks.

The tripod legs were spread straight out, straddling the crevice, and I was thankful for sturdy boots that were not crushing my feet despite being wedged between the rocks. I was mostly hidden from people walking by but was apparently photo-worthy to a couple of photographers that noticed me.

The widest focal length available on the mounted lens was 15mm, and that angle of view was not nearly wide enough to capture the entire arch and the supporting rocks beside it. Thus, a panorama was called for.

I suspected that this scenario was coming and often have a Really Right Stuff MPR-CL Rail with Integral Clamp in the bag. The rail mounted on the vertical side of the L-plate allowed the lens to pivot over its nodal point, ensuring that the foreground details aligned when stitched together. While nodal alignment is not essential when the foreground is distant, this foreground was very close.

There was a lot of blue sky above the arch, but much of that was framed (and cropped) out of this image. The 22mm focal length provided a sufficient vertical angle of view. The finished horizontal angle of view was determined by the sum of the camera angles used for the pano.

The next issue to resolve was the inadequate depth of field. The closest foreground rock was immediately in front of the lens, while Lone Peak and the mountains beside it were far away. This scenario calls for focus bracketing, an easy strategy with the Canon EOS R5.

I considered adding HDR bracketing to the already complicated capture and processing but didn't — and didn't regret that decision. The R5's dynamic range easily handled this scene.

After dialing in a manual exposure that barely avoided red channel overexposure, the camera was rotated to the left-most side of the capture, autofocus was acquired on the nearest point of the rock, and the set of focus bracketed images was captured. The ball head base was not close to level, so the panning base could not be used for the lateral movement. The ball was loosened, and the camera moved using the thirds gridline to locate the next position. Moving the bottom-left thirds gridline intersection to the former position of the bottom-right thirds line intersection provided a considerable 2/3 frame overlap between image sets, with the electronic level ensuring the camera remained level.

A 1/3 overlap is usually adequate, so moving the bottom-left thirds gridline intersection to the former position of the bottom-right line leaving the frame would have been more efficient.

Additional sets of images were captured until the complete width of the pano was finished. The result was five images per focus stack and four focus-stacked image sets for the panorama.

Creation of the final image involved processing the stacks and then creating the panorama from the four stacked images. While this process may sound complicated, it was simple. The computer did all of the work.

Capturing this image was high on the awkwardness scale, but as usual, I barely remember the discomfort, and the image will bring back the great memories of this morning long into the future.


A larger version of this image is available Here.

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Post Date: 5/1/2022 7:00:00 AM ET   Posted By: Bryan
 Friday, April 29, 2022

Expectations and additional information are now available on the Sony FE PZ 16-35mm F4 G Lens page.

B&H is indicating that June 24th is the estimated ship date.

Order the Sony FE PZ 16-35mm F4 G Lens from B&H | Adorama | Amazon | WEX

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Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/29/2022 12:46:12 PM ET   Posted By: Bryan
 Wednesday, April 27, 2022

A considerable amount of information is now available on the Sony FE 24-70mm F2.8 GM II Lens page.

The version I and version II lens MTF comparison is especially interesting.

From a specifications perspective, here is the Sony FE 24-70mm F2.8 GM II Lens compared to the Sony FE 24-70mm F2.8 GM Lens.

Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.

Support this site by ordering the Sony FE 24-70mm F2.8 GM II Lens from B&H | Adorama | Amazon USA | WEX

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Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/27/2022 1:49:56 PM ET   Posted By: Bryan

From Sony:

Sony Electronics Introduces New FE 24-70mm F2.8 GM II, the World’s Smallest and Lightest F2.8 Standard Zoom Lens

Newest G Master™ Series Lens in Sony’s Mirrorless E-mount Lineup with Industry-leading Optical Design, Unique Actuator Technologies, Advanced Autofocus and More

SAN DIEGO, CA – April 27, 2022 – Sony Electronics Inc. announced today the 67th lens in its mirrorless E-mount lineup – the highly-anticipated, FE 24-70mm F2.8 GM II (model – SEL2470GM2). Sony developed the world’s lightest F2.8 standard zoom lens[i] using its leading lens technology to deliver stunning resolution and beautiful bokeh known to Sony’s “G Master” series. The FE 24-70mm F2.8 GM II is one of the most versatile lenses in the line-up and was created for photographers, videographers, and hybrid content creators.

