Canon and Sony News for Oct 2018 (Page 4)

From Kenko Tokina:

Kenko Tokina Co., Ltd. is pleased to announce the worldwide sales date for the new Tokina opera 50mm F1.4 FF lens (Canon EF/Nikon F mount) for full frame DSLR cameras.

Sales will commence on October 26th, 2018.

50mm F1.4 FF is the debut lens in the new Tokina opera series released on September 21st and presented at Photokina 2018, marking the launch of the new generation premium full frame line for high-end DSLR cameras.

Preorders:
Tokina opera 50mm f/1.4 FF Lens - B&H | Adorama

Watch as Benjamin Warde demonstrates how to use the Compare View to narrow down your selects in Lightroom.

B&H carries Adobe Photography Plan subscriptions.

Want to give Canon’s new mirrorless system a try? Here's your chance!

LensRentals has the following gear available for rent:

• Canon EOS R Mirrorless Camera
• Canon RF 24-105mm f/4L IS USM (available tomorrow)
• Canon Mount Adapter EF-EOS R (available 10/22)

From Canon Europe YouTube Channel:

Discover how Audun Rikardsen faces snow, sleet and the Arctic sea with his L-series lenses, creating world-leading wildlife photography

During the polar nights when the sun never rises, it is just 4°C in the tumultuous, frigid Norwegian Sea. The city of Tromsø is further north than many people ever venture – 350km above the Arctic Circle. These are facts that don't deter Canon Ambassador Audun Rikardsen. In pursuit of photographs of Nordic wildlife, he uses his Canon bodies and trusted L-series lenses in punishing conditions: left for days, weeks and months in snow, sleet, hail and wind.

You can read more here.

From Adobe:

Support for the following cameras has been added. Visit the Camera Raw page for a complete list of supported cameras.

• Canon EOS R
• Fujifilm X-T3
• Nikon COOLPIX P1000 (*)
• Nikon Z 7
• Panasonic LUMIX DC-LX100 II

Download: Adobe DNG Converter 11.0 - Windows | Mac OS

From the PHLEARN YouTube Channel:

Today we show you how to realistically match lighting between two photos in Photoshop! Learn how to use a Threshold Adjustment Layer in combination with a Levels Adjustment Layer to adjust the highlights and shadows and help your subject to blend in seamlessly to a new background.

If you’re just learning how to composite, make sure that any photos you blend together were taken in somewhat similar lighting conditions!

Download the Sample Image (PSD) here.

B&H carries Adobe Photography Plan subscriptions.

From Nikon:

Changes from Firmware Version 1.01 to 1.02

• Added support for the Z 7 and Z 6.

Download: Nikon WR-1 Firmware v.1.02

Watch as Julieanne Kost demonstrates how to modify the edge of a Layer Mask or Vector Mask in Photoshop.

B&H carries Adobe Photography Plan subscriptions.

Image quality test results from a Nikon D850 have been added to the Nikon 24-120mm f/4G AF-S VR Lens page.

The Nikon 24-120mm f/4G VR features an excellent general purpose focal length range, a moderately fast max aperture and VR – a combination which results in a highly useful lens with a modest price tag and travel-friendly size.

Here are a couple of comparisons to get you started:

Nikon 24-120mm f/4G AF-S VR compared to Canon EF 24-105mm f/4L IS II USM Lens
Nikon 24-120mm f/4G AF-S VR compared to Sony FE 24-105mm f/4 G OSS Lens

The Nikon 24-120mm f/4G AF-S VR Lens is in stock at B&H | Amazon | Adorama | WEX.

Rent the Nikon 24-120mm f/4G AF-S VR Lens from Lensrentals.

From Canon USA:

RAW PROCESSING ON THE GO

RAW PROCESSING ON THE GO For portable and wireless digital photography workflows, Canon's Digital Photo Professional Express (DPP Express) brings the powerful features of Canon's DPP software to your compatible iPad. Working with Canon's Camera Connect app*, DPP Express streamlines the processing of JPEGs and .CR3 RAW files with an intuitive and powerful interface. View images and adjust settings right on your mobile device, and save files to the cloud, a computer or your camera. With DPP Express, it's incredibly easy to maintain a wireless RAW workflow on the go.

CONNECT YOUR CAMERA

With the Camera Connect app* installed on your compatible iPad, it's simple to connect wirelessly to your camera to download images, operate remotely and more. Images stored on the camera's memory card can be downloaded instantly and automatically for review, sharing or use in DPP Express. The Camera Connect app* also makes it easy to change camera settings, take pictures and video and even apply GPS data.

INTUITIVE AND EASY TO USE

DPP Express is designed for fast and intuitive operation on your iPad. With touch-operated controls and a clear, simple user interface, it's easy to adjust settings like tone curves, picture settings, gamma levels and even lens correction right on your iPad and see the changes applied in real time.

