The Gitzo Mini Traveler is especially dedicated to professional photographers and promising amateurs who use mirrorless cameras or DSLR cameras with small lenses.
This mini tripod provides great stability on a tabletop as well as on the ground and many other surfaces, unleashing photographers’ creativity without the hindrance of cumbersome equipment.
It is the perfect photographic travel companion for those who want to travel light and fully equipped with reliable accessories, as it fits any photographic bag without taking up space needed for the main imaging gear.
The Gitzo Mini Traveler provides convenience and functionality during every outdoor photographic project.
Thanks to its state-of-the-art carbon eXact tubes and aluminium head, it weighs only 265g (117g legs only) enabling photographers to always take the best performance with them wherever they go.
It is built of premium materials from the plate to the feet, ensuring always the best reliability.
The machined aluminium spider and head are strong and dependable, supporting up to 3 kg in fully splayed configuration.
Moreover, when an even lighter solution is required, the detachable head is easily removed and the legs provide standalone support for up to 25 kg of gear.
Its performance is the highest in terms of minimum footprint, for low angle shots, when taking backstage pictures and when placing secondary cameras.
Engineered with a brand new (patent pending) Pull & Fix leg angle selector system, it features two leg angles for maximum flexibility and long-lasting rubber feet designed to increase grip on most surfaces.
The ergonomic rubberised gear easily locks and controls the strong stainless steel sphere of the aluminium ball head, which is also perfectly compatible with the Gitzo Traveler Tripod, and the Mini Traveler legs can be matched with the smallest Gitzo Traveler ball head.
Available in two attractively refined colour combinations, full black and classic Gitzo noir décor, the Mini Traveler boasts Gitzo’s unique, unmistakable finish and design reminiscent of the exquisite shape of the successful Gitzo Ball Heads.
The precision machining accentuates the shapes and ensures the strongest aluminium structure and, together with the hard anodic oxidation treatments that protect the tripod surface, makes the Mini Traveler a durable and reliable support for every occasion.
Like for all the Gitzo products, each detail of the Mini Traveler revolves around lightweight and high-quality materials, with accurate assembling and fine manual control.
The uncompromising attitude of Gitzo crafters is always in harmony with the uncompromising expectations of Gitzo fanciers.
The Canon EOS R has also been added to the site's Camera Top View and Camera Back View comparison tools.
Click on your current camera's link at the bottom of the tool and then on the "R" to see the size/available features difference between the two cameras.
The new C-800-U Spectromaster offers ultra-precise color measuring performance designed specifically for the cine and photographic industries.
Developed with the input from leading lighting manufacturers, filmmakers, photographers, and The Academy of Motion Picture Arts and Science and Technology Council, the C-800-U solves the problems image makers have when understanding color properties of light, and how lights will reproduce colors on camera.
WHAT MAKES THIS METER DIFFERENT?
The C-800-U has more Color Rendering Standards than any other field meter in the industry.
It is the first and only meter to include SSI (Spectral Similarity Index) developed by the Sci-Tech Council of the Academy.
SSI gives the user the ability to set any light as a standard, or use predefined standards (such as CIE D55), and then gives other lights an SSI score based upon how well they will match.
The C-800-U also includes TLCI (Television Lighting Consistency Index), TLMF (Television Lighting Matching Factor), TM-30-15 (Technical Memorandum) in addition to CRI (Color Rendering Index), which can be measured singularly or in two light comparison mode.
DESIGNED TO BE USED ON SET
CRI The new Spectromaster C-800-U takes the great features of the C-700 with the same bold 4.3” touchscreen, and same ability to read LED, HMI, Florescent, Tungsten, Natural Light and Flash from 1,600 to 40,000 Kelvin.
Built on its CMOS linear image sensor, the C-800-U is capable of measuring in 1 nanometer (nm) increments to detect spikes using fluorescent or LED lighting.
With the same ergonomic button layout, swivel head, and built-in dark slide that enables easy use on set and expands on the C-700-U’s color rendering standards, units of measure and memory.
MATCHING YOUR LIGHTS JUST GOT EASIER.
The C-800-U now has more color control parameters specifically designed to help match lights to one another.
CIE1931 (x, y) has been added, giving users the ability to measure and dial-in specific chromaticity coordinates into lights of some major brands.
Hue and Saturation units of measure have also been added to better match RGB LEDs to any light source.
