Canon and Sony News for Sep 2018 (Page 4)

From Nikon:

• Added support for the Z 7, D3500, and COOLPIX P1000.
• Added a Diffraction Compensation feature and updated Latest Picture Control for the Z 7.
• Added a Color Control Point feature that can be used to selectively edit brightness and hue.
• Image processing is now faster and consumes less memory for improved stability.
• Picture Controls created or modified in Picture Control Utility 2 can now be applied without restarting Capture NX-D.
• Fixed an issue that resulted in anchor points created by selecting Add Anchor Point in the Levels & Curves palette and then clicking a point in the image not appearing in the channel tone curves.

Download: Nikon Capture NX-D v.1.5.0

From Adobe:

Digital Experience Subscription Revenue Grows 25 Percent Year-Over-Year in Q3

Thursday, September 13, 2018 4:05 pm EDT – SAN JOSE, Calif. – Adobe (Nasdaq:ADBE) today reported strong financial results for its third quarter fiscal year 2018 ended August 31, 2018.

Financial Highlights

• Adobe achieved record quarterly revenue of $2.29 billion in its third quarter of fiscal year 2018, which represents 24 percent year-over-year revenue growth.
• Diluted earnings per share was $1.34 on a GAAP-basis, and $1.73 on a non-GAAP basis.
• Digital Media segment revenue was $1.61 billion, with Creative revenue growing to $1.36 billion and Document Cloud achieving record revenue of $249 million, which represents 21 percent year-over-year growth.
• Digital Media Annualized Recurring Revenue (“ARR”) grew to $6.40 billion exiting the quarter, a quarter-over-quarter increase of $339 million. Creative ARR grew to $5.66 billion, and Document Cloud ARR grew to $744 million.
• Digital Experience segment revenue was $614 million, which represents 21 percent year-over-year growth. Digital Experience subscription revenue grew 25 percent year-over-year in the quarter.
• Operating income grew 32 percent and net income grew 59 percent year-over-year on a GAAP-basis; operating income grew 32 percent and net income grew 57 percent year-over-year on a non-GAAP basis.
• Cash flow from operations was $955 million, and deferred revenue grew 23 percent year-over-year to approximately $2.71 billion.
• Adobe repurchased approximately 2.9 million shares during the quarter, returning $714 million of cash to stockholders.

A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.

Executive Quotes

"Adobe continues to inspire creativity and drive business transformation as reflected in our record Q3 results," said Shantanu Narayen, president and CEO, Adobe. "Students, creatives, enterprises and governments trust Creative Cloud, Document Cloud and Experience Cloud to create and deliver the transformative digital experiences required to compete today."

“Our strong momentum continued into the second half of fiscal 2018 as Adobe delivered another quarter of sustained revenue growth, strong earnings and cash flow of nearly $1 billion," said John Murphy, executive vice president and CFO, Adobe.

B&H carries Adobe Photography Plan subscriptions.

Canon Singapore has the Canon EOS R User Manual available for download.

Preorder the Canon EOS R and RF-mount lenses here.

From Sigma:

Brand new introductions to the FF High Speed Prime Line – 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF – will be debuted at IBC2018

September 11, 2018 – Sigma Corporation is pleased to announce the development of three new Sigma Cine lenses in the FF High Speed Prime Line: 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF. With these additions, the FF High Speed Prime Line now includes ten lenses covering 14mm to 135mm and T1.5 to T2, giving cinematographers even more options to empower their artistic expression and take their cinematic vision to the next level. Available for test-shooting at the 2018 IBC Show in Amsterdam from September 14-18, 2018, attendees are welcome to visit the Sigma booth 12.D64 to get hands-on with the new cine lenses.

New Models in the Sigma Cine FF High Speed Prime Line
All the lenses in the FF High Speed Prime Line, including the brand new 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF, are compatible with full-frame image sensors and optimized for ultra-high-resolution 6K-8K shooting. All three lenses come in PL, EF and E mounts with lens support foot and cap included. The 105mm T1.5 FF is expected to start shipping in October 2018, the 40mm T1.5 FF in the end of 2018, and the 28mm T1.5 FF in early 2019. Pricing for each new model will be announced at the time of availability.

