The Sony a7 III, announced Monday, is now available for preorder.
TOKYO, February 28, 2018—Canon Inc. announced today that the company will begin accepting entries for its New Cosmos of Photography 2018 (41st edition) photo competition on April 18. To promote the competition as a global photo contest, experts from outside Japan have also once again been invited to judge this year's competition.
Entries for New Cosmos of Photography 2018 will be accepted between April 18 and June 6, 2018, while the Excellence Award Selection Committee is to meet in July to choose seven Excellence Award winners and fourteen Honorable Mention Award winners. Later, in November, the Grand Prize selection committee is scheduled to meet to select one Grand Prize winner from among the seven Excellence Award-winning entries.
The Grand Prize winner of this year's competition will receive not only JPY 1 million in prize money and a Canon product, but as an added bonus will be granted the right to hold a solo exhibit at the exhibition of winning entries for next year's New Cosmos of Photography. Additionally, to encourage the continued pursuit of their creative activities, 2018 Excellence Award and Honorable Mention Award winners will each receive prize money and the right to display their works at this year's exhibition of winning entries.
The New Cosmos of Photography is Canon's cultural support project to discover, nurture, and support new photographers who pursue new possibilities in creative photographic expression. Launched in 1991, this year marks the 28th iteration of the annual contest, which, since its 25th iteration in 2015, has expanded to accept digital submissions (stills and video). What's more, promoting the competition as a global photo contest that elevates photographers and videographers playing an active role in the current art scene, this year's seven judges will include the Artistic Director of the Dutch photo and video exhibition Unseen, Emilia van Lynden, and San Francisco Museum of Modern Art (SFMoMA) Curator Emerita of Photography Sandra Philips.
The New Cosmos of Photography encourages the creation of original works that push the boundaries of photography's potential and systematically assists and nurtures award winners through exhibitions and published collections of their winning works as well as through publicity on the New Cosmos of Photography website. To date, the New Cosmos of Photography contest has accepted 27,406 entries from both individuals and groups, and has turned out a great number of outstanding photographers who are enjoying widespread success around the world. As a result, the contest has come to be regarded today as a gateway to success for new photographers.
For additional information about this year's New Cosmos of Photography competition, visit the New Cosmos of Photography homepage.
From the Adobe Photoshop YouTube Channel:
Use these tips to to quickly straighten or rotate images in Photoshop.
Just posted: Canon TS-E 90mm f/2.8L Tilt-Shift Macro Lens Review.
This lens is ready for the next generation of imaging sensors.
Wacom Cintiq Pro Engine is a compact PC module that converts the Cintiq Pro into a powerful creative studio. Artists, Designers and Engineers can transform their Cintiq Pro into a powerful Windows 10 workstation with the power to run the demanding creative applications and workflows, including 3D, animation and virtual reality.
Tokyo, Japan – Feb. 27, 2018 – Today Wacom announced the Wacom Cintiq Pro Engine, a creative PC module available in two configurations that fully integrates into the Cintiq Pro 24-inch pen display (announced today in a separate release). Designed for professional illustrators, designers, engineers and motion graphics users who require professional computing power and graphics performance, the modular Cintiq Pro Engine slots into the back of the Cintiq Pro 24, eliminating the space, cable clutter and compatibility issues that often result from using external computers and laptops.
“It is our mission to help professionals create with the least amount of distraction and clutter and to give them the power to tackle the new spaces of creating content for AR, VR and MR. The Wacom Cintiq Pro Engine provides a beautiful, easy to use solution for creatives everywhere,” said Faik Karaoglu, Executive Vice President of the Creative Business Unit at Wacom.
Attaching the Cintiq Pro Engine to the Cintiq Pro 24 tranforms the Cintiq Pro 24 into a full Windows 10 creative studio that supports even the most demanding programs and applications used by creative professionals. The combination of the Wacom Cintiq Pro display, the powerful Wacom Cintiq Pro Engine creative PC module, and a flexible and rotatable new Wacom Ergo Stand is an innovative approach to providing an all-in-one specialized working environment for creatives. Adding the use of the Wacom Pro Pen 3D, professionals who rely on 3D animation or sculpting software, or CAD applications, will see an immediate benefit to their workflow.
Virtual Reality Support
In addition to the benefits around creative applications and workflows, Cintiq Pro Engine supports the increasingly important virtual reality (VR) workflow. Most Wacom products are already capable of supporting VR content creation, but to review and check the VR content, customers frequently need to move the content to another PC that has the graphics power to run VR content.
The Wacom Cintiq Pro Engine is powered by the NVIDIA Quadro P3200. This graphics card is based on the NVIDIA Pascal GPU architecture, which provides the power demanded by today’s creative applications with dramatically faster graphics and computing power than on the CPU. “Wacom designs products for the way artists and designers create. They’re intuitive, natural and fast and can be used anywhere,” says Bob Pette, vice president, Professional Visualization, NVIDIA. “Our new mobile Quadro P3200 packs a ton of graphics power into the new Cintiq and Cintiq Engine Pro, and we’re thrilled to have them showcased at our upcoming GPU Technology Conference.”
