Luminar AI Update 4 — Beautiful Bokeh In Seconds
With the fourth update to Luminar AI, Skylum introduces Portrait Bokeh AI, a powerful new tool for the portrait photographer’s toolbox.
NEW YORK, NY - July 27, 2021 — Today, Skylum released LuminarAIUpdate 4, which delivers the much-anticipated Portrait BokehAI along with other, useful, free features to help visual storytellers unlock their creativity.
Complete control of focus with Portrait BokehAI
Building on our AI-guided depth mapping tools, Portrait BokehAI isolates the subject of a portrait from the background. It recognizes people in groups or in unusual positions or poses. With subjects isolated from the background, Portrait BokehAI blurs the background to emulate the rich, hazy bokeh of a high end lens at a wide open aperture.
Intelligent mask creation. Thanks to amazing artificial intelligence, LuminarAI can recognize people in a photo and can create the perfect mask to separate subjects from the background. The mask is generated automatically, but the artist can still refine and customize the mask to add or subtract focus to a photo.
Creative control. While the bokeh is automatically generated, it is entirely controlled by the artist with a single slider.
Any lighting; any lens: Traditionally, creamy bokeh could require expensive cameras and lenses coupled with complex lighting. No more. Bokeh PortraitAI works on any portrait.
Refined backgrounds. In addition to adjustable bokeh, artists can further refine the background using sliders to adjust the background exposure, add glow to highlights, set a specific depth of field and refine edges.
Stunning subjects. With the background made perfect, artists can use our AI-powered Portrait Tools — FaceAI, SkinAI and BodyAI — to really make subjects stand out in the frame.
Audition Textures with visual preview
We’ve improved Textures to help artists see how they might be used to achieve their creative vision. To understand how a Texture might fit your work in progress, you can now visually browse Textures just as you do with our SkyAI and Augmented SkyAI tools. Using custom Textures? They are now also accessible right within the dropdown grid. Artists can also load their own textures for reuse to build up a library of their favorites.
Visual Horizon Control in SkyAI
We pride ourselves on making complex things simple for our artist community. With that in mind, we’ve reimagined how replacement skies are aligned to the horizon in SkyAI. The Vertical Position, Horizontal Position, and Horizon Blending sliders have been replaced with the Shifting Horizon Control, found in the Sky Orientation section. This single control allows the artist to better position a replacement sky in the frame to align it with the horizon and create a much more seamless and naturalistic final image.
LuminarAI Update 4 is a free update for current LuminarAI users. To update:
macOS: Open LuminarAI. In the Top Menu Bar, choose LuminarAI > Check for updates. If you purchased via the Mac App Store, open the App Store and go to the Updates tab.
Windows: Open LuminarAI. In the Top Menu Bar, choose LuminarAI > Help > Check for Updates.
If you are running LuminarAI as a plugin with Photoshop, Lightroom Classic or Photoshop Elements, it’s also recommended you rerun the plugin installer. Click here for more information.
The LuminarAI user manual has also been expanded to make it easier than ever for users to search and find answers to questions they might have about LuminarAI.
To purchase LuminarAI, visit https://skylum.com/luminar-ai.
Don't forget to use our coupon code THEDIGITALPICTURE to (usually) get a $10.00 discount.
Sony Electronics Introduces the New Interchangeable-Lens Vlog Camera ZV-E10 for Vloggers and Video Creators
The ZV-E10 APS-C Camera Delivers High Quality Video and Audio Performance, Vlog-Optimized Functions and Versatile Connectivity – Perfect for Video Creators
SAN DIEGO, CA – July 27, 2021 – Sony Electronics Inc. today announced the first Alpha series interchangeable lens vlog camera, the new ZV-E10. Designed from the ground up for vlogging and vloggers, the new camera combines Sony’s advanced imaging technology with extensive usability and a custom-built feature set that is optimized for video creators.
At its core, the ZV-E10 features a 24.2-megapixel (approx. effective) APS-C Exmor™ CMOS sensor and BIONZ X image processing engine to produce high-quality imagery with high-sensitivity, detailed texture depiction and beautiful natural bokeh. Additionally, the ZV-E10 includes the acclaimed vlogging-specific features favored in the popular ZV-1 digital camera including “Background Defocus”[i] that can smoothly switch between a blurred (bokeh) and sharp background, as well as the “Product Showcase Setting”[ii] mode that allows the camera to automatically shift focus from the subject’s face to an object being highlighted.
“With the introduction of Sony’s first interchangeable lens vlog camera, the ZV-E10, we are excited to meet the growing needs of today’s creators,” said Yang Cheng, Vice President, Imaging Solutions, Sony Electronics Inc. “The new ZV-E10 pairs the versatility and excellent image quality of a large-sensor interchangeable lens camera with user-friendly features that are specifically designed for vlogging, making it an ideal tool for video creators looking to transition to a more advanced set up.”