Development of LPL Mount
In the future, the Sigma Cine lens series will include an LPL mount, the new lens mount optimized for the large format sensor released by ARRI in 2018. The planned release date for the Sigma Cine lenses in LPL mount is 2019 or later.

From the ZoomSoundLab YouTube Channel:

With a built-in Ambisonic mic, recorder and decoder, the Zoom H3-VR is the complete solution for capturing & processing spatial audio for VR, AR and mixed-reality content.

B&H has the Zoom H3-VR Handy Audio Recorder with Built-In Ambisonics Mic Array available for preorder.

From the Adorama YouTube Channel:

Photographer Daniel Norton shoots a campaign with the new Profoto B10. Tune in to learn all about the light, the new Profoto App as well as how Daniel comes up with the shots.

Preorder: Profoto B10 - B&H | Adorama

From Manfrotto:

New Befree tripod to monopod solution and an additional option for their Befree Live expand the traveler segment.

Upper Saddle River, NJ – September 13, 2018 – Manfrotto, world leader in the photography, videography and imaging equipment and accessories industry, has expanded its travel tripod range with new additions to the Befree Collection.

The Manfrotto Befree 2N1 is the most versatile model in the Befree range, with an all-in-one solution that allows the tripod to be converted into a monopod in just a few steps. It offers a secure, easy and fast solution to convert the tripod into a monopod, while retaining the same exceptional stability afforded throughout the Befree collection.

The technology behind the safety and stability of the Befree 2N1 is a dedicated locking system that ensures the total absence of play when working both as a tripod and as a monopod. Furthermore, the conjunction cap on the center column of the Befree 2N1 firmly connects the tripod leg to the tripod column, giving shape to a solid travel monopod.

The Befree 2N1 is made to enable quick and easy switching from a tripod to a monopod. After a half-turn anticlockwise, a red rubber ring will appear on the tripod leg, providing the user with visual feedback that the tube can be safely removed for use as a monopod.

The Befree 2N1 is available in two versions: the Quick Power Lock version with levers, and the M-Lock twist option.

Additionally, following the great success of the Befree Live in both aluminum and carbon versions, Manfrotto is releasing the Befree Live with Quick Power Lock, dedicated to independent content creators who prefer the lever lock system.

All three models will be available late September at select Authorized Manfrotto Dealers

B&H has the Manfrotto Befree 2N1 tripods and Manfrotto Befree Live Aluminum Lever-Lock Tripod Kit available for preorder.

Image quality test results have been added to the Canon RF 50mm f/1.2L USM Lens page.

Canon didn't hold back with the quality level of its initial lens selection for the Canon EOS R and the new RF 50mm f/1.2L warrants attention. This lens is well-built, looks great, focuses quickly and with the R behind it and a little contrast in front of it, this lens focuses in ridiculously dark scenarios even when I cover the focus assist light (it is very impressive).

I need to talk about the EOS R image quality a bit to clarify the results we are seeing from this lens. This EOS R vs. 5D Mark IV image quality comparison should be a decent one. These two cameras have the same resolution and the compared lenses, stopped down to f/5.6, are both very sharp with little distortion. What you will immediately see (and I think you are going to see this corroborated in forthcoming test results) is that the 5D Mark IV's image is sharper. While it immediately looks like the 5D IV is delivering better image quality, that is not necessarily the case.

We have long been using a low Canon Digital Photo Professional sharpness setting of "1" (on a 1-10 scale) for lens testing as sharpening quickly masks differences between lenses. While it seems that increasing the sharpness of an image is a cheap fix to poor lens quality, that sharpening quickly becomes destructive to details, ruining the fine image quality you were seeking in the first place. Camera manufacturers know that you like sharp images and they crank up the default sharpness in attempt to make you happy. Nearly always, that setting is at a very destructive level. Fortunately, you can adjust the sharpness level to your taste.

There is a long pipeline between the imaging sensor and the final image file and not all cameras utilize identical hardware and software (more often, they do not). More specifically to the point, the amount of sharpening showing in a final JPG image processed using the same settings is not always the same. And, that is the case here.

