Horseshoe Bend used to be a little-known roadside view of the Colorado River in Page, Arizona. But over the past few years, the spot has witnessed a dramatic increase in popularity. The main culprit for that uptick? Instagram. It’s now one of many hidden treasures across America that have become too popular for their own good — requiring extensive redesign to protect the visitors and the environment. With visitation at a record 84 million in 2017, America’s national parks are more popular than ever — and social media is rewriting the rules of how and why people visit them.
I have to wonder what a model thinks when the assignment to wear a parachute dress at Dragon's Teeth (Kapalua, Maui, HI) comes in.
"I get to wear an enormous dress designed to blow in the wind while standing barefoot on sharp rocks in extreme wind next to an ocean with occasional rogue waves that send salt water spray over everything nearby for an entire very hot, sunny day!"
Pick me! Pick me! [Finding Nemo]
This model obviously accepted Canon's request and she managed the assignment very professionally.
Parachutes are designed to ease the landing, but in this case, the parachute was more likely to cause a liftoff (followed by a perilous landing).
I would have been more comfortable if she had a crash pad beside her, but she stayed on her feet through even the strongest wind gusts.
A 50mm lens does not create the extreme background blur that long telephoto lenses can create, but the 50mm angle of view allows a closer camera position that provides a more intimate look
while the f/1.2 aperture still provides a strong background blur that makes the subject stand out.
The look is unique in a very positive way.
The extremely wide f/1.2 aperture allows handholding in very low light levels but with a white dress in the sun, even a 1/8000 shutter speed is not always fast enough to avoid blown highlights at f/1.2 and ISO 100.
In direct sunlight, a neutral density filter or, as used in this example, a circular polarizer filter on the lens.
When water is on the horizon, I usually want the image framed with the horizon level.
Electronic viewfinder levels have greatly improved my original captures in this regard, but with the wind and unstable footing, I still managed to get a small degree of tilt that needed to be corrected in this image.
An ultra-wide aperture lens is generally selected to make use of those ultra-wide apertures.
Often, especially with 50mm ultra-wide aperture lenses, the image quality at the widest apertures is not good and often describable as "dreamy".
While dreamy can be nice on occasion, it is not usually what I am going for.
With this lens, f/1.2 results are very sharp, showing good resolution and contrast.
I have not hesitated to use this lens wide open and ... haven't stopped it down very often.
The Canon RF 50mm f/1.2L USM Lens is a compelling reason to get a Canon EOS R camera.
A larger version of this image is available on Flickr.
This is not marketing department weather resistance.
This is engineering department weather resistance.
Anything that can be sealed has been sealed.
I’m impressed, and I will say for future cut-and-paste blurbs: this is as robustly weather sealed a camera as we’ve ever disassembled.
I don’t believe in weather resistance myself.
I believe like life; water will find a way.
I believe in plastic baggies and rubber bands.
I am, however, a great believer in the idea that if you claim to do something, then [you'd better] do it right.
This is done right.
I’m impressed by the very solid construction of the chassis and IBIS unit.
I’m impressed with the neat, modern engineering of the electrical connections.
Yes, I’m aware that soldered wires carry electricity just fine, but to me, there’s something reassuring about seeing neat, well thought out, 2018 level engineering.
I’m not here to tell you which camera is best to use or has the best performance.
I’m just here to say this is a [very] well-built camera, the best built mirrorless full-frame camera we’ve taken apart.
(For the record, I haven’t torn down a Leica SL.)
After spending over a decade trying to establish milkweed plants on our property (what monarch caterpillars eat), healthy plants finally emerged a couple of years ago – in the flower beds next to our house, not close to where we were trying to grow them.
While most "weeds" are not welcome in the flower beds, we embraced what we got and allowed them to prosper in place.
This year, milkweed plants started growing randomly throughout the yard, though frequent lawn mowing kept their visibility near nothing.
After an especially long period of rain, the yard crop started showing leaves and my observant daughter spotted a monarch laying eggs on them.
Prior to the next lawn cutting, she and my wife removed over 40 eggs from the rogue plants.
Most of the eggs were transferred to the being-tolerated flower bed plants and several were raised indoors, which produces perfect specimens for photographic purposes.
The ideal time to photograph butterflies is just after they emerge as their wings are in perfect condition and they remain mostly still for a couple of hours.
Knowing when that time is coming involves observing the monarch chrysalis color.
Newly-formed chrysalises are bright green in color, but they turn very dark just prior to emergence of the butterfly stage.
I saw this opportunity coming and had some gear ready.