Flexibility Found Nowhere Else
The Wacom Cintiq Pro Engine memory and SSD are exchangeable and upgradable, ensuring system flexibility. Given the plug and play nature of the hardware, it’s easy to move between Cintiq 32” and 24” displays while retaining the same computing environment with the Cintiq Pro Engine. This flexibility is found nowhere else in the market and leads to a lower total cost of ownership (TCO) than any other solution.
Two Versions of Cintiq Pro Engine
Cintiq Pro Engine i5:
Cintiq Pro Engine Xeon:
There are two versions of Cintiq Pro Engine, available as of May 2018 in Japan, US and selected countries in Europe.
Wacom extends the Cintiq Pro line-up with a new high performance mid-sized display built for cutting-edge creative and design applications including augmented and virtual reality. The Cintiq Pro family now features a range of sizes to meet the unique workflow and configuration needs of creative professionals.
Tokyo, Japan – February 27, 2018 – Today Wacom announced the availability of the Wacom Cintiq Pro 24 pen display, expanding the Cintiq Pro high-definition range, which is designed for creative professionals seeking a larger digital canvas and the power to tackle an increasing onslaught of creative applications and programs. The new 24-inch Cintiq Pro pen display joins the previously introduced 13 and 16-inch models to form a comprehensive range of sizes for every need and workspace. The pen and touch display version will be available in May, the earlier announced 32-inch model is slated for later this year.
Performance you can see and feel
The brilliant 4k display, 98% Adobe RGB color accuracy and a billion colors deliver a true-to-life visual experience. The pen on screen experience was also improved. The combination of the new Pro Pen 2 technology (improved pressure sensitivity featuring 8,192 levels), the etched glass surface, the reduction in parallax through optical bonding and the close to zero latency, provide artists with precise control and a more natural feeling pen on screen experience.
“We know that professional artists and designers are facing an increasingly vast array of computing and display demands as they embrace emerging technologies like augmented and virtual reality, and 3D, where one size doesn’t fit all,” says Faik Karaoglu, Executive Vice President for the Creative Business Unit at Wacom. “Everyone has their own way of working, and we are excited to offer larger sized digital canvases with flexibility that provides more pen space for those who need it to create.”
Transforming the workflow
With the Wacom Cintiq Engine Pro – also announced today – a Windows 10 computing module, featuring the new NVIDIA Quadro P3200 high performance graphic card, slides into the back of the Cintiq Pro 24 display. Thus creative professionals can easily transform their Cintiq Pro 24 into a high performance creative work station fully supporting state of the art applications and workflows, including 3D, animation and augmented and virtual reality.
The Cintiq Pro 24 pen display models are available in the U.S., Japan and selected European countries as of March; for further details visit our e-store at Wacom.com. Prices ranging from $1,999 to $2,499. The Pen & Touch version of Cintiq Pro 24 will be available in May 2018.
FEBRUARY 28, 2018 - Kenko Tokina Co., Ltd. is proud to announce the new Tokina opera 50mm F1.4 FF , a premium Full Frame lens for high-end DSLR cameras.
About opera series
With the debut of opera 50mm F1.4 FF we are launching a new series of next generation premium full-frame lenses for high-end DSLR cameras called "opera" series.
Opera series is designed to perfectly match recent high-spec full-frame DSLR cameras, which keep requiring high quality optics to be used with. In addition to originally high-valued Tokina AT-X series, this new opera series is positioned as top premium series of full-frame size lenses and will be further expanded with other lenses of related specifications and performance.
In modern society the word “opera” is commonly used to express general genres of stage art. In Italian it means work or work of art. As an omitted art genre definition opera comes from "opera musicale" that means a piece of music work. In Latin opera comes from "opus” and in contemporary language "magnum opus", "opera magna” still has a meaning of "great literary, artistic or intellectual work". We chose the name "opera" for a new premium full-frame DSLR lens series thinking of a lens that will help photographer in creating real "work of art".
About the product
The debuting premium full-frame lens for high-end DSLR cameras in opera series is 50mm F1.4 FF (FF - Full-Frame). Designed for full-frame format DSLR cameras, opera 50mm F1.4 FF adopts a ring-shaped ultrasonic motor for autofocus drive module. Weather sealing prevents from dust and moisture to come inside the lens body. For the first time in Tokina line up Nikon mount model incorporates an electric diaphragm mechanism. The direction of the focus ring rotation fits the genuine Nikon and Canon lens.
Mounts: Nikon F, Canon EF Sensor size: full-frame format
Sales release: Summer 2018
Golden, CO (Feb 26, 2018) - Mountainsmith—craftsmen of iconic backcountry equipment and recreational outdoor gear—have launched their latest series of adventure photography packs, which were designed in collaboration with world-renowned adventure photographers Andy Mann and Keith Ladzinski.
The new camera pack line is composed of 6 separate products designed to protect and organize your camera equipment in the most extreme conditions. Photographers Andy Mann and Keith Ladzinski have developed a close relationship with Mountainsmith over the years, testing products and offering key input that has fueled the design process for multiple projects.
“Despite their world-class photography credentials, at the end of the day Keith Ladzinski and Andy Mann remain our friends and colleagues first and foremost,” Says Mountainsmith Lead Designer Luke Boldman. “We’re not so much working for a client, but working amongst honorary members of the Mountainsmith team. As designers, we know their requirements for rugged gear and we understand the harshness of the environments where they like to push the boundaries on their photography and video skills. As camera and video equipment has changed over the years, so too have Keith and Andy’s shooting styles and the Mountainsmith field gear necessary to keep them on point. Having a deep relationship with these two photographers allows us to keep our product development flow nimble and expedient.”
