Canon and Sony News for Feb 2021

 Friday, February 26, 2021
Image quality test results from the Canon EOS R5 have been added to the Canon RF 70-200mm F2.8 L IS USM Lens Review.

These results are outstanding. Compare them to those from any other lens in the class.

Get in line: the Canon RF 70-200mm F2.8 L IS USM Lens is available for order at B&H | Adorama | Amazon USA | WEX

Save the tax, use the B&H Payboo payment card (at B&H, I use this card exclusively)

Rent the Canon RF 70-200mm F2.8 L IS USM Lens from Lensrentals.

Please share!

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/26/2021 6:00:00 AM CT   Posted By: Bryan
 Thursday, February 25, 2021
Just posted: Canon RF 70-200mm F4 L IS USM Lens Review.

This lens is another high-performing member of the Canon RF lens series.

The Canon RF 70-200mm F4 L IS USM Lens is in stock at B&H and Amazon USA. Adorama expects stock soon.

Rent the Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/25/2021 8:32:20 AM CT   Posted By: Bryan
From Sony:

New Alpha 7S III Firmware Update Includes S-Cinetone™

SAN DIEGO, CA – February 24, 2021 – Sony Electronics Inc. today announced a new firmware update for the Alpha 7S III (Version 2.00) that allows users to utilize S-Cinetone, which is inspired by the color science used in Sony’s flagship VENICE cinema camera.

S-Cinetone delivers natural mid-tones, plus soft colors and gorgeous highlights that are essential to create a cinematic look. The new firmware also includes an update on Active Mode with 5-axis optical in-body stabilization.

The new firmware is available to download for free HERE.

Posted to: Sony News   Category: Sony Firmware Updates
Post Date: 2/25/2021 8:50:44 AM CT   Posted By: Bryan
 Wednesday, February 24, 2021
From Sigma:

New Products Release of Sigma 28-70mm F2.8 DG DN Contemporary

SIGMA America announces 28-70mm F2.8 DG DN | Contemporary Lens

Introducing The world’s smallest F2.8 standard zoom for mirrorless systems

February 24, 2021 Ronkonkoma, NY - SIGMA Corporation of America is pleased to announce the pricing and availability of the new 28-70mm F2.8 DG DN | Contemporary lens which has just been announced worldwide by Sigma Corporation. This ultra-compact fast-aperture standard zoom lens for Sony E-mount and L-mount cameras from SIGMA, Leica and Panasonic will be available in the US through authorized dealers on March 12, 2021 with an MSRP of $899.

Click here to find authorized online and in-store dealers

C | Contemporary

SIGMA 28-70mm F2.8 DG DN

Exclusively for mirrorless cameras|Compatible with full-frame cameras

Smart and nimble. The new standard mirrorless zoom.

Design based on SIGMA’s Art line, with the same uncompromising optical performance

A lightweight and compact body – ideal for day-to-day use

Superb build quality with exceptional attention to detail that provides an exceptional user experience

Supplied accessories: Petal Type Lens Hood (LH706-01)

Available mount: L-Mount, Sony E-mount

* The appearance and specifications of the product are subject to change.

*This product is developed, manufactured and sold based on the specifications of E-mount which was disclosed by Sony Corporation under the license agreement with Sony Corporation.

* L-Mount is a registered trademark of Leica Camera AG.

#SIGMA #SIGMA2870mmContemporary #SIGMAContemporary #SIGMADGDN

SIGMA sets a new standard in large-aperture mirrorless zoom lenses

The SIGMA 28-70mm F2.8 DG DN | Contemporary redefines the standard zoom for mirrorless cameras by combining outstanding optical performance, an F2.8 constant aperture, and a lightweight and compact body. The design of the 28-70mm F2.8 DG DN | Contemporary is based on the existing 24-70mm F2.8 DG DN | Art, but with a focal range starting at 28mm, making the lens body significantly smaller and lighter while maintaining superb optical performance. It is the smallest and lightest lens in its class*. Remaining true to the Contemporary line's core concept of maintaining an optimal balance between optical performance and lens size, this new optic delivers professional quality results in a body small enough to take on a casual outing.

In addition to prioritizing portability, SIGMA’s optical engineers introduced a new combination of coatings and structural elements that make this standard zoom well-equipped for use in a wide range of shooting environments. Likewise, the latest production and manufacturing techniques were employed to ensure exceptionally high build quality.

The 28-70mm F2.8 DG DN | Contemporary introduces another fast, high-performance, large-aperture zoom lens to SIGMA’s mirrorless line-up, offering a more compact alternative to the existing 24-70mm F2.8 DG DN | Art.

* As a standard zoom lens for full-frame mirrorless cameras with F2.8 brightness throughout the zoom range (Source: SIGMA, as of February 2021)

[Key features]

Design based on SIGMA’s Art line, with the same uncompromising optical performance

The optical design of the SIGMA 28-70mm F2.8 DG DN | Contemporary is based on the 24-70mm F2.8 DG DN | Art, which is renowned for its outstanding optical performance throughout its zoom range. True to the Contemporary line's core concept, the 28-70mm F2.8 DG DN | Contemporary was developed to offer the right balance of performance and portability, and as such, this large-aperture standard zoom delivers outstanding image quality that rivals Art line lenses in a body light enough for day-to-day use. Building on state-of-the-art technology, the 28-70mm F2.8 DG DN | Contemporary has an advanced optical design that includes three aspherical, two FLD, and two SLD elements. Despite using fewer elements in total than the 24-70mm F2.8 DG DN | Art, the design results in a thorough correction of axial chromatic aberration and sagittal coma aberration, which cannot be corrected in-camera, allowing users to create images that are uniformly sharp from the center to the edges of the frame. Along with its anti-ghosting design, the use of Super Multi-Layer Coating and Nano Porous Coating means well-controlled flare for high-contrast results in backlit conditions. It also features a water and oil repellant coating on the front side of the lens.

In short, the SIGMA 28-70mm F2.8 DG DN | Contemporary combines all of the key optical features required of a large-aperture standard zoom lens, which are essential for photographing a wide variety of subjects in a range of shooting conditions.

·Comparison of the two optimal solutions to standard zoom lenses with F2.8 brightness throughout the zoom range.

With the addition of the new 28-70mm F2.8 DG DN | Contemporary, SIGMA now provides two optimal solutions of standard F2.8 zoom lens for mirrorless cameras ? the new 28-70mm F2.8 DG DN | Contemporary achieves remarkable portability and offers the same optical performance, as the existing 24-70mm F2.8 DG DN | Art which is for pro-use with the highest levels of performance throughout its focal range.