When your camera is an EOS model with a hot shoe, the set of lighting accessories available, both Canon brand and third party options, is vast.
For this image, I used a Canon Macro Ring Lite MR-14EX II Flash for a very even light on the subject.
With the dual MR-14EX flash tubes configured for equal power, this flash creates a flat light, often void of shadows.
When the subject is as vibrantly-colored as this one, flat lighting works quite well.
The background light being positioned behind the foreground light meant that it did not influence the lighting on the subject and the background being far enough behind the foreground meant that the foreground light did not influence the background brightness.
While I didn't expect the Canon EOS R to have any trouble with Canon's Speedlite system (other EOS models don't), it is always nice to have reassurance, especially for a new camera line.
Or, maybe this test was just the excuse I needed to spend a couple of hours photographing the monarch.
At macro focus distances, depth of field becomes very shallow.
One of the keys to capturing this image was to align the camera so that the wing was perfectly parallel to the imaging sensor, perpendicular to the center of the lens' image circle.
Still, f/16 was needed to obtain the depth of field necessary to keep almost the entire butterfly sharp.
A larger version of this image is available on Flickr.
Landscapes, weddings, architecture, real estate, photojournalism – all are great reasons to have a wide angle zoom in your kit.
Now the big question becomes, "Which one?"
For Sony shooters, the FE 16-35mm f/2.8 GM and FE 16-35mm f/4 ZA OSS will likely be at the top of the wide angle zoom considerations list.
Before we dig deeper into this comparison, regular site visitors may notice that text below sounds a lot like our Sony FE 24-70mm f/2.8 GM vs. Sony FE 24-70mm f/4 ZA OSS Lens comparison.
Well, there's a good reason for that – the 16-35mm lenses listed above share many of the same benefits and drawbacks as their 24-70mm counterparts when compared against one another.
Therefore, much of the content of the 24-70mm comparison applies equally to the Sony FE 16-35mm f/2.8 GM and Sony FE 16-35mm f/4 ZA OSS lenses.
So, without further ado, let's take a look at these two 16-35mm lenses to see which one proves to be the best investment for your needs.
Sony FE 16-35mm f/2.8 GM and Sony FE 16-35mm f/4 ZA OSS Shared Primary Features
Mount: Sony E (full frame)
Focal Length Range: 16-35mm
Minimum Aperture: f/22
Max Magnification: 0.19x
Dust and moisture resistant construction
Primary Advantages of the Sony FE 16-35mm f/2.8 GM Lens
Wider Max Aperture: f/2.8 vs. f/4
More Aperture Blades: 11 vs. 7
AF/MF Switch vs. N/A
AF Hold Button vs. N/A
Primary Advantages of the Sony FE 16-35mm f/4 ZA OSS Lens
Built-in Optical SteadyShot Stabilization vs. N/A
Smaller: 3.07 x 3.88” (78 x 98.5mm) vs. 3.48 x 4.79” (88.5 x 121.6mm)
Lighter: 18.3 oz (518g) vs. 24 oz (680g)
Costs significantly less
Other Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
Elements/Groups: 16/13 vs. 12/10
AF Motor: Dual Direct Drive SSM vs. Linear
Front Filter Size: 82mm vs. 72
Image Quality Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
The FE 16-35mm f/2.8 GM lens is slightly sharper in the center at 16mm and 20mm f/4 and the FE 16-35mm f/4 ZA OSS lens is slightly sharper in the corners.
The f/2.8 lens center of the frame advantage grows slightly at 24mm and more than slightly at 28mm.
At 35mm f/4, the f/2.8 lens turns in a far better performance.
These differences are minimalized at f/5.6, but the f/2.8 remains a much better choice at 35mm.
As one would expect, the f/2.8 lens shows less vignetting at f/4.
By f/8, the differences are minor.
The f/2.8 lens has more barrel distortion at 16mm, but less pincushion distortion in some of the mid focal length comparisons.
Who should opt for the Sony FE 16-35mm f/2.8 GM?
There are many drawbacks to an f/2.8 constant max aperture lens compared to an f/4 constant max aperture lens, including increased size, weight and cost.
However, the Sony FE 16-35mm f/2.8 GM's twice-as-wide max aperture will allow you to freeze motion in half as much light at the same ISO setting compared to the FE 16-35mm f/4 ZA OSS.
If you're a wedding/event photographer, or prefer not to pack a tripod for nighttime cityscape/street photography adventures, the increased size/weight/cost associated with the f/2.8 lens will prove more than worthwhile.