“Six years have passed since Sony released the first 24-70 mm F2.8 G Master and in that time, our customers’ needs have changed,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “We are always listening to our community and have designed the new FE 24-70mm F2.8 GM II around feedback from creators. Knowing the 24-70 mm focal length is extremely popular, it was imperative that we continue improving to bring our most advanced technology to such a critical lens in our customers’ kit. Today, we are thrilled to introduce the world’s smallest and lightest F2.8 standard zoom lens.”

Evolved Image Quality in a Zoom Lens that Rivals Prime Lenses[i]

The FE 24-70mm F2.8 GM II is great for a compact yet versatile set up and allows users to capture extremely sharp, detailed imagery for both stills and video. The new lens features high resolution across the frame—even with the aperture wide open. A completely redesigned optical path features five aspherical elements, including two high-precision XA (extreme aspherical) elements. The FE 24-70mm F2.8 GM II also includes two ED (extra-low dispersion) plus two Super ED glass elements. Combined with a new floating focus mechanism, the lens effectively controls chromatic aberration, astigmatism, distortion and coma so that outstanding resolution is achieved throughout the image area at all zoom and aperture settings.

Even when shooting in challenging lighting conditions, the FE 24-70mm F2.8 GM II achieves excellent clarity by effectively subduing flare and ghosting. This is thanks to Sony’s original Nano AR Coating II, which produces a uniform anti-reflecting coating on the lens surface. The FE 24-70mm F2.8 GM II produces stunning bokeh throughout the zoom range with beautiful and almost perfectly circular bokeh with its advanced optical design and a newly developed 11-blade aperture unit.

In this new 24-70 mm design, this lens delivers outstanding close-up performance with a minimum focusing distance of 8.25 inches (0.21 meters) at 24 mm and 12 inches (0.30 meters) at 70 mm, and with a maximum magnification of 0.32x.

Fast and Precise Autofocus

The FE 24-70mm F2.8 GM II achieves reliable focus by using four of Sony’s original XD (extreme dynamic) Linear Motors, a floating focus mechanism and advanced lens control – even when shooting a fast-moving subject. In addition, the lens supports up to 30 fps[ii] continuous shooting for stills and 4K 120p video recording with autofocus.

The FE 24-70mm F2.8 GM II enables full AF tracking performance even when shooting stills with the aperture stopped down, making it possible to use deeper depth of field to ensure that moving subjects remain in sharp focus when shooting continuously[iii]. The lens’ AF tracking performance while zooming is approximately two times better than the previous model[iv].

Refined Capabilities for Creative Filmmaking

With its constant F2.8 maximum aperture, astounding AF performance, versatile control, and solid reliability, the FE 24-70mm F2.8 GM II is designed for all types of video applications. The FE 24-70mm F2.8 GM II offers extremely quiet AF operation, thanks to the XD Linear Motors and a newly developed aperture unit. Using the latest lens technology, the FE 24-70mm F2.8 GM II reduces focus breathing, focus shift and axial shift when zooming for smooth video footage. This lens also supports the breathing compensation function[v] provided in compatible Alpha series cameras.

As an added benefit for advanced video creation, the newest lens includes Linear Response MF (manual focus) that ensures high repeatability when focusing manually as the focus ring responds directly and repeatedly to subtle control. It also includes an aperture ring making manual aperture/iris control fast, direct, and easy. The dedicated iris ring enables click-less control to achieve smooth depth of field transitions.

