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 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

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 3/23/2021 7:21:10 PM CT   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.

Post Date: 3/21/2021 6:45:00 AM CT   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.

Post Date: 3/10/2021 7:11:10 AM CT   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.

Post Date: 3/9/2021 8:06:00 AM CT   Posted By: Bryan
 Tuesday, March 2, 2021

Very interesting announcement from DJI:

DJI Reinvents The Drone Flying Experience With The DJI FPV

Breakthrough Drone Technology Offers Immersive, Cinematic Flight Experience And Intuitive New Single-Handed Motion Controller

March 2, 2021 – DJI, the global leader in civilian drones and?creative camera?technology, today launched an entirely new type of drone with an intuitive, immersive flight experience never available until now. DJI FPV combines the first-person view and high-speed performance of racing drones, the cinematic camera sweep of traditional drones, the safety and transmission technology of DJI’s leading consumer drones, and an optional innovative single-handed motion controller that allows pilots to control the drone with just hand movements. DJI FPV creates a new drone category, and opens up new worlds of possibilities for content creators and drone fans from beginners to experts alike.

“DJI has been redefining what drones can do since our company began in 2006, and as we celebrate our 15-year anniversary this year, we honor that heritage of innovation by redefining what drone flight can be with DJI FPV,” said Ferdinand Wolf, Creative Director, DJI Europe. “Right out of the box, DJI FPV combines the best available technology for a hybrid drone like no other. It can fly like a racer, hover like a traditional drone, accelerate like a homebuilt project and stop faster than any of them. DJI FPV lets the world experience the absolute thrill of immersive drone flight without being intimidated by the technology or spending hours building a system from scratch. We can’t wait for the world to try it.”

The DJI FPV ecosystem includes the drone, goggles, a dedicated remote controller, and a new intuitive motion controller option that steers the drone based on the movement of your hand. The drone features high-performance motors for incredible speeds, an intuitive user interface and the latest safety features for greater control. The new FPV system lets pilots see from the drone’s perspective in low-latency high definition thanks to O3, the third iteration of DJI’s proprietary OcuSync technology. Its unmatched reliability and transmission range help pilots capture ultra-smooth and stable 4K video at 60 fps with the assistance of RockSteady electronic image stabilization.

Amateur and professional pilots alike can explore the skies with confidence with the assistance of three distinct flight modes designed for all skill levels and to get pilots accustomed to the system. DJI FPV’s advanced safety features include a new Emergency Brake and Hover feature to help make flying safer and less intimidating for new users, as well as DJI’s suite of industry-leading safety solutions, including GPS-based geofencing to advise pilots of airspace restrictions and potential hazards, and an ADS-B receiver system to warn pilots when other manned aircraft are nearby. In many jurisdictions, drone pilots flying with FPV goggles must be accompanied by a visual observer to watch for airspace hazards. Always fly safely and responsibly, and be sure to understand and follow the legal requirements for flight.

A Flight Experience For Every Skill Level

DJI FPV is the first integrated FPV drone that allows pilots from beginners to professionals to choose from multiple flight modes to match their skill level:

  • Normal (N) Mode: During N mode operation, DJI FPV operates similar to other DJI drones, hovering in place with the use of GPS and/or visual positioning systems (VPS) on the bottom of the drone. The most approachable flight mode, N mode allows for obstacle detection sensors on the front to be activated to warn when obstacles are near and slow down. Pilots are tasked with maneuvering the drone away from any detected obstacles.
  • Manual (M) Mode: Take full control over the drone with M mode which is designed for more experienced users. While in M mode, all sensors and hovering features are disabled.
  • Sport (S) Mode: A new hybrid blend of M and N mode, S mode offers some of the dynamic movement capabilities that come with M mode along with some of the key safety features of N mode. S mode is the middle step between the three modes and developed to give pilots more room to explore their skills as they get accustomed to FPV flight.

While in the air, pilots can also use a suite of safety features that make flying not only a memorable experience, but a safe one as well. A dedicated Emergency Brake and Hover feature is available in all flying modes to make the drone stop and hover in place at any time during flight. Obstacle detection sensors can be activated while operating in N mode, which will alert pilots of any detected obstacles and automatically slow down the aircraft. Visual Positioning Sensors (VPS), along with an auxiliary light on the bottom of the aircraft are also available to assist in smooth takeoffs and landings. Failsafe Return to Home is another important feature that will bring the drone back to its home point automatically with a press of a button or in the event that transmission signal is lost. The ADS-B receiver system provides audio and visual notifications to the pilot via the FPV Goggles when traditional aircraft such as airplanes or helicopters equipped with ADS-B transmitters are in the vicinity.

Immerse Yourself In The Experience of Flying

DJI FPV lets you see the world in a new way using the absolute latest in HD transmission technology. Pilots can see a crystal-clear, long-range, low-latency feed from the DJI FPV aircraft while wearing the DJI FPV Goggles V2. State-of-the-art racing motors offer high-speed action during flights, and the O3 transmission system offers unmatched reliability. The new motors bring a heart-racing experience to the system with a max speed of 140 kph (87 mph) and a max acceleration of 0-100 kph (0-62 mph) in just two seconds. O3 transmission is the next step in FPV transmission technology. It offers a 10km1 transmission range, auto-switching dual-frequencies, a high bitrate of 50 Mpbs, and state-of-the-art anti-interference methods to ensure a reliable feed. Announced in 2019, the DJI HD transmission system brought the world’s first low-latency, HD digital feed to the market. The new DJI FPV system uses that same technology to bring a crystal-clear image to the goggles with ultra-low latency. Pilots can choose from several different viewing options, including:

  • High-Quality Mode: See the world in 1440x810p in either 60 fps with a wider 142° Field of View (FOV), or 50 fps with 150° FOV. In this mode, latency is as low as = 40 ms.
  • Low-Latency Mode: In this mode, pilots activate high frame rates for a more cinematic look to signal latency is decreased to = 28 ms. Resolution is 1440×810p 120 fps with a 142° FOV or 100 fps at 150° FOV.
  • Audience Mode: Share the pilot’s perspective in audience mode, which connects up to eight additional goggle sets to the pilot’s view so even onlookers can experience the flight.

Incredible Flight Performance, Breathtaking Footage

Not only does DJI FPV offer incredible flight performance, it can also capture dynamic, cinematic footage you’ll want to share with the world. The integrated 4K/60fps 120 Mbps camera is on a single-axis gimbal, providing stability during intricate maneuvers while rotating vertically for unique angles. Additionally, RockSteady stabilization technology smooths shaky footage and eliminates the rolling shutter effect when filming fast-moving scenes. Advanced distortion correction software can remove the warped and unappealing fish-eye look common in FPV footage. Pilots can record footage in 4x Slow Motion in 1080p and 120 fps to relive epic moments in every detail. Footage can now be stored in H.265 or H.264 which uses less space on the memory card but preserves fine details during compression.

Educational Tools And An Updated DJI Fly App To Accelerate Learning

Supported by a wealth of interactive and realistic tools, pilots will be up in the air quickly with confidence. DJI FPV uses the latest version of the DJI Fly app, which now includes detailed tutorials on how to operate DJI FPV. The newly developed DJI Virtual Flight App is a free simulator app2 that familiarizes new pilots with drone flying movements in an easy, fun and risk-free environment. The simulator allows pilots to fly the DJI FPV drone in various settings using the dedicated controller.

DJI Care Refresh

DJI Care Refresh is now available for DJI FPV. For an additional charge, DJI Care Refresh 1-Year Plan offers comprehensive coverage as well as up to two replacement units within one year. The two-year plan provides three replacement units in two years and extends the original warranty period by one more year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes exclusive VIP after-sales support and free two-way shipping. DJI Flyaway Coverage is not available for this product. For a full list of details, please visit: https://www.dji.com/service/djicare-refresh.

Price and Availability

DJI FPV is available for purchase today from store.dji.com and from authorized retail partners. DJI FPV can be purchased in several options. The standard DJI FPV Combo includes the FPV drone, remote controller 2, FPV Goggles V2, all required cables and one battery for the retail price of $1,299. The DJI FPV Fly More Kit is also available, which includes two additional Intelligent Flight Batteries and the dedicated charging hub for the retail price of $299. The optional Motion Controller is sold separately and can be purchased for the price of $199.

Orders

The DJI FPV is in stock at B&H and Adorama.

Posted to: Canon News, Nikon News, Sony News   Category: DJI News
Post Date: 3/2/2021 8:41:16 AM CT   Posted By: Bryan
 Tuesday, February 23, 2021

A few months ago, I noticed a large oak tree standing alone at the top of a field in the countryside not far from home. I made a mental note of the interesting tree, keeping that photo opportunity in the pocket for later application.

Right after a recent snowstorm and during the Canon RF 70-200mm F4 L IS USM Lens review seemed like the perfect timing to photograph this lone tree. The snow minimalized the scene's details, and the lens was a perfect choice to capture it. I pulled the SUV into a snowbank to get out of traffic (there was little on this country road), turned off the vehicle (eliminating the vibration), and photographed the tree until I couldn't think of any more compositions to try and adding any more insurance shots seemed complete overkill.

This scene was filled with bright subjects. At most, changes in lighting through the thick clouds happened slowly. Thus, a manual exposure that pushed the histogram graph to the right edge proved perfect. In this image, ISO 100 provides low noise, f/8 yielded adequate depth of field, and 1/160 with image stabilization activated made getting sharp elbow-rested photos easy.

The focal lengths in the 70-200mm range are among my most used for landscape photography. These focal lengths provide angles of view that make good compositions easy to find. While parked along this road, I used all of these focal lengths, with the tree filling various percentages of the frame, ranging from the 70mm result shared here to the tree nearly filling the frame. An example of the 70-200mm focal length range using this tree is shared in the Canon RF 70-200mm F4 L IS USM Lens review.

I shoot a lot of action and other images where timing is critical to get the perfect shot, with a stress-induced adrenaline rush typically accompanying the moment. A nice change for this image was that I had as much time as I cared to take. The tree was not moving, the snow was not melting, and the clouds were unchanging.

At the longer focal lengths, not much time was needed to get the good compositions. At the wider focal lengths, there was considerably more freedom to position the tree in the minimalistic scene within the frame. My favorite tree position at 70mm is shared here, but I also like the tree toward the upper left, and the tree centered at the bottom in a vertical orientation also looks great (at my wife's request, I ordered a metal print of that image this morning).


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
70mm  f/8.0  1/160s
ISO 100
8192 x 5464px
Post Date: 2/23/2021 10:41:02 AM CT   Posted By: Bryan

From Rode:

Introducing the Wireless GO II – Next Generation Wireless Audio From RØDE

The world's smallest and first truly wireless microphone has been reborn. Meet the RØDE Wireless GO II, a new ultra-compact and extremely versatile dual channel wireless microphone system. Offering the same pocket-sized form factor and professional sound quality as the best-selling Wireless GO, with a host of incredible new features making it even more powerful and flexible, this is next generation wireless audio from RØDE.

The original Wireless GO, released in 2019, revolutionised audio for content creators. With its innovative form factor, unique clip ‘n’ go versatility, and in-built microphone offering truly wireless recording for the first time, it changed the way creators captured sound for video.

