From Tamron Japan (translated):
Notice regarding the use of the 18-400mm F/3.5-6.3 Di II VC HLD (Model B028)
Thank you for your continued patronage of Tamron products.
We announce that when using our 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) interchangeable lens for single-lens reflex cameras with Canon EOS R7 / EOS R10 via an EF-EOS R adapter, the following problems occurred. We have confirmed that this phenomenon occurs, so please let us know.
phenomenon
AF may not work properly when the shutter button is half-pressed, depending on the timing of the camera power ON/OFF.
Restoration method when trouble occurs
Remove and attach the lens, then turn the camera off and on again.
We plan to address this issue with a firmware update at a later date.
Just posted: Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens Review
This lens is currently ranked 21st among the best-selling mirrorless lenses at B&H — out of 1204 lenses.
Support this site by ordering the Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens from B&H | Adorama | Amazon USA | WEX
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The foreground lighting in this Badlands National Park Milky Way image is courtesy of a pair of Simorr Vibe P96L RGB Video LED Lights on Manfrotto Befree Advanced Travel Tripods.
Even at their lowest intensity settings (1%), half the light face required gaffer tape to bring the overall light balance down to Milky Way levels.
Post-processing of this image primarily involved peripheral shading correction and increasing the contrast of the foreground and background independently.
A larger version of this image is available here.
Canon EOS-1D X Mark III firmware update version 1.6.2 is available for download.
Firmware Version 1.6.2 incorporates the following fixes and enhancements:
Get the Canon EOS-1D X Mark III at B&H.
The key to photographing at Zabriskie Point in Death Valley National Park is knowing when and where to point the camera. Fortunately, there are so many good options that it is easy to get some of them right.
The simplistic and distinct erosion features seen in this image held my attention long enough to create a selection problem. Today, it was time to pick one and move on. Well, that is at least until I decide it is time to pick another one.
This scene is looking into the rising sun, with reflected light creating a warm color temperature.
While a telephoto lens may not be an obvious first-choice landscape lens, the long focal lengths often provide easy compositions even in locations with limited beauty. The Canon RF 70-200mm F2.8 L IS USM Lens is an outstanding choice for this purpose (and Zabriskie has unlimited beauty).
A larger version of this image is available here.
It is my favorite time of the year — Fall. The landscape is taking on spectacular colors, and I feel the need to make the colors last by photographing them.
However, I frequently encounter beautiful trees in full fall color with uninspiring surroundings. The challenge is to capture the beauty without including unsupporting subjects, especially power lines, in the composition.
As the relevant example for this image, our local high school grounds have a border of large maple trees that get extraordinary color each fall. While the school property and nearby neighborhood are nice, the buildings, streets, wires, etc., are not what I'm looking for in a nature picture.
In this case, the simplest tactic is often to get out the telephoto lens and isolate a portion of the tree.
The timing of this year's peak fall leaf color coincided with the Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens review. This lens has the perfect range for isolating leaves (and the excellent image quality necessary to make the shoot worthwhile).
A large tree can offer many compositions, but after moving around to figure them out, I typically come back to a small number of favorites. To find these, try zooming out to the widest focal length and then zooming in as the composition is adjusted until nothing extraneous is in the frame, and the remaining limb lines and leaf clumps are balanced. Lock the tripod head, take that shot (perhaps several if the leaves are moving in the wind), create some variations, and then zoom in further to get a different look. Then, start over, perhaps after moving to a different position.
This maple tree's foliage was not solid, meaning some background showed through. The best options were to fill the foreground tree's holes with sky or, as shown here, with a background tree across the street. Note that the horizon and other orientation-identifying subjects are not discernable in this image. In this case, it is OK to tilt the camera slightly to adjust for the available details (I keep telling myself that).
This image was captured just before the sun set. The bright red leaf color lit by warm light made the red channel the one to watch for exposure. A Breakthrough Photography circular polarizer filter reduced the reflections on the leaves, further saturating the primarily red colors.
A larger version of this image is available here.
B&H has an 8+-rated used Canon EOS R5 in stock – only $2,962.95.
B&H has used Canon RF 100-500mm F4.5-7.1 and RF 24-105mm F4 L IS USM Lenses (and others) in stock.
Learn more:
Canon EOS R5 Review
Canon RF 100-500mm F4.5-7.1 L IS USM Lens Review
This handsome bull elk is watching his herd of cows from the forest's edge on a rainy afternoon in Rocky Mountain National Park.
Does rain keep you from your pursuit? While heavy rain hinders visibility, light rain is often not a problem. Wet foliage appears saturated, and the rain clouds create even (though dim) lighting. That combination, along with the raindrops, adds diversity to the portfolio.
Put a LensCoat rain cover on the camera and rain gear on yourself, and go out shooting.