"I am a lucky man, by all accounts. Not only have I been blessed with the opportunity to travel and document the world, but I’ve been able to create what I think are the perfect camera bags with Mountainsmith,” says Andy Mann. “Countless hours and years of design meetings, bioengineering and testing on all 7 continents has finally come full circle. I’m beyond excited to share this new line of Mountainsmith bags with other photographers. This project has been my baby (Sure I’m obsessed with good design and functionality), so let’s let it loose! Enjoy!”
These products will be on display at Outdoor Retailer Winter Market, January 25th-28th. If you will be at the show, feel free to stop by Mountainsmith’s booth (# 44080-UL) and check them out.
There's no mistaking that Sony has made significant gains in the interchangeable lens camera market over the last few years. And as they continue to innovate and fill out their lens lineup, they further bolster themselves as a brand worth serious consideration from a consumer's perspective.
Just a few of Sony's highly-touted features over the past several years include:
Unfortunately, Canon doesn't really have an answer for any of these the technologies listed above. But the way I see it, that's the least of their problems.
The number of people switching from Canon to Sony to gain one (or more) of Sony's unique features (as far as Canon photographers are concerned) is still relatively small. However, to get a better idea of where the market is heading, you can't focus on the high-end market. If you want to predict where the camera brands' market share will be in the future, you've got to train your eye on entry-level camera sales. And that's why Canon should be concerned.
For years, Canon's Rebel-series cameras have been the best-selling APS-C digital cameras on the market. Canon's current market share dominance can trace its roots back to the success of the original EOS Rebel, the first DSLR with a sub-$1,000.00 price tag, announced in 2003. Since then, Canon has introduced 17 Rebel-series cameras with each building on the success of the previous generation with a winning formula – an easy to use camera with sufficient features and a low cost, with minor updates regularly released. The recently announced EOS Rebel T7 is the epitome of this market strategy, with a new sensor being [practically] the only change from its predecessor.
Once a person buys a Rebel-series camera and develops as a photographer, stepping up to a slightly-higher-up model makes perfect sense as you get more/better features and the lens (or lenses) you already own will [likely] work with your next body (although EF-S lenses don't work on full-frame bodies).
Breaking Up is Hard to Do
Switching camera brands is a pain. Besides having to learn an entirely new system, with different controls/features/terminology, the sheer cost of changing out your entire set of lenses will be enough to keep many once-Rebel owners in the Canon camp. One advantage Sony has that makes switching a litte easier is the ability to use Canon lenses on their bodies with the use of adapters, but using adapters is less than ideal. Plus, there are so many adapters – each with their own specific benefits, drawbacks, limitations and compatibility considerations – that the average consumer may feel overwhelmed with the prospect of figuring it all out. "Is changing brands to get [a Sony feature] really worth it?"
Canon knows that changing brands involves a monumental decision. It's not like an incremental decision to buy the next-level-up DSLR; it's much more of a commitment. With so many past EOS Rebel-series camera owners now owning higher-end cameras with kits containing multiple EF (and EF-S) lenses, Canon isn't likely worried about the number of photographers jumping ship.
The Biggest Reason Why Canon Should Be Worried
As I've explained, Canon's dominance in the camera market is tied directly to its affordable APS-C sensor cameras, primarily the Rebel-series. But as much as Sony has made inroads in the full frame camera market with enticing technologies, I'd argue that the popularity of Sony's APS-C a-series cameras is a bigger indication of their market share growth potential.
Unfortunately, I don't have hard sales numbers to bear out my theory. However, what I do have is circumstantial evidence in the form of the number or reviews left for specific products at authorized retailers. I'm thinking that the ratio of customers who purchase a specific product to those who leave a review for the product they purchased is likely similar across brands.
With that in mind, let's take a look at some numbers which represent a current snapshot. For example, let's compare the Canon EOS Rebel T5i (announced Mar. 2013) to the Sony a6000 (announced Feb. 2014).
|Canon EOS Rebel T5i (Body Only)||173|
|Canon EOS Rebel T5i + EF-S 18-55 IS STM||347|
|Canon EOS Rebel T5i + EF-S 18-135mm IS STM||136|
|Sony Alpha a6000 Body Only & 16-50mm Lens Kits|
|Canon EOS Rebel T5i (Body Only)||92|
|Canon EOS Rebel T5i + EF-S 18-55 IS STM||184|
|Canon EOS Rebel T5i + EF-S 18-135mm IS STM||122|
|Sony Alpha a6000 (Body Only, All Colors)||279|
|Sony Alpha a6000 with 16-50mm Lens (All Colors)||511|
Keep in mind, the Canon Rebel T5i should have the upper hand in this comparison because a) it's been on the market for a little longer and b) it was offered in two kits with separate lenses and c) it had a long history of successful cameras behing it. However, the Sony APS-C camera has significantly more reviews – and by extension, likely more sales – than its closest Rebel-series competitor. If I were Canon, I'd be worried about these numbers, as they may provide compelling evidence that Sony's growth in the marketplace may accelerate in the not-so-distant future.