The Wireless GO II offers all of these features and much more, including dual channel recording, universal compatibility with cameras, mobile devices and computers, extended range and improved transmission stability, and on-board recording capabilities. Wireless audio has changed again.

Get more information and order the Rode Wireless GO II at B&H where "Shipping will begin Wed Feb 24."

Posted to: Canon News, Nikon News, Sony News   Category: Rode News
Post Date: 2/23/2021 9:39:19 AM CT   Posted By: Bryan
 Monday, February 22, 2021

Let me introduce you to "Nala," my oldest daughter's year-old goldendoodle. I was looking for a subject to challenge the new Canon RF 70-200mm F4 L IS USM Lens for the review, and Nala happily volunteered. She maintained a great spirit for 25 minutes until the session ended abruptly when another dog arrived.

Not long ago, capturing an eye-sharp image of a big dog in a great pose while running (bouncing) full speed toward and close to the camera was extremely challenging. With the Canon EOS R5's incredible animal eye AF combined with the 20 fps frame rate and the Canon RF 70-200mm F4 L IS USM Lens in front of it, the biggest challenge of this shoot was deciding which of the 1,400+ images on the ProGrade Digital 325GB CFexpress 2.0 Cobalt Memory Card to keep.

Bright white snow is a strong auto-exposure influencer, typically causing the camera to underexpose images. With bright white snow filling greatly differing percentages of the frame during each dog pass, exposure compensation was not optimal. Thus, my most frequently used exposure mode, manual, was the ideal choice.

This shoot's goal was to challenge the camera and lens AF system, so the shallow depth of field provided by a wide-open aperture was best, providing little margin for error. The wide-open aperture in combination with the longest focal length provided the strongest background blur possible, making the subject stand out.

Next, the shutter speed was selected, with freezing motion the goal. I opted for 1/1250-1/1600, choices that proved marginally short enough for this fast dog in some instances.

ISO was the last image brightness factor to be applied. As a rule, snow in the sun should be nearly blown-out white. To determine the optimal brightness, the histogram is the proper tool. The ISO setting was increased until the brightest pixels were registering nearly against histogram graph's right side. Note that the blinkies will likely show before color channel capacities are reached. Use the histogram.

This day was cloudy, and cloudy skies often bring brightness changes. Thus, the histogram required monitoring for ISO adjustment needs.

With the R5 in face and eye detection mode and animal eye AF selected, the remaining job was to keep the dog in the frame while holding down the shutter release as my daughter repeatedly positioned and ran Nala toward the camera.

With the R5 and a good lens, getting the perfect action shots is (often) only a small challenge.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
200mm  f/4.0  1/1250s
ISO 250
5715 x 3812px
Post Date: 2/22/2021 12:59:41 PM CT   Posted By: Bryan
 Thursday, February 11, 2021

From Canon U.S.A.:

Need a Digital Photo Assistant? Canon U.S.A. has you Covered with the Company’s First-Ever Photo Culling App

Canon Also Publicly Debuts “PHIL,” the Company’s Computer-Vision Artificial Intelligence Engine

MELVILLE, NY, February 11, 2021– According to a recent report from Keypoint Intelligence, 1.4 trillion photos were taken worldwide in 2020 and 7.4 trillion images were stored1. With these staggering numbers, it could be overwhelming for the average consumer to decide what photos are best to keep and store. Delivering expert photo advice in the form of an app, Canon U.S.A., Inc., a leader in digital imaging solutions, today announces its Photo Culling app. Compatible with iOS devices2, this brand-new app helps determine a user’s best photos based on scores against four models: sharpness, noise, emotions and closed eyes, using Canon’s Computer Vision Artificial Intelligence Engine known as “PHIL” (abbreviated for Photography Intelligence Learning)3. Additionally, the app will suggest deleting duplicative photos, making it easy for the consumer to free up space on their smartphone.

"In today's ever-changing and overwhelming world, where thousands of photos are captured and stored in a person’s smartphone, consumers need an expert, reliable and intuitive photo tool to help them decide the best photos based on years of trusted knowledge and technology,” said Tatsuro "Tony" Kano, executive vice president and general manager of the Imaging Technologies & Communications Group of Canon U.S.A., Inc. “Canon U.S.A.’s new Photo Culling App is the answer and we are proud to see how the company’s Computer Vision technology within this app can assist consumers with finding and keeping their best photos of their fondest moments."

The Photo Culling app features two culling options:

Whole Culling: Determines the best photos based on the absolute best scores against the four models: sharpness, noise, emotions and closed eyes. If the score is over the threshold the user sets, the photo is considered to be the best. The remaining images would be suggested as deletions.

Similar Culling: Determines the best photos based on score comparison among a similar group of photos. The highest-scoring photos within the group are considered the best photos. A second photo may also be selected as the second-best photo within the group. The remaining images would be suggested as deletions. The app is also able to find similar photos and group them together. For example, If a user selects 10 photos of a dog and 10 photos of a sunset, it will break the photos into two groups and find the best photo of each; one of the dog and one of the sunset.

In addition to its culling options, the Photo Culling app also features:

Photo Counts and Storage: Shows the number of photos a user has as well as the amount of phone storage on the Home Screen.

Event Album: Categorizing and placing photos in albums on the Home Screen. These are dynamic albums based on events/date throughout the year and the app will pull events that have a large number of photos and suggest the user review these photos to delete and save space.

Features in the Setting Screens: Displaying the number of photos deleted, the current subscription plan (see details below), option for notifications, parameter setting for each score against sharpness, noise, emotion and closed eyes. Users also can adjust these settings, such as changing how much of an impact noise has on a photo versus closed eyes4.

Dark and Light Mode Settings Screen Option: Displays screens either as a dark or light mode option

Price & Availability*

Available for download via the App Store, the Photo Culling app will be available under two subscription options: $2.99 per month or $14.99 for the year, each with a three-day trial5. For more information, please visit, usa.canon.com/photo-culling-app.

# # #

† Based on weekly patent counts issued by United States Patent and Trademark Office.

* Availability and specifications are subject to change without notice.

1 Data Source: Keypoint Intelligence / InfoTrends Worldwide Consumer Photos Captured and Stored

2 The Photo Culling app is compatible with iOS® running version 14. There are currently no device restrictions for iOS. This app helps you to sort, organize and delete your images. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

3 PHIL is a trademark of Canon U.S.A., Inc. in the United States and may also be a trademark in other countries.

4 For best results, disable cloud storage photos from your Settings. If iCloud is enabled, please make sure “Download & Keep Originals” is selected and "Optimize iPhone Storage" is not.

5 Download of the app is free (data charges may apply), but full use of the app requires a subscription. A free version of the app is provided with limited functionality and features. There is also a paid subscription version of the app with full functionality and features available to you starting with a three (3) day free trial. The subscription version of the app is available through a monthly or yearly, nonrefundable, auto renewing payment through your applicable app store. After your three (3) day free trial, your access will be automatically rolled over into your chosen auto-renewable subscription unless you cancel upon 24 hours’ notice from the end of the trial period by following the App Store cancellation procedures.

Post Date: 2/11/2021 9:53:53 AM CT   Posted By: Bryan
 Thursday, February 4, 2021

When reviewing a lens, I'm always looking for ideally suited subjects to photograph. The Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens is a great option to have on hand. It is perfect for wildlife photography, and this amazingly-colored blue jay timely volunteered a moment to pose for me.

When this bird showed up, providing a unique scenario, I was in full reactive mode. This fleeting opportunity was not expected, leaving no opportunity for preparation.

Working quickly with the Sigma telephoto zoom lens mounted to the Sony a7R IV, I first switched to Av mode. The overall scene was not especially dark or bright, so letting this competent camera determine the exposure was a logical, fast move.

A cloudy day meant that the late morning lighting remained soft and that the sun angle held little relevance. The camera could be positioned for the ideal bird angle, sideways or slightly facing the camera.

A cloudy day also meant somewhat dim lighting that called for a wide aperture. Not so fortunate is that wide open isn't especially wide for this lens. Very fortunate is that this lens is very sharp wide-open.

An additional benefit to this lens's specific wide-open f/6.3 aperture selection at 400mm is the relatively strong background blur, making the subject stand out, yet providing adequate depth of field for this close subject. Birds are seldom still, and ISO 400 seemed the immediate logical guess to go with this aperture, providing an adequately short shutter 1/160 speed.

After quickly capturing some insurance shots, the next move was to continue to work the scene, optimizing the composition. In this scenario, optimizing the composition included juxtaposing the background elements with the primary subject, primarily avoiding distractions around the bird's head and adjusting the camera elevation. More specifically, I moved to the left and slightly down.

With the next round of images on the card, moving closer seemed the next best option, and as close as the lens would autofocus was the subject distance for this image. While the entire bird was not close to fitting in the frame at this distance, I liked how much of the frame was filled with this bird's incredible colors. Of utmost importance is keeping the head entirely in the frame and providing some breathing room around the head. That concept meant cropping the tail out of the picture.

The next move was to rely more heavily on the Sigma and Sony coordinated optical stabilization, reducing the ISO setting to only 100. The bird was still enough for some of those images to be rendered sharply, but my eye preferred this overall composition better.

Those looking for a compact, lightweight, highly affordable telephoto zoom lens for Sony (or Leica) cameras should seriously consider the Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
400mm  f/6.3  1/160s
ISO 400
9504 x 6336px
Post Date: 2/4/2021 12:51:30 PM CT   Posted By: Bryan
 Tuesday, February 2, 2021
 Sunday, January 31, 2021

Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens Review.

You're probably getting tired of hearing me tell you this, but you are going to like this lens. Here are some comparisons:

Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens compared to Sony FE 100-400mm f/4.5-5.6 GM OSS Lens

Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens compared to Sigma 100-400mm f/5-6.3 DG OS HSM C Lens comparison

The Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens is in stock at B&H | Adorama | Amazon USA

Rent the Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens from Lensrentals.

Please share!

Post Date: 1/31/2021 7:00:00 AM CT   Posted By: Bryan
 Friday, January 29, 2021

Just posted: Sigma 14-24mm f/2.8 DG DN Art Lens Review.

As I said before, this is another impressive lens.

The Sigma 14-24mm f/2.8 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA

Rent the Sigma 14-24mm f/2.8 DG DN Art Lens from Lensrentals.

Please share!

Post Date: 1/29/2021 7:40:19 AM CT   Posted By: Bryan
 Thursday, January 28, 2021

Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Sigma 14-24mm f/2.8 DG DN Art Lens Review.

This is another impressive lens. Here are some comparisons:

Sigma 14-24mm f/2.8 DG DN and HSM Art Lenses Compared

Sigma 14-24mm f/2.8 DG DN Art Lens compared to Sony FE 12-24mm f/2.8 GM Lens

Sigma 14-24mm f/2.8 DG DN Art Lens compared to Sony FE 16-35mm f/2.8 GM Lens

This lens review is nearly complete — tomorrow is the goal.

The Sigma 14-24mm f/2.8 DG DN Art Lens is in stock at B&H | Adorama | Amazon USA

Rent the Sigma 14-24mm f/2.8 DG DN Art Lens from Lensrentals.

Please share!

Post Date: 1/28/2021 8:25:59 AM CT   Posted By: Bryan
 Wednesday, January 20, 2021

Just posted: Tamron 70-300mm f/4.5-6.3 Di III RXD Lens Review.

