PhotoPlus 2017 is just around the corner and with Canon releasing several updated lenses since our last publication of the "oldest" list (as well as discontinuing at least one lens outright), the timing seemed right to re-compute the 10 oldest Canon lens list.
The oldest Canon lens currently in production is the EF 100mm f/2 USM, sharing a very similar design and feature set with the substantially-more-popular EF 85mm f/1.8 USM (#3 on the list). As we mentioned in our last 10-oldest list published in 2015, updating the design, adding IS (image stabilization) and improving the optics of each – while keeping prices attractive for the consumer market – would catepult the popularity of these lenses which would ultimately find a home in many photographer's kits, from casual hobbyists to professionals alike. And with the recent addition of the Canon EF 85mm f/1.4L IS USM to the lineup, releasing an updated consumer-grade 85mm option seems like an especially reasonable expectation.
The 2nd oldest lens, the Canon EF 20mm f/2.8 USM and the 6th oldest, the EF 28mm f/1.8 USM, are not terribly popular. I think many photographers would be happy with replacing both these lenses with a model that falls in between them in focal length and aperture, which also features IS. For instance, maybe an EF 24mm f/2 IS USM? Then again, Canon already has several 24mm options, so they may not be so keen on adding another one to their lens lineup.
The Canon EF 50mm f/1.4 USM ranks 4th and is really starting to show its age, especially in regards to wide-open image quality. If Canon updated their 50mm f/1.4 lens, with improved image quality and IS, the lens would likely fly off the retail shelves. Considering the 50mm focal length's popularity, combined with the current EF 50mm f/1.4's performance, I think this is a great opportunity for Canon to keep its customer base devoted to the brand.
The EF 400mm f/5.6L USM ranks 5th on the list, and while its design and lack of IS are certainly indications of its age, it still holds up very well from an image quality perspective. That said, introducing a fully weather sealed update, with IS and possibly a more compact design – keeping the price well below the EF 100-400mm f/4.5-5.6L IS II USM – would make the lens especially attractive for those interested in sports and wildlife photography.
The Canon EF 70-200mm f/2.8L USM comes in at #7, and it still holds up fairly well from design and image quality perspectives. However, even though its substantially less than its IS counterpart (now in its second iteration), its never been nearly as popular. That's because IS is extremely beneficial in telephoto lenses, making the higher cost of the IS version of the lens that much more easy to bear for most photographers. In this lens' case, adding IS isn't an option (that's already been done), so the question becomes – Would the lens sell enough copies to justify developing another one with updated optics and a slightly different design? Possibly, but I'm not convinced.
When it comes to the 8th and 9th lenses on our list, the Canon EF 200mm f/2.8L II USM and EF 180mm f/3.5L USM Macro, respectively, I am not sure there is enough demand to justify expecting an update for either of these lenses, although adding IS to both would make them much more attractive to some. What is certain is that the 180L Macro has significant room for improvement, as it can't match its 100mm little brother's image quality, it doesn't include the coveted IS feature, it is not weather sealed and its AF speed leaves a lot to be desired.
At the #10 spot we find the Canon EF 135mm f/2L USM, a favorite of portrait photographers since its introduction. While Sigma certainly designed the 135mm f/1.8 DG HSM Art lens to compete strongly with the Canon 135L, by not including stabilization, they left the door wide open for Canon to take back the must-have-135mm-lens crown. Update the optics, add IS and weather sealing and this lens will immediately hit the "best seller" list with its perfect-for-portraiture specs.
What do you think?
What do you think will happen to the lenses on this list? Are there desirable feature updates that I didn't mention? Let us know in the comments!
United Kingdom, Republic of Ireland, 17 October 2017—Canon Inc. announced today that the Company has reached two major production milestones—a cumulative total of 90 million interchangeable-lens EOS cameras and 130 million1 EF-series interchangeable lenses. The EOS 5D Mark IV was the 90 millionth EOS Series camera range to be produced, while an EF16-35mm f/2.8L III USM became the Company’s 130 millionth interchangeable lens.
Canon’s EOS system debuted alongside the EF series of interchangeable lenses in March 1987 as the world’s first fully-electronic mount system for film AF SLR cameras. Over the years, both product lines have continued to expand, gaining support among users ranging from first-time users to professionals. Production accelerated in the early 2000’s with the spread of digital SLR cameras. Canon’s interchangeable-lens digital cameras have maintained the No. 1 share of the global market for 14 consecutive years since 2003.2
Since its conception, the EOS series has continued to develop revolutionary technologies under the series concept of “speed and comfort”. Canon has since developed every key device in-house including the CMOS sensors, image processors and interchangeable lenses—employed in the EOS series. Particularly noteworthy are the Company’s EF lenses, which lead the industry in sales and feature such world-first3 innovations such as the Ultrasonic Motor (USM), Image Stabilizer (IS) technology and a multilayered Diffractive Optical (DO) element.