The ZV-E10 features a video-first design in a lightweight form factor (approx. 12 oz. / 343g[iii]) and includes the popular side-opening Vari-angle LCD Screen that allows creators to connect external mics on top of the camera. This simplifies setup while still allowing users to see the screen in selfie shooting mode and from high and low angles.
In addition to the screen, the ZV-E10 includes several other easy-to-use functions that are specifically designed for vlogging, including a new mode button located on the top of the camera that allows creators to easily change between Still/Movie/Slow and Quick modes with just one touch.
The new camera also includes advanced video features such as 4K (QFHD: 3840 x 2160) video shooting and Slow Motion with high picture quality (FHD 120p)[iv]. Electronic image stabilization with Active Mode[v] is also available and delivers stable video recording even while walking and shooting hand-held. Further, the ZV-E10’s advanced AF (autofocus) technology provides fast, precise AF with excellent tracking performance, as well as high quality audio for clear sound recording.
Sony Vlog Challenge Contest
Together with this announcement, Sony will host their second Sony Vlog Challenge Contest that encourages entrants to create a vlog that highlights something that they are the most passionate and enthusiastic about. The entry period is July 27 – September 27, 2021 and is open to video creators in the U.S. (excl. terr.) and Canada (excl. Quebec). See contest official rules here*.
An Interchangeable Lens Camera for Expanded Creative Expression
The ZV-E10 allows the user to expand their creative expression by utilizing the ideal lens for each individual scene they want to shoot. The wide variety of compatible lenses in Sony’s E-mount lens lineup lets the user choose the perfect lens based on their creative vision.
Sony’s industry-leading AF technology enables the user to leave focusing to the camera so that they can concentrate on composing their shot. The ZV-E10 includes Fast Hybrid AF and Real-time Eye AF for video[vi] with Real-time Tracking[vii] that allows the camera to keep track of the subject’s face and eyes for fast and precise autofocusing even while recording on-the-go and in challenging environments. The user can also customize the camera’s AF settings, such as AF Transition Speed and AF Subject Shift Sensitivity, to choose the rate at which the camera shifts from one point to another according to their creative preferences.
Additionally, the ZV-E10’s Touch Focus function allows the user to intuitively set the focus position by simply touching the screen. With one tap, the user can instantly shift the focus position from one subject to another – almost anywhere in the frame. This is available in both still and video modes.
High Quality Audio
Sony’s leading technology, thanks to its internal Directional 3-Capsule Mic, enables the ZV-E10 to capture crystal clear sound recordings that accurately capture the speaker’s voice and the supplied wind screen to greatly reduce wind noise. For expanded audio options, the ZV-E10 includes a Digital audio interface via Multi Interface (MI) Shoe and a mic jack to connect an external mic. The inclusion of a headphone jack allows the user to connect headphones to accurately monitor sound recordings. Audio output timing can also be set for Live or Lip Sync.
Putting the Subject First
When shooting in different settings with dramatic changes in light, the user can rest assured that the ZV-E10 will automatically correct the exposure, using an original Face Priority AE (autoexposure) algorithm capable of rapid AE transitions, so that the subject’s face is not over or under exposed. This allows the camera to detect the subject’s face and adjusts the exposure to ensure that the face is depicted at optimal brightness, even when selfie-shooting in scenes with extreme changes in lighting, and even if the subject’s face turns away momentarily from the camera. In addition, the camera features the same advanced color science from the popular ZV-1 to optimize skin tones for any subject in both still and video modes.
Cutting-Edge Video Features
Designed for Video Creators
Users can comfortably operate the new ZV-E10 thanks to its easy-to-hold body grip and large MOVIE button that is conveniently located on top of the camera. When paired with the optional Shooting Grip with Wireless Remote Commander (GP-VPT2BT, sold separately), one-handed shooting is simplified with easy to access zoom, record and a customizable button. A recording lamp (tally light) is also provided on the front face of the body for an at-a-glance indication of recording status. A red frame on the LCD screen also appears while recording to quickly and easily lets the user know if recording is active when behind the camera.
A unique feature of the ZV-E10 is the zoom lever that can operate optical zoom with power zoom lenses and Clear Image zoom with both zoom and prime lenses. Using Clear Image zoom, the user can zoom without losing video resolution to maintain full 4K video. The user can also choose from eight zoom speed settings for added creative flexibility.
The ZV-E10 features long battery performance with enough power to capture up to 125 minutes[xv] or 440 images[xvi] on a full charge so the user can record for long periods without worry. When shooting indoors, AC power supplies like the optional AC-PW20AM can supply power, so the user can continue to record without worrying about battery consumption. Power can also be supplied through a USB Type-C® connector, allowing external batteries to power the camera for extended battery life when shooting on the go. To conserve the camera’s battery, the ZV-E10’s Vari-angle LCD Screen allows the user to put the camera into Power save mode[xvii] by closing it and instantly turn the camera on by opening the panel.