Who should opt for the Sony FE 16-35mm f/4 ZA OSS?
If you don't often need to capture moving subjects in low-light situations, and can tolerate higher ISO use when the need arises, then the Sony FE 16-35mm f/4 ZA OSS offers many of the benefits of the Sony FE 16-35mm f/2.8 GM at less than half the price.
For static subjects, when combined with Sony alpha-series cameras' IBIS (In-Body Image Stabilization), the Sony FE 16-35mm f/4 ZA's Optical SteadyShot should provide even more effective stabilization compared to a lens without built-in IS.
As you can see by the product pictures and specs listed above, the size and weight differences between these lenses are not insignificant.
Photographers who will benefit from the FE 16-35mm f/4 ZA OSS's smaller size/lighter weight include anyone carrying their gear for long periods of time (for backpacking, vacations, long events, etc.) and those wanting to pack more gear in a similar amount of space.
With many full frame Sony a-series cameras having built-in sensor stabilization, one of the Sony FE 16-35mm f/4 ZA OSS Lens's major benefits – optical stabilization – is diminished.
However, it does have a few advantages remaining over the Sony FE 16-35mm f/2.8 GM that will make it desirable for many photographers – smaller size, lighter weight and a much lower cost.
In addition to the 1-stop wider max aperture, most photographers will prefer the FE 16-35mm f/2.8 GM's image quality over the f/4 lens.
For those photographing moving subjects and/or utilizing the entire focal length range on a regular basis, such as wedding/event photographers, will find the Sony FE 16-35mm f/2.8 GM to be a worthy investment.
Otherwise, the Sony FE 16-35mm f/4 ZA OSS is available for significantly less.
I was in Aspen, Colorado for two nights and the primary goal was to capture another set of classic Maroon Bells lake reflection images that included the amazing fall aspen color.
After arriving at the hotel late in the evening on the first night, I set the alarm for 2:40 AM and went to bed.
Probably no one thinks getting up at 2:40 AM is fun and ... that I was dragging my wife and youngest daughter with me ... raised questions about my sanity.
Still, this is one of the most beautiful locations in the country and I calculated that it was going to be worth the sleep deprivation (and potential grief from the family) to get the perfect position along Maroon Lake.
Upon stepping outside, the heavy cloud cover was obvious and occasional light rain followed us.
Landscape photographers live for the openings in breaking storm clouds and I stayed with the plan.
I was one of the first photographers to arrive at the side of the lake, but I immediately encountered disruption of the plan.
The first issue was that a rope now lines the path around the lake, preventing close access to the water.
The second issue was that the lake level was extremely low.
The restricted access and now-distant, very shallow lake combined to provide a dirt/stone former lake bottom as the image foreground and the lake was now small enough that the reflections were rather unexciting at the proximity available.
In addition, the aspen leaves had changed (and many dropped) about a week early this year, courtesy of the drought that also accounted for the drained lake.
I continued to stay with the plan, remaining standing in my spot, alongside a large number of other photographers, from about 3:30 AM until close to 9:00 AM, waiting for a break in the clouds.
That never happened and I finally decided that a decent photo was not likely to happen.
The hike I promised the girls was looking like a great option and that became the plan.
After all of the early AM effort, the best scene of the day showed up in front of us while hiking near the far side of the lake.
An opening in the clouds allowed sunlight to penetrate, brightly lighting a grove of aspens that were still holding their brilliantly-colored leaves.
The key to getting my favorite Maroon Bells image on this trip was just being out in a great location, watching for something good to happen.
This indoor, ambient window light session netted 157 images.
Of these images, 10 were 2/3 body portraits, 82 included head and shoulders (or were framed slightly wider) and 64 were headshots with a significant number of those being close to minimum focus distance.
All images were captured at f/1.2 for the shallowest, most-AF-challenging depth of field possible and eye detection AF was exclusively in use.
Of the 157 images, ten were focused on eyelashes (usually acceptable, mostly close to the iris), two were focused a similarly-short distance behind the iris and only two images misfocused beyond iris-to-eyelash distance.
The other 143 were optimally focused on the iris.
That the camera was being handheld with me in a somewhat squatted position and the subject standing (sometimes leaning against a wall) meant that our movement could easily have caused any of the less-than-perfect results.
I remain very pleased with the EOS R's portrait AF capabilities and the RF 50mm f/1.2L is a very impressive lens, perfect for portraits.
[Updated Information] Operating conditions of the Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount
Thank you for purchasing and using our products.
