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 Thursday, June 10, 2021

From Sony Electronics

Sony Electronics Announces New Airpeak S1 Professional Drone

Sony’s First Professional Drone is World’s Smallest that can be Equipped with Alpha Mirrorless Camera, Boasts High Speed and Stable Flight Performance

SAN DIEGO, CA – June 9, 2021 – Sony Electronics Inc. today announced their first-ever professional drone, the "Airpeak S1"[i]. An introductory model in the new Airpeak line, the S1 is the world's smallest[ii] drone that can be equipped with a full-size mirrorless interchangeable-lens Alpha camera, opening up a new world of creative possibilities.

The new drone utilizes a proprietary motor, propeller, control system and sensing technology, allowing it to fly at extremely high speeds with very stable wind resistance. Additionally, the Airpeak S1 features an advanced remote controller that can support the production of high-quality aerial images and freely control the aircraft. It also includes obstacle detection, automatic flight control via sensing and increased safety via cloud management of the aircraft and flight information.

“Sony is excited to launch our new drone business with the Airpeak S1,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “Combining an extremely compact size with some of Sony’s most advanced imaging, sensing, AI and robotics technologies, the S1 will allow content creators, storytellers and commercial professionals to capture that which they’ve never been able to capture before.”

Aircraft with Advanced Flight Performance

The new Airpeak S1 offers dynamic flying capabilities, including a maximum speed of 55mph (90km/h)[iii], a maximum angular velocity of 180°/s[iv], and a maximum tilt angle of 55°[v].

Propulsion technology using a combination of Sony developed key devices provides wind resistance in strong wind speeds up to 44.7mph[vi] (20m/s). An example can be viewed below.

Independently developed propulsion device and flight control system

In addition to the lightweight, highly efficient, sturdy and responsive proprietary 17" propeller and brushless motor, the Airpeak S1 is equipped with an ESC (Electric Speed Controller) for optimal control of these components. A unique, high-performance flight control system integrates the propulsion device and all sensor information to ensure stable flight and high maneuverability.

Stable Flight by Sensing

Stereo cameras equipped with Sony’s image sensors are installed in 5 locations (front, back, left, right, bottom) of the aircraft. Sony's Vision Sensing Processor, which processes camera data at high speed and with low power consumption, and proprietary algorithms are used to accurately estimate the aircraft's spatial position and orientation in real time, enabling stable flight even in environments where GNSS (Global Navigation Satellite System) reception may be hindered, such as indoors or under bridges. The Airpeak S1 is also equipped with a unique high-performance flight control system that integrates all sensor information such as IMU (Inertial Measurement Unit), direction, barometric pressure and infrared ranging to optimize the propulsion device.

The Airpeak S1 uses Multi-directional sensors to enable its obstacle braking function. The front, rear, left and right stereo cameras and the infrared range-finding sensor mounted on the top recognize obstacles in the vicinity of the aircraft, allowing the aircraft to automatically decelerate and stop according to the behavior of the aircraft and the surrounding conditions.

Multiple Camera and Lens Variations

Users have the flexibility to choose the right Alpha system for their desired application to expand their filmmaking horizons. The Airpeak S1 is compatible with a wide range of camera bodies including: the Alpha 7S series and FX3 for high descriptive capability with suppressed noise, the Alpha 7R series for ultra-high definition, and the Alpha 9 series and others for distortion-free images. The Alpha 1, which can shoot footage in 8K, is also compatible.

Free Operability

The new professional drone includes “Airpeak Flight,” an iOS® and iPadOS® compatible application[vii] that integrates the aircraft, transmitter, camera, and gimbal, allowing the operator to monitor status information such as flight distance and remaining battery power, and change various operations and settings on the screen.

Airpeak S1 also includes a dual operation mode so that one user can operate the drone, while another user can operate the gimbal and camera simultaneously, all while checking the same image, even in complicated scenes. The FPV (First Person View) camera, which can be tilt-operated from the remote controller, is mounted on the nose of the aircraft and is useful for the operator to check the direction of the aircraft and the direction of travel.

Highly Efficient Workflow with Automatic Flight

The new drone includes "Airpeak Base," a web application that allows the operator to manage equipment, create flight plans, and manage flight logs. In the equipment management, information on the equipment used is automatically listed and managed based on the flight log. This allows the operator to check the condition of the aircraft before going to the field, minimizing on-set issues.

With Airpeak Base, the operator can create advanced flight plans and automatically fly the aircraft along the same course repeatedly, as if the drone were on rails installed in the air. It is able to set the position (latitude, longitude and altitude) and speed of the aircraft along the timeline, and specify the orientation of the gimbal and the timing of video or still image shooting. It can also draw smooth curves on the map. Reproduction flight is an automatic flight function that reproduces the flight route, gimbal, and camera movements based on the flight logs that have flown in the past.

All aircraft information, including logs, can be uploaded to the cloud via the mobile app Airpeak Flight. Airpeak Base allows users to check the status of the aircraft and can provide notifications if necessary. Users can manage the status of all managed aircraft in one place before flight. Past flight logs can be viewed on the logbook screen, and details such as in-flight errors can also be reviewed.

Related Services

“Airpeak Plus," a cloud service that allows users to use the rich features of Airpeak Base, and "Airpeak Protect Plan," a service plan to cover accidental damage to the product, will be available to customers. Further details regarding both services will be available on the Airpeak website before the related products and services go on sale

Pricing and Availability

The new Airpeak S1 suggested retail price is approximately $9,000.00 and will ship with two (2) pairs of propellers, a remote controller, two (2) batteries and a battery charger. A third-party gimbal made specifically for the Airpeak S1 will be sold separately. The Airpeak S1 will be available for pre-order and ship to customers in the fall of 2021. Airpeak S1 is made in Japan.

Orders

Order your Sony Airpeak S1 Professional Drone at B&H.

Notes:

[i] Operating a drone in the USA is regulated by federal law and regulations. State and local ordinances may also apply to certain operations. When operating a drone, it is the remote pilot’s responsibility to always comply with applicable laws and regulations.

[ii] Based on Sony research and testing.

[iii] No payload, and obstacle brake disabled.

[iv] Vision positioning disabled.

[v] Obstacle brake disabled.

[vi] No payload.

[vii] All apps require network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.

[viii] Those who use drones to provide products and services to customers. If you register as a professional supporter, you will receive emails about events sponsored by Sony, opportunities to experience aircraft flight, and the latest product information.

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Posted to: Canon News, Sony News   Category: Sony Announcements
Post Date: 6/10/2021 11:28:23 AM ET   Posted By: Bryan
 Saturday, May 22, 2021

A large bull moose is a good animal to run out of the path of.

This image is brought to your by the R5's incredible AF system paired with the versatile RF 100-500's outstanding image quality. This camera and lens combination is perfect for the quick catch-the-shot and get-out-of-the-way moments.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
200mm  f/5.0  1/500s
ISO 200
8192 x 5464px
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Posted to: Canon News, Sony News   Category: Photo Tips and Stories
Post Date: 5/22/2021 10:46:14 AM ET   Posted By: Bryan
 Thursday, May 6, 2021

Just posted: Crucial X6 Portable SSD Review.

Faster, smaller, lighter, more robust, increased reliability, higher capacity, and lower price. That sounds like a winning scenario, right?

Even if the SSD does not interest you, be sure to read the data backup warning.

The 1TB and 4TB models are on sale now. Save up to $75.00 at Crucial X6 Portable SSD is in stock at B&H | Adorama | Amazon USA

Please share!

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 5/6/2021 11:10:05 AM ET   Posted By: Bryan
 Tuesday, May 4, 2021

Check out the new Rotation Backpack Series, featuring the 22L, 34L, and 50L+, at Think Tank Photo.
 
Don't forget that you'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).

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Posted to: Canon News, Sony News   Category: Think Tank Photo News
Post Date: 5/4/2021 9:40:26 AM ET   Posted By: Bryan
 Friday, April 23, 2021

Even when 50 MP resolution exceeds the final resolution required for an image, the ultra-high resolution is often unexpectantly valuable. In this example, the selected camera position was optimized for capturing vertically oriented images of the runners jumping from a hurdle (going high in the air) while attempting to clear a water pit.

Crashes always draw attention, and the fall was the eye-catcher of this pass. However, the compressed body position and splashing water no longer worked well in the vertically oriented frame. The horizontal orientation crop seemed favorable, and the optimal framing required a tight crop, including pulling in from the sides. Despite the heavy cropping, the a1 image provided an often sufficient nearly 20 MP of final resolution.

While the Sony Alpha a1's 30 fps drive rate seems extreme, I am finding it addicting. In this case, the 30 fps results provided the ideal moment of touch down and splash combination.

Regarding splashing water, bright water droplets in front of a subject are notorious for stealing a camera AF system's attention. While a sustained high volume of water drops covering the subject sometimes eventually stole the a1's focus, the default AF settings held on the subject's eye behind the splashing very well.

The 400mm and f/2.8 combination is often perfect for photographing track and field events. In this example, the Sony FE 400mm f/2.8 GM OSS Lens renders the foreground and background diffusely blurred, making the subject and water drops stand out. Despite the cloudy day and 1/2000 sec. shutter speed, the ISO setting remained relatively low.

We can enjoy the spectacle of this water crash without feeling too sorry for the runner. Being cold is apparently motivating for running because she went on to win this event with a top 10 list time for the university.


 
Camera and Lens Settings
400mm  f/2.8  1/2000s
ISO 1600
5440 x 3627px
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Posted to: Canon News, Sony News   Category: Photo Tips and Stories
Post Date: 4/23/2021 9:05:29 AM ET   Posted By: Bryan
 Thursday, April 22, 2021

The Think Tank Photo Manager Series Rolling Cases just received the version 2 treatment, featuring:

  • Added shock-absorbing wheels to Logistics Manager 30 and Production Manager 40
  • Added customizable identification panel
  • Reduced weight 2-4 lbs.
  • Upgraded Logistics Manager 30 front and side panel to Production Manager 40 style
  • Replaced stretch material on side pockets to ballistics fabric with ladder-lock tightener
  • Upgraded foot style on Logistics Manager 30

See the new Think Tank Photo Manager Series V2 Rolling Cases
 
Don't forget that you'll get a free gift and free shipping when using our links for your purchase ($50.00 minimum purchase required).

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Posted to: Canon News, Sony News   Category: Think Tank Photo News
Post Date: 4/22/2021 4:53:10 PM ET   Posted By: Bryan

The Godox TL30 RGB LED Tube Light and an abundance of accessories have been announced. Get the details at B&H.

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Posted to: Canon News, Sony News   Category: Godox News
Post Date: 4/22/2021 3:59:43 PM ET   Posted By: Bryan

What Zeiss has been up to: 10 new lenses and 4 lens sets added to the Supreme Prime Lens family.

See the Zeiss Supreme Prime Lens line-up (including the kit that costs more than a big house in the country) at B&H.

Learn more about the new additions at B&H Explora.

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Posted to: Canon News, Sony News   Category: Zeiss News
Post Date: 4/22/2021 8:47:10 AM ET   Posted By: Bryan

The Tokina SZX 400mm f/8 Reflex MF lens announcement was an interesting one. This lens is already available in many camera mounts, but adding the Canon RF and Nikon Z options to the mix is welcomed.

From Tokina:

Tokina SZX SUPER TELE 400mm F8 Reflex MF lens for Nikon Z and Canon RF camera mounts worldwide sales date announcement

Apr 22, 2021

Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina SZX SUPER TELE 400mm F8 Reflex MF lens for Nikon Z and Canon RF camera mounts.

Tokina SZX SUPER TELE 400mm F8 Reflex MF adopts a T-mount standard (pitch 0.75mm, thread 42mm), that allows this lens to be attached to various cameras by using different mount adapters. To provide photographers a chance to use Tokina SZX SUPER TELE 400mm F8 Reflex MF lens with popular Nikon and Canon mirrorless cameras we release Tokina SZX SUPER TELE 400mm F8 Reflex MF for Nikon Z and Tokina SZX SUPER TELE 400mm F8 Reflex MF for Canon RF mounts. New mount adapters for Nikon Z and Canon RF mirrorless cameras can be purchased separately as well.

B&H carries Tokina lenses.

Sales will commence on May 7, 2021.

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Posted to: Canon News, Sony News   Category: Tokina News
Post Date: 4/22/2021 8:34:43 AM ET   Posted By: Bryan
 Monday, April 19, 2021

Some reviews go on indefinitely, and this review is one of those. So, I'll call it finished, but will continue to tweak it: Sony Alpha a1 Review.

This is an outstanding camera.

The a1 is in high demand and will be so for a long time, so get in line ASAP. Order the Sony Alpha a1 at B&H | Adorama | Amazon USA | WEX

Need it immediately? Rent the Sony Alpha a1 from Lensrentals.

Please share!

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Posted to: Canon News, Sony News   Category: Camera Gear Review News
Post Date: 4/19/2021 9:08:10 AM ET   Posted By: Bryan

The Gitzo GIGH4383LR Series 4 Center Ball Head with Arca-Type Lever Release QR Receiver was just announced. Get the details and preorder at B&H.

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Posted to: Canon News, Sony News   Category: Gitzo News
Post Date: 4/19/2021 8:59:58 AM ET   Posted By: Bryan
 Thursday, April 15, 2021

From DJI:

DJI Air 2S Melds Incredible Image Quality With Unmatched Flight Performance

Added Obstacle Sensors Improve Autonomous Flying, While The 1” Sensor Offers 20-Megapixel Photos and 5.4K Video

April 15, 2021 – DJI, the global leader in civilian drones and creative camera technology, today sets a new benchmark for high-grade flight performance and incredible imagery with the new DJI Air 2S. This portable camera drone is an all-in-one solution, offering robust flight performance, state-of-the-art camera upgrades and high-grade preprogrammed content creation tools.

“Every creator remembers what it felt like to fly a drone for the first time, and they’ll feel the same sense of wonder and possibility when they first experience DJI Air 2S’s unparalleled mix of astonishing flight capability and gripping image quality,” said Ferdinand Wolf, Creative Director, DJI Europe. “DJI Air 2S is a wish list come to life for everyone who demands more from a drone, showcasing upgrades that truly elevate the system into a highly versatile drone. From content creators, to drone enthusiasts and travelers, we are confident that a lot of people will be excited about this drone.”

The DJI Air 2S is the first drone of its size to capture 20-megapixel still images or video in 5.4K with a new one-inch sensor that was previously available only on larger, less agile drones. DJI continues to enable the effortless creation of imaginative content with the new MasterShots feature. This advanced feature uses automatic flight path planning to set the drone’s course while recording video. Upon completion of the flight, DJI Air 2S automatically merges the footage under one theme to create an eye-catching video.

DJI Air 2S’s 31 minutes of maximum flight time and four-way directional obstacle sensors let the pilot focus on the shot while the drone’s safety systems warn when obstacles are getting close. APAS 4.0 is the most advanced autopilot system on any DJI drone and when turned on, seamlessly maneuvers around objects autonomously. O3, DJI’s third iteration of OcuSync, brings the most reliable transmission technology in the drone market to this portable, foldable drone so users know their connection is stable. The upgraded FocusTrack mode includes a suite of programmed modes like Spotlight 2.0, ActiveTrack 4.0 and Point of Interest 3.0 that easily mimic the focus, control and movement of a professional video operator.

An All-In-One Tool for All Your Content Capturing Needs

Expand your creative vision and capture high-grade footage using a new one-inch sensor capable of recording 20-megapixel still images, 5.4K video at 30fps or 4K at 60fps and 150Mbps. The one-inch sensor is larger than the sensor on the original Mavic Air 2 and offers a larger pixel size of 2.4µm, capturing more information and detail for better photos and videos. Get closer to the subject without moving the drone using a new digital zoom that supports 4X zoom at 4K 30fps, 6X at 2.7K 30fps, 4X at 2.7K 60fps, 6X at 1080P 60fps and 8X at 1080P 30fps. DJI’s renowned three-axis mechanical gimbal smooths out footage for professional-level quality and 8 GB of internal storage have been added. Users can choose to record in H264 or H265, depending on their preferences for image detail and storage capacity and can also choose from three video color profiles, Normal (8 bit), D-Log (10 bit) or HLG (10 bit) to match their video needs.

In addition to standard photo options like Timed Photo, AEB and Panoramas, DJI Air 2S’s SmartPhoto mode records 20-megapixel photos using advanced scene analysis and deep learning to automatically choose the best of three options that will create the most visually appealing image for you, including HDR, Hyperlight and Scene Recognition. HDR modes merge several images together for a vibrant scene while Hyperlight is designed for low-light scenarios and Scene Recognition can identify several common settings and apply camera adjustments to capture photos that pop.

Pre-Programmed Modes for Pro-Level Footage

The DJI Air 2S has the most programmed flight modes and image capture modes of any DJI drone of its size. These creative options include:

  • MasterShots: Professional-level aerial footage has never been easier. After activating MasterShots, the drone will autonomously plan a flight path, choose from three different image capture modes, including Proximity, Portrait or Landscape, and start recording classic aerial footage. Pilots can choose different themes and the DJI Fly app will generate a unique video that’s ready to be shared with the world.
  • FocusTrack: Focus on the scene and let DJI Air 2S do the hard work for you. Select your subject by drawing a square around it on your mobile device, then choose from Point of Interest 3.0, an autonomous flight path around the subject; ActiveTrack 4.0, a tool that seamlessly tracks the subject and keeps it in the frame; or Spotlight 2.0, where the drone movement is controlled by the pilot while it locks the subject into the frame.
  • QuickShots: A staple DJI feature, QuickShot modes include Rocket, Circle, Dronie, Helix, Boomerang and Asteroid.
  • Hyperlapse: See the world sped up from the air and in motion with the Hyperlapse option in resolution up to 4K. Content captured in 4K resolution and lower can apply digital stabilization for an added layer of smoothness.

Safe and Intuitive Flight Operation in an Ultra-Portable Drone

DJI Air 2S uses four high-grade antennas and the latest version of DJI’s proprietary OcuSync transmission tech, O3, to deliver a stable feed at a maximum distance of 12km1, even in areas with a high number of signals. A maximum 31 minutes in the air gives pilots more time to capture visually appealing footage while four-way sensors help reduce the risk of collision. The newly upgraded front, rear, bottom and top obstacle sensors incorporate binocular zooming technology to recognize incoming objects from further away at faster speeds.

DJI Air 2S uses the latest and most advanced version of Advanced Pilot Assistance System (APAS) 4.0, which allows the drone to autonomously and seamlessly maneuver around, under and over obstacles. While flying at normal speeds, the newly improved APAS 4.0 offers a wider field-of-view to detect obstacles compared to previous versions. If pilots are flying at higher speeds, as the angle of the drone pitches forward more and the newly added upward obstacle sensor plays a critical part in assisting obstacle detection. As with DJI’s latest drone models, the DJI Air 2S’s AirSense system warns drone pilots of nearby airplanes and helicopters transmitting ADS-B signals, so the drone can be quickly moved to a safer location. Other standard DJI safety features of DJI Air 2S include an improved Return-To-Home (RTH) feature, which can bring a drone back to its launch point if it loses contact with the controller or reaches a critically low battery level, and the GEO 2.0 geofencing system to advise pilots of sensitive locations and help them automatically keep away from high-risk areas such as airports. DJI Air 2S uses the latest version of the DJI Fly app, which features a wealth of educational information and tutorials to get new pilots up in the air quickly.

DJI Care Refresh

DJI Care Refresh is now available for DJI Air 2S, covering various accidents, such as water damage, collisions, flyaway, etc. For an additional charge, DJI Care Refresh offers up to two replacement units within one year, including coverage for one flyaway incident. The two-year plan provides three replacement units in two years, including coverage for up to two flyaway incidents and an extension of the original warranty period by one year (extension durations vary by region). Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes exclusive after-sales support and free two-way shipping. For a full list of details, please visit https://www.dji.com/service/djicare-refresh.