Canon will continue to strengthen and expand the EOS series and EF lens lineups by refining its imaging technologies, by striving to combine optics, stills, video and network technologies. The Company will also continue its pursuit of manufacturing products that are both stylish and reliable.
The EOS series of interchangeable-lens cameras began with the EOS 650 SLR camera, released in March 1987, that not only featured the world’s first electronic lens mounting system, but also fully digitized communication between the camera body and lens to produce a new generation of autofocus technology.
As film cameras boomed, Canon launched several models covering a wide range of user needs, including the EOS-1 in 1989, aimed at professionals, and the EOS 500 in 1993, which achieved a compact, lightweight design and greatly expanded Canon’s user base. Then in 2003, during the early years of the digital camera age, the Company released the groundbreaking EOS 300D Digital, an entry-level digital SLR camera that offered a compact, lightweight body at an affordable price. This move would trigger a massive expansion of the camera market, with Canon claiming the overwhelming lead in market share that same year. With the later release of the EOS-1D Series for professionals and the EOS 5D series, which helped popularize video capture using SLR cameras, Canon has continued to release epoch-making products that have enabled the Company to maintain the No. 1 share of the global interchangeable-lens digital camera market for 14 consecutive years from 2003 to 2016.
Since the release of the first EF lens, launched alongside the EOS series in 1987, Canon has produced EF lenses featuring world-first technologies such as the EF75-300mm f/4-5.6 IS USM with IS in 1995, the EF400mm f/4 DO IS USM with a DO lens in 2001 and the EF24mm f/1.4L II USM, treated with highly antireflective Subwavelength Structure Coating (SWC) in 2008. In 2015 Canon released the EF11-24mm f/4L USM, the world’s first4 ultra-wide-angle zoom lens to achieve an 11mm focal length.
Today, Canon boasts 93 lenses5 in its rich EF lens lineup that comprises of lenses such as an ultra-wide-angle 8 mm focal length lens, an 800mm focal length super-telephoto lens and EF Cinema Series lenses for video production. With a wide selection of lenses for every purpose including zoom lenses, IS-equipped lenses, fast-aperture lenses, macro lenses and even the TS-E tilt-shift lenses, Canon is well-positioned to meet the needs of various users.
AeroScope Addresses Safety, Security And Privacy Concerns While Protecting Drone Pilots
12 October 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, today unveiled AeroScope, its new solution to identify and monitor airborne drones with existing technology that can address safety, security and privacy concerns.
AeroScope uses the existing communications link between a drone and its remote controller to broadcast identification information such as a registration or serial number, as well as basic telemetry, including location, altitude, speed and direction. Police, security agencies, aviation authorities and other authorized parties can use an AeroScope receiver to monitor, analyze and act on that information. AeroScope has been installed at two international airports since April, and is continuing to test and evaluate its performance in other operational environments.
“As drones have become an everyday tool for professional and personal use, authorities want to be sure they can identify who is flying near sensitive locations or in ways that raise serious concerns,” said Brendan Schulman, DJI’s Vice President for Policy and Legal Affairs. “DJI AeroScope addresses that need for accountability with technology that is simple, reliable and affordable – and is available for deployment now.”
DJI demonstrated the system today in Brussels, Belgium, showing how an AeroScope receiver can immediately sense a drone as it powers on, then plot its location on a map while displaying a registration number. That number functions as the equivalent of a drone license plate, and authorities can use it to determine the registered owner of a drone that raises concerns. In March 2017, in response to growing calls by governments worldwide for remote identification solutions, DJI released a white paper describing the benefits of such an approach to electronic identification for drones.
AeroScope works with all current models of DJI drones, which analysts estimate comprise over two-thirds of the global civilian drone market. Since AeroScope transmits on a DJI drone’s existing communications link, it does not require new on-board equipment or modifications, or require extra steps or costs to be incurred by drone operators. Other drone manufacturers can easily configure their existing and future drones to transmit identification information in the same way.
Because AeroScope relies on drones directly broadcasting their information to local receivers, not on transmitting data to an internet-based service, it ensures most drone flights will not be automatically recorded in government databases, protecting the privacy interests of people and businesses that use drones. This approach also avoids substantial costs and complexities that would be involved in creating such databases and connecting drones to network systems.
This system is consistent with DJI’s problem-solving approach to drone regulation, which aims to strike a reasonable balance between authorities’ need to identify drones that raise concerns and drone pilots’ right to fly without pervasive surveillance. DJI has led the industry with safety and security advances such as geofencing and sense-and-avoid technology, and believes the rapid pace of innovation provides the best means to address new policy concerns.
