Canon and Sony News for Apr 2018 (Page 3)
Our first copy of the Sigma 14-24 Art Lens suffered from an improperly-aligned element or group of elements and warranted a replacement. Image quality test results from the replacement lens have been added to the Sigma 14-24mm f/2.8 DG HSM Art Lens page. I opted to remove the first set of results as they were not indicative of what should be expected from this lens.
The wide end results are remarkable.
There are, as usual, many comparisons that can be made. I'll get you started:
Sigma 14-24mm f/2.8 vs. Sigma 12-24mm f/4 Art Lens
Sigma 14-24mm f/2.8 Art vs. Canon EF 16-35 f/2.8L III Lens
Sigma 14-24mm f/2.8 Art vs. Canon EF 11-24 f/4L Lens
We'll have Sigma test results from the Canon EOS 1Ds Mark III and 7D Mark II soon, enabling more direct comparisons.
The Sigma 14-24mm f/2.8 DG HSM Art Lens is in stock at Amazon, eBay and WEX. Preorders are being taken by B&H and Adorama.
From Sigma:
April 19, 2018 – The Sigma Corporation is pleased to announce it has won two TIPA World Awards 2018 for its wide-aperture ultra-wide-angle 14-24mm F2.8 DG HSM Art zoom lens and its large-diameter 24-70mm F2.8 DG OS HSM Art zoom lens suitable for any shoot.
TIPA's Best DSLR Wide Angle Zoom Lens Award for Sigma 14-24mm F2.8 DG HSM Art:
A Perfect Match for Today’s High-Resolution Cameras
Mountable on Canon, Nikon and Sigma cameras, and compatible with the Sigma MC-11 Sony E-mount converter, the Sigma 14-24mm F2.8 DG HSM Art lens delivers a high level of sharpness with near zero distortion, along with high-speed and high-accuracy AF that matches up perfectly with today’s high-resolution cameras. The lens contains three FLD (“F” Low Dispersion) glass elements, three SLD (Super Low Dispersion) glass elements, and three aspherical lens elements, including an 80mm high precision molded glass aspherical element. It has special sealing at numerous points for dust- and splash-proof protection. Thoroughly modern, the Nikon mount features a brand new electromagnetic diaphragm; the Canon mount is compatible with the Canon Lens Aberration Correction function.
TIPA's Best DSLR Standard Zoom Lens Award for Sigma 24-70mm F2.8 DG OS HSM Art:
A Premium “All-Round” Zoom
For many photographers, the 24-70mm focal length range is considered the standard as an everyday lens for a wide variety of subjects and scenarios, including street and photojournalism work, candids, travel and even nature and landscape photography. The Sigma 24-70mm F2.8 DG OS HSM Art offers many advantages, including a constant aperture throughout its range, an optical stabilization system, and outstanding bokeh effects due to its 9-blade, rounded-diaphragm, 37cm (15'') close-focusing capability. The lens is dust- and splash-proof and incorporates a newly designed hypersonic motor (HSM) for fast and smooth AF operation. The lens also incorporates the latest electromagnetic aperture control for specific Nikon cameras; the Canon mount is compatible with the Canon Lens Aberration Correction function.
B&H carries the Sigma 14-24mm f/2.8 DG HSM Art and 24-70mm f/2.8 DG OS HSM Art lenses.
From BenQ:
Costa Mesa, CA — BenQ is offering one lucky winner the chance to explore and capture some of America’s most spectacular sites—a prize worth $5,000. The Capture the Photogenic Landscapes of competition will run until November 30, 2018.
One winner will be awarded one of three trip options. They include a trip to the historic creole capital, New Orleans; to a tropical paradise with a storied past, Old Havana; or to the home of the Granite Giants, Yosemite.
“They could be roaming through swamplands and beautiful French architecture, discovering seascapes and urban wonderlands, or exploring over 800 miles of unprecedented trails, meadows and waterfalls,” the company announced.
The contest adventures are designed to guide users through the most photogenic locations as well as to teach them to visualize scenes before capturing decisive moments. The photo adventures were created with Photo Workshop Adventures. Details on each of the trip options follow.
New Orleans Landscapes
Scheduled March 17–22, 2019, this trip will focus on travel, landscape cityscape, architecture and also people photography. It will provide a professional photographer guide as well as photo walks and discussions. The six-day trip will include accommodations in a four or five star hotel, breakfasts and two dinners.