Need a small, light telephoto zoom lens? Does inexpensive (including a $50.00 instant savings) work? This one might have your name on it.

Get the Tamron 70-300mm f/4.5-6.3 Di III RXD Lens at B&H (with free B+W filter and Zeiss cleaning kit) | Adorama | Amazon USA | WEX

Rent the Tamron 70-300mm f/4.5-6.3 Di III RXD Lens from Lensrentals.

Please share!

Post Date: 1/20/2021 8:24:46 AM CT   Posted By: Bryan
 Thursday, January 14, 2021

Just posted: Tamron 28-200mm f/2.8-5.6 Di III RXD Lens Review.

This is another solid Tamron Di III lens option.

The affordable Tamron 28-200mm f/2.8-5.6 Di III RXD Lens is in stock at B&H | Adorama | Amazon USA | WEX

Rent the Tamron 28-200mm f/2.8-5.6 Di III RXD Lens from Lensrentals.

Please share!

Post Date: 1/14/2021 8:09:18 AM CT   Posted By: Bryan
 Thursday, January 7, 2021

Image quality test results from the Canon EOS R5 have been added to the Canon RF 50mm F1.2 L USM Lens Review.

This lens is an impressive performer and a member of my personal kit. Here are some comparisons:

Here is a Canon EOS R5 vs. Canon EOS R resolution and sharpness comparison.

The Canon RF 50mm F1.2 L USM Lens compared to the Canon EF 50mm f/1.2L USM Lens? No contest.

The Canon RF 50mm F1.2 L USM Lens compared to the Canon RF 50mm F1.8 STM Lens? Again, the F1.2 lens takes the wide open win. The price difference? No contest.

The Canon RF 50mm F1.2 L USM Lens compared to the Sigma 50mm f/1.4 DG HSM Art Lens at f/1.4? The Sigma lens puts up a good fight in the center of the frame, but the Canon lens rules the mid and peripheral areas of the frame.

What is your guess for the outcome of the Canon RF 50mm F1.2 L USM Lens vs. Zeiss Otus 55mm f/1.4 Lens matchup at f/1.4? I'll give the Canon lens the win in the center of the frame and the periphery appears to be a draw. The price difference combined with the AF difference? No contest for most.

The Canon RF 50mm F1.2 L USM Lens is in stock at Amazon USA and WEX, and available for order at B&H and Adorama.

Rent the Canon RF 50mm F1.2 L USM Lens from Lensrentals.

Please share!

Post Date: 1/7/2021 9:03:59 AM CT   Posted By: Bryan
 Tuesday, January 5, 2021

From OM Digital Solutions Americas, Inc.:

Launch of OM Digital Solutions Corporation

Tokyo, Japan, January 5, 2021 – We are pleased to announce that OM Digital Solutions Corporation commenced operations on January 1, 2021. OM Digital Solutions Corporation will continue to provide consumer products that have previously been manufactured and sold by Olympus.

Shigemi Sugimoto, the former Imaging Head for Olympus, has been appointed Representative Director and President of OM Digital Solutions Corporation. Under a new organizational structure, with Management, Research and Development, Manufacturing, and Sales departments operating as one, we will endeavor to further improve our services and enhance our product lineup for all those who love our brands, including OM-D, PEN, and Zuiko.

Message from Shigemi Sugimoto

“As of January 1, 2021, we advanced as OM Digital Solutions Corporation. In recent years, digitalization has accelerated in response to changes in the marketplace and technological advancements, revolutionizing the industry. A sense of value is critical to the consumer, and we believe that which is ultimately being sought right now is a more satisfying, fulfilling life.

During our business as the Imaging Division of Olympus, we contributed to society by developing and marketing products such as cameras, audio recorders, and binoculars. With the camera business, we applied innovative philosophies when developing our products. In the film era, we succeeded with the development of the unprecedented compact, lightweight design of the OM series of 35mm SLR cameras. We have inherited this passion and development philosophy in the digital age, leading to the Micro Four Thirds standard, and the progression to the mirrorless OM-D series. In addition, we developed precision optics and superior camera equipment utilizing groundbreaking technologies, including lens groups with high optical performance, world-class image stabilization, and the High-Res Shot function, delivering high-resolution imaging to photographers everywhere.

It is our manufacturing capabilities that have supported this business. This was accomplished through forward-looking insight, a challenging spirit, and close relationships with our manufacturing operations. As OM Digital Solutions Corporation, we will continue to launch innovative products in existing business areas such as cameras, audio recorders, and binoculars, while combining our inherited manufacturing capabilities with state-of-the-art digital technologies, to provide new solutions that stretch beyond the boundaries of existing products on the market.

The launch of this new company brings together a more focused and flexible organizational structure. Moving forward, this will allow the freedom to explore new business opportunities, enabling us to contribute to society with more passion than ever.”

Background of New Company Name

There are two key values behind the company name, "OM Digital Solutions”. "OM" is legendary, a piece of history that articulates our identity. In the 1970s, the Olympus OM System was developed to overcome the three obstacles that had faced SLR cameras at the time: their large size, their heavy weight, and the loud sound and shock caused by shutter operation. Olympus reduced the shutter shock and made the cameras more compact and lightweight, all while maintaining the highest level of performance. Olympus pursued drastic size and weight reductions to allow the camera to fit comfortably in one's hand and was able to accomplish this thanks to the uncompromising attitude towards design and manufacturing.

The letters “OM” in the company name, embody the position of always challenging difficult situations, and developing new products and technologies. In the digital era, “OM” has been reborn as “OM-D”, and it is leading our imaging brand as the prominent mirrorless camera line.

"Digital Solutions" incorporates our corporate direction and determination towards the future of challenging the digital domain; both the carefully cultivated imaging-related business and expanding beyond boundaries. We take pride in manufacturing products that meet and exceed market demands.

OM Digital Solutions Corporation is a state-of-the-art business that challenges preconceived notions and provides solutions for professionals and consumers, allowing them to lead fuller, richer lives.

Company Outline

Business Launch Date: January 1, 2021

Company Name: OM Digital Solutions Corporation

Locations

Global Headquarters

49-3 Takakura-machi, Hachioji-shi, Tokyo 192-0033, Japan

Sasazuka Office:

Daiwa Sasazuka Tower, 1-50-1 Sasazuka, Shibuya-ku, Tokyo 151-0073, Japan

Osaka Office:

Shin-Osaka Brick Bldg., 1-6-1 Miyahara, Yodogawa-ku, Osaka-shi, Osaka 532-0003, Japan

Website: https://om-digitalsolutions.com/

Representative Director

Shigemi Sugimoto (Representative Director and President)

Business Operations Operations involving the manufacture and sale of digital cameras (primarily mirrorless interchangeable lens cameras), interchangeable lenses, IC recorders, and other audio products

Company names and product names contained in this notice are trademarks or registered trademarks of their respective companies.

Posted to: Canon News, Nikon News, Sony News   Category: Olympus News
Post Date: 1/5/2021 8:35:23 AM CT   Posted By: Bryan

This is not the largest list we've seen from Tamron, but there are some good lens options on the short list.

ModelRebate Amount 
Tamron 70-200mm f/2.8 Di VC USD G2 Lens Buy$100.00  B&H | Adorama | Amazon
Tamron 70-300mm f/4.5-6.3 Di III RXD Lens Buy$50.00  B&H | Adorama | Amazon
Tamron 150-600mm f/5-6.3 Di VC USD G2 Lens Buy$100.00  B&H | Adorama | Amazon
Tamron 20mm f/2.8 Di III OSD Lens Buy$50.00  B&H | Adorama | Amazon
Tamron 24mm f/2.8 Di III OSD Lens Buy$50.00  B&H | Adorama | Amazon
Tamron 35mm f/1.4 Di USD Lens Buy$50.00  B&H | Adorama | Amazon

Posted to: Canon News, Nikon News, Sony News   Category: Tamron Rebates
Post Date: 1/5/2021 8:20:13 AM CT   Posted By: Bryan
 Saturday, December 26, 2020

The annual Christmas tree photo session was late this year, but ... I'll take satisfaction that it happened before Christmas.

Our space calls for an ultra-wide-angle focal length, and a wide max aperture lens typically makes the starburst effect from individual lights pronounced at narrow apertures. Last year, the impressive Canon RF 15-35mm F2.8 L IS USM Lens got the call for this job. Another impressive lens, the Sony FE 12-24mm f/2.8 GM, was a recent addition to the kit and a perfect choice for this year. That lens choice made the Sony a7R IV the easy camera choice.

When shooting the same scene every year, the composition selection tends to become established, and I didn't get too creative this year vs. last year, choosing again to utilize the wall unit as a right-side frame to the full room scene. The straight vertical lines of the wall unit lead me to a level (for pitch and roll) camera as those lines need to be straight along the edge of the frame (or they can be angled enough to appear intentionally so). The leveled camera position then determines the composition.

Note the lack of geometric distortion in this uncorrected 12mm capture.

With the close foreground, this composition requires f/16 for adequate depth of field, and narrow apertures produce larger starbursts. However, f/16 is considerably narrower than the a7R IV's DLA (Diffraction Limited Aperture), meaning that the image becomes very noticeably soft at f/16. Since this lens produces nice starbursts at f/11, I opted for this aperture for the base image and composited the closest subjects and the candle starbursts from an f/16 image via layers in Photoshop. Otherwise, this image is right out of the camera.

With that, another Christmas tree photo is in the archives.


Post Date: 12/26/2020 9:58:57 AM CT   Posted By: Bryan
 Saturday, December 19, 2020

When you have to look down to see the sun rising, you know you are in a great location, and Cadillac Mountain in Acadia National Park is such a location. This particular morning greeted our group with extraordinary sky color – this image is practically right out of the camera.

Telephoto lenses are excellent choices for filling the frame with the color of a sunrise or sunset. The Canon RF 70-200mm F2.8 L IS USM Lens was the choice for this morning. It's a superb lens. At least that is the lens I originally thought I captured this image with. I later realized that the EXIF indicated the Canon RF 24-70mm F2.8 L IS USM Lens was the lens responsible for this image. The two lenses are interchangeable at this focal length.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
70mm  f/8.0  1/50s
ISO 100
8636 x 6148px
Post Date: 12/19/2020 9:32:12 AM CT   Posted By: Bryan
 Friday, December 18, 2020

From Sigma:

Firmware update for the SIGMA MOUNT CONVERTER MC-11

Thank you for purchasing and using our products.

We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 is now available.

[Applicable product]

  • SIGMA MOUNT CONVERTER MC-11 SA-E

[Benefits of the update]

  • It makes the converter compatible with the SIGMA 120-300mm F2.8 DG HSM | Sports in SIGMA SA mount, that has the latest firmware Ver.1.02.
  • It has improved a rarely-occurring blinking phenomenon during movie shooting.

[Applicable product]

  • SIGMA MOUNT CONVERTER MC-11 EF-E

[Benefits of the update]

  • It makes the converter compatible with the SIGMA 30mm F1.4 DC HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01.
  • It makes the converter compatible with the SIGMA 28mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.1.02.
  • It makes the converter compatible with the SIGMA 70mm F2.8 DG MACRO | Art in Canon EF mount, that has the latest firmware Ver.1.01.
  • It makes the converter compatible with the SIGMA 85mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver. 2.03.
  • It makes the converter compatible with the SIGMA 135mm F1.8 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.03.
  • It has improved a rarely-occurring blinking phenomenon during movie shooting.