If you zoom in your browser while looking at the 5D IV result, you will see some slight over-sharpening halos, slightly brighter colors around the border of the darker ones. I gave strong consideration to using a sharpness setting of "2" as the default for the EOS R, but the halos began showing at that setting. So, we are staying the course with the standard sharpness setting of "1". You of course can increase your sharpness setting as desired. A setting of about "2" approximately matches the 5D IV. Download the crops shared here and apply your preferred sharpening routine.

Ready to be impressed? Check out this comparison (visualize the resolution difference):

Canon RF 50mm f/1.2L compared to the Canon EF 50mm f/1.2L Lens

This might be the 50mm lens you've been waiting for.

The Canon RF 50mm f/1.2L USM Lens is available for preorder at B&H | Amazon | Adorama | WEX.

Here are all of the EOS R, RF lens and accessory preorder links.

The newly announced Canon EOS R, RF lenses, big white super telephotos, and EF-M 32mm f/1.4 are now available for preorder! There's a pent up demand for most of these products, so be sure to preorder early to ensure your gear goes out with the first shipment.

As always, your use of these links for any purchase supports this site!

Preorders

Canon EOS R Camera

Canon EOS R (Body) - B&H | Adorama | Amazon | Wex

Canon EOS R with RF 24-105mm f/4L IS USM - B&H | Adorama | Amazon | Wex

Canon RF Lenses & Adapters

Canon BG-E22 Battery Grip for EOS R - B&H | Adorama | Amazon | Wex

Canon RF 24-105mm f/4L IS USM Lens - B&H | Adorama | Amazon | Wex

Canon RF 28-70mm f/2L USM Lens - B&H | Adorama | Amazon | Wex

Canon RF 35mm f/1.8 IS STM Macro Lens - B&H | Adorama | Amazon | Wex

Canon RF 50mm f/1.2L USM Lens - B&H | Adorama | Amazon | Wex

Canon Mount Adapter EF-EOS R - B&H | Adorama | Amazon | Wex

Canon Control Ring Mount Adapter EF-EOS R - B&H | Adorama | Amazon | Wex

Canon Drop-in Filter Mount Adapter EF-EOS R - B&H | Adorama | Amazon | Wex

Canon EF Super Telephoto Lenses

Canon EF 400mm f/2.8L IS III USM Lens - B&H | Adorama | Amazon | Wex

Canon EF 600mm f/4L IS III USM Lens - B&H | Adorama | Amazon | Wex

Canon EF-M Lens

Canon EF-M 32mm f/1.4 STM Lens - B&H | Adorama | Amazon | Wex

From Skylum:

About Skylum Aurora HDR 2019:

Skylum’s Quantum HDR Engine harnesses the power of AI for a more streamlined editing experience than ever before. It reduces burned-out colors, loss of contrast, noise and unnatural lighting caused by halos and unstable deghosting.

The Quantum HDR Engine has taken three years to create within Skylum’s AI lab, and contains the vast knowledge of the development team paired with artificial intelligence to bring you seamless HDR editing, be it with a single image or multiple bracketed shots.

Skylum’s developers tested thousands of bracketed shots through a neural network, and used the results to develop the technology needed for creating incredible HDR photographs - whether it’s real estate, landscape, cityscape or any other type of HDR photography.

Here are the most essential changes:

• New Quantum HDR Engine
• LUTs support with 11 New Integrated LUTs
• Photoshop plugins support
• New HDR Smart Structure filter for realistic and artefact-free structure (can be found in the new HDR Enhance filter)
• Presets are now called ‘Aurora HDR Looks’
• Improved Adjustable Gradient filter with new sliders for Shadows and Highlights added
• Improved HDR Details Boost Effect ( the photo is shown in high-resolution while fine-tuning the filter)

Aurora HDR 2019 is available for pre-order now and will be released on October, 4.

