Canon and Sony News for Nov 2017 (Page 4)
Nov 08, 2017 14:00 CET – Sony today announced the expansion of its Imaging Pro Support Programme which now covers seven European countries, responding to the increasing number of professional photographers, who are switching to Sony. From January 2018, professional photographers from Denmark, Sweden, Finland and Norway will be able to apply for membership to make use of the Pro Support services offered, with a further expansion of the programme to France, Italy and Belgium scheduled for April 2018.
The Imaging Pro Support Programme offers support and advice on Sony equipment, including a special telephone helpdesk to assist professional photographers in the use of their a-camera equipment. Professionals also benefit from free collection and return services and complimentary replacement units while their equipment is repaired. Additionally, members are entitled to free image sensor cleaning and a firmware check-up, twice a year.
For eligible applicants[i], membership of the European Imaging PRO Support Program is currently free. It is accessible to professional photographers who have at least two Sony a camera bodies and three Sony a lenses from the list of valid devices. For a list of eligible products, please consult this list.
Imaging PRO Support is currently available in Japan, South Korea, Hong Kong, Taiwan, India, China, Russia, Canada, Germany, Switzerland, Austria, the Netherlands, the United Kingdom, Australia, Mexico, and the United States.
[i] The program is intended for professional photographers. Anyone interested in becoming a member must therefore provide proof of income from photography work. Sony reserves the right to review individual cases.
For those that want more than just a lens coffee cup perched on their desk, B&H has a set of coasters that stack to resemble an 85mm f/1.2L lens.
Product Highlights
- Set of Five Drink Coasters
- Pieces Combine to Form a Replica Lens
- Hidden Magnets Hold Coasters Together
- Non-Slip Silicone Bottom and Top
If you're curious about these coasters, look no further than this witty customer's thorough product review on B&H:
"This 5-element 'Lens' marked 'Craftmaster 85 mm f 1.2L' externally looks like the Canon 85 mm f 1.2L II USM right down to the red banding. It has 5 'elements' each made of black silicone rubber and having working surface diameters of 75, 80, 80, and 77 mm respectively. The 'elements' stay connected together through internal magnets. The focusing ring is nicely rubber covered and is 15 mm wide, but manual focusing is rather rough. Although there is an aperture scale, there is no aperture ring. Since this lens does not have a bayonet mount it refuses to fit my 1D Mk IV. By affixing the 'lens' with fresh Gorilla Tape I was able to test the lens. Even in direct sunlight I could not get a correctly exposed image. I suspect that's because each of the 5-elements is completely opaque. Also, autofocus didn't work at all (probably because there is no focus motor).Recommended for its intended use, but not for photography."
Want some guidence in photographing fall foliage? If so, then check out this recently posted B&H Explora article: Photo Tips and Favorite Gear for Successful Fall Foliage Pictures.
In it, you'll find a couple of tips from a familiar photographer along with some great examples captured during peak foliage.
Canon USA has an updated firmware available for the EOS 6D Mark II (review). See below for details.
Firmware Version 1.0.3 incorporates the following fix:
- Corrects an erroneous display that may appear when some third-party accessories are attached to the hot shoe.
Download: Canon EOS 6D Mark II Firmware v.1.0.3
The Canon EF 85mm f/1.4L IS USM Lens review page has been updated with hands-on information and image quality examples.
I recently put nearly 500 shutter actuations behind this highly-desired lens and am sharing what I learned.
Coming soon: B&H lists the expected availability date of the Canon EF 85mm f/1.4L IS USM Lens as Nov 17, 2017. Or, viewed another way, in plenty of time for it to become your primary holiday lens.
Preorder your 85 f/1.4L IS now at B&H | Amazon | Adorama | WEX.
by Sean Setters
If you have a dedicated studio space, keeping your subjects comfortable and happy is important for getting the best images from your studio session. Below are a few items you should consider adding to your studio to maximize your subjects' comfort.
1. Refreshments
Whether from warm tea or coffee in the winter or a cold bottle of water in the summer, a hydrated subject tends to be happier than a parched one. As such, items like a coffee pot, electric kettle and/or mini fridge can make worthwhile additions to your studio space. I've had a mini fridge in my studio for several years now, and subjects always appreciate cold water and/or soda in between sets. And when shooting on location, I usually grab a few water bottles and bring them with me so that my subjects stay hydrated (especially important if shooting outdoors in the heat and/or sun).