The ZV-E10 can also be used as a high-quality webcam or live streaming camera by simply connecting it to a PC or smartphone[xviii] for increased mobility while streaming with no additional software needed. The feature allows the user to take advantage of the ZV-E10’s outstanding image quality and crystal-clear audio as well Face Priority AE and Soft Skin Effect while livestreaming or on video calls. The ZV-E10 supports standards used for USB cameras like UVC (USB Video Class) / UAC (USB Audio Class). The ZV-E10 also allows users to connect to a power supply via USB cable while livestreaming for longer usage. For added convenience, the user can assign this function to a custom button to start streaming instantly.
Easy File Data and Transfers
Using Sony’s Imaging Edge Mobile app[xix], users can transfer selected images and video files to a mobile device via Wi-Fi. This also allows the user to transfer RAW image files. After the camera has been paired to the Imaging Edge Mobile app, the files’ location data can be acquired from the mobile device and recorded. Users can transfer files from an SD card in the camera to a smartphone (mobile device) via Bluetooth even if the camera is powered OFF[xx].
Pricing and Availability
The new ZV-E10 will be available in black and white in the end of August for approximately $700.00 USD and $900.00 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
A new kit featuring the ZV-E10 camera and E PZ 16-50mm F3.5-5.6 OSS power zoom lens will also be available in the end of August and will be sold for approximately $800.00 USD and $1,000.00 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 brand.
New content will also be posted directly at the Sony Photo Gallery. For detailed product information, please visit:
(US) – ZV-E10
(CA) – ZV-E10
For more information on the ZV-E10 visit the Alpha Universe website ZV-E10 page.
More information on the Sony Vlog Challenge Contest can be found HERE.
* NO PURCHASE OR PAYMENT NECESSARY. “Sony Vlog Challenge Contest”. Open to legal residents of U.S. / D.C. (excluding territories) and Canada (excluding Quebec), 18+ (19+AL, NE,) at time of entry. 07/07/21-09/07/21. See Official Rules, including prizes, entry instructions, and odds of winning at https://www.sony.net/united/sonyvlogchallenge/northamerica/en. Void in P.R., Quebec and where prohibited. Sponsor: Sony Electronics Inc., 16535 Via Esprillo, San Diego, CA 92127.
[i] Background Defocus is the name of the function assigned by default to the C1 button. Aperture values in Bokeh Switch Defocus / Clear are as follows. Movies: [Background Defocus: Defocus] lens widest aperture; [Background Defocus: Clear] F8-11, controlled automatically between F8 and F11 according to the environment. Stills: [Background Defocus: Defocus] lens widest aperture; [Background Defocus: Clear] F11. F values are not displayed in either Movies or Stills. The menu item associated with the Bokeh Switch is named “Background Defocus”.
[ii] When Product Showcase Setting is activated image stabilization on this model it remains on.
[iii] With battery and memory card included.
[iv] A Class 10 or higher SDHC/SDXC memory card is required to record movies in the XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps.
[v] Image crop in Active Mode. Active Mode is not available when recording at frame rates of 120 (100) fps, including S&Q
[vi] Real-time Eye AF for animals is not available in movie shooting.
[vii] Tracking” in the menu.
[viii] When recording at 24p. With image stabilization Off/Standard Mode.
[ix] A Class 10 or higher SDHC/SDXC memory card is required to record movies in the XAVC S format. UHS-I (U3) SDHC/SDXC card is required for 100Mbps
[x] Sound recording is not possible. A Class 10 or above SDHC/SDXC card is required.
[xi] A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording. Frame rates are 1-120fps (NTSC) or 1-100fps (PAL).
[xii] Wi-Fi is not operational during interval shooting
[xiii] Time-lapse movie creation is possible on a PC
[xiv] Connect this product to an HDR (HLG) compatible Sony TV via a USB cable to display HDR (HLG) movies
[xv] Continuous recording time for movies. Actual performance varies based on settings, environmental conditions, and usage.
[xvi] CIPA standards.
[xvii] On this model, whatever the screen orientation (inward or outward facing), the user can shoot as soon as they open the screen.
[xviii] Your PC or smartphone OS must be compatible with UVC/UAC to use this functionality. Among smartphones, operation has been verified with the Xperia 1 II and Xperia 5 II (latest firmware required) for Android™ 11 or later (As of May 2021). Compatibility with other smartphones depends on manufacturers’ specifications. A commercially available USB cable and/or terminal adaptor may be used to connect to equipment with a USB Type-C port.
[xix] Imaging Edge Mobile version 7.5.1 or later is required. Download app at Google Play and the App Store. Network services, content, and operating system and software subject to terms and conditions and may be changed, interrupted or discontinued at any time and may require fees, registration and credit card information.
[xx] “Power off connection” in the camera’s smartphone settings must be turned ON, and the camera and smartphone must be paired via Bluetooth.
As expected, this lens is a stellar performer.
Despite the Canon RF 600mm F4 L IS USM Lens and EF 600mm f/4L IS III USM Lens being nearly identical, including a shared optical design, one opportunity for the RF 600 to differentiate itself was optical performance with extenders. More specifically, RF extenders vs. EF extenders.