[How to update]

Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.

* Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.

* Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.

SIGMA Optimization Pro Download page

https://www.sigma-global.com/en/download/lenses/sigma-optimization-pro/

For further information, please contact your nearest authorized SIGMA subsidiary / distributor. https://www.sigma-global.com/en/about/world-network/

We appreciate your continued support for our company and products.

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 12/18/2020 5:20:04 PM CT   Posted By: Bryan
 Tuesday, December 15, 2020

From Skylum:

LuminarAI Reinvents the Photo Editing Experience for Creative Artists

New AI-centric tools help drive a refined workflow, offering creatives the solutions they need without the manual, tedious tasks often required

NEW YORK – December 15, 2020 – Skylum is excited to announce that LuminarAI, the revolutionary new photo editing program for creatives of all levels, will ship December 15, 2020. LuminarAI features several AI-powered technologies that help to automate processes, without getting rid of a human-centric approach.

Built for beginners and pros alike, LuminarAI offers creatives a workflow driven by artificial intelligence. LuminarAI also intelligently knows where to apply each effect, letting artists enhance images without tedious, manual work, and includes new, state-of-the-art tools – all of which were heavily researched and developed in tandem by Skylum and professional photographers.

“Our approach to AI lines up with that of the best minds in the field. What differentiates it, however, is our human-centric application of this incredibly powerful technology. In my experience, only 30% of our time is actually spent being creative,” said Alex Tsepko, CEO of Skylum. “LuminarAI uses artificial intelligence to flip those metrics. We created LuminarAI so people can focus on the outcomes and photos, and not worry so much about the editing process.”

New AI-Forward Templates

A new Templates system automatically scans each photo for subject and problem areas, and then recommends Templates that challenge an artist’s creativity, while also helping them achieve common tasks. Artists can then choose to utilize a Template, tweak it for a custom look or skip the Template process altogether and edit manually.

Manual AI Tools

Portrait tools like BodyAI let creatives mold a subject’s body, increasing or reducing volume in a realistic way. Eyes can become transformed with IrisAI, allowing artists to change the color of an iris or add a twinkling catch light. FaceAI and SkinAI put the emphasis on fine-tuning the details of a subject’s face, while also offering options to reduce blemishes and shine.

On the landscape side, SkyAI lets artists reinvent their skies like never before, automatically recognizing the sky in an image and offering various replacement tweaks to make for a truly memorable photograph. AtmosphereAI allows artists to add realistic effects like fog, mist and haze, while automatically recognizing depth and other elements to the image.

All images can also take advantage of LuminarAI’s AccentAI, which intelligently enhances photographs, and CompositionAI, which helps artists achieve the perfect crop for their image by utilizing the golden rules of photo composition, including the rule of thirds.

Starting at $79 USD, LuminarAI is available now. It is available as a standalone application, a plugin for Lightroom Classic and Photoshop and an Apple extension. For more information, visit skylum.com/luminar-ai.

Our coupon code, THEDIGITALPICTURE, is often active for a $10.00 discount.

Posted to: Canon News, Nikon News, Sony News   Category: Skylum News
Post Date: 12/15/2020 9:30:42 AM CT   Posted By: Bryan
 Tuesday, December 8, 2020

From Capture One:

COPENHAGEN, Dec 8th, 2020: Capture One, the premier name in photo editing software, celebrates the release of the newest version, Capture One 21.

Linking our heritage to our future, this new version of Capture One reimagines the relationship between form and function to create a seamless bond between creator and creation. Combining its best-loved elements like personalized Workspaces and powerful Color Editor with new and exciting features like Speed Edit for immersive editing and Dehaze, to improve atmospheric conditions, Capture One 21 brings a new type of user experience; one that helps creators push the boundaries of their creativity by removing distraction and making it easy to exploit one’s creative potential.

Carrying on the tradition of development driven by user feedback, Capture One 21 is rooted in developing solutions to current challenges and anticipating tomorrow’s needs. With new ProStandard Color Profiles Capture One 21 introduces color technology that preserves authentic colors to overcome the challenge of unwanted hue changes when applying adjustments, and new HEIC support means Capture One is ready to work with cameras of today and tomorrow. It is also now easier than ever to learn Capture One with enhanced tooltips and easy access to tutorials right from within the software. Complimenting this suite of new features are improvements to current ones, bringing faster asset management and an improved importer to make organization effortless and quick.

Furthering its commitment to providing unparalleled raw processing and tethering with more than 500 different camera models, Capture One is delighted to launch a new collaboration with Leica Camera AG to bring industry leading tethering support to a growing catalog of Leica cameras, starting off with the Leica SL2 and Leica S3.

"Capture One 21 bridges our heritage to the future, carrying forward the achievements of our team and the creative community we are inspired by,” says Jan Hyldebrandt-Larsen, VP Product Management, CPO at Capture One. “We understand that art and tastes don’t stop evolving, so we provide performance that won’t stop advancing. We are very excited about Capture One 21 and look forward to seeing what photographers create with it, and to embrace new generations of creatives.”

New features and tools in Capture One 21

Speed Edit

Revolutionize how fast you edit photos. Speed Edit lets you work seamlessly without touching a slider on the interface – simply hold down selected hotkeys and scroll, drag or use the arrow keys to make rapid edits. You can even adjust multiple photos at once for the fastest ever batch edit.

Dehaze

Eliminate haze and the most undesirable atmospheric weather conditions with the ease of moving one slider. The groundbreaking new Dehaze tool uses deep analytic algorithms to assess and automatically adjust contrast, saturation and a matrix of other parameters to remove haze and reveal the image you want.

Faster Asset Management

Get seamless asset management. With increased power and speed, it’s now faster than ever to import, search and browse photos in Catalogs and Sessions.

Improved Importer

With better selection, high-resolution thumbnails, and faster importing, it’s smoother, easier, and quicker to select images directly in the importer – and cull the ones you don’t want. Plus, import images from different folders all at once.

Enhanced Tooltips

The onboarding experience and familiarization with Capture One is now smoothest it has ever been, thanks to the new enhanced tooltips. Navigate the Capture One interface with ease – simply hover over a tool for a quick explanation of how it works and links for more learning. Enable or disable them from Preferences as you like.

Learn

It’s never been easier to get started and master Capture One. Together with the enhanced tooltips, the new “Learn” button allows users to quickly access a curated selection of tutorials designed to help you learn step-by-step, right from within the software, and immediately put new skills into practice.

HEIC Support

With support for HEIC files (8-bit), you can now edit photos from your Apple devices and more in Capture One.

ProStandard Profiles

Stay true to real life with the most authentic colors yet, using the new color science/technology in the new ProStandard Profiles. These new camera profiles overcome the challenge of unwanted color shifts while making adjustments, protecting hues from changes caused by contrast. This is a true game changer for portrait and product photography – and any image that relies on authentic color.

Available for select camera models that can be found at support.captureone.com

Easy Brush Adjusting

It’s now possible to easily change the size, hardness, opacity, and flow of any brush by using modifier keys and a mouse / trackpad / pen, removing the need to right-click.

Capture One & Leica

Unlike other raw processors, Capture One’s camera profiles are uniquely developed for each specific camera model, a process that requires the use of the camera in and out of a controlled lab in Copenhagen, where a team of specialists engage each new model in various scenarios. They then evaluate all the performance parameters such as color, sharpness, and noise across hundreds of images and uses that data to deliver a truly tailored profile, which ultimately provides the best post-processing experience. Capture One 21 brings this level of support to a growing list of Leica cameras, and for the first time brings tethering capabilities to those models.

Read all about Capture One 21 at: www.captureone.com

New camera and lens support

Capture One provides users with the most accurate and powerful image editing available, and the wide-ranging support of cameras and lenses is a hallmark of the software. For enthusiasts and professionals alike, Capture One continually evolves to handle the newest cameras and lenses.

Capture One carefully evaluates and interprets each camera’s RAW formats, allowing Capture One to present images with the utmost fidelity, often bringing out nuances that other programs can’t even perceive.

Currently offering RAW support for more than 500 cameras, Capture One also provides profiling and image correction support for more than 500 lenses. As with the RAW file interpretation, Capture One carefully measures the optical characteristics of each supported lens and builds correction algorithms that compensate for the various optical imperfections of various designs. As a result, Capture One can correct for numerous common optical issues such as vignette, and chromatic aberration as needed for each of the supported lenses, providing you the best version of your image possible. And they are always adding support for the newest camera bodies and lenses.

Availability

Capture One 21 release date is December 8th, 2020.

Pricing

Capture One 21 is available as a perpetual license or subscription:

Capture One Pro 21:

Perpetual License: $299
Upgrades from select previous generations starting at $159
Subscription starting at $20/month

Capture One 21 for Nikon, Capture One 21 (for Sony) and Capture One 21 for Fujifilm

Perpetual License: $129
Upgrades from select previous generations starting at $109
Subscription starting at $9.99/month

For a complete list of all products and licensing options, visit: www.captureone.com/store

For a 30-day fully featured free trial of Capture One 21, visit www.captureone.com/download

Order

Support us and get a great deal by ordering Capture One today from B&H for only $174.95 after $125.00 instant savings! Note: "With purchase of Capture one V20 (current version) you are automatically eligible for a free upgrade to the soon to be released V21 of Capture One."

Posted to: Canon News, Nikon News, Sony News   Category: Capture One News
Post Date: 12/8/2020 8:12:38 AM CT   Posted By: Bryan
 Thursday, December 3, 2020

Direct sun on snow delivers an extremely bright subject. Evergreen trees in the shade are an extremely dark subject. This scene provided both.

While an overhead sun is a bit brighter than a setting sun, this a very intense sunset scene. Bracketing exposures for potential HDR use is the safe way to photograph such a scene, but I was shooting handheld with the Canon RF 100-500mm F4.5-7.1 L IS USM Lens and relied on the Canon EOS R5's capabilities to capture all of the brightness levels in this scene in a single exposure.

When photographing landscape at sunrise and sunset, the red channel is usually the one to watch. The light is strongly warm-toned, and the directly lit portion of the scene will push the red channel high on the histogram.

In Canon Digital Photo Professional (DPP), this image's exposure was reduced by 1 stop, bringing the red channel in the brightest pixels to at or just below 255, with detail remaining in this channel. The foreground was then processed at a brighter setting and combined in Photoshop.

The setting sun hitting the tops of the Alaska Range and the clouds whisping over it in Denali National Park was breathtaking. Or, maybe I was just holding my breath too much while shooting furiously.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
223mm  f/8.0  1/40s
ISO 200
7206 x 4807px
Post Date: 12/3/2020 8:19:07 AM CT   Posted By: Bryan
 Wednesday, December 2, 2020

From Tamron:

Tamron Announces World’s First1 17-70mm F2.8 Wide Range 4.1x Standard Zoom Lens with VC For APS-C Mirrorless Cameras

17-70mm F/2.8 Di III-A2 VC RXD (Model B070)

Tamron announces the launch of the 17-70mm F/2.8 Di III-A VC RXD (Model B070), a high-speed standard zoom lens for Sony E-mount APS-C mirrorless cameras on January 14, 2021 at approximately $799. Due to the current global health crisis, the release date or product supply schedule could change.