Images captured on cloudy days or in the shade often benefit from warming the color balance — add red and subtract blue. A slight increase in vibrance brings out the colors.
A larger version of this image is available here.
Formalizing a service that has long been available? This just in from Canon USA:
Canon Precision Alignment
Canon camera systems and lenses are manufactured to extremely high precision standards for the ultimate image quality. Over time, however, small movements in components caused by frequent or heavy use can result in tiny changes in focus accuracy.
For reliable, pin-sharp focus, we can match the autofocus (AF) on select Canon lens and camera combinations. Using precision tools and expertise, we will either adjust the camera to match the lens or vice versa to restore optimal focus.
Benefits of Autofocus Alignment
Take a look at the images below to see how matching the autofocus on your lens and camera together make a difference.
Teddy Bear before Canon precision alignment
An image taken with a misaligned autofocus will appear blurry.
Teddy Bear after Canon precision alignment
An image taken with an aligned autofocus will appear sharp.
Canon Precision Alignment Service Details*
The focus can be matched to your eligible Canon camera body or lens. Alternatively, you can request your eligible camera body or lens to be focus matched to a Canon test product.
To schedule a Canon Precision Alignment, you will need to create or sign in to your Canon account, and register your product.
Disclaimers
*If, upon inspection, additional services are necessary which require the camera or lens body to be disassembled or parts to be replaced, you will receive an adjusted repair estimate to reflect the added service/parts. In this case, any estimate provided previously for the Canon Precision Alignment (CPA) will be adjusted. If you do not approve the repair estimate, repairs will not be made, your camera and/or lens will be returned to you and you will not incur any charges for Canon Precision Alignment.
Resolution Adjustment, and/or removing internal dust or debris of either the body or the lens are not covered under CPA. CPA is limited to single/center point calibration, and does not include all “peripheral” point adjustment. These services can be provided as a billable (chargeable) repair. Autofocus adjustments and/or calibration of either the body or the lens are included with CPA.
Services available on eligible Canon Digital SLR/Mirrorless cameras and EF/RF lens models only, for residents of the 50 United States, the District of Columbia and Puerto Rico who purchased and use their eligible camera and/or lens there. Canon cameras and lenses that are past their supported service life are not considered eligible products.
Failure or malfunction not related to the original estimate is not covered under repair warranty. If a failure is identified with your product during your requested Maintenance Service, the Canon Service & Repair Center will contact you to either request a copy of your proof of purchase to validate your Canon warranty (if not already provided) or, if your product is no longer covered by its Canon warranty, to discuss chargeable repair options (i.e. fixed price repair, repair limit or time & cost estimate).
There is no repair warranty on subsequent failures or malfunctions not identified during CPA.
Just posted: Canon RF 1200mm F8 L IS USM Lens Review page.
Fun, but expensive, lens.
Please share!
Order the Canon RF 1200mm F8 L IS USM Lens from B&H | Adorama | Canon USA | WEX
Rent the Canon RF 1200mm F8 L IS USM Lens from Lensrentals.
Canon EOS R3 firmware update version 1.2.2 is available for download.
Firmware Version 1.2.2 incorporates the following fixes and enhancements:
Get the Canon EOS R3 at B&H.
Canon EOS C500 Mark II firmware update version 1.0.6.1 is available for download.
Firmware Version 1.0.6.1 incorporates the following fixes and enhancements:
Caution:
Get the Canon EOS C500 Mark II at B&H.
Canon EOS C300 Mark III firmware update version 1.0.4.1 is available for download.
Firmware Version 1.0.4.1 incorporates the following fixes and enhancements:
Caution:
Get the Canon EOS C300 Mark III at B&H.
This is a case of the big being ideal for the small, the big Canon RF 1200mm F8 L IS USM Lens was perfect for capturing a small eastern chipmunk.
After we placed many large rocks around the house, the local chipmunk population grew significantly. These cute little animals are frequently scurrying around, and they often sit on the rocks to watch for danger and whatever else chipmunks find interesting.
The chipmunk was doing exactly what I wanted it to do. Having finished its constant chirping (what alerted me to the photo op), it was sitting on a rock in the morning sunlight doing nothing.
It gave me time to grab the RF 1200mm already mounted on an EOS R5 and a Wimberley WH-200-S Sidemount Head on a ProMediaGear TR424L Carbon Fiber Tripod and head into the front yard.
The super long focal length meant I could move into tight framing distance without spooking the chipmunk, and the still chipmunk permitted many test images (438 to be exact) from the lens.
Upon getting a solid number of images at one position, I'd move slightly to align a different background. Eventually, a rose bush added some color to the background (the 1200mm angle of view doesn't require a large background).
A sudden itch apparently prompted a quick scratching session, and that was the end of the shoot. The chipmunk left to find more breakfast.