If you want this lens, get in the preorder line ASAP. I expect it to be hard to get for a long time.
I scheduled three days to photograph Custer State Park in South Dakota. Those three days included two significant travel days and followed a nearly 1-week-long photo trip in Badlands National Park. On that day, the plan was for my daughter and I to scout from Spearfish Canyon down into Custer State Park.
Upon arriving in the park, the highest priority was to scout a milky way photography location in The Needles, featuring incredible rock formations. A Needles Highway closure foiled that plan. An unfortunate person's camper was stuck in the Needles Tunnel, a peril relatively easy to encounter in this extremely narrow tunnel.
After checking in to the hotel mid-afternoon and grabbing a bite to eat, my daughter and I drove the Custer State Park wildlife loop in search of wildlife subjects. That endeavor was mostly unproductive, with only the donkeys cooperating on this evening.
Exhausted from driving all day (and a rough schedule for the prior two weeks), we opted to sleep in the next morning. With the camper now extracted from the tunnel, the original Needles Highway scouting mission was completed late on our only full day in the park. The perfect position was established, and with help from The Photographer's Ephemeris and a compass, it was determined that the milky way would ideally align just before 3:30 AM, just before the sky started brightening in the morning (nautical start).
Hotel checkout was in the morning, and a 7-hour drive to the airport was on the must-do list. Thus, a reasonable amount of sleep was required for a safe drive. However, the National Weather Service forecasted the clouds to (finally) dissipate at approximately 2:30 AM, the already set moon meant that the sky would be dark, and I couldn't pass up this opportunity. So the alarm went off at 2:30 AM. We jumped into warm clothes and drove to the selected site.
While it was the middle of June, the air temperature was low and the sustained wind speed was extremely high. Tucking into the rock spires helped reduce the felt wind, and the high-performing Really Right Stuff TVC-24L Mk2 Tripod and BH-40 Ball Head combination took care of the remaining stabilization requirements. Every frame the Sony Alpha 1 and Sony FE 12-24mm f/2.8 GM Lens captured on this shoot was tack sharp.
Upon establishing the ideal composition, with manual focus on the stars, images were captured in quick succession (as quick as 25-second exposures permit) to ensure the perfect alignment among the needles spire formations, including the Needles Eye, was captured. Also captured was an increasingly bright blue sky, providing a range of options to choose from later. As the new day dawned, the sky continued increasing in brightness, with the foreground brightening as well. Once the milky way had passed through the optimal alignment among the spires, it was time to do some light painting for foreground compositing options.
My light painting flashlight of choice is the Black Diamond Spot 325 Headlamp. This small, lightweight headlight is an excellent all-around choice for outdoor photographers, featuring an extremely bright spot light for navigating in the dark, a red light for preserving night vision, and lower-power floodlight that casts a wide, even light, perfect for many uses, including light painting. The duration of the light panning across the scene was informally measured by counting and adjusted from frame to frame to create varying brightness options.
To gain improved directionality to the light painting, the flashlight was positioned around the far side of the nearby rock spire. The 10-second self-timer provided time to run to this position after the shutter was released.
At 4:00 AM, the milky way was no longer visible. Tired but exhilarated, we packed up and headed back to the hotel for second bedtime.
As so often is the case, the memory of the tiredness, coldness, and effort required for this shot was short-lived, already faded. However, the photos and positive memories will last a lifetime.
Note that a benefit of shooting at this time of the day was that, not surprisingly, we didn't see another car or person during this entire shoot.
A larger version of this image is available on Flickr.
Get the full details here:
TAMRON Announces Development of its First Lens for FUJIFILM X-Mount, Also Available in Sony E-mount
The world’s first 16.6x all-in-one zoom for APS-C mirrorless cameras
July 21, 2021, Commack, NY - Tamron Co., Ltd. announces the development of its first lens for FUJIFILM X-mount and Sony E-mount cameras simultaneously. The lenses are expected to be available in the Fall 2021.
Since the launch of the 28-75mm F/2.8 Di III RXD (Model A036), a fast-aperture standard zoom lens for Sony E-mount full-frame mirrorless cameras in 2018, TAMRON has continually expanded its line of lenses for Sony mirrorless cameras. The popularity and wide adoption of these lenses prompted many user requests for the manufacture of the lens for other camera brands.
As a specialist in the all-in-one zoom lens category, TAMRON recognized the potential to develop the first all-in-one zoom lens for the FUJIFILM X-mount. The 18-300mm F/3.5-6.3 Di III-A VC VXD (Model B061) is the world's first all-in-one zoom lens for Sony and FUJIFILM APS-C mirrorless cameras featuring a 16.6x zoom ratio. To provide the pleasure of photography to more people around the world, TAMRON will continue to develop unique products and expand the number of lenses compatible with more camera brands.
