Why is this a bestselling lens? Read this review to find out.
Photos often represent our most important memories—from everyday moments to the biggest events in our lives—and it should be easy for you to access them in Google Photos and beyond. Since launching our Google Photos partner program two years ago, we’ve worked with hundreds of partners to build high-quality and secure integrations so that you can enjoy your photos and videos in more of the products and services you use. With Google Photos you can create prints and photo books with Popsa, digitize your memories with YesVideo, display your photos on a Nixplay Smart Photo Frame and more.
If you own a DSLR or point-and-shoot camera, you know that getting your photos backed up can be a process. You often need cables or adapters to take them off of your camera or SD card and save them, and it might take a number of steps to get it all done. We’ve worked with Canon so you can easily upload the moments captured on your Canon devices directly to Google Photos over Wi-Fi—no plugging in your camera or taking out your SD card.
With the latest version of the image.canon app (available on Android or iOS) and a compatible Canon camera, you can choose to automatically transfer original quality photos to Google Photos, eliminating the hassle of using your computer or phone to back them up.
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So whether you’re backing up your photos from your Canon camera, printing with Popsa or digitizing your memories with YesVideo, Google Photos can help. Head over to our Works with Google Photos site to learn about the hundreds of apps and services you can use to get the most out of your photos.
I plan to update these reviews when higher-performing compatible RF lens models become available.
In response to feedback from our customers about the EOS-1D X Mark III and the EOS R5, Canon U.S.A., Inc. plans to introduce the following video recording functions via a series of future firmware updates.
EOS-1D X Mark III
Firmware Version 1.2.0 incorporates the following enhancements and fixes:
Update: The firmware is now also available at Canon USA.
Firmware Version 1.1.0 incorporates the following fixes and enhancements:
* The firmware scheduled for release in early September will incorporate the following improvements for the RF100-500mm F4.5-7.1 L IS USM.
The RF 800 is very similar to the Canon RF 600mm F11 IS STM Lens and the reviews, completed simultaneously, will also read similarly, each tuned to the specific lens. I plan to circle back with some comparisons, but choose between these two lenses based on the focal length that works best for you.
I plan to have the Canon RF 800mm F11 IS STM Lens Review completed later this week.
In a recent article, I answered the question, "Can Canon RF Extenders be used with the EF-EOS R Mount Adapter?"
That answer was "No."
The Canon Mount Adapter EF-EOS R (basic and control ring versions) has no optics. It simply moves the EF mount forward, offsetting the short back focus design of the RF mount, and provides the communication connections required for the lens to function as native. Hoped for was that the open space in the Canon Mount Adapter EF-EOS R would permit an RF extender to fit into the back of it, ideally making all EF and EF-S lenses extender compatible. Unfortunately, the Canon RF extenders do not fit into the Canon mount adapter.
However, the baffle physically preventing this installation appears to be plastic, and plastic is easily modifiable. I couldn't spare a Canon adapter for this mod (they are unavailable as I write this), but after studying the Vello Auto Lens Adapter for Canon EF/EF-S Lens to Canon RF-Mount Camera product images, I suspected the relatively large inside diameter of this adapter could more easily be modified to permit fitting of the Canon RF 1.4x Extender and Canon RF 2x Extender. B&H was up for this challenge and sent me an adapter to potentially destroy.
Not surprising was that the RF extenders do not fit into the back of the Vello adapter out of the box. Thus, some modification was necessary. Basically, the plastic on the raised interior section housing the communication pins needed to be removed down almost to the wires. To protect the adapter and to keep it clean, I gaffer taped everything I didn't want to remove — most of the adapter. Next, a rotary tool (I substituted a drill) with a small abrasive sanding cylinder was used to remove the plastic. A rounded file could also be used.
After removal of enough plastic for the extenders to fit (this took two tries for my first attempt), the adapter was cleaned and mounted. Being able to mount the extender behind the adapter was the first test to pass. Having the extender function properly in conjunction with EF lenses was the bigger question in my mind. Fortunately, the modified adapter passed that test also.
How good is the image quality? We haven't lab tested the modified adapter and more testing needs to be done, but this combo seems to deliver very good quality images with a high quality lens in front of it. The Canon EF 24-70mm f/2.8L II USM Lens seemed to perform especially well with the image periphery perhaps becoming slightly softer. Here is a 100% crop from a Canon EOS R5 image processed from RAW in Canon Digital Photo Professional (DPP) using the Standard Picture Style with sharpness set to "1" (0-10 scale).
Note that this setup does not report the reduced aperture and increased focal length to the camera, but the camera continues to work normally.