You might also consider keeping a few granola bars or various snacks on hand in case your subject suffers from hypoglycemia (low blood sugar) or simply gets hungry while you're rearranging your lighting setup.
2. Full-Length Mirror
Many people tend to be self-conscious when a camera is pointed at them. And even if they aren't, they usually to want to verify they are presenting themselves at their best before the photo session starts. A full length mirror goes a long way in reassuring your subject that they have everything (especially hair) in order before stepping in front of the camera.
3. Grooming Supplies
Speaking of hair, I've lost count of the number of subjects that have shown up to a shoot without a brush or a comb. Having these items on-hand can make a subject feel taken care of when they forget to bring their own personal grooming items. And, not only that, but a properly brushed/combed head of hair can save you hours of editing time removing flyaway stands if a clean/groomed look is what you or your subject is/are after.
Therefore, a jar with Barbicide disinfectant, an inexpensive hair brush and a comb can be worth their weight in gold considering the potential time saved in post-processing. Keep in mind, though, that shared grooming tools will need to be properly maintained in between uses. To avoid maintenance, you can choose to simply buy several inexpensive brushes/combs and give them to your subjects after use.
4. Dedicated Changing Area
Of course, an accessible restroom is a requirement for just about any commercial space and can be used for changing outfits. However, most clothing changes in a studio setting tend to be minimal (changing a shirt, sweater, etc.). To provide some privacy for your subject, why not put up a panel room divider in an unused corner of the studio? The divider provides a convenient place for your subject to change and may even prove useful as a backdrop for various types of studio portraiture.
5. Comfortable Seating
Either for your subject or for your subjects' family and/or friends who attend the studio session, comfortable seating will ensure everyone stays fresh and relaxed while not actively participating in the image making process. And just like the panel divider, an interesting chair can also be used as a prop, making it a no-brainer for addition to your studio. Interesting/comfortable seating may include papasan chairs, armchairs, love seats and/or couches.
Summary
As I mentioned in the introduction, a comfortable, happy subject is key to getting the most out of your studio sessions, making them all worthwhile additions for your studio space.
Do you have any suggestions for maximizing your subjects' comfort in a studio environment? Leave them in the comments section.
Nikon has released their financial results for 2Q for the financial year ending March 31, 2018.
- Financial Results (PDF:278KB)
- Financial and Business Data (PDF:85KB)
- Presentation Material (PDF:701KB)
- Financial Results for the Second Quarter of the Year Ending March 31, 2018 (PDF:470KB)
- Reference Data (PDF:386KB)
Related Article
The World Trade Center Transportation Hub, or "Oculus", is a relatively new addition to New York City and, immediately upon seeing the unique architecture of this structure, looking something like a monster coming out of the streets of the city, my to-do list grew one line longer.
I was in the city for the PhotoPlus Expo and with the expo closing at 5:00 PM on weekdays, I always have time to go to a location not too far away, do some quick scouting and set up for a blue hour photo shoot (especially if I cut out of the show a little early).
This year, I made that location the WTC Transportation Hub.
Upon arrival, I walked around the hub, looking for the best photographic angles with blue hour imagery being my primary objective.
You are now looking at one of my favorite images coming out of that effort.
The first concept to share here is that the ultra-wide 16mm full frame focal length allowed me to get close enough to frame the entire structure without obstructions and because I was close and the hub was the closest building, perspective made it appear large relative to the other buildings.
I included the crosswalks in the foreground because I liked how they balanced with the fins of the hub.
Along with the crosswalks come a pair of streets that nicely frame the hub.
Another key to lack of obstructions in the frame came from the multiple-frame 8-second exposure composite.
Moving people were blurred out of view during the exposure and those not moving were often in a different location in another frame captured just before or just after the primary one.
The longer exposures come naturally when the sky starts getting darker and balancing with the lights (though a neutral density filter can also be used).
The narrow f/16 aperture also helps extend the exposure time.
I didn't need f/16 for the deep depth of field it provides, but in addition to extending the exposure duration, I like the starburst effect f/16 creates from bright lights, such as those on the police car on the left side of the frame.
And that brings me to another point.
Before you attempt to recreate this image, check on the tripod rules for this location.
As I was capturing the last frame included in this composite, with the tripod legs set narrow, between my feet (for both safety and courtesy reasons), the police officer drove over and stated "This is New York City. Tripods are not allowed on public property."