 Among interchangeable zoom lenses for APS-C mirrorless cameras (As of June 2021: TAMRON)
 Di III-A: For APS-C format mirrorless interchangeable-lens cameras
Overview of the 18-300mm F/3.5-6.3 Di III-A VC VXD (Model B061) features
The 18-300mm F3.5-6.3 covers a wide zoom range from approximately 27mm to 450mm (full-frame equivalent focal length). The first APS-C mirrorless camera zoom lens in the world with a 16.6x zoom ratio, the lens delivers the benefits of a versatile all-in-one zoom lens ideal for a broad array of photographic possibilities. Its AF drive system uses TAMRON’s linear motor focus mechanism VXD (Voice-coil eXtreme-torque Drive) for superior quietness and agile performance; and the lens includes special lens elements arranged precisely to maintain high resolution performance from edge-to-edge and provide high image quality that is among the best of all all-in-one zoom lenses.
With an MOD (Minimum Object Distance) of 5.9” at the wide end and a maximum magnification ratio of 1:2, this lens performs astonishingly well in its category when shooting up close. It is equipped with TAMRON's proprietary VC (Vibration Compensation) mechanism that supports stable photography even at ultra-telephoto focal lengths. And it features a unified Ø67mm filter size, the same as most other TAMRON lenses for mirrorless cameras.
* Specifications, appearance, functionality, etc. are subject to change without prior notice.
Get the details on the new Oben Skysill Series Aluminum and Carbon Fiber Tripods at B&H.
Note that this year's Olympic Games are still referenced as "2020" despite being held in 2021. From Canon Inc.:
July 19, 2021
Canon Marketing Japan Inc.
Canon establishes professional photographer Photo service center inside the Tokyo 2020 Main Press Center
TOKYO, July 19, 2021—Canon Inc. and Canon Marketing Japan Inc. announced today that the company will establish a photo service center for professional photographers in the Main Press Center (MPC), where members of the international press gather, during the Olympic and Paralympic Games Tokyo 2020 (henceforth, Tokyo 2020 Games) with the purpose of ensuring photographers are as best-equipped as possible to capture exciting and definitive moments of top-class athletes.
Professional photographers around the world require camera manufacturers to develop state-of-the-art technologies and top-class-performance equipment, as well as provide a comprehensive network of meticulous service and support.
Thus far, Canon has provided on-site support for press photographers, including camera and lens maintenance and technological support, behind the scenes at major sporting events around the world. The Tokyo 2020 Games are no exception—there too, Canon will apply its professional support know-how acquired over its long history in order to provide flexible and appropriate support for photographers and the various requests and equipment troubles they may have.
The Tokyo 2020 Games Main Press Center, located in the West Hall of the Tokyo Big Sight convention center, is expected to receive many members of the international press. As a Gold Partner of the Tokyo 2020 Games (still cameras and desktop printers), Canon aims to contribute to the successful operation of the event. With this goal in mind, the company will establish the largest camera photo service center of this event within the MPC.
At the photo service center, which will operate under the motto of "Zero Downtime" to ensure that photographers don't miss their chance at capturing decisive moments of this intense competition due to equipment trouble or other such problems, Canon will provide speedy maintenance service, equipment repairs and loaning of replacement equipment so that photographers can always be ready and in the best possible condition.
The Canon photo service center will provide such equipment as the company's professional flagship camera, the EOS-1D X Mark III, as well as the EOS R5 and EOS R6 mirrorless cameras and super-telephoto lenses. In addition, elite and highly trained staff will be working on-site to support photographers until the end of the closing ceremonies of the Tokyo 2020 Games.
In addition, Canon's remote camera system will be used at the event venues. The Robotic Camera System CR-S700R enables digital interchangeable-lens cameras (DILC) to be operated remotely, including the ability to adjust shooting angles, and can be installed and used in locations at the event areas where human photographers cannot access, such as from ceilings.
Canon strives to support photographers aiming to capture historic and powerful moments of top-class athletes engaged in fierce competition and contribute to the promotion and development of photographic culture. In addition, the company will support the efforts of the media to deliver to people around the world moments of passion and excitement during the sporting world's premiere event, thus contributing to the promotion of the Olympic and Paralympic movement.
*The Canon photographer service center will take thorough precautions against the spread of COVID-19 infections in order to ensure that photographers and staff may use and operate the booth safely and with peace of mind.
Canon adopts a white paint coating for its L-series telephoto and super-telephoto lenses.
Canon developed the signature white of its lens barrels as a tool for photographers at international sporting events. The first such lenses* produced by the company, the FD600mm f/4.5 S.S.C. and FD800mm f/5.6 S.S.C. large-diameter super-telephoto lenses, were released in June 1976.
Compared with standard lenses, super-telephoto lenses are much larger, and therefore more prone to the effects of sunlight and are frequently used under the intense heat of the summer sun.
In order to reduce the adverse effects that heat has on the lens' optical performance, Canon adopted its signature white coating for its lens barrels, which reflects heat more effectively than black. Canon continues to improve this technology through such improvements as a proprietary heat shield lens barrel coating used by the EF400mm f/2.8L IS III USM and EF600mm f/4L IS III USM lenses (released in 2018).