Unrivaled Mobility

Designed to perfectly pair with Sony’s compact Alpha™ system E-mount cameras, the FE 24-70mm F2.8 GM II is the world’s smallest and lightesti 24-70 mm F2.8 zoom in its class and offers unprecedented shooting flexibility and freedom in a wide range of situations. The FE 24-70mm F2.8 GM II weighs just 24.6 ounces (695 grams), approximately 20% less (7 ounces) than the original 24-70 mm F2.8 G Master. The lens’ length has been reduced by 16 mm, and overall volume has been reduced by approximately 18%.

Reliability and Improved Control

The new FE 24-70mm F2.8 GM II was developed based on feedback from professionals to offer even better control and usability than preceding models. This model includes:

  • Zoom smoothness switch to adjust zoom ring torque either Tight or Smooth
  • A newly added aperture ring with click ON/OFF switch and iris lock switch
  • Two customizable focus hold buttons
  • The focus ring that responds directly and linearly to subtle control when focusing manually
  • New lens hood design with opening to control circular polarizing filters (dia. 82mm)
  • The center of gravity back toward the mount for improved handling and operation
  • An updated dust and moisture resistant[vi] design provides extra reliability for outdoor use in challenging conditions. The buttons and switches are fitted with rubber gaskets, and a rubber ring seals the lens mount. The front lens element also features a fluorine coating that repels water, oil, and other contaminants, while making it easier to wipe off any contaminants or fingerprints that become attached to the lens surface.

Pricing and Availability

The new FE 24-70mm F2.8 GM II will be available in June for approximately $2,300.00 USD and $3,000.00 CAD and will be sold at a variety of Sony’s authorized dealers throughout North America.

Orders

Preorders begin at 10:00 AM ET on Thu, Apr 28th. I expect this lens to be hard to get for a long time and recommend preordering immediately at that time.

Support this site by ordering the Sony FE 24-70mm F2.8 GM II Lens from B&H | Adorama | Amazon USA | WEX

More Information

Watch the Sony FE 24-70mm F2.8 GM II Lens page for more information.

Videos

A product video of the new FE 24-70mm F2.8 GM II

Notes

[i] MTF chart comparison

[ii] When paired with the Alpha 1. “Hi+” continuous shooting mode. Effective at 1/125 seconds or higher shutter speed. In AF-C mode at shutter speed of 1/250 seconds or higher. The maximum continuous frame rate will depend on the shooting mode.

[iii] With a compatible camera and the camera’s [Aperture Drive in AF] parameter set to [Focus Priority]. See Sony’s support page on the web for camera compatibility info.

[iv] Sony tests. Compared to SEL2470GM.

[v] Compatibility info at: https://www.sony.net/dics/breathing/ Available in movie mode only. Angle of view and image quality may change slightly when this function is used. Compensation may not be able to cover all situations.

[vi] Not guaranteed to be 100% dust and moisture proof

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Posted to: Sony News   Category: Sony Announcements
Post Date: 4/27/2022 9:17:54 AM ET   Posted By: Bryan

Check out the just announced edelkrone JibONE v2 Motion Control Jib Arm at B&H.

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Posted to: Canon News, Nikon News, Sony News   Category: edelkrone News
Post Date: 4/27/2022 9:54:55 AM ET   Posted By: Bryan
 Tuesday, April 26, 2022

Check out the new, rugged Samsung T7 Shield Portable SSDs with an up to $50.00 introductory savings at B&H.

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Posted to: Canon News, Nikon News, Sony News   Category: Samsung News
Post Date: 4/26/2022 12:30:44 PM ET   Posted By: Bryan

From Lexar:

LEXAR UNVEILS THE WORLD’S FASTEST CFEXPRESS TYPE B CARD DIAMOND SERIES AND CFEXPRESS TYPE A CARD GOLD SERIES

San Jose, USA, April 25, 2022 – Lexar, a leading brand of flash memory solution, proudly unveils the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series at the National Association of Broadcasters (NAB) event this week in Las Vegas, Nevada.

