Can the Canon EOS M6 Mark II with the optional EVF-DC2 electronic viewfinder be used to capture fast action moving from side-to-side? While the EVF has a slight display freeze when each image is captured, I was able to keep up with the drift cars while using this one.
Highly advantageous for capturing sports action is this camera's 14 fps continuous shooting rate and the latest version of Canon's Dual Pixel CMOS AF is also very high-performing, up to this task.
How does this little camera handle larger lenses such as the Canon EF 70-200mm f/2.8L IS III USM Lens used for this image? Canon's latest tiny M-series cameras are surprisingly easy to use with larger lenses such as this one and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens I was using to photograph action on the track. As when using DSLR cameras, the left hand controls the lens and the right grips the camera. There is not as much grip real estate on the M models, but the design provided is adequate for this use.
A larger version of this image is available on Flickr.
The rear tires on a Formula DRIFT (Formula D) car do not last very long and when there are only a few fast-moving cars participating in the action, short photo opportunities followed by long breaks become the schedule. The safe method of photographing this and similar subjects is to use a fast shutter speed, freezing the action for a sharp image. However, frozen action does not (usually) ideally convey motorsports action. Thus, I opted for shutter speeds long enough to result in a low success rate.
While I promptly deleted a lot of my images, I only needed a few images from this event and I wanted them to have a very strong panning blur. That plan worked.
Using a circular polarizer filter often brings substantial improvements to photos taken mid-day and a Breakthrough X4 CPL was used for this capture. To get a longer shutter speed under bright sunlight without going to an extremely narrow aperture (diffraction being the issue), a 2-stop neutral density filter was stacked behind the CPL to block additional light. Because the gear being introduced and evaluated at this event was unknown prior to arrival, I chose to take a set of large-sized filters along with a stack of step-up filter adapter rings to provide versatility and one was used for this image.
This is Dustin Miles turning right to go left and leaving tire on the track. The Canon EOS 90D with its fast 10-fps continuous shooting rate is a great choice for capturing fast action.
A larger version of this image is available on Flickr.
A Lamborghini Huracan AND a Kelly Moss Porsche 911 in the same garage? Those two cars are worth about as much as all of the camera lenses below the Conowingo Dam on a fall weekend. Yes, this is a dream garage and yes, there was drooling. With a 2.5-mile Michelin Raceway Road Atlanta just outside, my only question was "Where are the keys?!"
On this big day of test shooting, the Canon EOS 90D performed superbly, as its heritage leads us to expect. This is a superb general-purpose camera choice and while this particular scene did not challenge it, the subjects outside on the Michelin Raceway Road Atlanta track provided a greater challenge, one which the 90D also met.
A larger version of this image is available on Flickr.
The background typically consumes a large portion of the image and what it looks like matters. When the background is a bright red Lamborghini Huracan, the background begins to vie with the subject for attention, at least for us car guys and gals.
In this scenario, I gave the M6 II's AF system full control, selecting servo AF mode with face and eye detection. With the camera very impressively handling the task of following the model's face and eyes, I could concentrate fully on composition and that was especially helpful when shooting in awkwardly low positions such as this one.
A larger version of this image is available on Flickr.
From the Adorama YouTube Channel:
In this video Gavin will show how to combine low-cost LED bulbs and flash in a small home studio.
Normally when Gavin is shooting in his small home studio the lighting he uses is some kind of flash, it's really versatile and bright, but today he's actually going to do a shoot where he balance's flash and LED and combines different lighting types.
New AF 18mm F2.8 Full Frame Compact Lens for Sony E
Surprisingly Small but Super-Wide
(New York, New York) August 29, 2019 – ROKINON has announced its new AF 18mm F2.8 Full Frame Lens for Sony E mount that is optimized for portability, compactness, and ergonomic handling. It is ROKINON's fourth compact lens designed specially for Sony mirrorless cameras that is surprisingly capable for its size. At 5.12 oz in weight and 1.99" in length, it is the most compact, lightweight, and affordable super-wide angle full frame lens for Sony E mount.
The 18mm focal length provides a rectilinear 100.1° super wide angle view that is especially suitable for landscape, interior, architectural, and night sky applications. For Sony APS-C sensor cameras, the focal length is equivalent to 27mm with a 76.2° field of view.