Well, I have read (and experienced) otherwise, but ... some jurisdictions have their own rules (I'll have to research this one).
I was tired, not interested in creating an issue and ... I already had the image I wanted.
So, I moved on, though wishing that I had brought my Feisol TT-15 Mini Tripod along to make subsequent images significantly easier to capture.
A larger version of this image is available on Flickr.
ISO 100
8688 x 5792px
With two optically stabilized 24-70mm f/2.8 lenses hitting the market this year, many are likely wondering how the third-party lenses stack up against Canon's venerable – though unstabilized – EF 24-70mm f/2.8L II USM. Let's take a good look at the Canon EF 24-70mm f/2.8L II USM, Sigma 24-70mm f/2.8 DG OS HSM Art & Tamron 24-70mm f/2.8 Di VC USD G2 to find out which might make the best choice for own general purpose needs.
First, it's important to consider that these lenses are very similar from a primary features perspective, with built-in stabilization being the most notable differentiator. With that in mind, let's take a look at the shared set of features for these lenses:
Canon 24-70L II, Sigma 24-70 OS Art & Tamron 24-70mm VC G2 Shared Features
- Focal length range: 24-70mm
- Maximum aperture: f/2.8
- Filter size: 82mm
- Some degree of weather sealing
Now, let's see how these 24-70mm lenses differ from a design perspective:
Canon 24-70L II, Sigma 24-70 OS Art & Tamron 24-70mm VC G2 Differences
| Lens | Size | Weight | FRR1 | ZRR2 | Focus/Zoom Ring Rotation Direction |
| Canon EF 24-70mm f/2.8L II USM | 3.48 x 4.45” (88.5 x 113mm) | 28.4 oz (805g) | 105° | 60° | Canon standard |
| Sigma 24-70mm f/2.8 DG OS HSM Art | 3.46 x 4.24” (88 x 107.6mm) | 36 oz (1020g) | 95° | 64° | Canon standard |
| Tamron 24-70mm f/2.8 Di VC USD G2 | 3.48 x 4.40” (88.4 x 111.8mm) | 31.9 oz (904g) | 110° | 75° | Nikon standard |
1 FRR = Focus Ring Rotation
2 ZRR = Zoom Ring Rotation
Sharpness Comparison
When it comes to sharpness, it's difficult to adequately describe which lens is the cream of the crop. The reason is simple – the "sharpest lens" title changes depending on the focal length and aperture chosen along with the specific area of the frame being considered.
After pouring over the results for quite some time, I decided to compile my own subjective findings. You can find them below. However, I encourage you to compare the lenses for yourself at the focal lengths and apertures you will likely use most to determine which lens may be sharpest for your specific intended uses.
For the results below, I ranked the three lenses at each specified focal length / aperture. If there was little or no discernible difference between two lenses, then I marked the comparison a tie.
Vignetting Comparison
Vignetting performance is not a significant differentiating factor for this group of 24-70mm f/2.8 lenses. There are minor differences, but... none that would likely motivate you to pick one over the other solely based on corner darkening. If precise vignetting performance is a priority for you, check out the links below.
Vignetting: Canon EF 24-70mm f/2.8L II USM vs. Sigma 24-70mm f/2.8 DG OS HSM Art
Vignetting: Canon EF 24-70mm f/2.8L II USM vs. Tamron 24-70mm f/2.8 Di VC USD G2
Vignetting: Sigma 24-70mm f/2.8 DG OS HSM Art vs. Tamron 24-70mm f/2.8 Di VC USD G2
Flare Performance
When evaluating flare performance, I typically compare lenses at f/16 at their widest and longest focal lengths. These comparisons usually give me a good idea of what to expect from the lens in near worst-case scenarios. Keep in mind that one's preference for tolerable types of flare is very subjective. Personally, I'd rather have an overall lose of contrast as opposed to clearly defined rings, circles and lines which are difficult to remove in post-processing and may block important details in the frame.
In this comparison, the Canon 24-70L II trails the Sigma and Tamron lenses at 24mm and f/16, at least as far as my personal preference is concerned.
Flare: Canon EF 24-70mm f/2.8L II USM vs. Sigma 24-70mm f/2.8 DG OS HSM Art
Flare: Canon EF 24-70mm f/2.8L II USM vs. Tamron 24-70mm f/2.8 Di VC USD G2
Between the Sigma Art and Tamron G2, the pattern of flare artifacts is very similar, although the Sigma may show a little more contrast.