L-mountFeatureE-mount
28-70mm / F2.8Focal length / F value28-70mm / F2.8
16 elements in 12 groups, with 2 FLD lens, 2 SLD lens and 3 Aspherical lensesLens construction19 elements in 15 groups, with 6 FLD lens, 2 SLD lens and 3 Aspherical lenses
19-38cm, 1:3.3(W) - 1:4.6(T)Minimum focusing distance, Maximum magnification ratio18-38cm, 1:2.9(W) - 1:4.5(T)
Super Multi-Layer Coating, Nano Porous Coating, Water and oil repellent coatingCoatingSuper Multi-Layer Coating, Nano Porous Coating, Water and oil repellent coating
Focus Mode SwitchMechanismFocus Mode Switch, AFL button, Zoom Lock Switch
Dust and splash proof structure (Applied to the mount only)Dust and splash proofDust and splash proof structure
Petal-type lens hoodHoodPetal-type lens hood with lock
f67mmFilter sizef82mm
470g, f72.2mm×101.5mm ?for L-MountWeight, Dimension (diameter x length)835g, f87.8mm×122.9mm ?for L-Mount

A lightweight and compact body – ideal for day-to-day use

Being slightly less wide-angle than the 24-70mm F2.8 DG DN | Art has allowed a significant reduction in the size of the 28-70mm F2.8 DG DN | Contemporary lens body. In order to fit with the design concept of the Contemporary line, which balances performance with portability, the new lens features a simpler dust- and splash-proof structure and smaller switches. This makes it the smallest and lightest lens in its class*.

The new lens features just one lightweight focusing element, which keeps the AF unit small. This, along with a quiet and fast stepping motor, makes for responsive and near-silent autofocus performance.

The 28-70mm F2.8 DG DN | Contemporary weighs in at 470g, and when attached to the SIGMA fp, the entire setup is 890g. The supreme portability afforded by a camera system that weighs less than 1kg gives photographers a huge amount of freedom and flexibility to achieve their creative vision. It’s also a perfect combination for filmmakers looking for a high-performance, lightweight, easy-to-handle camera system that works well with a gimbal and other accessories.

A large-aperture, standard zoom lens that is light and small enough for casual outings, the 28-70mm F2.8 DG DN | Contemporary will open up new photographic possibilities for better and more creative results.

* As a standard zoom lens for full-frame mirrorless cameras with F2.8 brightness throughout the zoom range (Source: SIGMA, as of February 2021)

Superb build quality with exceptional attention to detail that provides an exceptional user experience

With priority given to optimal portability, the body of the SIGMA 28-70mm F2.8 DG DN | Contemporary consists primarily of lightweight parts. While conventional wisdom states that it is more difficult to ensure processing accuracy for plastic parts than metal parts, there has been no compromise whatsoever on build quality for the 28-70mm F2.8 DG DN | Contemporary. One reason for this is that it uses a type of polycarbonate called TSC (Thermally Stable Composite), which has a comparable level of thermal shrinkage to aluminum. This helps reduce differences between the thermal shrinkage of the metal and non-metal parts, ensuring stable levels of performance even in an environment with extreme temperature changes. The use of polycarbonates in the construction of zoom and focus rings can make their operation feel less premium, but with careful treatment to the precision of these parts and adjusting the movement with the lubricant appropriately, the rings offer a precise action with an exceptionally high-quality feel.

What allows us to achieve these precisely produced parts and such premium aesthetics is the impressive standard of manufacturing technology and rigorous quality control we have at the SIGMA Aizu Factory.

The SIGMA 28-70mm F2.8 DG DN | Contemporary offers a new and improved photographic experience for mirrorless users who require a fast aperture standard zoom lens. Its premium, intuitive build makes it as exciting to use the lens as it is to see the incredible images it can produce, inspiring you to start achieving your creative potential.

[Additional features]

  • Lens construction: 16 elements in 12 groups, with 2 FLD elements, 2 SLD elements and 3 aspherical elements
  • Internal focusing
  • Compatible with high-speed autofocus
  • Stepping motor
  • Compatible with lens-based optical correction * Function available on supported cameras only. Available corrections may vary depending on the camera model.
  • Nano Porous Coating
  • Super Multi-Layer Coating
  • Water and oil repellent coating (front element)
  • Focus Mode Switch
  • Support DMF, AF+MF
  • Petal-type lens hoodSimple dust- and splash-proof design
  • Compatible with SIGMA USB DOCK UD-11 (sold separately / for L-Mount only)
  • Designed to minimize flare and ghosting
  • Every single lens undergoes SIGMA's proprietary MTF measuring system "A1"
  • 9-blade rounded diaphragm
  • High-precision, durable brass bayonet mount
  • ‘Made in Japan’ craftsmanship

[Key specifications] The figures below are for L-mount.

Lens construction: 12 groups, 16 elements (2 FLD elements, 2 SLD elements, 3 aspherical elements) |Angle of view: 75.4°-34.3°|Number of diaphragm blades: 9 (rounded diaphragm) |Minimum aperture: F22|Minimum focusing distance: 19 (W)-38 (T)cm / 7.5-15.0in.|Maximum magnification ratio: 1:3.3 (W) - 1:4.6 (T)|Filter size: f67mm|Maximum dimension x length: f72.2mm×101.5mm / f2.8-4.0in.|Weight: 470g / 16.6oz.

[Barcode]

L-Mount: 085126 592691

Sony E-mount: 0085126 592653

[Accessories: Supplied] Name of product / barcode

Lens Hood LH706-01: 0085126 939021

[Accessories: Optional] Name of product / barcode

SIGMA USB DOCK UD-11: for L-Mount 0085126 878696

SIGMA WR CERAMIC PROTECTOR 67mm: 0085126 931803

SIGMA WR PROTECTOR 67mm: 0085126 930943

SIGMA PROTECTOR 67mm: 0085126 931070

SIGMA WR UV FILTER 67mm: 0085126 930684

SIGMA WR CIRCULAR PL FILTER 67mm: 0085126 930813

Orders

Order the Sigma 28-70mm F2.8 DG DN DN Contemporary Lens from B&H.

Posted to: Sony News   Category: Sigma News
Post Date: 2/24/2021 8:01:35 AM CT   Posted By: Bryan
 Tuesday, February 23, 2021
A few months ago, I noticed a large oak tree standing alone at the top of a field in the countryside not far from home. I made a mental note of the interesting tree, keeping that photo opportunity in the pocket for later application.

Right after a recent snowstorm and during the Canon RF 70-200mm F4 L IS USM Lens review seemed like the perfect timing to photograph this lone tree. The snow minimalized the scene's details, and the lens was a perfect choice to capture it. I pulled the SUV into a snowbank to get out of traffic (there was little on this country road), turned off the vehicle (eliminating the vibration), and photographed the tree until I couldn't think of any more compositions to try and adding any more insurance shots seemed complete overkill.

This scene was filled with bright subjects. At most, changes in lighting through the thick clouds happened slowly. Thus, a manual exposure that pushed the histogram graph to the right edge proved perfect. In this image, ISO 100 provides low noise, f/8 yielded adequate depth of field, and 1/160 with image stabilization activated made getting sharp elbow-rested photos easy.

The focal lengths in the 70-200mm range are among my most used for landscape photography. These focal lengths provide angles of view that make good compositions easy to find. While parked along this road, I used all of these focal lengths, with the tree filling various percentages of the frame, ranging from the 70mm result shared here to the tree nearly filling the frame. An example of the 70-200mm focal length range using this tree is shared in the Canon RF 70-200mm F4 L IS USM Lens review.