At various sporting events held worldwide, there is often a "sea of white" in the photographers' section—rows upon rows of professionals using Canon lenses. Among photographers, these lenses gained the nickname "white lenses," and the color white came to be known as a marker of a high-performance professional lens.
*Among lenses for interchangeable-lens cameras. The lenses were used with the TV2000mm f/11 super-telephoto lens (released in September 1960) for broadcast cameras for broadcasting baseball matches. Reference: Realizing remote operation for DILCs that support on-location press
Remote still photography image capture solution Robotic Camera System CR-S700R
For on-location press at sports matches and other events, remote camera technology enables still photography from perspectives and angles that would not be possible through conventional means. Allowing photographers to operate their cameras from a distance, this technology is becoming increasingly widespread.
In February 2020, Canon released the Robotic Camera System CR-S700R solution for capturing still photos using interchangeable-lens cameras* via remote operation.
The Robotic Camera System CR-S700R, developed in response to and in order to meet the needs of users worldwide, supports the still image capture for press photographers.
*Compatible with the following camera and lens models: EOS-1D X Mark III (released in February 2020), EOS-1D X Mark II (released in February 2016), EF11-24mm f/4L USM (released in February 2015), EF16-35mm f/2.8L III USM (releases in October 2016), EF24-70mm f/2.8L II USM (released in September 2012), EF70-200mm f/2.8L IS III USM (released in September 2018), EF70-200mm f/2.8L IS II USM (released in March 2010), EF24-105mm f/4L IS II USM (released in October 2016), EF100-400mm f/4.5-5.6L IS II USM (released in December 2014). As of July 19, 2021.
From Canon Inc.:
Notice Regarding Revision of Consolidated Results Forecast
Canon Inc. (the “Company"), at a Board of Directors’ meeting held on July 19, 2021, revised the consolidated results forecast for the fiscal year ending December 31, 2021 that it released on April 26, 2021 as follows.
1. Revision of Consolidated Results Forecast for Fiscal Year Ending December 31, 2021
Millions of yen (except per share amounts)
|Net sales||Operating profit||Income before income taxes||Net income attributable to Canon Inc.||Net income per share|
|For reference, Fiscal 2020||3,160,243||110,547||130,280||83,318||79.37|
2. Reason for Revision
In the second quarter of 2021, as was the case in the first quarter, sales of inkjet printers, which continue to be in high demand due to more people working and learning from home globally, grew strongly. Additionally, even amid restrictions on activities linked to the COVID-19 pandemic, interest in and demand for cameras increased, resulting in sales remaining strong in each region, particularly for full-frame mirrorless cameras and interchangeable lenses. [emphasis added] The Company is also posting sales growth of other products, such as medical and semiconductor lithography equipment, thanks to favorable market conditions. Amid inflation caused by a shortage of goods, we expect the favorable market environment to continue in the second half of the year. Additionally, more people getting vaccinated is expected to bring the number of people commuting to offices back, resulting in print demand recovering in the office market. Based on these assumptions, the Company has revised its full-year consolidated results forecast.
This notice contains forward-looking statements with respect to future results, performance and achievements that are subject to risk and uncertainties and reflect management’s views and assumptions formed by available information. All statements other than statements of historical fact are statements that could be considered forward-looking statements. When used in this document, words such as “anticipate,” “believe,” “estimate,” “expect,” “intend,” “may,” “plan,” “project” or “should” and similar expressions, as they relate to Canon, are intended to identify forward-looking statements. Many factors could cause the actual results, performance or achievements of Canon to be materially different from any future results, performance or achievements that may be expressed or implied by such forward-looking statements, including, among others, changes in general economic and business conditions, changes in currency exchange rates and interest rates, introduction of competing products by other companies, lack of acceptance of new products or services by Canon’s targeted customers, inability to meet efficiency and cost reduction objectives, changes in business strategy and various other factors, both referenced and not referenced in this notice. A detailed description of these and other risk factors is included in Canon’s annual report on Form 20-F, which is on file with the United States Securities and Exchange Commission. Should one or more of these risks or uncertainties materialize, or should underlying assumptions prove incorrect, actual results may vary materially from those described herein. Canon does not intend or assume any obligation to update these forward-looking statements.
Just posted: Canon RF 100mm F2.8 L Macro IS USM Lens Review.
You need to read this one.
If you plant it, they will come. Coneflowers, butterflies, and the Canon RF 100mm F2.8 L Macro IS USM Lens go together beautifully.
This eastern tiger swallowtail was moving from flower to flower, rotating in a circle on each. Getting to the flower and in position before the rotation was complete was the key to capturing a pleasing angle.
Hanging out in the garden with the Canon RF 100mm F2.8 L Macro IS USM Lens is quite fun.
A larger version of this image is available on Flickr.
Firmware update for SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary for Sony E-mount
Thank you for purchasing and using our products.
We would like to announce that a new firmware update is now available for the SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary for Sony E-mount.
