Canon News (Page 7) RSS Feed for Canon News

 Monday, January 20, 2020
From Tamron:
 
SP 85mm F/1.8 Di VC USD Firmware v.4
 
  • This update improves the stability of control signal communication in continuous shooting.
Lens firmware can be updated using TAP-in Console.
Posted to: Canon News   Category: Tamron Firmware Updates
Post Date: 1/20/2020 5:01:13 AM CT   Posted By: Sean
Through midnight tonight Eastern Time, B&H has the Manfrotto Nitrotech N12 Head & Carbon Fiber Twin Leg Video Tripod Kit available for $549.00 with free shipping. Regularly $1,099.00.
 
Product Highlights
 
  • 26.45-Pound Load Capacity
  • Carbon Fiber Legs
  • 19.29 to 69.29" Height Range
  • Continually Variable Counterbalance
See today's full list of B&H Deal Zone Deals for excellent savings opportunities.
Post Date: 1/20/2020 4:42:18 AM CT   Posted By: Sean
 Sunday, January 19, 2020
It had been two years since I photographed this bull elk and he was #1 on my list of subjects to find on this trip to Rocky Mountain National Park. He didn't let us down.
 
This year, Mr. Incredibull was a 7x7 (referencing 7 points on each antler) with remarkably long G3s (the third point on each side) and long swords (G4s, the fourth point on each side). This morning found the huge elk in my favorite meadow, with short grass and a clean background ideal for photographing in.
 
While the Sony FE 200-600mm f/5.6-6.3 G OSS Lens is not the ultimate choice for blurring the background (compared to the Sony FE 600mm f/4 GM OSS Lens for example), it's zoom range has very strong benefits. The 600mm prime does not do 500mm, the focal length needed for this image.
 
This bull was not moving fast and permitted a large number of images to be captured. I chose this one as a favorite in part due to the leg position, showing nice separation and a bent front leg conveying a sense of action.
 
I like as many tines as possible to show in antlered animal images. With this bull's head tilted up, the tail of the left antler is hidden by the body. However, I'd rather capture the desirable bugling pose and there is not much that can be done about partial missing antler in this situation. One tine is hidden on the right antler but the shadow brings that one to light. Antler shadows are great.
 
A larger version of this image is available on Flickr.
Post Date: 1/19/2020 11:23:43 AM CT   Posted By: Bryan
 Friday, January 17, 2020

 
From the Adorama YouTube Channel:
 
A textured wall in your studio could well be the perfect background for your portrait photos. Even a slight texture can add the feeling of depth and interest to a portrait that a plain wall often can't. Of course not many photographers have the space of a permanently textured wall, so in this video Gavin Hoey walks you through a shoot in his small home studio, where he plans to replace a simple, smooth fabric background with some texture.
 
After the shoot, Gavin takes you into Photoshop where he passes on some simple tricks to add a gentle texture over the original portrait. He then goes on to blend everything togther by means of a quick color toning technique.
 
If you're looking to enhance a smooth background with a small amount of texture, this technique opens up a whole new world of background styles.
Post Date: 1/17/2020 5:19:37 AM CT   Posted By: Sean
From Canon USA:
 
The Only Company in the World to be Ranked in Top Five for 34 Years
 
MELVILLE, NY, January 15, 2020 – Aligning with its mission of empowering innovations, Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that its parent company, Canon Inc., was granted 3,548 patents by the US Patent and Trademark Office and maintained its third place ranking for patents granted in 2019 according to IFI CLAIMS Patent Services, a leading producer of global patent databases. With this year’s ranking, Canon has become the only company in the world to have ranked in the top five for number of patents granted for 34 consecutive years. Additionally, Canon has once again ranked first in patents among Japanese companies for the 15th consecutive year.
 
These patents continue to demonstrate Canon’s contribution to science and technology which are used to develop fundamental technologies designed to drive innovation and support customer and business needs.
 
“As technology continues to evolve, we too will continue exploring new areas and future innovation opportunities,” said Seymour Liebman, executive vice president, chief administrative officer and general counsel, Canon U.S.A. Inc. “Canon is proud to be in the top three patent holders as it reflects our dedication and commitment to delivering innovative ideas and solutions to meet market and customer demands.”
Posted to: Canon News   
Post Date: 1/17/2020 4:48:03 AM CT   Posted By: Sean
 Wednesday, January 15, 2020
Like most wildlife photographers, I'm opportunistic. Photographing moose wasn't the primary plan for this trip but when this bull showed up, our group didn't question what we were going to photograph next.
 
I most often encounter moose just before dark and the wide aperture of the Sony FE 600mm f/4 GM OSS Lens was very welcomed this evening. The working distance this lens provides is another benefit for photographing moose. Moose are one of my least-trusted North American animals and this one had just locked focus on me.
 
A larger version of this image is available on Flickr.
Post Date: 1/15/2020 10:01:08 AM CT   Posted By: Bryan
One of my jobs is to make sure that this site, a free resource that hopefully you depend on, remains adequately funded. The costs, in both time and money, of maintaining and developing this site are substantial. You are likely aware that we receive no financial support from Canon, Sony, or any other manufacturer and it is no secret that camera and lens sales are down significantly. That last issue makes acquiring adequate funding significantly more challenging.
 
Basically, there are five ways you can help support us. The first is my favorite (and it costs you nothing additional), but hopefully you can use at least two or three of these options regularly:
 
  1. Use the Retailer Links on the Site for Your Purchase of Anything
  2. Direct Support 
  3. Link to the Site
  4. Disable Ad Blockers
  5. Tell Others
The support page clarifies the above options.
 
We thank you for your support and look forward to serving you long into the future!
Posted to: Canon News, Nikon News, Sony News   
Post Date: 1/15/2020 8:33:49 AM CT   Posted By: Bryan
From Schneider Kreuznach:
 
B+W Filter introduces new T-Pro filter range
 
The filters in the new T-Pro range from B+W are designed with a thinner profile in response to the trend towards ever-compacter camera equipment. The filters are suitable for all focal lengths, including wide-angle and telephoto. The titanium-colored finish gives the T-Pro filters a unique appearance. They are manufactured to the highest standards with minimal tolerances. Brass is used as the base material for the filter ring for high stability and a long service life.
 
T-Pro filters have a precision glass contact surface; the filter is bonded flat, without any tension, using state-of-the-art adhesive technology. The special functional coating has good sliding properties to make it easier to screw the filter on and off.
 
The T-Pro filter range starts with the high transmission protection filters 007 Clear and 010 UV Haze. Both are excellently suited to providing mechanical protection and helping prevent any damage to the expensive front lens. The filters also protect the lens against dust, sand, water, fingerprints and scratches. The UV Haze filter additionally reduces unwanted UV effects and tones down the associated blue haze.
 
T-Pro filters have an exclusive, premium MRC nano coating, B+W’s highest quality broadband coating. This is applied on both sides to enhance the optical imaging properties. As a result, the filters achieve uniform, increased transmission properties across the light spectrum with only a physical minimum of residual reflection (Ø 0.5%). With all-around nano protection on the glass, the filter has a long service life. T-Pro filters have high scratch resistance for good durability, and effective dirt-, water, and oil-repellant properties for simple and fast cleaning. The T-Pro Filter line will be available as of January 15th 2020. The list price starts at 64,90 Euro.
 
B&H is taking preorders for the B+W T-PRO Filters.
Posted to: Canon News, Nikon News, Sony News   Category: B+W News
Post Date: 1/15/2020 7:54:39 AM CT   Posted By: Bryan
From Venus Optics:
 
Anhui China, Jan 9, 2020 – Venus Optics, the manufacturer who specializes in making wide angle and macro photo lenses under the brand name of Laowa, announce the Laowa 12mm t/2.9 Zero-D Cine lens. The new 12mm lens is currently the widest t/2.9 lens that can cover sensor up to both full frame & vista vision size (wider than full frame), making it one of the ideal wide angle option for both professional cinema cameras and mirrorless cameras.
 
Suitable for both Large format & Super35 cameras
 
While most cinema camera manufacturers are coming out with large format cameras, the industry is gradually transiting from the common super35 format into bigger format. Taking advantage of this, Venus Optics has re-engineered the optics of their 12mm photo lens and convert it into a filmmaking friendly version for cinematographers to experience a 122 degrees ultra-wide and distortion- free field of view. The 47mm image circle allows cinematographers to use not only on full frame sensors (Size = 43.14mm), but also able to fill the Vista Vision sensors on RED Monstro and the sensor on Arri Alexa LF (Size @ open-gate = 44.7mm) fully.
 
The lens is also ideal for Super35-sized camera owners with the ultra-wide 17mm equivalent field of view and its future-proof decision when cinematographers need to upgrade to large format cameras. It is also a good companion with the compact cinema cameras like Blackmagic Pocket6k, Z-Cam or Sony A7.
 
