Canon and Sony News for Nov 2020
Image quality test results have been added to the Sony FE 28-60mm f/4-5.6 Lens Review.
I think you will be impressed with these results. This tiny, affordable lens is a good performer.
Initially, the Sony FE 28-60mm f/4-5.6 Lens is only available in a kit with the Sony a7C. This kit is in stock at B&H | Adorama | Amazon USA | WEX
Eventually, the Sony FE 28-60mm f/4-5.6 Lens will be individually available. B&H says preorders start Feb 15th. Adorama and Amazon USA are not saying. WEX is taking preorders.
What are the differences between the Sony a7C and a7 III? Size and the features directly related to size aside, these cameras are nearly the same. This sameness includes the imaging sensor and the resulting image quality. While the similarities reflect very positively on the a7C, the differences must be understood.
Let's look at the a7C vs. a7 III differences, starting with some visual comparisons.
- Headlining the a7C advantage list is a considerably smaller size. Essentially, slice the a7 III off at the top plate, and you get the a7C. Additionally, the a7C's lighter weight is welcomed:
- 4.88 x 2.80 x 2.35" vs. 5.0 x 3.9 x 3.0"
- 124.0 x 71.1 x 59.7mm vs. 126.9 x 95.6 x 73.7mm
- The a7C's grip is considerably smaller with a finer-textured grip surface.
- CIPA Weight: 18.0 vs. 23.0 oz (509 vs. 650g)
- The EVF included on this little camera is a very positive feature, but directly impacted by the camera's reduced size is the a7C's viewfinder size. While both cameras feature approximately 2.35 megadot XGA OLED viewfinders with 100% coverage, there are significant differences:
- Size: 0.39 vs. 0.50" (1.0 vs. 1.3cm) (little vs. huge)
- Magnification: Approx. 0.59x vs. 0.78x
- Eyepoint: Approx. 20mm vs. 23mm
- The a7C has a minimalistic eyecup.
- Notably improved is the a7C's AF system, now including support for Real-time Tracking and Eye AF (human) while recording video.
- The a7C has no joystick. While some will find the "joy" missing, the touch and drag AF feature works well.
- The a7C has no front dial.
- The a7C has an increased buffer size (115 vs. 40 RAW).
- The a7C lacks the light flicker avoidance feature.
- The a7C has a working range down to EV -4 vs. EV -3.
- The a7C's max shutter speed is 1/4000 vs. 1/8000.
- The a7C can X-Sync at 1/160 vs. 1/250 sec.
- The a7C does not have first-curtain mechanical shutter available.
- The a7C features a side-opening vari-angle LCD monitor (necessary for self-recording) vs. tilt.
- The a7C has a movie button on the top where it is easier to reach from the front vs. the back-positioned button.
- Battery Life: approx. 680 vs. 610 shots (Viewfinder, CIPA)
- The a7C has upgraded 5-axis in-body stabilization and shutter units.
- The a7C has one custom button vs. 4.
- The a7C has 3 custom modes vs. 2.
- The a7C has a silver shutter release button *with a click* vs. black with no haptic feedback.
- The a7C features wireless support for 2.4GHz and 5GHz bands vs. 2.4Ghz.
- "A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit to be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings." [Sony]
- Vertical video support has been added.
- Single SD memory card slot vs. dual.
- Memory cards are more challenging to insert into and remove from the a7C.
- The a7C arrives with a $100.00 lower list price, but the 2-year-older a7 III's street price is $100.00 lower than the a7C's — a difference not likely to be found differentiating to most.
The Sony a7 III is a very popular camera, and those already familiar with it now have a very good understanding of the a7C.
More Information
Order the Sony a7C at B&H | Adorama | Amazon | WEX.
Rent the Sony a7C from Lensrentals.
I love a challenge, and photographing outdoors often presents many challenges. When planning my Rocky Mountain National Park trip, I considered many factors for the timing. Smoke was not one of them.
Smoke filling the air was troublesome overall, but this scenario illustrated making the most of a unique situation. The decreased air clarity meant that contrast decreased rapidly with distance, creating distinct layers of mountains.
I love a tight portrait of a beautiful animal, but it is often more challenging to include that animal in a beautiful landscape. Environmental wildlife images require the photographer to think like a landscape photographer – and a portrait photographer.
My favorite Canon lenses for environmental wildlife photography are the RF 100-500mm F4.5-7.1 L IS USM Lens and EF 100-400mm f/4.5-5.6L IS II USM Lens.
Sony camera owners should consider the FE 100-400mm f/4.5-5.6 GM OSS Lens for this purpose. While the FE 200-600mm f/5.6-6.3 G OSS Lens is a great wildlife lens and has a long end advantage, I sometimes find 200mm to not be wide enough for this type of imagery. That said, this range would have worked great for this photo.
A larger version of this image is available on Flickr.
ISO 125
8192 x 6228px
From Canon USA:
To Our Valued RAISE Members,
Thank you for being a member of RAISE, our online photo community platform for photographers.
The purpose of this email is to inform you that the RAISE Photo Community Platform (“RAISE”) will be shut down on Wednesday, December 30, 2020, 11:59AM PST. Canon will continue to assess the needs of the photography community and seek ways to provide industry-leading education and inspiration in the future.
It is important to note that after Wednesday, December 30, 2020, 11:59AM PST, you will no longer be able to access your RAISE account at https://raise.usa.canon.com/ and any images you uploaded onto RAISE will no longer be available. We encourage you to download your images that are currently on RAISE before that date.
For those photographers with Image Connect accounts, Canon is planning to re-launch Image Connect in 2021, and Canon will migrate your Image Connect account to the new Image Connect platform located at https://imageconnect.usa.canon.com/. Therefore, if you have an Image Connect account, please do not delete your RAISE account before the shutdown date.
We hope you have enjoyed the RAISE experience and we look forward to engaging with you more in the future. For any questions, please visit here.
Sincerely,
Team Canon
Canon updated their instant savings promotions this week. This is what we have:
As long as the correct exposure and basic compositional skills are applied, it is hard to take a bad picture of the milky way.
Here is a list of steps for photographing the milky way.
- You need to be able to see the milky way, and it is not always visible. Find that schedule. The Photographer's Ephemeris and similar apps are useful for this. Mid-late summer is ideal.
- You need a dark sky. Dark as in no city lights, even in the distance, is most important, and no moon or a small moon is also helpful. Plan for the dark sky location and moon schedule.
- You need a clear sky. Heavy cloud cover is a milky way photography show-stopper.
- A camera is required. Most modern interchangeable lens cameras will work fine, but with equivalent lenses, the full-frame models have an advantage.
- The camera requires a lens, and lens selection is critical. The lens needs a wide aperture to create a bright enough image in an exposure short enough that star trails do not appear within the acceptable ISO range of the camera. Think f/2.8 as a minimum, and f/1.4 is awesome. A wide-angle focal length is needed to get enough of the milky way in the frame. While 35mm can work, go with 28mm and wider (full-frame equivalent). Stars are pin-sharp and you want a lens that renders them pin-sharp fully into the corners at the wide-open aperture. That lens does not exist, but some lenses are considerably better than others for this purpose.
- Mount the camera and lens on a solid tripod and head.
- While the milky way looks great without any other supporting environment, an attractive foreground can make such an image stand out, as illustrated in this image.
- Focus the camera. If the moon or another very distant light is visible, autofocus on it, and then switch to MF. Otherwise, or alternatively, use manual focus (pick a bright star and fully zoom in to focus manually).
- Set the camera to manual exposure, and remember that your LCD is going to appear very bright in the dark.
- Use a wide-open aperture.
- Set the shutter speed. Basically, use the longest possible shutter speed that does not create offensive star trails. Consider starting at 20 seconds for a 24mm lens on a medium resolution imaging sensor. Higher resolution imaging sensors more readily show star trails and require shorter exposures for equivalent pixel-level results. Review the shot until the ideal duration is established.
- Set the ISO. Too high is the setting most often needed. At f/2.8, ISO 12800 is probably needed. At f/1.4, try ISO 3200 or 6400.
- Set the drive mode to 2-second self-timer.
- Frame the scene as well as possible (it will be very dark), capture an image, adjust the camera, and repeat that process until perfection is achieved.
- When the composition is just right, cue the meteorite to streak through an ideal area of the composition. Want a meteorite in the frame? The odds for any given frame to have a meteorite in it is low, but selecting a date within a known annual meteor shower, such as the Leonids, greatly increases the odds. After establishing the perfect shot, set the camera's drive mode to high speed, plug in a remote release with a locking button, lock the remote's shutter release down, and walk away. Tending a second camera setup is a good use of this time. If available, a bowl of ice cream is also entertaining. Come back to adjust the composition for the milky way's movement across the sky (I know, the earth is what moves).
Amazingly, and out of the norm for me, was seeing a meteorite streak by while the shutter was OPEN, without using the continuous drive mode technique. While I welcome meteorites, I do not fancy satellites. They get removed (this is easy with Photoshop's healing brush and clone tools).
As mentioned, the earth rotates, causing the milky way to move across the sky like everything else up there. On this evening, I followed the heart of the milky way around Bear Lake in Rocky Mountain National Park until Hallett Peak was a foundational element in the composition. Despite the 4:30 AM alarm, it was well after midnight before exhaustion overcame excitement.
What is my favorite milky way lens? Currently, the Sony FE 24mm f/1.4 GM Lens holds that title for me. The 24mm focal length fills a significant portion of the frame with the heart of the milky way. The f/1.4 aperture is extremely wide, permitting lower ISO settings for less noise. This lens's image quality at f/1.4 is excellent. The size is compact enough that I can take it along as a lens dedicated to this purpose.
A larger version of this image is available on Flickr.
ISO 6400
9504 x 6336px
From Sigma:
Firmware update for SIGMA Global Vision lenses in Canon EF mount
We would like to announce that a new firmware update is now available for SIGMA Global Vision lens in Canon EF mount listed below.
For customers who own the SIGMA USB DOCK UD-11 and applicable products listed below, please update the firmware via SIGMA Optimization Pro.
[Applicable product]
- SIGMA 12-24mm F4 DG HSM | Art in Canon EF mount
[Benefits of the update]
- It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
- It has fixed a rarely-occurring communication problem during Live View shooting when mounted on the EOS-1D X Mark III.
[Applicable product]
- SIGMA 24-35mm F2 DG HSM | Art in Canon EF mount
[Benefits of the update]
- It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
- It has fixed a rarely-occurring communication problem during Live View shooting when mounted on the EOS-1D X Mark III.
- It has reduced the operating sound of the lens diaphragm blades when attached with the SIGMA MOUNT CONVERTER MC-11 EF-E and used for shooting movies.
- It has reduced the operating sound of the lens diaphragm blades when used for shooting movies on Canon cameras. *
*The degree of improvement differs depending on the camera used.
[Applicable product]
- SIGMA 24mm F1.4 DG HSM | Art in Canon EF mount
[Benefits of the update]
- It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
- It has reduced the operating sound of the lens diaphragm blades when attached with the SIGMA MOUNT CONVERTER MC-11 EF-E and used for shooting movies.
- It has reduced the operating sound of the lens diaphragm blades when used for shooting movies on Canon cameras. *
*The degree of improvement differs depending on the camera used.
[Applicable product]
- SIGMA 50-100mm F1.8 DC HSM | Art in Canon EF mount
[Benefits of the update]
- It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D.
[Applicable product]
- SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports in Canon EF mount
- SIGMA 35mm F1.4 DG HSM | Art in Canon EF mount
[Benefits of the update]
- It has optimized exposure during viewfinder shooting when used in combination with Canon EOS 90D and EOS-1D X Mark III.
[How to update]
Connect the lens to a computer via the SIGMA USB DOCK UD-11 (sold separately), then open SIGMA Optimization Pro*. If the lens firmware isn’t the latest version, the following message will appear: ‘The latest lens firmware is available’. Click ‘Yes’ to update.
* Before updating lens firmware using the SIGMA USB DOCK UD-11, please ensure you update SIGMA Optimization Pro to the latest version.