I shoot a lot of action and other images where timing is critical to get the perfect shot, with a stress-induced adrenaline rush typically accompanying the moment. A nice change for this image was that I had as much time as I cared to take. The tree was not moving, the snow was not melting, and the clouds were unchanging.

At the longer focal lengths, not much time was needed to get the good compositions. At the wider focal lengths, there was considerably more freedom to position the tree in the minimalistic scene within the frame. My favorite tree position at 70mm is shared here, but I also like the tree toward the upper left, and the tree centered at the bottom in a vertical orientation also looks great (at my wife's request, I ordered a metal print of that image this morning).
 
A larger version of this image is available on Flickr.

 
Camera and Lens Settings
70mm  f/8.0  1/160s
ISO 100
8192 x 5464px
Post Date: 2/23/2021 10:41:02 AM CT   Posted By: Bryan
From Rode:

Introducing the Wireless GO II – Next Generation Wireless Audio From RØDE

The world's smallest and first truly wireless microphone has been reborn. Meet the RØDE Wireless GO II, a new ultra-compact and extremely versatile dual channel wireless microphone system. Offering the same pocket-sized form factor and professional sound quality as the best-selling Wireless GO, with a host of incredible new features making it even more powerful and flexible, this is next generation wireless audio from RØDE.

The original Wireless GO, released in 2019, revolutionised audio for content creators. With its innovative form factor, unique clip ‘n’ go versatility, and in-built microphone offering truly wireless recording for the first time, it changed the way creators captured sound for video.

The Wireless GO II offers all of these features and much more, including dual channel recording, universal compatibility with cameras, mobile devices and computers, extended range and improved transmission stability, and on-board recording capabilities. Wireless audio has changed again.

Get more information and order the Rode Wireless GO II at B&H where "Shipping will begin Wed Feb 24."

Posted to: Canon News, Nikon News, Sony News   Category: Rode News
Post Date: 2/23/2021 9:39:19 AM CT   Posted By: Bryan
From Sony:

Sony Electronics Launches FX3 Full-Frame Camera for Cinematic Look and Enhanced Operability for Creators

Sony's Most Compact and Lightweight Cinema Line Camera for Creators Who Strive for New Cinematic Freedom

FX3 Product Highlights:

  • Compact and lightweight body design with high operability for hand-held shooting, gimbal and drone-mounted work
  • Multiple 1/4-20 UNC threaded mounting points to easily attach compatible accessories
  • Detachable XLR handle unit with two XLR/TRS audio inputs and one 3.5mm stereo jack
  • S-Cinetone™ look – inspired by the color science of the digital cinema camera VENICE – which is also used in FX9 and FX6 Cinema Line cameras
  • Built-in cooling fan enables effective heat dissipation to support uninterrupted 4K 60p recording[i]
  • Records up to 4K 120p[ii]
  • 10.2 megapixel[iii] full-frame back-illuminated CMOS Exmor R™ sensor and BIONZ XR™ image processing engine
  • Ultra-high sensitivity with ISO expandable to 409,600 for very low light conditions and 15+ stops of dynamic range[iv]
  • Fast Hybrid AF (Autofocus), Touch Tracking (real-time tracking) and Real-time Eye AF, also used in other Alpha™ cameras
  • 5-axis in-body image stabilization with “Active Mode”[v] supports handheld movie shooting

SAN DIEGO, CA – February 23, 2020 – Sony Electronics Inc. today announced the FX3 (model ILME-FX3) camera that combines the best of Sony’s industry-leading digital cinema technology with advanced imaging features from Alpha™ brand mirrorless cameras to make Sony’s coveted cinematic look accessible to more creators.

As the latest addition to Sony’s Cinema Line, the FX3 delivers a cinematic look and professional operability and reliability in a camera that is accessible to early-career creators, as well as suitable to be used alongside Sony’s VENICE, FX9 and FX6 cameras. The new model provides outstanding image quality and usability for small scale and one-person shooting. The FX3 boasts industry-leading autofocus capabilities, 5-axis in-body image stabilization with Active modev, handheld shooting design and advanced heat dissipation for extended recording times. All this is combined in a compact, lightweight body that provides the performance and mobility to meet the growing demands of today’s content creators.

“The FX3 is the perfect tool for content creators looking to enter the world of cinematography,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “It combines everything our customers love about Sony’s video capabilities in our Alpha lineup with a new body optimized for videography. We are excited to add to Sony’s Cinema Line and continue to support the world’s creators with the best tools possible.”

Cinematic Look

The FX3 boasts Sony’s industry-leading image sensor technology to achieve high processing speeds and outstanding image quality. The full-frame, back-illuminated Exmor R CMOS sensor (approximately 10.2 effective megapixel count for video recording and approximately 12.1 effective megapixels count for stills) and the BIONZ XR image processing engine team up to ensure high sensitivity with low noise. The standard ISO range is 80 to 102,400 (expandable to 409,600when shooting video), and dynamic range is an impressively wide 15+ stopsiv.

In response to a growing need for more expressive depth, the FX3, along with FX9 and FX6 Cinema Line cameras, allows users to create a cinematic look without post-production using the S-Cinetone color matrix. Inspired by the color science used in Sony’s flagship VENICE camera, S-Cinetone delivers natural mid-tones, plus soft colors and smooth highlights that are essential to create a cinematic look.

Creators can record in 4K at up to 120 frames per secondii. Extraordinarily smooth slow-motion imagery[vi] (up to 5x) at QFHD (3840 x 2160) resolution with autofocus provides new expressive capability.

Designed for Comfortable Solo-Shooting

Our most compact and lightweight Cinema Line camera is ideal for handheld shooting, gimbal and drone-mounted work. It weighs just 1.58 lbs. (715 g), including the battery and memory cards, and the body is only 5.11 in x 3.33 in x 3.06 in (77.8 mm x 129.7 mm x 84.5 mm). The camera grip has been carefully designed to provide optimum flexibility, stability and comfort for long shoots.

Designed for mobility and efficiency, the FX3’s body features five 1/4-20 UNC threaded mounting points to easily attach compatible accessories while remaining light enough for handheld shooting and making it easy to set up and carry. The supplied XLR handle securely attaches to the body via the Multi Interface Shoe without any special tools and provides three additional threaded mounting points for accessories. Optional accessories such as external monitors, recorders, wireless microphones, or other add-ons can be securely attached.

To enable 4-channel 24-bit audio recording, the supplied XLR handle includes two balanced XLR/TRS audio inputs and an additional 3.5mm stereo 2-channel jack. With an optional XLR or TRS microphone connected, the XLR adaptor on the handle takes care of the A/D (Analogue to Digital) conversion and DSP (Digital Signal Processing), and transfers the digital audio data directly to the camera for outstanding audio quality. Because the XLR adaptor is integrated into the handle and does not require any additional cables or batteries, it offers easy set up. If the handle is not being used, the FX3 includes a 3.5mm stereo mic input on the camera body.

