You are going to like these results.
Expect the full review to be completed very soon.
Interesting news from Olympus:
Olympus Corporation ("Olympus") and Japan Industrial Partners, Inc. ("JIP") hereby announce that, today, the parties signed a memorandum of understanding to carveout Olympus’s Imaging business to a new company (“NewCo”) and subsequently transfer its shares to a fund managed, operated or otherwise handled by JIP (the "Transaction").
After the due diligence and further discussions and negotiations, the parties are aiming to sign a legallybinding definitive agreement for the Transaction (the "Definitive Agreement") by September 30, 2020. We will promptly make further announcement if any matters relating to the Transaction that needs further announcement occur.
1. Background and Purpose of the Transaction
Olympus's Imaging business began with the manufacture and sale of a camera using the photographic lens Zuiko in 1936. Through innovative technology and unique product development capabilities, Olympus has developed and launched various products, aiming to contribute to make people’s lives more fulfilling. Those products include: Olympus Pen, the innovative half-sized camera; Zuiko Pearlcorder, the world's first micro-cassette tape recorder; and Olympus OM-D series, the mirrorless interchangeable lens camera.
Olympus has implemented measures to cope with the extremely severe digital camera market, due to, amongst others, rapid market shrink caused by the evolution of smartphones; Olympus has improved the cost structure by restructuring the manufacturing bases and focusing on high-value-added interchangeable lenses, aiming to rectify the earning structure to those that may continue generating profit even as sales dwindles. Despite all such efforts, Olympus’s Imaging business recorded operating losses for 3 consecutive fiscal years up to the term ended in March 2020.
Under such circumstances, Olympus considers that, by carving-out the Imaging business and by operating the business with JIP, the Imaging business’s corporate structure may become more compact, efficient and agile and it is the most appropriate way to realize its self-sustainable and continuous growth and to bring values to the users of our products as well as our employees working in the Imaging business. Olympus therefore has decided to sign the memorandum of understanding for the Transaction.
JIP has strong track records in supporting strategic carve-outs that realize growth potential and encourage autonomous growth. By adding support from JIP, the NewCo, as the successor of reputable brands such as “OM-D” and “ZUIKO,” will utilize the innovative technology and unique product development capabilities which have been developed within Olympus, and will realize continuous growth of the business by bringing better products and services to the users and customers and by making itself a productive and rewarding work place for its employees.
2. Imaging Business after the Transaction
NewCo will succeed and maintain the research and development functions and manufacturing functions globally as reformed under the contemplated structuring reforms to continue to offer high-quality, highly reliable products; and also continue to provide supports to the imaging solution products that have been distributed by Olympus.
3. Outline of the Transaction
The specifics of the Transaction shall be decided in the Definitive Agreement after careful examination and consultation between the parties. The parties currently consider the outline of the Transaction shall be as follows.
The parties will proceed with the actions and procedures for Transactions in full compliance with applicable laws including consultation obligations and other requirements under local employment laws.
(1) Structure : (i) Olympus’s Imaging business will be transferred to the NewCo by way of company split or otherwise, and then, (ii) shares in the NewCo will be transferred to a new company to be established by JIP.
(2) Signing of Definitive Agreement : Scheduled to be signed by September 30, 2020
(3) Closing : Olympus and JIP strive to close the Transaction by December 31, 2020.
4. Structuring Reform
Prior to the closing of the Transaction, Olympus plans to implement structuring reforms to the Imaging business aiming to change the business structure of Imaging business to be more profitable and sustainable. We are currently investigating costs and other impacts of the structuring reform. If any future event which requires disclosure arises, Olympus will announce it promptly.
Just posted: Canon EOS Rebel T8i / 850D Review.
The T8i takes the flagship Rebel model to a new level.
From Sigma Corporation of America:
Sigma Unveils 100-400mm F5-6.3 DG DN OS Contemporary Telephoto Lens for Full-Frame Mirrorless Cameras; Mirrorless-Exclusive Teleconverters; USB Dock for Sigma Mirrorless Lenses; and F1.4 Mirrorless L-Mount Lens Trio
June 18, 2020, 9:30 a.m. EDT
Sigma Corporation today made the following announcements:
Sigma 100-400mm F5-6.3 DG DN OS Contemporary - Compact Size, Ultra Telephoto Performance
The 100-400mm F5-6.3 DG DN OS Contemporary lens is Sigma’s first full-frame mirrorless telephoto zoom lens. Designed from the ground up for mirrorless camera systems, its new optical formula ensures edge-to-edge sharpness and high-contrast image quality throughout its entire focal range. The lens construction is made up of 16 groups and 22 elements, with one FLD and four SLDs used for the effective correction of aberrations and distortions. Its superior image quality and compact size make it an excellent companion lens to the previously released full-frame mirrorless zooms from Sigma, the 14-24mm F2.8 DG DN Art and 24-70mm F2.8 DG DN Art. It will be available in Sony E-mount and L-mount.