Pre-Order Pricing:

• Current users may upgrade at a price of $49 USD ($59 USD MSRP)
• New users can purchase Aurora HDR 2019 at a price of $89 USD ($99 MSRP)

Pre-Order Bonuses:

• Video Tutorial: Getting the Most from Aurora HDR 2019 by Trey Ratcliff
• Landscape Photography Handbook by David Johnston
• Burning Moods LUTs by Richard Harrington
• Exclusive interior Aurora Looks by Richard Harrington
• 3-month 500px Pro membership
• $300 USD OFF a multi-day Iceland Photo Tours

Preorder: Skylum Aurora HDR 2019

Size matters, it does. Because how much gear you have to carry matters. How much space you have to set up and work in matters. Being able to move fast, getting in, getting out and nailing the shot matters.

Something else matters too; knowing that the equipment you have will push you forward rather than hold you back - that you'll be inspired to grow and to express yourself creatively. To be you, at your best.

That's why when Profoto set out to create the Profoto B10, their brand new cordless off-camera flash, the company first considered size. Or rather, a lack of it. “We designed the B10 to be small,” said Göran Marén, Product Manager at Profoto. “Just a little bigger than a medium-sized zoom lens. That means you can fit it in your bag with the rest of your gear and because it’s cordless and lightweight, it’s easy to bring and set up anywhere. That said, this is in every way a Profoto light, so the power and quality of light is essential.”

And while the B10 is small, it’s small without compromise. The B10 gives you five times more light than a speedlight; it’s a light that has a natural and beautiful soft fall off.

But this is more than just a flash; it’s also a highly effective continuous light that you can use for both stills and video. And like all Profoto lights, it’s easy to use. A separate dial on the sleek B10 interface allows you to adjust both brightness and color temperature until it blends perfectly with the ambient light. The continuous light is just one example of the extreme flexibility contained within the B10. The stand mount and the battery are prime examples. The stand mount can be swiftly removed. As a result, you can mount the B10 on any camera tripod. It is just as quick to replace the battery too, and you can charge it while you’re using it.

Göran Marén continues: “every part of the B10 has been designed to help the photographer to be more creative with light on location. We felt that the more flexibility we built in, the more an image creator can adapt to any issues or opportunities that a location might offer.”

Better still, the possibilities don’t end there since your creativity can run riot with an enormous range of Profoto light shaping tools that are as flexible as the B10. There are a dozen light shapers in Profoto’s compact and lightweight OCF series to start with, and if they’re not enough, there are 120 more light shaping tools in the full Profoto range.

Controlling the B10 off-camera is also easy. You can trigger and control the B10 wirelessly from any Profoto AirTTL remote or the Profoto A1. From up to 300 m/1000 ft you can point and shoot with TTL or switch to manual control at any time. AirTTL Remotes are available for all major camera brands.

To further capture the imagination, Profoto has added smart connectivity in the form of a unique and innovative smartphone app. With the B10 connected to the Profoto app you always have the latest B10 updates available at your fingertips. The app also gives you an ingenious remote control that lets you view and control all B10 settings from your smartphone screen.

The most inspiring part of the app might the beta version of creative capture that brings smartphone photography and the creative use of light closer together than ever before. Göran adds: “we wanted to inspire new ways of being creative with light, and to give photographers a glimpse into the future of photography.” Ultimately the B10 is a big light in a small package. And that means the possibilities are enormous.

The final words belong to Göran. “It’s what we like to call, ‘the power of small.’ It’s the power to be creative with light in so many more ways. It's the ability to take all those incredible images that live in your imagination – and make them real.”

The Profoto B10 is light unleashed. Actually, it’s more than that – it’s you unleashed.

B&H has the Profoto B10 OCF Flash Head available for preorder.

by Sean Setters

My wife and I would like to introduce the newest member of the The-Digital-Picture.com family. Pictured above is Olivia Jane, born yesterday at 4:50pm. She was 7 lb 13 oz (3.54 kg) and 20" (50.8 cm) long. She's healthy and, contrary to what last night's seemingly constant crying might indicate, probably very happy to be here. I'm running on very little sleep, so... I'll make this post short and sweet. I'm a father now, and it's a whole new world. :-)

I'm back from the Canon announcement event and suffering from a strong case of information overload. I'll have new information to share for months.

I have the Canon EOS R, the RF 24-105mm f/4L IS USM Lens, the RF 50mm f/1.2L USM Lens and an adapter for testing and have experience with this gear along with the incredible Canon RF 28-70mm f/2L USM Lens. If you need not-yet-posted information to make a purchasing decision, please email me!

In this post, I'll address the Canon EOS R battery.

First, I love that the Canon EOS R uses the same LP-E6N Li-ion Battery utilized by a large number of recent and current Canon EOS Cameras, including the 5D Mark IV, 5Ds R, 5Ds, 6D Mark II, 7D Mark II and 80D. This has been a great battery, in both performance, reliability and size (several fit comfortably in my pocket). Note that the older LP-E6 (no "N") is also supported by the EOS R (the "N" model has increased capacity, 1800 mAh vs. 1865 mAh).

That I have accumulated a large supply of these batteries is especially useful. I love the simplicity of being able to share the LP-E6N batteries and chargers across my kit and also appreciate that I can take a single, small, direct-plug charger when traveling, even when I have multiple camera models along. That I am accumulating a large number of these chargers is also convenient for those times I need to quickly charge a large number of batteries (my family loves when I plug 6 of these in the kitchen receptacles).

Battery life is a very relevant camera spec and mirrorless cameras typically have disappointingly-low battery life ratings and this one gets the same: approx. 370 shots (at 23°C). However, CIPA battery life ratings and real-world experience can differ significantly and that is especially true with my EOS R experience to date.

My first fully-charged LP-E6N battery provided 1510 images with 3% battery charge remaining. That is a very impressive number for any camera, though many short high-speed frame rate bursts surely aided that experience. Still impressive was the second full charge delivering over 1100 images with 9% remainging for an expected life of well over 1300 images. Again, some short bursts were captured, but many slow and carefully-aligned landscape images were also captured. The third charge yielded 560 images at 17% battery life remaining for an expected life of approximately 670 images. This set of images was captured in higher battery drain situations that including waiting for the perfect moments to occur at a low light event.

I'm very pleased with all of these results. Those are numbers I can easily live with. Note that scenarios generating a high number of images tend to incorporate high frame rate shooting which results in a correspondingly higher number of images per fully charged battery.

The EOS R provides a 6-level battery indicator on the top LCD and a specific percent remaining value in the Battery Information menu. This menu also provides a shutter count and a recharge performance rating for the installed battery.

Much more to come!

by Sean Setters

Few Canon announcements have been as eagerly anticipated as the brand's answer to Sony's high-performing a-series, mirrorless full-frame cameras. Canon was extremely tight-lipped about the features of the soon-to-be-unveiled EOS R, the details of the new RF mount and the corresponding RF lenses – as well as mount adapters – that were coming down the pipeline, until right up to announcement time. Of course, most of those details were floating around the interwebs before the actual announcement was made, but the flood of NDA'd material arrived much later than is typical for a Canon announcement, not to mention one as highly anticipated as this one. It seems that Canon wanted to surprise and impress us. Now the question is, "Did they?"

What I like about the EOS R & RF Lenses

• Full compatibility with EF/EF-S/MP-E/TS-E lens, through adapters providing unique capabilities
• Size & weight, but with a comfortable grip
• Huge AF coverage, extremely sensitive in low light
• Eye AF (we'll see how well it works)
• High resolution EVF
• 4K combined with DPAF
• SD memory card compatibility
• Battery Grip to be available at launch
• Lenses that demonstrate the advantages of the new mount – an f/2 constant max aperture general purpose zoom with full-frame coverage (a world's first) and a high-performing 50mm f/1.2 lens

Everyone looking at the EOS R will appreciate its highlighted features differently, but the list above represents what I liked most about the camera's available feature set when the camera was announced. The most important of those features, in my opinion, is the first one – [nearly] full compatibility with Canon's existing EF-series lenses, including EF-S lenses, via an adapter. But Canon turned what may otherwise be viewed as an inconvenience (the use of an adapter) into three separate products, two of which have very nice benefits. The Mount Adapter EF-EOS R is the standard adapter. It is very low priced and does exactly what you'd expect. Want to change a setting quickly and conveniently with your left hand without moving your hand off the lens, essentially giving your older lenses the same functionality as Canon's new RF-series lenses? The Control Ring Mount Adapter is there for you. Want to add an easy-to-use, universal variable ND or circular polarizer to your kit? Just get the Drop-in Filter Mount Adapter and either filter can be used with every EF/EF-S/MP-E/TS-E lens in your existing kit.