The FX3 provides Fast Hybrid autofocus (AF) by using the 627 points[vii] focal plane phase-detection system during movie recording. The camera is further enhanced with Touch Tracking (Real-Time tracking) where simply touching the desired subject on the monitor screen initiates auto focus and tracking on that subject. Precise and smooth focus is maintained with Real-time Eye AF – technology that pinpoints the eye even when subjects are looking down or up at steep angles. Additionally, other AF features have been included and refined in response to feedback from professional users, including AF Transition Speed, AF Subject Shift Sensitivity, intuitive control and AF support when focusing manually. These AF features have been implemented in the FX3 to ensure stable, flexible and precise focusing in any situation and are easy to operate for solo shoots.

The FX3 features 5-axis optical in-body image stabilization – highly effective for handheld shooting. A high precision stabilization unit and gyro sensors have made it possible to provide an Active Modev that is dedicated to movie shooting in each format, including 4K. In-body image stabilization means that effective stabilization can be achieved with a wide range of E-mount lenses, including those that do not include stabilization on their own. Alternately, the FX3 records image stabilization metadata that can be adjusted during post-production using Catalyst Browse/Prepare[viii].

Expandability and Operability for Content Creators

Operability

FX3 was designed to optimize professional operability. The controls frequently used in movie shooting such as ISO, iris, and white balance adjustment are located on the grip and on the top of the body for easy access. In addition, 140 functions assignable to 15 custom keys allow for ultimate efficiency.

The zoom lever located on the top of the grip not only controls compatible powered zoom lenses, but also allows Clear Image Zoom to be used with unpowered zoom and prime lenses – reducing the number of lenses required for many projects. This lever also enables smooth zooming that is difficult for manual zoom-ring control.

Recording lamps (tally) are provided on the top, front and back of the camera, so that the operator and talent can easily confirm recording. A side-opening vari-angle touch-panel LCD monitor allows for easy operation and is suitable for gimbal-mounted shots, complicated angles, handheld operation and more. Flexible Exposure Mode allows the FX3 to have a similar Auto/Manual switch operation as other FX series cameras for iris, shutter speed and ISO, which can be set independently.

Reliability

Creators need more than just refined features and performance; they also need reliability and durability. The FX3 combines a fan for active cooling with effective heat dissipation resulting in uninterrupted 4K 60p recording without thermal shutdowni. The newly developed fan provides high-efficiency cooling by drawing air into the camera via the bottom panel and exhausts via the side.

The new camera also features a dust and moisture resistant design[ix] and durable magnesium alloy chassis. Moreover, USB PD (Power Delivery) supports fast charging[x] for uninterrupted recording.

Expandability

The FX3 is compatible with several recording functions including S-Log3 gamma and S-Gamut3.cine, which record in a high dynamic range and wide color gamut. It also supports internal recording in XAVC S™ (MPEG-4 AVC/H.264 Long GOP) and XAVC S-I (MPEG-4 AVC/H.264 Intra) formats in 4K (QFHD) and FHD, and XAVC HS™ (MPEG-H HEVC/H.265, 4K only) format. 4K 60p video in 10-bit 4:2:2 or 16-bit RAW format[xi] can be output to an external device via the FX3 full-size HDMI Type-A jack.

The FX3 also offers two fast, future-oriented media slots that contribute to unprecedented shooting freedom by being compatible with either CFexpress Type A or SDXC cards. The same data can be simultaneously recorded to both cards for backup and a “relay” mode will automatically switch to the second media card when the first media card becomes full during recording.

The new camera has been developed with advanced connectivity features to better assist professional creators with high-speed wireless LAN functionality (2.4 GHz or 5 GHz band[xii]) and wired LAN connection via a compatible USB-to-Ethernet adaptor. The FX3 supports video and still file transfers to a specified remote FTP server. This FX3 also allows for remote shooting from a PC using the Imaging Edge Desktop™ application’s “Remote” function via Wi-Fi, or Superspeed USB 5Gbps connection over USB Type-C® terminal.

About Cinema Line

Cinema Line is a series of cameras that have a filmic look – cultivated from Sony’s long experience in digital cinema production – plus enhanced operability and reliability that respond to the wide variety of creators’ high demands.

Cinema Line includes the digital cinema camera VENICE, highly acclaimed in the feature and episodic production industry, the professional camera FX9, which is popular for documentary and drama production and the FX6, for grab and shoot action and content creation. With the addition of the new FX3, the most compact camera in the series, Sony offers a true line up of versatile creative tools for all types of visual storytellers.

Pricing and Availability

The new FX3 full-frame Cinema Line camera will be available March 2021 for approximately $3,900 USD and $5,000 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.sonycine.com and www.alphauniverse.com, resources designed to educate and inspire all fans of Sony’s technology for content creation and photography.

Preorders

Get in front of the line: preorder the Sony FX3 from B&H and Adorama.

Learn more at B&H Explora.

Notes:

[i] Sony internal tests. USB power supply, XAVC S-I (All-I), 4K 60p 10-bit 4:2:2, 25 deg C (ambient, camera temperature when recording started), Auto power off temperature: High, Cooing fan: Auto. The duration will vary depending on the shooting conditions. The maximum continuous recording time for a single movie shooting session is approximately 13 hours (a product specification limit)

[ii] With 10% image crop

[iii] approx. effective for movies. 12.1 megapixels for still images

[iv] S-Log 3 movies. Sony internal test

[v] Slight image crop in Active Mode. “Standard” setting recommended for focal lengths of 200mm or longer. Active Mode is not available when recording at frame rates of 120 (100) fps or higher, including S&Q mode.

[vi] Post-production editing and S&Q mode recording required

[vii] Maximum AF points and area coverage. This varies according to the recording modes

[viii] Supported in Catalyst Browse/Prepare Version 2020.1 or later. Image stabilization metadata that can be used by Catalyst is generated when using a Sony E-mount lens with the camera’s optical image stabilization set to [OFF] or [Active].

[ix] Not guaranteed to be 100% dust and moisture proof. The XLR handle does not feature a dust and moisture resistant design

[x] USB charging and power delivery are only supported via the USB Type-C® terminal. A battery must be installed in the camera when supplying USB power. The internal battery may drain even if USB power is supplied, depending on the adapter used and camera operating conditions.

[xi] Compatible recorders to be announced.

[xii] 5 GHz communication may be restricted in some countries and regions

Posted to: Sony News   Category: Sony Announcements
Post Date: 2/23/2021 9:28:23 AM CT   Posted By: Bryan
 Monday, February 22, 2021
Let me introduce you to "Nala," my oldest daughter's year-old goldendoodle. I was looking for a subject to challenge the new Canon RF 70-200mm F4 L IS USM Lens for the review, and Nala happily volunteered. She maintained a great spirit for 25 minutes until the session ended abruptly when another dog arrived.

Not long ago, capturing an eye-sharp image of a big dog in a great pose while running (bouncing) full speed toward and close to the camera was extremely challenging. With the Canon EOS R5's incredible animal eye AF combined with the 20 fps frame rate and the Canon RF 70-200mm F4 L IS USM Lens in front of it, the biggest challenge of this shoot was deciding which of the 1,400+ images on the ProGrade Digital 325GB CFexpress 2.0 Cobalt Memory Card to keep.