The fifth Sigma lens designed specifically for full-frame mirrorless camera systems, the 100-400mm F5-6.3 DG DN OS Contemporary further expands the possibilities of mirrorless camera photography. Thanks to the stepping motor system that is optimized for both phase detection AF and contrast AF, the Sigma 100-400mm F5-6.3 DG DN OS Contemporary makes shooting video with eye-tracking AF very smooth. It consistently achieves high levels of optical performance and makes the most of its capabilities as a zoom lens at every focal length from wide to close-up shots to telephoto photography.
When paired with the new Sigma Teleconverter TC-1411 and/or TC-2011 (sold separately / for L-Mount only), which were exclusively developed for the use with mirrorless cameras, the Sigma 100-400mm F5-6.3 DG DN OS Contemporary gives photographers a "super telephoto" range with a focal length of up to 800mm while still benefiting from a compact lens and effective AF. It functions as a 140-560mm F7-9 AF ultra-telephoto lens with the Sigma Teleconverter TC-1411, and as a 200-800mm F10-12.6 AF ultra-telephoto lens with the Sigma Teleconverter TC-2011.
The Sigma 100-400mm F5-6.3 DG DN OS Contemporary will be available on July 10, 2020 for $949.00 USD.
Sigma USB Dock UD-11 - Easily Update Lens Firmware and Customize Settings
Designed exclusively for Sigma L-Mount and Canon EF-M Mount mirrorless lenses, the Sigma USB Dock UD-11 allows users to update firmware and customize settings on lenses in these lineups.
In addition to firmware updates, users can adjust the sensitivity of MF function* speed. It employs the new USB Type-C connection.
*Scope of adjustment varies depending on specifications of the individual product.
The Sigma USB Dock UD-11 will be available on July 10, 2020 for $59.00 USD.
Sigma Mirrorless Teleconverter TC-1411 and TC-2011
The Sigma Teleconverter TC-1411 and TC-2011 are designed exclusively for use with Sigma L-mount mirrorless lenses. Mounted between a lens and the camera body, the TC-1411 magnifies the focal length of the camera by 1.4x, and the TC-2011 by 2x. Designed to complement Sigma’s renowned optical formulas, these teleconverters preserve the image quality of the lens while extending the focal length for added zoom capability.
The new teleconverters have a dust- and splash-proof construction comparable to that of the Sigma Sports line lenses, and can withstand harsh outdoor shooting environments when combined with a dust- and splash-proof camera body and lens. Lightweight and compact, these accessories will upgrade lens performance to an "ultra telephoto" focal length without the need for additional lenses.
The Sigma Teleconverter TC-1411 and TC-2011 will be available on July 10, 2020 for $399.00 USD (TC-1411) and $429.00 USD (TC-2011).
F1.4 Mirrorless Trio Now Available in Native L-Mount - Compact, Affordable, High Quality
Sigma’s F1.4 Mirrorless Trio - the 16mm, 30mm, and 56mm F1.4 DC DN Contemporary lenses - each benefit from a fast aperture of F1.4 to achieve sufficient amount of bokeh and admirable brightness even with APS-C size cameras, which tend to have smaller bokeh effects compared to 35mm full size systems. Each lens has a compact and lightweight body that is perfect for daily use as they cover the range from true wide angle to normal to portrait. Stepping motors ensure smooth, swift, quiet autofocus for both still and video capture. In addition to the upcoming L-Mount variations, these products are available for Sony E-mount, Canon EF-M mount and Micro Four Thirds camera systems.
Sigma F1.4 Mirrorless Trio lenses will begin shipping on July 10, 2020. Pricing detailed above.
From Kenko Tokina Co., Ltd.:
Dear customers. Thank you all for supporting Tokina brand.
On March 6, 2020 in commemoration of the 70th Tokina anniversary we made a development announcement of Tokina new lens line-up 2020 that thankfully attracted great attention of amateur and professional photographers. We received a lot of supportive messages from all around the world that is greatly appreciated.
The development process is constantly changing, so here we would like to update the lens roadmap as below. We are doing our best to introduce our new products to the market as soon as possible. Thank you for your patience.
Notes: The release schedule is tentative. Product design may be changed without preliminary notification.
Tokina atx-i 11-20mm F2.8 CF worldwide sales date announcement
Jun 18, 2020
Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina atx-i 11-20mm F2.8 CF. The Tokina atx-i 11-20mm F2.8 CF is the third renewed long seller AT-X 11-20 F2.8 PRO DX (11-20mm f/2.8) model to fit contemporary DSLR cameras in newly launched atx-i series.
Sales will commence on July 10, 2020.
The Tokina atx-i 11-20mm F2.8 CF is designed as an ultra wide angle zoom lens for APS-C sensor DLSR cameras. It is the only f/2.8 fast ultra wide angle zoom lens for APS-C sized DSLR cameras on the current market*.
Focal length 11-20mm that covers equivalent angle of wide prime 18mm, 21mm, 24mm, 28mm lenses makes this lens attractive to be chosen after standard zoom lens or initially possessed wide angle zoom kit lens.
A constant maximum aperture of f/2.8 throughout the entire zoom range is realized to achieve great results in low light conditions, for depth of field control and easy manual shooting, while maintaining a reasonable size and weight.
* At present time April, 2020
Just posted: Canon RF 24-105mm F4-7.1 IS STM Lens Review.
This is a good lens for the price.
Solid performance with no surprises here.
BTW, the new (for the Rebel / ***D series) rear control dial is great.
"Regarding SD memory cards of SF-M series, SF-M series TOUGH specification, and SF-G series TOUGH specification, recorded data on the card may be damaged or data may not be recorded correctly when shooting video on a camera* in video speed class mode.
* The camera compatible with video speed class V60/V90 etc. as recommended recording media."
Visit Sony's service notice page to identify and replace affected cards.
Note that distortion correction is forced by the camera and DPP software when using this lens. Here are some comparisons:
Canon RF 24-105mm IS STM Lens vs. Canon EF 24-105mm f/3.5-5.6 IS STM Lens (use discernment when comparing using these different resolution test cameras)
I expect to have the full Canon RF 24-105mm F4-7.1 IS STM Lens review completed very soon.
Much is said about using photography to tell stories, but another great aspect of photography is creating stories. I'm not talking about deceptive reporting and the like, but setting the goal to be photos, and enjoying an adventure unfolding, the story, while capturing them.
There was an exceptionally long off-trail hike in north-central PA involving a couple of deep canyons and lots of waterfalls that I had been planning to take for a long time. The schedule for this spring looked favorable for making that adventure happen, and I selected what appeared to be the perfect waterfall photography day. The weather forecast indicated full cloud cover and some light rain could be expected.
Then my youngest daughter asked if she could go along, and after my enthusiastic, positive response, I was then asked if three of her friends could also come along. After warning them over the duration and exertion this hike entailed, all were set on going. All four of the girls were distance runners, so I expected they were physically up to the hike. They were advised to bring the appropriate gear and supplies for an entire day that could include rain, and I welcomed the additions to the adventure.
We arrived at the start location late in the morning, and a beautiful waterfall greeted us a short distance into the forest. I hurriedly set up the camera (four girls were waiting for me), established the right settings, and captured some nice images. We then bushwhacked, rock-hopped (including creek crossings), and hung on the side of very steep terrain for, according to my daughter's Garmin watch, three miles until we arrived at another impressive waterfall. I captured more images, and we ate lunch.
That was the last time the camera came out of my MindShift Gear BackLight 26L. The rain started and quickly exceeding the forecasted slight-chance volume. The sky became very dark, and the rain didn't relent until it was nearly dark out.
Waterfalls require a cliff for the water to fall over, large falls require big cliffs and the falls that we continued to encounter had larger-than-needed cliffs. Getting around waterfalls meant moving downstream a distance until the wet sides were climbable (without ropes). How steep were the canyons, and how much time did we spend on them? At the end of the adventure, the girls were complaining that their arms hurt more than their legs, a sure sign that a good adventure happened.
At about 8 miles into the hike, a key landmark was missing. I had spent hours researching the hike, but this missing landmark was a key to finishing the hike as planned. There was no signal to locate ourselves via a smartphone, so I relied on a previously downloaded topographic map and a conventional compass to continue our route. While I knew we wanted to go east, I was not precisely sure how far north we had traveled. If I didn't guess correctly, we could miss the canyon we needed to find. Hedging enough to be safe, we walked southwest across the vast, densely forested, flat mountaintop. Note that walking through such terrain under a cloudy sky without a navigational aid is a sure way to get lost.
About 2 miles into the compass-directed portion of the dark and rainy adventure, the girls were becoming nervous, and one member of our team was staying immediately behind me. Eventually, we encountered a swampy area with a little flowing water, and I relented to traveling due east following that flow as the water had to be going down into the canyon we were hunting.
After a considerable distance down the steep mountain, we arrived at the targeted creek. While there was some relief among our group, deep, forested canyons are dark, and the what if we don't make it out before dark question began to be raised — repeatedly. I assured the group that we would light up the dark (I like the Black Diamond Spot 325 Headlamp BTW), and that we had the supplies necessary to make it out.
Still, the challenge of hiking the sides of the waterfall canyons increased while the light levels decreased. Finally, I declared that everyone had to begin wading across the streams. Yes, building rock bridges was fun, but it was time-consuming, and darkness was approaching.
Amazingly, we arrived back at the first waterfall at the precise time I had guessed to the group to expect to return. My distance estimate was not quite as accurate, with the Garmin indicating 13.1 miles of distance with 3,500' (1.07 km) in elevation change. The excitement brought on by the accomplishment and relief hitting the girls simultaneously made the adventure worthwhile, and all were ready to sign up for the next adventure. Interesting is that the next day their arms were sorer than their legs — due to holding onto trees and rocks while navigating the steep terrain.
No girls were harmed in the creation of this image, but photographically, the adventure was not so productive, with most of the waterfalls being from the sky. However, I know where some great images are, and will likely return for at least a partial repeat hike.
What will your story be? Use photography as a purpose for creating a story!
Here is one of the last photos I captured on this journey: Girl on a Waterfall Adventure.
With a Canon EOS Rebel T8i in hand, it is time to set up the camera for use. Following are the 33 steps I took to make an out-of-the-box T8i ready for use.
I of course make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea. Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. If you purchase another same or similar camera, you will be able to quickly set it up.
Tamron Announces Launch of the World's First All-In-One Zoom Lens Starting at F2.8 for Sony E-mount Full-Frame Mirrorless Cameras
June 10, 2020, Commack, NY - Tamron announces the launch of the 28-200mm F/2.8-5.6 Di III RXD (Model A071), an all-in-one zoom lens for Sony E-mount full-frame mirrorless cameras. The lens is scheduled to be available on June 25 at $729. Due to the spread of COVID-19, the release date or the product supply schedule could be delayed.
In 1992, Tamron demonstrated breakthrough innovation with the release of the AF 28-200mm F/3.8-5.6 Aspherical (Model 71D), a compact and lightweight all-in-one zoom lens. The amazingly compact size, light weight and reasonable price made the lens immediately wildly popular with photographers around the world. In the years since, Tamron has continued to be a pioneer in the category, releasing epoch-making all-in-one zooms tailored to each era, including the recent 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) that boasts the world's highest magnification of 22.2x and which currently enjoys robust sales. The new 28-200mm F2.8-5.6 is a distillation of all Tamron's accumulated all-in-one zoom expertise and has been specifically developed as an all-in-one zoom for daily use on a full-frame mirrorless camera. Tamron chose Model A071 as the model name in a nod to "71" representing the world's original compact all-in-one zoom.
Maximum aperture in zoom range among currently available all-in-one interchangeable zoom lenses with a zoom ratio of 7x or higher (As of May 2020: Tamron)
 Among interchangeable lenses for DSLR cameras (As of May 2017: Tamron)
The 28-200mm F2.8-5.6 is the first all-in-one-zoom in the world to achieve a maximum aperture of F2.8 at the 28mm wide-angle end. To assure superb optical performance, it features a precise arrangement of special lens elements that accommodate the increasingly high resolutions of today's digital cameras. Enabling high quality image rendering throughout the zoom range, the lens responds to users' photographic expressions in powerful style. Moreover, with its 4.6" length, 20.3 oz. weight, and filter diameter of a mere 67mm, the 28-200mm F2.8-5.6 offers excellent portability. When combined with a compact, lightweight full-frame mirrorless camera, it allows photographers to capture virtually every scene they encounter in daily use, travel, sports and nature.
The 28-200mm F2.8-5.6 takes the convenience of an all-in-one zoom (which incorporates various angles of view from wide to telephoto in a single lens) and adds a fast-maximum aperture of F2.8 and superb image quality to enhance the potential for photographic applications. Breaking conventional limitations and broadening the horizons of photographic possibilities, this zoom lens writes a new chapter in the history of the all-in-one zoom lens.