Close-to-zero distortion (Zero-D)
 
The optical distortion of ultra-wide angle lens is usually a nightmare for DoP. The distortion rate of good wide angle lenses in the market ranges from 2-4%. Venus Optics, however, are able to compress the distortion to a close-to-zero level. In fact, the ‘Zero-D’ claim had been validated by many existing Laowa lenses owners from all around the world. It is proven to be extremely useful for shooting with architecture, indoor, real estate and even vlogging.
 
Super compact & lightweight
 
This 12mm lens is extremely compact and lightweight despite of the extreme specifications.
 
It measures 3.4” (87mm) long and weighs less than 1.5 lb (675g). It can be easily fitted onto any sorts of stabilizations system including handheld gimbals.
 
The lens is composed of 16 elements in 10 groups with 2pcs of large aspherical glasses. The patented optical design provides an edge-to-edge sharpness and supports up to 8k resolution. Chromatic aberration is also controlled to the minimal.
 
Focus super close
 
Venus Optics have also managed to incorporate an extremely close focusing distance. The lens can focus anywhere from 7” away from sensor (<4” from front element) all the way to infinity.
 
No diopter will be needed in this case. Wide angle lenses usually create a ‘flat’ image with very deep DOF but with this close focusing ability and a fast t-stop, Laowa 12mm is able to create some unique wide & shallow DOF look with pleasing bokeh.
 
Robust and professional cinema housing
 
The lens is designed with standard 0.8 mod gears on both aperture and focusing rings for easy installation of follow-focus system. An extended 270° smooth focus throw is designed for accruate focus pulling. The entire enclosure of the lens is made up of aluminum alloy. A 114mm step-ring is included in the package to expand the front diameter to fit with industry sized matte box. Venus Optics have tested with a number of matte boxes in the market and it is still free of vignetting on VV sensor with the matte box installed.
 
Complete package and 3 different bayonets to choose
 
The lens comes with three different variants, PL, EF and E mount. The mount is not interchangeable.
 
Shims with different thickness is also included for users to do flange calibration. The complimentary watertight and crushproof Pelican hard case protects the the lenses from damage during travel.
 
Specifications
 
Format CompatibilityFull Frame / Vista Vision
Focal Length 12mm
Angle of view122°
t-stopt/2.9 - 22
Lens Structure16 elements in 10 group
Aperture Blades7
Min. Focusing Distance(from subject to sensor) 7.09” (18 cm)
Max. Magnification1:5
Outer Diameter102mm, Can step up to 114mm
Dimensions87mm×102mm
Weight1.5lb (675g)

B&H has the Laowa 12mm t/2.9 Zero-D Cine Lens available for preorder.
Posted to: Canon News, Nikon News, Sony News   Category: Venus Optics News
Post Date: 1/15/2020 5:27:17 AM CT   Posted By: Sean
 Monday, January 13, 2020
Just posted: Sony a7R IV Review.
 
It's an awesome little camera.
 
The Sony a7R IV is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Sony a7R IV from Lensrentals.
 
Please share this review!
Post Date: 1/13/2020 7:28:35 AM CT   Posted By: Bryan
Through midnight tonight Eastern Time, B&H has the Sachtler Ace M System Black Edition with Tripod & Mid-Level Spreader (75mm Bowl) available for $479.00 with free shipping. Regularly $722.00.
 
Product Highlights
 
  • 8.8 lb Capacity Fluid Drag Head
  • Two-Stage Aluminum Tripod
  • 4.1" Sliding Plate Range
  • 75mm Bowl Diameter
See today's full list of B&H Deal Zone Deals for excellent savings opportunities.
Post Date: 1/13/2020 4:43:16 AM CT   Posted By: Sean
 Friday, January 10, 2020

 
From the Adorama YouTube Channel:
 
Flash duration is an important concept to understand. The duration of your flash can vary widely based on the gear you use and the power settings you're using. In this episode, Mark Wallace explains flash duration, how to measure it, and why it's essential to understand. Mark explains the difference between T5 and T1 flash duration measurements.
 
Gear Used
 
Post Date: 1/10/2020 6:10:09 AM CT   Posted By: Sean
 Thursday, January 9, 2020
Through 10:00am Eastern Time, B&H has the Pelican Hardigg BB0090 BlackBox 9U Rack Mount Case available for $999.95 with free shipping. Regularly $1,299.95.
 
Product Highlights
 
  • Holds up to 100 lb of Gear
  • Roto-Molded Polyethylene
  • Shock Mounts Provide 2.0" Sway Space
  • 24" Rugged Steel Rack Frame
See today's full list of B&H Deal Zone Deals for excellent savings opportunities.
Post Date: 1/9/2020 4:46:25 AM CT   Posted By: Sean
 Wednesday, January 8, 2020

 
While this entire B&H video is worth watching if you're interested in what the newly introduced EOS-1D X Mark III has to offer, you may want to skip to roughly the 3:10 mark to see the new AF-On Smart Controller in action. As the 1-series's number of focus points grew, using the traditional joystick to switch between AF points became less practical.
 
The new AF-On Smart Controller seems to be a great solution to the AF selection issue, enabling very fast movement between AF points.
 
The Canon EOS-1D X Mark III is available for preorder at: B&H | Adorama | Canon USA Store | Amazon USA | WEX
Post Date: 1/8/2020 6:32:08 AM CT   Posted By: Sean
From Canon USA:
 
Introducing Canon’s First Photographer Matching Service, Plus a Photo Culling Plug-in for Adobe Lightroom Classic
 
MELVILLE, NY, January 7, 2020 – Helping photographers boost their business and productivity, while helping to build trust and customer confidence, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the beta version of the Company’s first photographer matching service Image Connect, making the process of finding and hiring a photographer that you can trust that much simpler. The company also launched a Photo Culling plug-in for Adobe Lightroom Classic to support the workflow needs of photographers.
 
“With a deep rooted heritage in imaging expertise, our company has built a trusted reputation in providing tools and services to professional photographers that help better their craft and support them in building their business with confidence,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Services, such as Image Connect, will provide professional photographers with a great value proposition, offering reliability and peace of mind for their customers that can in turn increase their business opportunities as well as their productivity.”
 
Image Connect
 
Image Connect is a new photographer matching service, offered through the RAISE photo community platform, that connects customers with professional photographers, so that the customer can focus on the moment while the photographer captures it. The beta version of the service will be available in a limited number of markets in Connecticut, Florida, New Jersey, New York, Pennsylvania, and Texas. Image Connect will initially focus on family events like newborn portraits, birthday parties, family portraits, religious events, and engagements.
 
Here is how Image Connect will work:
 
  • Through the platform, customers can provide basic details for the job, such as event type, location, and date
  • Once photographers are matched with the customer through the platform, customers review photographer profiles and invite those they like to bid on the job
  • Photographers create an offer which allows them to set their own price (rather than adhering to standardized pricing) and allows them to communicate their rates and value to customers
  • Once an offer is accepted, the job is booked through the platform
  • Following the event, images are delivered electronically to the customers through a Canon customer portal
This service will also be brand agnostic, opening up the portal for all photographers to use no matter the brand of equipment.
 
Photo Culling Plug-in
 
Powered by the Canon Computer Vision AI engine, the new Photo Culling Plugin for Adobe Lightroom Classic can save photographers countless hours in post-production by using technical models to cull for image sharpness, noise, exposure, contrast, closed eyes, and red eyes. Analyzed images will be flagged with different colored flags to remain true to the native Adobe Lightroom Classic experience*. The photographer also has the ability to customize the settings within each technical model to remain in complete control. The Photo Culling plug-in will be available exclusively on the Adobe Exchange App Marketplace for a monthly subscription.
 
Both services are currently scheduled to be available in Q1 2020.
Posted to: Canon News   Category: Canon USA News
Post Date: 1/8/2020 5:19:25 AM CT   Posted By: Sean
 Tuesday, January 7, 2020
Canon Europe has RF 70-200mm F2.8 L IS USM Lens firmware version 1.0.6 now available for download.
 
This firmware incorporates the following fix:
 
Fixed a phenomenon when performing AF shooting to capture a subject at close-range with the focus distance approximately set to the Tele-end (200mm), the image may become slightly front-focused.
 
Check out the Canon RF 70-200mm F2.8 L IS USM Lens review for more information on this awesome lens.
Posted to: Canon News   Category: Canon Firmware Updates
Post Date: 1/7/2020 9:21:09 PM CT   Posted By: Bryan
Canon has made white papers available for the new EOS-1D X Mark III:
 
EOS-1D X Mark III – Still Imaging
 
EOS-1D X Mark III – Video Recording
 
EOS-1D X Mark III – Networking: Coming Soon
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 1/7/2020 8:14:13 AM CT   Posted By: Bryan
 Monday, January 6, 2020
The Canon EOS-1D X Mark III Review page is filled with details about this awesome new camera.
 