In addition, new display screens provide easy interpretation and understanding of the new data fields, making this the best meter for all applications.
“The enhancements to the new C-800-U show our commitment to leading the category with regards to new and emerging trends in the color control industry, while also responding to the changing needs of our end users.
The new Spectromaster C-800-U was developed to provide increased confidence to filmmakers and photographers working with a range of lights; with a focus on rendering true to life skin tones, realistic color, and matching lights better than any other meter on the market.
The Sekonic C-800-U empower everyone focused on color control to light better.” - Mr. Kenji Sawai Executive Officer and General Manager, Sekonic Japan
Measures LED, HMI, Fluorescent, Tungsten, Natural Light and Flash, from 380 to 780 nm
Expanded Color Rendering Properties (CRI, SSI, TLCI, TLMF, TM-30-15)
Extended Color Control Parameters (Hue/Saturation, CIE 1931 x, y chromaticity coordinate)
Make Your Images Pop, FAST! Learn how to add beautiful Radiance to your images in Photoshop using a special Blend Mode. With this Quick and Easy Technique, we'll learn how to add depth and punch to flat boring images.
To make this technique even quicker, we'll also provide a downloadable Action. Besides, to enhance the look, even more, Gradient Maps, Curves, and Color Lookup would be of great use.
By now, she's actually a couple of weeks old. But at the time this image above was taken, Olivia Jane had been breathing air for only about an hour.
My life has change a lot since September 11 at 4:50pm, but one thing remains the same – the importance of photography in documenting the world around me.
Specific endeavors require specific gear, and lately I've been leaning heavily on certain lenses more than others.
Specifically, I've been relying on wide-aperture prime lenses, with their ability to create subject isolation and freeze motion (using moderate ISOs) when second-chance opportunities are fleeting or non-existent.
A couple of years ago, I posted an article urging site visitors to prepare a Go-Bag packed with the photography gear necessary to accomplish a certain goal.
With my wife nearing her due date, I took my own advice and packed a Lowepro backpack with the following:
Sharp-eyed site visitors have likely noticed two aspects regarding the kit listed above.
The first is that all the lenses I packed were prime lenses.
I chose to pack a large assortment of wide aperture prime lenses because I wasn't sure how well lit the hospital would be and the max aperture of my general purpose lens, a Canon EF 24-105mm f/4L IS USM, seemed too narrow to rely on for the indoor event.
As it turns out, the room where my wife gave birth was "softly lit for patient comfort" (hospital terminology for "relatively dark") with a couple of bright spot lights illuminating the delivery zone.
The wide aperture primes proved essential for maximizing image quality while documenting the life-changing event.
When packing the bag, I suspected the longest and shortest focal length primes would be too long/short for effective use in the areas I'd be shooting in during our 2-day hospital stay, and that largely proved to be true.
The second thing you might have noticed is the lack of a backup camera.
Knowing the importance of the situation ahead, I packed a second very small shoulder bag with the following items:
This kit in this bag had two purposes. One, it provided me with a backup camera should something happen to the primary camera in the other bag.
Second, it gave me a couple of STM lenses that I could pair with the 7D II should I decided to capture video.
Not knowing how much room I'd have to store things in the delivery and post-partum rooms, my plan was to leave this backup camera bag in our car parked in the parking lot and simply run out to the car if I wanted/needed it.
Of course, a primary camera failure at a critical time would have left me without an easy-to-access backup, but... thankfully, that didn't happen.
In fact, the backup camera bag never made it out of the car.
Note: I don't recommend leaving your camera gear in an automobile for long periods of time because of prolonged heat/humidity and chance of theft. In this case, however, I prioritized a less-cluttered hospital room over my gear's safety (the bag was well hidden/out of view in the vehicle).
So which lenses did I utilize most during the big event?
Canon EF 100mm f/2.8 USM Macro
Canon EF 35mm f/2 IS USM
Sigma 50mm f/1.4 DG HSM Art
Sigma 24mm f/1.4 DG HSM Art
Canon EF 85mm f/1.2L II USM
Canon EF 135mm f/2L USM
Rokinon 14mm f/2.8
Unfortunately, the data is a bit misleading. I used the Canon EF 100mm f/2.8 USM Macro to capture lots of close-ups of Olivia's feet, hands, ears, etc. However, without stabilization (and not wanting to push ISOs too high), a lot of those images came out blurry.