Bright white snow is a strong auto-exposure influencer, typically causing the camera to underexpose images. With bright white snow filling greatly differing percentages of the frame during each dog pass, exposure compensation was not optimal. Thus, my most frequently used exposure mode, manual, was the ideal choice.

This shoot's goal was to challenge the camera and lens AF system, so the shallow depth of field provided by a wide-open aperture was best, providing little margin for error. The wide-open aperture in combination with the longest focal length provided the strongest background blur possible, making the subject stand out.

Next, the shutter speed was selected, with freezing motion the goal. I opted for 1/1250-1/1600, choices that proved marginally short enough for this fast dog in some instances.

ISO was the last image brightness factor to be applied. As a rule, snow in the sun should be nearly blown-out white. To determine the optimal brightness, the histogram is the proper tool. The ISO setting was increased until the brightest pixels were registering nearly against histogram graph's right side. Note that the blinkies will likely show before color channel capacities are reached. Use the histogram.

This day was cloudy, and cloudy skies often bring brightness changes. Thus, the histogram required monitoring for ISO adjustment needs.

With the R5 in face and eye detection mode and animal eye AF selected, the remaining job was to keep the dog in the frame while holding down the shutter release as my daughter repeatedly positioned and ran Nala toward the camera.

With the R5 and a good lens, getting the perfect action shots is (often) only a small challenge.
 
A larger version of this image is available on Flickr.

 
Camera and Lens Settings
200mm  f/4.0  1/1250s
ISO 250
5715 x 3812px
Post Date: 2/22/2021 12:59:41 PM CT   Posted By: Bryan
 Friday, February 19, 2021
We knew that the Sony FE 35mm f/1.4 GM Lens was production delayed, with Sony indicating that the estimated ship date was "To be determined."

"To be determined" is obviously vague, and our expectations have been guided by the estimated ship date provided by retailers. Sadly, B&H just moved the expected ship date from Mon, Feb 22nd to Mon, Apr 12.

Amazon USA still has Feb 22nd on their page, but I don't expect that date to hold in light of B&H's updated estimate. Adorama is not guessing.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 2/19/2021 7:53:57 AM CT   Posted By: Bryan
 Thursday, February 18, 2021
Remarkably, the Canon RF 70-200mm F4 L IS USM Lens is nearly the same size (and weight) as the Canon RF 24-105mm F4L IS USM Lens. Think about the packing space requirement advantage this lens holds.

Upon creating this comparison image for the RF 70-200mm F4 L review, I thought you might find it as interesting as I did.

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/18/2021 11:34:45 AM CT   Posted By: Bryan
 Wednesday, February 17, 2021
Along with the Image quality test results shared yesterday, vignetting, and distortion test results along with specs, measurements, and standard product images have been added to the Canon RF 70-200mm F4 L IS USM Lens Review.

Here are a couple of comparisons to get you started:

Visual Canon 70-200mm Lens Comparison

Canon RF 70-200mm F4 L IS USM Lens Compared to Canon EF 70-200mm f/4L IS II USM Lens from a measurements and specs perspective.

The Canon RF 70-200mm F4 L IS USM Lens is in stock at Amazon USA and coming soon to B&H and Adorama.

Rent the Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/17/2021 11:04:02 AM CT   Posted By: Bryan
 Tuesday, February 16, 2021
Image quality test results have been added to the Canon RF 70-200mm F4 L IS USM Lens Review.

Following the Canon RF 70-200mm F2.8 L IS USM Lens and Canon EF 70-200mm f/4L IS II USM Lens, it is not shocking to see this performance from the RF F4.

Here are some comparisons:

Canon RF 70-200mm F4 compared to F2.8 L IS Lens (F2.8 lens test results from the R5 coming soon)

Canon RF 70-200mm F4 compared to the EF F/4L IS II Lens

Canon RF 70-200mm F4 L IS Lens compared to the Sony FE 70-200mm f/4 G OSS Lens

The Canon RF 70-200mm F4 L IS USM Lens is in stock at Amazon USA and coming soon to B&H and Adorama.

Rent the Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.

Please share!

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/16/2021 11:14:11 AM CT   Posted By: Bryan
 Monday, February 15, 2021
The Sony a1 Mirrorless Camera Review page is filled with expectations for this flagship camera model.

Expect this camera to be an outstanding performer.

The Sony a1 is available for order at B&H | Adorama | Amazon USA

Create a rental reservation for the Sony a1 from Lensrentals.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 2/15/2021 8:33:09 AM CT   Posted By: Bryan
 Thursday, February 11, 2021
From Canon U.S.A.:

Need a Digital Photo Assistant? Canon U.S.A. has you Covered with the Company’s First-Ever Photo Culling App

Canon Also Publicly Debuts “PHIL,” the Company’s Computer-Vision Artificial Intelligence Engine

MELVILLE, NY, February 11, 2021– According to a recent report from Keypoint Intelligence, 1.4 trillion photos were taken worldwide in 2020 and 7.4 trillion images were stored1. With these staggering numbers, it could be overwhelming for the average consumer to decide what photos are best to keep and store. Delivering expert photo advice in the form of an app, Canon U.S.A., Inc., a leader in digital imaging solutions, today announces its Photo Culling app. Compatible with iOS devices2, this brand-new app helps determine a user’s best photos based on scores against four models: sharpness, noise, emotions and closed eyes, using Canon’s Computer Vision Artificial Intelligence Engine known as “PHIL” (abbreviated for Photography Intelligence Learning)3. Additionally, the app will suggest deleting duplicative photos, making it easy for the consumer to free up space on their smartphone.

"In today's ever-changing and overwhelming world, where thousands of photos are captured and stored in a person’s smartphone, consumers need an expert, reliable and intuitive photo tool to help them decide the best photos based on years of trusted knowledge and technology,” said Tatsuro "Tony" Kano, executive vice president and general manager of the Imaging Technologies & Communications Group of Canon U.S.A., Inc. “Canon U.S.A.’s new Photo Culling App is the answer and we are proud to see how the company’s Computer Vision technology within this app can assist consumers with finding and keeping their best photos of their fondest moments."

The Photo Culling app features two culling options:

Whole Culling: Determines the best photos based on the absolute best scores against the four models: sharpness, noise, emotions and closed eyes. If the score is over the threshold the user sets, the photo is considered to be the best. The remaining images would be suggested as deletions.

Similar Culling: Determines the best photos based on score comparison among a similar group of photos. The highest-scoring photos within the group are considered the best photos. A second photo may also be selected as the second-best photo within the group. The remaining images would be suggested as deletions. The app is also able to find similar photos and group them together. For example, If a user selects 10 photos of a dog and 10 photos of a sunset, it will break the photos into two groups and find the best photo of each; one of the dog and one of the sunset.

In addition to its culling options, the Photo Culling app also features:

Photo Counts and Storage: Shows the number of photos a user has as well as the amount of phone storage on the Home Screen.

Event Album: Categorizing and placing photos in albums on the Home Screen. These are dynamic albums based on events/date throughout the year and the app will pull events that have a large number of photos and suggest the user review these photos to delete and save space.