Havana Landscapes
Held March 2–6, 2019, this photo journey will center on travel, landscape, seascape, architecture, urban and people photography. In addition, the winner will meet with Cuban photographers, students, musicians, artists and also entrepreneurs. A professional photographer guide as well as a Cuban guide and driver will be provided.
It will also encompass photo walks and discussions. Moreover, included in the trip will be: a room in a five star hotel; breakfasts; two lunches/two dinners; local transportation; people-to-people activities; a Visa (U.S. citizens); as well as OFAC travel documents.
Yosemite Landscapes
Taking place April 21–26, 2019, this trip to Yosemite National Park will offer tutorials on travel, landscape, nature and wildlife photography. Moreover, there will be a focus on long-exposure photography by a professional photographer guide. The itinerary includes photo walks, hikes and also discussions.
Accommodations will be at a four or five star hotel (except in remote locations) and include breakfasts and two dinners. In addition, local transportation and National Park permits will be provided.
To enter the competition, fill in the form here.
From DJI/Pond5:
Curates Collections Captured by FAA Licensed Pilots/Filmmaker
New York, NY — DJI, a leading manufacturer of civilian drones as well as aerial imaging technology, and Pond5 are collaborating to develop a premium collection of licensable aerial footage. Pond5 is a global content marketplace.
By applying to join this program, pilots operating with a Part 107 Remote Pilot Certificate issued by the Federal Aviation Administration (FAA) will be eligible to have their footage included in a series of collections shot exclusively with DJI drones. The FAA certification is required for commercial use.
Pond5 will showcase these collections to its millions of users. When doing so, it will also denote video clips shot by licensed pilots in searches for customers who need to ensure their video assets comply with Part 107.
Moreover, pilots will be able to leverage Pond5’s industry knowledge to identify their most in-demand shots. They can also obtain assistance in preparing footage for licensing in the Pond5 marketplace.
DJI will work closely with the team of video experts and curators at Pond5. Together they will ensure that the most compelling and award-worthy aerial footage shot with DJI products is made accessible to customers searching for studio-quality shots to use in their productions.
“Drones have become powerful tools for storytellers, providing a cost-effective alternative for gathering aerial footage. They’re able to capture rapidly unfolding events and reach locations that would be otherwise inaccessible, costly or dangerous,” said Jason Teichman, CEO of Pond5. “As the world leader in their space, DJI is the ideal partner to bring the best in contemporary aerial footage to our marketplace.”
Select participants will also have access to Pond5’s premium clipping and tagging services. This will allow them to save time by just submitting raw footage. They will not have to do the work of editing, formatting, titling and keywording the footage themselves. Footage receiving these services will then be made available exclusively through Pond5 for a limited time.
“Drone imagery creates exciting new possibilities for video creators and producers around the world. And DJI’s collaboration with Pond5’s industry-leading content marketplace helps establish a new standard for professional video that is safe, legal, and also cleared for use,” said Michael Perry, managing director of DJI, North America. “We’re excited to elevate the presence of DJI-captured imagery in Pond5’s marketplace. And we can’t wait to see the projects that will incorporate this footage.”
Pilots with a Part 107 certificate who use DJI drones can apply to this program at pond5.com/dji. Select DJI aerial footage will be showcased on the Pond5 content marketplace in the coming months.
B&H has the Tokina FiRIN 20mm f/2 FE AF Lens for Sony E available for preorder with free expedited shipping.
Product Highlights
- E-Mount Lens/Full-Frame Format
- Aperture Range: f/2 to f/22
- Three Super-Low Dispersion Elements
- Two Aspherical Elements
- Multi-Layered Coating
- Ring-Type Ultrasonic AF Motor
- Full-Time Manual Focus Override
- Supports In-Camera Assist Functions
- Nine-Blade Diaphragm
From the Adorama YouTube Channel:
In this Episode (Ep111) David Bergman tells you why you should probably shoot using the sRGB color space instead of AdobeRGB.
Sigma Art-series lenses in Sony E-mount are now available for preorder at select authorized retailers.