Drone identification settings will be included in DJI’s initial drone software to allow customers to choose the content of their own drone’s identification broadcast to match local expectations both before and after identification regulations are implemented in different jurisdictions. To protect customers’ privacy, the AeroScope system will not automatically transmit any personally identifiable information until regulations or policies in the pilot's jurisdiction require it.
“The rapid adoption of drones has created new concerns about safety, security and privacy, but those must be balanced against the incredible benefits that drones have already brought to society,” said Schulman. “Electronic drone identification, thoughtfully implemented, can help solve policy challenges, head off restrictive regulations, and provide accountability without being expensive or intrusive for drone pilots. DJI is proud to develop solutions that can help distribute drone benefits widely while also helping authorities keep the skies safe.”
When the Irix 11mm f/4 Firefly Lens showed up, I had a couple of subjects immediately in mind for it. The Cathedral Parish of St Patrick in Harrisburg, PA was one of them and on the next very-cloudy day, I made the trip to this beautiful place.
Why did I need a cloudy day to photograph the interior of a church? Any direct sunlight shining through the windows creates overly bright spots on the interior. While daylight was needed to light the inside of the church and bring life to the stained-glass windows, strongly-diffused sunlight creates a far more even light than direct sunlight.
Perhaps the biggest challenge to creating an image like is perfectly aligning the camera to the ceiling. With the centered framing, the camera must be positioned precisely below the subject in the exact center of the frame. Often aiding in finding this exact position are tiles and other structural elements that help indicate where the center of the floor is.
I had another aid in this case. The gold-colored subject dead center in the frame is a chandelier that hung far below the ceiling. When I saw the gold chandelier centered in the blue and gray area of the ceiling behind it, I knew that the camera was perfectly centered.
Centered, however, did not mean squared. The Really Right Stuff TVC-34 Carbon Fiber Tripod and BH-55 Ball Head were especially helpful for this part of the endeavor. I wanted as much of the ceiling in the frame as possible, so I fully retracted the tripod legs, which, with the precise construction of this model, meant that the tripod was level. Similarly-precisely-constructed is the BH-55 ball head and with the stem fully against the bottom of one of the drop notches, the camera was directed straight up.
With the camera centered and angled straight up, only final adjustments were needed. The camera still needed to be rotated within the notch (adjust the camera so that it is visually straight up to get started) and then I simply rotated the tripod on the ground, keeping the camera in its centered location, until the viewfinder showed that it was squared with the ceiling. Yes, panning adjustments could have been made using the head's panning feature, but rotating the camera around the head moves the camera slightly from its centered position, meaning that the tripod would need slight repositioning anyway. So, I simply adjusted the tripod position to begin with. Using a Canon Angle Finder C made finalizing the absolute straight-up framing much easier (as would a vari-angle LCD).
Focusing with this manual-focus-only lens was simple. I turned the focus ring to the slight detent/bump at the infinity focus mark and everything in the frame was in focus. The 11mm depth of field is huge at normal subject focus distances and this haptic-feedback setting works for a large number of uses, including with wider apertures than the one used here.
I left the cathedral quite impressed with the Irix 11mm f/4 Firefly Lens. The angle of view it provides is amazing and my first impression is that image quality is very good, especially for the very low price of this lens.
A full review of this lens is planned for the near future. A larger version of this image is available on Flickr.
The New Flagship G1 X Mark III PowerShot Camera Features the Largest Imaging Sensor Ever in a Canon Point-and-Shoot Camera
MELVILLE, N.Y., October 16, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced a new flagship addition to its acclaimed G-series of premium compact cameras, the Canon PowerShot G1 X Mark III. Lightweight and portable without sacrificing the very best in Canon digital imaging technologies, the new G-series flagship features a 24.3- megapixel* APS-C CMOS sensor and Canon’s revolutionary Dual Pixel CMOS AF (Auto-Focus) technology, both firsts for a Canon point-and shoot compact camera offering.
“As we continue to evolve the popular Canon PowerShot G-series line, we remain committed to incorporating both our latest innovations and the features photographers are looking for in an advanced, compact camera,” said Yuichi Ishizuka, president and COO, Canon U.S.A. “With the new PowerShot G1 X Mark III, users will appreciate the quality and overall performance made possible using a APS-C sensor, alongside upgraded capabilities that can enable the capture of amazing photo and video, even in lowlight conditions.”