It has been found that the lens firmware cannot be updated from Ver.01 to Ver.02 by the end user via the camera. Therefore, SIGMA will update the lens firmware free of charge.
SIGMA 100-400mm F5-6.3 DG DN OS | Contemporary for Sony E-mount with firmware Ver.01
[How to check the current firmware version]
Please check the firmware version from the camera menu. If the lens version is firmware Ver.01 it is necessary to update to the new firmware version.
[Benefits of the update]
It has improved the phenomenon whereby the lens' optical stabilizer effect differs depending on the shutter type and drive mode used.
It has corrected the phenomenon whereby the lens firmware cannot be updated via the camera.
[Treatment on this issue]
For customers who use the target product with the affected firmware version, SIGMA will update the lens firmware to Ver.02 free of charge.
Please note that customers cannot update to lens firmware Ver.02 by themselves. After the lens has been updated to Ver.02 by SIGMA, the user can then update all future lens firmware via the camera.
For US-based customers, please contact SIGMA America at: https://www.sigmaphoto.com/service-support
For worldwide support, please contact your local authorized SIGMA Service Station at: https://www.sigma-global.com/en/world-network/
We apologize for any inconvenience.
Note that the L-mount version of this lens has also has a firmware update for the OS issue.
Our review: Sigma 100-400mm f/5-6.3 DG DN OS C Lens
From Tamron Japan (translated):
28-75mm F / 2.8 Di III RXD (Model A036) For customers who purchased after June 22, 2021
Target serial number
28-75mm F / 2.8 Di III RXD (Model A036) for Sony Mirrorless Cameras
9087206 – 9087237 9088710 – 9087725 9088742 – 9088005 9089551 – 9089606 9090311 – 9090312 9090314 – 9090318 9090327 – 9090363 9090365 – 9090374 9090959 – 90090974 9090991 – 9091046 9092527 – 9092582 9092607 – 9092611
Details are under investigation and will be announced on the support information page at a later date. We apologize for the inconvenience, but thank you for your patience. If you have purchased a lens with the target serial number, please contact us. We apologize for the inconvenience.
Our review: Tamron 28-75mm f/2.8 Di III RXD Lens
With four lenses in the lab right now, some testing is happening in parallel for efficiency reasons. While not as exciting to most as the image quality test results already shared, valuable additional results, including vignetting, flare, and distortion test results, along with measurements and standard product images are now available on the pages of these four lenses:
Essentially, all tripods, monopods, and heads have included a weight capacity rating for as long as I can remember. However, a specific standard for establishing these ratings is seldom (never?) mentioned.
Manfrotto has just announced compliance with a new standard to ensure safety for supported gear.
For the first time in the imaging industry, UNI/PdR 105:2021 establishes an official reference practice for payload safety providing full transparency about payload measurements to consumers.
No more gear purchased on arbitrary product specifications:
UNI/PdR 105:2021 guarantees that a support loaded with a weight equal to the declared Safety Payload is never jeopardized, no matter the position, taken all the safety parameters into account.
Whereas, Max Payload indicates the maximum load a support can hold, sometimes not taking safety parameters into account. This means that applying the maximum weight, the support’s safety and functionality might be compromised.
Get more details at https://www.manfrotto.com/us-en/safetypayloadunipdr105-2021/.
Adorable or vicious killer? Right — both descriptions accurately describe this little predator.
The opportunity was a unique one. What started as a glimpse of a weasel hunting in the brush turned into an afternoon of waiting, with some watching and photographing mixed in.
Often nocturnal, weasels are seldom seen, and when they show do themselves, getting these fast- and erratically-moving critters in the frame is tremendously challenging, even without accounting for accurate focusing. This weasel finally paused momentarily to check out (her reflection in?) the near-ground-level Sony FE 600mm f/4 GM OSS Lens aimed in her direction.
A larger version of this image is available on Flickr.
Let the comparisons begin:
You don't leave when the sun sets, do you? Usually, the best show is yet to come when the fiery ball goes below the horizon.
With primarily flat ground outside of Badlands National Park, the sun is not blocked by tall nearby mountains when the sun is at a low angle. This scenario bodes extremely well for sunrise and sunset sky color, creating an above-average percentage of great opportunities, especially during the storm season.
Sunrises and sunsets can be seen nearly anywhere, and they are often beautiful — highly photogenic. But, having a great foreground can give sunrise and sunset images an additional positive element, and when you are somewhere special, make your images show that place.
My least favorite foreground element is a power line. My most favorite foreground element is a glassy reflective lake or pond. However, a mountain with character ranks just behind that favorite. So when it became apparent that the skies would light up after sundown this evening, I headed for such a mountain.
Upon arrival on the scene, the first task was to set up a Canon EOS R5 with an RF 15-35 mounted with an also interesting close foreground. With exposure duration bracketing established for later HDR compositing, getting the time of day bracketed was the remaining key for this camera's capture. Pressing the shutter release frequently (using the 2-second self-timer) took care of the latter goal.