Preorders:
Sigma Art-series Lenses for Sony E: B&H | Adorama
Nikon COOLPIX W300 Firmware v.1.1
Changes from Firmware Version 1.0 to 1.1
- Improved the accuracy of location data in certain locations (specifically, those locations where location data are augmented by data from “Michibiki” QZSS satellites).
- Fixed the following issues:
- The camera would sometimes freeze when turned on under water.
- The location data display for active mode showed seconds in base 10.
Download: Nikon COOLPIX W300 Firmware v.1.1
Nikon COOLPIX P900 Firmware v.1.4
Changes from Firmware Version 1.3 to 1.4
- Fixed the following issues:
- In certain locations, location data could sometimes be inaccurate, unavailable, or unreliable.
- The display would sometimes fail to follow changes to camera orientation (portrait to landscape or vice versa).
- Interval timer photography would end after 1800 shots.
- The camera would sometimes stop responding to controls other than the power switch when movies were filmed in Moon mode.
Download: Nikon COOLPIX P900 Firmware v.1.4
Just posted: Canon EF-M 55-200mm f/4.5-6.3 IS STM Lens Review.
Once again we have John Reilly to thank for this review.
The Canon EF-M 55-200mm f/4.5-6.3 IS STM Lens is in stock at B&H | Amazon | Adorama | WEX.
The first time I watched this video, George Orwell's 1984 came to my mind. But upon rewatching the last 40 seconds or so, I couldn't help but think this commercial would be perfect as a propoganda advert for the Panem Capitol in The Hunger Games.
"CMOS sensors harbor enormous potential, not only for surveillance and crime provention, but also for space and astronomical observation and in the medical field. By uncovering an unseen world, Canon CMOS sensors contribute to the creation of a properous society."Aside from the undeniable Big Brother aspect of the video, I thought it was odd that Canon used a CGI segment that clearly shows this "new technology" (developments in CMOS sensors) being featured in a camera that came out in 2001 (EOS-1D) with a discontinued EF 24-70mm f/2.8L USM (released in 2002) mounted to it. I realize that the CGI segment was supposed to be a generic representation of all Canon DSLRs and lenses, but if so, why make them so recognizable and so outdated at the same time?
Did you get the same feeling as me when watching the video? Let us know in the comments. [Sean]
What is the cutest animal on the face of this planet?
Whitetail deer fawns are at the top of my list.
These adorable fawns decided they were going where I was and I was thankful that I could zoom out wide enough to keep them in the frame while they were going.
In the field, scenarios can change fast and keeping photography strategies simple can mean the difference between getting a good photo and getting nothing.
That said, selecting an exposure must always be part of the strategy.
Most North American deer are brown and brown is a friendly color for a camera's auto exposure algorithm (unlike the color of most black bears).
Green is another friendly AE color and that is the most-common background color at Shenandoah National Park in late spring.
Thus, I commonly use AE when pursuing this subject with little need to monitor changing light levels.
Though using AE, I am still using the camera's Manual mode with Auto ISO providing the brightness adjustment.
The fawns are often in fast motion, so I want control of the shutter speed being selected with a fast speed being normal.
When the subject pauses, I roll the top dial to select a longer exposure, resulting in a lower (less-noisy) ISO setting being automatically selected.
The aperture setting works similarly.
If I have a single subject, I can roll the aperture value to a wider setting, again with the ISO setting being reduced and a stronger background blur created.
If multiple subjects become part of the composition or I decide that the background should be more recognizable, I simply dial in a narrower aperture.
There are obviously many more factors that go into a wildlife image capture but having a solid exposure strategy that works in many scenarios helps keep the strategy simple.
Currently, turning my mode dial to Custom Mode 3 instantly provides this setup.
A larger version of this image is available on Flickr.
ISO 2500
3168 x 4752px
I find macro photography to be very relaxing because subjects are plentiful and photographing non-live subjects allows you to slow down and work methodically to achieve pleasing results. [Sean]
From the Canon Digital Learning Center:
No macro lens? No problem! Although it may seem like the world of macro photography is out of reach and a world apart from our own, shooting macro is more accessible than you might think. From rigging your current gear, to creating DIY setups that tackle challenges like lighting, I’m here to be your guide for all things macro! My name is Matthew Cicanese (sick-uh-knees). I’m a National Geographic Explorer, documentary artist, and Canon USA Photographer who leads EOS Destination Workshops specializing in macro photography. I shoot macro subjects all over the world, from my own backyard to the rainforests of Sri Lanka! I’ve been a macro photographer for over ten years now, and have evolved along the way to overcome different challenges in macro and produce award-winning photographs. My goal with this article is to teach you how to accomplish more using less – less money, less frustration, and a drop of ingenuity.Read the entire article on the Canon Digital Learning Center.