Ultimate in Compact Image Quality
The new Canon PowerShot G1 X Mark III offers dramatic improvements from the series’ previous flagship, the PowerShot G1X Mark II, headlined by a larger, 24.3-megapixel APS-C CMOS sensor, resulting in fantastic image quality in both stills and video. This dramatic sensor upgrade pairs with a wide-angle 24-72mm (3x zoom) lens with Optical Image Stabilization featuring a wide f/2.8-5.6 aperture to allow for maximum brightness and increased sharpness in images and an ISO range of 100-25,600. This provides users with the versatility to shoot in low-light scenarios like a dimly lit restaurant which can frame subjects with beautiful background blur.
Technology commonly found in Canon DSLRs and advanced cameras has now arrived for the first time in the PowerShot G-series, as the G1X Mark III will feature Canon’s acclaimed Dual Pixel CMOS AF system. This feature, popular amongst enthusiast and professional users, provides extremely fast and smooth autofocus capabilities across nearly the entire focal plane, allowing for more creative compositions when framing a subject away from the center of a shot.
Versatile and Intuitive Operation
Dust and water resistant, the Canon PowerShot G1 X Mark III is a compact and powerful imaging companion ready for a variety of challenging shooting scenarios. Designed for enthusiast and professional users, it offers a host of useful features to help inspire creativity and improve operability. These include:
2.36 million dot Organic LED Electronic Viewfinder provides customization options to match nearly any shooting style or scene
Touch & Drag AF allows for intuitive operation linking the Electronic Viewfinder and touch panel monitor to quickly adjust focus targeting without looking away from the viewfinder, or using Smooth Zone AF to effortlessly track subjects with the touch of a finger.
3.0 inch Vari-angle Touch LCD Monitor helps capture the perfect shot from a variety of challenging angles, including overhead or low-angle shooting.
The G1 X Mark III is capable of fast continuous shooting up to approximately 7 frames per second (fps), or up to 9fps with AF fixed – working easily with Dual Pixel CMOS AF to track even the most fleeting of subjects with ease.
A New Shutter Release function offers a sophisticated sense of operation, similar to high-end EOS models, providing a comfortable hold during continuous shooting
Canon Technologies Worthy of a Flagship
With technology ranging from HD video capabilities to the latest in connectivity features, the G1 X Mark III is versatile enough to achieve high-level performance on the go. Additional features include:
Instantly connect to a smart device via built-in Wi-Fi, NFC or Bluetooth to facilitate easy sharing with friends and family or utilize the Camera Connect app to shoot remotely.
Panoramic Shot Mode functionality allows users to easily capture panoramic photos, simply be swinging the camera while shooting either vertically or horizontally.
Capture Full HD 1080/60p Video with high ISO speed shooting and smooth accurate focus when used alongside Canon’s Dual Pixel AF technology, while 5-axis movie IS helps reduce the effect of camera shake when shooting handheld
Easily capture picturesque Time-Lapse Movies with intuitive settings that help determine intervals and exposure
The Canon PowerShot G1 X Mark III is scheduled to be available in November 2017 for an estimated retail price of $1,299.00. In addition the Canon Lens Hood LH-DC110, Waterproof Case WP-DC56 and Deluxe Leather Case PSC-6300 for the PowerShot G1 X Mark III will be available for an estimated retail price of $59.99, $499.99 and $99.99 respectively.
A beautiful specimen of one of my favorite animals sings one of my favorite songs under my favorite lighting conditions in Rocky Mountain National Park.
I was recently privileged to spend a week chasing Rocky Mountain elk around Colorado with a big lens.
For this trip, I based in a small rental cottage just west of Estes Park, CO.
Each morning before daylight, I drove the short distance Moraine Park on the east side of RMNP.
Upon arrival at the park's huge meadow, I pulled over, turned off the SUV and listened for the awesome sound of elk bugling.
With the large number of these animals located in and around the huge Moraine Park meadow, locating a bull was not often a problem.
However, it didn't take long to figure out that multiple bulls bugling in close proximity made for the best action during this peak rutting period.
Upon locating a number of bulls (and when the 7:00 AM park service meadow curfew lifted), I began to approach the targeted animals from the direction the sun was going to rise.
While the majority of the other photographers simply photographed from along the road, I found that hiking into the meadow, often 1/2 mile or more, produced a higher number of images I liked.
Reasons for the better images including the ability to approach at a better light angle, better alignment of the background and the option to get a better height with an eye-level camera position generally being preferred.
While I came away from this trip with thousands of keeper-grade elk images, it has been difficult to select down to just a few standouts to share with you.
Here is why this one stands out to me:
First, the sun had just crested the mountain behind me, meaning that this was the warmest-colored light the meadow would see.
That light was from directly behind me, meant that shadows were minimized and the low sun angle easily created a strong catchlight in the elk's eye, adding some life to the subject.
With clouds shading the background, the sun-lit subject becomes even more eye-catching.
That I can almost hear the body position is yet another reason.