However, I was shooting the macros when I wasn't pressed for time and the baby was relatively content, so I often shot a large number of images for each framing I wanted.
In other words, the macro lens was only used for a limited number of compositions, but I recorded many shots of each composition to ensure I got what I wanted.
The lens that was mounted to my camera for most of our hospital stay (and just before leaving for the hospital) was the Canon EF 35mm f/2 IS USM.
The moderately wide focal length paired with image stabilization made it an extremely versatile lens, able to capture enough slightly-blurry background with the subject to tell a story while remaining easy to work with in relatively tight spaces.
The lens' IS system meant that I could use even-slower-than-usual shutter speed when subject movement was minimal, while the wide f/2 aperture allowed me to freeze action even in dimly lit conditions.
The next most-used lens was the Sigma 50mm f/1.4 DG HSM Art. It was the lens I chose to mount as soon as Olivia saw light for the first time.
At that point, I wanted to limit distractions in the composition by using a narrower field of view to focus on my wife and baby seeing each other for the first time.
A wide-aperture 50mm prime lens gave me the composition I desired along with action-stopping shutter speeds and a relatively low ISO setting.
The rest of the lenses I brought were used sporadically, but looking back, I could have sufficed without them. That said, different hospitals may present different opportunities for various focal lengths, so having several available is nearly always a good idea.
Could I have gotten away with using only a 24-70mm f/2.8 zoom lens? Maybe, but the max f/2.8 aperture would have required a 2-4x higher ISO to be used to achieve the same action-stopping shutter speeds compared to most of the primes I brought.
Also, considering the amount of background distractions found in a typical hospital room, an f/2.8 aperture would not have allowed me to blur those elements quite as much.
The downside to primes, of course, is the need to change lenses when a new focal length is desired for the optimal composition.
My backpack full of prime lenses proved equally useful after returning home from the hospital.
I left it sitting just inside our dining room and would quickly grab the camera for capturing the various "awwww" moments that occurred in our home over following week.
It's been two weeks now, and that day is a bit of a blur in my memory. But thankfully, I have a wonderful set of images to look back on to remind me of the way during my child's first few days outside the womb.
My photographic style is typically very deliberate, with lighting and/or tripod setups that slow down the capture process.
While prime lenses fit well into that kind of workflow, they aren't absolutely necessary as lighting (either added to the scene or recorded via a slower shutter speed) isn't really a problem.
But when documenting life as it happens, what a wide aperture prime lacks in focal length range, it more than makes up for in the versatility and aesthetic afforded by its max aperture.
The SIGMA Corporation announce the opening of a new state-of-the-art building at the Aizu factory located in Fukushima, Japan which is now fully operational and dedicated to the processing of magnesium alloy, a useful component that provides toughness and durability for SIGMA Global Vision products while being lightweight.
Stable procurement of magnesium parts indispensable to achieving both lightweight and toughness
Lightweight is a desirable characteristic for interchangeable lenses and provides an advantage over other manufacturer’s products especially with relatively large mass telephoto lenses. These lenses often use metal parts with high strength and rigidity for exterior parts to securely hold optical elements with a large diameter together as well as to protect the internal parts. Generally the use of metals such as aluminum for this purpose poses a challenge as it makes the product too heavy and therefore difficult to handle.
SIGMA has taken this into consideration and adopted the use of magnesium parts processed in-house for the first time with the development of the new 60-600mm F4.5-6.3 DG OS HSM|Sports, due for release in October. The lens achieves lightweight, an attribute which is increasingly sought-after by users, while being tough and durable to ensure lens performance.
Further promotion of ultra-highly efficient “mass production” by in-house integrated production
SIGMA believes it is important to be flexible and act quickly enabling the delivery of unique, surprising, and pleasing products. Its own integrated production system with a high in-house production ratio is essential to meet the demand for small-lot production of diverse products, the demand for which will be likely to grow even more in the future. To intentionally incorporate magnesium alloy processing, which requires rigid safety control, in the in-house manufacturing process, SIGMA constructed a building dedicated to magnesium alloy processing and started operations for mass production, contributing to the stable production of high quality and high accuracy parts at reasonable costs.
The magnesium parts produced in the dedicated building will be used for many products in the future including the 60-600mm F4.5-6.3 DG OS HSM|Sports and the 70-200mm F2.8 DG OS HSM | Sports announced at Photokina 2018.