Features in the Setting Screens: Displaying the number of photos deleted, the current subscription plan (see details below), option for notifications, parameter setting for each score against sharpness, noise, emotion and closed eyes. Users also can adjust these settings, such as changing how much of an impact noise has on a photo versus closed eyes4.

Dark and Light Mode Settings Screen Option: Displays screens either as a dark or light mode option

Price & Availability*

Available for download via the App Store, the Photo Culling app will be available under two subscription options: $2.99 per month or $14.99 for the year, each with a three-day trial5. For more information, please visit, usa.canon.com/photo-culling-app.

# # #

† Based on weekly patent counts issued by United States Patent and Trademark Office.

* Availability and specifications are subject to change without notice.

1 Data Source: Keypoint Intelligence / InfoTrends Worldwide Consumer Photos Captured and Stored

2 The Photo Culling app is compatible with iOS® running version 14. There are currently no device restrictions for iOS. This app helps you to sort, organize and delete your images. Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images. Canon does not obtain, collect or use such images or any information included in such images through this app.

3 PHIL is a trademark of Canon U.S.A., Inc. in the United States and may also be a trademark in other countries.

4 For best results, disable cloud storage photos from your Settings. If iCloud is enabled, please make sure “Download & Keep Originals” is selected and "Optimize iPhone Storage" is not.

5 Download of the app is free (data charges may apply), but full use of the app requires a subscription. A free version of the app is provided with limited functionality and features. There is also a paid subscription version of the app with full functionality and features available to you starting with a three (3) day free trial. The subscription version of the app is available through a monthly or yearly, nonrefundable, auto renewing payment through your applicable app store. After your three (3) day free trial, your access will be automatically rolled over into your chosen auto-renewable subscription unless you cancel upon 24 hours’ notice from the end of the trial period by following the App Store cancellation procedures.

Post Date: 2/11/2021 9:53:53 AM CT   Posted By: Bryan
 Tuesday, February 9, 2021
In preparation for the review, the Canon RF 70-200mm F4 L IS USM Lens page is loaded with expectations for this lens.

I expect the RF 70-200mm F4 to be as remarkable as its sibling.

Amazon USA has the Canon RF 70-200mm F4 L IS USM Lens in stock!

The Canon RF 70-200mm F4 L IS USM Lens is available for order at B&H | Adorama | WEX

Rent the Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/9/2021 8:39:32 AM CT   Posted By: Bryan
 Monday, February 8, 2021
In preparation for the review, the Sony FE 35mm f/1.4 GM Lens page is loaded with expectations for this lens.

Expect great things from this lens, already in the number one best selling mirrorless lens position at B&H.

Shipping is slated to begin on Mon, Feb 15th (B&H) or Mon, Feb 22nd (Adorama & Amazon USA).

The Sony FE 35mm f/1.4 GM Lens is available for order at B&H | Adorama | Amazon USA

Rent the Sony FE 35mm f/1.4 GM Lens from Lensrentals.

Posted to: Sony News   Category: Camera Gear Review News
Post Date: 2/8/2021 9:13:00 AM CT   Posted By: Bryan
 Thursday, February 4, 2021
I did not see a press release for this new transmitter, but here is more information from Canon USA:

The Speedlite Transmitter ST-E3-RT (Ver.2) provides some much anticipated upgrades from professionals to make it an even more appealing resource for flash photography when used with the Speedlite EL-1. This updated version allows for wireless rear curtain synchronization to capture ambient light trails and convey a sense of speed for moving subjects. The expansive minimum output range (down to 1/8192 power) gives you increased opportunity for creativity over the flash output from brig... read more

Updated to include Wireless Rear Curtain Synchronization, A Minimum Output Range of 1/8192, and FE Memory.

When used in combination with the Speedlite EL-1, the Speedlite Transmitter ST-E3-RT (Ver.2) provides additional benefits* of wireless rear curtain synchronization so the flash fires as the shutter closes to capture beautiful light trails to signify movement of the subject, minimum flash power as low as 1/8192 for even more opportunity to work in low available light, and FE memory so you can store an E-TTL flash exposure and continue to use that same exposure when subjects and scenes remain unchanged.

  • Manual flash power below 1/128th not possible with 600EX-RT series, and 430EX-RT used as receiver units.
  • 2nd curtain sync can be used with Speedlite EL-1, 600EX-RT series and 430EX-RT receiver units, but with EOS R5, R6, or EOS-1D X Mark III cameras only.

Up to 5 groups, or 15 Individual Flashes can be Controlled via 1 Transmitter

The Speedlite Transmitter ST-E3-RT (Ver.2) facilitates radio controlled, two-way wireless transmission up to 98.4 feet, for a reliable and robust connection among sender and receiver units. Communicating on 2.4 GHz frequencies, the ST-E3-RT (Ver.2) does not have the same directional limitations of traditional wireless optical transmitters. Where other wireless signals can be interrupted by physical obstacles, radio controlled systems excel. Fifteen transmission channels are available, selectable manually or automatically (for optimum radio transmission, depending on environment), and radio transmission IDs can be set to prevent interference from other photographers on the same channel. With the extended, more reliable range afforded by radio transmission, ambitious photography is made easier.

Supports E-TTL II Flash, Manual Flash, Stroboscopic and Auto External Flash Metering

With the Speedlite Transmitter ST-E3-RT (Ver.2), up to fifteen Canon RT-compatible Speedlites in five groups can be controlled from the camera, via a single transmitter. Each group can be set to a different flash mode, enabling multiple configurations for creative photography. For example, with the ST-E3-RT (Ver.2) some flashes can be directed to operate according to the camera’s E-TTL flash reading, others can be set manually; groups can be set to overexposure or underexpose, and much, much more. With up to fifteen flashes under the control of one transmitter, wirelessly, complex lighting setups normally reserved for the studio are a breeze.

Dot Matrix LCD Panel Displays all Pertinent Information Simultaneously and Backlit Control Panel means Easy Operation

The Speedlite Transmitter ST-E3-RT (Ver.2) features a dot matrix LCD panel (172 x 104 dots). This LCD displays Flash status, flash settings and wireless configuration for any combination of Speedlite EL-1, 600EX-RT series, and 430EX-RT, used off-camera as Receiver units. With the transmitter’s LCD screen combined with backlit operation buttons and even an internal sound emitter, the ST-E3-RT (Ver.2) is as easy to operate in the dark as in daylight.

8 Types of Custom Functions, 3 Types of Personal Functions

To accommodate the demands of a number of different shooting situations, the Speedlite Transmitter ST-E3-RT (Ver.2) can be configured with eight different Custom Functions and any of three Personal Functions. Custom Functions include: auto power off, modeling flash controls, sound, illumination and more. Personal Functions include display contrast and LCD panel illumination color for both sender and receiver flashes.

High-Performance Hot Shoe Contacts for Reliable Information Transmission and Operation

The Speedlite Transmitter ST-E3-RT (Ver.2) is built to the standards one would expect from professional Canon camera systems. The hot shoe contact ensures reliable communication between camera and transmitter. Dust and water resistance is excellent as well: all moving parts and areas surrounding the transmitter’s display and buttons are sealed for uninterrupted performance in harsh conditions. A dust and water resistant design for the mounting foot creates a dust and water resistant seal between camera and flash. Compact and lightweight, the ST-E3-RT (Ver.2) is approx. 2.7 (W) x 2.4 (H) x 3.0 (D) in.