Are you looking to add a macro lens to your kit? Check out our Macro Lens Recommendations.
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The Canon EOS M50 and EOS M100 cameras represent the budget options in Canon's mirrorless lineup, but the "budget" label is a relative one because – as Canon's naming conventions suggest – these cameras are not on the same level. Typically speaking, Canon camera models with more numerical digits in their name are positioned lower in the camera lineup than cameras with fewer digits. In this case, the naming convention holds true. The EOS M50 has several features not included in the M100, the most notable of which is an EVF (Electronic Viewfinder). The big question becomes, are the M50's features worth spending more for?
Let's take a look at how the EOS M50 and EOS M100 compare to find out which camera might be the best for your specific needs.
Canon EOS M50 and M100 Shared Primary Features:
- Dual Pixel CMOS AF Sensor*
- Resolution: 6000 x 4000 pixels (24 MP)
- Crop Factor: 1.6x (APS-C sensor)
- Native EF-M Lens Support (compatible with EF/EF-S/TS-E/MP-E with EF-EOS M Adapter)
- Exposure Compensation: +/-3 EV in 1/3 stop increments
- Shutter Speed Range: 30-1/4000 sec in 1/3 stop increments
- LCD: 7.5 cm (3.0”) Touchscreen (TFT). 3:2 aspect ratio. Approx. 1,040,000 dots
- Built-in Flash GN: 5
- Flash x-Sync: 1/200 sec.
- Built-in Wi-Fi, Bluetooth and NFC
- My Menu (customizable menu) vs. none
- Operating Environment: 32–104°F / 0–40°C
* Dual Pixel CMOS sensor AF benefits unavailable during 4K recording (M50).
Primary Advantages of the Canon EOS M50:
- Electronic Viewfinder + LCD vs. LCD only
- DIGIC 8 processor vs. DIGIC 7
- 143 AF points vs. 49
- EV -2 – 18 AF working range vs. EV -1 – 18
- EV 0 – 20 metering range vs. EV 1 – 20
- Auto exposure bracketing vs. none
- Ambience/white priority AWB vs. ambience only
- Vari-angle LCD vs. tiltable 180 degrees up
- Flash recycling time: 3 sec. vs. 5
- Flash hot shoe vs. none
- Adobe RGB and sRGB color spaces vs. sRGB only
- 10 fps One Shot/7.4 fps Servo AF continuous shooting vs. 6.1 / 4
- .CR3 File Format with C-RAW vs. .CR2 (no C-RAW support)
- Up to 4K UHD video recording vs. Full HD 1080p
- Compatible with Bluetooth BR-E1 / mobile device remote control vs. mobile device only
- 9 customizable buttons vs. 2
Primary Advantages of the Canon EOS M100:
- 100-25600 Auto ISO range vs. 100 - 6400
- 21 shot RAW buffer in One Shot Mode vs. 10
- Approx. 295 shots (410 shots in Eco Mode) battery life vs. 235 (370)
- Smaller/Lighter: 4.26 x 2.64 x 1.38" (108.2 x 67.1 x 35.1mm), 11.29oz (320g) vs. 4.6 x 3.5 x 2.3" (116.3 x 88.1 x 58.7mm), 13.7 oz (387g)
- Lower cost
Who should opt for the Canon EOS M50?
If you need a versatile, mirrorless camera and would like to shoot 4K, then the choice is easy – get an EOS M50. It's the only Canon mirrorless option (at the moment) that can record 4K video. Although you don't get the benefits of Dual Pixel CMOS Movie Servo AF in 4K mode, the ability to shoot 4K combined with the M50's vari-angle LCD and small size/weight will make it an extremely useful tool for filmmaking, especially for vloggers or one-man crews. For those who prefer viewfinder shooting, once again, the choice is easy. The M50's OLED EVF is well designed and makes it much easier to use when shooting in bright sunlight. The EOS M50 also features a flash hot shoe, better/more sensitive AF system, more sensitive metering system, a faster continuous shooting burst rate, exposure bracketing and more AWB options. These features along with the camera's new .CR3 RAW file format (with space saving C-RAW support) result in a camera that is simply more capable of capturing compelling imagery compared to the EOS M100.
Who should opt for the Canon EOS M100?
Of the limited number of advantages the EOS M100 has over the M50, the two which will likely prove most compelling for most will be its lower cost and smaller size/lighter weight. If your budget does not extend to the M50, you need the absolute smallest and lightest Canon mirrorless option available or you don't anticipate utilizing the M50's extra features, the M100 is there for you.
Relevant Information
In this video, Benjamin Warde describes the recently improved Auto adjustment feature in Lightroom Classic CC and how to use it for specific adjustments instead of globally.
B&H carries Adobe Photography Plan subscriptions.
From MindShift Gear:
MindShift Gear has just released an 18-liter version of its popular BackLight series, the BackLight 18L rear-panel backpack. This smaller version offers a lightweight daypack that enables photographers to access gear without taking off the backpack. They can change lenses or just snap a quick photo simply by rotating the bag to the front while the waist belt is still secured. Rear-panel access also adds security when traveling since camera gear is protected from behind.
This back-panel access allows photographers to work out of the bag without getting the harness dirty, wet, muddy, or icy. It features dedicated compartments that fit up to a 13” laptop and a full-size tablet. As a daypack, its front pockets total 5 liters in personal gear carry for a day’s outing, such as extra layers, a light jacket, food, and more. It is available in two colors, Charcoal and Woodland Green, and meets most international and U.S. airline carry-on requirements.
This new backpack holds a variety of camera kits:
- Two gripped DSLRs with lenses attached and one to three standard zoom lenses
- Two gripped Mirrorless bodies with lenses attached and three to five lenses
- Fits up to a 13” laptop and a 10” tablet
- Fits personal gear in the 5L front compartments
- Maximum lens size: 300mm f/2.8 or 150–600mm f/5–6.3 attached to a body
ADDITIONAL FEATURES AND BENEFITS
- Daisy chain, ice axe loops and additional lash points for expanding carry capacity
- Includes tripod/monopod mounting system on front or side
- Comfortable padded waist belt for all day comfort on the trail with webbing rail for additional MindShift accessories
- Flap-keeper neck strap allows unencumbered access to gear
- Two large water bottle pockets with cinch cord fit a 32oz Nalgene
- Side compression straps with locking SR buckles for additional lash points
- Air channel and lumbar support on rear-panel for all-day comfort
- Ergonomic zipper pulls are easily gripped with gloves or frozen fingers
- Highest quality YKK zippers, 420D Velocity and 420D high-density nylon for long lasting durability and strength
- Front stuff pockets for trail essentials, e.g., headlamp, gloves, chargers
- Adjustable dividers for large telephoto lenses, traditional photo gear, or personal items
- Top zippered pocket for quick access essentials
- Interior mesh pockets for storing filters, batteries, cables, etc.
- Seam-sealed rain cover included, folds flat for use as a ground cover
- Compatible with MindShift’s Tripod Suspension Kit, Filter Nest, Filter Hive and Switch Case
MATERIALS
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. Features the highest-quality abrasion-resistant YKK RC-Fuse zippers, 420D velocity nylon, 420D high-density nylon, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread
Interior: 210D silver-toned nylon lining, hexa-mesh pockets, high-density closed-cell foam, PE board reinforcement, 3-ply bonded nylon thread
SPECIFICATIONS
Exterior Dimensions: 10.6” W x 18.5” H x 7.1” D (27 x 47 x 18 cm)
Interior Camera Compartment: 9.4” W x 16.7” H x 5.5” D (24 x 42.5 x 14 cm)
Laptop Pocket: 8.9” W x 13.8” H x 0.8”D (22.5 x 35 x 2.1 cm)
Tablet Pocket: 8.7” W x 10.2” H x 0.6” D (22 x 26 x 1.5 cm)
Total Volume: 18L
Weight: 3.5 lbs. (1.6 kg)
MindShiftGear has the BackLight 18L in stock with free shipping.
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