From field to post production, Lexar aims to provide our users products that offer unmatched quality, performance, reliability and compatibility to dramatically accelerate workflow from start to finish.

To meet the demand of high-performance memory solution needed for professional filmmakers and content creators, the Lexar® Professional CFexpress™ Type B Card DIAMOND Series provides unmatched read speeds of up to 1900MB/s, dramatically accelerating your post-production workflow for enhanced productivity. And with blazing-fast write speeds of up to 1700MB/s1, quickly capture smooth RAW 8K, 6K and 4K video with ease. It is also backwards compatible with select XQD® cameras2.

Designed to leverage the capabilities of next-gen cinema cameras and mirrorless camera adopting the CFexpress™ Type A format, Lexar also unveils the Professional CFexpress™ Type A Card GOLD Series. Featuring superior speeds of 900MB/s read, and 800MB/s1 write, this card allows you to capture high-quality images and seamless 8K, 6K and 4K video. Lexar will also launch the CFexpress™ Type A Reader, which supports ultra-high-speed USB 10Gbps transfer protocol via USB Type-C®, in the coming months.

The cards support VPG 400 specification which guarantees a minimum sustained write speed of 400MB/s to capture professional-quality video for compatible host devices. Designed specifically for professional video users, it also ensures that your content is captured seamlessly with no drop frames. Moreover, they are built with the rugged durability you need to capture content even in the harshest of conditions. The cards are designed to be shock and vibration-proof, and resistant to extreme temperatures3. And, for added peace of mind, both cards are backed by a Lifetime Limited Warranty4.

“Lexar has a long history of providing industry leading memory solution for professional users and we are excited to continue this tradition with the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series. These cards will dramatically help professionals speed up their workflow while providing the quality, performance and reliability they’ve come to expect from Lexar.” said Joel Boquiren, General Manager of Lexar.

Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series are under development and will be available in Q2 2022.

Lexar is exhibiting at this year’s NAB Tradeshow held at the Las Vegas Convention Center, Las Vegas, NV, from April 24th – 27th.

1 Speeds based on internal testing. Actual sustained speed may vary depending on host device

2 Compatible with firmware enabled CFexpress™ cameras

3 Temperature-proof: Withstands operating temperature range from 14ºF (-10ºC) to 158ºF (70 ºC) and non-operating temperatures from -4ºF (-20ºC) or 185ºF (85 ºC).

Shock resistant (50[G], 11[ms] / half sine wave.Apply the above impact 3 times from each of 3 orthogonal directions.)

Vibration resistant (10[Hz] to 2000[Hz] to 10[Hz], Sweep time: 20 minutes. 12 cycles per axis, (36 cycles for 3 axes) , Test time: 12[hr]).

4 Limited lifetime warranty is limited to 10 years from purchase in Germany and regions not recognizing lifetime warranty

 
So Lexar, owned by Chinese company Longsys, lays claim to the "World's Fastest" title.

If read speed is important to you, this card's claim matters, "... dramatically accelerating your post-production workflow for enhanced productivity." Write speed is the factor in play during capture, and the 1700 part of the "up to 1700MB/s" write speed is also extremely fast.

Temporing is the "minimum sustained write speed of 400MB/s" part. While 400MB/s is the minimum sustained write speed required to obtain the VPG 400 specification, is that the true minimum sustained write speed of this card? If so, the speed is less impressive, as other long-available cards have minimum sustained specs that far surpass this minimum spec.

Get your Lexar CFexpress Card at B&H.

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Posted to: Canon News, Nikon News, Sony News   Category: Lexar News
Post Date: 4/26/2022 8:36:38 AM ET   Posted By: Bryan
 Sunday, April 24, 2022

This morning's sunrise delivered the highly desired pink sky to the west as I was overlooking the incredible landscape from Zabriskie Point in Death Valley National Park. That is a perfect combination, right?

What if the colorful sunrise sky color does not match the tone of the landscape? Warming the sky reduced its purpleness, bringing the color tones into closer alignment, but does the pink sky complement the yellow and brown landscape in this example? Or, does that combination clash?

Attractive distant details abound at Zabriskie, making foreground details easy to overlook. This composition takes advantage of the lines and texture in a nearby rolling hill just off the point.


A larger version of this image is available here.

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Post Date: 4/24/2022 7:00:00 AM ET   Posted By: Bryan
 Friday, April 22, 2022

Just posted: Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod Review.

This is an impressively rigid tripod.

Order the Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod from B&H.

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Post Date: 4/22/2022 8:17:08 AM ET   Posted By: Bryan
 Thursday, April 21, 2022

Just posted: Cartoni Focus 10 Fluid Video Head Review.

This head costs substantially more than the recently reviewed Manfrotto 608 Nitrotech Fluid Video Head, but the Cartoni's fluid motion is better.

This head in the with-tripod kits is on sale at B&H – save $308.00 - $500.00.

Order the Cartoni Focus 10 Fluid Video Head from B&H | Adorama

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Post Date: 4/21/2022 8:11:15 AM ET   Posted By: Bryan

From Sony Japan (translated):

Dear customers,

Notice and apology for postponement of release of "FE PZ 16-35mm F4 G (SELP1635G)" lens for digital single-lens camera a E mount

Thank you for your continued patronage of Sony products.

At the time of the press announcement on March 22, 2022 (Tuesday), the release date was set to "April 28, 2022 (Thursday)". Digital single-lens camera a E mount lens "FE PZ 16-35mm" Regarding "F4 G", we have decided to postpone the release due to the impact of global distribution delays. The new release date is scheduled for the summer of 2022, but we will announce it as soon as it is confirmed.

We sincerely apologize for the inconvenience caused to customers who are looking forward to the release as it is just before the release. We will do our utmost to deliver the product as soon as possible, and we appreciate your understanding.

[Target product]

Digital single-lens camera a E mount lens "FE PZ 16-35mm F4 G"

[Release date]

At the time of announcement on March 22, 2022 (Tuesday): Released on April 28, 2022 (Thursday) – Scheduled to be released in the summer of 2022

[Acceptance of product orders]

After this announcement, we have decided to suspend the acceptance of orders from our distributors and the acceptance of orders from customers at the Sony store.

* The release date and resumption of order acceptance will be announced on the product information page as soon as it is confirmed.

B&H is indicating June 24th is the estimated ship date.

Order the Sony FE PZ 16-35mm F4 G Lens from B&H | Adorama | Amazon | WEX

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Posted to: Sony News   Category: Sony Announcements
Post Date: 4/21/2022 7:42:06 AM ET   Posted By: Bryan
 Tuesday, April 19, 2022

Overall, Canon and Sony offer outstanding camera and lens line-ups. It is hard to go wrong with either choice, and with no unanimous winner declared, neither Canon nor Sony will be referencing this article. However, making Canon or Sony happy is not my job — advising you is — and advantages exist between the brands.

While my kit is primarily based on Canon gear, I maintain a full complement of Sony cameras and lenses to use during evaluations. Having a solid basis from both brands permits a best-of-breed approach.

Aside from a Canon EOS 1Ds Mark III utilized to capture the site's standard lens product images in the studio, the kit is all mirrorless (I know, I should sell that last camera and process R5 images to the 1Ds III pixel dimensions). Most of the best cameras and lenses are mirrorless models; those starting out should opt for a mirrorless kit, and those interested in bettering their kits should begin the migration to mirrorless.

The Canon side of the kit foundation is built on a pair of EOS R5 bodies. The R5 is an outstanding performer, featuring general-purpose utility, outstanding AF performance, and excellent image quality, including high resolution.