DISCLAIMERS

* When used with the Speedlite EL-1 in combination with an EOS R5, EOS R6, EOS-1D X Mark III or EOS M50 Mark II camera. Some features will work with older Speedlite models such as 600EX II-RT, 600EX-RT and 430EX III-RT, and previous EOS cameras, but not all. As of February 3, 2021.

Preorder the Canon Speedlite Transmitter ST-E3-RT (Ver. 2) from B&H.

Posted to: Canon News   Category: Canon Announcements
Post Date: 2/4/2021 1:22:45 PM CT   Posted By: Bryan
From B&H:

Canon ST-E3-RT V2 Overview

Building on the design and popularity of its predecessor, the second version of the Canon Speedlite Transmitter ST-E3-RT can help you take full advantage of all the features on flashes such as the Speedlite EL-1, 600EX-RT, and 430EX III-RT.

Version two of the ST-E3-RT makes complex lighting setups simple by facilitating radio-controlled, two-way wireless transmission at distances up to 98.4' among up to five groups or 15 individual Speedlites. Updates include Wireless Rear Curtain Synchronization for the look of motion in your subjects and a remarkable minimum power range of 1/81922 for very low light shooting. Another outstanding feature is FE Memory that allows you to lock-in an E-TTL flash exposure level, even in complex multi-flash setups, and subsequently continue to use it for the same scene or subject. Yet another upgrade is eight types of custom functions and three types of personal functions. Compact design with highly reliable construction combined with a clearly laid-out information panel and buttons with back lighting make this an indispensable tool for advanced professional flash photography.

Benefits

  • Updated to include Wireless Rear Curtain Synchronization, a minimum output range of 1/8192, and FE Memory
  • Up to five groups or 15 individual flashes can be controlled via one transmitter
  • Supports E-TTL II Flash, Manual Flash, Stroboscopic and Auto External Flash Metering
  • Dot Matrix LCD Panel displays all pertinent information simultaneously and backlit control panel means easy operation
  • Eight types of custom functions, three types of personal functions
  • High-performance hot shoe contacts for reliable information transmission and operation

Preorder the Canon Speedlite Transmitter ST-E3-RT (Ver. 2) from B&H.

Posted to: Canon News   Category: Canon Announcements
Post Date: 2/4/2021 1:13:51 PM CT   Posted By: Bryan
When reviewing a lens, I'm always looking for ideally suited subjects to photograph. The Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens is a great option to have on hand. It is perfect for wildlife photography, and this amazingly-colored blue jay timely volunteered a moment to pose for me.

When this bird showed up, providing a unique scenario, I was in full reactive mode. This fleeting opportunity was not expected, leaving no opportunity for preparation.

Working quickly with the Sigma telephoto zoom lens mounted to the Sony a7R IV, I first switched to Av mode. The overall scene was not especially dark or bright, so letting this competent camera determine the exposure was a logical, fast move.

A cloudy day meant that the late morning lighting remained soft and that the sun angle held little relevance. The camera could be positioned for the ideal bird angle, sideways or slightly facing the camera.

A cloudy day also meant somewhat dim lighting that called for a wide aperture. Not so fortunate is that wide open isn't especially wide for this lens. Very fortunate is that this lens is very sharp wide-open.

An additional benefit to this lens's specific wide-open f/6.3 aperture selection at 400mm is the relatively strong background blur, making the subject stand out, yet providing adequate depth of field for this close subject. Birds are seldom still, and ISO 400 seemed the immediate logical guess to go with this aperture, providing an adequately short shutter 1/160 speed.

After quickly capturing some insurance shots, the next move was to continue to work the scene, optimizing the composition. In this scenario, optimizing the composition included juxtaposing the background elements with the primary subject, primarily avoiding distractions around the bird's head and adjusting the camera elevation. More specifically, I moved to the left and slightly down.

With the next round of images on the card, moving closer seemed the next best option, and as close as the lens would autofocus was the subject distance for this image. While the entire bird was not close to fitting in the frame at this distance, I liked how much of the frame was filled with this bird's incredible colors. Of utmost importance is keeping the head entirely in the frame and providing some breathing room around the head. That concept meant cropping the tail out of the picture.

The next move was to rely more heavily on the Sigma and Sony coordinated optical stabilization, reducing the ISO setting to only 100. The bird was still enough for some of those images to be rendered sharply, but my eye preferred this overall composition better.

Those looking for a compact, lightweight, highly affordable telephoto zoom lens for Sony (or Leica) cameras should seriously consider the Sigma 100-400mm f/5-6.3 DG DN OS Contemporary Lens.
 
A larger version of this image is available on Flickr.

 
Camera and Lens Settings
400mm  f/6.3  1/160s
ISO 400
9504 x 6336px
Post Date: 2/4/2021 12:51:30 PM CT   Posted By: Bryan
From Canon USA:

Canon 150 Million EF and RF Lens

Canon Celebrates Significant Milestone with Production of 150 Million Interchangeable RF And EF Lenses

Canon EF and RF Lens Lineup

MELVILLE, NY, February 3, 2021– Canon U.S.A., Inc., a leader in digital imaging solutions, announced today that its parent company, Canon Inc., reached a new lens-manufacturing milestone with the production in January 2021, of the Company’s 150-millionth RF and EF series interchangeable lens for EOS cameras1 — an RF70-200mm F2.8 L IS USM telephoto zoom lens (released in November 2019).

Production of interchangeable EF lenses for Canon EOS-series AF (Autofocus) single-lens reflex film cameras began in 1987 at the Company’s Utsunomiya Plant. Over the years, EF lenses have gained support from a wide range of users and production has since expanded to a total of four manufacturing bases, including Canon Inc., Taiwan; Canon Opto (Malaysia) Sdn. Bhd.; and Oita Canon Inc. in southern Japan.

EF lens production passed the 10-million-unit mark in 1995 and crossed the 50-million-unit threshold in 2009. In April 2014, the Company celebrated its first-in-the-world achievement of having manufactured 100 million interchangeable lenses, and now, setting a new world record for the most interchangeable lenses produced, Canon manufactured its 150-millionth RF and EF lens in January 2021. Laid end-to-end2, all of the RF and EF lenses Canon has manufactured thus far would measure approximately 7,736 miles in length — nearly equivalent to the Earth’s diameter, which measures approximately 7,917 miles.

Canon’s proprietary EF lenses, launched in March 1987 along with the EOS SLR camera system, have continued to evolve since their introduction, leading the industry through the incorporation of a wide range of innovative technologies, including such world’s firsts3 as the Ultrasonic Motor (USM), Image Stabilizer (IS) technology, and a multilayered diffractive optical (DO) element.

In 2018, Canon introduced the EOS R system and the RF series lenses, which pursues new heights of quality under the core concept of “Speed, Comfort and High Image Quality.” Today, the Company’s extensive RF and EF lens series lineup currently comprises a total of 118 models4, expanding the possibilities for image capture. In addition, thanks to the extensive lineup of lenses, Canon has maintained the number one market share for digital interchangeable-lens cameras since 2003 — a total of 17 years5— and in September 2019, the Company celebrated the production of 100 million EOS-series interchangeable-lens cameras.