Magnesium Building, SIGMA Aizu Factory
6594 Aza-Nitchizaka, Ohaza-Ohtani,
Fukushima prefecture, Japan 969-3395
Total floor space: 1,995 m2 (3 stories)
Completion of construction: January 2018
Start of operations: February 2018
We made some important decisions this week concerning Luminar, and we think you’ll like them.
We’re always working hard to take our products to new heights, but this last year has been special.
We’ve been intensely working on new tools that will elevate Luminar from a supercharged photo editor to THE home for editing, organizing and enjoying your images.
It’s been a long time coming, but it will completely change the way everyone uses Luminar.
I’d like to give a preview of the big things that are coming… Starting with Luminar Libraries in December, we've got a series of huge updates coming over the next year.
A much anticipated addition to Luminar, Libraries will allow photographers to organize, browse and edit images the fly.
Libraries will be powerful right out of the gate, but it represents the first of many photo organization and management updates launching over the following months.
From Libraries to other killer features, these updates are so powerful, that we want them in the hands of as many photographers as possible.
To this end, we're going to do something unprecedented.
Through late 2019 (at least), we're making every new feature available to all Luminar 2018 users - at no cost!
While software companies typically roll out paid updates every year, there will be no paid updates for Luminar until late 2019 at the earliest.
From Libraries to innovative new editing tools, every monumental advance and every new feature will be provided as free updates for Luminar 2018 users.
This is a reflection of how much we value our customers, and how confident we are in the incredible value of the features we've got coming!
With so much on the horizon, communication is key!
Check the blog regularly for updates on all the exciting upcoming features.
We look forward to your feedback and support.
Thanks for taking this journey with us!
Luminar with Libraries.
As mentioned last week, the new version will be released later this year.
Anyone who owns Luminar will get the new update for free in December, if not earlier.
This new version is now in a closed beta testing, and the feedback we have been getting so far has been overwhelming.
The first version of Libraries in Luminar is all about these main points: performance, comfort, and a complete user experience.
This means the new version will give you speed to browse & organize images without the extra wait time.
This means that you’ll enjoy your photos moments after you start the software.
Here’s a short speed test I did last week.
Take a look and stay tuned for more videos, webinars, posts and live sessions about other features.
Most importantly, with the new version of Luminar, you’ll be able to conveniently group photos into albums, rate pictures, sync edits between hundreds of images, and do more without the need to check back a manual every time.
We spent years, studying the needs, workflows, and preferences of different photographers.
So in the new Luminar, you get a truly great viewing/browsing experience that draws you in and helps you enjoy and organize your photos without extra distractions.
And since Luminar is already packed with dozens of innovative tools to edit, enhance, and share photos, you will soon get the most comprehensive and well-rounded photography experience available in a piece of software.
No paid upgrade. You will get all the great stuff for free.
Alongside the new Libraries feature, we also poured a lot of hard work, time & research to bring you new editing tools for portraits, landscapes, aerial and other genres of photography; new features powered by Artificial Intelligence, new looks and styles, and more.
We have initially planned to release those features in Luminar 2019, as a paid upgrade, just like we usually do.
However, this week, we made a decision to forgo any paid upgrades at least until the end of 2019, and add those features to Luminar 2018 for free.
We will incorporate the new tools and features in the latest version of Luminar instead of asking you to pay for the upgrade.
Expect first updates as soon as this year.
And throughout the next year we will be frequently rolling out more free updates to make Luminar Libraries, and its Editing & Sharing tools faster, better and more powerful for you.
A new price for a limited time.
Skylum's software are priced so that everyone can afford them and designed so that everyone can easily use them.
We do this because everyone takes photos, not just experienced and pro photographers.
We do this because photos are more than just the captions they come with.
We believe that every single person deserves to make his/her photos look their best without the extra hassle and without having to study and master all those photo editing tips the pros use.
So for a limited time, Luminar will be available for just $59 for new users who have yet to purchase the software.
For this price, you’ll get the current version of the software, the free update to the new version that boasts Libraries, and free updates for the new features we initially developed for Luminar 2019.
No upgrade fees.
No extra charges.
Sigma’s 28mm F1.4 DG HSM Art, 40mm F1.4 DG HSM Art, 56mm F1.4 DC DN Contemporary, 70-200mm F2.8 DG OS HSM Sports, and 60-600mm F4.5-6.3 DG OS HSM Sports will make their public debut at Photokina 2018
Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.
Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.
Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.
Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.
Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.
Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $1999 USD.
Company Adds Two New USB 3.1, Gen. 2 Card Readers: microSD Dual-Slot Card Reader, CompactFlash & SD Dual-Slot Card Reader
COLOGNE, Germany – photokina – ProGrade Digital, founded with a mission to provide the highest quality professional grade memory cards and workflow solutions, expands product range with introduction of professional grade microSDXC memory cards, plus two USB 3.1, Gen. 2 dual-slot workflow readers. New ProGrade Digital microSDXC UHS-II, U3, Class 10, V60 card delivers maximum read speed up to 200MB/s and maximum write speed up to 80MB/s. Video Speed Class V60 tested and certified, the card’s sustained write speed will not dip below 60MB/s, which ensures no dropped frames during video recording. Company also announces microSD Dual-Slot Card Reader, plus CompactFlash & SD Dual-Slot Card Reader. Booth readers support USB 3.1, Gen. 2 protocols and offer data transfer rates up to 10Gb/s (1.25GB/s).
ProGrade Digital microSDXC UHS-II, V60
Certified to perform at maximum read up to 200MB/s; maximum write up to 80MB/s
V60 tested and certified to perform at minimum sustained write speed of 60MB/s
Optimized for 4K, UHD, Full HD, most high bit rate MPEG-4 CODECs
Rigorous full card testing, plus component-level testing down to individual memory chips
Laser-etched serial number to track key components and manufacturing data for highest quality control
IRIX, a European brand already known for its high-quality wide-angle lenses (Irix 11mm f/4.0, Irix 15mm f/2.4) and photographic filter systems is expanding its portfolio with a new lens – the Irix 150mm f/2.8 Macro 1:1, designed for full frame cameras with the Nikon F, Canon EF, and Pentax K mount.
With its focal length of 150mm and 1:1 scale of reproduction, these are the basic features of the new product that allows comfort working with small objects. Thanks to the possibility of being able to move away from the photographed object, this makes the operation more convenient than using lenses with a shorter focal length. No shadows are cast on the object and it is also possible to use lamps dedicated to this type of photography.
The Irix 150mm f/2.8 Macro 1:1 lens is equipped with an aperture mechanism consisting of 11 rounded blades that maintain a circular shape within the entire available working range. Thanks to this, when shooting with a wide open aperture, a pleasant background blur is obtained; when closed right down, the diffraction appears much later. This ensures much greater detail of the image.
The focus ring has been equipped with a wide rubber handle with a special convexity pressing. To facilitate precise focusing of the scale, with 270 degree rotation. The whole design is complemented by a functional Focus Lock ring that allows you to lock the focus ring at a convenient position.
The Irix 150mm f / 2.8 Macro 1:1 lens has been sealed in key points (the front element, the Focus Lock ring, the focusing ring and bayonet), making it suitable for use in the harshest of weather conditions such as fog, rain or snow.
The optical design consists of twelve elements – three of which are made of super-low dispersion glass (ED), another four of glass with a higher refractive index (HR), and the whole arranged into nine optical groups. Thanks to this construction, we obtain an close to zero distortion (at a level of 0.1%).
The Irix 150mm f/2.8 Macro 1:1 lens is equipped with an internal focusing system (IF) so that the lens does not change its dimensions when focusing, thus maintaining a compact size and better sealing.
The Irix 150mm f / 2.8 Macro 1:1 lens is the first model available in the new version with the Dragonfly finish, in which the aluminium frame has been enclosed in an external structure made of aluminium-magnesium alloys and composite elements. The combination of Firefly and Blackstone features gave the lens lightness and solidity while maintaining high mechanical strength and resistance in difficult weather conditions.
The lens has a CPU that allows control of the lens aperture from camera level, and the AE module allows the use of semi-automatic modes (PASM). This solution allows the user to get confirmation of the focus from the camera. An additional benefit is the recording of exposure data in the EXIT format.
A set with the lens will include:
a practical deep lens hood that isolates the lens from sidelight sources and also protects the front element of the lens from minor damage
a rigid lens case for safe transport and storage
a detachable tripod collar (Arca Swiss standard), allowing you to transfer the weight that is the centre of gravity to the front and securely place the camera on a tripod.