A Sony Alpha 1 and a Sony Alpha 7R IV represent sony in the kit. The a1 is Sony's flagship model, featuring up to 30 fps continuous shooting with no viewfinder blackout, 50 MP resolution, and best-available specs and features throughout. The a7R IV's only advantage over the a1 is higher resolution. It would only take a moment of weakness to upgrade the a7R IV to a second a1.

Listing the cameras was easy, and most often, the which camera decision is answered by the lens needed.

Let's look at the lenses, starting with the zoom lenses and following with the prime lens options. The sort within those two categories will be the widest focal length and then the widest aperture.

Sony FE 12-24mm F2.8 GM Lens

Although it does not go to 11mm, this phenomenal zoom lens is smaller and lighter, has a 2x wider aperture, is at least as sharp wide-open as the Canon EF 11-24mm f/4L USM Lens, and has the same price. That Canon lens is another great option.

I primarily use this lens for landscapes, nightscapes, and interior architecture. Note that the Sony cannot utilize front filters, a detraction for certain needs, primarily those requiring a circular polarizer filter. The Canon lens has the same problem; however, the Drop-In Canon Mount Adapter adds full filter capabilities to this lens.

Canon RF 15-35mm F2.8 L IS USM Lens
Sony FE 16-35mm F2.8 GM Lens

The RF 15-35 is my go-to landscape lens, and it works well for other needs, including capturing the big view at events, etc. Because this focal length range is so important to me, I also have the most equivalent lens on the Sony side, the Sony FE 16-35mm F2.8 GM Lens. If a Sony camera is under evaluation, I'll take the Sony option without hesitation.

Canon RF 24-70mm F2.8 L IS USM Lens
Canon RF 24-105mm F4 L IS USM Lens
Canon RF 28-70mm F2 L USM Lens

The general-purpose focal length range tends to get a lot of use, and there are currently three superb-performing options in the kit. Initially, only the RF 24-70mm F2.8 had membership, and the results from this lens never disappoint. However, a wider aperture or lighter, more compact option was often needed.

The RF 28-70 F2 had been on the want list since it first arrived, but I waited long enough to ensure the high cost was justified. As it turns out, I waited too long, and this lens was still back ordered when a large indoor music festival assignment hit the calendar, providing the incentive to order. Unfortunately, the lens arrived about a month after the concert. Still, other needs for the f/2 lens are steadily arriving, especially the event coverage it is perfectly suited for.

While the RF 24-70 F2.8 is not a large or heavy lens, a modestly lighter option can make a big difference when hiking long distances, and the RF 24-105mm F4 recently joined the kit to facilitate some hiking needs later this year.

A phenomenal general-purpose zoom lens is arguably Sony's biggest opportunity.

Canon RF 70-200mm F2.8 L IS USM Lens
Canon RF 70-200mm F4 L IS USM Lens

My uses for the 70-200mm focal length range include portraits, events, landscapes, and product images. Until recently, the relatively compact and lightweight F2.8 lens was the kit's solo 70-200mm option, but some distance hiking needs justified the F4 variant's entry into the kit.

The Sony FE 70-200mm F2.8 GM OSS II Lens is an outstanding option for those with a sony kit, and this lens addition would help round out the Sony kit shared here.

Canon RF 100-500mm F4.5-7.1 L IS USM Lens
Sony FE 100-400mm F4.5-5.6 GM OSS Lens

The RF 100-500 goes almost everywhere with me. This lens is an outstanding choice for landscapes, wildlife, portraits, daytime field sports, and more.

The FE lens fills this important role when working with a Sony camera.

Those with Sony-based kits should also consider the Sony FE 200-600mm F5.6-6.3 G OSS Lens. This lens shifts the focal length range to the long direction, which noticeably increases the size and weight of the lens. Because I most often have a 600mm f/4 lens complementing the long telephoto zoom, I opted for the more compact and wider-angle lens option.