Please share this page with your friends!
 
Get in the preorder line now!
 
If you change your mind later, it is far easier to step out of line than it is to get back to the front. Another reason to preorder now is that, for a limited time and while supplies last, a free CF Express Card and card reader are included.
 
The Canon EOS-1D X Mark III is available for preorder at: B&H | Adorama | Canon USA Store | Amazon USA | WEX
 
You might also find the Canon EOS-1D X Mark III compared to the Canon EOS-1D X Mark II interesting.
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 1/6/2020 2:14:06 PM CT   Posted By: Bryan
From Canon U.S.A:
 
A MASTERPIECE IN ENGINEERING AND DESIGN: CANON ANNOUNCES THE EOS-1D X MARK III CAMERA
 
MELVILLE, N.Y., January 6, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the highly anticipated Canon EOS-1D X Mark III camera – the successor to the world-renowned and award-winning EOS-1D X Mark II. The Company’s new flagship DSLR has been engineered and designed using extensive feedback from the professional sports, photojournalist, wildlife and wedding photographers.
 
This new groundbreaking workhorse EOS-1D X Mark III DLSR Camera features:

  • New 20.1 Megapixel Full-frame CMOS Sensor combined with newly designed High Detail Low-Pass Filter
  • New DIGIC X Image Processor with an ISO range of 100-102400; Expandable to 50-819200i
  • New 191-point optical viewfinder AF system capable of tracking the subject’s head, and face using Deep Learning Technology
  • New Smart Controller built into the AF-On button for fast control of the AF Point selection
  • Dual Pixel CMOS AF for fast and accurate autofocus in Live View covering 90%x100% of the image area at an EV of -6 ~ 18
  • The lightning-fast camera features the ability to shoot up to 16 frames-per-second in optical viewfinder shooting and up to 20 fps while in Live View shooting with mechanical or silent shutter
  • Maximum buffer in continuous shooting (RAW+JPEG) of 1000 images or more with dual CFexpress card slots
  • 12-bit 5.5K RAW video internal recording and oversampling 4K 60p video recording using the full width of the sensor in Canon Log with 10-bit 4:2:2

“When engineering and designing the new flagship camera, Canon’s top priority was collecting and implementing extensive user-feedback from a variety of professionals,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “In the end, the outcome is at first glance a familiar tool, but in reality, so much more; a camera unlike anything the company has introduced before. Canon is eagerly waiting to see what timeless memories professional image makers capture with this new camera.”
 
At the camera’s core is Canon’s newly developed 20.1 megapixel full-frame CMOS sensor, a High Detail Low-Pass Filter and the DIGIC X image processor. These features will help to provide professional photographers with a fast and powerful tool to capture images with a greater level of resolution, higher sensitivity, reduced moiré and improved image quality in higher ISO ranges with reduced noise. Utilizing a single DIGIC X image processor and a DIGIC 8 dedicated for AF/AE the camera's image processing performance far exceeds and surpasses that of its predecessor, all while reducing power consumption. The DIGIC X is capable of up to approximately 3.1 times the image processing and 380 times Dual CMOS AF processing performance compared to the dual DIGIC 6+ found in the EOS-1D X Mark II. The new powerful image processor also allows for an ISO range of 100-102,400 (expandable up to 50-819,200), providing users with higher clarity images and quality in various shooting situations. The EOS-1D X Mark III camera also provides users with equally impressive video features, with the ability to internally record 5.5K RAW video and uncropped 4K 60p derived from the original 5.5K readout in Canon Log with 10-bit 4:2:2. Canon Log allows users to record 4K and 1080p video files with up to 12 stops of High Dynamic Range and wide exposure latitude, making it simple to coordinate color settings with other Canon cameras in multi-camera set-ups. It’s ideally suited to help streamline and provide greater creative freedom during the extensive post-production processing. In addition, the camera’s HDMI terminal can be used to transmit 4K 60p data to another device for display or external recording.
 
When developing the EOS-1D X Mark III, Canon put a heavy emphasis on designing and installing a completely overhauled and comprehensive Auto Focus system for the user with the need for speed. The new 191-point AF system with 155-point all cross-type points helps users to quickly and smoothly track a subject and maintain a level of focusing accuracy during a variety of shooting situations such as tracking a motorcar circling around the race track or a leopard bolting across the plains. Canon has redesigned the AF sensor incorporating a new square pixel design based on an image sensor, essentially making the AF sensor 28x higher resolution at the center area.
 
Canon’s revolutionary Dual Pixel CMOS AF technology provides users with fast and accurate AF using 3869 manually selectable AF positions and 525 automatic areasii. In Live View shooting, the EOS-1D X Mark III’s AF system supports face, head and, most noteworthy, eye detection AF tracking. Eye detection AF provides high-precision tracking by locking in on and following the eye of a moving subject. When in Live View AF/AE tracking is supported during high-speed burst shooting with the ability to capture up to 20 fps in both RAW and RAW + JPEG file format.
 
Using the traditional optical viewfinder, the camera has the ability to capture up to an extraordinary 16 fps with reduced time lag and image blackout. Reducing lag and image blackout greatly increases a photographer's ability to track moving subjects and never miss a shot. Regardless of the method of shooting through the OVF or LCD, the EOS-1D X Mark III can shoot over 1000 images in a burst using the dual CFexpress cards.
 
To support the needs of top professionals, the camera’s communications functions have been greatly enhanced. Incorporating a dedicated Network tab in the menu, the photographer can much more easily set up network functions such as connections via built-in gigabit Ethernet, Wi-Fi® connectivity, Bluetooth connectivity and destinations such as FTP servers, EOS Utility, or Browser Remoteiii functions. It will even support encrypted network authentication for advanced network users.
 
Thoughts from the First Users
 
“I can't say enough good things about how well the EOS-1D X Mark III camera performed on so many levels. The new AF system is a game-changer for me, I was totally blown away by how well it performed in various situations, including very low-light levels,” said wildlife photographer and Canon Explorer of Light Adam Jones. “The ability to move the AF point quickly with the new sensor-based AF button was simply amazing; the focus followed the subject like nothing before. As a wildlife photographer, I never dreamed we would have a camera that could follow focus on fast-flying snow geese using a super-telephoto lens with 1.4x and 2x converters - but with the new camera here we are!”
 
“My job is to travel the world to photograph automobile racing and car culture in the harshest conditions imaginable. Racetracks, salt flats, sand dunes, frozen lakes, you name it, I photograph all things four wheels. That is why I need a camera that works as hard as we do,” said automotive photographer Larry Chen. “I started my professional career on the EOS-1D series of bodies, and I’ve had several over the years with over one million images captured. The EOS-1D X Mark III really is the next generation of professional cameras in a familiar package, the first words out of my mouth after shooting with it were ‘There are no more excuses, to miss a shot!’ I can't wait to use it for the 2020 racing season!”
 
Additional Features of the Canon EOS-1D X Mark III DSLR Camera Include:

  • Enhanced operational controls including button illumination, Touch AF and a multi-controller allowing users to select the desired AF point more easily
  • Face-Priority E-TTL II metering enables the camera to automatically adjust to provide the appropriate output of an external flash when it detects a face
  • Digital Lens Optimizer helps to correct against any potential lens diffraction or aberration based on the design of each individual lens. DLO also improves the overall resolution of an image.
  • Ability to capture stills in 10-bit using the HEIF (High-Efficiency Image File) file format. HEIF produces a wider dynamic range and greater color representation compared to 8-bit JPEG
  • Built-in Wi-Fi®iv, Bluetooth®v, and GPSvi Technology
  • Faster speed and improved user interface for networking with optional Wireless File Transmitter WFT-E9 or with the built-in gigabit ethernet port
  • Canon EOS-1D series level of durability including dust-and-weather- resistance

Price and Availability
 
The Canon EOS-1D X Mark III DSLR camera body and WFT-E9 wireless file transmitter are both scheduled to be available in mid-February 2020 for an estimated retail price of $6,499.00 and $649.99, respectively*.
 
* Pricing, availability and specifications are subject to change without notice.
 
The Canon EOS-1D X Mark III is available for order at: B&H | Adorama | Amazon USA | Canon USA Store | WEX
 
i Camera’s ISO range expandable for still image shooting only.
 
ii Available AF positions may decrease when shooting with AF cropping or in movie mode, or depending on camera settings or lens attached.
 
iii Browser Remote will be supported through firmware update after shipping.
 
iv Compatible with iOS® versions 9.3/10.3/11.2-11.4/12.2/13.2, Android™ smartphone and tablet versions 5.0/5.1/6.0/7.0/7.1/8.0/8.1/9.0/10.0. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.
 
v Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, Pod Touch 5th gen. or later) equipped with Bluetooth® version 4.1 or later and the Camera Connect App Ver. 2.5.10. This application is not guaranteed to operate on all listed devices, even if minimum requirements are met.
 
vi in certain countries and regions, the use of GPS may be restricted. Therefore be sure to use GPS in accordance with the laws and regulations of your country or region. Be particularly careful when traveling outside your home country. As a signal is received from GPS satellites, take sufficient measure when using in locations where the use of electronics are regulated.