Flare: Sigma 24-70mm f/2.8 DG OS HSM Art vs. Tamron 24-70mm f/2.8 Di VC USD G2
At 70mm, the Canon still shows more clearly defined flare artifacts while the other two lenses show less overall contrast. It's difficult to pick a winner between the Sigma and Tamron lenses, but if pressed to pick one, I think I would prefer the Sigma's results.
Distortion
Zoom lenses typically exhibit barrel distortion at the wide end which transitions to pincushion distortion at the long end, and all of these lenses show these quintessential characteristics to varying degrees. As with vignetting, I don't think there is enough difference among the lenses to regard distortion as a major differentiating factor. However, if minimal distortion is a priority for you, compare the lenses at your most-used focal length to see which one will work best for your needs.
Distortion: Canon EF 24-70mm f/2.8L II USM vs. Sigma 24-70mm f/2.8 DG OS HSM Art
Distortion: Canon EF 24-70mm f/2.8L II USM vs. Tamron 24-70mm f/2.8 Di VC USD G2
Distortion: Sigma 24-70mm f/2.8 DG OS HSM Art vs. Tamron 24-70mm f/2.8 Di VC USD G2
With image quality sufficiently covered, let's dive into other aspects of the lenses to illuminate even more (likely more significant) differences.
Stabilization
Unlike most of the image quality comparisons above, this comparison is very straightforward – the Canon 24-70L II doesn't have built-in stabilization, while the Sigma and the Tamron lenses do. Between the two, the Sigma 24-70 Art seemed to provide slightly more handheld assistance in our tests.
Before we move on, I should point out that stabilization can have a huge impact on image quality, as a lens can only achieve its highest image quality when camera shake is neutralized (either by the use of a fast shutter speed or by lens/camera stabilization). Of course, stabilization does not help if your subject is moving, but... it can help a great deal when photographing stationary subjects.
Autofocus Performance
Generally speaking, you'll get the best AF performance – especially in regards to accuracy and consistency – when using Canon lenses with Canon cameras. In the case of the Canon 24-70L II, Sigma 24-70 OS Art and Tamron 24-70 VC G2, while the third party lens manufacturers have certainly closed the performance gap over the past few years, the general rule still applies.
The good news is that all of the lenses perform quite well when using the center AF point, assuming a proper autofocus microadjustment (AFMA) calibration. Unfortunately, AF performance degrades noticeably while utilizing the outer AF points with both the Sigma Art and Tamron G2 lenses. Our testing indicates that the Sigma is a little more consistent than the Tamron with outer AF point use.
Those who don't mind employing a focus-and-recompose technique or otherwise can utilize Live View focusing for image capture, can maximize their in-focus take home percentage when using third-party lenses.
One area where the third-party lenses are advantaged is autofocus calibration through the use of Sigma's USB Dock and Tamron's TAP-in Console. While many high-end Canon DSLRs have the ability to fine tune AF using AFMA, most consumer-to-mid-level Canon DSLRs do not have this feature. And even if your camera does feature AFMA, the USB Dock and TAP-in Console allow for finer control of adjustment options (including separate adjustments for varying focus distances). Another benefit of dock-adjusted AF is that a lens can be calibrated once for use on several bodies (assuming the same adjustment is necessary throughout the set) instead of having to enter the same adjustment value in-camera on several bodies.
Price
Price is one lens aspect that is quite easy and straightforward to compare. The Canon 24-70L II is the most expensive lens of the bunch, with the Sigma's price being about 30% lower than the Canon's (current MSRP in North America, no rebates). The Tamron is priced slightly less than the Sigma.
One thing to keep in mind when choosing to invest in a lens is the brand's typical resale value. Of the three manufacturers, Canon lenses tend to hold their value better than the third-party options.
Summary
By not including image stabilization in the EF 24-70mm f/2.8L II USM lens, Canon left the door wide open for third-party manufacturers to produce an even more versatile and/or enticing general purpose lens. Both Sigma and Tamron saw the crack in Canon's armor, and the introduction of the 24-70mm f/2.8 DG OS HSM Art and 24-70mm f/2.8 Di VC USD G2 lenses represent the culmination of those manufacturers' efforts to unseat Canon in the professional general purpose lens market by taking advantage of Canon's biggest shortcoming.