Now we look at the primes, starting with a combined discussion of the widest three lenses.

Sony FE 14mm F1.8 GM Lens
Sony FE 20mm F1.8 G Lens
Sony FE 24mm F1.4 GM Lens

These three lenses will outperform all others matching their focal length, and the ultra-wide apertures make them the ultimate astrophotography lenses. These three lenses are in the pack if I'm photographing the night sky.

Sony FE 35mm F1.4 GM Lens

A 35mm prime lens most often joins the pack when portraits are scheduled. The strong background blur and low-light capabilities of the f/1.4 aperture are extremely attractive features, with the 35mm angle of view facilitating a great perspective for full-body portraits.

Canon's EF 35mm f/1.4L II USM is an outstanding lens, both optically and physically. However, the Sony lens is smaller, lighter, and less expensive. I purchased the Sony lens to review and kept it.

Canon RF 50mm F1.2 L USM Lens

When this lens arrived in the Canon USA refurbished inventory, I couldn't resist adding it to the kit. Reviewing the RF 50mm F1.2 revealed it the incredible-performing 50mm lens we had long waited for.

The focal length and aperture make the RF 50mm F1.2 an ideal portraiture and event lens.

Later, Sony introduced the FE 50mm F1.2 GM Lens. It is also an outstanding choice, slightly smaller and less expensive. In this decision, select the lens that matches your camera.

Especially with the RF 85mm F1.2 and RF 28-70 later joining the kit, my 50mm prime lenses do not see much use. Thus, I don't own models from both brands, and the RF 50mm lens is at the top of the consideration to sell list.

Canon RF 85mm F1.2 L USM Lens

This lens joined the most wanted list immediately upon providing the image quality test results, where it showed a stunning improvement over its EF predecessor. This lens is so optically high-performing that it is currently used for image quality testing of Canon EOS R-series cameras.

If portrait photography is on your list, the RF 85mm F1.2 lens is an outstanding choice, one that makes low light a non-issue.

Canon EF 100mm f/2.8L IS USM Macro Lens

The only non-mirrorless lens in this list, the adapted EF 100mm L macro is an outstanding performer. I may upgrade to the Canon RF 100mm F2.8 L Macro IS USM Lens someday, but I'm not yet over the RF lens's focus shift issue.

Sony FE 135mm F1.8 GM Lens

Similar to the RF 85 F1.2 to the Canon system is the FE 135mm F1.8 to the Sony system. The 135mm focal length is superb for portraits (and products), and the extremely high optical quality is the reason this lens is used for Sony Alpha camera image quality testing.

Canon RF 400mm F2.8 L IS USM Lens

Periodically, I decide that I could get along without a 400mm f/2.8 lens in the kit. Then life happens, and I realize how important this lens is to the needs coming in. A 400mm f/2.8 lens is used primarily for sports and wildlife photography, but it gets called upon for portraits since it is already in the kit. This lens delivers differentiating results in all its uses, with the background blur strength surpassing nearly all other options.

Sony-based kits should opt for the also-superb FE 400mm F2.8 GM OSS Lens. I like the Canon option very slightly better, with better image stabilization performance being the biggest differentiator.

Canon RF 600mm F4 L IS USM Lens
Sony FE 600mm F4 GM OSS Lens

Wildlife and sports are among my primary photographic pursuits, the 600mm f/4 is the best option for those needs, and this option for both brands is covered in the kit.

The Canon lens's image stabilization system is better, but I'll pick the Sony option for a sharpness advantage if extenders/teleconverters are needed.

Canon RF 1.4x Extender
Canon RF 2x Extender
Sony FE 1.4x Teleconverter
Sony FE 2x Teleconverter

I like carrying and using the RF 1.4 with the RF 400 F2.8, and I like using the FE 2x with the FE 600 F4 when photographing the sun and moon. Otherwise, getting closer is usually better than using extenders, and in this kit, extenders and teleconverters are most frequently used for lens image quality testing.