MULTIPLE EDITING HISTORIES

To create and compare different versions of the same image, DPP Express enables Multiple Editing Histories. Helpful in differentiating and comparing effects or setting changes on the same image, this feature creates up to four editing histories to view and save. To apply the same set of corrections to different photographs, Edit Histories can even be copied and pasted among images using the DPP Express Copy and Paste adjustment functions.

BASIC FEATURES

Download: Canon Digital Photo Professional Express

Right now, the Canon EOS 7D Mark II Body-Only is listed as "Discontinued" or is simply unavailable at several major authorized retailers.

The Canon EOS 7D Mark II, released in 2014, replaced the original EOS 7D which hit the market in 2009. So, if Canon continues with a 5-year product cycle for its 7-series cameras, we could reasonably expect a replacement some time in the next 12 months or so. But if Canon were planning on releasing an upgraded 7D in the next calendar year, why would they discontinue its predecessor possibly months before the follow-up's announcement?

Actually, there's a very logical reason why the Canon EOS 7D Mark II Body-Only has been allowed to vanish from retailer shelves; the product listing has been replaced by the Canon EOS 7D Mark II DSLR with W-E1 Wi-Fi Adapter Kit, which remains in stock at all major authorized retailers. And that makes perfect sense. All of Canon's recently released DSLRs and mirrorless cameras feature wireless connectivity, and most of the 7D II's competitors do as well. By including a W-E1 with the 7D II, Canon is basically righting a wrong, i.e., not including built-in Wi-Fi to begin with.

Of course, the W-E1 solution was never perfect (it renders one of the two available card slots useless for recording images/videos), but it does provide basic Wi-Fi camera control and image transfer when those features are desired.

So has the Canon EOS 7D Mark II officially been discontinued? No, not yet. But the body-only version without the Wi-Fi adapter seems to have been.

Canon EOS 7D Mark II DSLR with W-E1 Wi-Fi Adapter Kit - B&H | Adorama

From the Adorama YouTube Channel:

Today in Episode 136 of Two Minute Tips, David Bergman explains the difference between first curtain and second curtain sync.

After opening the Canon EOS R box, it is time to set up the camera for use. Following are the 40 steps I took to make a new EOS R ready for use.