The adapter modification was not hard to make. Buy a Vello Auto Lens Adapter for Canon EF/EF-S Lens to Canon RF-Mount Camera and follow the steps shared above. I suspect that the greater good of this project was testing the concept. Watch for commercially available adapters designed to fit on a Canon RF extender in your favorite store soon.
We have not tested the Canon EF 800mm f/5.6L IS USM Lens on the Canon EOS 5Ds R, so some discernment is required in the Canon RF 800mm F11 IS STM Lens vs. the Canon EF 800mm f/5.6L IS USM Lens comparison.
Keep in mind that results from a lower resolution camera such as the Canon EOS R6 will show less sharpness degradation from diffraction.
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The first challenging comet photography decision to make was the desired composition. Including landscape or filling the frame with the comet were the options, and the latter option was chosen. After determining that NEOWISE would nearly fill a 200mm frame, the Canon EF 200mm f/2L IS USM Lens was the chosen lens. The wide f/2 aperture is excellent for use in the dark, and the impressive sharpness of this lens at f/2 means that stars (over 7,000 software-recognized in this frame) remain pin sharp.
The next decision was whether or not to utilize an equatorial tracking mount. A 200mm lens directed at the comet's location in the sky with an ultra-high-resolution imaging sensor behind the lens meant that relatively short images, about 2 seconds, were the limit before star trails became noticeable. On the equatorial mount, 13-second images showed no motion, and this was the option taken. Though the 200 f/2L is rather heavy for the Sky-Watcher Star Adventurer Astro Package, this affordable mount along with the Star Adventurer Mini Latitude (EQ) Base and Counterweight Kit were up to this task. With that much weight riding on it, this mount works best on a solid tripod, and the Robus RC-8860 Vantage Carbon Fiber Tripod was a perfect choice. B&H had just sent me a Robus RTH-1050 Ball Head. It works great, so that option was mounted on the Sky-Watcher.
The R5 was set to manual exposure with 13 seconds, f/2, and ISO 1250 selected. High-speed continuous shooting in 1st curtain shutter mode (this is where I learned that the full electronic shutter does not allow exposures longer than 0.5-seconds). A Canon Timer Remote Controller TC-80N3 was plugged in, and its shutter release was locked on. With the Star-Watcher Star Adventurer polar aligned, the lens framing the comet, including the extensive tail that was not readily seen in the viewfinder, and the camera continuously capturing images, I walked away, watching the comet through binoculars and enjoying a bowl of ice cream.
Despite the night having a clear forecast, clouds showed up in the frame a significant amount of the time prior to the comet setting (while the rest of the sky remained clear). Fortunately, 45 images captured contiguously were able to be made cloud-free with slight cropping. 45 x 13 seconds = 9.75 minutes of exposure, long enough to produce a nearly noise-free image and long enough to capture the color in the ion tail.
While the air traffic is not currently as strong as usual, more satellites than ever are in the sky. Nearly every image had at least one satellite, and some photos had as many as three satellites streaking through. I opted to crop out the clouds before processing the RAW image into 16-bit TIFF files and then removed the streaks using the healing brush tool in Photoshop.
The next task was to stack the images. Stacking comet images is a level of challenge higher than stacking star images due to the comet moving at a slightly different rate than the stars. I know, it is the earth that moves the most, but from an earth-bound perspective, the stars and comet are moving. Stack the comet, and the stars become streaked. Stack the stars, and the comet is stretched. Fortunately, some very smart people created DeepSkyStacker software with an option to align both the comet and the stars.
DeepSkyStacker does a superb job, but you would not know that when looking at the default image created. The low-contrast 32-bit image requires "stretching", contrast significantly increased with colors pulled out. The only adjustments made to this image were contrast (levels and curves to stretch the low contrast 32-bit stacked image), saturation (+10 and -60 in PS), and a white balance adjustment (cooled the image slightly).
I love NEOWISE's colored ion tail, pushed away from the sun by solar winds and separated from the dust tail. BTW, the name NEOWISE uses all capital letters because it is an acronym, named after the device that discovered it.
Now, NEOSWISE is gone, effectively, forever.
Comet NEOWISE was awesome but will not be seen again for another 6,800 years.
Hopefully, another comet will entertain us in the night sky long before that.
The larger version of this image available on Flickr looks considerably better.
Here is a list of the available (or announced) RF lenses in priority* order.
* Disclaimer: photographers have greatly varying needs, and therefore, the priority number for each of us may vary greatly, and my numbers may have little meaning for you.