Price and Availability

DJI Air 2S is available for purchase today from store.dji.com and from authorized retail partners in several configurations. The standard combo retails for $999 USD and includes the drone, remote controller, one battery and all the cables and parts needed to get into the air. The Fly More Combo retails for $1299 USD includes everything from the standard combo with the addition of 2 batteries for a total of 3, ND filters, a charging hub and a shoulder bag.

In Stock Now!

The DJI Air 2S is in stock at B&H and Adorama.

Learn more about the Air 2S at B&H Explora.

1 DJI Air 2S transmission system has a maximum range of 12 km when unobstructed, free of interference and FCC compliant. Maximum flight range specification is a proxy for radio link strength and resilience. Always fly your drone within visual line of sight unless otherwise permitted and check local laws and regulations in the region being operated.

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Posted to: Canon News, Sony News   Category: DJI News
Post Date: 4/15/2021 8:56:19 AM ET   Posted By: Bryan
 Saturday, April 10, 2021

Canon EOS R5 and RF 100-500 Lens Create Giant Bull Moose Environmental Portrait, Alaska When the subject is in a great environment, incorporating that environment into the portrait is usually the priority. While I love tightly-framed wildlife portraits, capturing a great environmental portrait is a more significant challenge.

Of course, with that set of antlers in the frame it is difficult to take a bad picture.

As is so often the case, the Canon EOS R5 and Canon RF 100-500mm F4.5-7.1 L IS USM Lens were a perfect handheld combination for this run-and-gun pursuit.

Right, the 1/200 shutter speed is a relatively long exposure for photographing close wildlife. The beast paused (he was watching a cow) long enough for me to roll the shutter speed down to this setting. With auto ISO selected in manual exposure mode, the camera then chose a very low noise ISO setting despite the dark light levels.


The Canon EOS R5 is in stock at B&H.

A larger version of this image is available on Flickr.

 
Camera and Lens Settings
100mm  f/4.5  1/200s
ISO 500
8192 x 5464px
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Posted to: Canon News, Sony News   Category: Photo Tips and Stories
Post Date: 4/10/2021 9:30:28 AM ET   Posted By: Bryan
 Friday, April 9, 2021

From Rokinon:

Rokinon

New AF 24mm F1.8 Compact for Sony E

With Focus Hold Button and Custom Switch Full Frame · Fast · Weather Sealed

(New York, New York) April 9, 2021 – ROKINON has announced its new AF 24mm F1.8 Full Frame Compact Wide Angle Lens for Sony E mount. It is its eleventh auto focus lens specifically engineered for Sony mirrorless cameras. Weighing only 8.1 ounces and measuring just 2.8 inches in length, this new 24mm combines a compact and light form factor, a fast 1.8 aperture and a host of additional features that are unmatched by any other 24mm E mount lens in the market.

New and special features include:

  • Customizable Focus-Hold Button
    Pressing and holding this button will keep the lens locked at the auto-focused distance. The user can also assign to the focus hold button other desired functions through the Custom Key Settings menu of the camera.
  • Astrophotography Mode
    Astrophotography Mode automatically sets the lens focusing mode to MF, moves and locks the lens to infinity focus, and the Infinity Focus Confirmation LED will light in green. If the focus control ring is moved, the LED will turn to red.

  • Custom Switch
    The Custom Switch enables the focusing ring to function either as a manual focus control (Mode 1) or as an aperture control (Mode 2). Additional Custom Switch functions are being developed and will be made available via firmware updates. Fine tuning focusing parameters, new functions, and firmware updates may be obtained by using a ROKINON Lens Station.

The latest optical technology allows this speedy wide angle to achieve stunning corner-to-corner resolution, even at F1.8 maximum aperture. A total of 11 elements in 8 groups, with 7 special lenses (2 Aspherical + 3 High Refractive Index + 2 Extra Low Dispersion) and Ultra Multi-Coating deliver outstanding images. With this lens, spherical aberration and coma are highly controlled for the benefit of astrophotographers.

The Rokinon AF 24mm F1.8 excels not only at available light photography. It also allows great selective focus control with beautifully blurred backgrounds. Smooth-creamy bokeh with natural, circular, out-of-focus highlights is a result of this wide angle’s 9-blade circular aperture. This lens will also perform beautifully at an equivalent focal length of 36mm wih Sony E mount APS-C cameras.

A new STM (Stepping Motor) design controls superb auto-focus capability by moving only a single focusing group for extremely fast, precise and silent operation - whether shooting stills or videos. This design also prevents front element rotation and changes in length for easy use with 58mm polarizers and other filters that require precise positioning.

Other notable features include weather sealing in five areas to protect from dust, light rain and snow, a wide-angle view of 83.7° and a short minimum focusing distance of 7.48” (190mm). Coupled with its sophisticated optical design, you can capture stunning images in less than perfect environments - indoors and outdoors.

The ROKINON AF 24mm F1.8 Full Frame Lens for Sony E comes complete with a removable petal shaped lens hood, a custom fitted case and is expected to be available from authorized ROKINON dealers in June with a MSRP of $549.00.

SPECIFICATIONS

APERTURE RANGE: F1.8 - F22
OPTICAL CONSTRUCTION: Elements in 8 Groups (2 ASP + 3HR Index + 2 ED)
COATING: Ultra Multi-Coating (UMC)
MIN. FOCUSING DIST.: 7.48in (190mm) MAGNIFICATION RATIO: 0.21x
FILTER SIZE: 58mm
DIAPHRAGM BLADES: 9
MAX. DIAMETER: 2.56” (65.0mm)
WEATHER SEALED
AF MOTOR: Linear STM
CUSTOM SWITCH
INFINITY CONFIRMATION
FOCUS HOLD BUTTON
Angle of View: Full Frame 83.7° APS-C: 60.9°
Length: 2.81” (71.5mm)
Weight: 8.11oz (230g)
Mount: Sony E
Model: IO2418-E
Code: 0-84438-76721-6
MSRP: $549

Orders

B&H will be taking orders for the Rokinon 24mm f/1.8 AF Compact Lens for Sony E.

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Posted to: Canon News, Sony News   Category: Rokinon News
Post Date: 4/9/2021 7:49:29 AM ET   Posted By: Bryan
 Tuesday, March 30, 2021

From Delkin:

Delkin’s New BLACK CFexpress™ Type B Cards Deliver Up to 1700 MB/s Sustained Speeds

POWAY, CA, MARCH 30, 2021 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the newest addition to their top-selling line of memory cards: BLACK CFexpress™ Type B memory cards. Specially designed to meet the ever-growing demands of today’s broadcast, cinema and photography industries, Delkin’s BLACK CFexpress™ cards leverage today’s latest technology in order to provide the fastest speeds on the market.