The new 17-70mm F2.8 is Tamron's first high-speed zoom lens for mirrorless cameras with APS-C size sensors. It features a maximum aperture of F2.8 across the entire 4.1x zoom ratio covering a focal length of 17-70mm (a full-frame equivalent of 25.5-105mm) ideal for everyday use, and superb optical performance. It is a small, lightweight lens that is also equipped with Tamron's VC (Vibration Compensation) mechanism to minimize camera shake. This VC mechanism leverages AI technology when shooting video.

The lens features Moisture-Resistant Construction, Fluorine Coating and a Ø67mm filter size – the same as the Tamron series of lenses for full-frame mirrorless cameras. Compatible with many of the features that Sony builds into its cameras, including Fast Hybrid AF and Eye AF, the lens is the ideal everyday zoom for a multitude of situations. It is a highly practical lens that enables photographers to attain high image quality while enjoying the benefits of the large F2.8 aperture.

PRODUCT HIGHLIGHTS

1. World’s first high-speed standard zoom lens for APS-C cameras with the focal length range of 17-70mm 4.1x zoom ratio

The Model B070 has a focal length range of 17-70mm, equivalent to 25.5-105mm on full-frame cameras. It is the first F2.8 high-speed zoom lens in the world for APS-C mirrorless cameras to achieve a 4.1x zoom ratio.

2. Outstanding optical performance

The optical construction of the new 17-70mm F2.8 features 16 elements in 12 groups. Two GM (Glass Molded Aspherical) lens elements and one hybrid aspherical lens element are precisely arranged to maintain high-resolution performance from edge to edge.

3. Upgraded VC effective in combination with Sony APS-C mirrorless cameras, leveraging AI for video shooting

The 17-70mm F2.8 features Tamron's proprietary VC mechanism. Additional sophisticated algorithms optimized for this model and a dedicated, independently operating MPU all combine to superbly compensate for vibration. This feature is available when the lens is used with cameras with or without in-body image stabilization. When shooting video, by leveraging AI technology, image stabilization performance improves compared to conventional models.

4. Close focusing-MOD is just 7.5” at the wide-angle end

The 17-70mm F2.8 zoom focuses close, down to 7.5” MOD (Minimum Object Distance). This is far superior to the performance achieved by conventional high-speed zoom lenses for APS-C cameras. In addition, the 15.4” MOD at the 70mm telephoto end ensures good close-range shooting performance allowing photographers to enjoy compelling close-up shots.

5. A highly portable compact design

The 17-70mm F2.8 zoom measures a scant 4.7” in length and 74.6mm in maximum diameter and weighs only 18.5 oz. The lens also maintains the same small Ø67mm filter size of each lens in the Tamron mirrorless lens line-up. This is remarkable for a lens with built-in VC image stabilization. When used with Sony's APS-C mirrorless cameras, this zoom is nicely balanced and provides a comfortable user experience.

6. The RXD (Rapid eXtra-silent stepping Drive) stepping motor unit is exceptionally quiet and perfect for video use

7. Moisture-Resistant Construction and Fluorine Coating provide extra protection

8. Compatible with many camera-specific features and functions, including Fast Hybrid AF and Eye AF

1 Among interchangeable F2.8 standard zoom lenses for APS-C mirrorless cameras (As of November 2020: Tamron)

2 Di III-A: For APS-C format mirrorless interchangeable-lens cameras

SPECIFICATIONS

Model: B070
Focal Length: 17-70mm (for APS-C frame mirrorless format) (25.5-105mm full-frame equivalent field-of-view)
Maximum Aperture: F2.8
Angle of View (diagonal): 79° 55'-23° 00' (for APS-C frame mirrorless format)
Optical Construction: 16 elements in 12 groups
Minimum Object Distance: 7.5" (WIDE), 15.4" (TELE)
Maximum Magnification Ratio: 1:4.8 (WIDE) / 1:5.2 (TELE)
Filter Size: Ø67mm
Maximum Diameter: Ø74.6mm
Length*: 4.7"
Weight: 18.5 oz
Aperture Blades: 9 (circular diaphragm)**
Minimum Aperture: F22
Standard Accessories: Flower-shaped hood, Lens caps
Compatible Mounts: Sony E-mount

* Length is the distance from the front tip of the lens to the lens mount face.

** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.

Specifications, appearance, functionality, etc. are subject to change without prior notice.

This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation

B&H will be taking Tamron 17-70mm F/2.8 Di III-A2 VC RXD Lens orders.

Posted to: Canon News, Nikon News, Sony News   Category: Tamron News
Post Date: 12/2/2020 9:19:43 PM CT   Posted By: Bryan
 Thursday, November 26, 2020

Posted to: Canon News, Nikon News, Sony News   
Post Date: 11/26/2020 6:41:20 PM CT   Posted By: Bryan
 Tuesday, November 24, 2020

I love a challenge, and photographing outdoors often presents many challenges. When planning my Rocky Mountain National Park trip, I considered many factors for the timing. Smoke was not one of them.

Smoke filling the air was troublesome overall, but this scenario illustrated making the most of a unique situation. The decreased air clarity meant that contrast decreased rapidly with distance, creating distinct layers of mountains.

I love a tight portrait of a beautiful animal, but it is often more challenging to include that animal in a beautiful landscape. Environmental wildlife images require the photographer to think like a landscape photographer – and a portrait photographer.

My favorite Canon lenses for environmental wildlife photography are the RF 100-500mm F4.5-7.1 L IS USM Lens and EF 100-400mm f/4.5-5.6L IS II USM Lens.

Sony camera owners should consider the FE 100-400mm f/4.5-5.6 GM OSS Lens for this purpose. While the FE 200-600mm f/5.6-6.3 G OSS Lens is a great wildlife lens and has a long end advantage, I sometimes find 200mm to not be wide enough for this type of imagery. That said, this range would have worked great for this photo.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
300mm  f/8.0  1/500s
ISO 125
8192 x 6228px
Post Date: 11/24/2020 7:56:15 AM CT   Posted By: Bryan
 Sunday, November 22, 2020

As long as the correct exposure and basic compositional skills are applied, it is hard to take a bad picture of the milky way.

Here is a list of steps for photographing the milky way.

  1. You need to be able to see the milky way, and it is not always visible. Find that schedule. The Photographer's Ephemeris and similar apps are useful for this. Mid-late summer is ideal.
  2. You need a dark sky. Dark as in no city lights, even in the distance, is most important, and no moon or a small moon is also helpful. Plan for the dark sky location and moon schedule.
  3. You need a clear sky. Heavy cloud cover is a milky way photography show-stopper.
  4. A camera is required. Most modern interchangeable lens cameras will work fine, but with equivalent lenses, the full-frame models have an advantage.
  5. The camera requires a lens, and lens selection is critical. The lens needs a wide aperture to create a bright enough image in an exposure short enough that star trails do not appear within the acceptable ISO range of the camera. Think f/2.8 as a minimum, and f/1.4 is awesome. A wide-angle focal length is needed to get enough of the milky way in the frame. While 35mm can work, go with 28mm and wider (full-frame equivalent). Stars are pin-sharp and you want a lens that renders them pin-sharp fully into the corners at the wide-open aperture. That lens does not exist, but some lenses are considerably better than others for this purpose.
  6. Mount the camera and lens on a solid tripod and head.
  7. While the milky way looks great without any other supporting environment, an attractive foreground can make such an image stand out, as illustrated in this image.
  8. Focus the camera. If the moon or another very distant light is visible, autofocus on it, and then switch to MF. Otherwise, or alternatively, use manual focus (pick a bright star and fully zoom in to focus manually).
  9. Set the camera to manual exposure, and remember that your LCD is going to appear very bright in the dark.
  10. Use a wide-open aperture.
  11. Set the shutter speed. Basically, use the longest possible shutter speed that does not create offensive star trails. Consider starting at 20 seconds for a 24mm lens on a medium resolution imaging sensor. Higher resolution imaging sensors more readily show star trails and require shorter exposures for equivalent pixel-level results. Review the shot until the ideal duration is established.
  12. Set the ISO. Too high is the setting most often needed. At f/2.8, ISO 12800 is probably needed. At f/1.4, try ISO 3200 or 6400.
  13. Set the drive mode to 2-second self-timer.
  14. Frame the scene as well as possible (it will be very dark), capture an image, adjust the camera, and repeat that process until perfection is achieved.
  15. When the composition is just right, cue the meteorite to streak through an ideal area of the composition. Want a meteorite in the frame? The odds for any given frame to have a meteorite in it is low, but selecting a date within a known annual meteor shower, such as the Leonids, greatly increases the odds. After establishing the perfect shot, set the camera's drive mode to high speed, plug in a remote release with a locking button, lock the remote's shutter release down, and walk away. Tending a second camera setup is a good use of this time. If available, a bowl of ice cream is also entertaining. Come back to adjust the composition for the milky way's movement across the sky (I know, the earth is what moves).

Amazingly, and out of the norm for me, was seeing a meteorite streak by while the shutter was OPEN, without using the continuous drive mode technique. While I welcome meteorites, I do not fancy satellites. They get removed (this is easy with Photoshop's healing brush and clone tools).

As mentioned, the earth rotates, causing the milky way to move across the sky like everything else up there. On this evening, I followed the heart of the milky way around Bear Lake in Rocky Mountain National Park until Hallett Peak was a foundational element in the composition. Despite the 4:30 AM alarm, it was well after midnight before exhaustion overcame excitement.

What is my favorite milky way lens? Currently, the Sony FE 24mm f/1.4 GM Lens holds that title for me. The 24mm focal length fills a significant portion of the frame with the heart of the milky way. The f/1.4 aperture is extremely wide, permitting lower ISO settings for less noise. This lens's image quality at f/1.4 is excellent. The size is compact enough that I can take it along as a lens dedicated to this purpose.


A larger version of this image is available on Flickr.

Post Date: 11/22/2020 7:00:00 AM CT   Posted By: Bryan
 Saturday, November 21, 2020

From Sigma:

Firmware update for SIGMA Global Vision lenses in Canon EF mount

We would like to announce that a new firmware update is now available for SIGMA Global Vision lens in Canon EF mount listed below.

For customers who own the SIGMA USB DOCK UD-11 and applicable products listed below, please update the firmware via SIGMA Optimization Pro.

[Applicable product]

  • SIGMA 12-24mm F4 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
  • It has fixed a rarely-occurring communication problem during Live View shooting when mounted on the EOS-1D X Mark III.

[Applicable product]

  • SIGMA 24-35mm F2 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
  • It has fixed a rarely-occurring communication problem during Live View shooting when mounted on the EOS-1D X Mark III.
  • It has reduced the operating sound of the lens diaphragm blades when attached with the SIGMA MOUNT CONVERTER MC-11 EF-E and used for shooting movies.
  • It has reduced the operating sound of the lens diaphragm blades when used for shooting movies on Canon cameras. *
    *The degree of improvement differs depending on the camera used.

[Applicable product]

  • SIGMA 24mm F1.4 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
  • It has reduced the operating sound of the lens diaphragm blades when attached with the SIGMA MOUNT CONVERTER MC-11 EF-E and used for shooting movies.
  • It has reduced the operating sound of the lens diaphragm blades when used for shooting movies on Canon cameras. *
    *The degree of improvement differs depending on the camera used.