1. The world's first F2.8 all-in-one zoom lens for full-frame mirrorless cameras
A remarkable first for an all-in-one zoom lens: the 28-200mm F2.8-5.6 achieves a fast F2.8 aperture at the 28mm wide-angle end. Additionally, maximum apertures at intermediate zoom ranges are F3.5 at 50mm, F4.5 at 100mm, and F5.6 at 150mm through 200mm. As an unprecedented all-in-one zoom that combines fast aperture with compact size, the 28-200mm F2.8-5.6 delivers greater versatility and usefulness than ever before available.
2. Lightweight and compact size for superior mobility
Tamron's series of full-frame mirrorless camera lenses, starting with the 28-75mm F2.8 (Model A036), has been developed with the overall goal of balancing high performance with convenience. In addition to the series-standard 67mm filter diameter, and leveraging the camera integrated image stabilization, engineers concentrated on achieving compact size and light weight. Length is just 4.6", maximum diameter is 74mm, and the weight is a mere 20.3 oz. With a size that offers excellent portability, the lens lightens your load, allowing you to travel comfortably and shoot unencumbered.
3. Uncompromising image quality that lets you focus on creativity
This new zoom lens contains 18 elements in 14 groups. A generous assortment of special lens elements that includes GM (Glass Molded Aspherical), hybrid aspherical, XLD (eXtra Low Dispersion) and LD (Low Dispersion) lens elements is precisely arranged to effectively control chromatic and other aberrations, enabling high resolving power. Meanwhile, the BBAR (Broad-Band Anti-Reflection) Coating provides powerful anti-reflection properties to effectively reduce ghosting and flare, resulting in clear and crisp images. In-camera correction features are utilized to mitigate distortion and shading to achieve uniformly high image quality from edge-to-edge at all zoom settings. Tamron has concentrated all its all-in-one zoom technologies into achieving optical performance that sets a new standard among existing all-in-one zoom lenses. From casual snaps to serious photos, this single lens lets you enjoy a wide range of shooting situations with complete freedom of composition.
4. Superior up-close shooting performance
The 28-200mm F2.8-5.6 delivers superior close-up shooting performance for an all-in-one zoom. At the 28mm wide-angle end the MOD (Minimum Object Distance) is 7.5", achieving a maximum magnification ratio of 1:3.1. This performance, combined with the fast F2.8 aperture, allows users to move in close so that the subject is large while simultaneously showcasing a beautifully blurred background. Close-up shooting is remarkable at the telephoto end as well, with an MOD of 31.5" and maximum magnification ratio of 1:3.8. Users can capture impressive images with highly blurred backgrounds and create exceptional compositions.
5. The RXD stepping motor unit is exceptionally quiet
The AF drive incorporates a sensor that accurately detects the position of the lens while the RXD motor unit delivers optimized AF control. This achieves very fast and accurate autofocus operation, allowing users to maintain tack-sharp focus on continuously moving subjects or when filming video. The exceedingly quiet operation is an important advantage because it virtually eliminates extraneous sounds during video recording. In addition, the compact configuration of the RXD AF drive system contributes to the unprecedented size and weight reduction.
6. A full family of superb, compact lenses made especially for mirrorless cameras
The 28-200mm F2.8-5.6 zoom is based on Tamron's stratagem of creating a series* of lenses for full-frame mirrorless cameras that leverage the characteristics of compact camera bodies. Consequently, photographers can more easily enjoy various combinations of interchangeable lenses. For example, when the Model A071 is combined with the 17-28mm F2.8 (Model A046), the combined weight of the two lenses is less than 35.1 oz. This lightweight, portable zoom set covers everything from wide-angle to telephoto with a zoom range of 17-200mm. Additionally, when combined with a lens from Tamron's series of fixed focal lenses such as the 20mm F2.8 (Model F050) or 24mm F2.8 (Model F051), the weight is less than 28.2 oz., expanding the possibilities of shooting at the wide-angle end without adding excessive weight or bulk.
All lenses in the series share the common filter diameter of 67mm, thereby eliminating the hassle associated with using different size filters and lens caps. Costly filters (e.g., PL, ND, etc.) can be shared instead of buying separate units for each lens. In this way, Tamron has expanded its series of lenses to make it truly practical to carry multiple lenses at the same time.
* Tamron lineup of lenses with 67mm filter diameter for full-frame mirrorless cameras: 28-75mm F/2.8 Di III RXD (Model A036), 17-28mm F/2.8 Di III RXD (Model A046), 20mm/24mm/35mm F/2.8 Di III OSD (Model F050/F051/F053), 70-180mm F/2.8 Di III VXD (Model A056)
7. Moisture-Resistant Construction, Fluorine Coating, and Zoom Lock switch
Seals are located at the lens mount area and other critical locations to deter infiltration of moisture and/or rain drops and afford Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions. Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance. Additionally, the handy Zoom Lock switch prevents unwanted barrel extension during transportation.
8. Compatible with main camera-specific features* and functions
Tamron's new 28-200mm F2.8-5.6 is compatible with many of the advanced features that are specific to certain mirrorless cameras. These include the following:
- Fast Hybrid AF
- Eye AF
- Direct Manual Focus (DMF)
- In-camera lens correction (shading, chromatic aberration, distortion)
- Camera-based lens unit firmware updates
* Features vary by camera. Please consult your camera's owner's manual for details. (As of May 2020.)
Focal Length: 28-200mm
Maximum Aperture: F/2.8-5.6
Angle of View (diagonal): 75°23'-12°21' (for full-frame mirrorless format)
Optical Construction: 18 elements in 14 groups
Minimum Object Distance: 0.19m /7.5 in (WIDE), 0.8m /31.5 in (TELE)
Maximum Magnification Ratio: 1:3.1 (WIDE) / 1:3.8 (TELE)
Filter Size: Ø67mm
Maximum Diameter: Ø74mm
Length*: 4.6 in
Weight: 20.3 oz.
Aperture Blades: 7 (circular diaphragm)**
Minimum Aperture: F/16-32
Standard Accessories: Flower-shaped hood, Lens caps
Compatible Mounts: Sony E mount
* Length is the distance from the front tip of the lens to the lens mount face.
** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.
Specifications, appearance, functionality, etc. are subject to change without prior notice.
This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.
Delkin First to Market with 2TB CFexpress Memory Card
POWAY, CA, JUNE 10, 2020 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the newest addition to their ever-growing line of memory-based products: CFexpress™ Type-B memory cards. The latest high-speed memory card format, Delkin CFexpress™ cards deliver unrivaled performance at speeds suitable for professional photographers and videographers, while meeting the extensive demands of today's broadcast, cinema and photography industries. Delkin now boasts a complete line of memory card choices for nearly every type of camera/camcorder in the market.
Utilizing a 3rd generation PCI Express interface (as well as supporting NVM Express), Delkin's CFexpress™ memory cards boast recording speeds surpassing 1430MB/s for flawless cinema-quality video capture, including 8K, 6K & 4K at high frame rates and bitrates. They also support RAW continuous-burst shooting without delay, never missing those precious split-second moments! This is especially valuable during special events like weddings, sporting events, concerts and other situations that can't be redone.
"4K is standard today, 6K is on the rise, and now we're making our way to 8K" says Jenn Sherry, Delkin's Retail Sales & Marketing Manager, "Technology is constantly evolving and as cameras become more advanced, so will the storage solutions associated with them. The possibilities of what CFexpress™ can offer are exciting, and we're looking forward to see what our cards will enable both photographers and videographers to capture.
Each CFexpress™ card has undergone extensive testing to ensure full functionality and performance in today's high-end cinematic hosts, including ones from Canon (C500 Mark II & 1D X Mark III), Nikon (Z6 & Z7), and Panasonic (Lumix DC-S1 & S1R). Testing is currently ongoing in the Canon C300 Mark III & R5, as well as the Nikon D6. Data-intensive capture modes, such as Raw video, would require memory cards like CFexpress™ in order to guarantee continuous recording and safe storage. It is important to note though that CFexpress™ cards are not backwards compatible with either CompactFlash or CFast 2.0 hosts.
As a bonus, every CFexpress™ card is serialized, like your camera, and backed by Delkin's "48-Hour Replacement Guarantee" policy for the ultimate coverage. Not offered anywhere else in the world, Delkin will replace any non-working CFexpress™ card within 48 hours or less (not including weekends), prior to receiving the non-working card. Cards can also be replaced over-the-counter at any authorized Delkin CFexpress™ reseller.
Delkin CFexpress™ Type-B memory cards have the most extensive capacity coverage, ranging from 64GB to 2TB, and are sold through authorized camera stores worldwide. For more information on Delkin CFexpress™ or other memory products, please visit www.delkindevices.com.
Sean's recent Filming an ISS Transit of the Moon article reminded me to check for an upcoming locally-viewable International Space Station transit. Amazingly, there were two ISS solar transits scheduled for the next week, with my back yard being the perfect location for the alignment I wanted for both transits.
Sean's How to Photograph an International Space Station Lunar Transit article was directly applicable, with a solar filter being an additional requisite.
Only the sun was going to be illuminated in the frame, and the space station is especially small. I combined the longest focal length lens combination I have, the Sony FE 600mm f/4 GM OSS Lens and Sony FE 2x Teleconverter, with the highest resolution ILC camera available, the Sony a7R IV. This combination was then mounted to the most solid tripod and head in my kit, the Wimberley WH-200-S Sidemount Head on a Robus RC-8860 Vantage Carbon Fiber Tripod.
The ISS moves across the sky very rapidly, leading me to select a 1/2000 shutter speed to avoid motion blur. With the transit duration predicted to be a mere 0.52 seconds, timing the shot was crucial. From testing, I knew this camera with a V60 SDXC card loaded would capture an over-four-second burst before the buffer filled. At just under two seconds before the transit start time, I pressed and held the release button on the Vello ShutterBoss Remote Switch.
The a7R IV's high speed+ mode netted three images that included the ISS in front of the sun. That count seemed a little weak in the composite (the space stations were "spaced" too far apart), so some additional space stations were cloned into the final image.
A larger version of this image is available on Flickr.
June 2, 2020
Tamron Co., Ltd.
Notice about 70-180mm F/2.8 Di III VXD (Model A056) Operation
Dear Tamron product users and potential purchasers,
Thank you for choosing Tamron products.
We would like to announce that we found the performance of the floating system which corrects the field curvature may be insufficient (*) in a part of our 70-180mm F/2.8 Di III VXD (Model A056) products for SONY mirrorless cameras.
For affected products, we will inspect them and either readjust or exchange them.
How to check affected products
To confirm if your product is one of those affected, please click the Check Serial Number button below and enter the serial number of your lens. If your lens is affected, please follow the instructions provided. If your lens is not affected, you may continue to use it without concern.
Location of your lens serial number (6-digit number):
Engraved, at backside of TAMRON logo
Printed at label on the top of packaging box
We sincerely apologize to all users and potential purchasers for any inconvenience this issue may cause. We appreciate your continued support for our products.
(*) Supplement of the issue
Model A056 achieves a high optical performance utilizing the aberration correction by the floating system. By optimizing the value for each lens, we can achieve the maximum effectiveness. We found that some lenses have already been shipped out without the value being optimized.
From ProGrade Digital:
PROGRADE DIGITAL ANNOUNCES FASTER CFEXPRESS™ TYPE B MEMORY CARDS AND HIGHER CAPACITIES WITH READ SPEEDS OF 1,700MB/S AND REFRESH PRO™ SOFTWARE SUPPORT*
CFexpress Cobalt Cards Provide Minimum Sustained Write Speeds of 1,400MB/s plus ability to monitor card health and refresh cards to factory-fresh condition
San Jose, CA June 09, 2020, 8:00 am —ProGrade Digital, Inc., founded with a mission to provide the highest quality professional grade digital memory cards and workflow solutions, announces its new CFexpress™ Type B cards. First demonstrated by the company in April 2018 at the National Association of Broadcasters Show (NAB) Las Vegas, CFexpress Type B offers next generation memory card performance by leveraging PCIe, Gen 3 interconnect with NVMe 1.3 host controller interface. ProGrade Digital CFexpress cards provide read speeds up-to 1,700MB/s, and burst write speeds up-to 1,500MB/s. Two performance levels are available: Cobalt label: delivers minimum sustained write speed of 1400MB/s for both 325GB and 650GB cards – specifically designed for high resolution video capture and long, sustained burst image capture applications; Gold label: delivers minimum sustained write speeds up to 400MB/s depending on card capacity – ideally suited for a broad range of still and moving image capture applications.
ProGrade Digital CFexpress Gold label cards are available now at progradedigital.com, B&H Photo and Video, Adorama.com and Amazon in most countries around the world. Cobalt label cards will be shipping by late June.“Since demonstrating the capabilities of CFexpress in early 2018, ProGrade Digital has been evolving this technology from the first cards introduced at the end of 2019 to these new, fasterand lower power cards we are shipping today,” said Wes Brewer, founder and CEO of ProGrade Digital. “We are now able to offer the widest range of CFexpress card choices to meet both current and future needs of all leading-edge imaging applications. Coupled with our new CFexpress Thunderbolt 3 and USB 3.2 Gen 2 high speed readers and our Refresh Pro performance restoration and health monitoring software application, our customers have a complete solution for capturing and downloading still and video images as well as enhancingtheir digital imaging workflow.”
ProGrade Digital CFexpress portfolio:
CFexpress Type B Cobalt and Gold both deliver:
The CFexpress Type B form factor is gaining broad industry adoption due to its backward compatibility with XQD, and its open industry standard support from major device manufacturers.
All ProGrade Digital memory cards have a laser-etched serial number on the back and readers have a printed serial number. A customer can register their serial number at https://progradeditigal.com/register to stay up to date on the latest technology developments.