Other competing CFexpress™ Type B cards may state a maximum write speed, but BLACK takes things further with sustained sequential write speeds of at least 1400 MB/s (higher depending on capacity). This sustained speed versus potential write speeds is what guarantees flawless cinema-quality video capture, including DCI 8K RAW 12-Bit @ 30fps (2600 Mbps) in the Canon R5. This is especially valuable during events like weddings, sport meets, concerts and other situations you cannot redo. The cards are also capable of offloading data at speeds reaching up to 1730 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production.

Delkin BLACK CFexpress Type B Memory Card Performance

Maximum Write Speed – Defined as the Maximum Capable Write Speed – Potential Peaks & Valleys Sustained Sequential Write Speed – Defined as the Continuous Write Speed – No Peaks & Valleys

“With more camera manufacturers deciding to integrate support for CFexpress™ Type B memory cards into their new camera models, we felt the need to provide camera owners with a card that they could trust to protect and preserve their precious memories” says Jenn Sherry, Delkin's Retail Sales & Marketing Manager, “As cameras continue to advance and new data-heavy modes are introduced, it has become even more important for storage mediums to be able to keep up. We believe that BLACK CFexpress™ is the solution for complete video capture, just as the creator envisioned.”

Each BLACK CFexpress™ Type B memory card has undergone extensive testing to ensure full functionality and performance in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III & R5) and Nikon® (D6, Z6 II & Z7 II). Select hosts originally designed with native support for XQD cards can also accept CFexpress™ Type B cards via firmware upgrade.

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 - in the US and UK), prior to receiving the non-working card. Cards can also be replaced over-the-counter at any authorized Delkin BLACK reseller.

Orders

Delkin BLACK memory cards are in stock at B&H.

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Posted to: Canon News, Sony News   Category: Delkin News
Post Date: 3/30/2021 2:01:46 PM ET   Posted By: Bryan
 Monday, March 29, 2021

Last week's goal was to put a significantly challenging subject in front of the Sony Alpha a1's AF system.

This project started with 350+ images of whitetail deer captured with the outstanding Sony FE 600mm f/4 GM OSS Lens. At f/4, this lens produces a shallow depth of field that presents an AF challenge. Initially, the deer were milling about (erratic motion), but the game was quickly upped when a large group of deer came in fast, primarily single file, leaping toward the camera position. With animal eye detection and the entire AF area selected, the a1 easily and impressively tracked these subjects' eyes and produced an extremely high in-focus rate, including when the deer were leaping at close distances.

Despite the in-focus aspect of the image, none of these pics were worth keeping as the deer were shedding their winter coats and looking shaggy. I needed pictures that would look good in a review. From a wildlife perspective, birds, primarily ducks, were the acceptable subject I had access to.

After watching the weather forecast and the migration reports for some hotspot locations within driving distance, I made a final decision. On this day, the temperature was going well above freezing, and clear skies were forecasted. Bright sunlight brings out birds' iridescent colors, and the sky color reflects in the water, which, in this case, provided a surrounding blue color in the image (deep blue late in the day). The wind speed was supposed to be light for calmer water. The temperature was going to be comfortable — sitting in the water in the wind and sub-freezing temperatures complicates duck photography.

On this morning, I drove to the closest of the four selected locations, about 2.5 hours away. Unfortunately, the perfect subjects, the wood ducks reliably found there, were not there. While Canada geese were plentiful, I was looking for something different.

Plan B was immediately implemented. The Chesapeake Bay location was 2+ hours farther away, but this location is best in the afternoon, so there was still time to make it there for the ideal lighting.

Upon arrival, I discovered that the huge winter flock of ducks was down to a small fraction of the count. I expected a reduced count, but not this reduced. Fortunately, a selection of the ideal species was there, and with fewer birds, it was easier to isolate individual subjects, making the situation was ideal.

The scenario was ideal except for some wind that made the water choppy. Ideally, swimming duck photography is done at the water level, with the camera just above the water. This low camera position provides a side view of the duck, with a more-distant background, meaning the background has a stronger blur, making the subject pop.

When photographing floating ducks, getting the camera low involves sitting in the water, with chest waders and thick insulated pants required at this time of the year. With the high-frequency wind chop, splashing salt water was an issue, requiring a slightly higher camera position (a LensCoat rain cover protected most of the camera and lens). An unexpected wind complication was that bobbing with the ducks while looking into the viewfinder contributed to a strong sense of motion sickness.

Ducks floating on water may seem a low challenge to photograph (the proverbial sitting duck), but this scenario was the completel opposite. Many near-1' (0.3m) waves rocking the already-twitchy, constantly-erratically moving ducks and me (at different frequencies) made keeping a duck in the 600mm frame (I started at 840mm with a 1.4x teleconverter) extremely challenging (especially when the duck was obscured by a wave). I monitored image sharpness until becoming confident that a 1/3200 shutter speed eliminated motion blur in most pictures.

One of the biggest wildlife (and portrait) photography challenges is to keep the proper AF point selected. A motionless subject permits a focus and recompose strategy, but moving subjects require selecting a specific AF point that produces the optimal composition while remaining on the subject's eye. Fast AF point selection is an especially big challenge for unpredictable wildlife. Tracking a twitchy, bobbing duck with a specific focus point held on the eye would have been nearly impossible. However, the 600mm, f/4, close distance combination's shallow depth of field made focusing precisely on the eye a requirement.

Eye AF eliminates this challenge for a significant percentage of subjects. With the Sony Alpha a1's eye AF enabled, bird selected as the subject, and the entire AF area chosen (most of the frame), I was left to concentrate primarily on framing the scene and timing the shutter release press. Note that, when eye AF is locking on the subject, gloves are no longer an impediment to cold-weather wildlife pursuits.

When many changes are happening simultaneously, a fast frame rate has your back. I began shooting in the 30 fps drive mode but backed off to 20 fps when I saw how fast the image count was increasing.

Twenty fps is still an exceptionally fast frame rate. Most 20 fps shot sequences captured, minimally, a properly-framed duck image, and often, many well-framed shots, despite all of the motion (ducks would sometimes bob from one frame border to another during a short burst). With 20 fps capture, I didn't feel the need to repair closed necessitating membranes as the previous or next image still had the ideal pose. The foreground and background matter, and wave and reflection nuances vary constantly. These elements can be the deciding factor for selection, and the 20 and 30 fps capture rate provides considerable options in this regard.