[Applicable product]

  • SIGMA 50-100mm F1.8 DC HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D.

[Applicable product]

  • SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports in Canon EF mount
  • SIGMA 35mm F1.4 DG HSM | Art in Canon EF mount

[Benefits of the update]

  • It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.

[How to update]

Connect the lens to a computer via the SIGMA USB DOCK UD-11 (sold separately), then open SIGMA Optimization Pro*. If the lens firmware isn’t the latest version, the following message will appear: ‘The latest lens firmware is available’. Click ‘Yes’ to update.

* Before updating lens firmware using the SIGMA USB DOCK UD-11, please ensure you update SIGMA Optimization Pro to the latest version.

SIGMA Optimization Pro download page: https://www.sigma-global.com/en/download/lenses/sigma-optimization-pro/

 

Firmware update for SIGMA 16mm F1.4 DC DN | Contemporary in Sony E-mount

[Benefits of the update]

To update the firmware, please refer to the following link: https://www.sigma-global.com/en/download/lenses/firmware/

* After the update is complete, be sure to remove the battery pack of the camera and reinsert it.

 

Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E

[Benefits of the update]

  • It makes the converter compatible with the SIGMA 12-24mm F4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01
  • It makes the converter compatible with the SIGMA 24-35mm F2 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01
  • It makes the converter compatible with the SIGMA 50-100mm F1.8 DC HSM | Art in Canon EF mount, that has the latest firmware Ver.2.03
  • It makes the converter compatible with the SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver.1.03
  • It makes the converter compatible with the SIGMA 24mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.02
  • It makes the converter compatible with the SIGMA 35mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.02

[How to update]

Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.

Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.

*Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 11/21/2020 8:33:11 AM CT   Posted By: Bryan

There is something incredibly photogenic about a huge, dangerous animal emerging from dense cover. Seeing the large paddles approaching through the brush is a bucket list-grade experience.

Often, the key to wildlife photography is predicting where the animal is headed, selecting a photogenic environment along that path, and being in that place with a ready camera. Though highly simplified, that plan sometimes works, as in this case. Getting non-obstructed moose images meant finding the next opening on the moose's route.

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.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
159mm  f/5.0  1/500s
ISO 2500
8192 x 5464px
Post Date: 11/21/2020 7:00:00 AM CT   Posted By: Bryan
 Friday, November 20, 2020

From Kenko Tokina Co., Ltd.:

Tokina atx-i 17-35mm F4 FF sales date announcement

Nov 20, 2020

Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina atx-i 17-35mm F4 FF lens.

Sales will commence on December 11, 2020.

Tokina atx-i 17-35mm F4 FF is designed to fit Full Frame DSLR cameras and supports Nikon F and Canon EF mounts. With its wide angle properties this lens is a perfect gear for shooting landscapes, street snap, architecture and time-lapse. Constant f/4 aperture, robust design while maintaining a reasonable size and weight provide a new option for professional photographers who are especially active in travel.

Highlighted Features

  • Compact lightweight and robust design - perfect for landscape, architecture, street snap and travel photography.
  • Precise AF actuated by combination of Tokina GMR sensor and SD-M (Silent Drive-Module).
  • Low vignetting, extremely low distortion and good sharpness throughout the image.
  • Moisture protection.
  • One-Touch Focus Clutch system.

B&H carries Tokina lenses.

Roadmap (November 2020 update)

Tokina Lens Roadmap

Posted to: Canon News, Nikon News, Sony News   Category: Tokina News
Post Date: 11/20/2020 8:04:52 AM CT   Posted By: Bryan
 Tuesday, November 17, 2020

I like frogs, and I know that I'm not the only photographer who does. If one owns a big, expensive supertelephoto lens, it is easy to use it for any subject that comes along, including skitish frogs. However, most of us will not find photographing frogs high enough on the justification list for the purchase of such a lenses.

Fortunately, there are two very affordable long focal length frog photography lens options available. Canon's RF 600mm F11 IS STM and RF 800mm F11 IS STM Lenses are able to nicely capture these subjects from non-threatening distances.

These lenses are simple to use — F/11 and be there simple. Having a single aperture setting available simplifies exposure settings, and the relatively deep depth of field makes keeping the subject in focus easy. These are aspects that casual photographers and beginners, including kids, can appreciate.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
600mm  f/11.0  1/30s
ISO 160
5472 x 3648px
Post Date: 11/17/2020 8:10:53 AM CT   Posted By: Bryan
 Thursday, November 12, 2020

When Canon introduced the RF 600mm F11 IS STM and RF 800mm F11 IS STM Lenses, a primary shortcoming was recognized. The F11 in the name gave many of us reason to pause – who would want a lens that only opens to f/11?

When shooting birds at relatively close distance with a long focal length, it is challenging to keep the entire head and bill in focus, and a narrow aperture is the solution. This lens is built for that specific solution, and bird photography is a good use for this lens.

The f/11 fixed aperture brings significant benefits, including light weight, compact size, and low price, and these features meet a range of other needs. Those not able to (or do not want to) carry heavy gear around, those not able to afford the expensive glass, beginners, kids, etc. are loving this lens and its 600mm sibling. These new RF lenses fill that niche.

The Canon EOS R5's animal eye AF performs incredibly well with this and other bird subjects. While the f/11 max aperture reduces the camera's AF area (and pushes ISO settings up), there was no need to select a specific AF point to keep this little green heron's eye in focus within that area. Simply frame and shoot. The bird turned its head? Frame and shoot. It's game-changing.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
800mm  f/11.0  1/250s
ISO 5000
8192 x 5464px
Post Date: 11/12/2020 9:13:47 AM CT   Posted By: Bryan
 Wednesday, November 11, 2020

When the conditions at a destination are not as we expected or as we hoped they would be, we tend to get discouraged. However, when those circumstances are unusual, we can capture images that look different. With the extreme number of images being captured today, different is very positive.

The massive wildfires in the western USA were timed with the elk rut in Colorado this year, and the resulting smoke was not a welcome aspect of this Rocky Mountain National Park trip. While the smoke eliminated sky and sunlight color at sunrise and sunset and prevented clear viewing of the milky way and stars, the look of wildlife images captured under a late morning sun was different — and improved. As seen here, the harsh shadows were strongly reduced, and the background has an interesting low contrast appearance that makes the closer subject stand out in the image.

This image is an 86MP panorama captured with the Canon EOS R5 and Canon EF 600mm f/4L IS III USM Lens. At this moment, the bull came in too close for a 600mm lens to capture the composition I wanted.

When over-focal-lengthed for a situation, attempt to capture the composition's in-motion portion in a single frame. For wildlife and portrait photography, the in-motion part usually includes the head and may include the entire body. For landscape, the in-motion subjects may be a stream or an ocean. After capturing the in-motion portion of the composition, quickly capture the desired additional pieces of the frame in subsequent images, ideally using the same focal length (easy with a prime lens), the same focus distance (switching the lens to MF after the first capture makes this easy), and, preferably, the same exposure settings (manual exposure makes this easy but brightness differences can be resolved when editing the individual RAW files). If there is potential subject motion not contained in the first frame (the back legs of the bull in this example), the immediate second frame should capture that potential motion.

Later, stitch the images together using your favorite image processor. The image shared here was manually merged in Photoshop. The images were stacked, and the hard edges between the frames were removed using a layer mask with a soft-edged brush painting black over the edge of the top image mask.

Another teaching point from this image is the camera position. By photographing from down low, more of the elk is shown against the mountain vs. the meadow and the already-large animal is made to appear even larger.

An exceptional subject always helps overcome any shortcomings in an image. Shown here is, among the animals I've photographed, my all-time favorite set of antlers. The overall size is huge with good mass, the points are long, and the symmetry is impressive. I can't wait to see what this bull grows next year.


A larger version of this image is available on Flickr.

Post Date: 11/11/2020 10:12:20 AM CT   Posted By: Bryan

From Sony:

Sony Opens Registration for “Creative Space” Online Creator Event

Free Event for Visual Creators will be hosted December 5th – 6th

SAN DIEGO – November 10, 2020 – Sony Electronics Inc. today opens registration for the second annual “Creative Space” — a digital event open to all levels of photographers, videographers and all other forms of imaging enthusiasts. Taking place throughout the day on December 5th – 6th, the digital event will bring together an extraordinary community of visual creators eager to learn, get inspired and connect with like-minded creators from all over the world.

Creative Space offers the opportunity for participants to learn from and connect with some of the imaging industry’s biggest names, offering many opportunities to expand their own individual network and win any of a host of great prizes provided by Sony and their event partners from the industry. This event is open to all guests, at no cost for attendance.

To register for this event, please visit www.alphauniverse.com/creativespace.

Posted to: Canon News, Nikon News, Sony News   
Post Date: 11/11/2020 9:28:17 AM CT   Posted By: Bryan
 Tuesday, November 10, 2020
Posted to: Canon News, Nikon News, Sony News   Category: Apple News
Post Date: 11/10/2020 8:17:21 PM CT   Posted By: Bryan

Hypothetically speaking: Let's say that you visit your daughter at college. She is on the track and field team but will not be running the time trial event occurring while you are there due to her having overtrained. You, of course, brought a camera kit, but without expectation of your daughter running, you packed light.

Upon arrival, you learn that she is going to do "a few laps." Fortunately, your light kit included the Canon RF 70-200mm F2.8 L IS USM Lens, an impressive lens that is sports-capable, and you were able to capture some nice pics of your daughter on the track. Since you were actively photographing, you also captured some nice pics to share with her teammates.

The 20-fps drive mode meant that the perfect body position could be captured in every pass, despite the relatively short optimal framing window the 70-200mm focal length range offers. Perfect body position except that you were positioned near the starting line where your daughter glanced at her watch as each lap was completed. Eye detection AF meant the framing was the photographer's primary remaining job to be concentrated on during the race. Well, their primary job until having to process the over 1,000 in-focus images delivered by the Canon EOS R5's 20 fps drive mode in a short time.

The image quality at 20 fps was superb until the sun began to set. Then the flickering stadium lighting began to show some mild banding in your full electronic shutter images. Fortunately, only the last lap was affected by this condition (which could have been avoiding by using the still-fast mechanical first curtain shutter).

After the time trial ended, cool-down runs were over, and the team meeting was finished, your daughter says, "Hey Dad, can you take a team photo?" Your only valid response to this question is "Sure!" As you care about your images, you are not willing to make this a simple snapshot. That these kids have worked hard for years to make this team makes a good team photo especially important.

Your first assessment is the available lighting. This one is easy. The sun set a long time ago, and the only lights available (you did not bring strobes) are the four large stadium lights, two evenly located on each side of the field.

You know that the image background is very important and decide that the home stadium seating provides a clean, non-distracting background, along with giving the image a relevant location.

To get balanced lighting and a symmetrical background, you move the 19-member team down to the centerline of the soccer field inside the track. As mentioned already, and as is frequently the case, the stadium lighting was the flickering type. The Canon EOS R5 and R6 can avoid that issue for you, but a 1/100 second shutter speed is slow enough for the flicker to not cause a problem without using the flicker avoidance feature.