Posted to: Canon News   Category: Canon Announcements
Post Date: 1/6/2020 2:12:43 PM CT   Posted By: Bryan
 Monday, December 30, 2019
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 12/30/2019 8:21:23 AM CT   Posted By: Bryan
 Wednesday, December 25, 2019
For many households, Christmas brings with it many decorations with a tree being the primary one. Installing the tree is often a large job, the result is generally beautiful, and capturing memories of the annual tree is worth the small amount of effort required to do so.
 
Help the Christmas tree photo from the start by selecting a great looking tree that fits nicely in your space. "Great" is as seen in your eyes. We have a tall ceiling over our tree's location and our tree height is limited to what I can haul home and make stay upright in the tree stand. Another limitation is that the top of the tree must be reachable using only a step ladder (scaffolding is not an option) and with our space not being large in width, it is nice to have enough space to be able to walk around the tree. The kids always want taller and the parents always want shorter. The parents can better tolerate taller if narrower enters the equation. With a narrow tree, height becomes easier to manage (except for the road clearance issue faced when hauling it home across the back of the SUV's Hitch Haul).
 
When decorating the tree, ensure that the strands of lights are all the same brand and model, or at least that all of the strands share the same bulb color and brightness. I learned that lesson a few years back when I needed to combine multiple exposures to balance out the brightness differences of our dual-brightness tree.
 
Do you have windows in the frame with your tree? If so, consider photographing during the blue hour which is really the blue minutes as there will likely be only a couple of minutes of ideal exterior brightness to balance with the indoor light levels, giving your images that extra wow factor. Shooting through that ideal time period will ensure the perfect minute is captured. You likely photographed a tree in the same location at the same time a year ago. Reviewing the EXIF information from a prior year's perfect photo will provide a close estimate of the perfect time for the blue minute shot this year. Then ensure you are set up and ready for that minute to arrive.
 
While reviewing images from prior years, look at the angles you captured to learn what works well and what doesn't. Repeat and avoid those compositions as makes sense. Also, check the camera settings used for the previous images for guidance on this year's camera settings. Note that changing out strands of lights can change the needed settings due to differing brightness.
 
Often, turning off all of the lights (or at least the brighter ones) in the house, aside from the Christmas lights, will result in the ideal lighting. If there are windows in the image, watch for reflections in those. Block any problematic reflections (such as the numbers on the microwave display) and take advantage of positive ones (such as the Christmas lights). For the image shared here, a couple of Post-It Notes were placed over the thermostat display. Note that double-pane windows may create double reflections.
 
With only the Christmas lights providing illumination, the environment is dark. While I like to use a wide aperture lens, I don't use a wide aperture for the Christmas tree photo. Stopping a wide aperture lens down to f/16 or so makes each light into a little starburst and stopped down wide aperture lenses tend to produce the best stars. The narrow aperture also makes it easy to keep the entire scene in focus.
 
Unless your lights are far brighter than ours, you can expect to need a long exposure at f/16. I usually use 30 seconds and sometimes bump the ISO up modestly to keep from having to wait for even longer exposures. Thus, a tripod is needed along with either a remote release or the self-timer used. I don't mind if the individual lights become slightly blown (pure white), but if an extra-bright decoration is in the frame, I will sometimes exposure bracket with an additional image captures.
 
Long exposures raise another problem for some of us. While most Christmas tree displays will be motionless, they may not always be perfectly so. Unless your Christmas tree is on a concrete floor, there is likely the potential for the floor to vibrate at least slightly when walked on. Hanging ornaments will likely be the first indicators that the floor has vibrated and if swinging, they will be blurred in 30-second exposures. Planning this shoot for when the rest of the family is not home (or is in bed) is a good idea. You might need to stand very still behind the camera for a couple of minutes before capturing the shot.
 
Think about the camera angle. A completely level camera is often desired for interior photography such as this and adjusting the camera height and distance from the tree provides the composition desired.
 
For this year's tree photo, I opted to use the Canon EOS R and RF 15-35mm F2.8 L IS USM Lens. The R's 30 MP resolution was very adequate for my needs and the RF 15-35 delivers impressive image quality. In addition, the 15mm focal length was very attractive for this image capture — and it became even more attractive during post processing. Despite being very careful to level the camera, I still managed to get a slightly tilted (0.6°) image. Straightening an image requires cropping (or creating missing details) and the 15mm angle of view gave me just enough additional angle of view to make that adjustment comfortable. Note how little barrel distortion is showing in this uncorrected image.
 
As soon as the perfect light was captured behind the windows, I pulled the couch and ottoman out of the way and pressed the shutter release of a second camera that was already set up, providing a completely different image.
 
From my family to yours, we wish you the merriest, joy-filled Christmas ever!
 
A larger version of this image is available on Flickr.
Post Date: 12/25/2019 8:29:26 AM CT   Posted By: Bryan
 Monday, December 23, 2019
Sorry - I broke the previous post sometime today - here is the correction
 
Image quality test results have been added to the Nikon Z 24mm f/1.8 S Lens page.
 
Go make some comparisons.
 
The Nikon Z 24mm f/1.8 S Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Nikon Z 24mm f/1.8 S Lens from Lensrentals.
Post Date: 12/23/2019 5:38:26 PM CT   Posted By: Bryan
When first arriving at a beautiful waterfall, it usually seems obvious to frame it nicely and press the shutter release. After getting that basic (though often important) image on the card, it is time to look for variations and these often incorporate foreground elements.
 
The last image I posted from Ricketts Glen State Park, On the Ledge at R. B. Ricketts Falls in Ricketts Glen State Park, illustrated the use of interesting rock in the foreground of a waterfall image. Another great waterfall composition strategy involves finding an attractive cascade below the primary falls. Moving in close to those lower cascades increases their relative size, balancing their overall weight in the image.
 
With good water flow (it was raining on this day), R. B. Ricketts Falls turns into a double falls with streams converging into the pool at the base of their falls. The camera position utilized for this image combined the white water of twin cascades to create an X-factor.
 
As I've said before, one has to work hard to have a bad day at Rickets Glen State Park but conditions made this an especially great day at this awesome location. The Breakthrough Photography circular polarizer filter was a crucial part of the kit on this day, cutting the reflections left by the wet conditions, leaving richly saturated landscape that provided inviting photo opportunities everywhere I looked. The Canon EOS 5Ds R and the Canon EF 16-35mm f/2.8L III USM Lens were the only camera and lens that came out of my BackLight 26L on this day. They were perfect for the needs encountered on this day.
 
A larger version of this image is available on Flickr.
Post Date: 12/23/2019 10:03:16 AM CT   Posted By: Bryan

 
From the Adorama YouTube Channel:
 
On cold winters day, being in a warm studio is very appealing. In this video photographer Gavin Hoey shows you how to add warmth to a small home studio shoot by making use of a warm tone wooden background, fabric flooring and and orange colored gel. Gavin also balances the brightness of the flash with 200 battery powered Christmas lights to create a festive feeling portrait.
 
After the shoot Gavin takes you into Photoshop to do some fine tuning and covers non-destructive cloning to hide the fairy light battery boxes with extra LED's and adds a creative lens flare effect.
 
Relevant Products Used
 
Post Date: 12/23/2019 6:40:40 AM CT   Posted By: Sean
From Canon USA:
 
Thank you for using Canon products.
 
It has been confirmed that when using the RF 70-200mm F2.8 L IS USM to perform AF shooting to capture a subject at close-range with the focus distance approximately set to the Tele-end (200mm), the image may become slightly front-focused.
 
New firmware with improved focus accuracy is scheduled for release in the beginning of Jan. 2020, and once the preparations are completed, we will post the information on our Web site.
 
Note: New firmware being released at this time is for lenses equipped with firmware version 1.0.5 or earlier. The lens firmware version can be checked in the camera’s menu.
 
Canon RF 70-200mm F2.8 L IS USM Lens - B&H | Adorama | Amazon US
Post Date: 12/23/2019 6:04:26 AM CT   Posted By: Sean
 Friday, December 20, 2019
From SIGMA:
 
Firmware update for SIGMA’s interchangeable lenses for CANON EF mount
 
Thank you for purchasing and using our products.
 
We would like to announce that a new firmware update for SIGMA’s interchangeable lenses for CANON EF mount listed below is now available.
 
For customers who own the SIGMA USB DOCK and applicable products listed below, please update the firmware via SIGMA Optimization Pro.
 
* Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0. or later for Windows / Ver. 1.5.1. or later for Macintosh
 
Applicable product
 
  • SIGMA 28mm F1.4 DG HSM | Art for CANON EF mount
Benefits of the update
 
  • It has optimized the operation of the aperture control when the lens is used in combination with SIGMA MOUNT CONVERTER MC-21 EF-L.
Applicable product
 
  • SIGMA 24-70mm F2.8 DG OS HSM | Art for CANON EF mount
Benefits of the update
 
  • It has improved the AF performance when the lens is used in combination with SIGMA MOUNT CONVERTER MC-21 EF-L.
Applicable products
 
  • SIGMA 150-600mm F5-6.3 DG OS HSM | Sports for CANON EF mount
  • SIGMA 500mm F4 DG OS HSM | Sports for CANON EF mount
Benefits of the update
 
  • It has optimized the operation of Mode 2 in Optical Stabilizer when used in combination with the SIGMA MOUNT CONVERTER MC-21 EF-L.
SIGMA Optimization Pro Download page
 


Firmware update for interchangeable lens for Sony E-mount
 
Thank you for purchasing and using our products.
 
We are pleased to announce that a new firmware update for interchangeable lens for Sony E-mount is now available.
 
Applicable products
 
  • SIGMA 40mm F1.4 DG HSM | Art for SONY E-mount
  • SIGMA 70mm F2.8 DG MACRO | Art for SONY E-mount
Benefits of the update
 
  • It has improved the AF performance.
To update the firmware, please refer to this link.
 
* Before attaching the updated lenses to the camera body, please remove the battery pack from the camera and put it back in again.
Posted to: Canon News, Nikon News, Sony News   Category: SIGMA News
Post Date: 12/20/2019 5:28:57 AM CT   Posted By: Sean
 Thursday, December 19, 2019
Just because the skies are white doesn't necessarily mean that they should be kept out of the frame. While cloud-covered white skies are sometimes welcomed, especially for the broad even light they provide, they are not usually my favorite for image backgrounds and I often avoid the inclusion of white skies in image backgrounds. However, they can be used to create a sometimes-desirable pure white high key background.
 
Getting this background is not difficult. Simply find a good subject and align it with the white sky. Note that your camera's meter will want to make a white sky grey (especially if the subject is a white goat) so some positive exposure compensation (or a manual exposure) will likely be needed for such images.
 
On this day, my daughter and I were chasing mountain goats high in the Rockies and as you have already figured out, the skies were white. The thick cloud cover meant that we could photograph the goats from any angle offered to us without concern for shadows but any sky in the photo was going to be white. Getting into a position that allowed the entire background to be sky and allowing that background to become pure white created a nice portrait.
 
The versatile and optically-impressive Canon EF 100-400mm f/4.5-5.6L IS II USM Lens was a great lens to have for this trip. It was the only lens I used for photographing the goats.
 
A larger version of this image is available on Flickr.
 
Camera and Lens Settings
124mm  f/8.0  1/1000s
ISO 2000
8688 x 5792px
Post Date: 12/19/2019 10:13:01 AM CT   Posted By: Bryan
Image quality test results from the Canon EOS R have been added to the Canon EF 11-24mm f/4L USM Lens Review.
 
This is an awesome lens and these results will not likely surprise you. Create comparisons to see how this lens stacks up against other lenses such as the Canon RF 15-35mm F2.8 L IS USM Lens.
 
Save $300.00 instantly! The Canon EF 11-24mm f/4L USM Lens is in stock at B&H (4% rewards) | Adorama | Amazon USA
 
Rent the Canon EF 11-24mm f/4L USM Lens from Lensrentals.
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 12/19/2019 9:18:00 AM CT   Posted By: Bryan

 
From the Godox Photo Equipment Co. Ltd YouTube Channel:
 
Volodya Voronin is an action, adventure and sports photographer, mainly focusing on extreme sports. Sometimes he gets to dangerous places like mountains and abandoned buildings and works in some really harsh conditions. For him, easy to use, compact flash units from Godox were a good choice for these condition. In this episode of Godox Photography Class, he will show you how these super cool images full of action were all shoot using the Godox AD200Pro and AD600Pro.
Post Date: 12/19/2019 5:22:48 AM CT   Posted By: Sean
 Wednesday, December 18, 2019
Today I'm sharing a small project I took on, meeting a need that didn't seem optimally met otherwise: Do-It-Yourself Rigid Camera Rain Cover.
 
As I needed this accessory, I thought you might also, thus I'm sharing. This camera cover was inexpensive and easy to make. Feel free to share any ideas you have for improvements.
Post Date: 12/18/2019 8:43:20 AM CT   Posted By: Bryan

 
From the Adobe Photoshop YouTube Channel:
 
Welcome back to 3, 2, 1…Photoshop! In this episode, Adobe Evangelist Julieanne Kost shares how to create a simple stop motion animation using Photoshop. Watch this video to learn how to make your static images come to life.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 12/18/2019 5:16:31 AM CT   Posted By: Sean
 Tuesday, December 17, 2019
Using a new camera often brings acclimation factors and despite having used the Sony a7R IV for a couple of months prior, I was still acclimating to this camera's enormous 120MB uncompressed RAW file size. We were staying ahead of this big old 12-point buck and it finally cooperated perfectly, walking toward us with the sun was at our backs. While capturing images of him approaching, I was greeted by the memory card full message in the viewfinder.
 
I had filled a 256GB memory card just as the perfect scenario was unfolding. While another memory card was immediately available, the pause was just long enough to miss the pinnacle of the action. Ironically, the workshop participant shooting next to me filled his Nikon D850's 256GB card at almost the exact same second. While we missed some images, the humor of it is realized and that memory is at least of some value. The lesson here is to monitor card capacities closely — or buy cards with enough capacity to outlast any use given to the camera.
 
Fortunately I had some good pictures from this buck encounter. When the buck was farther away, I preferred a horizontal camera orientation, keeping more of the grass field in the frame. As the deer approached, the horizontal framing became too tight and switching to the vertical orientation shared here made complete sense for the vertically shaped subject.
 
The vertical vs. horizontal camera orientation is a choice we are always making. Sometimes the choice is easy and sometimes it is not.
 
One consideration is how the image is going to be used and which orientation is required for that use. If your goal is to get the image on a magazine cover, going vertical is a good choice. Another big consideration is the aesthetics of the scene. Some scenes look better in one of the orientations.
 
If the horizontal vs. vertical orientation choice does not have a straightforward answer, shoot both. It is often easier to decide when using a computer display and keeping images shot in both orientations may be the right choice.
 
While the Sony a7R IV's uncompressed RAW file size has required some acclimation, it has not been hard to acclimate to this camera's 61 MP resolution.
 
A larger version of this image is available on Flickr.
Post Date: 12/17/2019 10:38:29 AM CT   Posted By: Bryan
 Monday, December 16, 2019
Just posted: Wimberley MH-100 MonoGimbal Gimbal Monopod Head Review.
 
Monopod users can put one of these on their Christmas list. Looking for a gift your photographer friend or family member does not already have? This unique head is just hitting the market and is a great gift option.
 
The Wimberley MH-100 MonoGimbal Gimbal Monopod Head is in stock at: B&H | Adorama | Amazon USA
 

 
Please share this review with your friends!
Post Date: 12/16/2019 8:34:18 AM CT   Posted By: Bryan
As usual, I plan to include visual size comparison images in the Canon RF 70-200mm F2.8 L IS USM Lens review. Having just created the standard product images, such comparisons can now be easily created. Since the small size is such a big deal for this lens, I thought I'd share this comparison early.
 
Shown in this image from left to right are the following Canon lenses:
 
EF 70-200mm f/4L IS II USM Lens
RF 70-200mm F2.8 L IS USM Lens
EF 70-200mm f/2.8L IS III USM Lens
 
To be more correct, it is this lens' retracted size that is dramatically smaller than all of the other lenses in its class. All previous 70-200mm f/2.8 DSLR lenses have utilized fixed-size designs. While the fixed lens size has some advantages, the amount of space consumed in a camera backpack or other case is not one of them.
 
Canon RF 70-200mm F2.8 L IS USM Lens Compared to Similar Lenses with Hoods
 
Use the site's comparison tool to visually compare this lens to many others.
 
Note that this lens' weight is very significantly lighter regardless of the focal length being used.
 
The Canon RF 70-200mm F2.8 L IS USM Lens is in stock at B&H | Adorama | Amazon USA | WEX
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 12/16/2019 8:25:59 AM CT   Posted By: Bryan
 Sunday, December 15, 2019

 
by Sean Setters
 
Whether for Christmas/Hanukkah, Independence Day, Memorial Day, Labor Day, Veterans Day, MLK Day, or in this case, Thanksgiving, holiday events offer exciting opportunities for documenting family traditions, personal relationships, physical development, and all the joys togetherness brings.
 