Has either brand succeeded? In some ways the answer is "yes," and in other ways, "no." None of the lenses in this comparison blew away the competition, with the "best lens" being different based on one's own personal preferences and requirements. For those that cannot afford to miss a shot and prefer using viewfinder AF along with outer AF points (think, wedding photographers), the Canon EF 24-70mm f/2.8L II USM will likely be best. For the ultimate in versatility, however – thanks in large part to in-lens stabilization – the Sigma 24-70mm f/2.8 DG OS HSM Art and Tamron 24-70mm f/2.8 Di VC USD G2 both offer compelling performance at a more budget friendly price. Ultimately, the choice between the Sigma and Tamron will likely hinge on one's preference for more accurate AF (Sigma) or increased potential sharpness (Tamron).
Want to know more about these lenses? Check out our full reviews linked below.
- Canon EF 24-70mm f/2.8L II USM Lens Review
- Sigma 24-70mm f/2.8 DG OS HSM Art Lens Review
- Tamron 24-70mm f/2.8 Di VC USD G2 Lens Review
Authorized Retailers:
Canon EF 24-70mm f/2.8L II USM Lens
B&H | Amazon | Adorama | Canon USA Store | BuyDig | Wex Photographic | Henry's
Sigma 24-70mm f/2.8 DG OS HSM Art Lens
B&H | Amazon | Adorama | BuyDig | Wex Photographic | Henry's
Tamron 24-70mm f/2.8 Di VC USD G2 Lens
B&H | Amazon | Adorama | BuyDig | Wex Photographic | Henry's
Consumer Reports recently evaluated several online photo retailers and gave AdoramaPix an "Excellent" rating for print quality.
For what it's worth, AdoramaPix is my go-to source for prints for that very reason, for traditional prints and for every other print product I've tried. [Sean]
Image quality results from the Canon EOS 5Ds R, Canon EOS 7D Mark II and Canon EOS-1Ds Mark III have been added to the Irix 11mm f/4 Firefly Lens Review.
Important Note: You will see the mid and periphery sharpness of the test chart fluctuate unusually at certain apertures. For example, this lens shows as being peripherally sharper at f/4 than f/4.5. We tested the lens on the ISO 12233 chart a second time to be positive the results were repeatable and ... they were. To frame even a large test chart at 11mm requires a rather short focus distance and I am not seeing this issue in longer focus distance testing (I'll share these results in a full review soon). Overall, I'm really liking this lens.
Here are some comparisons that you might be interested in:
Irix 11mm f/4 vs. Canon 11-24mm f/4L Lens
Irix 11mm f/4 vs. Sigma 12-24mm f/4 Art Lens
Irix 11mm f/4 vs. Venus Optics Laowa 12mm f/2.8 Lens
Note that the Firefly and Blackstone variants of the Irix 11mm f/4 share the same optics. I'll list the full set of differences in the review, but the Firefly is lighter and less expensive while Blackstone is better-built. Both are bargains.
These lenses are a great deal at regular price, but through today, there is a $50 instant savings on the Firefly and $100 instant savings on the Blackstone at B&H.
The Irix 11mm f/4 Firefly/Blackstone Lens is in stock at B&H | Amazon | Adorama
From Macphun/Skylum:
Luminar 2018 offers everything a modern photographer needs for photo editing, including new filters powered by artificial intelligence, major speed improvements, a dedicated RAW develop module and a forthcoming in 2018; digital asset management platform.
Users will also benefit from the new intelligent Sun Rays filter, LUT support, and real-time noise removal. With workspaces that match different styles of editing, Luminar adapts to deliver a complete experience that avoids clutter and complexity.
Luminar 2018 has been re-built from the ground up for dramatic performance boosts. Existing filters deliver richer colors and depth in less time. A brand new streamlined user interface speeds up working with presets, filters, and masks. With full support of pro options like layers, masks, and blending modes, complex repairs and photo composites can be easily accomplished.
Pre-Order Availability:
Luminar 2018 will be availabe for pre-order on November 1 and released on November 16.
Pre-Order Pricing:
- Current users of Luminar may upgrade at a special pre-order price of $39 ($49 MSRP)*
- New users can purchase Luminar 2018 at a special pre-order price of $59 ($69 MSRP)*
* A collection of bonuses will also be included with every purchase.
Pre-Order Bonuses:
- A Pack of signature presets and textures fro pro photography Nicolesy
- An Exclusive pack of LUTs
- 1-year Power plan from SmugMug ($72 value). For new accounts only
Preorder: Luminar 2018
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