Optically, the lens is made up of nine Ultra Multicoated elements in eight groups. Eight specialized lens elements (3 Aspherical, 2 High Refractive Index, and 3 Extra-low Dispersion elements) combine to minimize distortion and ensure high image sharpness, clarity, and contrast.
The internal focusing design of the ROKINON AF 18mm utilizes a STM (Stepless Motor) for quiet, smooth and precise autofocusing to 9.8". This also prevents both changes in length and front element rotation to enable easy use of 58mm polarizing and other filters that require precise positioning. This compact wide-angle optic is designed with a metal mount and glass strengthened composite material to reduce weight while increasing durability.
The ROKINON AF 18mm F2.8 Full Frame Compact Lens for Sony E is expected to be available in early October with a MSRP of $499.00. It will include a removable petal-shaped hood, lens caps, and a custom fitted case.
Information about the Canon EOS M6 Mark II Camera's 30 fps RAW burst feature was limited at the product launch, so I inquired of the man who seems to know everything about the Canon EOS system, Rudy Winston of Canon USA. Here is the very helpful information Rudy shared with me:
RAW burst is a separate line item in the camera’s shooting menu; it’s not one of the listed “Drive” speed choices. So it’s handled like a separate feature, and not just another FPS choice.
As the specs suggest, RAW burst fires at up to 30 fps, and will do so for up to 80 shots in a continuous burst, assuming a fast UHS-II compliant SD card is installed. I’ve tried it with UHS-I cards, and gotten around 50 or so images in a burst.
There’s a separate Menu choice for “Pre-shooting,” which by default is off. If user-enabled, it starts collecting image data **when the shutter button is pressed half-way down,** and then once it’s pressed FULLY to begin shooting, the last 0.5 seconds worth of images before the full press are recorded to the memory card as well. We’ve seen this before, in the video world, and the idea is if waiting for some split-second event to occur (for instance, a bird on a branch, waiting for it to take off in flight), you get the half-second before you actually reacted and fully pressed the shutter button down.
A few other points about RAW burst mode:
The last two points MAY be a matter of it being pre-production… don’t have documentation from Japan to confirm or deny, but thought I’d mention it. At this stage of pre-production, I wouldn't’ be surprised if actual production cameras behave the same way as my sample camera.
Two of the keys that make RAW burst possible are the use of a DIGIC 8 processor, and most importantly, faster read-out speeds of the new 32.5 MP image sensor (while still allowing Dual Pixel CMOS AF to be carried out).
As a practical matter, at least judging from my pre-production sample camera, this feature is VERY sensitive to SD card write speed. A SanDisk UHS-I card, rated at 95 MB/sec, was not sufficient to record anything close to 80 straight images, and the little vertical buffer “scale” on the LCD monitor appeared almost immediately as shooting began. In other words, users should expect to use fast, UHS-II cards to really get the most out of this feature. Fortunately, unlike previous EOS M-series models, the M6 Mark II **is** compatible with UHS-II cards!
Thanks for sharing, Rudy!
Sony Electronics Announces Two New APS-C Zoom Lenses for Versatile E-mount System
New APS-C E 16-55mm F2.8 G Standard Zoom Lens and APS-C E 70-350mm F4.5-6.3 G OSS Super-Telephoto Zoom Lens Bring E-mount Lens Total to 54
SAN DIEGO — August 28, 2019 — Sony Electronics today has announced two new APS-C zoom lenses in the G Lens™ series for their E-mount line-up, including the E 16-55mm F2.8 G standard zoom lens and the E 70-350mm F4.5-6.3 G OSS super-telephoto zoom lens. With this announcement, Sony’s versatile E-mount system now features a total of 54 lenses.
In addition to the new lenses, Sony has also introduced two new APS-C Mirrorless Cameras, the Alpha 6600 and Alpha 6100 models, further strengthening the company’s APS-C lineup.
“Sony’s ‘One Mount’ solution for both APS-C and full-frame cameras provides creators a unified system for all of their photography and video needs, said Neal Manowitz, deputy president of Imaging Products and Solutions at Sony Electronics. “With a total of 54 different lenses and a growing range of camera bodies, E-mount offers more versatility than any other mirrorless system. We will continue to drive innovation in all aspects of imaging, empowering all creators to capture and create like they’ve never been able to before.”