This Thanksgiving, I filmed my family throughout the day, focusing much of the camera's attention on my 14 month-old daughter, Olivia Jane. My hope is that she will enjoy watching videos such as these as she matures, with an eager fascination to see what life was like long before her long-term memory kicked in.
 
Of course, there's a ton of video filming options available, and while my own video kit is continuously evolving, the following items were what I used while filming that day:
 
Having only purchased the Canon EOS R about a month before Thanksgiving, this event was my first experience producing video with the camera. Overall, I came away impressed by the camera's performance. The EOS R was just small enough to allow the battery grip to be used with the DJI Ronin-S Gimbal, a feature I appreciated as I didn't have to continuously watch my battery levels throughout the day. Of course, using the battery grip increased the size/weight of the setup, but I didn't find use of the battery grip to be burdensome, especially as filming was limited to relatively short segments throughout the day.
 
As I don't have any RF mount lenses yet I defaulted to my favorite EF-S/EF-series lenses, the lenses I have historically utilized while filming with a gimbal – the Canon EF-S 24mm f/2.8 STM and Canon EF 40mm f/2.8 STM. Why use two of Canon's most inexpensive lenses for filming video? Because 1) they're small and light, 2) can be swapped out for one another with very little need for rebalancing the gimbal, 3) their optical performance is surprisingly good, 4) the f/2.8 aperture is wide enough allow for relatively low ISO use when the shutter speed is set to 1/60 second (twice the frame rate of 30 fps), and 5) the lenses' STM AF systems do a very good job transitioning focus between subjects when the camera is set to a subject (face) tracking mode. Note that because the full-frame camera gives me a 38.4mm full-frame equivalent angle of view while using the EF-S 24mm STM, I set the camera to crop mode while using the EF 40mm STM to provide a noticeably different angle of view.
 
In a previous video, I had used lavalier mics with a couple of Tascam DR-10L Micro Portable Audio Recorders and really enjoyed the results, but this larger family event necessitated the use of a different audio recording solution as I needed to record a number of people. This need motivated my newest audio recording acquisition – the Deity Microphones V-Mic D3 Pro Shotgun Microphone. Looking online, you'll find numerous videos hyping this microphone's performance and value; the hype is well deserved. This is an excellent shotgun microphone, it is reasonably priced, and I'm really glad it's now part of my kit for run-and-gun applications.
 
So, those are the items I'm now relying on to record family videos in addition to the occasional for-hire filming request (the Tascam DR-10Ls also come in handy for the latter) and are certainly worth consideration when documenting your own family's memories.
Post Date: 12/15/2019 7:00:00 AM CT   Posted By: Sean
 Saturday, December 14, 2019
Everyone loves lighthouses and lighthouse images, right? After awaking to a 4-something AM alarm for three days in a row, I was finally treated to some morning sunlight at the Bass Harbor Lighthouse. While some cloud drama would have been welcomed, the white sky created by the solid cloud cover present on the previous two mornings was not as photogenic.
 
When the sky is clear at sunrise/sunset, there are some expected parameters for landscape photography. One is that the first/last light will be very warm in color and another is that pastel colors will show in earth shadow and the Belt of Venus above it low in the sky opposite the rising/setting sun. These two parameters combine very nicely.
 
I don't always require myself to use a completely level camera (tilt and roll) for landscape photography but did so in this case, primarily to keep the sides of the lighthouse from leaning. Adding to that compositional constraint was the desire to have the reflections availed by the foreground tidal pool included in the frame. The lighthouse reflection was the primary interest and it was very tightly framed between the surrounding rocks, further limiting the camera position to within that narrow line. With the rocks being indicative of the Maine coastline, having them close and emphasized seemed logical and led to this final camera position.
 
Should circular polarizer filters be used for all landscape photographs? While CPL filters are easily my most-used filters and I very frequently use them for landscape photography, this was a time when using the effect provided by this filter was a detriment to the final look. Cutting the reflections on the rocks and in the tidal pool created a dark, flat, lifeless look to the foreground rocks and water, detracting significantly from the result. It didn't take long to determine which look was preferable.
 
Wet dark-colored rocks absorb a lot of light even without a CPL filter and two exposures were combined to ensure that details were retained in those rocks in the final image.
 
A larger version of this image is available on Flickr.
Post Date: 12/14/2019 9:38:05 AM CT   Posted By: Bryan
 Friday, December 13, 2019
These two brown bears are having a heart to heart in a salmon stream in remote Katmai National Park, Alaska.
 
Notice the high contrast of the splashing water? Camera AF systems also notice splashes and will often jump to focus on any bright water drops in front of a subject. In this case, the splash was well below the focus point and not an AF issue.
 
The Christmas special offer on the Brown Bear Chasing Salmon, Remote Katmai National Park, Alaska instructional photo tour is still in place. Sign up along with a spouse or friend and save $500 on the second admission price for this bucket list-grade trip.
 
Dates: Thu, September 17 to Fri, September 24, 2020
 
If this trip is calling you, I need to hear from you as soon as possible. Contact me to sign up!
 
A larger version of this image is available on Flickr.
Post Date: 12/13/2019 2:24:15 PM CT   Posted By: Bryan
From Adobe:
 
Record Fourth Quarter Contributes to 24 Percent Year-Over-Year Annual Growth
 
SAN JOSE, Calif.--Adobe (Nasdaq:ADBE) today reported financial results for its fourth quarter and fiscal year 2019 ended Nov. 29, 2019.
 
In its fourth quarter of fiscal year 2019, Adobe achieved record quarterly revenue of $2.99 billion, which represents 21 percent year-over-year growth. In fiscal year 2019, Adobe achieved record annual revenue of $11.17 billion, which represents 24 percent year-over-year growth.
 
"Adobe's phenomenal performance in Q4 capped a record fiscal 2019 with revenue exceeding $11 billion,” said Shantanu Narayen, president and CEO, Adobe. "Adobe’s vision, category leadership, continuous product innovation and large and loyal customer base position us well for 2020 and beyond."
 
“Adobe delivered another year of strong revenue growth and expanding profitability resulting in record earnings," said John Murphy, executive vice president and CFO, Adobe. “We are bullish about our opportunities and our ability to continue to deliver strong top- and bottom-line growth."
 
Fourth Quarter Fiscal Year 2019 Financial Highlights
 
  • Adobe achieved record quarterly revenue of $2.99 billion in its fourth quarter of fiscal year 2019, which represents 21 percent year-over-year growth. Diluted earnings per share was $1.74 on a GAAP-basis, and $2.29 on a non-GAAP basis.
  • Digital Media segment revenue was $2.08 billion, which represents 22 percent year-over-year growth. Creative revenue grew to $1.74 billion and Document Cloud revenue was $339 million. Digital Media Annualized Recurring Revenue (“ARR”) grew to $8.40 billion exiting the quarter, a quarter-over-quarter increase of $539 million. Creative ARR grew to $7.31 billion, and Document Cloud ARR grew to $1.09 billion.
  • Digital Experience segment revenue was $859 million, representing 24 percent year-over-year growth.
  • GAAP operating income in the fourth quarter was $970 million, and non-GAAP operating income was $1.27 billion. GAAP net income was $852 million, and non-GAAP net income was $1.12 billion.
  • Cash flow from operations was a record $1.38 billion.
  • Remaining Performance Obligation was $9.82 billion, a quarter-over-quarter increase of $1.05 billion.
  • Adobe repurchased approximately 2.8 million shares during the quarter.
Fiscal Year 2019 Financial Highlights
 
  • Adobe achieved record annual revenue of $11.17 billion in fiscal year 2019, representing 24 percent year-over-year growth.
  • The company reported annual GAAP diluted earnings per share of $6.00 and non-GAAP diluted earnings per share of $7.87.
  • Digital Media segment revenue was $7.71 billion, with Creative and Document Cloud achieving record annual revenue of
  • $6.48 billion and $1.22 billion, respectively. Digital Media ARR grew by $1.69 billion during the year.
  • Digital Experience segment revenue was $3.21 billion, representing 31 percent year-over-year growth, and subscription bookings grew by more than 20 percent during the year.
  • Operating income grew 15 percent and net income grew 14 percent year-over-year on a GAAP-basis; operating income grew
  • 23 percent and net income grew 15 percent year-over-year on a non-GAAP basis.
  • Adobe generated a record $4.42 billion in operating cash flow during the year.
  • The company repurchased 9.9 million shares during the year, returning $2.7 billion 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 Provides Fiscal Year and First Quarter 2020 Financial Targets
 
The following table summarizes Adobe’s fiscal year 2020 targets.
 