Like the Canon TS-E 90mm f/2.8L, the TS-E 135mm f/4L delivers really impressive image quality.
Note that results with extenders are included, showing that this lens can also be used with those. The with-extender results are nice, indicating that extenders add significantly to the versatility of this lens.
Also note that shifted results are included. To accommodate the tilt and shift movements, the lens must produce an image circle larger than the designed-for sensor format requires. As the lens is shifted (and/or tilted), the periphery of this larger image circle comes into use. Thus, the shifted results have meaning and, in this case, the shifted-"12mm" results show a very slight degradation in the corner.
To see the level of image quality being produced here, check out a comparison against one of the sharpest lenses available: Canon TS-E 135mm f/4L vs EF 300mm f/2.8L IS II Lens. Create your own comparisons.
Update: There were more firmware updates than we originally realized. This post has been updated to reflect additional firmware updates for the D810, D810A, D7100 & D7200.
Changes Common to D4 / D4s / Df / D810 / D810A / D800 / D800E / D7100 / D7200 Firmware Updates
Nikon D4 v.1.11 / D4s v.1.33 / D800 v.1.11 / D800E 1.11
Nikon D4 v.1.11 / Df v1.02 / D800 v.1.11 / D800E 1.11
Nikon D810 v.1.13 / D810A v.1.03 / D7200 v.1.03
Nikon D810 v.1.13 / D810A v.1.03
Nikon D7100 v.1.04
Nikon D4 Firmware v.1.11
Nikon D4s Firmware v.1.33
Nikon Df Firmware v1.02
Nikon D810 Firmware v.1.13
Nikon D810A Firmware v.1.03
Nikon D800 Firmware v.1.11
Nikon D800E Firmware v.1.11
Nikon D7100 Firmware v.1.04
Nikon D7200 Firmware v.1.03
Since 2013, The SIGMA Corporation has been offering a “Mount Conversion Service” for SIGMA’s Global Vision (Contemporary, Art and Sports) lenses. With this service, the mount and key components inside your lenses can be replaced, adjusted and optimized for another camera mount.
Since the introduction of this service, we have maintained the cost which was set originally to ensure the best possible customer support. This service requires not only a simple mount replacement, but also a detailed assessment of the individual lenses we receive from our customers.
Due to the growing complexity of the conversion service and the increasing cost of required parts, we are having to revise the cost of our Mount Conversion Service.
We appreciate your understanding and continued support for our company and products.
SIGMA 70mm F2.8 DG MACRO | Art
Stunning resolution and clarity for a breathtaking visual experience — a razor-sharp macro lens joins the Art line
The new SIGMA 70mm F2.8 DG MACRO | Art lens is designed to prioritize optical performance. In the standard to mid-telephoto range, it delivers stunning resolution and incredible clarity that greatly exceed expectations for a macro lens. Photography enthusiasts will recall a certain legendary, razor-sharp macro lens—the SIGMA MACRO 70mm F2.8 EX DG—and be glad to learn it is available in a new form, updated with outstanding Art line quality.
SIGMA 14-24mm F2.8 DG HSM | Art
Zero distortion. The ultimate 14-24mm wide-aperture zoom lens. SIGMA is introducing the 14-24mm F2.8 DG HSM | Art as the ultimate ultra-wide-angle zoom. While minimizing distortion, this lens offers outstanding F2.8 brightness throughout the zoom range and delivers top-level image quality at every focal length and every shooting distance. For these reasons, it is the definitive wide-aperture ultra-wide-angle zoom lens.
SIGMA 105mm F1.4 DG HSM | Art
Introducing the “bokeh master”—featuring incredible resolution and designed for full-frame sensors, this is the longest focal length of the Art line’s F1.4 lenses
Since introducing its first SIGMA Global Vision F1.4 lens in 2012, the 35mm F1.4 DG HSM | Art, SIGMA has been adding wide-aperture F1.4 options to the lineup. SIGMA has designed all of these lenses to offer minimal optical aberration and deliver incredible resolution and stunning contrast. The SIGMA 105mm F1.4 DG HSM | Art has earned its place as the flagship of the F1.4 Art line lenses, prioritizing image quality above all to fulfill the promise of the line, delivering truly amazing optical performance.
New Product Features
SIGMA launches seven interchangeable Art lenses for Sony E-mount cameras with full-frame sensors
While offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models will feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses will be compatible with Sony’s Continuous AF (AF-C) and high-speed autofocus, which are not addressed by MOUNT CONVERTER MC-11.
The lineup will include the Art line set of seven prime lenses covering 14mm to 135mm. It will also include two models that SIGMA will be exhibiting at CP+ 2018: 70mm F2.8 DG MACRO | Art and 105mm F1.4 DG HSM | Art (launch date TBD). Further, SIGMA plans to introduce additional Sony E-mount models in the Art line going forward.
The SIGMA Corporation is pleased to announce the release of its lens firmware version 2.00 for its SIGMA GLOBAL VISION (SGV) interchangeable lenses compatible with Canon digital cameras featuring Lens Aberration Correction. The three types of corrective functions available are for peripheral illumination, chromatic aberrations, and distortion.
By updating their lens firmware to version 2.00, customers with compatible SGV interchangeable lenses for Canon cameras can perform aberration corrections that match the optical characteristics of their lenses. In addition, by turning Lens Aberration Correction on and before taking photographs, users can prevent certain image and operation errors from occurring.