Long shutter speeds with image stabilization were being tested when the scratching happened, meaning there was no time to change the shutter speed. However, the motion blur created a fun variation of the otherwise still-posed chipmunk.
Captured on Sabrent. Are you familiar with this company? They recently introduced CFexpress Type B and SDXC memory cards and readers. I've been working Sabrent's cards and readers into the workflow with no issues, and the low prices are especially attractive. Find these cards and readers at B&H.
A larger version of this image is available here.
Do you leave room for words?
Leaving room for words is a great excuse to pull out when focal length limited, so be sure to keep that answer ready for when the situation dictates. However, many uses for photos, especially paid uses, involve adding words.
If the subject fills the frame, overlaid words can appear awkward, with subject lines and details competing with the message. Leaving space, especially strongly blurred space, permits aesthetic message presentation.
I create invitation cards for an annual sportsman's banquet. While wildlife portrait images are plentiful in my collection, message-ready images are less so, and I've been working on changing that balance.
For this bighorn ram image, a relatively long subject distance, very distant background, long focal length, wide aperture, and low shooting position combine to provide adequate smoothly blurred space for inclusion of a message.
It is usually easier to be farther away from an animal but don't let the distance lower the quality bar. Many of the same factors important to close portraits still apply. Look for good light and body position — and spectacularly large horns are advantageous.
We encountered this big boy in Badlands National Park. Observation showed that he was eating the yellow flowers. Moving into position for the next flower patch made preparation easy.
Heatwave distortion is frequently encountered when shooting at long subject distances in direct sunlight. The solution here was to shoot many images at a fast frame rate. Periodically, a photo with a sharp sheep head was captured.
A larger version of this image is available here.
I did not set out to photograph coyotes this evening, but Rocky Mountain National Park sometimes produces the unexpected.
While waiting for a herd of elk to do something interesting, movement in the tall grass caught my eye. It didn't take long to determine that a coyote was on the hunt. However, it was mostly obscured by the grass. Autofocusing on the coyote was impossible, and focusing on the grass at precisely the same distance was nearly as challenging.
Then, the coyote made a pounce to catch a rodent. On heightened alert, I readied to hit the shutter release on the next leap. This process was mostly waiting with little shooting, but it only takes one successful sequence to get the desired image.
As the coyote cleared the grass, a Sony Alpha 1 shutter release press instantly locked the FE 600mm F4 GM OSS Lens's focus and tracked through the leap.
Yes, this leap also resulted in dinner for the coyote. Of course, that dinner was mostly hidden by the grass.
A larger version of this image is available here.
I just returned from over two weeks of chasing the elk rut (and landscapes and nightscapes), including nearly two weeks of leading small photography groups in Rocky Mountain National Park.
With the incredible performance of the cameras now available, selecting a small number of images to share is daunting, to say the least. The image shared here was low-hanging fruit. Why do I like it?
The subject is a good starting point. Elk make great photo subjects, and this bull is an especially great specimen, having a big body and a large set of antlers, with all points visible. Also, all four legs are partially visible (no overlap).
Bugling is one of the primary elk rut activities, and this bull, angled slightly toward the camera, has his nose up and curled back. The high head position better facilitates a catchlight.
The cloudy sky provided even lighting void of harsh shadows.
The 600mm f/4 compression and shallow depth of field combined with a low shooting position render the foreground and background strongly blurred, making the subject stand out. At the same time, the juxtaposition of the blurred items is complementary to the bull.
While working on a monopod is significantly more demanding than working on a tripod, the monopod permits fast position adjustment that makes captures such as this one possible.
When photographing wildlife in dim light levels, it is advantageous to use a relatively slow shutter speed to enable optimally bright images with a lower ISO setting for less noise. However, motion-blurred subjects are not usually acceptable.
Elk seldom move fast when bugling, and the bugle usually lasts long enough for a quick adjustment before shooting. However, once the bugle is completed, the bull may suddenly chase after another animal. This fast action requires a significantly faster shutter speed.
I use manual exposure mode with the ISO set to Auto to enable quick shutter speed adjustment. A quick roll of the top dial takes the camera from still motion to fast action shutter speeds in a fraction of a second, with the ISO automatically adjusting as needed.
To accommodate auto exposures being affected by bright grass or a dark forest (both seen in this image), I adjust exposure compensation. That adjustment is simply the turn of a dial on the Sony Alpha 1.
A larger version of this image is available here.
From Western Digital
Western Digital Turbocharges Versatility with New SanDisk Professional PRO-G40 SSD
San Jose, Calif. - October 05, 2022
Western Digital Corp. (NASDAQ: WDC) today announced it has expanded its SanDisk® Professional line of premium storage solutions with the new PRO-G40™ SSD that supports dual-mode compatibility with both Thunderbolt™ 3 and USB 3.2 Gen 2 interfaces. Inspired by the way people create and share data today, this new drive is the company’s most rugged offering to date with a high-level IP68 rating, allowing professionals to immerse themselves in the action wherever their work or vision takes them.