With the large, symmetrical antlers laid back and the mouth wide open, this elk is obviously bugling.
The side-on body position with the head turned just slightly toward the camera usually works ideally.
Some frost and golden grasses surrounding the elk with some fall colors in the strongly-blurred background round out the reasons this image became one of my favorites.
A larger version of this image is available on Flickr.
We shoot pictures with the best intentions of printing and distributing them, making art or books, or even just updating family photos… I’m certainly guilty of filing folder after folder away on external hard drives to be revisited ‘when I have more time.’ Even diligently doing all of the aforementioned things, there are still mountains of images that never see the light of day. A fresh approach to printing can inspire you to output more images, different types of images, and provide a perfect jump-start for your creativity. Here are some simple and delightful alternative photographic processes that will inspire you to get your images on paper.
One great thing about the digital revolution is that it made high quality photography accessible to a large number of people. A bad thing about the digital revolution is... well, the same.
With so many people pursing photography as a career or a side job, it can be extremely difficult to get a foot-hold even in your own local market. It's certainly understandable why other local photographers could be perceived simply as competition, and therefore, interactions with those photographers avoided.
However, the photographers living around you can be great assets. Let me explain.
A couple of years ago I moved from middle Tennessee to Savannah, Georgia. I lost all of the regular clients that I had built up over a lifetime of living in a relatively small town. Not long after moving here, however, I met a local Savannah photographer who invited me to join a closed Facebook group comprised of photographers in the area.
At first, I didn't really see much of a point in joining, but I soon did. I eventually learned of multiple local Facebook groups devoted to photography, each organized for slightly different goals (I'm now a member of 3 of them). Benefits of joining the local photographers' Facebook groups included:
Photographers frequently have "destashes," selling off props from their studios. Want inexpensive newborn outfits for photo shoots? Done.
Photographers oftentimes share suggestions on places to shoot and may even offer to lend equipment if you're in a pinch.
Photographers will regularly advertise second shooting or filmmaking opportunities for weddings they've agreed to cover.
And last but not least, photographers will routinely refer clients to other photographers in the area when they can't service an interested client's needs.
I've personally gotten a couple of jobs from referrals generated by one of the local photographers' Facebook group (one with a well-known broadcasting company, no less). If you find photographers referring clients regularly in your area's photographers' Facebook group, you may want to set your Notifications to "All" so you can be the first to respond to availability inquiries.
Those living in moderately populated areas are more likely to have already-established photography groups on social media, although, like Savannah's, they may be closed. Therefore, you may need to attend popular events in your area to find other photographers who are already a member of such groups (it's pretty easy to strike up a conversation about photography). And if you find that there isn't a Facebook group for photographers in your area, start one. It may take time for your community to grow, but the benefits will most likely be worth the effort.
Of course, Facebook isn't the only way to socialize with other photographers. Even many small towns have photography clubs that meet on a monthly basis, and joining a photography club can have many of the same benefits of Facebook groups (though with less immediate, widespread communication). Regardless of you method of touching base with other photographers in your area, doing so can be very beneficial from a social – and economic – perspective.
For those Instagram users who utilize DSLRs and typically edit images on a desktop/laptop computer, publishing post processed images to instagram has always been... a pain. Because Instagram was designed for mobile devices, those who prefer to use dedicated photo equipment had to jump through hoops to get their imagery on the popular photo sharing social platform.
Finally, there's a really simple way for us to post to Instagram – Windowed.
The open source application, available for Windows and Macintosh, is a stripped-down browser for desktop operating systems which emulates a mobile browser. As such, Instagram is more than happy to accept uploads from Windowed.
From the Windowed website:
How does it work?
Simple! Instagram already provides the functionality to upload photos through a web browser, but sadly this feature is locked to mobile web browsers only. Windowed overcomes this issue by pretending to be a mobile browser, allowing you to visit the Instgram mobile website directly from your Mac or Windows PC.
*All of your interactions including login are done directly with Instagram, Windowed is simply a tool that lets you access the Instagram mobile website. We don't have access to your account so you don't have to worry about giving a 3rd party your account information.
*We are not associated with Instagram and do not claim to be. Windowed is a web browser.
I installed the software yesterday and quickly realized it was the best method for uploading to Instagram that I've come across; it's simple and efficient. The newest photo on my Instagram feed (seen above) was posted using Windowed. You can learn more about the program here. Be sure to send the developer a few dollars (through the Donate button) if you find the software helpful. [Sean]
Superior Image Quality, Interchangeable Lenses, and a New Color System Deliver Complete Creative Freedom
October 11, 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, today introduced the Zenmuse X7, the world’s first Super 35 digital film camera optimized for professional aerial cinematography. Designed to work seamlessly with the DJI Inspire 2 drone, the Zenmuse X7 delivers superior image quality, interchangeable lenses, and a new DJI Cinema Color System for post-production to give film and video professionals more creative freedom.