Pricing and availability have yet to be determined.
With the announcement of the EOS R, many may be wondering if diving into Canon's mirrorless system is the right step forward in regards to their next camera upgrade or if the Canon EOS 6D Mark II will fill their needs just fine. Therefore, we're going to take a closer look at these two cameras to see which might be the better choice for your needs.
Canon EOS R & Canon EOS 6D Mark II Shared Primary Features
ISO Range: Auto 100-40000 (in 1/3-stop or whole stop increments), L:50, H1: 51200, H2: 102400
White Balance Settings, including Ambience priority/White priority
5-axis Digital IS during movie recording
Single memory card slot
Operating Environment: 32–104°F / 0–40°C
Primary Advantages of the Canon EOS R
RF Mount: Compatible with RF and EF/TS-E/MP-E/EF-S lenses via adapter
Higher Resolution: 30.4 MP vs. 26.2
Newer Processor: DIGIC 8 vs. DIGIC 7
More AF Points: 5,655 point AF system vs. 45
More Sensitive AF: EV -6 – 18 vs. EV -3 - 18
Eye Detect AF vs. N/A
Built in LED AF assist beam
Higher Burst Rate without AF Tracking: 8 fps vs. 6.5
Larger RAW Buffer: 47 vs. 21
Fv (Flexible priority) AE vs. N/A
Wider Metering Range: EV -3 – 20 vs. EV 1 - 20
Larger Shutter Speed Range: 30 - 1/8000 sec. vs. 30 - 1/4000
Faster x-Sync: 1/200 sec. vs. 1/180
Truely Silent Shooting: Absolutely no sound vs. quieter-than-normal "silent" shutter
Higher Resolution LCD: Vari-angle touch screen 3.15" (8.01cm) Clear View LCD II, approx. 2.10 million dots, 60p vs. Vari-angle touch screen 3.0" (7.7cm) Clear View II TFT, approx. 1040K dots, 30p
Higher Resolution Video: Up to 4K at 30p / FHD 1080p at 60p vs. FHD 1080p at 60p
RAW, C-RAW and Dual Pixel RAW vs. RAW, M-RAW, S-RAW
Compatibility with Faster Memory Cards: UHS-II vs. UHS-I
Lighter Weight: 23.3 oz (660g) vs. 26.98 oz (765g)
Smaller Size: 5.35 x 3.87 x 3.32" (135.8 x 98.3 x 84.4mm) vs. 5.67 x 4.35 x 2.94" (144.0 x 110.5 x 74.8mm)
Primary Advantages of the Canon EOS 6D Mark II
EF Mount: Compatible with significantly more native-mount lenses
Higher Burst Rate with AF tracking: 6.5 fps vs. 5
Longer Battery Life: 1200 vs .370
Other Differences Between the Canon EOS R and Canon EOS 5D Mark IV
Electronic viewfinder vs. optical
384-zone metering vs. 63 zone, 7560-pixel RGB+IR metering sensor
Who should opt for the Canon EOS R?
If you read our Canon EOS R vs. Canon EOS 5D Mark IV comparison, you'll recognize a lot of the benefits listed below.
The reason is simple – many of the EOS R's benefits are unique to Canon's new mirrorless system, especially in regards to the R's use with adapted lenses, and those benefits remain the same when the camera is stacked up against any Canon DSLR.
The EOS R features an RF mount. Upon the camera's release, the selection of RF lenses will be relatively small (only four have been announced).
While that may seem limiting, the truth is that the EOS R with its RF mount will be even more versatile than the EF-mount 6D mark II if adapted lenses are taken into consideration.
With the Canon Mount Adapter EF-EOS R, Control Ring Mount Adapter and Drop-In Filter Mount Adapter, the EOS R is compatible with EF/TS-E/MP-E and – in a first for Canon full-frame cameras – EF-S lenses as well.
So while the selection of RF lenses may be limited for the time being, the unique capabilities afforded by Canon's mount adapters will make the EOS R very attractive for several types of photographers.
Which photographers, precisely? Landscape photographers, portrait photographers and videographers will especially appreciate the benefits of the Drop-In Mount Adapter.
How often do landscape photographers want to use CPOLs (circular polarizers) or ND (neutral density) filters with wide angle or ultra-wide angle lenses that are incompatible with front filters?
Up until now, using filters with such lenses required the use of cumbersome 3rd-party front filter adapters.