Canon definitely aimed to impress with the EOS R's autofocus capabilities with an AF coverage that spans nearly the entire frame, sensitive down to -6 EV (with ultra wide aperture lenses) and eye tracking AF. Of course, we'll need to test the camera thoroughly to see if Canon's new AF system holds up well against the competition, but on paper, at least, things look promising. Canon's Dual Pixel CMOS AF sensors are well regarded for subject tracking in video mode, and good AF tracking is especially necessary when recording in 4K; we expect the EOS R to perform equally well compared to its DSLR predecessors.

How annoying is it when your new camera is not compatible with any of your existing memory cards? The EOS R uses the perennial standard – Secure Digital – so you'll likely be ready to start shooting as soon as you open the box and charge the battery. If you already have an LP-E6N/LP-E6 battery charged (very likely), then you won't even have to wait that long. If you're accustomed to shooting with a battery grip, then you'll really appreciate that the EOS R's battery grip, the BG-E22, is scheduled to be available when the camera ships.

As far as the lenses go, the R-series kit lens, or RF 24-105mm f/4L IS USM, seems to be the perfect choice for a full-frame general purpose zoom lens. It will be extremely useful and will easily cover a wide range of situations including portraiture, outdoor weddings, product, architecture and landscape needs. Personally, I don't find general purpose lenses to fill me with inspiration. Like Swiss Army knives, they're great at doing so many things (and get used so often because of their versatility) but don't necessarily inspire me to carve a statue with the tool. I find the RF 35mm f/1.8 IS STM Macro lens to be especially interesting as it'll be the first 35mm macro lens from Canon designed for a full-frame sensor camera and it is the widest aperture macro lens in the Canon lineup.

The other two lenses, however, were designed to provide the "wow" factor worthy of the new camera mount. The RF 28-70mm f/2L USM is the world's first general purpose zoom for full-frame cameras with an f/2 constant max aperture. Want to freeze motion in low light situations? With a 1-stop wider aperture compared to an f/2.8 max aperture zoom, you can double your shutter speed without resulting in a twice-as-high ISO, resulting in better subject separation and cleaner, less noisy images. Bryan spent hours using this lens including at a very low light event and thinks it is awesome. While the lens is not small or light, it is an ideal event lens and this lens alone is a great reason to buy an “R”.

Want to really blur out the background? Try reaching for Canon's newest f/1.2 prime, the RF 50mm f/1.2L USM, and watch the background melt away. This lens takes full advantage of the new RF mount with increased sharpness and contrast over the entire frame and should prove to be a favorite prime for many photographers. This might be the fast 50mm lens you’ve been waiting for.

What I don't like about the EOS R and RF Lenses

• No in-body image stabilization (sensor stabilization)
• No dual memory cards
• 1.75 crop in 4K recording
• Incompatibility with EF-M lenses

When looking at where the EOS R falls a bit short, two missing features immediately come to mind – the camera doesn't have dual memory card slots or in-body sensor stabilization. Both of those features would be greatly appreciated by photography pros and amateur shooters alike. Fortunately, memory cards don't fail very often and we've been creating sharp Canon images without sensor stabilization all this time. How? Through good camera techniques (elbows in), camera-shake negating shutter speeds, lens IS and tripods/monopods. Keep in mind, the R-mount's new communications protocols allow much more data to flow between the lens and the camera body. This results in a more effective in-lens stabilization (for those RF lenses that feature IS) because the lens can receive information from the camera itself. So while you may not get the benefits of stabilization for every lens in your kit, you'll see even better performance than you're used to with RF lenses featuring IS.

Some will lament the 1.75x crop when recording in 4K. However, keep in mind that the EOS R is compatible with EF-S lenses, and there are a ton of ultra wide-angle EF-S lens options, so that concern is mitigated to some degree.

And while we're on the topic of lens compatibility, it's important to note that the RF-mount is incompatible with Canon's APS-C EF-M mirrorless lenses. I think this incompatibility shows Canon's lack of foresight in regards to its development of a full-frame mirrorless system and puts the future of the EOS M-series into question. If someone purchases a Canon APS-C DSLR, the camera is compatible with APS-C specific lenses (EF-S) and those designed to cover full-frame sensors (EF/TS-E/MP-E). If that same person wants to upgrade to a Canon full-frame DSLR, all EF/TS-E/MP-E lenses they had acquired would be compatible with their next camera (of course, the same is not true for EF-S lenses). However, there is no easy upgrade path to a full-frame camera for EOS M-series owners. If transitioning to a full-frame mirrorless setup, no native EF-M lenses will be compatible with the new camera. Ultimately, that means a user must start with a blank slate when making the mirrorless APS-C to full-frame jump, a prospect that far fewer consumers will consider compared to DSLR users.

Final Thoughts

The Canon EOS R was designed to appeal to a very wide market in order to get the EOS R system off to a good start. This is the beginning of a new line of cameras. I have no doubt that we'll see dual memory card slots in a future EOS R system camera, and whatever drawbacks we find in the EOS R will be refined as the series matures. Some will miss the multi-controller joystick for choosing AF points, but using Touch and Drag with the LCD works very well (better in some regards), though it does take some practice. That said, the EOS R is a very capable camera with an excellent feature set, many of those features being completely new to the EOS system.

Bryan has just returned from the Canon announcement event with a huge amount of information and experience (over 3,000 images captured) – and with a Canon EOS R, Canon RF 24-105mm f/4L IS USM Lens, Canon RF 50mm f/1.2L USM Lens and an EF-EOS R adapter in hand. He’s excited! Stay tuned for much more information.

Preorders

Preorders for the Canon EOS R and RF lenses will go live Tuesday night at midnight (12:00am Wednesday, technically). Please keep us in mind when placing your preorders. Using our links doesn't cost you anything extra, but provides the vital support necessary to keep the site going.

Canon EOS R (Body) - B&H | Adorama | Wex
Canon EOS R with RF 24-105mm f/4L IS USM - B&H | Adorama | Wex
Canon BG-E22 Battery Grip for EOS R - B&H | Adorama | Wex
Canon RF 24-105mm f/4L IS USM Lens - B&H | Adorama | Wex
Canon RF 28-70mm f/2L USM Lens - B&H | Adorama | Wex
Canon RF 35mm f/1.8 IS STM Macro Lens - B&H | Adorama | Wex
Canon RF 50mm f/1.2L USM Lens - B&H | Adorama | Wex
Canon Mount Adapter EF-EOS R - B&H | Adorama | Wex
Canon Control Ring Mount Adapter EF-EOS R - B&H | Adorama | Wex
Canon Drop-in Filter Mount Adapter EF-EOS R - B&H | Adorama | Wex

From Think Tank Photo:

Santa Rosa, Calif. – Being a photographer is about getting to the right location at the right time — which can often be challenging. To help photographers protect their lenses from the rigors of travel, Think Tank Photo has just released the Lens Case Duo series of six quick-access, dual-opening padded lens cases. A zippered lid and side opening is a unique feature compared to other lens cases.

With the Lens Case Duo, photographers can protect their delicate lenses while transporting them in rolling cases, backpacks or shoulder bags. These cases can then be converted into a modular system for quick access in a bag or on a belt. A shoulder strap is included for the six larger sizes: Lens Case Duo 5, Lens Case Duo 10, Lens Case Duo 15, and Lens Case Duo 20, Lens Case Duo 30, and Lens Case Duo 40. Two exterior stretch pockets provide space for a lens cap or a cleaning cloth. Soft zipper protectors and a plush lining protect sensitive and expensive lenses from scratches. All sizes come in black and green.

“The Lens Case Duo should be used by every photographer concerned about protecting their lenses, especially while in transit,” said Doug Murdoch, Think Tank Photo’s President and lead designer. “While our roller and backpack dividers provide ample protection, the Lens Case Duo provides just that extra protection layer that could help prevent damage in unforeseen circumstances.”

GEAR CAPACITY

• The Lens Case Duo 5 holds a Canon/Nikon 18-55mm f/3.5-5.6, Canon: 10-18mm f/4.5-5.6, Canon/Nikon 50mm f/1.4, Nikon 55-200mm f/4-5.6 AF-S, or Olympus: 12-40mm f/2.8, 40-150mm f/4-5.6
• The Lens Case Duo 10 holds a Canon 55-250mm f/4-5.6, Sigma 8-16mm f/4.5-5.6, Tamron/Sigma 18-200mm f/3.5-6.3, or Sony 16-35mm f/4
• The Lens Case Duo 15 holds a Canon/Nikon 70-300mm f/4.5-5.6, Canon/Nikon 18-200mm f/3.5-5.6, Tamron 18-400mm f/3.5-6.3, Nikon 18-300mm f/3.5-5.6, Nikon 10-24mm f/3.5-4.5, Tokina 11-16mm f/2.8, Canon/Nikon 24mm f/1.4, Canon/Nikon 35mm f/1.4, Canon/Sony 100mm f/2.8, or Nikon 105mm f/2.8
• The Lens Case Duo 20 holds a Canon/Nikon/Sony 24-70mm f/2.8, Canon 24-105mm f/4, Nikon 14-24mm f/2.8, Sony 85mm f/1.4, Canon/Sony 100mm f/2.8, or Nikon 105mm f/2.8
• The Lens Case Duo 30 holds a Canon 16-35mm f/2.8, Nikon 17-35mm f/2.8, or Canon 11-24mm f/4
• The Lens Case Duo 40 holds a Canon/Nikon/Sony 70-200mm f/2.8, Canon/Sony 100-400mm f/4.5-5.6, or Nikon 80-400mm f/4.5-5.6

MATERIALS

Exterior:

• Durable water-repellant (DWR) coating
• Polyurethane coating
• 420D velocity nylon
• Ultra Stretch front pockets
• YKK RC zippers
• Rubberized laminate
• 3-ply bonded nylon thread

Interior:

• 3-layer nylex liner
• High-density foam
• 3-ply bonded nylon thread

PRODUCT SPECIFICATIONS

Lens Case Duo 5
Interior Dimensions: 3” Diameter x 4.6” Height (7.5 x 11.5 cm) Exterior Dimensions: 3.7” Diameter x 4.9” Height (9.5 x 12.5 cm) Weight: 0.2 lbs. (0.1 kg)

Lens Case Duo 10
Interior Dimensions: 3” Diameter x 5.7” Height (7.5 x 14.5 cm)
Exterior Dimensions: 3.7” Diameter x 6.1” Height (9.5 x 15.5 cm)
Weight: 0.2 lbs. (0.1 kg)

Lens Case Duo 15
Interior Dimensions: 3.4” Diameter x 6.7” Height (8.5 x 17 cm)
Exterior Dimensions: 4.1” Diameter x 7.1” Height (10.5 x 18 cm)
Weight: 0.2 lbs. (0.1 kg)

Lens Case Duo 20
Interior Dimensions: 4.3” Diameter x 6.5” Height (10.8 x 16.5 cm)
Exterior Dimensions: 5.0” Diameter x 6.9” Height (12.8 x 17.5 cm)
Weight: 0.3 lbs. (0.1 kg)

Lens Case Duo 30
Interior Dimensions: 4.8” Diameter x 6.8” Height (12.2 x 17.2 cm)
Exterior Dimensions: 5.6” Diameter x 7.2” Height (14.2 x 18.2 cm)
Weight: 0.3 lbs. (0.1 kg)

Lens Case Duo 40
Interior Dimensions: 4.5” Diameter x 9.9” Height (11.4 x 25 cm)
Exterior Dimensions: 5.3” Diameter x 10.2” Height (13.4 x 26 cm)
Weight: 0.4 lbs. (0.2 kg)

Think Tank Photo has the new Lens Case Duo cases in stock with free shipping. FYI: Use of the preceding links will get you a free gift with your purchase of $50.00 or more.