Ultra-Sharp APS-C E 16-55mm F2.8 G Standard Zoom Lens (model SEL1655G)
The 16-55mm (24-82.5mm in 35mm equivalent focal length) APS-C standard zoom with a constant F2.8 aperture offers excellent G Lens image quality with outstanding all-around performance. This lens is ideal for both professionals and enthusiasts to capture landscapes, portraits, and everyday snapshots.
Compact and Lightweight APS-C E 70-350mm F4.5-6.3 G OSS Super-telephoto Zoom Lens (model SEL70350G)
The new E 70-350mm F4.5-6.3 G OSS super-telephoto zoom lens with optimized optical and mechanical design provides excellent G Lens image quality throughout the image area, right out to the maximum 350mm (105-525mm in 35mm equivalent) focal length. High optical performance is combined with the convenience and mobility of a compact, lightweight design, even with 5x zoom. It also includes built-in optical image stabilization, which adds even further stability and convenience to this versatile super-telephoto zoom that is ideal for landscape and wildlife photographers.
Pricing and Availability
The new E 16-55mm F2.8 G APS-C Standard Zoom Lens will be available in October 2019 and will be sold for approximately $1,400 US and $1,450 CA. It will be sold at a variety of Sony's authorized dealers throughout North America.
The E 70-350mm F4.5-6.3 G OSS APS-C Super-telephoto Zoom Lens will be available in November 2019 and will be sold for approximately $1,000 US and $1,000 CA. It will be sold at a variety of Sony's authorized dealers throughout North America.
From Sony UK:
Sony today announced two new additions to its a(Alpha) APS-C series of mirrorless cameras with the launch of the Alpha 6600 (model ILCE-6600) and Alpha 6100 (model ILCE-6100). These new additions to the range integrate Sony’s advanced technologies into compact and lightweight bodies including leading-edge autofocus performance, superb image quality and the very latest video technologies. The new Alpha 6600 has been designedtoaddress the needs of the most demanding photographers and videographers with its versatility making it suitable for multiple types of shooting scenarios and users. The Alpha 6100 is targeted at users who are looking to make the step-up to shooting with interchangeable lens cameras and wish to shoot high-quality photos and videos in a variety of different situations.
The Sony APS-C range has been further strengthened by the launch of two new lenses, the E 16-55mm F2.8 G standard zoom lens and the E 70-350mm F4.5-6.3 G OSS super-telephoto zoom lens. With this announcement, Sony’s versatile E-mount system now features a total of 54 lenses.
“Our ‘One Mount’ strategy to continually expand the E-mount system, cameras and lenses with complete inter-compatibility between full-frame and APS-C, means that we want to offer the widest range of exciting products that customers can select from when choosing the right tool for their needs,” said Yann Salmon Legagneur, Director of Product Marketing, Digital Imaging, Sony Europe. “The APS-C market is extremely important to Sony and the Alpha 6600 and Alpha 6100 are both cameras that pack-in the very latest technology breakthroughs and whether you shoot stills, video or a combination of the two, we are confident that users will be very happy with the results.”
At the heart of both the new Alpha 6600 and Alpha 6100 sit a24.2MP[i] Exmor CMOS image sensor, the latest BIONZ X image processor and a front-end LSI implemented in Sony’s full-frame cameras. This powerful trio combine to deliver all-round enhancements in image quality and performance across all areas of photo and video capture.
The Alpha 6600 and Alpha 6100 offer a lightning fast autofocus acquisition time of 0.02 seconds[ii]. With 425 focal-plane phase-detection AF points covering approximately 84% of the image area and 425 contrast-detection AF points, the high density and wide coverage of the AF system ensure reliable AF, even in the most challenging light conditions. Both new models benefit from Sony’s ‘Real-time Tracking’ which utilises Sony’s latest algorithm including AI[iii]-based object recognition to ensure that subjects can be captured with excellent accuracy, even via the touch panel on the rear screen. In addition, the new models offer ‘Real-time Eye AF’, the latest version of Sony’s acclaimed Eye AF technology, which employs AI-based object recognition to detect and process eye data in real time, resulting in improved accuracy, speed and tracking performance of Eye AF for both humans and animals[iv], and allows the photographer to concentrate exclusively on composition[v].