“The nature of my work is unpredictable and as a result I must be incredibly flexible and versatile. I share the same expectations for every piece of equipment that I use from capture to archive which is why the SanDisk Professional PRO-G40 drive will immediately be a crucial part of my workflow,” said Andy Handcock, action, portrait and reportage photographer, and PRO-TEAM ambassador. “I need storage solutions that are lightweight, compact, rugged, and insanely fast. This checks all the boxes for me. The PRO-G40 SSD can easily withstand the rigors of travel and location work while doing so with a minimal footprint. Thanks to SanDisk Professional products like these, workflow is one less thing I need to stress about which frees me to focus more on the creative. That is paramount.”
Whether for a business professional or creative pro, the PRO-G40 SSD is a simple, flexible solution that offers great efficiency to get the job done. Professionals who are ingesting, editing, rendering, and transferring large amounts of mission-critical content need portable storage that is powerful enough to eliminate unnecessary downtime, and durable enough to handle heavy usage. The versatility of both Thunderbolt 3 and USB 3.2 Gen 2 interface compatibility when collaborating eliminates the need to have two different drives, one for each interface. The PRO-G40 SSD offers extreme speed and durability for real-time editing 4K/8K straight off the drive, smooth AR/VR rendering, or transferring daily workloads in quickly.
“The new PRO-G40 SSD eliminates the problem we have all experienced before: grabbing the wrong USB-C™ cable or computer for our Thunderbolt 3 or USB devices,” said Hector Sandoval, vice president of product marketing, pricing and programs at Western Digital. “By supporting both interfaces and including a cable that does as well, this drive enables creatives to efficiently collaborate across devices without having to worry about carrying the right gear nor diminishing sustained performance as they continue producing impactful content that powers our world.”
Key Features
Availability
The PRO-G40 SSD is available now for MSRP $299.99 (1TB*) and $449.99 (2TB*) in the United States with a five-year limited warranty.
Orders
Order the SanDisk Professional PRO-G40 SSD from B&H.
* 1TB = 1 trillion bytes. Actual user capacity may be less depending on operating environment.
** 1 MB/s = 1 million bytes per second. Based on internal testing; performance may vary depending upon host device, usage conditions, drive capacity, and other factors.
*** On a carpeted concrete floor.
From Canon Inc.:
Canon Utsunomiya Office to install new manufacturing facilities, strengthen manufacturing capacity for semiconductor lithography systems
TOKYO, October 6, 2022—Canon Inc. announced today that the company will install new manufacturing facilities at its Utsunomiya Office, which produces semiconductor lithography systems and other devices. The new facilities are scheduled to commence operation in the first half of 2025.
The Canon Group, under Phase VI of its "Excellent Global Corporation Plan" series of 5-year management plans, aims to "accelerate our corporate portfolio transformation by improving productivity and creating new businesses." As part of these efforts, Canon is working to expand its semiconductor lithography system business, one of the company's primary strategic businesses.
The semiconductor market is expected to see continued growth amid the transition towards a "smart society" led by such advancements as the IoT and 5G. Canon is working to strengthen its position in the fields of products, business and support while aiming to increase its market share of semiconductor lithography systems. Going forward, Canon is responding to forecasted growth in demand in the mid- and long-term by strengthening its manufacturing capabilities through the installation of new facilities at the company's Utsunomiya Office.
Outline of new facilities
Name: Canon Inc. Utsunomiya Optical Products Plant New Factory (provisional name)
Address: 22-2 Kiyohara-Kogyodanchi, Utsunomiya, Tochigi
Area: Approximately 70,000 m2
Capital investment: Approximately ¥38 billion (construction cost)
Construction start: 2nd half 2023
Commencement of operation: 1st half 2025
Scope of business: R&D, manufacture and services related to semiconductor lithography systems
Image quality test results are now available on the Canon RF 1200mm F8 L IS USM Lens page.
This lens exceeds my image quality expectations.
While the RF 1200 is not as sharp as the Canon RF 600mm F4 L Lens, it is nicely sharper than the Canon RF 600mm F4 L Lens plus 2x extender.
The RF 1200mm lens's image quality is about the same as that of the RF 800mm F5.6 Lens.
Note that RF 1200mm lens plus extender results are not included in the tool. I'm still arguing with myself but have not yet justified spending over $1,000.00 to fund the smaller test chart needed for testing focal lengths over 1200mm.
Order the Canon RF 1200mm F8 L IS USM Lens from B&H | Adorama | Canon USA | WEX
Rent the Canon RF 1200mm F8 L IS USM Lens from Lensrentals.
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