1. Open the box, find the battery, place it in the charger and plug it in.
2. While the battery is charging, unpack the other items you want from the box.
3. Download and install the Canon Solution Disk software on your computer to get support for the latest camera(s). Canon Digital Photo Pro (DPP), EOS Utility and Lens Registration Utility are the options I manually include in the install.
4. Attach the neck strap.
5. Insert the battery (after charging completes) and power the camera on.
6. The date, time and time zone setup screen will show at the first startup. Use the rear Cross Keys and Set button to update this information.
7. Insert a memory card (don't forget to format the card via the tools menu option before taking pictures).
8. Set the camera's mode to Av, Tv or M (some modes provide only a small subset of available menu options).
9. Scroll through all of the menu tabs to configure the camera as follows:
10. Shooting Menu, Tab 1: Image quality: Use top dial to set RAW to "RAW" and Cross Keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post processing work)
11. Shooting Menu, Tab 1: Image review: 4 sec. (or sometimes off to increase shooting speed in the field)
12. Shooting Menu, Tab 1: Release shutter without card: Disable (only in a retail store do you want to press the shutter release without saving the image file)
13. Shooting Menu, Tab 2: Lens Aberration Correction: All options "OFF" (though Chromatic Aberration correction is a good option to leave enabled for most)
14. Shooting Menu, Tab 3: Auto Lighting Optimizer: Off (I'll make these adjustments in post if needed)
15. Shooting Menu, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust modestly during post processing)
16. Shooting Menu, Tab 4: Picture Style: Neutral with Sharpness = 2 (Note: the low contrast "Neutral" picture style provides a histogram on the back of the camera that most-accurately shows me blown highlights and blocked shadows on the camera LCD. I usually change the Picture Style to "Standard" in DPP after capture.)
17. Shooting Menu, Tab 5: Long exp. noise reduction: Auto (when active, LENR captures a dark image that is used to correct the long exposure noise in the primary image)
18. Shooting Menu, Tab 5: High speed NR: Off (or Low) (noise reduction is destructive to images details – I prefer to add noise reduction sparingly during post processing)
19. Shooting Menu, Tab 6: High speed display: ON (note that the camera must be set to high speed frame rate to enable this option)
20. AF Menu, Tab 1: AF frame size: Small (this allows me to precisely select the point of focus – I opt for the larger frame size if contrast is not sufficient (seldom) and Face Tracking with Eye AF is usually optimal for photographing people)
21. AF Menu, Tab 1: Touch & drag AF settings: Touch & drag AF: Enable (allows a thumb drag across the rear LCD to quickly move the AF point while looking through the electronic viewfinder)
22. AF Menu, Tab 5: Orientation linked AF point: Separate AF pts: Pt only (instructs camera to individually save the selected AF points for vertical and horizontal orientation)
23. Playback Menu, Tab 3: Highlight Alert: Enable (causes overexposed pixels to blink)
24. Playback Menu, Tab 3: Magnify (approx.): Actual size (allows one button press during playback to zoom deeply into the image)
25. Tools Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
26. Tools Menu, Tab 3: Beep: Disable (probably no one wants to hear your focus confirmation beep)
27. Tools Menu, Tab 4: Shooting info. display: Screen info. settings: Enable 1 and 3
28. Tools Menu, Tab 4: Shooting info. display: VF info/toggle setting: Enable 1 and 3
29. Tools Menu, Tab 4: Shooting info. display: Grid display: 3x3 (sometimes helpful for alignment checking)
30. Tools Menu, Tab 4: Shooting info. display: Histogram disp: RGB, Small (I want to see the brightness levels of each channel separately and don't want the graph to take up much space in the display)
31. Tools Menu, Tab 6: Custom shooting mode (C1, C2): Auto update set: Enable (see Configuring Custom Shooting Modes)
32. Tools Menu, Tab 6: Copyright information: enter as desired
33. Custom Functions Menu, Tab 1: Bracketing auto cancel: OFF (I want to control when AEB (Auto Exposure Bracketing) is enabled and disabled)
34. Custom Functions Menu, Tab 1: Bracketing sequence: -0+ (if images are captured in brightness sequence, they are easier to work with during post processing. Capturing the darkest image first means that I quickly get at least the first frame)
35. Custom Functions Menu, Tab 3: RF lens MF focus ring sensitivity: Linked to rotation degree (I do not like variable speed AF rings)
36. Custom Functions Menu, Tab 4: Customize buttons: Up, Down, Left and Right buttons: Direct AF point selection
37. Custom Functions Menu, Tab 4: Customize M-Fn bar: ISO speed, ISO <, ISO >
38. Custom Functions Menu, Tab 5: Retract lens on power off: OFF (avoids having a carefully-selected focus distance from resetting when camera auto powers off)
39. My Menu: Add the first tab; Register the following options for Tab 1: Expo. simulation, Long exposure noise reduction, Format card, Date/Time/Zone (great for monitoring what time it is), Sensor cleaning, Expo.comp./AEB (found back up near the top of the list) (nothing in my My Menu is found on the Quick Control display as those functions are already quickly accessed)
40. With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp

To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.

If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea. Anytime your camera goes in for a service visit, the camera will be returned in a reset-to-factory state (unless you request otherwise). If your camera ever needs reset to factory settings for other reasons, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. Your list will ensure that you do not miss an important setting when putting the camera back into service. And, if you purchase another same or similar camera, you will be able to quickly set it up.

More Information

• Canon EOS R Review

The Canon EOS R is in stock at B&H | Amazon | Adorama

From Canon USA:

“Get Carried Away” at the Canon Tent with all the Latest Products, Including the New EOS R Camera

MELVILLE, N.Y., October 5, 2018 – The sky is the limit as Canon U.S.A., Inc., a leader in digital imaging solutions, returns as the presenting sponsor of the 47th annual Albuquerque International Balloon Fiesta taking place from October 6-14, 2018. The sponsorship solidifies Canon’s commitment to engaging and educating visitors at the festival through 2020, while also supporting the city of Albuquerque, which Canon calls home to one of its two U.S. customer support centers.

"There are certain moments in life that are so vivid and memorable, that they simply must be captured,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. "The Albuquerque International Balloon Fiesta is one of those moments. We are honored to continue to assist attendees through our sponsorship in visually capturing, sharing, and printing the wonderment as hundreds of balloons take to the skies."

Featuring more than 500 hot air and gas balloons across 78-acres at Balloon Fiesta Park, the Albuquerque International Balloon Fiesta is one of the most photographed events in the world.