That the a1's viewfinder responded fast enough to keep the birds in the frame was remarkable, and the lack of viewfinder blackout was also critical. Even more remarkable was the extremely-high in-focus rate the a1 delivered. In this 3:45 shoot, 8,985 images were captured, and in almost all of them, the eye was in sharp focus – even when the eye bounced into the periphery of the frame.

When packing, four batteries seemed a lot, but 4% of the fourth battery was consumed by the time I walked out of the water. That said, capturing nearly 3,000 images per relatively-small battery is great performance.

Similarly, taking a full terabyte of memory cards seemed overkill, but the last 256GB card was half-filled when shade reached the water. As much as I want to purchase CFexpress Type A memory cards for the a1, I can't get past the current price. Let's put a Type A number on this day. As I write this, adequate 160GB Type A memory cards to contain this under-4-hour shoot would have cost $2,394.00.

In comparison, four fast Lexar 256GB Professional 1667x V60 UHS-II SDXC Memory Cards currently cost $300.00.

With these Lexar cards, the a1 was writing the buffer to the card most of the time. This writing prevents some camera features from being accessible, though image playback functions during the writing process.

Ultra-high performance AF combined with an extreme frame rate results in a problem, albeit a great problem — too many excellent images yield a long selection process. You may have foreseen this issue: reviewing nearly 9k photos is a massive project, and the phenomenal in-focus rate makes that job far more difficult. It is hard to delete excellent pictures, but the quality bar must be raised (or considerable hard drive storage space acquired). Again, the a1's extreme performance create a problem you want to have.

I didn't mention the a1's 50MP resolution in this post, but the bouncing ducks were often not ideally framed. This camera's high resolution meant that significant resolution remained even after cropping deeply.

The Robus RC-8860 Vantage Carbon Fiber Tripod (great tripod, excellent value) provided the support for this shoot. With the tripod leveled, the two-way pan and tilt of the smooth-functioning Wimberley WH-200-S Sidemount Head ensured that every shot was level (though the wave action diminished this requirement).

The bottom line is that Sony Alpha a1, and especially its AF system, is an outstanding performer, as expected.


Last week's goal was to put a significantly challenging subject in front of the Sony Alpha a1's AF system.

This project started with 350+ images of whitetail deer captured with the outstanding Sony FE 600mm f/4 GM OSS Lens. At f/4, this lens produces a shallow depth of field that presents an AF challenge. Initially, the deer were milling about (erratic motion), but the game was quickly upped when a large group of deer came in fast, primarily single file, leaping toward the camera position. With animal eye detection and the entire AF area selected, the a1 easily and impressively tracked these subjects' eyes and produced an extremely high in-focus rate, including when the deer were leaping at close distances.

Despite the in-focus aspect of the image, none of these pics were worth keeping as the deer were shedding their winter coats and looking shaggy. I needed pictures that would look good in a review. From a wildlife perspective, birds, primarily ducks, were the acceptable subject I had access to.

After watching the weather forecast and the migration reports for some hotspot locations within driving distance, I made a final decision. On this day, the temperature was going well above freezing, and clear skies were forecasted. Bright sunlight brings out birds' iridescent colors, and the sky color reflects in the water, which, in this case, provided a surrounding blue color in the image (deep blue late in the day). The wind speed was supposed to be light for calmer water. The temperature was going to be comfortable — sitting in the water in the wind and sub-freezing temperatures complicates duck photography.

On this morning, I drove to the closest of the four selected locations, about 2.5 hours away. Unfortunately, the perfect subjects, the wood ducks reliably found there, were not there. While Canada geese were plentiful, I was looking for something different.

Plan B was immediately implemented. The Chesapeake Bay location was 2+ hours farther away, but this location is best in the afternoon, so there was still time to make it there for the ideal lighting.

Upon arrival, I discovered that the huge winter flock of ducks was down to a small fraction of the count. I expected a reduced count, but not this reduced. Fortunately, a selection of the ideal species was there, and with fewer birds, it was easier to isolate individual subjects, making the situation was ideal.

The scenario was ideal except for some wind that made the water choppy. Ideally, swimming duck photography is done at the water level, with the camera just above the water. This low camera position provides a side view of the duck, with a more-distant background, meaning the background has a stronger blur, making the subject pop.

When photographing floating ducks, getting the camera low involves sitting in the water, with chest waders and thick insulated pants required at this time of the year. With the high-frequency wind chop, splashing salt water was an issue, requiring a slightly higher camera position (a LensCoat rain cover protected most of the camera and lens). An unexpected wind complication was that bobbing with the ducks while looking into the viewfinder contributed to a strong sense of motion sickness.

Ducks floating on water may seem a low challenge to photograph (the proverbial sitting duck), but this scenario was the complete opposite. Many near-1' (0.3m) waves rocking the already-twitchy, constantly-erratically moving ducks and me (at different frequencies) made keeping a duck in the 600mm frame (I started at 840mm with a 1.4x teleconverter) extremely challenging (especially when the duck was obscured by a wave). I monitored image sharpness until becoming confident that a 1/3200 shutter speed eliminated motion blur in most pictures.

One of the biggest wildlife (and portrait) photography challenges is to keep the proper AF point selected. A motionless subject permits a focus and recompose strategy, but moving subjects require selecting a specific AF point that produces the optimal composition while remaining on the subject's eye. Fast AF point selection is an especially big challenge for unpredictable wildlife. Tracking a twitchy, bobbing duck with a specific focus point held on the eye would have been nearly impossible. However, the 600mm, f/4, close distance combination's shallow depth of field made focusing precisely on the eye a requirement.

Eye AF eliminates this challenge for a significant percentage of subjects. With the Sony Alpha a1's eye AF enabled, bird selected as the subject, and the entire AF area chosen (most of the frame), I was left to concentrate primarily on framing the scene and timing the shutter release press. Note that, when eye AF is locking on the subject, gloves are no longer an impediment to cold-weather wildlife pursuits.

When many changes are happening simultaneously, a fast frame rate has your back. I began shooting in the 30 fps drive mode but backed off to 20 fps when I saw how fast the image count was increasing.

Twenty fps is still an exceptionally fast frame rate. Most 20 fps shot sequences captured, minimally, a properly-framed duck image, and often, many well-framed shots, despite all of the motion (ducks would sometimes bob from one frame border to another during a short burst). With 20 fps capture, I didn't feel the need to repair closed necessitating membranes as the previous or next image still had the ideal pose. The foreground and background matter, and wave and reflection nuances vary constantly. These elements can be the deciding factor for selection, and the 20 and 30 fps capture rate provides considerable options in this regard.

That the a1's viewfinder responded fast enough to keep the birds in the frame was remarkable, and the lack of viewfinder blackout was also critical. Even more remarkable was the extremely-high in-focus rate the a1 delivered. In this 3:45 shoot, 8,985 images were captured, and in almost all of them, the eye was in sharp focus – even when the eye bounced into the periphery of the frame.

When packing, four batteries seemed a lot, but 4% of the fourth battery was consumed by the time I walked out of the water. That said, capturing nearly 3,000 images per relatively-small battery is great performance.

Similarly, taking a full terabyte of memory cards seemed overkill, but the last 256GB card was half-filled when shade reached the water. As much as I want to purchase CFexpress Type A memory cards for the a1, I can't get past the current price. Let's put a Type A number on this day. As I write this, adequate 160GB Type A memory cards to contain this under-4-hour shoot would have cost $2,394.00.

In comparison, four fast Lexar 256GB Professional 1667x V60 UHS-II SDXC Memory Cards currently cost $300.00.

With these Lexar cards, the a1 was writing the buffer to the card most of the time. This writing prevents some camera features from being accessible, though image playback functions during the writing process.

Ultra-high performance AF combined with an extreme frame rate results in a problem, albeit a great problem — too many excellent images yield a long selection process. You may have foreseen this issue: reviewing nearly 9k photos is a massive project, and the phenomenal in-focus rate makes that job far more difficult. Most of us are not interested in a large volume of images, but we do care about quality. Still, it is hard to delete excellent pictures, and the minimum quality bar must be raised (or considerable hard drive storage space acquired). Again, the a1's extreme performance create a problem you want to have.

I didn't mention the a1's 50MP resolution in this post, but the bouncing ducks were often not ideally framed. This camera's high resolution meant that significant resolution remained even after cropping deeply.

The Robus RC-8860 Vantage Carbon Fiber Tripod (great tripod, excellent value) provided the support for this shoot. With the tripod leveled, the two-way pan and tilt of the smooth-functioning Wimberley WH-200-S Sidemount Head ensured that every shot was level (though the wave action diminished this requirement).

The bottom line is that Sony Alpha a1, and especially its AF system, is an outstanding performer, as expected.

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Posted to: Canon News, Sony News   Category: Photo Tips and Stories
Post Date: 3/29/2021 10:40:06 AM ET   Posted By: Bryan
 Tuesday, March 23, 2021

From Sigma:

Important Notice

Potential issue of ghost resistance deterioration of the SIGMA 28-70mm F2.8 DG DN | Contemporary

Dear valued customers

Thank you for your purchase and continued support of our products.

We have become aware of a potential issue with our recently released SIGMA 28-70 F2.8 DG DN | Contemporary, which could lead to increased ghosting over time in certain shooting conditions. This falls short of our usual high standards so we are acting as quickly as possible to rectify the issue.

Applicable Product and Serial Number

– Applicable product:SIGMA 28-70mm F2.8 DG DN | Contemporary (for L-mount, Sony E mount)

– Serial Number: serial number prior to 55488834, regardless of mount

The phenomenon has been identified early, so only a small number of customers are affected. Anyone who has already received a 28-70mm F2.8 DG DN | Contemporary (which has only started shipping in some countries) can check their lens’s serial number to see if it is affected.

How to check the serial number

You can find the serial number printed on the side of the lens, and also on the box. If your serial number is higher than 55488834 you can be assured it is not affected by this issue.

Cause of phenomenon

Our optical engineers are working hard to identify and eradicate the underlying cause of the phenomenon, and we expect to have this resolved within a month.

Treatment on this issue

We will suspend all shipments of the applicable product until the cause of this matter has been identified. Once we know the cause, we will be in touch with the small number of affected customers to advise on whether we will repair their lens or replace it, and how this process will work.

In the meantime, all customers can continue to use the 28-70mm F2.8 DG DN | Contemporary with confidence. If you have any questions please contact your local authorized SIGMA Service Station at https://www.sigma-global.com/en/world-network/, who will be happy to assist.

For customers in the US requiring more information, please contact our Service and Support team at info@sigmaphoto.com.

We apologize for any inconvenience this has caused and we assure you that we will put this issue right as soon as possible.

SIGMA corporation

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Posted to: Canon News, Sony News   Category: Sigma News
Post Date: 3/23/2021 7:21:10 PM ET   Posted By: Bryan
 Sunday, March 21, 2021

More precisely, a big beautiful bedded bull elk bugling in Rocky Mountain National Park.

Stay with an elk long enough, and it will bed down, and a stationary subject is easier to photograph than a moving one.

However, once bedded, obstructions (such as grass or trees) are often an issue. This cooperative bull opted to bed in a meadow with short grass, meaning that foreground obstructions were not an issue.

The background can typically be counted on to present a challenge, and distractions are among the most frequently encountered issues.

In this image, the first background distraction avoidance strategy was to blur it away. The Canon EF 600mm f/4L IS III USM Lens rises to that challenge. The bokeh capability of many ultra-wide aperture lenses is raved about, but the 600mm f/4 combination is unsurpassed for diffusely blurring the background. The 600mm f/4 combination smooths the strong contrasting background lines, such as trees, that would otherwise catch the viewer's eye, distracting from the subject.

The big in-the-field challenge is aligning the subject within the background. Once it is bedded down, you know where the animal will be for at least a short time — usually long enough time to allow perfecting of the composition. In this scenario, the goal was to avoid strong lines and color differences intersecting the animal's body and antlers.

I love a low shooting position when photographing elk (and most animals). While this image was captured from a low position, the position was high enough for the elk's back to remain below the brush behind it.

For many, it is all about the antlers. The camera position that placed the rack between the background trees also worked well for the animal.

A sleeping animal is usually not too exciting (unless it is a baby). Fortunately, during the rut, bull elk make use of their downtime. When bugling (one of my favorite sounds), elk raise their heads which lowers their antlers for my also-favorite elk body position.


A larger version of this image is available on Flickr.

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Posted to: Canon News, Sony News   Category: Photo Tips and Stories
Post Date: 3/21/2021 6:45:00 AM ET   Posted By: Bryan
 Wednesday, March 10, 2021

From Nikon:

Nikon is developing the Nikon Z 9 full-frame flagship mirrorless camera

*The appearance of the camera may differ from the photo shown above.

MELVILLE, NY – Nikon Inc. is pleased to announce the development of the first flagship model for which the Nikon Z mount has been adopted: The Nikon Z 9. The full-frame (Nikon FX-format) mirrorless camera is scheduled for release in 2021, and represents a significant leap in technology and performance.

The Z 9 brings together Nikon's groundbreaking technologies to deliver the best still and video performance in Nikon history, meeting the advanced needs of professionals in a wide range of genres. It utilizes a newly developed FX-format stacked CMOS sensor and new image-processing engine. In response to the growing needs of professionals, advanced enthusiasts and cinematographers, it includes support for 8K video recording as well as various other video specifications that fulfill diverse needs and workflows. The Z 9 embodies ultimate usability as a tool, offering users an unprecedented imaging experience from capture to workflow exceeding that of previous digital-SLR and mirrorless cameras.

Information regarding the release of this product will be announced at a later date.

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Posted to: Canon News, Sony News   Category: Nikon Announcements
Post Date: 3/10/2021 7:11:10 AM ET   Posted By: Bryan
 Tuesday, March 9, 2021

That is an attention-garnering headline. Unfortunately for photographers, the industrial sector will be the first to get these imaging sensors.

From Sony EU:

Sony to release large format CMOS image sensor with global shutter function and industry’s highest effective pixel count of 127.68 megapixels

Press release • Mar 09, 2021 10:30 CET

Sony's large format CMOS image sensor “IMX661” with industry’s highest effective pixel count of 127.68 megapixels. Left: colour model, right: black and white model.

Sony Corporation announced today the upcoming release of a large format 56.73mm diagonal CMOS image sensor “IMX661” for industrial equipment with a global shutter function and the industry’s highest*1 effective pixel count of 127.68 megapixels.*2

This product features an increased pixel count that yields an optical size nearly 10 times larger than the common 1.1-type image sensor corresponded to the C mount*3 for industrial equipment. It also features Sony’s original global shutter pixel technology “PregiusTM”, which enables capture of motion distortion-free images. Furthermore, the Sony’s original device configuration and interface technology employed enable high-speed image readout at a data rate nearly four times faster*4 than conventional products.

Sony expects that the new sensor, when used in industrial equipment cameras for a wide variety of applications, will help to solve a variety of complex challenges, thereby contributing to the development of industry.

*1: Among CMOS image sensors equipped with a global shutter. According to Sony research (as of announcement on March 9, 2021).

*2: Based on image sensor effective pixel specification method.

*3: The joining mechanism between lens and the camera body.

*4: Compared to Sony’s “IMX253” 1.1 type, 12.37 effective megapixels CMOS image sensor equipped with a global shutter function

Model name Sample shipment date (planned)*5

IMX661 3.6type (56.73 mm diagonal) 127.68-effective-megapixel CMOS image sensor April 2021

*5: The dates given for sample shipment date (planned) are for the color model. Black and white model samples will be available for shipment approximately one month later.

Needs for automation, labour-saving and other benefits of digital transformation continue to grow in recent years in various fields of industrial equipment. This has accelerated the adoption of cameras for a wide variety of applications, driving demand for CMOS image sensors with higher imaging performance.

The new product couples Sony’s Pregius technology with the 3.6-type (56.73mm diagonal) large optical size, delivering an increased pixel count and motion distortion-free imaging. The original device configuration, which employs a chip-on-wafer process, together with Sony’s original interface technology, enables high-speed readout nearly four times faster than conventional products*4 in full-pixel readout mode. This design delivers highly efficient imaging that captures a wide viewing angle with no motion distortion in a single imaging operation. It also improves recognition precision thanks to the high-resolution imaging and delivers a high level of processing performance. It can contribute to solutions for a variety of industrial equipment applications, for example, inspection processes for production of displays and electronic substrates, wide-area monitoring, and aerial photography, where its improved precision and quicker readout will help meet the need for a high level of productivity.

Main Features

The industry’s highest effective pixel count of 127.68 megapixels

This product features a large optical size of 3.6-type (56.73mm diagonal), nearly 10 times larger than the common 1.1-type image sensor corresponded to the C mount lens for industrial equipment with a pixel size of 3.45 µm, resulting in a massive pixel count of 127.68 megapixels, which is the industry’s highest for a CMOS image sensor equipped with a global shutter. It enables a wide viewing angle and high-resolution imaging by increased pixel count, and the motion distortion-free imaging demanded on cameras for industrial equipment, thereby improving imaging efficiency and recognition precision.

Image sensor optical size (imaging area) comparison*6, area ratio about 10 times (1.1-type comparison).

*6: When a lens with the same focal length is used

High-speed image readout

Generally, increased pixel count means increased signal processing volume, which causes issues such as a drop in frame rate and longer readout times. In order to realise high-speed readout, it is necessary to improve the processing functionality of the AD converter which converts the analog signal output from the pixel to digital signals, and at the same time, increase the speed of the output interface.

This product features Sony’s original device configuration employing a chip-on-wafer process where chips with certain functions are stacked on top of the pixel wafer, allowing for optimal positioning of the AD converter. This design improves AD converter processing functionality without increasing the size.

The new sensor also employs the Scalable Low Voltage Signaling with Embedded Clock (SLVS-ECTM)*7 high-speed interface standard developed by Sony, in order to make output interface faster. These two original technologies enable 127.68 megapixels,1 0bits,21.8fps, which is a high-speed output data rate nearly four times faster than conventional models*4. The dramatic increase in multi-pixel and readout speed greatly contribute to the improvement of productivity in industrial applications.

*7: A data transfer method that uses an embedded clock signal. This eliminates the need for skew adjustment between lanes and reduces the amount of wiring needed, making board design simpler and suitable for higher speeds.

Equipped with signal processing capabilities needed for a variety of industrial applications

The new product is equipped with a range of signal processing capabilities required for industrial equipment CMOS image sensors to meet diverse applications and needs. These include such as; trigger synchronisation for controlling imaging timing during high-speed inspections; Region of Interest (ROI), which reduces post signal processing load by only reading out the required regions; gradation compression, which reduces data volume while outputting required information; multi-exposure, which is capable of detecting the trajectory of moving objects; short exposure time for blur-free imaging of objects moving at high speeds; pixel binning readout, which can enhance sensitivity in low luminance situations.

Key Specifications

Model name IMX661 (colour, black and white)
Unit cell size 3.45 µm x 3.45 µm (H x V)
Effective pixels 13,400 x 9,528 (H x V), 127.68 megapixels
Image size Diagonal 56.73 mm (3.6-type)
Active area 46.2 mm x 32.9 mm (H x V)
Package Ceramic LGA
Micro lens EPD –100mm (CRA 15.8 degrees)
Power supply Analog: 3.3V
Digital: 1.2V Interface: 1.8V
Output 4.7Gbps/lane SLVS-EC 16/8/4 lane
891Mbps/lane SLVS 16 lane
Frame rate
14 bit: 12.9 fps
12 bit: 19.6 fps
10 bit: 21.8 fps
Main functions Global shutter, trigger synchronisation, ROI, gradation compression, multi-exposure, short exposure, pixel binning readout
Notes: Pregius and SLVS-EC are trademarks of Sony Corporation.

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Posted to: Canon News, Sony News   Category: Sony Announcements
Post Date: 3/9/2021 8:06:00 AM ET   Posted By: Bryan
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