With the EOS R, those photographing the great outdoors can enjoy the benefits of a lighter camera body as well as a universal CPOL/vari-ND filter solution for their existing lens collection when traveling to their favorite sunrise location.
Landscape photographers often want to stack a circular polarizer with an ND filter on a wide angle lens featuring front filter threads, but the resulting mechanical vignetting (and the increased likelihood of stuck filters) makes using the combo impractical.
The Drop-In Filter Mount Adapter with Variable ND filter –with 1.5 - 9 stops of density – can easily be paired with a front-mounted circular polarizer like the B+W XS-Pro CPOL.
A B+W XS-Pro CPOL will allow landscape photographers to cut through glare to capture dark blue skies and saturated foliage yet is thin enough not to cause mechanical vignetting on most wide angle lenses.
And with a rear-mounted variable ND, a photographer can simultaneously reap the benefits of a long shutter speed to capture the movement of flowing water, clouds, rustling trees, etc.
The EOS R will be the better option to capture recitals, dance and theater performances with its absolutely silent shooting mode.
Those shooting portraiture will certainly appreciate the EOS R's Eye Detection AF, especially when a wide aperture prime lens is being used either natively or with an adapter.
The EOS R's AF system is able to lock focus on and track subjects over a significantly larger portion of the frame compared to the 6D II's 45-point phase-detect AF system, allowing for greater flexibility in subject framing without having to focus and recompose.
And because the EOS R utilizes the sensor for focusing, calibration issues associated with traditional phase-detect AF systems can be avoided altogether, better ensuring focus accuracy.
If a photographer's off-camera flashes are not capable of high-speed sync, the Drop-In Filter Mount Adapter with Variable ND can enable use of a shutter speed below the camera's x-sync speed (for the R, 1/200 sec.) while using flash and a wide aperture for great subject/background separation.
The EOS R can record video at 4K resolution while the 6D Mark II tops out at 1080p.
Videographers can either use the extra resoltion to create highly detailed movies or otherwise create stabilized 1080p video and/or create panning movements within the 4K frame.
Videographers can also make use of the Drop-In Filter Mount Adapter, especially when used with the variable ND to record video at optimal shutter speeds (typically, 2x the frame rate).
With filters attached to the back of lenses, lens changes can occur more quickly (no need to unscrew/mount a separate ND filter) and the variable ND could easily replace numerous traditional ND filters in a filmmaker's kit.
Who should opt for the Canon EOS 6D Mark II?
There are benefits and drawbacks to Electronic Viewfinders (EVFs) and Optical Viewfinders (OVFs); neither will be best for/preferred by everyone.
The 6D Mark II's viewfinder blackout time is actually shorter than the EOS R's viewfinder stutter during capture, making tracking laterally moving or erratic subjects easier with the OVF.
If an optical viewfinder is preferred for any reason, the 6D II is, of course, the obvious choice.
Other than that, the primary reasons to get a 6D Mark II are battery performance, preference for unadapted lenses and price.
The EOS 6D Mark II's is rated for significantly more shots per battery charge compared to the EOS R.
If you're often forgetting to charge and/or pack extra batteries, the 6D II may be the better camera for you.
Those who simply don't like using adapters will also be better served by the 6D II.
And finally, those whose budgets do not extend to the EOS R, especially when the cost of adapters are considered, may take advantage of the 6D II's slightly lower price tag (instant rebates may augment that difference from time to time).
The EOS R's ability to use adapted lenses, and the unique capabilities provided by the adapters, makes Canon's full-frame mirrorless introduction a camera you can effectively use now and well into the future, taking full advantage of all the new RF lenses headed down the pipeline.
If compared to DSLRs, the EOS R's features position it somewhere between the 5D Mark IV and 6D Mark II, but certainly closer to the former than the latter.
Without instant rebates in place, the price difference between the EOS R and 6D Mark II isn't all that much, even with a Mount Adapter EF-EOS R thrown into the mix.
Therefore, most will find the EOS R's benefits to be well worth its incremental cost over the 6D Mark II's MSRP.
Anhui China, Sept 21, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina.
Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
Laowa 17mm f/1.8 MFT
Laowa 12mm f/1.8 MFT
Laowa 9mm f/2.8 Zero-D (DJI DL)
Laowa 9mm f/2.8 Zero-D MFT
Laowa 9mm t/2.9 Zero-D Cine
Laowa 7.5mm t/2.1 Cine
Laowa 12mm t/2.9 Zero-D Cine
Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT
Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom
Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics.