The easy answer to the "Which RF lenses should I upgrade to first?" question is "Replace your most-used lens." All of the RF lenses have advantages over their EF counterparts, and replacing the most-used lens makes a lot of sense, providing the most value.
Also making sense is upgrading to an RF lens that has a desired capability, such as the image stabilization feature in the RF 24-70, much better image quality such as found in the RF 50 L or RF 85 L, or a super-telephoto length at an affordable price.
Why The Above Order?
The trinity of professional-grade f/2.8 L lenses are listed first, and they are listed in order of use frequency for many photographers. These are the lenses this site's audience considers most important overall.
I dropped the RF 100-500 into the 4th slot on this list. This focal length range is extremely useful, includes very long focal lengths, and has professional-grade build and optics without reaching an extreme price level.
For some, the RF 24-105 f/4 L could have a top position on this list. This lens is great for travel and has great general purpose utility. The professional-grade 24-105 L is less expensive and lighter than the RF 24-70 f/2.8 L.
Bring in the primes. The RF 50 L is the 50mm full-frame lens that many of us have long awaited. It is the first Canon 50mm lens I've personally purchased in (probably) over a decade. Both RF 85 f/1.2 models are phenomenal portrait lenses, and people are the most important photo subject. With stock photos unavailable for most people, portrait photography remains a revenue-generating pursuit. The RF 85 f/2 IS promises solid performance at a lower price, and this lens's close-focusing capabilities will be very welcomed in a kit.
The RF 35 is small, light, bright, close-focusing, inexpensive, and fun. Just get one.
An f/11 fixed aperture lens? Sounds like a crazy idea to many of us. However, getting these extreme focal lengths into the size, weight, and price point Canon achieved is remarkable. The image quality is not bad, especially from the lower resolution imaging sensors.
Having an f/2 aperture available over an entire general-purpose focal length range is awesome. The RF 28-70 is large, heavy, and expensive, but for the niche that needs this lens' advantages (think wedding and event photographers), this lens is priceless.
There are times when only a single lens can be chosen for multi-purpose needs. The RF 24-240mm lens's 10x zoom range covers those needs much of the time.
When small, light, and inexpensive are critical lens attributes, the RF 24-105mm F4-7.1 raises its hand to fill the need.
I listed the RF extenders last. At this time, only the RF 100-500, RF 600, and RF 800 are compatible with the RF extenders. The cost of the extenders is approaching the cost of these two low-priced prime lenses that already have very long focal lengths, and the narrow max apertures of these lenses reduces the benefits an extender can provide. Using the 1.4x on the not-yet-available RF 100-500 is going to make a lot of sense, but I'm less sure about the 2x. I expect the extenders to have significantly greater value when high-end RF telephoto prime L lenses become available.
I plan to migrate all of my Canon lenses from EF to RF where similar models exist (except for those required for testing purposes). If your budget enables upgrading, I recommend doing so.
What is your RF lens plan?
Sony "Kando Everywhere" Registration Opens
Free Online Event For Content Creators To Be Held August 15-16 Now Open For Registration
Registration Opens for Sony’s Digital “Kando Everywhere,” a Free Online Event for Content Creators
SAN DIEGO – August 11, 2020 – Sony Electronics Inc. will continue their annual “Kando Trip” event tradition with “KandoEverywhere” — a two-day online event taking place this weekend, August 15th – 16th. The digital event is open to all guests, at no cost for attendance, and will feature a variety of educational workshops, keynotes presentations and panel discussions led by Sony ambassadors, community leaders, partner sponsors and others.
Highlights of the weekend include:
Several giveaways will be made available for attendees as well, including one-year memberships to Pro Support and Adobe Creative Cloud, limited edition signed prints from Epson and a variety of Sony Alpha cameras and lenses — including the highly anticipated new Alpha 7S III camera. To register for this event, please visit AlphaUniverse.com/kando-everywhere.
I have not been this excited about a camera in a long time — two R5 bodies are now part of my kit. It will now be hard to go back to a DSLR.
Get in line for the Canon EOS R5:
Preorder the Canon EOS R6:
This is an interesting lens from numerous perspectives, but focal length per dollar (euro, pound, etc.) is one, and focal length per lb (kg) is another. Here is a comparison with Canon's other 600mm lens, both set to their widest apertures:
At f/11, the RF 600 is already being impacted by the softening effects of diffraction. Another interesting comparison is between the same two lenses at f/11.