Canon will continue refining its imaging technologies centered on its RF and EF lens lineup, striving to cater to the varying needs of photographers — from first-time users to advanced amateurs and professionals — while contributing to expanding the photographic and video imaging culture.

Main features, Model name, Release date, and Technologies:

World’s first7 use of a lens-based Ultrasonic Motor (USM)

EF300mm f/2.8L USM6

Nov. 1987

USM technology delivers fast autofocusing thanks to its high torque and responsiveness. By converting ultrasonic vibrations into rotational energy, the technology makes possible quiet, smooth AF drive performance.

World’s first7 use of Image Stabilizer (IS) technology

EF75-300mm f/4-5.6 IS USM8

Sept. 1995

Users can see the results of IS technology through the viewfinder. Delivering high precision and stability for superb image stabilization results, this technology expands the possibilities for handheld photography.

World’s first7 use of a diffractive optical (DO) lens element

EF400mm f/4 DO IS USM9

Dec. 2001

Diffraction is an optical phenomenon in which light waves bend as they pass around the edges of an object. DO lens elements use this phenomenon to correct for a variety of aberrations by controlling the path that light travels.

World’s first10 use of Subwavelength Structure Coating (SWC)

EF24mm f/1.4L II USM

Dec. 2008

SWC technology helps to minimize reflections by aligning countless wedge-shaped structures more minute than the wavelength of visible light on the surface of a camera lens.

World’s first7 use of Hybrid IS, which compensates for both angle camera shake and shift camera shake

EF100mm f/2.8L Macro IS USM

Oct. 2009

Employing an algorithm, Hybrid IS optimally adjusts for camera shake based on information gathered by two sensors located in the lens. By precisely driving the optical correction system, the technology simultaneously corrects for angle and shift camera shake.

World’s first7 fisheye lens to deliver both 180-degree diagonal angle of view and 180-degree circular fisheye

EF8-15mm f/4L Fisheye USM

July 2011

The EF8-15mm f/4L Fisheye USM enables the capture of images with dramatic deformations, exaggerated perspectives and extreme depths of field, making possible images that are significantly distorted, similar to what a fish might see were it to look skyward from under the water surface.

World’s first7 super-telephoto zoom lens to employ an internal extender

EF200-400mm f/4L IS USM Extender 1.4x

May 2013

Featuring a built-in 1.4x extender, the EF200-400mm f/4L IS USM Extender 1.4x’s zoom range can be expanded with a simple one-touch operation even in locations where users are unable to switch lenses

World’s first7 lens offering ultra-wide-angle 11 mm minimum focal length

EF11-24mm f/4L USM

Feb. 2015

In addition to achieving the world’s widest angle of view starting at a minimum focal length of 11 mm, the EF11-24mm f/4L USM effectively corrects for aberrations commonly associated with ultra-wide-angle lenses, delivering superb image-quality performance

World’s first11 standard zoom lens to deliver f/2 aperture across the entire zoom range

RF28-70mm F2 L USM

Dec. 2018

Employs a large internal mount diameter and a short back focus to realize an f/2 aperture across the entire zoom range, a feat which was considerably difficult for EF series lenses.

Canon Technologies

Canon Global Adds:

Reference: In pursuit of the ideal lens

The history of lenses for Canon's EOS series of interchangeable-lens cameras began in 1987 with the release of the EOS 650, the world's first autofocus (AF) SLR camera to employ an electronic lens mount, and the EF35-70mm f/3.5-4.5, EF35-105mm f/3.5-4.5 and EF50mm f/1.8 lenses. The EF mount utilized by the camera and lenses not only made possible highly accurate AF, but also anticipated future technological developments including digitalization, high-speed continuous shooting, image stabilization and video recording. This forward-thinking mindset has helped support photographers for more than 30 years.

Amid the transition from film cameras to digital in the 1990s, the adoption of video recording technology for DSLR cameras in the late 2000s and the Company's entry into the video production industry the birth of the Cinema EOS System in 2012, Canon has continued to develop cameras that meet the needs of their time. Throughout this time, Canon has continued to expand the possibilities of photographic expression by producing a rich lineup of EF lenses—including zoom lenses, IS lenses, wide-aperture lenses, macro lenses and tilt-shift lenses—and a number of world-first technologies.

And now, anticipating the next 30 years of social change and technological development, Canon introduced the RF mount alongside its launch of the EOS R system in 2018. In the same year, the EOS R mirrorless camera debuted together with four RF lenses including the RF24-105mm F4 L IS USM. Leveraging their characteristic large internal mount diameter of 54 mm and a short back focus, RF lenses enjoy greater freedom for lens design that makes possible new levels of high image quality and high performance in compact sizes. To date, a total of 19* RF lens models have been released. Going forward, Canon will continue its mission to expand users' range of photographic expression as it pursues the creation of the ideal lens.

# # #

† Based on weekly patent counts issued by United States Patent and Trademark Office.

1 Includes EF, EF-S, RF, EF-M and EF Cinema lenses and lens extenders. As of February 3, 2021.

2 Calculated based the length of the lens’ bodies. Based on Canon research.

3 Among interchangeable SLR camera lenses. Based on Canon research.

4 Includes four lens extenders. As of February 3, 2021.

5 In terms of market share by number of units sold. Based on Canon research.

6 As of February 3, 2021, production for this lens has already been discontinued. Successor: EF300mm f/2.8L IS II USM (released in August 2011).

7 Among interchangeable SLR camera lenses.

8 As of February 3, 2021, production for this lens has already been discontinued. Successor: EF70-300mm f/4-5.6 IS II USM (released in December 2016).

9 As of February 3, 2021, 2016, production for this lens has already been discontinued. Successor: EF400 f/4 DO IS II USM (released in November 2014)

10 Among photography lenses.

11 Among interchangeable lenses supporting autofocus across the entire standard zoom range and compatible with 35mm equivalent full-frame sensor cameras.

Canon Lens Production Chart

Posted to: Canon News   Category: Canon Announcement
Post Date: 2/4/2021 8:35:08 AM CT   Posted By: Bryan
 Wednesday, February 3, 2021
Image quality test results from the Canon EOS R5 have been added to the Canon RF 15-35mm F2.8 L IS USM Lens Review.

This lens fills a key role in my kit.

When first creating this post, I was going to say "Get in line if you want this lens." The popularity of the R5 has led to greatly increased demand, and the RF 15-35 has been mostly out of stock since the R5 was announced last summer. Upon testing the links, I realized that Amazon USA has this lens in stock. Order right away if you want one.

Otherwise, order the Canon RF 15-35mm F2.8 L IS USM Lens at B&H | Adorama | WEX

Rent the Canon RF 15-35mm F2.8 L IS USM Lens from Lensrentals.

Please share!

Posted to: Canon News   Category: Camera Gear Review News
Post Date: 2/3/2021 10:25:56 AM CT   Posted By: Bryan
 Tuesday, February 2, 2021
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