As this scene's primary intrigue seemed to be the incredible sunset color fronted by the gnarly character of the Badlands mountain, a panorama capture was calling me. The Canon RF 100-500mm F4.5-7.1 L IS USM Lens mounted on another R5 was the perfect option.
The first task was to establish a manual exposure. The scene brightness varied significantly throughout the proposed pano, promising a range of auto exposures that would increase the stitching challenge later. This manual exposure was established by pushing the red channel, much brighter than the green or blue, against the right side of the histogram.
After autofocusing on the mountains (I depend on the R5's excellent AF accuracy), the AF/MF switch was moved into the MF position. Having all images focused at the exact same distance eliminates any focus breathing issues for panorama stitching.
The image captures ensued. The camera was rotated from left to right, capturing vertically orientated images with at least 1/3 scene overlap between frames (more like 50% overlap, which was overkill). The frames were captured in quick succession to reduce cloud movement and sky brightness change between the frames. The viewfinder grid was used to keep the images vertically aligned. Upon pressing the shutter release, the height of the horizontal grid line was noted against the background and maintained as the camera was panned.
When quickly capturing frames handheld, it is easy to rush the shots and end up with blurry images. Ensure that the camera is still for each gentle press of the shutter release (with a slight lag to the release of the press — a follow-through of sorts) to ensure sharp images. A tripod works best for this task, but that support was under the RF 15-35 mentioned above, and there was not enough capacity to bring two tripods on this trip (my preference). The RF 100-500 and R5 coordinated IS were not stressed by the 1/100 second shutter speed and delivered a 100% sharp image rate.
I mentioned that the exposure was established to protect the red channel. That exposure provided a dark foreground. While the foreground needed to stay dark for a natural balance, making foreground details slightly visible seemed a good idea. Taking advantage of the R5's dynamic range, the original frames were processed brighter. Note that the brighter foreground is much easier to see in a larger version and with a darker background.
Photoshop's Photomerge feature with "Reposition" selected created the pano from 16 source images. Unfortunately, that PS feature created a slightly different resulting image from the brighter-processed source files than from the darker ones. Creating 16 HDR images to use for the stitching source seemed too much work (and likely prone to additional differences), so the foreground pano was manually position-adjusted where it did not properly align. A small area of the sky was processed slightly darker and blended into position. The final images measure over 300 megapixels. For improved display on devices, the image was cropped on the right side, with a sense of balance used to establish where the right side should be.
A larger version of this image is available on Flickr.
Firmware update for SIGMA 500mm F4 DG OS HSM | Sports in Canon EF mount
We would like to announce that a new firmware update is now available for SIGMA 500mm F4 DG OS HSM | Sports in Canon EF mount.
SIGMA 500mm F4 DG OS HSM | Sports in Canon EF mount
[Benefits of the update]
It has improved the AF speed when used in combination with Canon mount adapter EF-EOS R series attached on Canon EOS R5 and EOS R6.
[How to update]
Connect the lens to a computer via the SIGMA USB DOCK UD-01 (sold separately), then open SIGMA Optimization Pro*. If the lens firmware isn't the latest version, the following message will appear: "The latest lens firmware is available". Click "Yes" to update.
* Before updating lens firmware using the SIGMA USB DOCK UD-01, please ensure you update SIGMA Optimization Pro to the latest version.
SIGMA Optimization Pro Download page: https://www.sigma-global.com/en/software/sigma-optimization-pro/
Firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E
We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 is now available.
SIGMA MOUNT CONVERTER MC-11 EF-E
[Benefits of the update]
It makes the converter compatible with the SIGMA 500mm F4 DG OS HSM | Sports in Canon EF mount, that has the latest firmware Ver. 2.03.
[How to update]
Connect the SIGMA MOUNT CONVERTER MC-11 to a computer with the included USB cable, then open SIGMA Optimization Pro. If there is a newer firmware version available than the one currently installed on your converter, you will see the message "There is the latest firmware for the converter". Click "Yes" to update.
* Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera then reinsert.
* Please be sure to update SIGMA Optimization Pro to the latest version when updating the MC-11 firmware.
SIGMA Optimization Pro Download page: https://www.sigma-global.com/en/software/sigma-optimization-pro/
Canon has released new versions of Digital Photo Professional and EOS Utility. (thanks Scott)
Changes for Digital Photo Professional 4.15.0:
Download: DPP 4.15.0 and EOS Utility 3.13.30
Firmware Version 1.4.0 incorporates the following fixes and enhancements:
Firmware Version 1.5.0 incorporates the following fixes and enhancements:
From Canon JP (translated):
Apology and guidance regarding product supply status
We have received more orders than expected for each of the following products, and it will take some time before delivery.
We thank you for your many orders and apologize for any inconvenience caused to our customers. Thank you kindly look forward for your understanding.
On a related note, the Canon RF 100mm F2.8 L Macro IS USM Lens is now shpping in the USA (officially, July 8th).
Here are some comparisons to get you started: