As with the Canon RF 800mm F11 IS STM Lens, several of you have been asking for a glimpse of the image quality that the new Canon RF 600mm F11 IS STM Lens is capable of. I spent half of yesterday chasing birds with these two lenses. The 600mm spent its time on the Canon EOS R6, so this image was captured with the higher-resolution Canon EOS R5 upon return from the trip.
This coneflower image is a 100% crop from near the center of the frame. This tripod-captured image's settings were 1/100 sec., ISO 100, and you know the aperture. The RAW image was processed with sharpness set to "2" (0-10 scale).
As with the 800mm crop just shared, this result exceeds my expectation. Add slightly more sharpening (try it yourself — copy and paste this image into your image processing software) and the result is especially sharp.
Several of you have been asking for a glimpse of the image quality that the new Canon RF 800mm F11 IS STM Lens is capable of. While my final evaluation is not finished, I have been reviewing a lot of outdoor-captured images and think the one shared here is indicative to what this lens can produce.
This frog image is a 100% crop (the eye is from about 1/3 into the image circle's radius) captured handheld with the Canon EOS R5 at 1/200 sec., ISO 1000, and ... I'll let you guess the aperture. The RAW image was processed with sharpness set to "2" (0-10 scale) and very light noise reduction.
This result exceeds my expectation. Add slightly more sharpening (try it yourself — copy and paste this image into your image processing software) and the result is especially sharp.
Canon Europe has the Canon EOS R5 owner's manual available to download.
Can Canon RF Extenders be used on the RF 70-200mm F2.8 L IS USM Lens, even at 200mm?
Sorry folks, that answer is "No."
With some of Canon's EF lenses specified as not EF extender compatible, such as the Canon EF 70-300mm f/4-5.6L, the rear element moved far enough forward to provide clearance for the extender to fit, and these combinations worked fine (as long as the impact was avoided). The Canon RF 100-500mm F4.5-7.1 L IS USM Lens came with the minimum RF extender compatible focal length specified (300mm), showing Canon now taking advantage of the partial range of rear element clearance.
All of Canon's EF 70-200mm lenses are compatible with EF extenders, but the RF 70-200 was not on the RF extender compatibility list. The question on many of our minds was if the RF 70-200mm lens would indeed be compatible, at least at the long end, despite being omitted from the list.
I've tried twice (just to be absolutely sure) to mount an RF extender to the RF 70-200 at 200mm, the focal length with the most rear element clearance. The RF extender does not fit into the back of this lens.
Another great idea was to mount an RF extender to the back of a Canon Mount Adapter EF-EOS R. The idea is that all EF lenses suddenly become extender compatible. Sorry, but this answer is also "No." The RF extender does not fit into the mount adapter.
That said, the baffle physically preventing this installation appears to be plastic, and plastic is easily modifiable. I can't spare an adapter for this mod right now, but if you have a donor adapter you want me to try modifying, let me know.
Highly Anticipated Sony Alpha 7S III Combines Supreme Imaging Performance with Classic “S” Series Sensitivity
New Alpha 7S III Empowers Creators with 4K 120Pi Video, 10-bit 4:2:2 Recording, 15+ Stop Dynamic Rangeii, Improved AF Performance and More
Alpha 7S III Overview
Alpha 7S III
SAN DIEGO – July 28, 2020 –Today, Sony Electronics Inc. announced the long-awaited addition to its acclaimed Alpha 7S full-frame mirrorless camera series? — the Alpha 7S III (model ILCE-7SM3).
Featuring a brand new 12.1MP (approx., effective) back-illuminated full-frame image sensor with ultra-high sensitivity and 15+ stop wide dynamic rangeii, a host of impressive video recording capabilities including 4K 120pi and 10-bit 4:2:2 color depth, a new heat dissipating mechanism, dual slot relay recording enabling over one-hour of 4K 60p movie shootingviii, a new autofocus system, and touch screen interface and side flip LCD screen, the new Alpha 7S III will become the ultimate creative tool for video professionals and all types of hybrid still/video shooters.
“The Alpha 7S III is the ultimate representation of Sony’s passion to solve our customers’ pain points,”, said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “We are always listening to our customers’ feedback, pushing hard to deliver innovation that goes far beyond their expectations. There is no better example than this new camera. Combining classic S series sensitivity with a feature set, performance level and user experience that is simply unmatched in the market today — at any price level — the Alpha 7S III opens up a new world of possibilities for today’s creators.”
The system architecture for the new Alpha 7S III has been completely redesigned to deliver exceptional video and still shooting performance. The new 35mm full-frame 12.1MP (approx., effective) back-illuminated Exmor R™ CMOS image sensor reduces rolling shutter by up to three timesiv and utilizes a variety of advanced light-gathering techniques to ensure high-sensitivity with low noise, allowing users to shoot in low-light situations without needing large-scale lighting setups. In addition to improved image quality, this new image sensor includes a focal plane phase-detection AF system for the first time in an S-series camera. To compliment the new sensor, the Alpha 7S III also includes a new BIONZ XR™ image processing engine that provides up to eight times more processing poweriii, minimizes processing latency, and enables many of the hallmark still and imaging features of the camera. The new system also includes the world’s brightestx and largestx 9.44 million-dot (approx.) OLED electronic eye-level viewfinder and is the world’s first camerax with dual CFexpress Type A card slots, enabling high-speed data transfer in a compact size.
Professional Video Workflow Solutions
The Alpha 7S III offers in-camera 4K recording up to 120 frames per secondi, 10-bit depth and 4:2:2 color sampling, producing stunning video recording. The new camera offers a more flexible and efficient post-production workflow with a variety of advanced movie recording modes such as All-Intraxiii and MPEG-H HEVC/H.265 coding (XAVC HS™)xiv. The Alpha 7S III makes it easy to integrate video recordings with other professional camcorders by providing three color gamut settings S-Gamut, S-Gamut3, and S-Gamut3.Cine, allowing users to easily match footage shot on the Alpha 7S III with footage shot on the professional camcorders simplifying multi-camera post-production workflow. In addition to S-Log3 gamma curves, the Alpha 7S III supports an HLG (Hybrid Log-Gamma) picture profile with minimum post-production. The Alpha 7S III also allows up to 4K 60p 16-bit RAW outputxv to an external recorder via HDMI Type-Axvi connector, offering additional post-production flexibility.
Improved Image Quality
The new CMOS image sensor and BIONZ XR™ image processing engine in the Alpha 7S III delivers legendary S-series sensitivity with significantly enhanced color reproduction and texture renderings for improved overall image quality. The base ISO has been lowered to 80, resulting in a normal range of 80-102,400 (expandable to 80-409,600 for video and 40-409,600 for stills) to provide more flexible ISO plus wide dynamic range with low noise at all settings. It offers improved image quality by approximately 1 stop of noise reductioniv in the middle and high sensitivity ranges.
The colors and textures of foliage, human skin, and more are ideally and consistently reproduced without dependence on light sources. Gradation rendering has also been refined for better looking skin tones and highlight roll-off in portraits. It also improves AWB (Auto White Balance) performance with a new “Visible light + IR Sensor” that helps to achieve more precise white balance under artificial lighting, including fluorescent and LED lights.
Advanced Autofocus Performance for Hybrid use
For the first time in an Alpha 7S series camera, the Alpha 7S III offers Fast Hybrid AF by combining phase-detection and contrast-detection AF, giving it the ability to track subjects over a wide area with outstanding speed, precision and smoothness, even when using a narrow depth of field. Fine focus expression is possible with Sony’s E-mount lenses.
For environments with a lot of movement, Real-time Tracking and Real-time Eye AF are available to maintain constant focus on the intended subject. Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous systemiii, thanks to the new image processing engine. It ensures accurate, reliable detection, even when the subject’s face looks away. Real-time Tracking is initiated simply by touching the subject on the screen. Real-time Eye AF is automatically initiated when an eye is detected.
Flexible Autofocus Settings for Movie Shooting
Based on customer feedback, the camera includes several AF features for professional users including AF Transition Speed in seven settings, to easily create rack-focus transitions, and five AF Subject Shift Sensitivity settings, which allows the user to customize how easily AF will switch or stay with the locked-on subject. Touch Tracking allows user to not only initiate Real-time Tracking, but also compose and shoot while using a gimbal or while shooting solo. It’s now possible to Touch Focus during manual focus mode on the LCD screen or remotely from the Imaging Edge Mobile applicationxvii.
New Heat-dissipating Structure
The Alpha 7S III’s design has been updated to ensure effective heat dissipation and minimizes overheating — even during extended continuous recording sessions at 4K 60p 10-bit 4:2:2 video lasting an hour or moreviii. A newly developed unique heat dissipating structure keeps the image sensor and image processing engine temperatures within their normal operating ranges, preventing overheating while maintaining compact body dimensions. The new heat-dissipating structure requires no fan or cabinet vents allowing Alpha 7S III to maintain dust and moisture resistancexviii.
Movie Assist Functions
For video on-the-go, the Alpha 7S III is the first Alpha series camera to include Active Modeix with 5-axis optical in-body image stabilization to support especially difficult handheld movie shooting. It is also the first Alpha series E-mount body to feature a side-opening vari-angle rear screen, perfect for gimbal-mounted shots, complicated angles, handheld operation and more. The screen rotates sideways, up and down, and features a 3.0 type 1.44 million-dot (approx.) touch panel LCD monitor, for optimal visibility even in bright outdoor environments.
In addition, the Alpha 7S III provides a selection of new Creative Look with 10 presets that can be used for both photo and video shoots, making it easy to create interesting moods right in the camera to be used as is or customized by the user.
A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone. Used with Sony’s XLR-K3M XLR Adaptor Kit, the Alpha 7S III provides 4-channel 24-bit digital audio recording capability in an Alpha series camera for the first time. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking.
Additional movie assist functions include a redesigned monitor display with a bold, clearly visible red frame that makes it clear when recording is in progress even when mounted on a rig or gimbal, custom zoom settings, adjustable white balance while recording, display rotation, interval recording, still extraction from movies and more.
Outstanding Still Image Photography
The Alpha 7S III includes a fast Hybrid AF system with 759 phase-detection AF points covering 92% of the image sensor. The camera can also achieve high AF precision to accurately and reliably focus in light down to EV-6xix,where subjects are difficult to see clearly even with the naked eye. Users can continuously shoot more than 1,000 uncompressed RAWxii images at up to 10fps, or up to 8fps in live view mode, with either the mechanical or electronic shutter.
The Alpha 7S III also includes the world’s firstx 9.44 million-dot (approx.), 0.64 type Quad-XGA electronic viewfinder with a high-definition OLED display and refined. The Alpha 7S III viewfinder offers a 0.90x viewfinder magnificationxx, 41° diagonal field of view, 25mm high eyepoint for clear, low-distortion corner to corner viewing. It is also dust, fog and moisture resistantxviii, extremely responsive, and has switchable modes for different subject types. Every aspect of the Alpha 7S III viewfinder has been designed and refined for a professional workflow.
For the first time in one of Sony’s digital cameras, the Alpha 7S III includes HEIF (High Efficiency Image File Format) allowing for smooth 10-bit gradations and advanced compression technology to maintain image quality while significantly reducing file size and saving storage space. HEIF stills shot in this mode can be played back on a compatible Sony HDR (HLG) TV via a direct HDMI Type-A connection from the Alpha 7S III, delivering true-to-life dynamic rangexxi.
Versatile Design Made for the Pros
CFexpress Type A for High-speed Data Transfer
In another world’s firstx, the Alpha 7S III features two CFexpress Type A compatible media slots which also support UHS-I and UHS-II SDXC/SDHC cards, enabling high write-and-read speeds while keeping the camera body compact in size. CFexpress Type A cards are ideally suited to high-speed continuous RAW still image shooting as well as 4K 120pi movie recording at high bit ratesxxii, providing next-generation write speeds that can quickly clear the buffers of cameras that generate high volumes of still image and movie data. High-speed data transfer to a PC is possible at about 1.7 times fasterxxiii than that of SD card. The dual slots can be set to relay mode for extended continuous recording of even the highest bit rate data as well as simultaneous recording and sort by format type recording.
Revised Menu System with Enhanced Touch Screen
The Alpha 7S III also features a revised menu structure for easier navigation and touch-responsive menu operation for faster, more intuitive control. For creators who shoot both stills and movies, separate settings can now be stored for stills and movie shooting for quick transition between the two.
High Reliability Gives Creators New Freedom
Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 7S III features a redesigned grip for greater comfort and a secure hold, an improved dust removal feature, plus dust and moisture resistance xviii that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and is the first Alpha series camera to support USB PD (Power Delivery), allowing higher power to be supplied from an external source so that users can continue to record for extended periods with minimal internal battery usage.
Advanced Connectivity for Professional Working Environments
The Alpha 7S III has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with several advanced connectivity options. The camera supports 5GHzxxiv/2.4GHz wireless LAN (IEEE 802.11ac) and offers MIMO (multiple-input and multiple-output) to improve communication quality by using multiple antennas, doubling in speed when compared to the Alpha7R IV. It also carries new USB tethering supportxxv. When connected to a 5G (5th generation technology standard for cellular networks) compatible device via USB cable, it is possible to use 5G network for fast and stable FTP file transferxxvi. USB to high-speed wired LAN connectivityxxvii also offers stable and fast FTP transfer for both movies and stills. A USB Type-C™ connector that supports fast SuperSpeed USB 5Gbps (USB 3.2) data transfer is provided, enabling high-speed PC Remote (tethered) data transfer available for smooth handling of large image files.
Pricing and Availability
The new Alpha 7S III Full-frame Interchangeable Lens Camera will be available in September 2020 for approximately $3,499.99 USD and $4,799.99 CAD. It will be sold at a variety of Sony's authorized dealers throughout North America.
Exclusive stories and exciting new content shot with the new camera and Sony's other imaging products can be found at www.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony a - Alpha.
Sony Announces World’s First CFexpress Type A Memory Card with High-speed Performance and Tough Durability
Up to 700MB/s[i] write speed and 800MB/si read speed
Compact design and advanced functionality
Effective heat dissipation design
TOUGH specification construction ensures high durability and dust/water resistance
Supported by File Scan Utility memory diagnostic software and Memory Card File Rescue data recovery software
SAN DIEGO – July 28, 2020 – Today, Sony Electronics Inc. announced a new generation of media — the world’s first[ii] CFexpress Type A memory cards, in both 80GB and 160GB, (CEA-G80T and CEA-G160T) as the most recent addition to Sony’s TOUGH specification cards. Delivering high transfer speed, durability and reliability, Sony’s new CFexpress Type A cards offer professional and stress-free performance for photographers and content creators
Both the CEA-G80T (80GB) and CEA-G160T (160GB) use the latest flash memory control technology to achieve write speeds as high as 700MB/si and read speeds as high as 800MB/si, greatly reducing buffer clearing times for efficient, stress-free shooting. The CFexpress Type A cards are ideally suited for high-speed continuous shooting of more than 1,000 uncompressed RAW still images, as well as 4K 120p movie recording at high bit rates with the Slow & Quick Motion functioniii when paired with new Alpha 7S III, which features two CFexpress Type A compatible media slots, that also support UHS-I and UHS-II SDXC/SDHC cards, for simultaneous media capture or extended continuous recording of even the highest bit rate data. Compliance with the VPG400 video performance guarantee profile specification ensures stable video recording at 400 MB/s—creating a smooth workflow for professional creators.
Effective Heat Dissipation DesignThe new CFexpress Type A memory cards are equipped with a heat sink to transfer heat generated by the card to the exterior when transmitting large amounts of data at high speed, using Sony's original alloy with excellent thermal conductivity. This enables users to record for long periods of time[iv] even when recording 4K 120p video internally.
Keeping up with Sony’s TOUGH specifications, the new CFexpress Type A memory cards feature bending and impact resistance to protect precious data, even when frequently changing cards in the harshest environments. They are up to five times more resistant to drop impact and up to ten times more resistant to bending, compared to CFexpress Type A requirement standards, for outstanding durability. In addition, thanks to a specialized internal structure, they achieve an IPX7 water ingress protection rating and an IP5X dust ingress protection rating (IP57) for enhanced durability.
Accidents happen. Sony’s Memory Card File Rescue[v] data recovery software allows users to recover accidently deleted RAW images and 4K video from memory cards. In addition, Sony’s Media Scan Utility[vi] media diagnostic software will be updated to support CFexpress Type A cards allowing users to diagnose and receive a warning before the number of read/write cycles approaches the card’s limit.
CFexpress Type A/SD Card Reader
Optimized for the new CFexpress Type A memory cards, the CFexpress Type A/SD card reader (MRW-G2) provides SuperSpeed USB 10Gbps (USB 3.2 Gen 2) transfer speed, via its USB Type-C® connector, allowing creators to establish an efficient workflow when dealing with high-resolution images files, 4K video and other types of high-volume data. When combined with a CFexpress Type A card, it allows users to transfer data approximately 2.8 times faster than with conventional mediavii. The MRW-G2 card reader can be used with CFexpress Type A and SDXC/SDHC (UHS-I and UHS-II) memory cards.
Pricing and Availability
CFexpress Type A memory cards and card reader will be available in September 2020. See below for suggested retail pricing:
(US) – CEA-G80T/CEA-G160T: $199.99 USD / $399.99 USD (CA) – CEA-G80T/CEA-G160T: $259.99 CAD / $519.99 CAD (US) – MRW-G2: $119.99 USD (CA) – MRW-G2: $159.99 CAD
Notes Alpha 7S III
[i] 10% of view cropped [ii] S-Log3 movies, Sony internal tests [iii] When compared to the BIONZ X™ image processor [iv] When compared to Alpha7S II [v] 40 to 409,600 for stills and 80 to 409,600 for movies. Sony test conditions [vi] When shooting full-frame still images. The number of AF points used depends on the shooting mode. [vii] This function does not track animal eyes [viii] Sony test conditions. XAVC S-I 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto Power Off Temperature: High. The value will vary depending on the shooting conditions. Movie shooting past an hour will continue until battery ends. [ix] In active mode, the shooting angle of view is slightly narrowed. If the focal length is 200 mm or more, it is recommended to set to standard [x] As of July 2020, Sony survey. Among full-frame mirrorless cameras [xi] Up to 10fps in continuous “Hi+” mode, and up to 8fps in continuous “Hi” mode Maximum fps will depend on camera settings [xii] Requires CFexpress Type A memory card [xiii] When XAVC S-I 4K or HD is selected via the file format menu [xiv] Requires compatible memory card [xv] Atomos Ninja V HDR monitor-recorder support planned. As of July 2020 [xvi] Sony’s Premium High Speed HDMI Cable DLC-HX10 recommended [xvii] Imaging Edge Mobile Ver. 7.4 or later required [xviii] Not guaranteed to be 100% dust and moisture proof [xix] ISO 100 equivalent, F2.0 lens, AF-S mode [xx] 50mm lens, infinity, -1m-1 diopter [xxi] Desktop application “HEIF Converter” for displaying and editing HEIF format is planned to launch in September 2020 [xxii] 4:2:2 10-bit All-I, when recording slow motion [xxiii] Sony test conditions. [xxiv] 5 GHz communication may be restricted in some countries and regions [xxv] Power Delivery supported smartphone is required [xxvi] Does not guarantee connection with all smartphone. FTP file transfer by USB tethering that utilizes 4G network is also possible [xxvii] A compatible USB-Ethernet adapter is required
Notes CFexpress Type A Memory Card:
[i] Actual performance may vary and is dependent on environment and usage. [ii] As of July 2020, Sony Survey [iii] 10-bit depth and 4:2:2 color sampling, All Intra recording, when shooting in slow motion. [iv] Depends on camera performance [v] Does not support data recovery for Content Protected and Game Data files. Not all data may be recoverable. [vi] MRW-G2 CFexpress Type A/SD card reader is required for CFexpress Type A card diagnosis. Diagnosis is not possible with readers from other manufacturers or a direct camera connection. [vii] Sony test conditions. Compared to Sony’s SDXC UHS-II memory card.
B&H and Adorama are taking Sony Alpha a7S III Mirrorless Digital Camera orders.
Learn more about the Sony a7s III at B&H Explora.
Learn more about the Sony a7s III at Adorama.
Thanks to Canon USA, the rest of the end-of-July-arriving new gear is in-house, including:
My first impression is that these super-telephoto lenses are amazingly compact and light.
Again, please feel free to ask questions — I can't promise to get to every one, but will attempt to answer many.
As you've likely read, I've been using the Canon EOS 5Ds R as my primary camera since it first became available. While I still love the image quality this camera produces, the 5Ds R is beginning to feel aged. In particular, I wanted to know how the dynamic range of the new Canon EOS R5 compared to that of the 5Ds R. Some additional testing, over and under-exposure captures from the 5Ds R, makes that comparison now available in the site's camera noise comparison tool:
In that 2-stop-overexposed comparison, the R5's dynamic range is clearly superior (keep in mind that the brightest color value is below RGB 255,255,255 in the base exposure).
As expected, the +3 EV comparison more clearly shows the R5's improved performance.
Learn more about the Canon EOS R5.
Tune in tomorrow, Tuesday, July 28, 2020 at 10:00 AM EDT for the Sony Alpha a7S III announcement.
B&H and Adorama will be taking Sony Alpha a7S III Mirrorless Digital Camera orders.
When photographing fast action while counting on the camera's frame rate to capture the perfect point in time, the buffer depth must be adequate to cover the period during which the potential best image could happen. Therefore, buffer capacity matters.
To obtain the best-available buffer capabilities, the EOS R5 and R6 were configured to manual mode (no AE time lag) using ISO 100, a 1/8000 shutter speed (no waiting for the shutter operation), a wide open aperture (no time lost due to aperture blades closing), and manual focus (no focus lock delay). The lens cap remained on (insuring a black image with the smallest file size), the battery was near full charge, and freshly-formatted fast memory cards were used.
The ProGrade Digital 325GB CFexpress 2.0 Cobalt Memory Card and a ProGrade Digital 64GB 200 MB/s UHS-II V60 Memory Cards were used for this testing.
Here are the results for the R5:
|12 fps RAW > CFexpress||405||33.8|
|12 fps RAW > SD||182||15.0|
|12 fps RAW + RAW||175||14.6|
|20 fps RAW > CFexpress||146||7.3|
|20 fps RAW > SD||110||5.5|
|20 fps RAW + RAW||104||5.2|
Even at 20 fps, the R5 can capture an impressive over 7 seconds of action when using the CFexpress card, and the 5.5 seconds of 20 fps capture with an SD card is still very good. The penalty for recording to two cards simultaneously is minor at 20 fps, but more significant when capturing at 12 fps. That said, the need to record at 12 fps for longer than the 9 seconds provided by the SD card is reaching a niche level.
Here are the results for the R6:
|12 fps RAW + RAW||>1,900||>158|
|20 fps RAW||180||9.0|
|20 fps RAW + RAW||165||8.3|
Yes, ADHD kicked in after capturing a crazy-high 1,900 images in the 12 fps R6 test. The camera would likely continue at that frame rate until the cards were filled, achieving a number of images adequate for everyone. Even at 20 fps, the R6 can capture 9 seconds of action when using this SD card. The penalty for recording to two cards simultaneously at 20 fps is minor.
The numbers in the table above are excellent, adequate for most professional purposes. Switch to CRAW, JPG, or HEIF image formats, and the numbers go far higher (if possible).
Speed matters when selecting a memory card, and a memory card upgrade can be a low cost method of improving camera performance. These buffer capacities should be considered best-possible for the referenced cards, and your in-the-field results will likely vary.
The R5 and R6 clear the buffer quickly, and memory cards format almost instantly, both important aspects for camera selection.
Manfrotto has announced a pair of new gimbals and a boom using their new Fast technology.
Check these out at B&H:
Also check out the new Manfrotto Fast Tripods.
We recently shared that R-series cameras and RF lenses were worth fewer points than DSLR and EF lens counterparts at CPS USA. It didn't take long for corrective changes to be implemented.
Canon Professional Services USA has increased the point values for the Canon EOS R5 and some RF lenses. The new values reflect CPS showing a stronger commitment to the mirroless lineup, and should instill photographer confidence in the R and RF lines.
|RF 100-500 F/4.5-7.1 IS USM||12|
|RF 15-35mm F2.8 L IS USM||12|
|RF 24-70mm f/2.8L IS USM||12|
|RF 24-105mm F4-7.1 IS STM||4|
|RF 24-105mm F4 L IS USM||8|
|RF 28-70mm F2 L USM||12|
|RF 70-200mm F2.8 L IS USM||12|
|RF 50mm F1.2 L USM||8|
|RF 35mm F1.8 Macro IS STM||8|
|RF 85mm F1.2 L USM DS||8|
|RF 85mm f/2 Macro IS STM||8|
|RF 85mm F1.2 L USM||8|
|RF 600mm F/11 IS STM||8|
|RF 800mm F/11 IS STM||8|
|RF 24-240mm f/4-6.3 IS USM||6|
AP to Equip all Visual Journalists Globally with Sony Imaging Products
Sony Electronics to become AP’s exclusive global imaging provider for photo and video journalism
July 23, 2020 - Sony Electronics Inc. a global leader in imaging, and The Associated Press, the trusted global news organization, announced today a new collaboration that will make Sony the exclusive imaging products and support provider for AP news photographers and video journalists around the world.
With journalists in nearly 250 locations in 100 countries, AP provides factual, compelling journalism in all formats, including 3,000 photos and 200 videos each day. The news agency has a distinguished history of powerful visual journalism, winning the 2020 Pulitzer Prize for Feature Photography -- AP’s 54th Pulitzer and 32nd for photography -- and garnering recognition from the Royal Television Society for excellence in video.
A wide variety of Sony’s imaging solutions products will begin delivery immediately, including the full-frame mirrorless Alpha™ cameras, 4K XDCAM video cameras and an assortment of Sony’s 57 E-mount lenses including G Master™ models.
“We are extremely honored to announce this collaboration with The Associated Press, an organization with an incredible history in journalism that continues to raise the bar for global news reporting and delivery,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The Associated Press is a universally trusted brand for news information in the world. We are honored to equip AP’s journalists with our technology and support, giving them the opportunity to capture, transmit and deliver imagery in ways they never could before.”
“Sony’s history of innovation aligns well with AP’s, and with our vision for the future of visual journalism,” said Derl McCrudden, AP deputy managing editor for visual and digital journalism. “AP is committed to providing the best imagery to our member news organizations and customers across the globe. Adopting Sony’s cutting-edge equipment and technology allows us to do that, by enabling our photographers and video journalists to be faster and more flexible, ultimately creating better visual journalism.”
When the transition to Sony is complete, AP’s video journalists and photographers will for the first time be equipped with the same brand of cameras, allowing for seamless collaboration among the news agency’s journalists as they tell the world’s stories in whatever medium is right for the moment.
AP visual journalists will be able to share Sony’s cameras and lenses, as well as the images they capture, to produce a news report unhindered by technical limitations.
"The new mirrorless technology in Sony’s cameras allows for a completely silent operation, meaning our photojournalists can work in environments without interrupting the scene around them,” said AP Director of Photography J. David Ake. “This is a huge leap forward in photojournalism."
In addition to delivery of product, AP and Sony will work together to improve workflow and efficiency of field operations, including testing of 5G capabilities.
Sony offers 5G through its Xperia™ product line, which uses technology from its cameras, professional monitors and audio devices.
Comparing same-size imaging sensors, the lower the resolution, the larger the photosites. Larger pixel wells can collect photons at a higher rate than smaller ones, generating a higher SNR (Signal to Noise Ratio) that results in lower noise levels. Therefore, do not expect pixel-level noise performance from an ultra-high-resolution imaging sensor to match that from a similar generation low-resolution imaging sensor.
That said, the final output size is what matters in the real world. To make the Canon EOS R5 vs. Canon EOS R6 comparison relevant, the R5 image (oversampled in this case) must be reduced to 20 MP. An R5 image can be very simply downsized to R6 image dimensions, and then the R5 noise levels appear at least as good the R6 noise levels. DPP was used for downsizing the R5 images in that example.
In this comparison, Photoshop's Image Size method (using the default auto setting) was used for resizing. In this case, the R5 results are sharper than the R6 results, with noise becoming very slightly more apparent from the sharpening.
Noise levels do not appear to be a good differentiator between these cameras — noise levels at high ISO setting are not a good reason to buy the R6 over the R5.
Create the comparisons relevant to you.
These reviews are a work in progress, being updated as I go. Commentary regarding noise performance is now included.
Time to order your Canon EOS R5:
Time to order your Canon EOS R6:
Along with ordering the new Canon EOS R5 and EOS R6, many photographers ordered compatibilty for their existing EF, EF-S, and TS-E lens kits in the form of one of the Canon Mount Adapter EF-EOS R variants. The order volume for the basic and control ring versions of this adapter were so high that they are out of stock nearly everywhere, with B&H indicating 4-6 weeks for availability (7-14 days for the control ring version).
While these mount adapters can be found, such as on eBay, most are selling at a premium price. Alternatives include getting the drop-in adapter (remember that a clear fitler is optically required if no effects filter is installed) or a Vello Auto Lens Adapter for Canon EF/EF-S Lens to Canon RF-Mount Camera.
Learn more about the Canon Mount Adapter EF-EOS R.
To qualify for CPS Silver, Gold, or Platinum membership (a very good program), the accumulated point value of the Canon gear in your kit must reach 10, 20, or 50 respectively. As of today, the following tables illustrate most of the point values available. Catching attention is that the R-series cameras and RF lenses appear to be worth fewer points than their DSLR counterparts.
The "Why?" question has been asked. Also, why is the RF 24-105mm F4-7.1 IS STM worth more points than the RF 24-105mm F4 L IS USM? I would not be surprised to see at least that anomally corrected. Oh wait, the 5D Mark II is worth more points than the 5D Mark III?
|EOS-1D X Mark III||10|
|EOS-1D X Mark II||10|
|EOS 5DS R||8|
|EOS 5D Mark IV||7|
|EOS 5D Mark II||6|
|EOS 6D Mark II||5|
|EOS 7D Mark II||5|
|EOS 5D Mark III||4|
|EF 800mm f/5.6L IS USM||18|
|EF 600mm f/4L IS III USM||18|
|EF 600mm f/4L IS II USM||18|
|EF 400mm f/2.8L IS III USM||18|
|EF 400mm f/2.8L IS II USM||18|
|EF 400mm f/2.8 L II USM||18|
|EF 500mm f/4L IS II USM||18|
|EF 500mm f/4.5 L USM||18|
|EF 400mm f/4 DO IS II USM||16|
|EF 200mm f/2L IS USM||16|
|EF 200-400mm f/4L IS USM||16|
|EF 300mm f/2.8L IS II USM||16|
|EF 100-400mm F4.5-5.6L IS II||12|
|EF 11-24mm F4L USM||12|
|EF 14mm f/2.8L II USM||1|
|EF 16-35mm f/2.8L III USM||12|
|EF 24-70mm f/2.8L II USM||12|
|EF 28-300mm f/3.5-5.6L IS USM||12|
|EF 70-200mm f/2.8L IS III USM||12|
|EF 70-200mm f/2.8L IS II USM||12|
|TS-E 17mm f/4L||12|
|EF 100mm f/2.8 Macro USM||8|
|EF 24mm f/2.8 IS USM||8|
|TS-E 135mm f/4L Macro||8|
|TS-E 90mm f/2.8L Macro||8|
|TS-E 50mm f/2.8L Macro||8|
|EF 100-400mm f/4.5-5.6L IS||8|
|EF 135mm f/2L USM||8|
|EF 16-35mm f/2.8L II USM||8|
|EF 16-35mm f/4L IS USM||8|
|EF 17-40mm f/4L USM||8|
|EF 180mm f/3.5L Macro USM||8|
|EF 200mm f/2.8L II USM||8|
|EF 24-105mm f/4L IS USM||8|
|EF 24-105mm f/4L IS II USM||8|
|EF 24-70mm f/4L IS USM||8|
|EF 24mm f/2.8 IS USM||8|
|EF 24mm f/1.4L II USM||8|
|EF 300mm f/4L IS USM||8|
|EF 35mm f/1.4L II USM||8|
|EF 50mm f/1.2L USM||8|
|EF 70-200mm f/2.8L USM||8|
|EF 70-200mm f/4L IS USM||8|
|EF 70-300mm f/4.5-5.6 DO IS||8|
|EF 70-200mm f/4L IS II USM||8|
|EF 70-300mm f/4-5.6L IS USM||8|
|EF 8-15mm f/4L Fisheye USM||8|
|EF 85mm f/1.2L II USM||8|
|EF 85mm f/1.4L IS USM||8|
|EF-S 10-22mm f/3.5-4.5 USM||8|
|EF-S 15-85mm f/3.5-5.6 IS USM||8|
|EF-S 17-55mm f/2.8 IS USM||8|
|TS-E 24mm f/3.5L II||8|
|TS-E 90mm f/2.8||8|
|RF 24-105mm F4-7.1 IS STM||6|
|RF 15-35mm F2.8L IS USM||6|
|RF 70-200mm F2.8 L IS USM||6|
|RF 24-70mm F2.8L IS USM||6|
|RF 28-70mm F2 L USM||6|
|RF 50mm F1.2 L USM||6|
|RF 85mm F1.2 L USM||6|
|EF 35mm f/1.4L USM||6|
|RF 600mm F11 IS STM||4|
|RF 85mm F2 Macro IS STM||4|
|EF 70-300mm f/4-5.6 IS II USM||4|
|RF 24-105mm F4 L IS USM||4|
|EF 28mm f/2.8 IS USM||4|
|EF-S 10-18mm f/4.5-5.6 IS STM||4|
|EF-S 18-135mm f/3.5-5.6 IS USM||4|
|EF 100mm f/2 USM||4|
|EF 20mm f/2.8 USM||4|
|EF 24-105mm f/3.5-5.6 IS STM||4|
|EF 28mm f/1.8 USM||4|
|EF 35mm f/2 IS USM||4|
|EF 50mm f/2.5 Compact Macro||4|
|EF 50mm f/1.4 USM||4|
|EF 70-200mm f/4L USM||4|
|EF 70-300mm f/4-5.6 IS USM||4|
|EF 85mm f/1.8 USM||4|
|EF-S 18-135mm f/3.5-5.6 IS||4|
|EF-S 18-135mm f/3.5-5.6 IS STM||4|
|EF-S 18-200mm f/3.5-5.6 IS||4|
|EF-S 60mm f/2.8 Macro USM||4|
|RF 35mm F1.8 Macro IS STM||3|
|EF 100mm f/2.8L Macro IS USM||2|
|EF-S 24mm f/2.8 STM||2|
|EF 100mm f/2.8 Macro USM||2|
|EF 40mm f/2.8 STM||2|
|EF 50mm f/1.8 II||1|
It was like Christmas in July when the Canon EOS R5 and Canon EOS R6 arrived in the same box. While these two cameras (and most others) come preconfigured for immediate and easy use, serious photographers need to set the camera up for the way they work. Following are the 42 steps I took to make an out-of-the-box R5 and R6 ready for use.
I 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 means you intend to shoot similar to how I shoot — including 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 menu setup parameters, keeping an up-to-date list such as this one is a great 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 set it up quickly.
Order the Canon EOS R5 from:
Order the Canon EOS R6 from:
From Nikon USA:
EMBARK ON THE FULL-FRAME MIRRORLESS JOURNEY: NIKON UNVEILS THE Z 5, AN INNOVATIVE AND FEATURE-RICH MIRRORLESS FX-FORMAT CAMERA FOR EMERGING CREATORS
Nikon Expands the NIKKOR Z Lens Lineup with the Addition of the Extremely Compact and Versatile NIKKOR Z 24-50mm f/4-6.3 as well as the new Z TELECONVERTER TC-2.0X and TC-1.4X; Nikon Also Announces Free Webcam Utility
MELVILLE, NY –
Today, Nikon Inc. announced the Z 5, the new full-frame (FX-format) entry-point into its award-winning lineup of Z series mirrorless cameras. The Nikon Z 5 combines sophisticated features inherited from the Z 7 and Z 6 with the benefits of Nikon’s next generation Z mount at an unprecedented value. For those new to mirrorless or creators looking to push the limits of their craft with the power of full-frame, the compact Z 5 will exceed expectations. With an incredibly robust feature set, including in-camera vibration reduction (VR) image stabilization (IBIS) and the perfect balance of seamless automation and full manual control, creators can effortlessly share their artistic passions, travel adventures and so much more.
Nikon also unveiled the new NIKKOR Z 24-50mm f/4-6.3, the shortest, lightest and most affordable full-frame zoom lens in the NIKKOR Z lineup. Designed for on-the-go creators, the 24-50mm lens is the ideal companion for Z series users who want to capture it all – from vast landscapes and cityscapes, to street photography and striking portraits.
“The Nikon Z 5 offers the next generation of creators a gateway into the full-frame Z series lineup, opening the door to the limitless possibilities of mirrorless photo and video capture, while providing the means to share their creativity with others,” said Jay Vannatter, Executive Vice President, Nikon Inc. “With the addition of the NIKKOR Z 24-50mm f/4-6.3, Nikon is introducing the smallest full-frame NIKKOR Z lens to date, providing an extremely lightweight, versatile option to help users pursue all creative endeavors, regardless of which Z series camera they use.”
Nikon Z 5: The Full-Frame Journey Starts Here
As the new entry point to Nikon’s full-frame mirrorless lineup, the Nikon Z 5 offers a lot of power and capabilities at an attractive price, empowering the next generation to begin their journey with the confidence to learn and grow as creators.
Incredible Image Quality: Featuring a powerful FX-format 24.3-megapixel CMOS sensor, the Z 5 is the gateway to the benefits of full-frame, helping creators to capture intensely detailed images, ultra-shallow depth of field and clean low-light shots with unrivaled consistency. From portraits that flatter, nighttime landscapes that astound and street shots that impress, the gorgeous tones, faithful colors, minimal noise, and revered Nikon color science all play a part to help users capture images that are true to their vision.
High Speed Performance and Processing: Engineered with the EXPEED 6, Nikon’s fastest image processor to date, the Z 5 is a dependable, high-performance tool designed for content creation. EXPEED 6 allows for a boost in processing power and energy efficiency while rendering subtle textures and small details with amazing results.
Stellar Low-Light Performance: With an ISO range up to 51,200 (expandable to 102,400), the camera effectively reduces noise, maintaining both high sensitivity and resolution to excel in low-light situations, making it ideal for shooting everything from low-light events to an all-nighter under the Milky Way.
Capture with Speed: With shutter speeds up to 1/8000, the Z 5 can capture fast-moving subjects with clarity including fast-action sports and wildlife. This higher maximum shutter speed enables photographers to better tame even the brightest mid-day light to unleash the potential of fast-aperture NIKKOR glass. When the moment strikes, the camera can also capture full resolution bursts at 4.5 fps with full AF/AE.
Silent and Smooth: The combination of the camera’s silent photography mode and In-Body 5-Axis VR stabilization provides quiet, stable shooting to document sensitive moments without distractions.
Vast Lens Selection: Whether shooting glamorous portraits from a studio on the sidewalk, long-distance wildlife, epic wide landscapes in the field or street photography, the growing lineup of NIKKOR Z lenses provides Z 5 users the versatility to capture incredible shots with sharpness across the frame and superior light gathering in any situation. For even more flexibility, the vast array of traditional F-mount NIKKOR lenses can be used via the Mount Adapter FTZ to enhance images with a unique focal length or beautiful bokeh, while gaining the benefits of in-body stabilization.
Dual UHS-II SD Card Slots: Equipped with two UHS-II card slots for overflow, backup or separating RAW and JPEG photos, the Z 5 enables photographers to shoot with extreme confidence when using widely available consumer SD cards.
Simple Yet Sophisticated for Expanding Creativity
A great option for emerging creators getting started, the Nikon Z 5 is packed with powerful tools and user-friendly controls to help users explore and capture their artistry with ease.
Focus Anywhere: The Z 5 boasts 2731 on-sensor AF points, to quickly and accurately track subjects throughout the frame, while Eye-Detection AF capabilities help precisely capture the eyes of humans and animals. The wide array of AF points covers nearly the entire frame, and multiple AF modes allows the user to have pinpoint control or fully automatic assurance to easily lock onto a subject.
Easily Shift Gears: The Nikon Z 5 offers the ability to effortlessly switch between manual mode for the ultimate in control, as well as a large variety of automatic creative modes to help mirrorless users capture truly distinct images and video.
Creativity Built-in: Equipped with 20 Creative Picture Controls, and advanced features like Focus Shift Shooting and multiple exposure mode, users can compose unique images, produce extraordinary depth of field, or combine several shots and layer images on top of each other with the in-camera image overlay function.
Advanced Video Capture: The Z 5 makes it easy to document any creative vision in 4K UHD/30p2 or in 1080/60p (full-frame). When recording video, the PDAF system is rapid to react, allowing users to quickly lock critical focus on subjects, and is fully customizable to fit any production style. In-camera VR image stabilization and electronic VR reliably eliminate the shake when shooting video, plus users get the added benefit of focus peaking and the ability to capture stills while recording.
Flexible Recording Modes: In addition to the traditional interval timer and in-camera time-lapse modes, the Nikon Z 5 is equipped with a new Time-Lapse Movie mode that gives users the best of both worlds for more streamlined movie making – the ability to use images from interval timer mode and create a time-lapse in-camera.
Unique Lighting Options: For enhanced creative control, the camera features a hot shoe, and is fully compatible with the Nikon Speedlight wireless lighting system.
Get Connected: The Nikon SnapBridge3 app makes it easy to remotely control the Z 5 or seamlessly transfer and share content to a smartphone, tablet, Mac, or PC thanks to built-in Wi-Fi®4 and Bluetooth®5
Rugged Reliability and Engineered for Versatility
In addition to providing high-quality imaging capabilities, the Nikon Z 5 is compact and comfortable in-hand while promising the rugged reliability as well as innovative features and controls that Nikon is known for.
Legendary Nikon Build: Designed with a durable, weather-sealed exterior for worry-free use, the Z 5 employs the same magnesium alloy shell and robustness as the Z 6 and Z 7. Both the camera and NIKKOR Z 24-50mm f/4-6.3 lens are built with consideration for dust and drip resistance and are ready to tackle the next adventure.
Functional Operability: The camera sports a powerful, high-resolution 3.2-inch LCD monitor with the capabilities to tilt, touch, tap, swipe, and pinch for an intuitive and flexible user-experience. Meanwhile, the 3.6M-dot Quad-VGA EVF ensures users can see exposure, ISO, white balance and creative picture controls in real time, making the transition from optical viewfinders seamless for new mirrorless shooters.
Packed with Power: Powered by the new EN-EL15c battery, the Z 5 offers significant advancements in the number of shots per charge and is the first Nikon camera to enable constant power through the USB port, even with select portable USB power banks6. For added power and grip, the camera is also compatible with the MB-N10 hot-swappable battery pack.
Webcam Ready: When connected via the USB-C cord, the Z 5 can be used as a webcam, making the camera a great option for modern vloggers, influencers and gamers looking to improve their livestreaming capabilities.
NIKKOR Z 24-50mm f/4-6.3: Portable, Yet Powerful
The NIKKOR Z 24-50mm f/4-6.3 is the latest addition to the rapidly expanding lineup of NIKKOR Z lenses and is the smallest FX-format NIKKOR Z lens yet. Optically designed to take advantage of the advancements of the wide Z mount, this lens delivers sharpness across the entire frame and a versatile zoom range for everyday use. The 24-50mm is less than three inches long when retracted, making it the perfect lens for shooters seeking a versatile yet compact option for lightweight travel and street photography. When used together, the Z 5 and 24-50mm lens are the ideal discrete travel kit that can easily be packed and carried for all-day adventures. This compact NIKKOR Z lens is also an enticing option for Z 6 and Z 7 users who want a small all-around lens for portraits, landscapes, and street photography.
New Z Teleconverters Take NIKKOR Z Lenses to New Lengths
Designed for photographers and videographers who need more telephoto reach in their kit, the new Z TELECONVERTER TC-1.4X and Z TELECONVERTER TC-2.0X bring added versatility with 1.4x and 2.0x magnification to select NIKKOR Z lenses. These lightweight teleconverters are great tools for those photographing sports, wildlife and aviation, reducing the need to crop images and allowing for tighter compositions with maximum resolution.
The new TC-1.4X and TC-2.0X teleconverters maintain superior rendering performance and minimize various lens aberrations, while retaining focusing speed, VR functionality and minimum focusing distance. As an added benefit, the new teleconverters allow Nikon Z series cameras to retain functionality on all focus points up to f/11, making it easy to focus on and track subjects throughout the entire frame. Featuring the same robust construction as NIKKOR Z lenses, the teleconverters are designed with a fluorine coating on the front and rear elements to resist dirt and smudges, and offer a durable, weather-sealed body to protect against the elements.
When the teleconverters are used with the NIKKOR Z 70-200mm f/2.8 VR S (availability scheduled for late August), the focal length on the telephoto end is extended to 280mm (1.4x) or 400mm (2.0x) producing a significant expansion of this telephoto lens' shooting range. These new teleconverters will also be compatible with applicable interchangeable lenses for Nikon Z mount mirrorless cameras that Nikon will release in the future.
New Webcam Utility Software for Nikon Cameras
In August, Nikon will release a beta version of the Webcam Utility software for many Nikon DSLR and Z series mirrorless cameras, including the new Z 5. Initially available for Windows 10, the free software will allow compatible Nikon cameras to be used as webcams. When connected via USB, this free software will provide users with incredible sharpness, clarity and flattering depth of field for all of their livestreaming needs including teleconferencing and gaming.
For more information on how to use your Nikon camera as a webcam, please visit https://www.nikonusa.com/en/learn-and-explore/live-streaming-with-nikon-cameras.page
Pricing and Availability
The Nikon Z 5 will be available in August in several configurations, including body-only for a suggested retail price (SRP) of $1,399.95*, a one-lens kit with the new NIKKOR Z 24-50mm f/4-6.3 for an SRP of $1,699.95* and a one-lens kit with the NIKKOR Z 24-200mm f/4-6.3 VR lens for an SRP of $2,199.95* for those seeking extra reach when photographing wildlife or travel adventures. Also available in August, the NIKKOR Z 24-50mm f/4-6.3 lens can be purchased separately for an SRP of $399.95*. The new Z TELECONVERTER TC-1.4X and TC-2.0X will have an SRP of $549.95 and $599.95 respectively and will be available in late August.
# # #
Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.
*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.
With recording of still images using the FX-format image area and single-point AF. 231 focus points with movie recording.
When using this mode, the frame is cropped approx. x1.7.
Using the SnapBridge App System Requirements:
Android 5.0 or later or 6.0.1 or later
A device with Bluetooth 4.0 or later (i.e., a device that supports Bluetooth Smart Ready/Low Energy) is required.
The SnapBridge app is available for compatible iPhone®, iPad® and/or iPod touch®, and for smart devices running the AndroidTM operating system. The app can be downloaded free of charge from Apple’s App Store® and GooglePlayTM. SnapBridge can be used only with compatible cameras.
This camera’s built-in Wi-Fi® capability can only be used with a compatible iPhone®, iPad®, and/or iPod touch® or smart devices running on the Android™ operating system. The Nikon SnapBridge application must be installed on the device before it can be used with this camera.
The camera’s built-in Bluetooth® capability can only be used to connect the camera to a compatible smart device running the SnapBridge app, and to take advantage of SnapBridge features.
Anker PowerCore+ 26800 PD 45W is the recommended portable charger. Use a USB cable with two Type-C connectors supplied with the portable charger. For more information about the portable charger, please visit the manufacturer’s website: Anker.com/support
-Wi-Fi and the Wi-Fi logo are trademarks or registered trademarks of the Wi-Fi Alliance. N-Mark is a trademark or registered trademark of NFC Forum, Inc., in the United States and/or other countries.
-Bluetooth® word mark and logos are registered trademarks owned by Bluetooth SIG, Inc., and any use of such marks by Nikon Corporation and its Affiliates is under license.
-All trademarks and trade names are those of their respective owners
Thank you Canon USA — they are here!
Please feel free to ask questions — I can't promise to get to every one, but will attempt that.
Back to the future. I didn't see this one coming, though we talked about this lens design after the Canon RF 600mm F11 IS STM Lens and Canon RF 800mm F11 IS STM Lens announcement. From Kenko Tokina Co., Ltd.:
Kenko Tokina Co., Ltd. is pleased to announce the sales release of Tokina SZX SUPER TELE 400mm F8 Reflex MF lens.
Sales will commence on August 7, 2020.
Tokina SZX SUPER TELE 400mm F8 Reflex MF is a 400mm super tele lens that adopts catadioptric type optical design with a constant F8 aperture. The lens offers compact alternative to standard tele photo lenses as more and more photographers are looking for easy-to-carry gear. 400mm F8 Reflex MF is designed keeping in mind active travel photographers seeking for outdoor landscape, wild nature or birds by providing compact and lightweight lens to be rediscovered in the new era of also compact but high-tech mirrorless cameras.
Tokina SZX SUPER TELE 400mm F8 Reflex MF adopts 0.75mm pitch and 42mm thread mount standard, that allows this lens to be attached to any camera by using different mount adapters.
Tokina SZX SUPER TELE 400mm F8 Reflex MF can be required in Solo and Kit packages as below:
Mount adapters can be also purchased separately:
Mark your calendar for 10:00 AM EDT on July 28, 2020 for the Sony Alpha a7S III announcement.