“The Zenmuse X7 offers everything professional content creators need to make their aerial footage as stunning and vivid as they demand,” said Paul Pan, Senior Product Manager at DJI. “From the large Super 35 sensor to a new mount, lenses, and color system, the Zenmuse X7 gives cinematographers and professional photographers an unmatched set of tools that work seamlessly with the DJI Inspire 2 drone to capture high-quality footage that is easily integrated into projects shot with industry-leading handheld cameras.”
Greater Expressive Freedom
The Zenmuse X7 is equipped with a Super 35 video sensor featuring 14 stops of dynamic range for more detail in low-light conditions. Its low-noise image capture enhances grading flexibility by preserving details in both highlight and dark areas while enabling a shallow cinematic depth of field.
To meet the rigorous requirements of filmmakers and television production professionals, the Zenmuse X7 captures the highest image resolutions ever for an integrated drone camera. It is capable of shooting 6K CinemaDNG RAW or 5.2K Apple ProRes at up to 30 FPS, as well as 3.9K CinemaDNG RAW or 2.7K ProRes at up to 59.94 FPS to integrate seamlessly into industry-standard post-production workflows.
Enhanced Imaging Potential
The Zenmuse X7 uses a dedicated aerial mount system, the DJI DL-Mount, featuring an ultra-short flange focal distance to carry prime lenses optimally. Available with focal lengths of 16 mm, 24 mm, 35 mm, and 50 mm, each lens has a maximum aperture of F/2.8 and is crafted out of carbon fiber, making them durable and lightweight for high-performance aerial cinematography with the DJI Inspire 2 drone.
To allow for advanced setting adjustment and fine-tuning, the 16mm lens is equipped with a built-in ND 4 filter, and the 24 mm, 35 mm, and 50 mm lenses feature a mechanical shutter.
Higher Flexibility in Post-Production
DJI has also introduced a new DJI Cinema Color System (DCCS) making the Zenmuse X7 an asset on every film set for movies, TV series, commercials, documentaries, and more.
“For the Zenmuse X7, we took our color science to the next level,” continued Pan. “We consulted the world leading authorities in color science, Technicolor. With their guidance, our engineers developed an optimized curve for the X7 allowing more latitude without sacrificing image quality.”
DCCS features a new D-Log Curve and D-Gamut RGB color space to give more flexibility and color options during the post-production process. The D-Log further extends the dynamic range, while the D-Gamut RGB color space preserves more color information to support the most demanding filmmaking scenarios, providing accurate color for quick and easy post-processing.
The new EI Mode mimics the way a film camera works to help cinematographers capture as much information as possible in every scene while balancing the dynamic range and noise with different log curves for more flexibility during the post-production process.
The Zenmuse X7 gimbal system weighs just 631 grams with the 16 mm lens. The DJI Inspire 2 has a flight time of up to 23 minutes with the Zenmuse X7.
Price and Availability
The Zenmuse X7 camera is priced at $2,699 USD. The 16 mm, 24 mm and 35 mm lenses will be available for $1,299 each, and the 50 mm for $1,199. Customers can purchase the Zenmuse X7 prime lens combo including all 4 lenses for $4,299. The Zenmuse X7 will start shipping in early November 2017 from DJI Authorized Dealers worldwide.
I posted an article about circular polarizing filters recently, letting you see some data I obtained for Lensrentals when they were reviewing which of the polarizing filters were among the best. I concluded that they all polarized light really well. I also said that none of the CPs I tested seemed to cause optical problems at 200mm and under, that some transmitted more light than others, and that you could tell that just by looking at them.
Which brings me to Roger’s First Rule of This Blog.
Rule #1: I am not responsible for what someone else says I said. If I say something wrong, I’ll correct it. If they say I said something I didn’t say to drive some click-bait, THEY said it. Not me.
A bunch of people wanted hardness tests, scratch resistance tests, light scattering tests, torque tests, and a 5-year failure rate. I want a pony to ride on my yacht. Sadly, none of the above is happening.
A whole lot of other people asked me to test something out of the price range I was examining; mainly they wanted to see how inexpensive filters did. That was reasonable, so I bought a couple of inexpensive CP filters and repeated the tests on them. You will need to look at the last article on the $100-$200 range filters to get some perspective before looking at this.
October 10th, 2017, Seoul, South Korea – Global optics brand, Samyang Optics is pleased to announce the release of their fourth autofocus lens: AF 35mm F1.4 FE. The bright F1.4 aperture and absolute resolution turn every moment into artwork. This lens now expands Samyang’s autofocus lens line-up to four which includes three existing autofocus lenses, AF 14mm F2.8 FE, AF 35mm F2.8 FE and AF 50mm F1.4 FE.