We would like to share results of our further investigations regarding the operating conditions of the Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount.
When SIGMA’s interchangeable lenses in the current product lineup, listed below, are used in combination with the Nikon “Z7” and their “Mount Adapter FTZ”, both AF and AE operate without any issues.
Furthermore, lenses which incorporate Optical Stabilizer (OS) will work to maximum effect when both the lens’s OS and the in-camera stabilization are switched on simultaneously.
12-24mm F4 DG HSM | Art
14-24mm F2.8 DG HSM | Art
24-70mm F2.8 DG OS HSM | Art
24-105mm F4 DG OS HSM | Art
60-600mm F4.5-6.3 DG OS HSM | Sports
APO 70-200mm F2.8 EX DG OS HSM
APO 70-300mm F4-5.6 DG MACRO
70-300mm F4-5.6 DG MACRO
100-400mm F5-6.3 DG OS HSM | Contemporary
120-300mm F2.8 DG OS HSM | Sports
150-600mm F5-6.3 DG OS HSM | Contemporary
150-600mm F5-6.3 DG OS HSM | Sports
APO 200-500mm F2.8 / 400-1000mm F5.6 EX DG
APO 300-800mm F5.6 EX DG HSM
14mm F1.8 DG HSM | Art
20mm F1.4 DG HSM | Art
24mm F1.4 DG HSM | Art
35mm F1.4 DG HSM | Art
105mm F1.4 DG HSM | Art
135mm F1.8 DG HSM | Art
500mm F4 DG OS HSM | Sports
MACRO 105mm F2.8 EX DG OS HSM
APO MACRO 150mm F2.8 EX DG OS HSM
APO MACRO 180mm F2.8 EX DG OS HSM
8-16mm F4.5-5.6 DC HSM
10-20mm F3.5 EX DC HSM
17-50mm F2.8 EX DC OS HSM
17-70mm F2.8-4 DC MACRO OS HSM | Contemporary
18-35mm F1.8 DC HSM | Art
18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
18-250mm F3.5-6.3 DC MACRO OS HSM
18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary
50-100mm F1.8 DC HSM | Art
4.5mm F2.8 EX DC CIRCULAR FISHEYE HSM
10mm F2.8 EX DC FISHEYE HSM
30mm F1.4 DC HSM | Art
Phenomena particular to 4 lenses were confirmed after our announcement of September 28th
After careful investigation, we confirmed some phenomena particular to 4 products listed below.
Regarding a firmware update for the SIGMA 24-35mm F2 DG HSM | Art, 50mm F1.4 DG HSM | Art and 85mm F1.4 DG HSM | Art, we are going to announce them at a later date.
24-35mm F2 DG HSM | Art
[Phenomenon]- It may occasionally stop recording while shooting video. It is planned to be resolved by a firmware update.
50mm F1.4 DG HSM | Art
[Phenomenon] - When starting to shoot with the subject completely out of focus, the response to the AF operation is intermittent. It is necessary to release several times or to turn the focus ring once to release.
It is planned to be resolved by a firmware update.
85mm F1.4 DG HSM | Art
[Phenomenon] - It may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting. It is planned to be resolved by a firmware update.
APO 800mm F5.6 EX DG HSM
[Phenomenon] - Please focus using MF, since it is difficult to achieve sufficient focusing accuracy. There is no plan for a firmware update.
When the lenses listed below are used, due to product specifications, the in-camera stabilization cannot be turned off. In addition, the Auto Power Off function cannot be used. Please manually turn the power [OFF] after shooting.
17-50mm F2.8 EX DC OS HSM
17-70mm 2.8-4 DC MACRO OS HSM | Contemporary
18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
18-250mm F3.5-6.3 DC MACRO OS HSM
24-105mm F4 DG OS HSM | Art
17-70mm 2.8-4 DC MACRO OS HSM
18-50mm F2.8-4.5 DC OS HSM
18-250mm F3.5-6.3 DC OS HSM
18-200mm F3.5-6.3 DC OS HSM
50-200mm F4-5.6 DC OS HSM
70-300mm F4-5.6 DG OS
Please use manual focus while shooting with lenses which do not incorporate an AF driving motor.
Tele Converters cannot be used together.
Depending on shooting conditions, sufficient focusing speed and accuracy may not be achieved. As required, please use manual focus while shooting.
Despite being listed above, some lenses shipped out from SIGMA before November, 2013 may require a firmware update. (Please refer to “Various lenses shipped from SIGMA before November, 2013” below.)
Discontinued products have different operating conditions depending on each product and their shipping period. For details, please contact your nearest authorized SIGMA subsidiary / distributor.
Various lenses shipped from SIGMA before November, 2013
We have previously confirmed that some phenomena such as AF not working correctly with some lenses released or shipped from SIGMA before November, 2013, when they are used on Nikon’s digital SLR cameras incorporating the latest firmware. Under this circumstance, we will update the lens firmware free of charge. If the products do not operate on a Z7, even when they are listed above, the lens firmware update may improve the situation.
For customers who have these applicable products, please contact your nearest authorized SIGMA subsidiary / distributor for further details.
*1 For products of which firmware was updated after November, 2013, a firmware update is not necessary.
*2 It is not possible to update the firmware of products for which our support period has finished.
*3 For products with an engraved edition number of A012, C013 or S013, the lens firmware can be updated using the optional SIGMA USB DOCK.
Dear users and potential purchasers of Tamron interchangeable lenses.
Thank you for using Tamron products and for your continuous support.
We would like to announce that we have clarified compatibility in general operations(*1) of following Tamron Di & Di II lenses on Canon EOS R, which was newly released on October 25, 2018, with Canon Mount Adapter(*2).
Compatible models in general operations(*3)
SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Canon
SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Canon
SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Canon
SP 35mm F/1.8 Di VC USD (Model F012) for Canon
SP 45mm F/1.8 Di VC USD (Model F013) for Canon
SP 85mm F/1.8 Di VC USD (Model F016) for Canon
SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F017) for Canon
17-35mm F/2.8-4 Di OSD (Model A037) for Canon
70-210mm F/4 Di VC USD (Model A034) for Canon
(*1) Defined to work on existing DSLR cameras
(*2) Canon "Mount Adapter EF-EOS R"
(*3) With the latest version of lens firmware
About other Tamron models, we will make a further announcement of the compatibility at our support web page once the operation tests are completed.
Thank you for your patience and understanding in this matter.
We would like to announce that, as of this moment SIGMA’s interchangeable lenses for Canon mount in the current lineup do not have any issues with general operation when they are used on the “EOS R”, released by Canon Inc., via their “Mount Adapter EF-EOS R”.
In addition, please note the information below when using our lenses.
1. With SIGMA’s interchangeable lenses, the Digital Lens Optimizer located within the in-camera Lens Aberration Correction function cannot be used.
Therefore, please set the Digital Lens Optimizer to [OFF] before shooting.
When the Digital Lens Optimizer is switched [OFF], but “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function is switched [ON], the appropriate corrections can be achieved in accordance with the optical characteristics of each lens.
This is applicable to lenses listed below which were released after March, 2018, or those of which firmware has been updated to Ver.2.0 or later.
SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary *
SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary *
SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary *
SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary
SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary
SIGMA 18-35mm F1.8 DC HSM | Art
SIGMA 50-100mm F1.8 DC HSM | Art
SIGMA 12-24mm F4 DG HSM | Art
SIGMA 14-24mm F2.8 DG HSM | Art
SIGMA 24-35mm F2 DG HSM | Art *
SIGMA 24-70mm F2.8 DG OS HSM | Art
SIGMA 24-105mm F4 DG OS HSM | Art
SIGMA 14mm F1.8 DG HSM | Art
SIGMA 20mm F1.4 DG HSM | Art
SIGMA 24mm F1.4 DG HSM | Art
SIGMA 30mm F1.4 DC HSM | Art *
SIGMA 35mm F1.4 DG HSM | Art
SIGMA 50mm F1.4 DG HSM | Art
SIGMA 70mm F2.8 DG MACRO | Art
SIGMA 85mm F1.4 DG HSM | Art
SIGMA 105mm F1.4 DG HSM | Art
SIGMA 135mm F1.8 DG HSM | Art
SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
SIGMA 120-300mm F2.8 DG OS HSM | Sports *
SIGMA 150-600mm F5-6.3 DG OS HSM | Sports
SIGMA 500mm F4 DG OS HSM | Sports *
* These lenses will be compatible with the in-camera Lens Aberration Correction function by a firmware update to Ver.2.0 which will be announced in the future.
When lenses other than those listed above are used, “Peripheral illumination correction”, “Chromatic aberration correction” and “Distortion correction”, located within the in-camera Lens Aberration Correction function, may cause images to appear abnormal. Therefore please set these correction functions to [OFF] before shooting.
2. When SIGMA’s DC lenses are used, “1.6x (Crop)” will not be set automatically. Please select “1.6x (Crop)” manually.
We will continue verification and provide updates on the operating condition at a later date.