The team was very cooperative with great attitudes. Upon seeing how the double-cross lighting with the stadium background looked in the image review, the excitement increased, and additional photo requests begin flowing in: individuals, with friends, with boyfriends, with roommates, silly photos, tough and serious poses, etc.

The RF 70-200 was again the perfect lens option. The widest focal length is long enough to force adequate subject distance to eliminate group photo perspective issues, including the people in the front row appearing much larger than those in the back row (keeping the rows close to each other also helps in this regard). The individual and small group images were also easily captured by this focal length range.

Your dinner was late this evening.

After spending many hours processing and uploading the images to a private SmugMug gallery for the teammates to access, you wonder if it was such a good idea to take the camera in the first place.

Of course, it was.

OK, maybe I am not hypothetically speaking in this case. However, this scenario is a quite common one — be ready for it. Consider using the same lens and easy subject-on-night-sports-field strategy for your athlete subjects.


 
Camera and Lens Settings
95mm  f/4.0  1/100s
ISO 1250
5464 x 8192px
Post Date: 11/10/2020 9:10:14 AM CT   Posted By: Bryan

From Sony Global:

Sony Launches Drone Project

Tokyo, Japan – Sony Corporation (“Sony”) today announced that it has launched a new project for drones in the field of AI robotics.

The recent proliferation of drones has contributed greatly to the delivery of previously unseen images, as well as to workflow efficiency and energy savings in the industrial sector. Sony has assigned the "Airpeak" brand to reflect its aspiration to contribute to the further evolvement and the creation of the unprecedented value through its imaging and sensing technology as well as 3R technologies (Reality, Real-time and Remote) in the drone area.

Airpeak will support the creativity of video creators to the fullest extent possible, aiming to contribute to the further development of the entertainment industry as well as to improved efficiency and savings in various industries. Airpeak will also promote this project to enable drone-use with the highest level of safety and reliability in the environments where this has been difficult in the past.

Sony will continue to post project-related information and obtain feedback from drone users through co-creation activities to prepare for the launch of the project in the spring of 2021.

The company soon plans to begin seeking for the partners in the professional space who can collaborate on the project.

Post Date: 11/10/2020 8:04:50 AM CT   Posted By: Bryan
 Saturday, November 7, 2020

With a very early alarm in the past and the road lottery ticket on the windshield, a friend and I drove the lead vehicle deep into Denali National Park this morning. We were focused on photographing the Denali peak at first light, but with color in the sky and fog in the foreground, I couldn't resist pausing for a few moments to capture this image.

This scene is one of the many reasons the Canon RF 100-500mm F4.5-7.1 L IS USM Lens is part of my standard landscape kit. With the mentioned goal remaining a high priority, this was a jump out of the car, sit, shoot, and jump back in the car scenario. With no time for tripod setup, the Canon EOS R5 and RF 100-500 combination IS was counted on to make the shot sharp, and it did.

When driving by a scene that calls for a photo, I often regret not heeding that call. The captured image is usually worth far more than the very little time and effort the stop typically requires. This was one of the latter cases. Within three minutes of stopping, we were back on the road.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
118mm  f/8.0  1/25s
ISO 200
8192 x 5464px
Post Date: 11/7/2020 8:20:31 AM CT   Posted By: Bryan
 Thursday, November 5, 2020

From Reikan:

Reikan has released a major update to its automated focus calibration and testing software FoCal for both Nikon and Canon cameras.

Reikan FoCal 2020 Calibration Check

FoCal 2020 includes the unique ability for users to compare lens calibration and focus test results directly with results from other FoCal users around the world, helping to answer the age old question, "Is my camera/lens a good copy?".

Reikan FoCal 2020 Animation

New features in FoCal 2020 include "Calibration Check", a rapid test to quickly determine whether a particular camera/lens combination would benefit from lens calibration and "MultiTest". The MultiTest function is the most comprehensive way to test lens calibration available across the entire aperture range. Looking at all apertures means FoCal is able to calculate the ideal focus adjustment not just when the lens is 'wide open' but also what happens across the most commonly used apertures.

Get Reikan FoCal at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Reikan News
Post Date: 11/5/2020 10:51:10 AM CT   Posted By: Bryan
 Wednesday, November 4, 2020

Already in stock: The affordable DJI Mini 2. From DJI:

Meet DJI Mini 2, The Ultra-Light, Feature-Packed, Easy-To-Fly Drone You’ve Been Waiting For

Weighing Under 249 Grams, DJI Mini 2 Now Has State-Of-The-Art OcuSync Transmission, Robust Motors, and a 4K Camera

November 4, 2020 – Today, DJI, the global leader in civilian drones and creative camera technology, launched DJI Mini 2, a high-performance camera drone that packs impressive new features into a small, portable design in the safest drone category weighing less than 249 grams. The successor to DJI’s original Mavic Mini, DJI Mini 2 is easy to fly, with improved imaging capabilities, powerful flight performance, and significantly enhanced transmission technology for longer and more reliable connection. Intelligent, pre-programmed modes have been optimized so that you can capture eye-catching footage with just a few taps while beginner tutorials and learning tools help get new pilots up to speed on how to fly this fun new drone. Supported with a wide array of fun, safe, and creative accessories, DJI Mini 2 users can make the system their own with personalized items or show it off with the illuminated display case.

“Mavic Mini was a monumental breakthrough for DJI and for drone pilots across the world, as its unprecedented combination of weight, safety, performance, and overall value became the entry point for countless new drone pilots and fans,” said DJI President, Roger Luo. “DJI Mini 2 enhances those key aspects, packing larger drone performance in an approachable, small design in the safest drone category that is perfect for beginners and will also impress more experienced pilots.”

Mini Design, Impressive Results

Just like the original Mavic Mini, DJI Mini 2 features the iconic folding design that makes traveling with a drone incredibly easy. The lightweight system adds minimal weight to your bag and can easily be brought with you in case the opportunity to fly arises. Small yet mighty, DJI Mini 2 has impressive upgrades to vital flight performance features compared to the original version. OcuSync 2.0 transmission technology has now been incorporated. OcuSync 2.0 is DJI’s world-renowned transmission technology responsible for ensuring stable, long distance, and reliable connection between the remote controller and the drone. Dual-frequency technology automatically switches between channels to help against interference. DJI Mini 2 has a maximum transmission range of 10 km1, which is a 150% increase in transmission range when compared to the original Mavic Mini. Upgraded motors provide 31 minutes of flight time, faster acceleration and speed, along with the ability to withstand winds up to 24mph.

Surprisingly Easy to Fly, Reassuringly Safe

DJI Mini 2 was made to be fun to fly, simple to operate, and safe for everyday use, whether that is daily life or an exciting adventure. A live feed from the drone’s camera is sent to your mobile phone so that you can see exactly where Mini 2 is and what it sees. Simplified buttons and functions keep things streamlined and easy to understand compared to more advanced drones. Like all DJI drones, high-grade positioning and vision sensors help Mini 2 hover precisely in place. GPS keeps track of where the drone is while the vision sensors on the bottom map out the ground below it and assist automated landing. DJI drones are renowned for their safety features so that both new and experienced pilots can enjoy the flying experience. Some of these features include GEO fencing, which keeps drones out of sensitive areas like airports, Return to Home, a feature that can be activated so the drone returns to the pilot, and Altitude Lock, an adjustable limit on how high the drone can go. Together, these modes and features make DJI Mini 2 not only a thrill to fly but safe for all skill levels.

Vivid Photos, Steady Video Footage All At Your Finger Tips

Capture those moments in detail with the help of the 1/2.3-inch sensor capable of recording 12-megapixel images and a maximum video resolution of 4K/30fps @100 Mbps. Additionally, images can be saved in standard JPEG as well as RAW for advanced users who want to edit footage further. Shake-free, smooth footage is possible because of the class-leading 3-axis gimbal, which compensates for drone movement, wind, and more. While recording in 1080p resolution, pilots can get closer to their subject without actually having to move the drone thanks to the 4X Zoom (2X lossless in quality) option. Pre-programmed intelligent modes mean the drone does the hard work of capturing beautiful footage with set movements and imaging features. Make your content stand out with just a tap thanks to these pre-set modes including:

  • QuickShots: Pre-programmed movements and image capture modes.
    • Dronie: DJI Mini 2 flies backward and upward, with the camera tracking your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Helix: DJI Mini 2 flies upward and away, spiraling around your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Rocket: DJI Mini 2 flies straight up into the air with the camera pointing downward following your subject. Set a height limit of 40, 60, 80, 100, or 120 ft.
    • Circle: DJI Mini 2 will circle around your subject at a constant altitude and distance.
    • Boomerang: DJI Mini 2 flies a boomerang-like oval flight path around your subject, starting and stopping video in the same place.
  • Panoramas: Capture a wider perspective with select pano modes.
    • Sphere: DJI Mini 2 automatically captures twenty-six images and stitches them together for a crystal-clear image.
    • 180°: Captures seven photos for sweeping landscape images.
    • Wide-Angle: Captures a wide 3x3 image consisting of nine images.
  • Image modes: Different photo modes for different scenarios.
    • AEB Triple Shot: Auto Exposure Bracketing (AEB) takes three images of varying exposure and merges them for a vivid image. This can be edited further to bring out a High Dynamic Range (HDR) image in post-processing.
    • Timed Shots: Give yourself a few extra seconds before taking that photo with timed shots.

Easy To Create, Easier To Share With The World

Sharing is caring, and the DJI Fly app and DJI Mini 2 have a ton of enhancements that make sharing immediately on social media easy and intuitive. Now, your cell phone can connect directly to the drone without the remote controller, and after capturing that shareable footage, download images at a high-speed rate of 20 MB/s once landed safely. Once the images are downloaded to your phone, apply your own edits with the dedicated editing tools in the DJI Fly app or use the new Enhanced Photo option, which applies edits automatically to make it pop. Video footage can take up a lot of space so now, pilots can choose to trim it before downloading using Trimmed Download. DJI Mini 2 is not only simple to fly and fun to operate, the footage you record with it can be shared with all your followers in a matter of seconds.

Add-Ons To Make DJI Mini 2 Your Own

New and updated accessories for DJI Mini 2 help get the most out of its size. These accessories include:

  • 360° Propeller Guards: Make the DJI Mini 2 even safer with propeller guards that completely cover the full propellers.
  • DJI Mini Bag +: Colorful and fashionable, the new carrying bag adds flair to your outfit.
  • Charging Display Case: Show off your DJI Mini 2 in an illuminated clear, bell jar.
  • DIY Creative Kit: Personalize your Mini 2 with custom stickers or blank stickers to create your own artwork.
  • Snap Adapter: An adapter that snaps on to the top of the Mini 2 that allows for the attachment of a small LED screen that messages can be written on.

DJI Care Refresh

DJI Care Refresh is now available for DJI Mini 2. For an additional charge, DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. The 2-year plan provides 3 replacement units in 2 years and extends the original warranty period by one more year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support, and free two-way shipping.

Price and Availability

DJI Mini 2 is available for purchase today from authorized retail partners. DJI Mini can be purchased in two options. The standard package includes DJI Mini 2, remote controller and one battery for the retail price of $449. The Fly More Combo is also available, which includes three batteries, charging hub, DJI Mini 2, a carrying case and remote controller for the retail price of $599.

In Stock – Order Now!

B&H and Adorama have the DJI Mini 2 in stock!