Aim High, Create Artwork
This new AF 35mm F1.4 FE works in harmony with full frame mirrorless cameras in Sony E mount such as Sony a7 or a9 series. It is designed to appeal to enthusiasts and professionals who are ready to take the next step up in photography. It is the excellent companion to create artworks from everyday moments, while the tiny AF 35mm F2.8 FE released in June of this year is the perfect partner for everyday photographers.
High Performance beyond Expectation
Absolute resolution across the entire image field is the key feature of Samyang AF 35mm F1.4 FE. The lens includes 11 elements in 9 groups and features 2 aspherical lenses and 2 high-refractive lenses, plus Ultra Multi Coating. The optical design minimises various aberrations and unnecessary light dispersion to deliver outstanding resolution. Fast, precise and quiet autofocus performance meets Samyang’s exceptional optical technology to capture any moments clearly. The bright F1.4 secures fast shutter speed and creates shallow depth of focus images in wide-standard angle of view. The new 35mm F1.4 lens is ideal for professional photography including low-light events, landscapes and portraits with expressive characteristics.
Available from November 2017
Samyang AF 35mm F1.4 FE, a lens for photographers aiming high in photography, will be available globally from November and will carry a suggested retail price of EUR 649.
Keeping up with the coolest new camera gear is almost as challenging as keeping up with kids. As a mom who loves to take pictures of her children I am always excited about new camera gear and eager to see how it can make photographing children easier, or help me take better pictures. If you’re a child photographer looking to take your photography to the next level, the new EOS 6D Mark II is definitely a camera you’ll want to consider.
I’ve had my fair share of cameras and I could see this one becoming a new favorite for a variety of reasons. In this article I’ll break down six reasons why the EOS 6D Mark II is great for family and childhood photography.
Being red/green colorblind, I'm always interested in new, easy to understand, technically precise ways of color balancing as opposed to just eyeballing it. One method that's helped me over the years is to use a color calibration target, like the X-rite ColorChecker Passport. However, for times when I either forget to photograph the color target or else forget to bring it with me, using a 50% gray layer in Photoshop along with a difference blending mode could enable me to achieve reasonably color balanced results without the calibration target. [Sean]
From the PiXimperfect YouTube Channel:
Just ONE-CLICK and All Your Colors Fall into Place! Learn how to automatically perform Color Correction using Curves in Photoshop within seconds! Whether you have a gray area to sample from or not, in this video, we will learn a very essential technique and the concept behind the same to allow Photoshop to figure out automatically the areas that you can sample from for accurate color correction. The video is a bit long (the narrator describes three different ways to create a 50% gray layer and constantly reiterates certain points), but... it's worth watching to fully understand the concept.
In this video, we will dive deep into the concept of "Difference" blend mode and how it can help us to remove unwanted color casts by figuring out the right areas for sampling. I hope this video helps you. Thank you for watching.
Smart traveller tripods for photographers who want to learn, experiment and travel free
Lightweight on your shoulders, stable on the ground.
Essential design ensures instant set up for an enjoyable shooting experience
Manfrotto, world leader in the photography, imaging equipment and accessories industry, presents Manfrotto Element Carbon. The Manfrotto Element Carbon tripods are the perfect fit for travel photographers who are just starting out and enthusiasts.
The two new Element Carbon traveller tripods are reliable, lightweight and easy to carry. Both feature a compact and sturdy carbon fibre construction that makes them strong but still very portable. The three leg-angle positions mean they are highly versatile so they are perfect for experimenting with all kinds of creative shots. The twist lock mechanism enables photographers to get into the right position fast, in a few, easy moves, while the aluminum ball head is designed to deliver the fast movement when framing and a firm lock for setting equipment up exactly as you need it. The ball head mounts an Arca-type quick release plate with a 1/4"-20 camera screw on top that ensures equipment is balanced even when using zoom lenses.
In addition, the Element Traveller Carbon Big Tripod features a detachable leg that, when removed and attached to the centre column, becomes a full size lightweight monopod.
The Element Carbon Tripods have a payload of 4kg on the small tripod, and 8kg on the big tripod and feature a branded Manfrotto bag, an additional set of spike feet (big tripod only) and an Allen key to fix and tighten your gear.
The Element Carbon Tripods are available from £174.95.
Reikan has released FoCal 2.5, an update to its automated focus calibration software for Canon and Nikon DSLRs.
FoCal 2.5 adds support for Canon EOS 6D Mark II and Nikon's D7500 as well as a new Target Distance Tool to make the calibration process more seamless.
The 6D Mark II is now fully supported and like the recent Canon 80D this camera also works in Hands Free Mode, no user input required at all once the calibration has started.
Nikon's D7500 is now fully supported in FoCal 2.5. Along with most other recent cameras this works in User Assisted Mode, large amounts of automation and requires a small amount of user input at points during the calibration.
The new integrated Target Distance Tool means users no long need to find an online tool to provide a calibration, the information is easily at hand directly inside FoCal.
How do I get FoCal 2.5?
Download FoCal 2.5 by logging in to the LMS at lms.fo-cal.co.uk. Once logged in, you will see a download link to the software.
FoCal 2.5 is available for Windows (Windows 7 and newer) and Mac (OS X 10.9 – 10.12) operating systems, for users who are still within their Included Updates Period today (5th October 2017). If your Included Updates Period has expired, you can purchase another 12 months by logging in to the LMS at lms.fo-cal.co.uk.
If you don’t own FoCal, you can purchase the software as a download or boxed product, as well as Focal Hard Targets from the store.
The installation package contains the software, target images and a reference manual (also available on the Documents Download page).
I recently posted about not being satisfied with the results from the first lens we tested and I took those results down soon after assessing them. We have now tested a second lens (one with a notably-higher serial number) and, though the second lens (sample "1") performs modestly better, I think that you will find the two performing rather similarly overall. As the odds of getting two bad lenses with substantially different serial numbers that perform similarly are very low, I am going to share the results with you, at least until I'm convinced that they are not right.
More convincing is looking at this lens in comparisons where it competes reasonably well (perhaps the only issue was that my expectations were set too high). Here are some comparisons:
MELVILLE, N.Y., October 5, 2017 – Travel and photography enthusiasts alike are called to Albuquerque, New Mexico, October 7-15, 2017, to check off the world’s largest hot-air balloon festival from their bucket lists. For the third consecutive year, Canon U.S.A. Inc., a leader in digital imaging solutions, will serve as the official imaging company and presenting sponsor of the Albuquerque International Balloon Fiesta. Attendees are invited to visit the Canon tent, and indulge in Canon’s unique and exciting offerings, exclusive to the festival.
“The nearly 600 hot air balloons that ascend into the sky together every sunrise make the Albuquerque International Balloon Fiesta a sight to be captured, shared and remembered by all attendees,” said Eliott Peck, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., Inc. “We hope guests sign up for our photo walks1, test and try our professional products2 and leave with a few jealousy-inducing photos to print, share and look back on fondly with loved ones.”
New to this year’s event, McGruff the Crime Dog, of the National Crime Prevention Council, will celebrate Crime Prevention Month in October by making a guest appearance at the Canon tent for meet and greets and photo ops October 12-14. McGruff will speak with visitors at the Canon tent promoting awareness around the safety risks of using counterfeit products. Canon who recently renewed its partnership with the National Crime Prevention Council—is proud to welcome an iconic symbol of crime prevention.
Located in the center of Main Street, the Canon tent will offer attendees the chance to bring their experience to life via its wide array of products. Canon imaging experts will be on hand to provide tips to help attendees capture photos and videos like never before. Offers available in the Canon tent include:
Free camera and lens loans2
Free camera and lens clean and checks3
Educational photo walks around the fiesta grounds1
Free souvenir photo with friends and family
Exclusive discounts with on-site camera, lens and printer purchases
For Albuquerque International Balloon Fiesta video highlights, hot air balloon photography tips from Canon Explorer of Light, Ken Sklute, gear recommendations, ticket information and more, please visit here.
About Albuquerque International Balloon Fiesta
The Albuquerque International Balloon Fiesta is an annual festival of hot air balloons that takes place every October in Albuquerque, New Mexico, USA. It is the largest gathering of balloons and balloonists in the world. For details on events, schedule, entertainment and photographs visit our website www.balloonfiesta.com and follow us on Twitter @BalloonFiesta and Facebook.
1 Limited photo walk slots; available on a first-come, first-serve basis. There will be a walk every morning and evening from October 7 to October 13. The morning walk will meet at the Canon tent at 5:30 a.m. and the evening walk will meet in the same location at 5:00 p.m. The walks will last approximately 90 minutes. The Canon team will spend time familiarizing attendees with their cameras and teaching creative photography options using different camera features and photographic techniques. Attendees are welcome to bring their own camera or to borrow one from the Canon loaner program. Group sizes are limited, so sign up in advance at the “Ask the Expert Bar.”
2 Restrictions apply. Limited loan quantities available on a first-come, first-serve basis. Visit the Canon Tent for full terms and conditions.
3 Free camera and lens clean and checks will be held at a separate entrance on the side of the Canon tent. Please speak to a Canon representative in the Main Street location for details.