SIGMA Optimization Pro download page: https://www.sigma-global.com/en/download/lenses/sigma-optimization-pro/
Firmware update for SIGMA 16mm F1.4 DC DN | Contemporary in Sony E-mount
[Benefits of the update]
To update the firmware, please refer to the following link: https://www.sigma-global.com/en/download/lenses/firmware/
* After the update is complete, be sure to remove the battery pack of the camera and reinsert it.
Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E
[Benefits of the update]
- It makes the converter compatible with the SIGMA 12-24mm F4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01
- It makes the converter compatible with the SIGMA 24-35mm F2 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.01
- It makes the converter compatible with the SIGMA 50-100mm F1.8 DC HSM | Art in Canon EF mount, that has the latest firmware Ver.2.03
- It makes the converter compatible with the SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver.1.03
- It makes the converter compatible with the SIGMA 24mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.02
- It makes the converter compatible with the SIGMA 35mm F1.4 DG HSM | Art in Canon EF mount, that has the latest firmware Ver.2.02
[How to update]
Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro*. If there is a newer firmware version available than the one currently installed on your converter, you will see the message ‘There is the latest firmware for the converter’. Click ‘Yes’ to update.
Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.
*Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.
There is something incredibly photogenic about a huge, dangerous animal emerging from dense cover. Seeing the large paddles approaching through the brush is a bucket list-grade experience.
Often, the key to wildlife photography is predicting where the animal is headed, selecting a photogenic environment along that path, and being in that place with a ready camera. Though highly simplified, that plan sometimes works, as in this case. Getting non-obstructed moose images meant finding the next opening on the moose's route.
The Canon EOS R5 and Canon RF 100-500mm F4.5-7.1 L IS USM Lens were a perfect handheld combination for this run-and-gun pursuit.
A larger version of this image is available on Flickr.
ISO 2500
8192 x 5464px
From Kenko Tokina Co., Ltd.:
Tokina atx-i 17-35mm F4 FF sales date announcement
Nov 20, 2020
Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina atx-i 17-35mm F4 FF lens.
Sales will commence on December 11, 2020.
Tokina atx-i 17-35mm F4 FF is designed to fit Full Frame DSLR cameras and supports Nikon F and Canon EF mounts. With its wide angle properties this lens is a perfect gear for shooting landscapes, street snap, architecture and time-lapse. Constant f/4 aperture, robust design while maintaining a reasonable size and weight provide a new option for professional photographers who are especially active in travel.
Highlighted Features
- Compact lightweight and robust design - perfect for landscape, architecture, street snap and travel photography.
- Precise AF actuated by combination of Tokina GMR sensor and SD-M (Silent Drive-Module).
- Low vignetting, extremely low distortion and good sharpness throughout the image.
- Moisture protection.
- One-Touch Focus Clutch system.
B&H carries Tokina lenses.
Roadmap (November 2020 update)
Canon has made Canon EOS R5 firmware update version 1.2.0 available for download.
Firmware Version 1.2.0 incorporates the following fixes and enhancements:
- When using high-speed or low-speed continuous shooting modes, in Drive Mode with [High Speed Display: OFF], the visibility of the subject within the frame has been improved when shooting moving objects.*
*During continuous shooting black frames will be inserted between frames in the viewfinder and live view. This will improve the visibility of moving subjects in live view and in the viewfinder. - Adds the [Auto] setting to the [Viewfinder brightness] menu that will brighten and dim based on ambient light conditions.
- Enables 2nd curtain shooting sync during radio transmission wireless flash shooting when the Speedlite EL-1 flash is attached to the camera.
- Enables manual flash output (excluding high-speed sync and optical transmission wireless flash shooting) to be selected and set up to 1/8192 from the camera menu screen when the Speedlite EL-1 flash is attached to the camera.
- Improves compatibility of HEIF images recorded in the camera with MIAF (Multi-Image Application Format) standards.
- Adds support for AF and release during zoom operations for some RF and EF lenses.
Canon has made Canon EOS R6 firmware update version 1.2.0 available for download.
Firmware Version 1.2.0 incorporates the following fixes and enhancements:
- When using high-speed or low-speed continuous shooting modes, in Drive Mode with [High Speed Display: OFF], the visibility of the subject within the frame has been improved when shooting moving objects.*
*During continuous shooting black frames will be inserted between frames in the viewfinder and live view. This will improve the visibility of moving subjects in live view and in the viewfinder. - Adds the [Auto] setting to the [Viewfinder brightness] menu that will brighten and dim based on ambient light conditions.
- Enables 2nd curtain shooting sync during radio transmission wireless flash shooting when the Speedlite EL-1 flash is attached to the camera.
- Enables manual flash output (excluding high-speed sync and optical transmission wireless flash shooting) to be selected and set up to 1/8192 from the camera menu screen when the Speedlite EL-1 flash is attached to the camera.
- Improves compatibility of HEIF images recorded in the camera with MIAF (Multi-Image Application Format) standards.
- Adds support for AF and release during zoom operations for some RF and EF lenses.
Canon has made Canon EOS-1D X Mark III firmware update version 1.3.0 available for download.
Firmware Version 1.3.0 incorporates the following fixes and enhancements:
- Enables 2nd curtain shooting sync during radio transmission wireless flash shooting when the Speedlite EL-1 flash is attached to the camera.
- Enables manual flash output (excluding high-speed sync and optical transmission wireless flash shooting) to be selected and set up to 1/8192 from the camera menu screen when the Speedlite EL-1 flash is attached to the camera.
- Improves compatibility of HEIF images recorded in the camera with MIAF (Multi-Image Application Format) standards.
- Fixes the phenomenon that may result in the occurrence of time-out under certain conditions during FTP transfer.
Canon has made Canon EOS R firmware update version 1.8.0 available for download.
Firmware Version 1.8.0 incorporates the following fixes and enhancements:
- Improves color balance when the RF50mm F1.8 STM lens is attached to the EOS R camera.
- Support has been added for the following lenses*:
- RF70-200mm F2.8 L IS USM
- RF100-500mm F4.5-7.1 L IS USM
*With Firmware Version 1.7.0 and later.
Canon has made Canon EOS RP firmware update version 1.6.0 available for download.
Firmware Version 1.6.0 incorporates the following fixes and enhancements:
- Improves color balance when the RF50mm F1.8 STM lens is attached to the EOS RP camera.
- Support has been added for the following lenses*:
- RF70-200mm F2.8 L IS USM
- RF100-500mm F4.5-7.1 L IS USM
*With Firmware Version 1.7.0 and later.
Canon has made Canon EOS Ra firmware update version 1.8.0 available for download.
Firmware Version 1.8.0 incorporates the following fixes and enhancements:
- Improves color balance when the RF50mm F1.8 STM lens is attached to the EOS Ra camera.
- Support has been added for the following lenses*:
- RF70-200mm F2.8 L IS USM
- RF100-500mm F4.5-7.1 L IS USM
*With Firmware Version 1.7.0 and later.
Canon has made Canon RF 50mm f/1.2 L USM Lens firmware update version 1.0.5 available for download.
Firmware Version 1.0.5 incorporates the following fixes and enhancements:
- Reduces image noise when performing high sensitivity shooting with the RF50mm F1.2 L USM lens attached to the EOS C70 camera.
How does a lens firmware update reduce image noise? Scratching my head on that one.
The Sony FE 28-60mm f/4.5-5.6 Lens Review is mostly completed. This time the lab test results are following the field testing. Stay tuned for those.
This tiny, affordable lens is a good performer.
Initially, the Sony FE 28-60mm f/4.5-5.6 Lens is only available in a kit with the Sony a7C. This kit is in stock at B&H | Adorama | Amazon USA | WEX
Eventually, the Sony FE 28-60mm f/4.5-5.6 Lens will be individually available. B&H says preorders start Feb 15th. Adorama is not saying. Amazon USA is taking preorders now with Feb 1st listed as the release date. WEX is taking preorders.
I like frogs, and I know that I'm not the only photographer who does. If one owns a big, expensive supertelephoto lens, it is easy to use it for any subject that comes along, including skitish frogs. However, most of us will not find photographing frogs high enough on the justification list for the purchase of such a lenses.
Fortunately, there are two very affordable long focal length frog photography lens options available. Canon's RF 600mm F11 IS STM and RF 800mm F11 IS STM Lenses are able to nicely capture these subjects from non-threatening distances.
These lenses are simple to use — F/11 and be there simple. Having a single aperture setting available simplifies exposure settings, and the relatively deep depth of field makes keeping the subject in focus easy. These are aspects that casual photographers and beginners, including kids, can appreciate.
A larger version of this image is available on Flickr.
ISO 160
5472 x 3648px
I've wanted to see the Canon RF 70-200mm F4 L IS USM Lens beside the Canon RF 70-200mm F2.8 L IS USM Lens, so I got around to creating a mockup today.
While both of these lenses are considerably smaller than their EF counterparts, the RF f/4 lens is considerably smaller (and lighter) than the RF f/2.8 version. Most of us prefer the smaller and lighter (and less expensive) aspects of f/4, the f/2.8 aperture's ability to transmit twice as much light to the imaging sensor and create a stronger background blur should not be overlooked.
Here are the specifications: Canon RF 70-200mm F4 L IS and RF 70-200mm F2.8 L IS USM Lens Comparison.
Order the Canon RF 70-200mm F4 L IS USM Lens from B&H | Adorama | Amazon | WEX
When Canon introduced the RF 600mm F11 IS STM and RF 800mm F11 IS STM Lenses, a primary shortcoming was recognized. The F11 in the name gave many of us reason to pause – who would want a lens that only opens to f/11?
When shooting birds at relatively close distance with a long focal length, it is challenging to keep the entire head and bill in focus, and a narrow aperture is the solution. This lens is built for that specific solution, and bird photography is a good use for this lens.
The f/11 fixed aperture brings significant benefits, including light weight, compact size, and low price, and these features meet a range of other needs. Those not able to (or do not want to) carry heavy gear around, those not able to afford the expensive glass, beginners, kids, etc. are loving this lens and its 600mm sibling. These new RF lenses fill that niche.
The Canon EOS R5's animal eye AF performs incredibly well with this and other bird subjects. While the f/11 max aperture reduces the camera's AF area (and pushes ISO settings up), there was no need to select a specific AF point to keep this little green heron's eye in focus within that area. Simply frame and shoot. The bird turned its head? Frame and shoot. It's game-changing.
A larger version of this image is available on Flickr.
ISO 5000
8192 x 5464px
From Canon USA:
Canon Announces the macOS Full Production Version of EOS Webcam Utility Software
With over 1 million downloads across the globe with 300,000 of them in the United States alone, the next chapter in the EOS Webcam Utility software story has been written. Continuing to fulfill the very apparent need of our customers, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the full production version 1.0 of the EOS Webcam Utility Software for macOS as well as version 1.1 for Windows. Now officially out of beta, macOS users, as well as Windows users, have access to the software, which converts compatible Canon EOS Interchangeable Lens (ILC) and PowerShot cameras into high-quality webcams for video conferencing and streaming.
Rooted with ease and convenience at its core, the EOS Webcam Utility software is a direct result of the market shift that Canon identified; and, adhering to the needs of our customer base, Canon designed a software that produces high-quality video streaming. Now compatible with 43 Canon EOS ILC and PowerShot cameras, including the new EOS M50 Mark II, the complete list of compatible Canon cameras includes:
Another common conversation theme within the beta software forums was compatibility with third-party applications. As of announcement day, the new production version of the software has been tested* with various video conferencing applications as well as streaming applications** including:
Moreover, customers have desired to record a high-quality video file onto the memory card in their camera while video conferencing or streaming, and we listened. This can now be achieved*** by simply pressing the record button on the camera and not through the software.
Without customers sharing their points of view, experiences and preferences via the EOS Webcam Utility software user forums, the software would not have reached this level of success. Moving forward, Canon will continue to lean on customers, listen to the market and create innovative solutions that fulfill customer’s needs – while continuing to offer high quality, digital imaging equipment and solutions.
To download the full production version of the EOS Webcam Utility software version 1.0 for macOS and version 1.1 for Windows and learn how to use it, visit https://www.usa.canon.com/support/eoswebcamutility.
The new software will be available worldwide and available for download directly from the Canon website in each region.
If you’d like to ask questions or provide feedback pertaining to the production version of EOS Webcam Utility software for macOS, please visit our newly created forum https://Canon.us/forum-eoswebcamutility.
*Tested to confirm the EOS Webcam Utility is selectable as a video source and the video feed is displayed properly with macOS 10.15(Catalina), 10.14(Mojave), and 10.13 (High Sierra). The macOS version may affect the usability of the application(s). For more detail, please visit our https://www.usa.canon.com/support/eoswebcamutility
**Subscription to a third party service required. Subject to third party service provider’s terms and conditions.
***Restrictions may apply depending on camera specifications, such as maximum video recording time
Neither Canon Inc. nor Canon U.S.A., Inc. represents or warrants any third-party product or feature referenced hereunder. All referenced product names and marks are trademarks of their owners and are hereby acknowledged.
When the conditions at a destination are not as we expected or as we hoped they would be, we tend to get discouraged. However, when those circumstances are unusual, we can capture images that look different. With the extreme number of images being captured today, different is very positive.
The massive wildfires in the western USA were timed with the elk rut in Colorado this year, and the resulting smoke was not a welcome aspect of this Rocky Mountain National Park trip. While the smoke eliminated sky and sunlight color at sunrise and sunset and prevented clear viewing of the milky way and stars, the look of wildlife images captured under a late morning sun was different — and improved. As seen here, the harsh shadows were strongly reduced, and the background has an interesting low contrast appearance that makes the closer subject stand out in the image.
This image is an 86MP panorama captured with the Canon EOS R5 and Canon EF 600mm f/4L IS III USM Lens. At this moment, the bull came in too close for a 600mm lens to capture the composition I wanted.
When over-focal-lengthed for a situation, attempt to capture the composition's in-motion portion in a single frame. For wildlife and portrait photography, the in-motion part usually includes the head and may include the entire body. For landscape, the in-motion subjects may be a stream or an ocean. After capturing the in-motion portion of the composition, quickly capture the desired additional pieces of the frame in subsequent images, ideally using the same focal length (easy with a prime lens), the same focus distance (switching the lens to MF after the first capture makes this easy), and, preferably, the same exposure settings (manual exposure makes this easy but brightness differences can be resolved when editing the individual RAW files). If there is potential subject motion not contained in the first frame (the back legs of the bull in this example), the immediate second frame should capture that potential motion.
Later, stitch the images together using your favorite image processor. The image shared here was manually merged in Photoshop. The images were stacked, and the hard edges between the frames were removed using a layer mask with a soft-edged brush painting black over the edge of the top image mask.
Another teaching point from this image is the camera position. By photographing from down low, more of the elk is shown against the mountain vs. the meadow and the already-large animal is made to appear even larger.
An exceptional subject always helps overcome any shortcomings in an image. Shown here is, among the animals I've photographed, my all-time favorite set of antlers. The overall size is huge with good mass, the points are long, and the symmetry is impressive. I can't wait to see what this bull grows next year.
A larger version of this image is available on Flickr.
ISO 400
10591 x 8192px
From Sony:
Sony Opens Registration for “Creative Space” Online Creator Event
Free Event for Visual Creators will be hosted December 5th – 6th
SAN DIEGO – November 10, 2020 – Sony Electronics Inc. today opens registration for the second annual “Creative Space” — a digital event open to all levels of photographers, videographers and all other forms of imaging enthusiasts. Taking place throughout the day on December 5th – 6th, the digital event will bring together an extraordinary community of visual creators eager to learn, get inspired and connect with like-minded creators from all over the world.
Creative Space offers the opportunity for participants to learn from and connect with some of the imaging industry’s biggest names, offering many opportunities to expand their own individual network and win any of a host of great prizes provided by Sony and their event partners from the industry. This event is open to all guests, at no cost for attendance.
To register for this event, please visit www.alphauniverse.com/creativespace.
Apple has announced the new M1 processor, arriving soon at B&H in the:
Apple 13.3" MacBook Pro with Retina Display (Late 2020)
Apple 13.3" MacBook Air with Retina Display (Late 2020)
Learn more at B&H Explora.
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