To bring the theme of this year’s Fiesta to life, “Get Carried Away,” Canon will be on site hosting a variety of hands-on activities within their booth located in the center of Main Street. Attendees will have the opportunity to test and try a wide array of Canon products such as the new mirrorless EOS R camera and latest lenses as well as:

• Take a photo with the Canon hot air balloon basket photo prop and have the photo printed on a PIXMA TS8220 as well as share socially on-site via their mobile device and preferred social media platforms
• Engage with Canon street team members who will be walking throughout Balloon Fiesta Park taking photos and printing them on-the-spot with the new IVY mini photo printer
• Print fiesta photos on the Canon PIXMA TS8220, SELPHY CP1300, and the IVY Mini Photo Printer1 as well as learn how to create a Canon hdAlbum
• Sign up for photo walks provided by Canon photography experts. To view the schedule please visit: canon.us/aibfphotowalks
• Speak with Canon experts to get advice on how to capture once-in-a-lifetime photos and videos
• Receive free camera and lens clean and checks from Canon’s expert Service and Support team ensuring they are ready to help you capture breathtaking images

For Albuquerque International Balloon Fiesta video highlights, gear recommendations, photo tips and more, please visit: https://www.usa.canon.com/balloonfiesta

by Sean Setters

I was reading an article yesterday that stated the Canon EOS R had a "1.83x crop factor" when recording 4K video. However, while the EOS R certainly has a crop factor in 4K recording, it's actually a slightly lower crop factor of 1.75x.

I can understand the source of the confusion and, as such, I thought we'd take a minute to go over the math involved in determining a camera's sensor or video recording crop factor.

Before we dive into the crop factor calculations, it's important to understand why a crop factor is relevant. The crop factor determines the field of view we see in a given situation. For more information on the root of this phenomena and how it relates to sensor size, check out our Field of View Crop Factor explanation.

At the heart of it, the formula for determining crop factor is easy: you determine the ratio of the larger area's hypotenuse (diagonal) to the smaller area's hypotenuse measurement. For that, we'll need to use the tried-and-true Pythagorean theorem (a²+b²=c²). For example, to determine the crop factor of a Canon APS-C sensor, the math looks like this:

EOS-1-series Full-Frame Sensor Hypotenuse (mm)
36² + 24² = c²
1,296 + 576 = c²
1,872 = c²
√1,872 = c
43.27 = c

EOS 7D Mark II APS-C Sensor Hypotenuse (mm)
22.4² + 15² = c²
501.76 + 225.00 = c²
726.76 = c²
√726.76 = c
26.96 = c

Now the crop factor can be calculated by dividing the full-frame hypotenuse by the APS-C one:

APS-C Crop Factor
43.27 / 26.96 = 1.605

We know that APS-C sensor cameras feature a 1.6x crop factor, so with a little rounding, the calculation proves correct in determining the crop factor. The process for calculating video crop factor (when the video recorded is sampled via a 1-to-1 readout of the pixels in the center of the sensor which creates the video's resolution) is similar, but not exactly the same. The first difference involves our units of measure; we'll be using pixels to determine the hypotenuses for comparison. We can do this because the pixel size is the same (a standard) throughout the comparison. The second difference is that we'll need to normalize the aspect ratios to figure out the appropriate crop factor.

As I mentioned the EOS R above, we'll use it as an example of how to calculate the camera's (4K) video crop factor. First we need to determine what part of the sensor would be used if the video recording utilized the entire width of the sensor. To do that, we need to calculate the pixel area of a 16:9 (4K) ratio crop of the camera's 3:2 ratio frame. To do that, we simply divide the sensor's pixel width by 16 and then multiply by 9 to get the area utilized by an uncropped 16:9 video.

EOS R Video Pixel Height (Full Sensor WxH = 6720 x 4480 px)
6720 * 16 / 9 = 3780

So in a world where the EOS R captures "uncropped" 4K footage, the sensor would utilize an area of the frame that is 6720 x 3780 pixels and then downsample it to the lower 4K resolution. The video is technically cropped from a 3:2 ratio frame, but it's referred to as "uncropped" because the horizontal field of view remains the same (it's cropped at the top and bottom, not the sides).

Now that we know the portion of the frame that would be utilized for a 16:9 aspect ratio video, we need to compare it to the video size actually being recorded by the EOS R, or 3840 x 2160 pixels. Because of the rather large numbers, I'll shorten the following equations by eliminating some of the calculation steps.

"Uncropped" 16:9 Video Hypotenuse (px)
√(6720² + 3780²) = c
7710.175 = c

EOS R 4K Video Hypotenuse (px)
√(3840² + 2160²) = c
4405.814 = c

Crop factor of EOS R
7710.175 / 4405.814 = 1.75

So for practical purposes, the EOS R has a 4K crop factor of 1.75x, where a 20mm lens delivers a 16:9 field of view equivalent to a 35mm lens when recording in 4K. From a technical standpoint, saying that the EOS R has a 1.83x crop factor could be accurate if we also labeled the Sony a7 III as having a 1.05x crop factor in video mode. But when you call the a7 III's 4K video "uncropped," you necessitate normalizing the field of view captured in the EOS R's 4K 16:9 aspect ratio frame, resulting in the 1.75x result.