For many, especially those already owning the impressive Canon EF 100-400mm f/4.5-5.6L IS II USM Lens, the narrow to-f/7.1 spec on the Canon RF 100-500mm F4.5-7.1 L IS USM Lens gave us pause. None of us was disappointed by the to-500mm part of the spec, but we wanted to know if the aperture opening size was being sacrificed at the 400mm aperture in order to keep this lens compact and light. Thanks to Drew MacCallum's (Canon USA) effort to answer this question for us, now we know.
What is the Canon RF 100-500mm F4.5-7.1 L IS USM Lens's maximum aperture opening at 400mm?
Answer 1: When the camera is set to 1/3-stop increments, the maximum 400mm aperture reported to the camera is rounded to f/6.3.
Answer 2: When the camera is set to 1/2-stop increments, the maximum 400mm aperture reported to the camera is rounded to f/5.6.
I know, you are now planning to change your R5 and R6 to use 1/2-stop increments. Don't bother as the difference is how the actual opening size is rounded (the true aperture is likely between these two numbers), likely holds for only a short range of focal lengths, and even if there was a 1/3-stop difference, the difference in noise made visible by an offsetting 1/3-stop ISO change will not matter to most.
The Canon RF 100-500mm F4.5-7.1 L IS USM Lens Review page is loaded with expectations. This lens should be awesome.
Not all of us are surprised, but Canon Inc. has issued an orders exceeded expectations announcment, translated as follows:
Information about product supply status
We have received orders for the following products announced on July 9, 2020 that exceeded expectations, and it may take some time before the products are delivered.
We would like to thank you for all the orders we have received, and we apologize for any inconvenience caused to our customers waiting for the release. Thank you kindly look forward for your understanding.
If you were waiting for hands-on reviews before ordering your camera or lens, you might want to preorder now to hold your place in line.
Details Regarding Canon EOS R5/EOS R6 Overheating During Video Recording
The EOS R5, one of the latest additions to Canon’s full-frame mirrorless camera line, offers class-leading autofocus with high-resolution and high frame rate video recording options using the maximum width of the full-frame sensor at high bit rates. Inevitably, this combination of features has potential to generate some significant heat, which will limit recording time.
Canon has taken several steps to manage the potential for overheating, including:
In regard to the installation of a fan: The decision not to install a fan within the body was made in order to maintain the EOS R5’s compact size, lightweight construction and weather resistance.
Before recording starts, the EOS R5 and EOS R6 display an estimate of the recordable time based on the current camera temperature and the set recording mode.
Canon has published and included below the approximate recording and estimated recovery times for 23°C / 73°F environments and ensure that the camera will warn users when it is getting too hot. Additionally, tips to reduce overheating as well as recovering time are listed below.
How can you reduce heat buildup in the EOS R5?
How long will it take for the camera to recover?
Estimated camera recovery times are indicated below. The time until full record time is available will vary with ambient temperature, continued camera operation and the selected shooting resolution.
What about the EOS R6?
Like the EOS R5, the EOS R6 offers powerful movie recording and stills capabilities within a compact body design. At the highest frame rates and resolutions heat is inevitably generated. We believe the EOS R6 offers best in class performance, especially for enthusiast photographers and video content creators.
The EOS R6 can record up to the 29 minutes 59 second recording limit in the 5.1K oversampled 4K 60p mode at (23°C / 73°F) before encountering any heat related issues within the camera and up to 40 minutes of 4K at 30p.
Should I Get the Canon EOS R5, EOS R6, or EOS R? An Extensive Comparison The Canon EOS R, shown at the bottom-left in the lead image, came first. The R was Canon's first full-frame MILC (Mirrorless Interchangeable Lens Camera), and the start of the R-series. This model offered a relatively high resolution with a good feature set and solid performance at a reasonable price.
The Canon EOS RP, shown at the bottom-right, came next. A tiny model, the RP is positioned below the R and has a modestly lower resolution and noticeably lower price. The RP is an exceptional value.
This page exists because of the two models that came next, the Canon EOS R5 and Canon EOS R6, respectively shown at the top-left and top-right. These are both exceptionally-high-performing cameras positioned (and priced) above the EOS R.
Here are the differences between the Canon EOS R6, R5, and R.
|Specifications||EOS R5||EOS R6||EOS R|
|Pixel Dimensions||8192 x 5464||5472 x 3648||6720 x 4480|
to L:50, H1: 102400
to L:50, H1: 204800
to L:50, H1: 51200, H2: 102400
|Image Processor||DIGIC X||DIGIC X||DIGIC 8|
|Dual Pixel RAW||Yes||No||Yes|
|Sensor Stabilization||5-Axis IBIS||5-Axis IBIS||No|
|Movies||8K RAW movie to 30 fps|
4K movie at up to 120 fps
4K time-lapse mode Canon Log 1 / HDR PQ 10bit 4:2:2 internal recording
All-I / IPB compression 10bit 4:2:2 uncompressed 4K 60p to external recorder
|4K movie at up to 60 fps|
4K time-lapse mode
Full HD movies at 120 fps
Canon Log 1 / HDR PQ
10bit 4:2:2 internal recording
|4K movie (cropped) at 25/24 fps|
Full HD movies at 60 fps
HD at 120 fps
Canon Log 1
10bit 4:2:2 uncompressed 4K to external recorder
|Movie Modes||A+, P, Tv, Av, M, C1, C2, C3||A+, M||A+, P, Tv, Av, M, C1, C2, C3|
|AF Points||1,053 AF Areas covering approx. 100% of the frame|
5,940 individually selectable AF points with 90% horizontal and 100% vertical coverage
|1,053 AF Areas covering approx. 100% of the frame|
6,072 individually selectable AF points with 90% horizontal and 100% vertical coverage
|5,655 points with 88% horizontal and 100% vertical coverage|
|AF Working Range||EV -6 to 20||EV -6.5 to 20||EV -6 to 18|
|Subject Detection||Body, Face, Eye, Animal||Body, Face, Eye, Animal||Face, Eye|
|EVF||0.5" (127mm) OLED color EVF, 5.76 Million dots||0.5" (127mm) OLED color EVF, 3.69 Million dots||0.5" (127mm) OLED color EVF, 3.69 Million dots|
|EVF FrameRate||120 fps||120 fps||60 fps|
|LCD Type||3.15" (8.01cm) Clear View LCD II, approx. 2.10 million dots||2.95" (7.50cm) Clear View LCD II, approx. 1.62 million dots||3.15" (8.01cm) Clear View LCD II, approx. 2.10 million dots|
|HEIF, HDR PQ||Yes||Yes||No|
|FPS||12 fps with Servo AF|
20 fps with Electronic Shutter, and Servo AF
|12 fps with Servo AF|
20 fps with Electronic Shutter, and Servo AF
|8 fps fixed AF|
5 fps with Servo AF
|Continuous Frames||350 JPEG, 180 RAW, or 260 CRAW||1,000+ JPEG, 240 RAW, or 1,000+ CRAW||100 JPEG, 47 RAW, 78 C-RAW|
|Card Slots||1x CFexpress|
1x UHS-II SD
|2x UHS-II SD||1x UHS-II SD|
|Control Dials||Main Dial|
Quick Control Dial 1 w/ Mode Button
Quick Control Dial 2
AF Multi-controller (8-Way Joystick)
Top panel display
Front Function Button
Quick Control Dial 1 w/ Mode Button
Quick Control Dial 2
AF Multi-controller (8-Way Joystick)
Front Function Button
Quick Control Dial
Top Panel Display
|Dedicated Rate, Magnify, "Q" Buttons||Yes||Yes||No|
|Power Switch||Circular w/Lever||Circular w/Lever||Circular|
|Wireless Features||5Ghz and 2.4Ghz Wi-Fi and Bluetooth|
optional Wireless transmitter WFT-R10
|2.4Ghz Wi-Fi and Bluetooth|
|2.4Ghz Wi-Fi and Bluetooth|
FTP with WFT-E7 II Accessory
|PC Terminal||Yes||No||via BG-E22|
|Computer Interface||USB 3.1 Gen 2||USB 3.1 Gen 2||USB 3.0|
|HDMI||HDMI micro Type D|
Simultaneous HDMI Out and Card Writing
|HDMI micro Type D|
HDMI Out or Card Writing
|HDMI mini Type C|
HDMI Out or Card Writing
|Remote||N3 (Front)||E3 (Side)||E3 (Side)|
|Shutter Durability Rating||500,000||300,000||200,000|
|Battery Life (CIPA)||LCD 490 shots|
EVF 320 shots
|LCD 510 shots|
EVF 380 shots
|Grip Geometry||2.7" (68.5mm) Thick|
2.7" (68.5mm) Thick at Bottom
1.55" (39.3mm) Finger Shelf
|2.7" (68.5mm) Thick|
2.7" (68.5mm) Thick at Bottom
1.65" (41.8mm) Finger Shelf
|2.59" (65.7mm) Thick|
2.54" (64.5mm) at Bottom
1.40" (35.5mm) Finger Shelf
|Rattle||Noticeable when Powered Off||Noticeable when Powered Off||No|
|Dimensions Inches||5.45 x 3.84 x 3.46"|
(138 x 97.5 x 88.0mm)
|5.45 x 3.84 x 3.48"|
(138 x 97.5 x 88.4mm)
|5.35 x 3.87 x 3.32"|
(135.8 x 98.3 x 84.4mm)
|CIPA Weight||26.0 oz (738g)||24.0 oz (680g)||23.3 oz (660g)|
|Review||Canon EOS R5||Canon EOS R6||Canon EOS R|
Again, the original EOS R is a great value, offering good performance and relatively high resolution for a modest price. The 2-years-newer R5 and R6 are significantly more advanced cameras and considerably faster in a number of regards.