Learn more at B&H Explora.

Posted to: Canon News, Nikon News, Sony News   Category: DJI News
Post Date: 11/4/2020 7:35:30 PM CT   Posted By: Bryan

Somewhat off-topic, but interesting nonetheless — from Canon USA:

NEW INDUSTRIAL MACHINE VISION CAMERAS FROM CANON UTILIZE NEXT-GEN 19 MICRON SENSOR TECHNOLOGY FOR COLOR LOW-LIGHT IMAGE CAPTURE

Industrial and Modular Camera Design Offers Choice of Lens Mounts and Video Output

MELVILLE N.Y., November 4, 2020 — Canon U.S.A., Inc., a leader in digital imaging solutions, today introduced the Company’s next generation of multi-purpose cameras, the ML-100, and the ML-105 , which deliver amazingly high sensitivity to capture Full HD Color video with a minimum subject illumination of less than 0.0005 lux (at maximum 75 dB gain setting, equivalent to an ISO sensitivity of over 4,500,000). With the ability to capture color low-light images, these multi-purpose cameras can be utilized in industrial system design, where seeing color images is critical during day and night.

Canon’s new series of multi-purpose industrial machine vision cameras employ a next-generation 19um, 35mm full-frame CMOS sensor. The modular design of the cameras allows implementation and integration into industrial machine vision environments.

The ML series is available in two models with two different lens mounts and two video output configurations to choose from, for a total of four camera options. The ML-100 camera features a CoaXpress terminal, which allows for the transmission of video, camera-control data and power on a single coaxial cable, ideal for use in industrial systems. The CoaXpress terminal produces 12-bit RAW data output at up to 73 fps and allows for more flexibility during processing. The ML-100 features approximately 2.74 million pixels of maximum video output and supports Region of Interest, which can improve frame rate output up to 164 fps at 720p resolution. The ML-105 camera features a 3G/HD-SDI video terminal and can be suited for standard video environments where Canon image processing, including YCC 4:2:2 10-bit output, is required. The ML-105 features the Canon DIGIC DV4 Image Processor, capable of delivering Full HD resolution at 60fps. Both cameras can be ordered with either an EF or M58 mount for total system design flexibility.

The EF mount gives customers the ability to choose from Canon’s still and cinema lens lineup, while the M58 offers lens customization and design choice to the user.

The M58 mount version of the Canon ML-100 multi-purpose camera is scheduled to be available at the end of December 2020. The other three models are scheduled to be available in April 2021

Post Date: 11/4/2020 1:11:52 PM CT   Posted By: Bryan
 Monday, November 2, 2020

Do adapted EF lenses work well with the Canon EOS R5 and EOS R6? Yes! Adapted EF lenses will continue working as well on a Canon EOS R-series camera as they always did on your favorite DSLR. With the improved AF performance of the latest mirrorless models, you might find your EF lenses performing even better than before. A significant EF lens kit should not be a hindrance to a mirrorless migration.

I love clean wildlife portraits with beautiful frame-filling subjects. Our workshop crew referred to this bull elk as "Incredibull". For 2020, this elk was sporting a huge, symmetrical 6x6 rack – easily one of the best-looking racks I've seen. I look forward to seeing what 2021 brings for this beast.

The soft portrait lighting seen here is courtesy of a lenticular cloud hovering over the meadow. With the edge of the cloud covering the sun, soft, bright light was provided for most of the over 7 hours I spent with this bull and his cows.


A larger version of this image is available on Flickr.

Post Date: 11/2/2020 8:48:45 AM CT   Posted By: Bryan
 Friday, October 30, 2020

In the 2.5 Seconds, 70mm, No Tripod, Cadillac Mountain Moonrise post, I shared that I had locked a Canon EOS R5 and RF 15-35mm F2.8 L IS USM Lens on a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head into a sunrise-ready position. It seemed logical to share the image that setup captured next.

I love photographing when the sun is below me and visible. In this case, a location with significant unshaded area (sloping toward the sun) (and void of people) was selected. Granite rock provides a solid foundation, and the evergreens on the right aid in framing the scene.

When the sun is in the frame, an HDR capture is often the ideal strategy. This capture involved using auto exposure bracketing (AEB) set to 5-shots 1-stop apart with the exposure adjusted so the brightest and darkest images had detail in the shadows and highlights, respectively. With the 2-second self-timer enabled, the shutter release simply needed to be pressed for the bracketed sequence to be captured, followed by shooting a few more frames with the other camera. Repeat until the scene decreased in photogenic value.

I use a variety of HDR software but selected Lightroom for this one. The set of images that seemed optimal (the sun reflecting in the water influenced this choice) were selected and processed.

You likely already noticed that this image is not in the typical out-of-the-camera 3:2 aspect ratio. There are two ways to get the aspect ratio shared here. Ideal from a final resolution perspective is to stitch multiple images together. Capturing and processing an HDR pano adds complications, and with the ultra-high resolution of the R5, the other option, cropping, proved easier with a very sufficient final resolution. The primary reason for this final aspect ratio was that the cropped away sky was not adding value to the image.

Some minor cleanup in Photoshop resulted in the picture shared here.

Why f/16? At 15mm, f/11 would have provided adequate depth of field for this scene and exhibited less softening from diffraction, but f/16 is a compromise that provides a stronger sunstar, a strong element in this image.


Go big. A larger version of this image is available on Flickr.

Post Date: 10/30/2020 8:00:00 AM CT   Posted By: Bryan
 Tuesday, October 27, 2020

On the Acadia National Park bucket list is to be the first person (or more accurately, among the first group of people) in the USA to see the sun on that day. Checking off that item requires an early morning drive to the top of Cadillac Mountain. Leading a small workshop on this day meant my priority was to make sure each participant was in their preferred location with their camera set up and ready for the action to start. With that goal accomplished, I moved into the next-best location and locked a Canon EOS R5 and RF 15-35mm F2.8 L IS USM Lens on a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head into a sunrise-ready position.

During this setup, the incredible scene unfolding on the horizon had my attention. A tiny crescent moon is a great supporting element. Combine that feature with a strong, colorful pre-sunrise or post-sunset gradient in the sky and throw in some water and mountains, and images I like are easy to create.

While this scene was in my locked-down composition, even 35mm does not render the moon a substantial size in the frame. Fortunately, the Canon RF 70-200mm F2.8 L IS USM Lens and another R5 were in my MindShift Gear BackLight 26L. What was not along was my second tripod, and I did not want to lose the locked-down composition held by the first. So, I sat down on the rocks, rested arms on knees, and began shooting with the settings that would have been used if tripod-mounted. Those settings were ISO 100 for the least noise, f/8 for considerable depth of field and reduced vignetting, and the shutter speed necessary to yield a right-aligned histogram.

That shutter speed was 2.5 seconds, a very long 70mm exposure without a tripod. Amazingly, all of the dozens of images captured at this and, later, faster shutter speeds were sharp. There was no need to use a higher ISO or a wider aperture setting — or a tripod. This is impressive performance from the R5 and RF 70-200 combination.

It is often easy to create nice landscape images with telephoto focal lengths, and the Canon RF 70-200mm F2.8 L IS USM Lens is a great landscape lens. This image is simple — minimalistic. The dark mountain provides a base to the image, and the waterline is positioned approximately 1/3 into the frame. The position of the 3.2% waning crescent moon and silhouetted evergreen trees work together to create an overall balance to the scene. While many rules can be used for composition, overall balance is what I usually look for first.


Go big. A larger version of this image is available on Flickr.

 
Camera and Lens Settings
70mm  f/8.0  2.5s
ISO 100
8192 x 5464px
Post Date: 10/27/2020 7:00:00 AM CT   Posted By: Bryan
 Thursday, October 22, 2020

From Sigma:

Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E

Thank you for purchasing and using our products.

We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available.

[Applicable product]

·SIGMA MOUNT CONVERTER MC-11 EF-E

[Benefits of the update]

·It makes the converter compatible with the SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary in Canon EF mount, that has the latest firmware Ver.2.03

·It makes the converter compatible with the SIGMA 70-200mm F2.8 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver.1.02.

·It makes the converter compatible with the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary in Canon EF mount, that has the latest firmware Ver.2.07.

·It makes the converter compatible with the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports in Canon EF mount, that has the latest firmware 2.02.

·It makes the converter compatible with the SIGMA 20mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware 2.01.

[How to update]

Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.

?Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.

*Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 10/22/2020 9:49:53 PM CT   Posted By: Bryan

From Manfrotto:

Discover the new Manfrotto Professional Batteries and Chargers

The NEW Manfrotto Professional Batteries and Chargers go above and beyond your average charging solution! With higher quality batteries, and faster, more efficient charging to ensure content creators are never without the power they need.

Professional Batteries

Peak performance, durability & quality! The Manfrotto Professional rechargeable batteries offer an ultra-high capacity of 2000 mAh for a wide range of Canon and Nikon cameras. Using Lithium ion technology, you can recharge the battery at any point.

Injected with silicone for a shock-absorbing construction, Professional batteries are built to withstand extreme tough environments, and are drop proof up to 9ft! Never lose your batteries to the bottom of your bag again, thanks to the signature Manfrotto red coloured housing.

Think all batteries are the same? Think again.

ProCUBE Chargers

The Manfrotto ProCUBE is a DSLR twin charger made for a range of Canon, Nikon or Sony fit batteries. It features quick top up charge, a high-end LCD display, battery health check and can charge 1 or 2 batteries simultaneously! Each ProCUBE comes with a 12V car lead, an integrated 2.4A USB charger, numerous battery plates, and AA tray which charges 4 x AA batteries simultaneously.

The tray can also be used to store AA batteries when not in use, which makes the Manfrotto ProCUBE perfect for travelling, and is supplied with interchangeable US, Euro and UK plug heads.

No matter where your work takes you, you’ll never be without power!

Check out the new Manfrotto Professional Batteries and Chargers at B&H.

Posted to: Canon News, Nikon News, Sony News   Category: Manfrotto News
Post Date: 10/22/2020 8:59:31 PM CT   Posted By: Bryan

Sometimes, an ultra-wide-angle lens becomes a requirement to get the shot. Sometimes, a wide aperture is also required. Both were requirements down in Monument Cove, Acadia National Park, on this night. The Sony FE 12-24mm f/2.8 GM Lens had the credentials to get the job done.

As I climbed down into the cove, the plan was to capture the monolith in front of the milky way. Upon arrival, I decided that the rock on the other side of the frame also had great character and wanted it included in the image. Even at the extreme 12mm full-frame angle of view, keeping everything seen here in the frame meant my back was against the rock wall.

The milky way is typically photographed against a black sky. However, if the sky is dark and the milky way is in view, it can be photographed at the end of the blue hour. This image was captured about 7 minutes after "nautical end." Despite a bit of light showing in the sky, it was very dark in the cove, and the f/2.8 aperture proved very helpful, keeping the ISO setting down to a still-high 8000.


This pic especially looks better big. A larger version of this image is available on Flickr.

Post Date: 10/22/2020 8:59:38 AM CT   Posted By: Bryan
 Wednesday, October 21, 2020
Posted to: Canon News, Nikon News, Sony News   Category: Manfrotto News
Post Date: 10/21/2020 7:38:34 AM CT   Posted By: Bryan
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