Compatible lenses (Release planned for March 7th, 2018)
Releases planned going forward
The following lenses will be compatible with Canon Lens Aberration Correction upon release.
EOS 1D X Mark II,EOS 5Ds,EOS 5Ds R,EOS 5D Mark IV,EOS 6D Mark II,EOS 8000D(EOS Rebel T6s,EOS 760D), EOS 80D,EOS 9000D(EOS 77D),EOS Kiss x9i(EOS Rebel T7i, EOS 800D), EOS Kiss x9(EOS Rebel SL2, EOS 200D),EOS Kiss x8i(EOS Rebel T6i, EOS 750D )
About SIGMA lens firmware updates
By connecting a SIGMA Art, Contemporary, or Sports lens with the SIGMA USB DOCK (sold separately) to a computer on which SIGMA Optimization Pro Software is installed, photographers can update the lens firmware. For further information, please visit the SIGMA website.
For SIGMA lens owners who do not own the SIGMA USB DOCK, SIGMA performs lens firmware updates free of charge.
For further information, please contact your nearest authorized SIGMA subsidiary/distributor: http://www.sigma-global.com/en/about/world-network/
From Sony Global:
Sony a7 III Highlights:
Sony today introduced yet another impressive addition to their full-frame mirrorless camera line-up, the a7 III (model ILCE-7M3).
Sony’s unmatched innovation within the image sensor space is at the forefront of the new a7 III, as it features a brand new 24.2MPi back-illuminated Exmor R CMOS image sensor with increased sensitivity, outstanding resolution and an impressive 15 stopsii of dynamic range at low sensitivities. By combining this sensor with a variety of impressive features including extreme AF coverage of 93%, fast shooting at up to 10 fpsiii with either mechanical shutter or silent shootingiv, diverse 4Kvi video capabilities and more, Sony has created a new tool that gives all types of creators – from enthusiast to professional – the ability to capture content in new and different ways than they ever have before.
Spectacular Full-frame Image Quality
The newly developed 24.2MPi back-illuminated Exmor R CMOS image sensor is paired with a front-end LSI that effectively doubles the readout speed of the image sensor, as well as an updated BIONZ X™ processing-engine that boosts processing speed by approximately 1.8 times compared to the a7 II. These powerful components work together to allow the camera to shoot at faster speeds while also enabling its impressive ISO range of 100 - 51200 (expandable to ISO 50 – 204800 for still images) and an overall 1.5-stop[ix] improvement in image quality. The camera also features a massive 15-stopii dynamic range at low sensitivity settings, ensuring outstanding overall performance at all settings and in all shooting conditions, with significant advancements in accurate colour reproductions of skin tones and the vibrant colours of nature.
This new full-frame model can also output 14 bit RAW format[x] even in silent and continuous shooting modes, and is equipped with a 5-axis optical image stabilisation system that results in a 5.0 stepv shutter speed advantage.
Significant Advances in AF Speed and Performance
The innovative new a7 III full-frame mirrorless camera features a level of AF performance that has been largely improved over the a7 II, including the addition of 4D FOCUS™ capabilities. The new camera has 425 contrast AF points that work with a 693-point focal-plane phase-detection AF system inherited from the acclaimed a9 model. This innovative AF system covers approximately 93% of the frame, ensuring reliable focusing and tracking for even the most difficult to capture subjects.
AF response and tracking has also been greatly improved in the new camera, with almost 2xix the focusing speed in low-light condition and 2xii the tracking speed compared to the previous model as a result of the faster image sensor readout. This allows complex and unpredictable motion to be captured with far greater precision and accuracy.
The acclaimed Eye AF feature is also available in the new camera, even in AF-C mode, which is extremely useful for situations where the subject is turning around, looking down or otherwise obstructed. It also works when the a7 III is being used with Sony’s A-mount lenses with an optional LA-EA3 adaptor[xi]. Additional improvements in focusing flexibility include the addition of a multi-selector or ‘joystick’ for moving focusing points quickly, the addition of touch focusing capability, AF availability in Focus Magnifier mode, an ‘AF On’ button and much more.
Speed to Capture Every Decisive Moment
The new a7 III is equipped with an updated image processing system that allows it to shoot full resolution images at up to 10 fpsiii with continuous, accurate AF/AE tracking for up to 177 Standard JPEG images, 89 compressed RAW images or 40 uncompressed RAW images[xii]. This high speed mode is available with either a mechanical shutter or a completely silent shootingiv, adding to the immense flexibility of the camera. The camera can also shoot continuously at up to 8 fpsiii in live view mode with minimal lag in the viewfinder or LCD screen.
For added convenience, while large groups of burst images are being written to the memory card, many of the cameras key functions are operable, including access to the ‘Fn’ (Function) and ‘Menu’ buttons, image playback and several other menus and parameters including image rating and other functions that facilitate on-location image sorting.
Additionally, if there is fluorescent or artificial lighting present in a shooting environment, users can activate the Anti-flicker[xiii] function to allow the a7 III to automatically detect frequency of the lighting and time the shutter to minimise its effect on images being captured. This minimises any exposure or colour anomalies that can sometimes occur at the top and bottom of images shot at high shutter speeds.
High Quality 4Kvi Video
The new a7 III is an outstanding video camera as well, offering 4Kvi (3840x2160 pixels) video recording across the full width of the full-frame image sensor. In video mode, the camera uses full pixel readout without pixel binning to collect about 2.4x[xiv] the amount of data required for 4K movies, and then oversamples it to produce high quality 4K footage with exceptional detail and depth.
An HLG (Hybrid Log-Gamma)[xv] picture profile is available on the a7 III as well, which supports an Instant HDR workflow, allowing HDR (HLG) compatible TV’s to playback beautiful, true-to-life 4K HDR imagery. Further, both S-Log2 and S-Log3 are available for increased colour grading flexibility, as well as Zebra functionality, Gamma Display assist and proxy recording. The camera can also record Full HD at 120 fps at up to 100 Mbpsvi, allowing footage to be reviewed and eventually edited into 4x or 5x slow motion video files in Full HD resolution with AF tracking.
Upgraded Build, Design and Customisation
Sony’s newest full-frame camera is equipped with a variety of enhanced capabilities that were first implemented in the a9 and then again in the a7R III. These include dual media slots, with support in one slot for UHS-II type SD memory cards. Users have a variety of options for storing their content in each of the cards, including separate JPEG / RAW recording, separate still image / movie recording, relay recording and more. Battery life has been greatly extended as well – with a CIPA measurement of up to 710 shots per chargeviii, it offers the world’s longestvii battery life of any Mirrorless camera, as the new camera utilises Sony’s Z series battery NP-FZ100 that offers approximately 2.2 times the capacity of the W series battery NP-FW50 utilised in the a7 II.
The new camera features “My Menu” functionality which allows up to 30 menu items to be registered for instant recall when needed. Users can also apply star ratings to their still images through the camera controls for easier image playback and review, and edit the first three characters of all still image files. Additionally, there is a total of 81 functions that are assignable to 11 custom buttons, and the camera is both dust and moisture resistant[xvi].
The a7 III features high-resolution, high-contrast, fast-start XGA OLED Tru-Finder™ with approximately 2.3 million dots for extremely accurate, true-to-life detail reproduction. “Standard” or “High” display quality settings are also available for both the viewfinder and monitor as well. It also is capable of seamlessly transferring files to a smartphone, tablet, computer or FTP server via Wi-Fi®, while also offering a SuperSpeed USB (USB 3.1 Gen 1) USB Type-C™ Terminal for increased flexibility in power supply and faster image transfer speed during tethered shooting.
The a7 III model also comes with Sony’s new software suite “Imaging Edge”, which extends the creative capabilities of the entire shooting process – from pre-processing to post-processing. “Imaging Edge” provides three PC applications called ‘Remote’, ‘Viewer’ and ‘Edit’, available for free download, which support live-view PC remote shooting and RAW development. In the latest Version 1.1, several improvements have been implemented including about 10%[xvii] faster data transfer speed for remote shooting from PC (PC tether shooting) and approximately 65%[xviii] improvement in the response speed for RAW image editing. For more information, please visit Imaging Edge support page. www.sony.net/disoft/d/.
The camera is also compatible with a wide variety of Sony E-mount accessories including the BC-QZ1 Battery Charger[xix], VG-C3EM Vertical Grip.
The new a7 III will ship in Europe in March, 2018 priced at approximately €2300 (body only) or €2500 in a kit with the SEL2870 lens.
[ii] Sony test conditions for still images
[iii]In continuous “Hi+” mode. Max. fps depends on camera settings
[iv] Some distortion may occur with fast-moving subjects
[v] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off
[vi]A Class 10 or higher SDHC/SDXC memory card required for XAVC S movie recording, UHS speed class 3 or higher for 100 Mbps recording
[vii]Among non-reflex interchangeable lens digital camera equipped with auto focus functionas of February 2017, based on Sony research
[viii] CIPA standards. When using the LCD monitor. 610 images when using the viewfinder
[ix] Compared to the a7 II. Sony test conditions
[x] Limited to 12 bits during compressed RAW continuous shooting, BULB exposure, or when Long Exposure NR is ON
[xi] With SSM or SAM lenses only. With the LA-EA3 mount adaptor. Eye AF not supported for movie recording. AF-C can only be used when the “Phase detection” AF system is selected, but focus is fixed at the first frame
[xii] Continuous “Hi+” mode. UHS-II compatible SDXC memory card required. Sony test conditions
[xiii] Only 100 Hz and 120 Hz flicker is detected. Continuous shooting speed may decrease. Flicker-free shooting is not available during silent shooting, BULB exposure, or movie recording
[xiv] 24p recording. Approx. 1.6x at 30p
[xv] Connect to an HDR (HLG) compatible Sony TV via a USB cable to view HDR (HLG) movies
[xvi]Not guaranteed to be 100% dust and moisture proof
[xvii]The transfer speed has been measured with multiple images using a7R III, SuperSpeed USB (USB 3.1 Gen 1), and Uncompressed RAW ( L: 7952 x 5304)+JPEG Extra fine
[xviii]Measured with: CPU Intel® Core™ i7-6700 Processor 3.40GHz, Memory 8GB, OS Windows® 7 Professional, and Uncompressed RAW (a7R III L: 7952 x 5304)
[xix]Not supplied in the box
The Canon Digital Learning Center has posted several articles on the newly announced Speedlite 470EX-AI flash and EOS M50 MILC.
Canon Digital Learning Center Articles
Preorder the Canon Speedlite 470EX-AI and EOS M50 here.
Join Canon U.S.A.’s Rudy Winston as he illustrates the benefits of the new Speedlite 470EX-AI, the world’s first flash with an Auto Intelligent Bounce function* that automatically sets the optimal bounce angle so you achieve amazing flash results indoors.
Check them out and share them with friends!
Recently announced Canon gear is available for preorder at the following retailers:
* Preorders for the EOS Rebel T7 were unexpectedly unavailable at announcement time. Links will be updated when they become available.
From Canon USA:
MELVILLE, N.Y., February 25, 2018 – Upgrading from a smartphone camera to an entry-level interchangeable lens camera (ILC) can be considered to some people a daunting task. Canon U.S.A., Inc., a leader in digital imaging solutions, supports those looking to advance their skills by continuously developing and evolving its gear. Today, the company announced their latest additions to its all-encompassing lineup of digital cameras: the EOS M50 Interchangeable Lens Camera, the first Canon EOS M-series camera with 4K video recording which is four-times the size of full HD 1080, and the EOS Rebel T7, the latest addition to the wildly popular EOS Rebel line of entry-level DSLR Cameras, with an upgraded CMOS sensor to deliver sharp, high-resolution images to capture life’s key moments.
For photographers actively seeking to upgrade their skills, the EOS M50 is an all-around, entry-level camera with an extensive list of user-friendly features that encourages users to broaden their creative visions. Providing improved Dual Pixel CMOS AF, a 24.1MP APS-C CMOS sensor resulting in less noise and high definition in low-light situations, and the capability of recording 4K video, the EOS M50 will capture crisp, photographic expressions in various situations.
Additional features of the EOS M50 include:
The EOS Rebel T7 DSLR camera, featuring an upgraded CMOS sensor of 24.1 megapixel resolution, is the successor to the EOS Rebel T6. Offering easy sharing of high-quality photos and videos on social media sites, the EOS Rebel T7 provides continuous shooting up to 3.0 frames per second (fps), a nine-point autofocus system and a three-inch LCD monitor, offering users a multitude of options to capture and share life’s important moments.
For an additional cost, both products are also eligible for the reliable protection of CarePAK PLUS, Canon’s optional service plan, which includes accidental damage protection and Image Recovery, designed to retrieve irreplaceable images or videos otherwise lost or corrupted. CarePAK PLUS, along with all Canon camera service plans, is performed exclusively by Canon’s renowned service and support team.
The Canon EOS M50 is scheduled to be available in April 2018 for an estimated retail price of $779.99^ for the body only. The EOS M50 will also be available with the EF-M 15-45mm f/3.5-6.3 IS STM lens in both black and white for an estimated retail price of $899.99^. Additionally, the EOS M50 will be sold with the EF-M 15-45mm f/3.5-6.3 IS STM and the EF-M 55-200mm f/4.5-6.3 IS STM in black only for an estimated retail price of $1,249.00^. A Video Creator Kit will also be available for the EOS M50 for an estimated retail price of $999.99^.
The EOS Rebel T7 is scheduled to be available in April 2018, and will be sold as a lens-and-body kit with the EF-S 18-55 f/3.5-5.6 IS II for an estimated retail price of $549.99^.
*Compatible with iOS versions 9.3/10.3, Android smartphone and tablet versions 4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services. 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.
**Compatible with Android smartphone and tablet versions 4.4/5.0/5.1/6.0/7.0/7.1.
***Compatible with select smartphone and tablet devices (Android version 5.0 or later and the following iOS devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth version 4.0 or later and the Camera Connect.
^ Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.
From Canon USA:
New Speedlite 470EX-AI Flash Offers Photographers the Opportunity to Enhance The Creativity of their Captured Images
MELVILLE, N.Y., Feb. 25, 2018 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to announce the Canon Speedlite 470EX-AI Flash, a revolutionary new flash system designed with entry-level and enthusiast photographers in mind. The one-of-a-kind flash incorporates Auto Intelligent (AI) Bounce technology – engineered to automatically and intelligently configure the most appropriate bounce angle resulting in ideal lighting conditions. The Speedlite 470EX-AI Flash could help alleviate the stigma attached to flash photography as being too difficult, while serving as a gateway for photographers looking to expand their skill set, especially those who recently stepped up from smartphone photography.
“Capturing images and sharing memorable moments that last a lifetime is the goal of photographers of all skill levels. DSLR cameras already feature Autofocus, Auto Exposure and Auto White Balance; the natural next step is an automatic flash system,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Canon values the opportunity to help entry-level and enthusiast photographers take pictures to the best of their ability, and we are excited to see what images photographers capture using the invaluable and innovative tools we create.”
At the core of Canon’s Speedlite 470EX-AI Flash is the innovative, new AI Bounce technology. AI Bounce automatically and intelligently determines and dictates the optimal angle of flash based off two distance variables: the distance between the camera and the ceiling, and the distance between the camera and the shooting subject. This technology allows photographers, in particular those who are new to flash photography, to utilize the ideal lighting situation and natural brightness of the room. For more advanced photographers who often alter the horizontal or vertical direction of their camera back and forth, the Canon Speedlite 470EX-AI Flash will remember the previous bounce angle and restore the flash to that position.
Additional features of the Canon Speedlite 470EX-AI Flash include infrared AF assist mode, optical receiver transmission, and flash coverage from 14mm and 24mm to 105mm.
The Canon Speedlite 470EX-AI Flash is scheduled to be available April 2018 for an estimated retail price of $399.99**.
* As of February 25, 2018. For a list of compatible Canon cameras please visit, usa.canon.com/470chart
** Availability, price and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.
This bull elk was in full rut, was not in a good mood and he was looking for some cows to steal (could be a Charlie Daniels song).
This is an un-cropped image captured with a 600mm lens on a full frame body and under many circumstances, I was waaaay too close.
What you can't see in the frame is both a Rocky Mountain National Park ranger directing visitors and vehicles and my rental SUV between the bull and I.
The meadow at Moraine Park is closed from late afternoon until morning and that means most photography opportunities in that location are then found alongside the road. That also means heavy competition for viewing positions when elk are present and finding a parking spot can be challenging at those times. A 4x4 vehicle with some clearance is helpful in accessing the more challenging parking opportunities (think rocks) and the rangers are also helpful, and especially helpful is preventing people from stopping in the middle of the small road, which of course still happens and creates long traffic jams. Increasing my safety were the people more "bold" (being nice here) than I.
At the moment this picture was taken, this solitary bull was about to cross the road. The ranger parted the crowds and I took cover behind the SUV. Because the meadow is lower than the road, the bull had been lower than camera level. While good images can be made from a higher level, eye-level is often ideal and that height was reached as the bull approached the road.
A catchlight in the eye adds life to an animal and that light usually comes from the sun and/or sky. There was no sun at this time (it was dark and rainy), but the more-upward angle helps to get a stronger sky reflection, lighting up the eye.
I could not adjust my position and was using a prime lens. That meant this subject was going to be cropped in the frame. While I like having the entire subject in the frame, I also like tightly framed portraits. Full subject framing of wildlife is usually easier to accomplish and when tighter framing avails itself, especially with an animal like this one, I usually take advantage of that opportunity.
When cropping a subject, there is often a variety of creative options. But, I most often want the eye in the frame. Keeping the head in the frame is often a next priority and ideally, giving the subject some space on the side of the frame being faced (the gaze weights that side of the frame). In this case, my next decision was determining how to adjust the vertical framing and more or less antler was the question. I find antlers very interesting and opted to go big on the antlers, smaller on the body. However, I left enough body showing to send the back line and a portion of the body out the left side of the frame and kept enough space below the chin to include the reverse-curving lines of the beard.
In this case, the elk's head, the primary part of the animal, falls approximately on the intersection of the right and lower 1/3 grid lines. The photographic rule of thirds often works well for composition, but ... I more frequently first approach composition from inclusion/exclusion and balance perspectives. What I find is that the rule of thirds can frequently later be applied to my results.
In general, the tighter the framing, the faster the shutter speed needs to be. For an image to be tack sharp, the exposure duration must be short enough that no details cross over to another pixel. It was dark out and I wanted to keep the ISO setting down. The 1/320 second exposure used here was a compromise and I tossed many images from this encounter due to motion blur. In the end, this was my favorite image from the series.
A larger version of this image is available on Flickr.
Upon seeing this image, what was the first word that came to your mind?
Does the dictionary-present "Aw" stretched to "Awwwww" count?
Being tame, this adorable 1-day-old fawn had zero concern with my presence and that opened up the opportunity to capture some unique-perspective close-up images. When it became obvious that she was going down for some solid sleep time (about the only time fawns become motionless), I swapped the Canon EF 200-400mm f/4L IS USM Lens for the Canon EF 24-70mm f/2.8L II USM Lens and moved in close. The close perspective emphasizes the fawn's head, ears and hoof, making them appear large in proportion to what is farther away. As those are especially cute parts of this little animal, that perspective works well.
Having a still subject was only the first challenge solved and several others remained. Shooting under a high tree canopy created several additional challenges for this capture. First, it was rather dark at the ground level. Second, the backlit, light-spring-green-colored hardwood tree leaves created a green cast on the scene. And, as the breeze moved the branches, spots of direct sunlight was intermittently hitting the subject, causing bright hot spots in the image.
Using a monopod braced against my leg allowed me to shoot at a relatively-long 1/25 second shutter speed, addressing the darkness challenge. The color cast had to be removed during post processing and I had to revisit the color balance adjustments over a period of time until I grew comfortable with the result. I may change my mind about the color adjustments tomorrow. The last challenge was resolved with careful timing of the moving shadows, avoiding most of the hot spot problem.
As is so often the case with photography, the effort was worth the reward.
Hopefully the sleeping fawn brought a smile to your day! A larger version of this image is available on Flickr.
In this video, Benjamin Warde demonstrates the usefulness of the newly added Range Mask feature found in the local adjustment section of Lightroom.
The Sigma Corporation is pleased to announce a firmware update for the SIGMA 30mm f/1.4 DC DN | Contemporary in Sony E-mount is now available.
Benefits of this firmware update
To update the firmware, please refer to this link.