Anhui China, Oct 26, 2018 – Venus Optics, the camera lenses manufacturer specializes in making unique camera lenses, unveil the pricing and availability of the world’s widest full frame lens, Laowa 10-18mm f/4.5-5.6 FE Zoom lens.
In response to the demand from mirrorless camera shooters of having a compact wide angle zoom, Venus Optics have managed to compress the size of the 10-18mm FE Zoom to the smallest in its class, measuring approximately 3.5 inches (~9cm) long and weighing only 17.5 ounces (<500g) with a lens diameter of 70mm. It is a welcome relief for landscape, adventure or travel photographers that are traveling over long distances and struggling to find a compact wide angle zoom to pair up with their cameras.
In additional to the extreme compact size and lightweight body, the 102° (18mm) to 130° (10mm) FoV provides a great deal of flexibility for photographers to compose landscape or architecture photos with ease. The ultra-wide 130° FoV also realizes many impossible shots.
Sunstar rendering has long been considered as one of the most critical element for UWA lenses. Venus Optics have re-engineered the design of the aperture and incorporated a 5 straight blade aperture to deliver a sharp, clean, well-defined 10-point sunstars. It adds an aesthetic feel into the photos when composing with the sun or other light sources.
Despite having a compact lens body, the 10-18mm FE Zoom still offers an exceptionally high resolution across the frames at all apertures. It houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element. It also comes with an excellent close up performance. It can focus as close as 15cm (0.5 feet) and deliver a 0.25x magnification for some mini-macro shooting.
Venus Optics truly understands that filter is essential to produce an impressive landscape photo. The new 10-18mm FE Zoom is carefully designed with 2 filter solutions available. A rear filter thread is included at the back of the lens to fit with 37mm UV/ND filter. A custom designed 100mm-wide magnetic filter holder system is developed to fit a maximum of three 100mm-wide filters with no vignetting when rotated at any angles.
The lens also incorporates a switch to toggle the click/clickless aperture for videography usage.
Pricing & Availability
The ex-VAT retail price in US is USD $849.00. Pricing may vary in different countries. The first shipment is expected to commence in late November.
Laowa 10mm f/4.5-5.6 in Canon R / Nikon Z mounts will be released in a few months.
Halloween is right around the corner, and what a great holiday for photographic inspiration: From cute kids in costumes to spooky haunted houses; eerie glowing jack-o’-lanterns to pastoral pumpkin patches – Halloween offers an endless variety of unique subjects.
Join Daniel Norton OnSet as he shows you how to create images with the feel of window light but the control of flash. This technique will allow you to shoot any time of day or night and create stunning window light portraits.
Fixed an issue that in rare circumstances caused the camera to stop responding during burst photography with NEF (RAW) selected for Image quality and On selected for Silent photography in the PHOTO SHOOTING MENU.
If Enable release is selected for Slot empty release lock in the SETUP MENU, the Image review option in the PLAYBACK MENU can now be accessed when no memory card is inserted.
When the Canon EOS R was announced, many of us were wondering how accurately and consistently Sigma and other third party lenses would autofocus when used on this mirrorless body.
As the dust settled on the initial EOS R review tasks, I brought in a Sigma 50mm f/1.4 DG HSM Art Lens to spend some time with.
The results from just over 400 AF test images were excellent.
The image shared here, a 100% resolution crop, is one from a set of ten and I added all 10 to the autofocus section of the R review, but ... they all look identical.
The results from numerous scenarios, including lighting conditions ranging from very low to very bright using AF points from center to corner (80% x 80% coverage for this lens on the adapter), all appeared similarly consistent.
While the test results from one lens model does not mean that all lens models will perform identically, this is one of the lenses I've had AF consistency problems with in the past and these results put a very positive outlook on other lens models performing similarly.
MELVILLE, N.Y., October 24, 2018 – Canon U.S.A., Inc., a leader in digital imaging solutions, will be showcasing its latest in high-quality digital imaging products, including the Company’s first full-frame mirrorless camera, the EOS R, at PhotoPlus Expo 2018.
The brand-new EOS R is the latest revolution in the company’s long history of innovative and award-winning camera systems, featuring the newly designed RF mount, which uses groundbreaking RF lenses and has full compatibility with the existing range of EF lenses.
Canon will also have its complete line of digital imaging solutions on display, including EOS DSLRs, EF Lenses, PowerShot Digital Cameras, Digital Camcorders and imagePROGRAF PRO Professional Inkjet Printers.