An Eye for Detail
Based upon feedback from users of existing Sony APS-C camera users, further features have been added to the Alpha 6600 and Alpha 6100 to fine tune the user experience. These include:
Across an ISO range of 100-32000 (expandable to ISO 50 – 102400[ix]), the new Alpha 6600 offers superb low-noise performance and delivers extremely high-quality images, even in low-light conditions. By applying noise reduction and sharpness processing optimally in each area, Area-specific Noise Reduction and Detail Reproduction Technology greatly reduce noise while preserving high resolution contributing to fine reproduction of subject textures and shadow details.
The Alpha6600 packs in many of the technology breakthroughs that are attracting praise on Sony’s high-end full-frame cameras. These include:
4K Recording [vi]
The Alpha 6600 boasts internal 4K movie recording in Super 35mm format with full pixel readout without pixel binning, to capture approximately 2.4x[xv] the amount of information required for 4K movies (Also available in Alpha 6100). This oversampling results in stunning footage, delivered in the XAVC S format with unparalleled resolution. The Alpha 6600 equips an HLG (Hybrid Log-Gamma)[xvi]picture profile that supports an instant HDR workflow. Recorded movies played back on an HDR (HLG)compatible TV will appear true-to-life, with no blocked shadows or blown highlights, without the need for colour grading. For users who want to colour grade their footage in post-production, S-Log3 and S-Log2 Gamma profiles are provided.
Pricing and Availability
The Alpha 6600 will ship in Europe in October 2019 priced at approximately €1600 body only or as a kit with the SEL18135 lens for €2000.
The Alpha 6100 will ship in Europe in October 2019 priced at approximately €900 body only, as a kit with the SEL1650 lens for €1000 or as a kit with the SEL1650 and SEL55210 priced at approximately €1250.
Preorders Begin at 10:00am Eastern Time Today:
[i]Approximate effective megapixels
[ii]Based on Sony research, CIPA-guideline-compliant internal measurement with an E 18-135mm F3.5-5.6 OSS lens mounted, Pre-AF off and viewfinder in use
[iii] AI (artificial intelligence) including machine learning technology is used
[iv]Real-time Eye AF for Animals supports still images only and cannot be used in combination with tracking. Does not work with some types of animal. Focusing may not perform well depending on scene and subject conditions
[v]Both right eye and left eye are selectable, either via the menu or by the touchscreen panel
[vi]3840×2160 pixels. A Class 10 or higher SDHC/SDXC memory card is required to record movies in the XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps
[vii] Imaging Edge Mobile Ver. 7.2 or later is required
[viii] Wi-Fi does not work during interval shooting
[ix]Only on still images
[x]Based on CIPA standard. Pitch/yaw shake only. With Sonnar T* FE 55mm F1.8 ZA lens mounted. Long-exposure Noise Reduction off
[xi]Among mirrorless interchangeable-lens digital cameras equipped with an APS-C image sensor. As of August 2019, based on Sony research
[xii]CIPA standard compliant
[xiii]Not guaranteed to be 100% dust and moisture proof
[xiv] This function does not track animal eyes
[xv]24p recording. Approx. 1.6x at 30p
[xvi] Connect this product to an HDR (HLG) compatible Sony TV via a USB cable when displaying HDR (HLG) movies
Canon's hot new gear is now available for preorder. Get in the front of the line!
Canon EOS 90D
Canon EOS M6 Mark II
Canon RF 15-35mm F2.8 L IS USM Lens
Canon RF 24-70mm F2.8 L IS USM Lens
As always, thank you for keeping this site going by starting your shopping using our links!
A recent Canon media event provided a significant amount of hands-on time with the new Canon EOS 90D and M6 Mark II. Both are excellent cameras and while I look forward to bringing these models into the studio for a more in-depth look, I have plenty of information to share with you now.
First, the review pages are a work-in-progress but already loaded with information:
From those pages, navigate to the specifications and product image pages for detailed comparisons. Note that the specifications are also a work-in-progress and the camera side images remain MIA.
From Canon USA:
TWO CAMERAS, TWO WAYS: CANON U.S.A. ANNOUNCES A PAIR OF HIGH-SPEED ADVANCED AMATEUR ILC CAMERAS, THE EOS 90D AND EOS M6 MARK II
Both Cameras Feature a 32.5 Megapixel APS-C CMOS Sensor, High-Speed Continuous Shooting, Dual Pixel CMOS AF and Uncropped 4K UHD Video Recording Capability
MELVILLE, N.Y., August 28, 2019 – It is often said that in life, having two options is generally considered a good thing. Today, Canon U.S.A., Inc., a leader in digital imaging solutions, introduced two advanced amateur ILC cameras, the EOS 90D and EOS M6 Mark II. These two models usher in the next generation of Canon APS-C sensor cameras and share many similar characteristics, while also being uniquely different at the same time. Both cameras are designed to fit the needs and preferences of a variety of photographers taking into account their skill level and subject matter.
“As camera technology continues to evolve, we find ourselves in a constant state of innovating and challenging the status quo to meet the various desires of our end-users,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “With the introduction of these cameras, Canon is reaffirming its continued commitment to a broad range of photographers by offering them the digital imaging tools required to meet their needs.”
The EOS 90D and EOS M6 Mark II include many core features that are identical and hold true to Canon’s imaging excellence. These features include:
The Performance DSLR Way: The EOS 90D
The EOS 90D DSLR camera is ideal for the advanced-amateur photographer who values the look-and-feel of the DSLR body and benefits such as an optical viewfinder, 3.0-inch vari-angle touch screen LCD, addition of the multi-controller and a shutter button feel of professional EOS cameras. Now capable of shooting up to 10 frames-per-second (fps), a drastic increase from the 7.0 fps with the EOS 80D, users can capture all of the action on the sidelines of a football game or wildlife while on safari. Assisting in a photographers’ ability to capture the action is the 45-point all-cross type AF system, 100 percent viewfinder coverage and now supports up to 27 points in f/8 metering. In addition, the new AE sensor boasts an impressive 220,000 pixels and utilizes EOS iTR AF (face priority) detection. Together, these two features allow for the detection and tracking of faces in various environments and shooting situations while using the viewfinder.
The Compact-and-Lightweight Way: The EOS M6 Mark II
Bringing the controls and functionality of a Canon EOS DSLR into a compact mirrorless camera, the EOS M6 Mark II is destined to wow advanced-amateur photographers. With its enhanced usability, the EOS M6 Mark II is capable of shooting up to 14fps with AF and AE tracking as well as capturing a remarkable 30fps when using RAW Burst Mode with pre-shooting capabilities. The camera also features touch-and-drag AF when using the optional EVF-DC2 electronic viewfinder. A popular and notable benefit of Canon mirrorless cameras allows photographers to select AF positions with the touch of a finger. The EOS M6 Mark II also includes Canon’s Dual Pixel AF with Eye AF Servo to help ensure images are in sharp focus and a 3.0-inch, touch-panel LCD screen with tilt-option to help ensure a user’s portrait or selfie game is and stays on point.
Pricing and Availability
The Canon EOS 90D is scheduled to be available mid-September 2019 for an estimated retail price of $1199.00 for body only, $1349.00 for EF-S 18-55mm f/3.5-5.6 IS STM kit and $1599.00 for EF-S 18-135mm f/3.5-5.6 IS USM kit*. The EOS M6 Mark II is scheduled to be available late September 2019 in both black and silver for an estimated retail price of $849.99 for body only, $1099.00 for EF-M 15-45mm f3.5-6.3 IS STM and EVF-DC2 kit and $1349.00 for EF-M 18-150mm f3.5-6.3 IS STM and EVF-DC2 kit*.
From Canon USA:
NEW CANON RF MOUNT LENSES BRING OPTICAL EXCELLENCE TO PRO AND ADVANCED AMATEUR PHOTOGRAPHERS
RF15-35mm F2.8 L IS USM and RF24-70mm F2.8 L IS USM Lenses Further Cement the Company’s Commitment to the EOS R Full-Frame Mirrorless Camera System
MELVILLE, N.Y., August 28, 2019 – The time has come and the wave of momentous advancements in the world of the EOS R full-frame mirrorless camera system continues as Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the introduction of the RF15-35mm F2.8 L IS USM and RF24-70mm F2.8 L IS USM lenses. With their large, bright F2.8 aperture, a zoom range that covers a wide range of shooting scenes and image stabilization (IS), as well as Nano USM – these lenses are sure to become workhorse lenses for professional and advanced amateur photographers.
“As the emergence of mirrorless cameras continue accelerating the market and with Canon’s deeply rooted heritage in optics, we are excited to expand the lens offerings and acquiesce the needs of EOS R users,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “The technical improvements and features within these new RF lenses are needed to drive the market forward.”
RF15-35mm F2.8 L IS USM
As Canon’s first F2.8 wide zoom lens equipped with IS for full-frame with a CIPA standard of five stops, the RF15-35mm F2.8 L IS USM lens is furnished with edge-to-edge sharpness throughout the zoom range to capture clear images with high image clarity from the center of the image throughout the entire focal range. Speaking of focal range, the RF15-35mm is an ultra wide range that allows for broader photographic expression with more emphasis on perspective. Other components include:
RF24-70mm F2.8 L IS USM
Created for a wide range of shooting scenarios from street scene snapshots to movie shooting, the RF24-70mm F2.8 L IS USM lens remains portable while equipped with IS. Other components include:
Free Firmware Update
In addition, a new, free downloadable firmware update will be released in late September for the EOS R system. Those interested can download the update for their respective system via the EOS R and EOS RP support pages. The update will improve three main functions:
The firmware update aims to add detection of the subject’s eye when the subject is at a distance, improve overall AF frame tracking for moving subjects, as well as improve initial subject recognition and start tracking when subjects are at a distance.
Pricing and Availability
The Canon RF15-35mm F2.8 L IS USM and RF24-70mm F2.8 L IS USM lenses are both scheduled to be available in late September 2019 for an estimated retail price of $2,299.00* each. To complete the trinity of F2.8 lenses, the RF70-200mm F2.8 L IS USM lens is scheduled to be shipping within the second half of 2019 – stay tuned!
If you are not familiar with B&H's Payboo card, take a few minutes and get acquainted. This card provides an immediate credit in the amount of your sales tax during checkout (here is our announcement post).
Most (all?) states that collect sales tax (most do) require you to pay the tax yourself (use tax) when the retailer does not collect sales tax and (most) businesses honor this requirement. Today, most retailers (including B&H) are required to collect the sales tax due. With Payboo, B&H collects the tax and then provides an immediate credit for the same amount as the tax.
It's a big deal.
I bought a lens a couple of days ago and saved $72 — I'm now getting a big discount on everything I buy from B&H.
What is the catch? Pay the bill in full before the due date to avoid the usual high credit card interest rate.
Don't forget that we need your support: make sure that all of your online shopping starts with a click on our retailer links!
From the Adorama YouTube Channel:
Mark Wallace explains his solutions for mounting lights, viewfinder, and microphones to his mirrorless camera. He also goes into detail on how you can customize your own rig so it's perfect just for you. Mark also explains how he uses the Tether Tools Case Relay Power System to make sure his camera, lights, and EVF never run out of power.
Canon has released an interim financial report for the period of January 1, 2019 to June 30, 2019, which can be downloaded here. The reason why Canon has decided to release this interim report is detailed below:
We are pleased to provide this overview of the first half (from January 1, 2019 to June 30, 2019) of our 119th Business Term.
The world economy in the first half of this term saw a slowdown in growth as a whole due to a deceleration in European economy and the effect of the lingering U.S.-China trade friction.
Under such conditions, corporate demand for office multifunction devices and laser printers stagnated, while the markets for digital cameras and inkjet printers continued to shrink. As a result, both Office Business Unit and Imaging System Business Unit experienced a decrease in sales. Sales of the Medical System Business Unit, which delivered strong sales results for computed tomography (CT) systems and other products in the Americas, increased. On the other hand, sales of the Industry and Others Business Unit, which includes semiconductor lithography equipment, decreased as customers continued to adjust their capital investment.
As a result of the above, on a consolidated basis, net sales for the first half of this term decreased by 10.0% year on year, while net income attributable to Canon Inc. decreased by 51.2% year on year. For the interim dividend, we decided to pay 80.00 yen per share, which is the same amount as the interim dividend for the previous term, from the perspective of ensuring stable returns to shareholders.
Although the business environment surrounding the Canon Group remains fluid, we will endeavor to improve our business results by further improving the competitiveness of our products and services not only in existing businesses, but also in steadily growing new businesses.
We look forward to our shareholders’ continued support and encouragement.
In this video, photographer Karl Taylor enumerates the vital accessories he relies on every day for product photography.
Canon has released a new firmware update for its EOS RP Mirrorless Camera with the following changes: (thanks Goran Škrlec)
Firmware Version 1.2.0 incorporates the following enhancement and fix:
Download: Canon EOS RP Firmware v1.2.0
Tamron has released a teaser campaign alerting consumers of its plan to release four new mirrorless lenses. Considering the optical performance of its latest lens releases, there's good reason for mirrorless shooters to get excited about these impending announcements.
Sony is going to sell a LOT of copies of this lens. Here are some comparisons:
Sanity check: Compared to Sony FE 600mm f/4 GM OSS Lens
This lens was a huge hit before we saw the image quality it was capable of. Finding one on the shelf anytime soon should be challenging. Preorder now to get in line. The Sony FE 200-600mm f/5.6-6.3 G OSS Lens is available for preorder at B&H | Adorama | Amazon USA | WEX
Just posted: Tamron 35mm f/1.4 Di USD Lens Review.
I expect to see this lens ending up on many short lists.
The SIGMA Corporation is pleased to announce that SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports and SIGMA 70-200mm F2.8 DG OS HSM | Sports have won EISA Awards 2019-2020.
SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
Name of Award: EISA TELEPHOTO ZOOM LENS 2019-2020
The SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports is a unique 10x zoom lens with a super-telephoto reach of up to 600mm. Its optical design delivers sharp images across the zoom range while ensuring maximum correction of chromatic aberration. It features an Intelligent OS system that delivers a reliable image stabilization effect of 4 stops, allowing sharp images to be obtained handheld. In addition, the Hyper Sonic Motor provides fast, accurate autofocus. The weather-resistant construction incorporates magnesium alloy, which ensures durability and enhances portability. Should you require even greater reach, the lens can be combined with one of SIGMA’s teleconverters.
SIGMA 70-200mm F2.8 DG OS HSM | Sports
Name of Award: EISA PROFESSIONAL TELEPHOTO ZOOM LENS 2019-2020
Part of SIGMA’s Sports line of telephoto lenses, the 70-200mm F2.8 DG OS HSM | Sports is the new flagship that meets the needs of professional photographers. The optical design provides excellent resolution from center to corners, while eliminating chromatic aberration. The large aperture ensures smooth bokeh – ideal for portrait photography. Dust- and splash-proof construction means you can use the lens in challenging conditions. SIGMA’s Hyper Sonic Motor makes autofocus fast and quiet, while the Intelligent OS system provides sharp images when using longer shutter speeds. As with all recent SIGMA lenses, many settings can be customized via the SIGMA USB DOCK.
Also available for preorder - the Gitzo GT2542 Mountaineer Series 2 Carbon Fiber Tripod with GHF3W 3-Way Fluid Head Kit.
It was just another typical rainy weekday in Ricketts Glen State Park. It was the perfect time to take my favorite ultra-wide-angle zoom lens and landscape camera body, the Canon EF 16-35mm f/2.8L III USM Lens and Canon EOS 5Ds R, for a hike.
I am not aware of this cascade having a name, but I always find it photo-worthy. It is hard to go wrong with a series of lines leading into the bottom of the frame and the leading lines in the rock are the big draw to this location.
Camera height is something a photographer usually has some control over, at least within their physical reach ability or the height of their tripod if such is being used. When photographing flat water (pond, lake, ocean, slow-moving river, etc.), a higher camera position will often provide a higher percentage of the frame being filled with water than a lower camera position IF a similar overall scene framing is used. For example, photographing an ocean from a standing position with a level camera will result in far more water percentage in the frame than doing the same while lying down at the edge of the water due to the angle of view across a flat surface. Often, supporting that big IF requires that the camera angle be changed and camera angle also plays a role in determining how much of the frame is filled with water. A downward-tilted camera can include more water than a level camera.
The key is to find the right balance for the scene you are photographing and there may be multiple right answers. Work with a scene until you can find no more camera positions that work well. Then move on.
The small waterfalls seen here do not qualify as flat water, but there is still a lot of near-flat water in this scene. The right balance for this image was using an ultra-wide-angle focal length positioned with enough downward angle to show a significant amount of water and low enough to gain the right perspective to emphasize the foreground rock lines.
I don't always take the time to photograph this cascade, but especially with the wet rock bringing out strong color (saturation aided by a circular polarizer filter), I couldn't resist stopping on this day.
A larger version of this image is available on Flickr.