Adobe fiscal year 2020 revenue~$13.15 billion
Digital Media segment revenue~19 percent year-over-year growth
Digital Media annualized recurring revenue (ARR)~$1.55 billion of net new ARR
Digital Experience segment revenue~16 percent year-over-year growth
Digital Experience subscription revenue*~18 percent year-over-year growth
Digital Experience subscription bookings**>20 percent year-over-year growth
Tax rateGAAP: ~11% | Non-GAAP: ~11%
Share count~486 million shares
Earnings per shareGAAP: ~$7.40 | Non-GAAP: ~$9.75

* Includes revenue from SaaS, managed service, ratable term, usage based, and subscription service offerings for Digital Experience
** Includes annualized subscription value of SaaS, managed service, term and subscription service offerings under contract for Data & Insights, Content & Commerce and Customer Journey Management solutions

 
The following table summarizes Adobe’s first quarter fiscal year 2020 targets.
 
Adobe Q1 fiscal year 2020 revenue~$3.04 billion
Digital Media segment revenue~19 percent year-over-year growth
Digital Media annualized recurring revenue (ARR)~$360 million of net new ARR
Digital Experience segment revenue~15 percent year-over-year growth
Tax rateGAAP: ~5% | Non-GAAP: ~11%
Share count~489 million shares
Earnings per shareGAAP: ~$1.76 | Non-GAAP: ~$2.23

B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News, Nikon News, Sony News   Category: Adobe News
Post Date: 12/13/2019 4:59:36 AM CT   Posted By: Sean
 Thursday, December 12, 2019
Just posted: Tamron 17-28mm f/2.8 Di III RXD Lens Review.
 
Tamron has released another winner with this lens.
 
The Tamron 17-28mm f/2.8 Di III RXD Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Tamron 17-28mm f/2.8 Di III RXD Lens from Lensrentals.
Post Date: 12/12/2019 7:49:28 AM CT   Posted By: Bryan
From Sigma:
 
The SIGMA Corporation is pleased to announce the launch schedule of “FF Classic Prime Line” , a new series in the SIGMA CINE LENS.
 
FF High Speed Prime Line has been offering the highest resolving power in its class, that is compatible with 8K shooting with large format sensors, while achieving outstanding compact design. Based on this product line, the FF Classic Prime Line incorporates more non-coated optical elements to achieve unrivaled expression. It retains the high resolution capability that SIGMA CINE LENS is well known for, and offers a unique combination of low contrast and artistic flare/ghost in the image. As with all other lenses from the FF High Speed Prime Line, it creates beautiful bokeh effects to improve creativity.
 
FF Classic Prime Line has implemented newly developed coatings on the glass elements and offers consistent T value across the lineup (14mm and 135mm at T3.2 and the rest of the lenses at T2.5). This will greatly contribute to the effective workflow in post production. Furthermore, it is compatible with the communication protocol of Cooke “/i Technology”, thus an ideal tool for shooting and editing with the latest technology, such as VFX. A special coating is implemented on the front and rear elements so that the lens durability is ensured as with all other cine lenses from SIGMA.
 
“Classic Art Prime” is a new solution from SIGMA that is required for the most advanced technology for classical expression. The “look” that FF Classic Prime Line can offer will enable cinematographers to explore new possibilities in movie creation.
 
  • Launch: December, 2019
  • Only sold as a set of 10 primes.
* From conventional cine lenses, it is not possible to apply for the Mount Conversion Service for this “FF Classic Prime Line”.
 
Common specifications
 
  • PL mount (/i Technology compatible)
  • Image circle diameter: FF 43.3mm
  • Illumination circle diameter: over 46.3mm
  • Focus ring: Marked in feet
  • Number of diaphragm blades: 9 (rounded diaphragm)
B&H has the SIGMA Cine FF Classic Art Prime 10-Lens Set available for preorder.
Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 12/12/2019 5:28:53 AM CT   Posted By: Sean
 Wednesday, December 11, 2019
Looking for a lens to carry while hiking? You likely want a compact and lightweight model but do not want to substitute image quality to get those properties. The Tamron 17-28mm f/2.8 Di III RXD Lens and its sibling 28-75mm f/2.8 Di III RXD Lens are great choices and both are quite remarkable lenses overall.
 
This afternoon in Acadia National Park found the 17-28 RXD along with a Sony a7R IV in a MindShift Gear BackLight 18L on top of Bald Mountain anticipating a great light show at the end of the day. Unfortunately, that show mostly did not happen. The weather forecast did not hold true and as can be seen in this image, thick clouds ruled the sky.
 
Just when we thought there was no hope for seeing a sunset, a tiny hole appeared in the clouds and awesomeness shined through. I dropped the tripod into the nearest location that looked compositionally promising and shot a several frame bracket, ensuring that one image had bright foreground detail captured at f/11 and the darkest of two others had a tiny bit of color remaining in the sun. The latter two images were captured at f/22. While f/22 results in softer image quality than f/11, it delivers a larger, better quality starburst effect and the clouds nicely hide the softness in the portion of f/22 capture used in the final image. Note that changing the aperture changes the starburst including the orientation of the star points. When bracketing such images, be sure that most of the images containing the starburst are captured at the same aperture to avoid an awkward appearing composite.
 
By the end of the first bracket capture, the warm sunlight was no longer reaching the foreground and after a second bracket at a slightly adjusted camera position, the sun was completely cloud-blocked again. The foreground lighting was better in the first set of images and cropping those from the bottom gave me a result similar to those captured in the adjusted camera position.
 
I seldom use ISO settings above 100 when photographing daylight landscape but you will notice that a setting of 800 was used for this image. Along with the heavy clouds came very strong winds and I was estimating the exposure duration that could be tolerated between gusts. The Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head held solid and I probably could have used longer exposures — though sun time may not have permitted that.
 
A larger version of this image is available on Flickr.
Post Date: 12/11/2019 9:27:16 AM CT   Posted By: Bryan
Image quality test results from the Canon EOS R have been added to the Canon EF 16-35mm f/2.8L III USM Lens Review.
 
These results are the key to unlocking the direct comparison between this EF lens, one of my all-time favorites, to the Canon RF 15-35mm F2.8 L IS USM Lens. Here is the link to that image quality comparison.
 
Huge $300.00 instant savings currently available! The Canon EF 16-35mm f/2.8L III USM Lens is in stock at B&H | Adorama | Amazon USA | WEX Lensrentals.
 
The Canon RF 15-35mm F2.8 L IS USM Lens is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Canon EF 16-35mm f/2.8L III USM Lens and/or rent the Canon RF 15-35mm F2.8 L IS USM Lens from Lensrentals.
 
Don't forget to share these results with your friends!
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 12/11/2019 8:34:25 AM CT   Posted By: Bryan
B&H has the Tascam DR-05X 2-Input / 2-Track Portable Audio Recorder with Onboard Stereo Microphone available for $89.99 with free expedited shipping. Regularly $119.99.
 
The great thing about this audio recorder is that it's relatively small and supports plug-in power, meaning you can attach a lav mic and slip it in your pocket for excellent-sounding audio that can be synchronized in post.
 
Product Highlights
 
  • Speech, Sound Effects & Music Recording
  • Onboard Omni Mics, Built-In Speaker
  • 3.5mm Mic/Line Input w/ Plug-In Power
  • Built-In Tuner, EQ & Reverb
Post Date: 12/11/2019 5:21:50 AM CT   Posted By: Sean
From Adobe:
 
Feature summary | Lightroom (December 2019 release)
 
Easily contribute photos and videos to a Lightroom shared album
 
New in Lightroom desktop and mobile
 
View and contribute photos to any shared group album, using Lightroom desktop and mobile (iOS and Android), in addition to Lightroom on the web. First, click the 'View album' button in the email invite that is sent by the album owner. Then, open the app and click the icon. Under section Shared with You, you can view the album(s) that are shared with you.
 
If the album owner has provided contribution rights, you can add photos by doing the following: (On desktop) Right-click (Windows)/Control-click (macOS) the album under Shared with You and select Set "" as the Target Album. Then, select photos within Lightroom from My Photos or Albums and press the T key. Click Add Photo(s) in the confirmation dialog box.
 
Alternatively, select one or more photos in All Photos or one of your own albums. Then, in the left panel, navigate to the desired Shared with You album and drag and drop the photos into the desired shared album in the left panel.
 
(On mobile) With a Lightroom shared album selected, tap Add photos from the options menu or tap the import icon in the lower-right corner of the screen, and select photos to contribute.
 
To learn more, see:
 
Directly import photos from a camera or SD card
 
New in Lightroom for mobile (iOS)
 
You can directly import photos and videos from an SD card or other attached media into Lightroom for mobile (iOS). Your iOS device should be running on iOS 13.2 or later to support this feature.
 
For more details, see Import photos and videos from a camera or SD card in PTP mode.
 