*Refresh Pro functionality requires ProGrade Digital Refresh ProTM software application and a ProGrade Digital card reader.
by Sean Setters
Bruce, a site visitor, forwarded us a post by weather.com – ISS Crosses in Front of the Moon Captured in Rare Video. Coming across the weather.com post, Bruce had been reminded of an article we posted 2 years ago offering tips for photographing the International Space Station as it crosses the moon. And after seeing the video, I was eager for my own opportunity to film the ISS transiting the moon.
As luck would have it, an ISS transit of the moon visible from a location near me (about 1/2 mile away) was scheduled to occur the very next evening at 10:44 PM Eastern Time. With a calendar entry set to remind me an hour before the event, I was ready to narrow down what gear to take.
As the Canon EF 300mm f/4L IS USM is the longest telephoto lens I own, using it was an easy choice. But my previous experience photographing an ISS transit with a 300mm lens left me wanting for a longer focal length/closer view. Since then, I had picked up two key pieces of gear that would help me get a more magnified view of the moon in my video – a Canon EF 1.4x II Extender (predecessor to version III) and a Canon EOS R.
But how would an EOS R help me get a more magnified view? The 4K crop factor (1.75x), a bane to those who desire ultra-wide angles of view, is a big benefit when one is focal length deficient for a particular endeavor. The setup left me with a manageable 725mm equivalent focal length (300mm x 1.4 x 1.75).
Unfortunately, a limitation of utilizing 4K for capturing the event would be the 30 fps frame rate. I seriously considered setting the camera to high frame rate recording (120 fps), but the camera can only record at a max resolution of 720p in that mode and movie cropping (to provide a similar magnification) is unavailable. In other words, I was faced with a choice of either capturing high resolution video at a higher magnification or lower resolution video at a lower magnification but with a 4x faster frame rate (useful for creating a slow-motion effect). In the end, I opted for shooting in 4K to record the moon as large in the frame as possible with a resolution that would enable me to scale the video with decent quality.
Because it was so close to my home, I arrived at the shooting location only about 15 minutes before the event. I set up my Induro tripod, attached the EOS R to the tripod's Arca Swiss Z1 ball head, and proceeded with adjusting the camera settings accordingly. Up until that moment, I hadn't yet decided on what shutter speed strategy to use. Typically speaking, your shutter speed should be set to a reciprocal of double the frame rate (for 30 fps video, a 1/60 sec is optimal). However, I at that time I wasn't absolutely certain that I wouldn't want to slow down the 30 fps video a bit in post. Knowing that the transit would occur very quickly, I was concerned that if I did slow down the video, the ISS's fast motion would leave little of its detail remaining if using a 1/60 sec shutter speed. However, using a much faster than twice-the-reciprocal-framerate shutter speed can lead to an unnatural look. In a spur of the moment decision (and with transit time quickly approaching), I set my camera to the following settings to gain the desired exposure while maintaining a near multiple of my 30 fps frame rate: f/6.3, 1/250 sec, ISO 100.
About a minute before the transit was scheduled to take place, I hit the record button and anxiously awaited the ISS's crossing. Roughly a minute after the event time, I stopped the recording. Even though I had been watching the moon throughout the recording, I never saw the transit take place until I was processing the video in Premiere Pro a short time later.
And speaking of processing, I actually produced two versions of the video. The one below is the first option I produced. The ISS's fast motion and shape reminded me of an Imperial TIE Fighter from Star Wars, so I thought the dramatic music seemed appropriate:
However, knowing the cinematic-style music may not be for everyone, I created the second version (featured at the top of this post) with different music. I recommend watching the embedded videos full screen on the highest resolution setting using the largest display available to you. Otherwise, you may not be able to see the transit in the normal magnification portion of the video.
So which version do you prefer? Let us know in the comments.
Just posted: Wimberley WH-200-S Sidemount Head Review.
The WH-200-S is an excellent choice for big lens needs.
Firmware update for SIGMA 14-24mm F2.8 DG DN | Art for Sony E-mount
Thank you for purchasing and using our products.
We are pleased to announce that a new firmware update for the SIGMA 14-24mm F2.8 DG DN | Art for Sony E-mount is now available.
Benefit of the update
To update the firmware, please refer to this link.
Want a really strong, high-quality tripod for a reasonable price? The RC-8860 might have your name on it.
The Robus RC-8860 Vantage Series 5 Carbon Fiber Tripod is in stock at B&H and Amazon USA
With a front/dual channel toggle switch, microphone input, and a low price point, this microphone will soon be the favorite of many vloggers.