The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.
Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place.
It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out.
It is designed to have nearly zero focus breathing throughout the whole zoom range.
The aperture remains fixed at t/2.9 at all focal lengths.
It is built with the true cinema level mechanics.
It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears.
The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls.
The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.
Laowa 17mm f/1.8 MFT
Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view.
The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering.
The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long.
A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography.
Laowa 12mm f/1.8 MFT
Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view.
The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease.
The lens houses 13 elements in 10 groups and a 5-blade aperture.
The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers.
It weighs only 165g (0.4 lbs) and its 5cm long (2”).
Laowa 9mm f/2.8 Zero-D (DJI DL)
Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals).
Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals.
The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching.
The lens weighs only 215g and it is super tiny and compact.
It comes with a 49mm filter thread and features a close-to-zero optical distortion.
Laowa 9mm f/2.8 Zero-D MFT
Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged.
Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine
The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models.
Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems.
Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively.
Closest focusing distance is both 12cm (0.4 feet).
The wide perspective and lightweight makes them the perfect companion for gimbal shooting.
MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine.
Laowa 12mm t/2.9 Zero-D Cine (PL)
The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens.
The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls.
It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors.
Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate.
The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance.
The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers.
Laowa 10-18mm f/4.5-5.6 FE Zoom
This lens is currently the widest zoom lens available for Sony full frame E-mount cameras.
Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g).
The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease.
The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance.
It can focus as close as 15cm for some mini-macro shooting.
A rear filter slot is included to fit with 37mm filter.
A dedicated filter holder is being developed to fit 100mm-wide filters.
Click/clickless aperture can be toggled by the switch on the lens barrel.
A 5-blade aperture design ensures a pleasing and clean sunstar rendering.
Multiple samples will be available for free rental during Photokina period.
Laowa 100mm f/2.8 2X Ultra Macro APO
Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up.
This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity.
The wide magnification range allows macro photographers to capture subject at any sizes.
This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found.
The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances.
Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version.
Laowa 17mm f/4 GFX Zero-D
This is currently the widest available native lens option for Fujifilm G-mount cameras.
The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?).
Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography.
The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.
Laowa 4mm f/2.8 Fisheye MFT
Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras.
The ultra-wide angle view allows photographers to create 360? panorama with ease.
Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).
Free Rental Program
Venus Optics have prepared some copies of the Laowa 10-18mm f/4.5-5.6 FE Zoom and Laowa 24mm f/14 Probe lens (Canon) for free rental during Photokina period.
For reservations, please contact Venus Optics via email@example.com.
All 12 new lenses will make its Europe debut in Venus Optics’ booth (Hall 2.1, D-040) in Photokina, Cologne during 26th-29th Sept. Pricing and ship date are to be confirmed.
B&H and Adorama will be closed during the Succos holiday.
If you need/want gear sooner rather than later, order now to avoid more than a week-long delay.
B&H Succos Holiday Closing Schedule
SuperStore & Offices
B&H will be closed starting at 1pm ET Sun Sep 23 through Tue Oct 2.
We will reopen at 9am Wed Oct 3.
Checkout will only be available during the following periods:
8:15pm ET Tue Sep 25 until 6:30pm Fri Sep 28
8pm Sat Sep 29 until 6:30pm Sun Sep 30
Regular checkout will resume starting at 8pm Tue Oct 2.
Any orders placed after 6:30pm ET Fri Sep 21 will be processed when we reopen on Wed Oct 3.
Store Pickup orders placed up to 1 hour before store closing time will be available for same-day pickup until store closing time. Store Pickup orders placed less than 1 hour from store closing, or while the store is closed, will be ready for pickup 30 minutes after the store reopens.
Adorama Succos Holiday Closing Schedule
Orders submitted to us during the Sukkos Holiday (Sunday Sept. 23rd after 12:30PM thru Tuesday, Oct. 2nd) will be shipped Wednesday, Oct. 3rd.
Acquisition of a general purpose zoom should be a top priority for any photographer. For those with an Canon EOS R, the RF 24-105mm f/4L IS USM represents a great balance between focal length range, max aperture, size/weight, image quality and price.
Below are a couple of image quality comparisons to get you started: