Santa Rosa, Calif. – With Think Tank Photo’s upgraded Hydrophobia rain covers, stormy weather will never again prevent photographers from getting “The Shot.” These popular rain covers feature waterproof construction that protects camera gear from downpours and dusty conditions. The Hydrophobia V3.0 rain covers are available in five sizes to fit DSLR cameras and the Sony full-frame mirrorless systems, and a variety of lenses.
The Hydrophobia D 24–70 V3.0 Rain Cover for DSLR camera bodies and the Hydrophobia M 24–70 V3.0 Rain Cover for Sony full-frame mirrorless camera bodies fit a 24–70mm f/2.8, a 24–105mm f/4, a 16–35mm f/2.8, or a 14–24mm f/2.8 lens. The Hydrophobia D 70–200 V3.0 Rain Cover for DSLR camera bodies and the Hydrophobia M 70–200 V3.0 Rain Cover for Sony full- frame mirrorless camera bodies fit a 24–70mm f/2.8, a 70–200mm f/2.8, a 80–400mm f/5–6.3, or a 100–400mm f/5–6.3 lens. The Hydrophobia DM 300–600 V3.0 Rain Cover for DSLR and Sony full-frame mirrorless camera bodies protects a 150–600mm f/5.6–6.3, a 300mm f/2.8, a 400mm f/2.8, a 500mm f/4, a 600mm f/4, a 200–500 f/5.6, or a 200–400 f/4 lens.
The Hydrophobia V3.0 rain covers are constructed with a durable 3-layer material comprised of 210T seam-sealed rip-stop, polyurethane film and 70D nylon tricot, and are Polyurethane seam-sealed for downpour or dusty conditions. The covers feature weather resistant zippers, nylon webbing, and a rubberized laminate. The eyepieces (sold separately for Canon, Nikon, Sony and Olympus) allow full access to the viewfinder while protecting the camera. Other key features include:
Other key features include:
Oversize window to view LCD and controls
Ability to get hands directly on the camera through two cinchable sleeves gives you easy access to all camera functions
Integrated shoulder strap (excluding 300–600) allows the camera to be worn on the shoulder while cover is attached. Can be replaced with a favorite strap, if desired
Mountable to tripod or monopod
Eyepiece flap folds into a visor or, when not in use, shields viewfinder from rain or dust
DWR coating for an extra layer of protection
An eyepiece pocket is built into the bottom of the Hydrophobia rain cover (eyepiece sold separately)
Rainproof front element cover is included for additional protection
Non-slip, adjustable strap attaches directly to the lens hood
Camera strap can be secured inside the cover
Carrying pouch included for transportation and storage
Hydrophobia D 24-70 V3.0 Rain Cover
Hydrophobia M 24-70 V3.0 Rain Cover
Dimensions: 13.8” long x 3.9”–5.5” Diameter (35 x 10–14 cm)
Weight: 9.5 oz (275 g) rain cover only
Hydrophobia D 70-200 V3.0 Rain Cover
Hydrophobia M 70-200 V3.0 Rain Cover
Dimensions: 18.1” long x 3.9”–5.5” Diameter (46 x 10–14 cm)
Weight: 10.5 oz (300 g) rain cover only
Hydrophobia DM 300-600 V3.0 Rain Cover
Dimensions: 27.1” L x 5.1–7.9” Diameter (69 x 13–20 cm)
600mm Lens Extension Sleeve Dimensions:
Weight: 14.9 oz (424g) rain cover only
With the announcement of the EOS R, many may be wondering if diving into Canon's new mirrorless system is the right step forward in regards to their next camera upgrade or if the Canon EOS 5D Mark IV is the better choice.
Therefore, we're going to take a closer look at these two cameras to see which might be the better choice for your needs.
Canon EOS R & Canon EOS 5D Mark IV Shared Primary Features
Sensor Resolution: 30.4 MP Dual Pixel CMOS AF full-frame sensor
Shutter Speed: 30-1/8000 sec
Auto Exposure Bracketing: +/-3 stops in 1/3- or 1/2-stop increments
Lowest and Highest ISO: L:50, H1: 51200, H2: 102400
White Balance Settings (including Ambience/White Priority AWB)
Flash x-Sync: 1/200sec
No built-in flash
Hot Shoe/PC Terminal: Yes / Yes (although EOS R PC terminal only available via BG-E22 accessory)
4K video recording up to 30p with Movie Servo AF
4K screen grab
USB 3.0, mic/headphone jacks, HDMI out
Operating Environment: 32 – 104 °F (0 – 40 °C), 85% or less humidity
Primary Advantages of the Canon EOS R
RF Mount: Compatible with significantly more lenses via adapter
DIGIC 8 processor
More AF Points: 5,655 point AF system vs. 61
More Sensitive AF: EV -6 – 18 vs. EV -3 – 18
Eye Detect AF vs. N/A
Built in LED AF assist beam
Higher Burst Rate: 8 fps vs. 7
Larger RAW Buffer: 47 vs. 21
Flexible priority AE vs. N/A
Wider Metering Range: EV -3 – 20 vs. EV 0 – 20
Larger Auto ISO Range: 100 - 40000 ISO vs. 100 - 32000
5-axis Digital IS vs. N/A
Truly Silent Shooting: Absolutely no sound vs. quieter-than-normal "silent" shutter
Higher Shutter Durability Rating: 200,000 shots vs. 150,000
More Flexible/Higher Resolution LCD: Vari-angle touch screen 3.15" (8.01cm), approx. 2.1 million dots, 60p vs. Touch screen 3.2" (8.10cm), approx. 1620K dots, 30p
Built-in Bluetooth vs. N/A
Smaller Size: 5.35 x 3.87 x 3.32" (135.8 x 98.3 x 84.4mm) vs. 5.93 x 4.58 x 2.99" (150.7 x 116.4 x 75.9mm)
Lighter Weight: 23.3 oz (660g) vs. 31.4 oz (890g)
Primary Advantages of the Canon EOS 5D Mark IV
EF Mount: Compatible with significantly more native-mount lenses
Wider Exposure Compensation: +/-5 EV in 1/3 or 1/2 stop increments vs. +/-3 EV
Higher Burst Rate with AF tracking: Max. approx. 7 fps. vs. 5
Larger JPEG Buffer: Unlimited vs. 100
Built-in NFC vs. N/A
Built-in GPS vs. optional via GP-E2 GPS accessory
Dual Memory Card Slots: CF/SD (UHI-I) vs. SD (UHI-II) only
Water & Dust Resistant
Higher Battery Life: 900 shots vs. 370
Other Differences Between the Canon EOS R and Canon EOS 5D Mark IV
Electronic viewfinder vs. optical
384-zone metering vs. 252-zone, 150,000-pixel RGB+IR metering sensor (315-zone in Live View)
RAW, C-RAW and Dual Pixel RAW vs. RAW, M-RAW, S-RAW and Dual Pixel RAW
MP4 4K (16:9) 3840 x 2160 vs. MOV 4K (17:9) 4096 x 2160 (Motion JPEG)
Who should opt for the Canon EOS R?
The EOS R is the first Canon camera to feature an RF [mirrorless] mount. And upon the camera's release, the selection of RF lenses will be relatively small (four, to be exact).
While that may seem limiting, the truth is that the EOS R with its RF mount will be even more versatile than the 5D Mark IV with the tried-and-true EF mount if adapted lenses are taken into consideration.
With the Canon Mount Adapter EF-EOS R, Control Ring Mount Adapter and Drop-In Filter Mount Adapter, the EOS R is compatible with EF/TS-E/MP-E and – in a first for Canon full-frame cameras – EF-S lenses as well.
So while the selection of RF lenses may be limited for the time being, the unique capabilities afforded by Canon's mount adapters will make the EOS R very attractive for a lot of photographers.
Which photographers, precisely? Landscape photographers, portrait photographers and videographers will especially appreciate the benefits of the Drop-In Mount Adapter.
How often do landscape photographers want to use CPOLs (circular polarizers) or ND (neutral density) filters with wide angle or ultra-wide angle lenses that are incompatible with front filters?
Up until now, using filters with such lenses required the use of cumbersome 3rd-party front filter adapters.
With the EOS R, those photographing the great outdoors can enjoy the benefits of a lighter camera body as well as a universal CPOL/vari-ND filter solution for their existing lens collection when traveling to their favorite sunrise location.
Landscape photographers often want to stack a circular polarizer with an ND filter on a wide angle lens featuring front filter threads, but the resulting mechanical vignetting (and the increased likelihood of stuck filters) makes using the combo impractical.
The Drop-In Filter Mount Adapter with Variable ND filter –with 1.5 - 9 stops of density – can easily be paired with a front-mounted circular polarizer like the B+W XS-Pro CPOL.
A B+W XS-Pro CPOL will allow landscape photographers to cut through glare to capture dark blue skies and saturated foliage yet is thin enough not to cause mechanical vignetting on most wide angle lenses.
And with a rear-mounted variable ND, a photographer can simultaneously reap the benefits of a long shutter speed to capture the movement of flowing water, clouds, rustling trees, etc.
The EOS R will be the better option to capture recitals, dance and theater performances with its absolutely silent shooting mode.
Those shooting portraiture will certainly appreciate the EOS R's Eye Detection AF, especially when a wide aperture prime lens is being used either natively or with an adapter.
Note that because the EOS R utilizes the sensor for focusing, calibration issues associated with traditional phase-detect AF systems can be avoided, better ensuring focus accuracy.
Also, if a photographer's off-camera flashes are not capable of high-speed sync, the Drop-In Filter Mount Adapter with Variable ND can enable use of a shutter speed below the camera's x-sync speed (for the R, 1/200 sec.) while using flash and a wide aperture for great subject/background separation.
Videographers will likely make use of the Drop-In Filter Mount Adapter, especially when used with the variable ND to record video at optimal shutter speeds (typically, 2x the frame rate).
With filters attached to the back of lenses, lens changes can occur more quickly (no need to unscrew/mount a separate ND filter) and the variable ND could easily replace numerous traditional ND filters in a filmmaker's kit.
Both the EOS R and 5D Mark IV sample the center of the sensor for 4K recording which results in a crop factor of 1.75x.
However, the EOS R is compatible with EF-S lenses (the 5D Mark IV is not), meaning wide-angle framing does not have to be sacrificed.
For those on a limited budget, an EOS R costs significantly less than an EOS 5D Mark IV, even if you add the cost of an EF-EOS R adapter.
Who should opt for the Canon EOS 5D Mark IV?
The EOS 5D Mark IV has at least one very significant benefit over the EOS R – dual memory card slots.
While the EOS R and RF 50mm f/1.2L and RF 28-70mm f/2L USM would seem to be an extremely good kit for wedding coverage, the R's single memory card slot means that a card failure could prove absolutely disastrous.
For that reason alone, the 5D Mark IV will be a better option for recording once-in-a-lifetime moments.
Sports photographers will certainly appreciate the 5D IV's faster continuous burst rate with autofocus tracking for capturing the peak of action, although the R does have a significant edge in the RAW buffer department allowing for longer shooting at its rated speed.
While the EOS R's battery life is proving to be better in real-world shooting than its official specification would indicate, those shooting long events or in situations where battery changes aren't practical (such as heavy rain) may prefer the 5D Mark IV's higher expected battery life.
Some photographers will appreciate the 5D Mark IV's built-in NFC and GPS features while others won't blink an eye at the EOS R's lack of them.
Those using super telephoto lenses may also prefer the 5D Mark IV's larger size and increased weight to better balance out the camera/lens combination.
The 5D Mark IV also benefits from the refinements and reliability found in a mature product line, resulting in a very user-friendly, familiar interface that can be depended upon to work in even challenging conditions.
Being Canon's first professional-grade full-frame mirrorless camera, with never before seen features (like the Mult-Function Bar), may take some getting used to and will ultimately have to prove its worthiness of the "refined camera" label.
The Canon EOS R and EOS 5D Mark IV were designed to be jack-of-all-trades and can be used effectively to capture... just about anything.
The EOS R's ability to use adapted lenses, and the unique capabilities provided by the adapters, makes Canon's full-frame mirrorless introduction a camera you can effectively use now and well into the future, taking full advantage of all the new RF lenses headed down the pipeline.
However, its lack of dual memory card slots (along with a few other differences) mean that the EOS 5D Mark IV will remain the better option for a sizeable number of photography professionals.
Upper Saddle River, NJ – September 18, 2018 – Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fiber.
The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support. A 50% increase in rigidity* is achieved thanks to the combination of carbon-fiber tubes and a new patent-pending internal leg lock mechanism.
Manfrotto’s two new twin-leg carbon-fiber video tripods are available in two models: middle spreader and ground spreader and both feature:
100mm bowl with a 75mm aluminum adapter for compatibility with a wide range of video heads.
Fully adjustable & removable spreader allowing for precise positioning based upon the creators needs.
Rubber feet with spiked option making them adaptable based on location.
All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Both twin-leg carbon-fiber tripods are available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.
Manfrotto Twin Carbon Fiber Video Tripods and Kits are available now at select Manfrotto Authorized Dealers.
Four Cinema EOS Cameras Selected as Netflix Post Technology Alliance Products
MELVILLE, N.Y., September 15, 2018 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce the company will be joining Netflix’s brand-new Post Technology Alliance, which brings together industry leaders committed to working closely with Netflix to innovate production workflows and support creatives globally.
As a part of the Post Technology Alliance program, products to receive the Post Technology Alliance designation logo – a mark of quality, service, and support. The logo signals that a product meets Netflix technical and delivery specifications and will continue to do so in the future.
Four Canon Cinema EOS cameras have been selected for the program, including Canon’s first full frame cinema camera, the EOS C700 FF, along with the EOS C700, EOS C300 Mark II, and EOS C500. These cameras have been chosen by the filmmakers behind many Netflix Originals, including the Academy Award-winning documentary Icarus, feature film Our Souls at Night, and Emmy-nominated series Grace and Frankie. Other Netflix Originals shot on Canon include Afflicted, Abstract: The Art of Design, Chelsea, Hot Girls Wanted, Strong Island, The Confession Tapes, The Mars Generation, and The Ritual, with more currently in production.
“Netflix’s Post Technology Alliance program aligns perfectly with Canon’s steadfast commitment to providing state-of-the-art, high-quality products and service and support programs,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “We are delighted to continue working closely with Netflix to support filmmakers and their dedication to storytelling and creativity.”
“At Netflix, empowering our creative partners is incredibly important, and the Post Technology Alliance will build a more seamless experience from production through post-production,” said Chris Fetner, director of post partnerships & integrations at Netflix. “Products that bear the logo are committed to better interoperability and faster innovation cycles, which will allow artists to focus their energy on what matters most—the storytelling.”
With the shared goal of supporting filmmakers through the Post Technology Alliance, Canon and Netflix will continue to serve the evolving needs of the production and post-production community.
I'll describe the results in more depth in the full review, but the processing standard uses Canon Digital Photo Professional with the Standard Picture Style and a
sharpness setting of "1" (on a 1-10 scale).
The Camera default uses the Standard Picture Style with an unsharp mask (USM) strength setting of "4" (too high).
NR represents noise reduction and MSNR is multi shot noise reduction.
With 250 test images with each needing many processing steps (thousands total), there is a possibility that I have an error (or two) somewhere in these results.
Please point them out if you find any.
Note that the ISO 40000 results are not showing due to a software bug in the tool.
I'll fix that, but ... you don't want to use ISO 40000 anyway.
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.
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.
"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.
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.