Additionally, Canon will host educational seminars and will have its Canon Professional Services team on-site in the Jacob K.
Javits Convention Center in New York City, October 25 – 27, 2018 in booth #121.
“The unique and interactive setting of PhotoPlus Expo serves as an opportunity for the photography community to come together to experience firsthand the newest technology in the industry,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc.
“Canon is excited to welcome attendees into our booth and provide hands-on time with the products that help to capture and commemorate cherished memories, as well as exhibit the many ways Canon supports photographers through educational workshops and our world-class service and support.”
For many visitors to the Canon booth, PhotoPlus Expo will serve as their first opportunity to experience the EOS R camera and RF lenses.
Attendees will be able to test the new camera system through various shooting opportunities, mini workshops and educational sessions with Canon technical specialists and trainers in the Canon Live Learning studio.
Canon trainers are also leading five Midtown-area Photo Walks throughout the Expo; spots are limited (register here).
Canon Explorers of Light and other imaging professionals will be on the Canon stage for live-shoots and lectures featuring the best Canon digital imaging solutions.
There will also be an in-booth gallery featuring images by Explorers of Light printed on the imagePROGRAF PRO-1000.
In addition, Explorers of Light Lindsay Adler, Jimmy Chin and Joel Grimes will each sign 100 custom printed photographs for attendees, which will be available on a first come, first served basis.
New to the Canon booth, the state-of-the-art aRchive gallery will feature work from cultural influencers and storytellers like Nicole Issacs, Jake Guzman and Katie Goldie, using augmented reality technology to add to the experience.
In order to view the gallery, visitors will need to download the aRchive app from the Google Play or Apple App stores.
Visitors to the Canon Professional Services counter will have the opportunity to learn more about the industry-leading program and offerings supporting photographers, including repair discounts, expedited service and evaluation loaners for CPS Gold, Platinum and Cinema members.
Guests who renew or sign up for a paid CPS membership during the show will receive a 10 percent discount and free show-exclusive gift.
To learn more about Canon Professional Services, please visit www.usa.canon.com/aboutcps..
The CPS Lounge will be open again this year, where Platinum, Gold, Cinema and Enterprise CPS members can have their Canon equipment (up-to-two current Professional DSLR bodies or lenses) cleaned and checked during Expo hours on Thursday, Oct. 25, and Friday, Oct. 26, in Room 2D12.
Visit the CarePAK PLUS counter to learn more about the current promotion for free 13 months of accidental damage protection with the purchase and registration of select Canon cameras and lenses through January 5, 2019.
Exclusive for PhotoPlus Expo, visitors can get their badge scanned to enter for the chance to win a free upgrade to 49 months coverage plus Image Recovery.
Follow Canon throughout the PhotoPlus Expo show @CanonUSApro.
To see the full details of Canon’s presence at PhotoPlus Expo, including the Canon stage speaker schedule, please visit: usa.canon.com/photoplus2018
There are a few features that make a camera especially well-suited for capturing sports and other challenging action.
A fast frame rate is one such feature.
A camera that can capture images in rapid succession is more likely to capture the perfect subject position than a camera that captures images at low frequency.
For this feature, the EOS R has a relatively fast frame rate, but only when not tracking and adjusting the focus distance.
Not all action involves changing focus distances (such as the wave crashing example in the Canon EOS R review), but if your subject is moving enough to leave the camera's initially-focused depth of field, as is typical for many sports,
continuous focusing is required and in that focus mode, the EOS R's 5 fps frame rate is on the slow side of the spectrum.
Another feature required for photographing subjects in motion is maintaining a continuous view of that subject in the viewfinder.
Optical viewfinders have a short blackout period for each image captured (while the mirror is raised) and cameras with short blackout specs are more-highly desired than those with long ones.
Electronic viewfinders, with few exceptions, have a pause in the EVF video feed as each image is captured and the duration of this pause can hinder a photographer from keeping a subject properly framed.
This pause is only a minor issue for subjects moving directly toward or away from the camera, but keeping subjects properly-framed as they are moving from side-to-side or moving erratically becomes a challenge with most EVFs, including the EOS R's.
If the subject focusing distance is changing, especially if it is changing rapidly, autofocus tracking and prediction performance becomes critically important.
If the subject is out of focus, the image, regardless of the frame rate it was captured at, is likely going to be deleted.
The Canon EF 70-200mm f/2.8L IS II USM Lens and its just-introduced replacement, the Canon EF 70-200mm f/2.8L IS III USM Lens
are ultra-popular sports lenses and I mounted one on the EOS R to photograph a cross country meet with.