One clear differentiator between these cameras is the resolution they provide. It takes no more effort to press the shutter release on a 45 MP camera than it does on a 20 MP camera, and all things equal, the higher resolution image is more desirable. Use the additional resolution to output large, to downsample to even higher quality, or to crop with potentially high resolution remaining.
Not as apparent in the chart are that the R5 and R6 image sensors are significantly faster with less rolling shutter effect, and improved dynamic range (exposure latitude). Here are some dynamic range comparisons:
The R6's larger pixel sites have a higher SNR (Signal to Noise Ratio), meaning less noise at the pixel level. However, for the comparison to be equal, the higher resolution images must be downsized to the R6 image's pixel dimensions, and with that action, oversampling advantages are realized. At equivalent final image sizes, the R5 and R6 noise levels are about the same.
The pixel-level noise performance is often reflected in the available ISO settings. The R6 has this advantage, and the R trails the R5. That said, you don't want to use any of these cameras (or those from any other manufacturer) at the highest ISO settings made available.
Another aspect that specs do not make clear is the relative sharpness of the images these cameras produce. The R produces softer images than many other Canon cameras when the images are processed using the same settings. Why? I've asked that question multiple times and have received no answers. However, that question has been resolved in the R5 and R6.
Here are some comparisons:
The R images sharpen nicely with a higher sharpness setting ("2" looks nice). Are the R's RAW images de-tuned slightly, providing more latitude for the photographer to dial in the result they want? Does the R have a stronger low pass filter? Or, is there some other cause for the softer results?
The advantage of "DIGIC X" is not as easy to comprehend as, say, the number of megapixels on the imaging sensor, but this processor's extreme speed makes complex in-camera calculations possible, with improved AF performance and image quality being two advantages. The DIGIC X processor in the R5 and R6 is significantly more powerful than the DIGIC 8 processor in the R.
The R6 does not feature Canon Dual Pixel RAW capture where two signals are captured for each pixel. Portrait Relighting is featured on the R5.
The IBIS (In Body Image Stabilization) is a tremendous advantage held by the R5 and R6 models. These two cameras effectively upgrade all of the lenses in your kit, with better image quality being realized. IBIS is a huge advantage for video, decreasing the need for bulky and expensive gimbals in certain situations. With IBIS, the R5 and R6 have a noticeable rattle when powered off (don't worry about this).
The R5's 8K uncropped video capability (including RAW) is awesome, and the R6 enjoys a strong movie capability advantage over the R, including uncropped 4K vs. cropped 4K (1.75x). The R5 and R6 provide Dual Pixel CMOS AF II tracking with every resolution/framerate, but the R does not get AF tracking with high framerate (720p) capture. An R5 advantage is that it goes to 120 fps in 4K while the R6 has FHD 120 fps.
The R6 has only two movie modes, and the R5 has an improved movie setting menu option.
All three of these cameras can autofocus in crazy-low light levels, but the R6 has a slight advantage. The R5 and R6 have some advantage over the R when focusing in very bright light levels.
The EOS R's Dual Pixel CMOS AF system, including eye and face detection, performs excellently, but the R5 and R6's Dual Pixel CMOS II AF system takes subject detection and tracking capabilities to another level, including animal tracking. The R5 and R6 AF systems handle challenging circumstances amazingly well.
The R5 and R6 have a focus bracketing feature missing on the R (this feature first arrived on the RP).
The R5's considerably higher resolution EVF is a significant advantage, as is its higher resolution rear LCD. The R5 and R6 have a much faster refresh rate available, helping you follow a moving subject. Especially notable is that the R5 and R6 have less EVF blackout, dramatically helping you track a moving subject. The diopter dial has moved to the right side of the viewfinder on the R5 and R6 where it is easier to access. The R5 and R6 have a modified eyecup shape (all are non-removable).
Also aiding in capturing a perfect action shot is the R5 and R6's extremely fast frame rates, rates that leave the R far behind.
For some, having dual memory card slots is a big advantage for the R5 and R6 over the R. Differentiating between the R5 and R6 is that one of the R5's slots is the faster CFexpress format. For those not needing the speed of CFexpress, the R6's dual card slots sharing the same UHS-II SD format could be an advantage.
The additional controls and buttons, including a joystick replacing the R's Multi-Function Bar and ISO adjustment instantly available on the top quick control dial, along with the revised power switch design on the R5 and R6 make these cameras easier to use than the R. The EOS R and R5 have top LCDs while the R6 does not. The R5 and R6's top-right three buttons on the back have a horizontal layout to provide space for the larger dual memory card slot door — especially the AF-ON button is easier to reach in the updated layout. The R5 and R6 have an additional configurable button (depth of field preview by default) on the front. If you need the sound memo feature or a PC terminal, the R5 is your only choice.
The R5 has the most advanced built-in Wi-Fi and also has the most advanced wireless file transmitter available. The R6 has more advanced built-in Wi-Fi than the R, but it does not have a wireless file transmitter option.
The R5 and R6 have faster USB ports than the R, and the R5 and R6 have HDMI micro Type D ports vs. the R's HDMI mini Type C port. The R5 has an N3-type remote release port vs. E3 in the R6 and R. The R5 has a more durable shutter, rated at 500,000 actuations vs. 300,000 and 200,000.
While the R5 and R6 arrive with a higher capacity battery, that battery is compatible with the EOS R and its charger, meaning this difference is easy to equalize. That 14% higher capacity battery helps the battery life ratings with the R5 and R6 showing big improvements (when using the LCD). Remember that experienced battery life is often twice the rated value, and far higher when capturing high-speed bursts of images. These three cameras are essentially the same size and weight.
The EOS R5 and R6 have an enhanced grip geometry, featuring a larger shelf above the fingers and a thicker grip base, both making the newer models noticeably easier to hold onto.
For a significant percentage of photographers, the primary decision factor between these cameras will be the price. A safe recommendation is to buy the highest-priced model you can afford. The EOS R is a bargain. The EOS R6 is a considerably faster and better camera, and the EOS R5 is the flagship model, unsurpassed in the Canon lineup. If your funds can take you to this level, the R5 is the camera you want.
Simplifying the R5 vs. R6 comparison:
R6 Advantages Over the R5
The R6 advantages list is a short one, and most advantages are very slight. However, the "Lower Price" bullet is a powerful one.
Did I miss any differences? Let me know! That the R5 has a "BE CAREFUL HOT" warning label inside the memory card door does not count. The R6 lock button being raised modestly might count a tiny amount.
Use the site's tools to create specific comparisons:
Not all differences show up in the specifications, but the visual comparison tool can fill in many of the missing differences:
Canon EOS R5 Visual Comparison with the Canon EOS R6
Canon EOS R5 Visual Comparison with the Canon EOS R
Canon EOS R5 Visual Comparison with the Canon EOS 5Ds and 5Ds R
Canon EOS R5 Visual Comparison with the Canon EOS 5D Mark IV
Note that the R5 and R6 review pages continue to be updated with additional information.
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