Affected Canon USA websites include:
Sigma Announces the 85mm F1.4 DG DN | Art Lens
The Definitive Portrait Prime for the Mirrorless Age
Ronkonkoma, NY - August 6, 2020 - Redefining the portrait lens category, the Sigma 85mm F1.4 DG DN | Art lens is a completely new design for full-frame mirrorless cameras, as the "DN" designation indicates. Announced today by Sigma Corporation, this is a complete reinvention of the definitive fast-aperture portrait prime that pairs class-leading optical performance with a compact, dust-and splash-proof design. Offered in both L-Mount and Sony E-Mount, this lens features a completely new optical formula that includes five Special Low Dispersion Elements and one aspherical element for exceptional edge-to-edge image sharpness. This new optical formula also thoroughly corrects aberrations, resulting in visually pleasing images with no color bleed, even at maximum aperture. Plus, the 11-blade rounded diaphragm ensures smooth, attractive bokeh. The 85mm F1.4 DG DN | Art lens is handcrafted to the most exacting optical and mechanical tolerances in Sigma's Aizu, Japan production facility.
"Briefly put, the Sigma 85mm F1.4 DG DN | Art pairs large-aperture, professional-caliber optical performance with a lightweight, sturdy, and compact body, a combination which has long been difficult to achieve," reports Mark Amir-Hamzeh, President of Sigma Corporation of America. "This vision is finally realized with the new 85mm F1.4 DG DN | Art lens."
A smaller focusing lens is paired with the stepping motor, which is optimized for both phase detection and contrast detection autofocus, allowing for this lens to be notably smaller than the 85mm F1.4 DG HSM | Art lens — over an inch shorter and more than a pound lighter than the previous version — while achieving a higher degree of edge-to-edge sharpness from F1.4 and through the entire aperture range.
The Sigma Art line has been consistently redefining both imaging excellence and pleasing in-the-hand experience, and this new lens continues that legacy. Dust and splash-proof design, aluminum and TSC (Thermally Stable Composite) construction, a brass bayonet, plus well-damped switches and rings demonstrate the level of build quality that the Art name represents. Additional benefits include an aperture ring that allows for clicked and de-clicked operation, a programmable AFL button on the lens barrel, and a new Iris Ring Lock Switch that prevents unintended movement of the aperture ring during image capture.
This combination of imaging characteristics, build quality, and compact size for its focal length and aperture combine to make this the class-defining portrait lens for full-frame mirrorless camera systems.
This is a top-selling lens. Our review of the Sigma 24-70mm f/2.8 DG DN Art Lens was interrupted by the new Canon gear arrival, but the test results are very helpful in telling this lens's story.
Canon EOS Ra firmware version 1.5.0 — Download
Firmware Version 1.7.0 and 1.5.0 incorporate the following enhancements:
1. Support has been added for the following lenses:
2. The operation of playing back through the multi-function bar has been improved (please refer to the latest version of the camera's Instruction Manual that is released with the firmware update).
3. Support for the Battery Pack LP-E6NH has been added.
Firmware Version 1.5.0 incorporates the following enhancements:
Support has been added for the following lenses:
Lens firmware updates incorporate the following enhancement:
The lens-based image stabilizer function works together with the camera-based image stabilizer function to achieve greater image stabilization effects with EOS R5/EOS R6.
The following lens firmware updates incorporate the following enhancement:
Focusing performance has been improved when using the Servo AF continuous shooting mode.
From Breakthrough Filters:
“Breakthrough R” Drop-In Filter System for Canon R-series cameras.
San Francisco, California – Breakthrough Filters today unveiled a new drop-in filter system called “Breakthrough R”, comprising 27 filters designed specially for Canon R-series cameras, such as the Canon R5 and R6. Every filter manufactured by Breakthrough Filters is now available as a “R” drop-in filter, including a number of all-new filters such as the world's first Variable ND which covers 2 to 11-stops, without an "X Pattern", Black & White Polarizers and Infrared.
“Breakthrough R” Drop-In Filters feature a rugged, weather-sealed construction designed to withstand the elements with dust and water resistance. And to make identifying filters fast and easy, each filter is color coded. Multiple “Breakthrough R” filters are easily stored in an all-new compact travel friendly cases that fits up to 5 filters. And an improved, larger adjustment wheel makes fine tuning polarization smoother than before.
Largest Selection of Drop-In Filters
The new “Breakthrough R” Drop-In filter system has a wide range of 27 filters to choose from – Neutral Density, Polarizers, Dark CPLs, Infrared, Night Sky, VNDs and Black and White Polarizers.
X4 CPL Performance: Highest Transmission, Lowest Color Cast
Performance is critical to pros, whether they’re shooting detailed landscape images or 8K video. The X4 CPL is the most color neutral polarizer, with an unrivaled light transmission of 50.24%.
When compared to industry leading filter manufacturers of both circular and drop-in polarizers, the X4 CPL R ranks number one for light transmission and color cast performance, followed only by the Canon Drop-In CPL at 43.06%.
The result of a higher light transmission is faster shutter speeds, which can translate into sharper images and the ability to use a lower ISO when shooting video.
X4 Neutral Density Performance: Sharpest and Most Color Neutral ND Filters
Canon does not currently offer solid ND drop-in filters, however, optical performance of the X4 ND exceeds industry leading manufacturers such as Singh-Ray, B+W, Lee and many others. The X4 ND has the most neutral color transmission throughout the visible range and well into infrared.
X4 ND R filters are available individually or as part of a set and come in 3, 6, 10, 15 and 20-stop densities.
Dark CPLs, Night Sky and Infrared
Breakthrough Filters is announcing a number of other “Breakthrough R” filters available for pre-order, including Dark CPL R in 3, 6 or 10-stop densities. The Night Sky R drop-in filter eliminates artificial light pollution between 570 and 610 nanometers within the visible light spectrum and the Infrared 720 R drop-in Infrared filter cuts visible light up to 720 nanometers.
Breakthrough VND-R: World's Largest Density Range
Breakthrough Filters is announcing a VND filter system with the largest density range of 2 to 16-stops, which comprises two filters: VND-R and Dark VND-R.
The VND-R is the first Variable ND to feature 2 to 11-stops in one filter – without the "X Pattern". The effective density range of the Dark VND-R is 10-16-stops, with one stop of overlap between VNDs.
To limit the negative consequences of the "X Pattern" caused by cross-polarization, brands of Variable ND filters make numerous VND filters, each with a small density range, thereby requiring numerous VNDs to cover a large density range.
For the first time, the VND-R Filter System allows photographers and filmmakers to make exposure changes faster and more conveniently without the need to constantly change filters.
Comparing color and transmission performance of the many Variable ND filters on the market, the Canon Drop-In VND performs impressively, easily outperforming every Variable ND on the market for color cast and overall transmission performance, ranking second only to the Breakthrough VND-R.
Even on super-wide lenses such as the Canon 11-24mm, Sigma 12-24mm, Tamron 15-35mm, the VND-R and Dark VND-R perform exceptionally well without any visible "X Pattern".
The VND-R and Dark VND-R are available for pre-order individually or as a "VND-R Set".
Black & White Polarizers
In Black & White photography a circular polarizer is often stacked with colored filters, however with the all-new Black & White Polarizers the photographer is able to achieve the same result with a single filter.
Yellow, Red, Orange and Green Polarizers can be purchased individually, or bought as a set, and is available for pre-order.
Pricing and Availability
Watch for this: Breakthrough Photography will soon be introducing a weather sealed EF to RF Drop-In Filter Mount Adapter.
These cameras are very impressive performers. The sample image included in this post shows the eye-tracking AF point following the galloping horse rider near the edge of the frame during a 20 fps capture.
Tamron Announces the Development of the World’s Smallest and Lightest1 Telephoto Zoom Lens for Sony E-mount Full-Frame Mirrorless Cameras
70-300mm F/4.5-6.3 Di III RXD (Model A047)
August 3, 2020, Commack, NY - Tamron announces the development of a new telephoto zoom lens for Sony E-mount full-frame mirrorless cameras, the 70-300mm F/4.5-6.3 Di III RXD (Model A047). The lens is planned to launch in Fall 2020.
1 Among 300mm-capable telephoto zoom lenses for full-frame mirrorless cameras (As of July, 2020: Tamron)
While Tamron has manufactured many popular telephoto zoom lenses that extend to 300mm for DSLR cameras, the new 70-300mm F4.5-6.3 is the first model designed for full-frame mirrorless cameras. Developed with the concept of bringing the joy of easy telephoto shooting to photographers everywhere, it’s the world’s smallest and lightest 70-300mm zoom lens at 5.8 in., 19.2 oz. and maximum diameter of 77mm, and delivers exceptional image quality.
Its Moisture-Resistant Construction provides greater protection when shooting outdoors and the lens shares the 67mm filter diameter common to all members of Tamron’s lens series for full-frame mirrorless cameras. The lens also takes full advantage of in-camera features, including Sony’s Fast Hybrid AF and Eye AF that support a fantastic shooting experience. The 70-300mm F4.5-6.3 is a highly practical lens that makes the excitement of telephoto shooting easier than ever before across a diverse range of shooting styles including landscapes, sports and other athletic events, wildlife, portraits, and more.
Specifications, appearance, functionality, etc. are subject to change without prior notice.