While this lens is not going to create the focus challenge that, for example, the Canon EF 400mm f/2.8L IS II USM Lens will when compared at the same distance,
focusing on a very close and fast-approaching runner at 200mm f/2.8 is quite challenging to an AF system.
I thought the EOS R did a great job on this cloudy day that included some light rain earlier in the meet.
A high percentage of my images were sharp (when I kept the subject properly framed).
Note that, while the image shared here appears very sharp at this resolution, my 1/1250 shutter speed was not quite fast enough to stop the lateral motion at this distance.
Though the image is properly focused, the motion blur degraded image sharpness slightly at full resolution.
I was starting a burst capture when the subjects came close to being ideally framed and continued to photograph until they passed by.
Another feature that is often helpful for action photography is the ability to sustain the frame rate for a large number of images.
The EOS R's buffer depth, when using a fast memory card, is very good, allowing a relatively long period of action to be captured.
While usually not as desirable as a fast frame rate, a large buffer can increase the number of great shots captured in a burst and I can credit the image shared here to that feature.
For those using the shutter release to time their captures or to time the first capture in a high speed frame rate sequence, a short shutter lag is important.
The EOS R checks that box and the fast AF makes timing single shots quite successful.
Overall, the EOS R is lacking a few key features to make it the ideal sports and action camera.
It is not that camera, but it can certainly do that job if needed.
I don't recommend purchasing an EOS R for dedicated sports and action photography, but the EOS R stands ready to fill in for the occasional action needs it encounters.
Of course, if your action is not leaving the established depth of field, the EOS R can do 8 frames per second and that rate is quite fast, making it suitable for such needs.
Filter Kits created for the DJI Mavic Air, Mavic 2 Pro, Mavic 2 Zoom, Inspire 2 are available now
HAUPPAUGE, NY- October 23, 2018 - Tiffen Filters, a division of The Tiffen Company for optical photographic filters and lens accessories, introduces their new collection of drone filter kits.
Filter kits will be available for the DJI Mavic 2 Zoom, DJI Mavic 2 Pro, DJI Mavic Air, and DJI Inspire 2.
Established filter kits for the DJI Phantom 4 Pro already exist and are available for purchase.
The filters have a multilayer and hydrophobic coating.
Its surface is waterproof and contains scratch prevention technology.
The filters guarantee ultra-low reflection rates and they have unmatched color fidelity.
Its 4K high definition optical glass has a ten-year warranty.
With Tiffen’s exclusive kit of aerial filters for DJI, drone operators will have the opportunity to capture in flight content like never before.
When used in conjunction with the award winning filter technology engineered by Tiffen, the high quality performance of the DJI 4K camera system is taken to the next level, broadening the horizons for content creation.
Places Sigma lenses plus unparalleled service and technical support in the heart of the TV & film production community
Burbank, CA – October 23, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, is pleased to announce the opening of its brand new west coast showcase in Burbank, California.
A modern space for its world-class products, services and support, visitors can experience first-hand the popular Sigma Cine and Global Vision lenses through product demonstrations, seminars and special events.
“Having a physical presence in the greater Los Angeles area has long been a vision of ours.
The new west coast Sigma center has been years in the making and to finally open it to the public is very exciting,” said Kazuto Yamaki, CEO of Sigma Corporation.
“We are thrilled to be a part of this creative community, and we look forward to the new relationships Sigma will develop with filmmakers and cinematographers, right in their backyard.”
Join Sigma at Its Grand Opening Event!
To celebrate the opening of the Sigma west coast office, Los Angeles area cinematographers and filmmakers are invited to attend the special reception hosted by Sigma Corporation of America on Saturday, November 3rd from 5-8pm PDT.
In addition to the open bar with rare sake tasting, scrumptious food from local food trucks, Sigma swag and giveaways, attendees will have a chance to see product demos and a special work showcase by DP Timur Civan as the first official Sigma Cine Pro.
As a Sigma Cine Pro, Timur will become a valuable resource to filmmakers, presenting informative lectures, seminars and workshops to cinematographers across the US.
He has worked with clients as diverse as Louis Vuitton, Pepsi, Samsung, Toyota, Home Shopping Network, Vox Media and many more.
His unique approach and technique are at the cutting edge of visual storytelling, and Sigma Cine lenses are always there to help bring his creative vision to life.
Timur will be in attendance and available to answer any questions about Sigma lenses and how they facilitate his creative expression.