Export photos in the format of your choice
 
New in Lightroom for mobile (iOS)
 
Select the photos you want to export and click the Share icon to quickly access the Export screen. You can export edited photos as JPEG, TIF, DNG, or as the original photo with applied settings. Moreover, you can access export setting options such as JPG Quality, Output Sharpening, Color Space, and File Naming.
 
For more details, see Export photos from iOS.
 
Support for new cameras and lenses
 
New in Lightroom/Camera RAW
 
Newly Supported Cameras
 
CameraRaw image filename extensionMinimum Camera Raw plug-in version requiredMinimum Lightroom version requiredMinimum Lightroom Classic version required
Canon EOS M200CR312.13.19.1
Canon EOS RaCR312.13.19.1
Google Pixel 4DNG12.13.19.1
Google Pixel 4 XLDNG12.13.19.1
Leica SL2DNG12.13.19.1
Nikon Z 50NEF12.13.19.1
Sigma fpDNG12.13.19.1
Sony a9 II (ILCE-9M2)ARW12.13.19.1
Zeiss ZX1DNG12.13.19.1

Newly Supported Lens Profiles
 
ManufacturerLensLens mountMinimum Camera Raw plug-in version requiredMinimum Lightroom version requiredMinimum Lightroom Classic version required
CanonCanon RF 15-35mm f/2.8 L IS USMCanon RF12.13.19.1
CanonCanon RF 24-70mm f/2.8 L IS USMCanon RF12.13.19.1
CanonCanon RF 70-200mm F2.8 L IS USMCanon RF12.13.19.1
CanonCanon RF 85mm F1.2 L USM DSCanon RF12.13.19.1
SigmaSIGMA 16mm F1.4 DC DN C017Canon M12.13.19.1
SigmaSIGMA 30mm F1.4 DC DN C016Canon M12.13.19.1
SigmaSIGMA 56mm F1.4 DC DN C018Canon M12.13.19.1
SigmaSIGMA 105mm F1.4 DG HSM A018Sony FE12.13.19.1
ZeissZEISS ZX1 (DNG + JPEG)Zeiss12.13.19.1

Other enhancements
 
Lightroom for mobile (Android)
 
View profiles of people who have authored interactive tutorials. In the Home view, tap an author's name from a tutorial's thumbnail to access their profile where you can find a collated list of their tutorials. For more information, see Find tutorials and posts from author's profiles.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 12/11/2019 5:00:14 AM CT   Posted By: Sean
 Monday, December 9, 2019
On this day's schedule was giving some great gear a workout and the Sony a7R IV and Tamron 17-28mm f/2.8 Di III RXD Lens combination were chosen. These were packed in MindShift Gear BackLight 18L along with a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod with a BH-40 Ball Head mounted and the very early AM hike to Dream Lake ensued.
 
I don't like to be the second person at a popular location and some may say that I arrived too early for this one. The extra time ensures adequate setup time with some starry sky photography included. The extra time also means that very warm clothes were needed, especially with the wind often encountered here.
 
I love perfectly still water surfaces in the shade and the mirror reflections those surfaces create. This morning did not provide such and the mentioned wind was relentless.
 
Between reviewing long exposure, high ISO image captures and the light becoming bright enough for the foreground rocks to be visible, this composition was settled on. I wanted the closest round rock centered between the mountain peak reflections with a clean border around it and the other foreground rocks. The camera was leveled for both roll and pitch. I seldom want a camera that is not leveled for roll when photographing landscape and in this case, I also chose to avoid an upward or downward camera angle that would have caused the straight tree trunks to tilt inward or outward respectively. The focal length was selected to be inclusive or exclusive of details in the scene and the camera height was selected for the final composition. The color balance disparity of the warm first light of the day hitting the mountain mixed with cool shade in the valley below is natural and I love it.
 
The final image is the result of combining two images using manual HDR blending. As is often the case, those exposures were different with the sunlit areas captured darker (f/11, 0.4 seconds, ISO 100) and the shaded areas coming from brighter settings (f/11, 30 seconds, ISO 200).
 
As you likely noticed, the longer exposure is dramatically longer and includes a 2x-brighter ISO setting. This exposure was needed to compensate for a 6-stop Breakthrough Photography X4 ND filter (great gift idea) being used. The longer exposure this filter permitted allowed the water to be smoothed, averaging out the reflection details in the lake surface ripples, giving the mountain reflections some definition. A third image (another darker one) was pulled in because some of the trees were less motion-blurred than in the primary image.
 
The aforementioned gear all performed excellently. It was a superb choice for this event. Of course, the bottom line is that Dream Lake and its rocks rock!
 
A larger version of this image is available on Flickr.
Post Date: 12/9/2019 9:43:45 AM CT   Posted By: Bryan

 
From the Adorama Youtube Channel:
 
If you're looking for a dramatic, low key portrait idea then Gavin Hoey has you covered with this amazing rim light tutorial. Starting with two bare flashes, Gavin walks you through how to improve the photo by softening the light with a stripbox .
 
Once you've mastered the basic lighting technique, why not give Gavin's advanced lighting tutorial a go. Getting perfect rim lighting on a bubble is the challenge and Gavin has some great tips to help nail the look. He also has some top Photoshop advice to add extra bubbles after the shoot.
 
Product Used
 
Post Date: 12/9/2019 5:26:39 AM CT   Posted By: Sean
 Friday, December 6, 2019
From Canon USA:
 
Firmware Version 1.6.0 incorporates the following improvements and fixes:
 
  • Support for the RF 85mm F1.2L USM DS lens has been added.
  • Corrects a phenomenon in which the function or setting value assigned to the control ring may change when the control ring is operated in Eco mode.
  • Corrects a phenomenon in which the camera may stop operating properly during “auto transfer” when using Camera Connect with a Wi-Fi connection.
  • Corrects a phenomenon in which high-speed synchronization with use of an external flash may not operate properly depending on the camera’s setting for C.Fn2 “Set shutter speed range”.
Download: Canon EOS R Firmware Version 1.6.0
Post Date: 12/6/2019 4:56:51 AM CT   Posted By: Sean
 Thursday, December 5, 2019
Smart people told us long in advance that the planet Mercury was going to pass in front of the Sun for many hours on 11/11/2019 and that the transit was going to be visible across a huge swath of the world, including my location on that date, falling during my Shenandoah National Park Workshop.
 
My first thought regarding photographing this event was that I could take a picture of the Sun anytime and simply use the paint brush tool to drop in Mercury planets wherever desired. While the result would look fine, it wouldn't be nearly as fun or as phsychologically rewarding as experiencing the event firsthand and capturing the real thing. Photographing the Sun is easy and a little black dot in front of it was going to be equally easy to capture so, I packed the required solar filter for the trip.
 
The Sun was not going to be our primary subject on this day, we didn't have time to shoot throughout the entire many-hour transit, and the cloudy sky made photographing it challenging during the few times we attempted to do so. Still, I wanted to show the entire transit in the final result. To fulfill that goal, I pieced a number of images together and then duplicated a Mercury planet to fill in the entire path across the Sun.
 
While the Mercury transit does not rise to the level of amazing as the recent solar eclipse, it was still fun to see and photograph.
 
When photographing the Sun, everything else in the frame is black unless there are clouds being brightly lit while darkening the Sun enough to even out the dynamic range. With black periphery being easy to create during post processing, framing the Sun a tightly as possible becomes the goal. Still, the Sun will not come close to filling the frame even at 1200mm, the longest most photographers will use, on a full frame camera. In a focal length limited scenario, higher pixel density on the imaging sensor means more resolution remaining after cropping and the Sony a7R IV has that. The Sony FE 600mm f/4 GM OSS Lens and FE 2x Teleconverter were used to gain the 1200mm focal length.
 
Among the many images captured were some with a cloud-caused fiery haze surrounding the Sun. Adding some of these images into the Photoshop stack provided the option of including the haze in the final image as shared here.
 
Here is a question for you: Since I watched Mercury transit the Sun in an electronic viewfinder, did I really see it?
 
A larger version of this image is available on Flickr.
Post Date: 12/5/2019 11:20:19 AM CT   Posted By: Bryan
Just posted: Canon EOS M6 Mark II Review.
 
This is a remarkable little camera.
 
The Canon EOS M6 Mark II is in stock at B&H | Adorama | Amazon USA | WEX
 
Rent the Canon EOS M6 Mark II from Lensrentals.
Posted to: Canon News   Category: Camera Gear Review News
Post Date: 12/5/2019 7:56:02 AM CT   Posted By: Bryan

 
From the Adorama YouTube Channel:
 
Join Host Seth Miranda @LastXwitness as we walks through Capture One 20 with a quick over view of some of the new features
 
Adorama carries Phase One Capture One 20.
Post Date: 12/5/2019 6:16:35 AM CT   Posted By: Sean
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