Which lens will be added to the kit next? It probably has not been announced yet.

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Post Date: 4/19/2022 10:30:29 AM ET   Posted By: Bryan
 Monday, April 18, 2022

Most often, a wildlife silhouette opportunity comes unexpectantly and is fleeting.

Because the sky is typically very bright relative to the subject, the camera's meter usually selects silhouette exposure settings that lead to underexposed images, and correcting the underexposed images during post-processing yields increased noise.

To quickly acquire the right camera settings this opportunity, rules are ideal. For example, with a blue sky in the background, instruct the camera to create exposures X number of stops higher than it thinks is necessary.

Unfortunately, too many rules are needed to accommodate all scenarios. The primary reason that auto exposure + EV rules do not work is that the percentage of the frame filled with the subject and foreground changes dramatically, possibly during the same opportunity if varying exposures with a zoom lens. Also affecting the exposure rule is the sky color, ranging from bright white to deep blue or even the darkness of storm clouds.

While spot metering on the focus point can result in a more stable exposure basis for rules to work from, even animal color varies. For example, black bears are considerably darker than mule deer.

Mirrorless cameras with electronic viewfinders programmed to show the actual image brightness make establishing the ideal silhouette exposure settings considerably faster and easier than doing the same with a DSLR. While I often have the EVF histogram turned off due to interference with my brain's compositional abilities, that tool clearly shows the selected exposure, especially the bright side's available dynamic range. Even without the histogram enabled, the brightness can be discerned by looking at the brightest areas on the EVF.

What is the ideal silhouette exposure? That answer depends on the final look desired. If the animal and foreground are to be pure black, expose the sky to the preferred brightness. If a high key look is desired, expose for a normal animal brightness, letting the sky become blown — pure white and blinking on the LCD.

To gain the most post-processing latitude or if you don't want to decide what the final image should look like while frantically trying to capture the momentary opportunity, use the expose to the right strategy. Create an exposure that pushes the histogram graph lines to the right edge of the chart. There will likely be some small areas of the image showing over-exposed blinkies during image review, but not large areas of blinkies indicating loss of detail. The goal is to retain detail in the highlights while capturing as much detail as possible in the shadows.

If photographing landscape, an HDR technique would be implemented for this scenario. Unfortunately, animals tend to move before the multiple exposures can be recorded. If your animal is motionless and your camera is locked down on a tripod, bracketing exposures is a great option.

The expose to the right option was chosen for this bull moose image capture. The sky is bright but still blue. Using Photoshop, the moose was selected and brightened slightly.

The Canon EOS R5 and RF 100-500mm F4.5-7.1 L IS USM Lens get the credits for this capture. This combination is perfect for many wildlife photography pursuits.


A larger version of this image is available here.

 
Camera and Lens Settings
270mm  f/5.6  1/200s
ISO 800
8192 x 5464px
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Post Date: 4/18/2022 10:21:08 AM ET   Posted By: Bryan
 Wednesday, April 13, 2022

Sony astrophotography lens recommendations are now available on the Sony Lens Recommendations page.

While creating the Sony list was easy, the Canon line-up has more room for improvement. New to the Best Canon Lenses page:

Best Canon Astrophotography Lens (Mirrorless)
Best Canon Astrophotography Lens (DSLR)

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Post Date: 4/13/2022 9:32:15 AM ET   Posted By: Bryan
 Tuesday, April 12, 2022

Just posted: Sony a9 II Review page.

Order the Sony a9 II from B&H | Adorama | Amazon USA | WEX

Rent the Sony a9 II from Lensrentals.

Please share!

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Posted to: Sony News   Category: Camera Gear Review News
Post Date: 4/12/2022 9:01:38 AM ET   Posted By: Bryan
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