RSS
 

Archive for the ‘Uncategorized’ Category

DJI Mavic Mini 2 sample gallery

07 Nov

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9035981190″,”galleryId”:”9035981190″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The DJI Mavic Mini is a great beginner-friendly drone in its own right, but the Mavic Mini 2 provides some significant improvements over its predecessor. The result is a fantastic little machine that’s easy to use, convenient to transport and full of sophisticated features in a small package. You can read all about it in our full DJI Mavic Mini 2 review, but be sure to check out the image quality it’s capable of by perusing the sample gallery above.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on DJI Mavic Mini 2 sample gallery

Posted in Uncategorized

 

Nikon Q2 financial results: better-than-expected revenue with plans to cut expenses and increase focus on higher-end cameras, lenses

07 Nov

Nikon has released financial results for the second quarter (Q2) of its 2021 fiscal year, which starts April 1 (2020) and ends March 31 (2021), revealing a larger operating loss than forecasted despite higher-than-expected revenue.

As tends to be the case with financial results, there are plenty of nuances hidden within the broader numbers, but what is clear is Nikon’s Imaging Products Business is going through changes, not unlike Canon, which is also transitioning its product line and production facilities away from DSLRs and towards mirrorless.

Q2 Financial Highlights by segment. We have highlighted the Imaging Products Business, with the last column being the Q2 FY2021 results.

Starting with the Q2 results for Nikon’s Imaging Products Business, Nikon reports operating revenue of ¥39.3B ($ 372M) and an operating loss of ¥19.3B ($ 184.3M), down ¥12.4B and ¥17.8B, respectfully year-over-year (YoY) for Q2. Nikon further breaks down unit sales in the Imaging Products Business division, noting it sold 240K interchangeable lens cameras (ILC), 70K compact cameras and 390K interchangeable lenses. These numbers are down 31%, 73% and 29%, respectively, YoY for Q2.

An overview of the revenue and operating profit/loss for H1 FY2021 by segment.

Looking at the first half (H1) of Nikon’s Imaging Products Business’ FY2021, the company reported revenue of ¥64.4B ($ 615M) and an operating loss of ¥27.4B ($ 261M). This puts revenue above Nikon’s ¥55B forecast, but it seems expenses outpaced gains, as the company had previously forecast an operating loss of only ¥20B. Unit sales for H1 were also down across the board, with 380K ILC, 120K compact cameras and 610K interchangeable lenses being sold. That’s down 52.5%, 76% and 53%, respectively, compared to H1 FY2020.

A breakdown of camera unit sales per quarter going back to FY2018.

While the operating loss looks grim, it needs to be placed in context. Nikon cites ‘impairment losses on production equipment at production sites in Thailand, etc.’ as the reason for over half of this loss (¥15.6B, to be precise). These ‘impairment losses’ suggest Nikon is depreciating or downright writing-off the value of manufacturing equipment at its Thailand factories. Given the transition to new lines for mirrorless products, this isn’t a huge surprise. It’s likely the equipment Nikon is depreciating is that it used to produce its DSLRs (we know that Nikon is using new, more automated assembly lines for at least some of its Z series mirrorless cameras).

Note the additional comments in the yellow box at the bottom of this presentation slide.

Nikon notes its mirrorless camera sales volumes increased year-over-year, the percentage of revenue from its pro and hobbyist cameras increased ‘steadily’ and even says it saw a ‘better-than-expected market recovery from the impact of COVID-19.’

For its full FY2021 forecast, Nikon says it expects its Imaging Products Business to show ¥140B in revenue and an operating loss of ¥45B.

Moving forward, Nikon makes its plan for its Imaging Products Business clear: reduce business costs faster than the rate of shrinkage the camera market is experiencing and ‘Shift to a structure that secures profits constantly even when revenue drops.’ It hopes to reduce costs by more than ¥80B by the end of its FY2022 through ‘substantially lowering the breakeven point through improving productivity, production consolidation, headcount optimization and impairment losses of equipment.’ It also states it will be focusing on its pro and hobbyist products, which it wants to see as the bedrock of its Imaging Products Business. This assessment and approach is similar to the one Olympus has been taking for a few years now—downsize the business to match the market size, which is shrinking across the board.

Nikon also says it wants its Imaging Products Business to enter new fields, including more business-to-business deals. What exactly this looks like remains to be seen, as no details are given, but Nikon says it intends to ‘actively leverage [its] image processing, sensing technology’ and more.

If we’re to summarize this Q2 financial report into a single sentence, it’s this: Nikon plans to cut costs as much as possible to account for a clearly shrinking camera market while also focusing on its higher-end cameras and lenses, which are steadily increasing as a percentage of Nikon’s sales. This should come as good news to experienced Nikon shooters, particularly those who have already or are looking to dive into Nikon’s Z series mirrorless cameras and lenses; more cameras and lenses are on the way.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Nikon Q2 financial results: better-than-expected revenue with plans to cut expenses and increase focus on higher-end cameras, lenses

Posted in Uncategorized

 

Frii Designs’ new Conda Strap is a camera strap that turns into a flexible mount

07 Nov

Frii Designs, a company known for its unconventional photography accessories, has announced a forthcoming campaign to help fund its new Conda Strap, a camera shoulder strap that also doubles as a flexible mount and grip.

Somewhere between a Joby Gorillapod and a shoulder strap, the Conda starts as a flexible shoulder strap that attaches directly to your camera via the tripod mount. When you need to use it as a tripod, simply flip the lever at the top and the Conda stiffens up for moulding into whatever shape you need.

You can even separate the strap, wrap it around objects for further security and lock it back in place with the lever engaged to ensure your gear doesn’t take any unwanted tumbles.

It’s an interesting concept and certainly carves out a niche in a market that’s fairly saturated. Due to the components required to turn it into a mounting solution, it doesn’t necessarily look like the most comfortable shoulder strap — and certainly not the lightest — but if it means you don’t have to carry around even a small tripod or mounting solution, it might be worth the compromise.

The Conda Strap will come in two versions: Conda Strap and Conda Strap Plus. The Conda Strap is the ‘light’ version of the two, designed for mirrorless cameras and light DSLR cameras, while the Conda Strap Plus is the more heavy-duty model for larger mirrorless setups or heavier DSLRs.

The Kickstarter campaign for the Conda Strap and Conda Strap Plus will go live on November 12. Frii Designs notes the Conda Strap be available for a pledge of $ 97. We have inquired about the price of the Conda Strap Plus and will update this article accordingly when we receive a response.

If successfully funded, the first units are expected to ship out in March 2021. You can sign up to be notified as soon as the campaign goes live on Frii Designs’ website.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Frii Designs’ new Conda Strap is a camera strap that turns into a flexible mount

Posted in Uncategorized

 

Sample gallery and impressions: Lomography Fantome ISO 8 and Babylon ISO 13 BW films

06 Nov

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_8151341079″,”galleryId”:”8151341079″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Lomography recently announced two new low ISO black-and-white films: Fantome ISO 8 and Babylon ISO 13. Both films belong to their ‘Kino’ line, which has been created from cine film stock produced by a German company. These monochromatic films offer some of the lowest ISO on the market at the moment.

The slow speed means that they will produce negatives with very fine grain, but it also means it can be challenging to capture enough light for a proper exposure. With this in mind I loaded the test rolls into my Contax T2 and hoped that New York City would grant me some sunny September days.

Babylon ISO 13 is advertised as BW film that has a ‘high dynamic range’ and can capture very subtle gradient transitions. Fantom ISO 8 falls on the opposite side of the spectrum. This film is a high-contrast stock that renders images with super crushed shadows and bright highlights. It’s incredibly moody and the grain is very fine.

Impressions

For the most part, my favorite frames from these two rolls were ones shot in bright conditions and with a flash. Frames that were captured later in the day or on overcast days just didn’t work as well. Like most of Lomography’s speciality film stocks, the Kino films aren’t necessarily for everyday use, but these black-and-white rolls do seem a little more versatile than some of Lomo’s speciality color films.

Babylon ISO 13 worked nicely for daytime portraits and urban architecture

I love the way that Fantome ISO 8 rendered urban architecture, skies and close-up detail shots. But I found it difficult to get shutter speeds fast enough for scenes with lots of subject movement. As expected, Babylon ISO 13 was a little more forgiving. It worked nicely for daytime portraits, urban architecture and the subtle gradient shifts within a frame are quite lovely.

Recommendations

Both films are definitely best shot with a camera that has automatic metering and a fast lens. Having a camera with a small flash can also be helpful. Lomography recommends that both are processed using D-96 or Kodak HC-110, something you will definitely want to keep in mind if you are dropping it off at a lab.

These low ISO Lomography films certainly aren’t going to be for everyone, and shooters should definitely expect more ‘misses’ than when they are shooting with a standard film stock. That said, I’m happy with the way my frames turned out and would definitely give these films another go. Next time I think I’ll save a roll for an aggressively sunny day at the beach though.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Sample gallery and impressions: Lomography Fantome ISO 8 and Babylon ISO 13 BW films

Posted in Uncategorized

 

Xiaomi announces retractable lens technology for future smartphones

06 Nov
Xiaomi has introduced its self-developed Retractable Wide-aperture Lens Technology at its annual developer conference. Image credit: Xiaomi

Chinese technology company Xiaomi has officially kicked off its annual Mi Developer Conference (MIDC 2020) in Beijing. During the conference, Xiaomi has showcased numerous new technologies and breakthroughs, including retractable wide-aperture lens technology for smartphone devices.

If you have been following along with new smartphone announcements over the last few years, you’ll have noticed a strong emphasis on improvements in image quality, camera performance and lens quality. Drawing inspiration from traditional camera and lens design, Xiaomi has developed new Retractable Wide-aperture Lens Technology. This advancement in design lodges a compact optical structure in the smartphone, which can be extended when necessary.

Xiaomi promises that this new design will result in a breakthrough in performance. The company states, ‘This design allows the retractable telescopic camera to have a larger aperture to increase the amount of light input by 300%, as well as showcase better performance in portrait photography and night photography compared to currently-used camera structures.’ Further, the design incorporates a new image stabilization technology which ‘offers a larger anti-shake angle’ and increases sharpness by 20%.

The telescoping design has the primary benefit of allowing a camera not in use to be compact and easy to slip into a pocket, while still offering optical zoom when in use and capturing photos. In the case of a smartphone and its camera design, it’s even more critical to consumers that the device remain thin, compact, and lightweight.

Retractable lens designs have most frequently been seen in fixed-lens compact cameras, such as the Sony ZV-1 seen above. By utilizing a retractable lens design, engineers can strike a balance between performance when the camera is in use and a compact form factor when you aren’t capturing images.

Photography advancements from Xiaomi have been fast and furious this year despite the impact of the pandemic. This August, Xiaomi introduced its 3rd-generation under-display camera, which promised a high-quality, hidden camera under the smartphone’s display. This technology relies upon a revised pixel arrangement solution, allowing light to pass through gaps between the sub-pixels in the display.

Xiaomi’s advancements in camera technology don’t exist solely in the future. To celebrate its 10th anniversary this summer, Xiaomi launched the Mi 10 Ultra smartphone. This device incorporates a quad-camera array, including a long telephoto lens which offers a 120mm equivalent focal length and includes a 48MP image sensor. On the wide end of its camera array, there is a 12mm equivalent focal length and 20MP image sensor.

The Xiaomi Mi 10 Ultra smartphone, introduced this August, highlights the company’s fast-paced camera technology advancements with its 12mm and 120mm cameras. Click to enlarge.

It remains to be seen what the real-world performance of a telescoping lens in a smartphone will be, but Xiaomi intends to utilize its new camera technology in upcoming smartphones. The company’s goal is to deliver ‘professional photography to hundreds of millions of smartphone users around the world’ with its expanding portfolio of image technology improvements.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Xiaomi announces retractable lens technology for future smartphones

Posted in Uncategorized

 

£10K Landscape Photographer of the Year prize goes to woodland view

06 Nov

Overall LPOTY Winner: Chris Frost, ‘Woolland Woods’, Dorset

Overall LPOTY Winner: Chris Frost, ‘Woolland Woods’, Dorset

Wild garlic, a misty morning and a low-down woodland view have combined to come out top in this year’s UK Landscape Photographer of the Year competition. Photographer Chris Frost picked up the title and a £10,000 cheque for his dawn picture that beat a field of ‘tens of thousands’ of entries in one of the biggest photography competitions in the UK.

In its thirteenth year, the contest is run by photographer Charlie Waite and aims to celebrate the wide range of landscapes in the UK, but can be entered by anyone from outside the country. Categories for adults and young photographers allow images of the countryside, as well as city views and special prizes, are awarded for pictures incorporating the UK rail network, for black and white photos as well as awards for pictures to do with history, the environment and nocturnal scenes.

Chris Frost won the overall Landscape Photographer of the Year title and prize, but there were five other category winners along with four special prizes.

The winning images as well as a selection of commended and shortlisted pictures will form an exhibition that will be held in London Bridge station from 16th November, while a book of the best pictures is already on sale. For more information, and to see all the shortlisted pictures, visit the Landscape Photographer of the Year website.

Historic Britain Winner: Graham Mackay, ‘Wallace Monument from the banks of the Forth’, Stirlingshire

Historic Britain Winner: Graham Mackay, ‘Wallace Monument from the banks of the Forth’, Stirlingshire

Lines in the Landscape Winner: Brian Nunn, ‘Ribblehead’, North Yorkshire

Lines in the Landscape Winner: Brian Nunn, ‘Ribblehead’, North Yorkshire

Changing Landscapes Winner: Graham Eaton, ‘When the Fog Parted’, North Wales Coast

Changing Landscapes Winner: Graham Eaton, ‘When the Fog Parted’, North Wales Coast

Classic View Winner: Leigh Dorey, ‘Roman Road’, Dorset

Classic View Winner: Leigh Dorey, ‘Roman Road’, Dorset

Black and White Winner: Neil Burnell, ‘Fantasy’, Dartmoor

Black and White Winner: Neil Burnell, ‘Fantasy’, Dartmoor

Your View Winner: Aleks Gjika, ‘Drama at the Lighthouse’, Wales

Your View Winner: Aleks Gjika, ‘Drama at the Lighthouse’, Wales

Urban Life Winner: George Robertson, ‘Got You’, Glasgow

Urban Life Winner: George Robertson, ‘Got You’, Glasgow

Landscapes at Night Winner: Alyn Wallace, ‘Protector’, Anglesey

Landscapes at Night Winner: Alyn Wallace, ‘Protector’, Anglesey

Overall Youth LPOTY Winner: Joshua Elphick, ‘Counting Sheep’, Sussex

Overall Youth LPOTY Winner: Joshua Elphick, ‘Counting Sheep’, Sussex

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on £10K Landscape Photographer of the Year prize goes to woodland view

Posted in Uncategorized

 

Video: David Chan is the ‘Camera Guardian’ in Hong Kong

06 Nov

Hong Kong camera shop owner David Chan has spent the last 60 years collecting vintage camera gear and amassing an impressive collection of vintage photographic equipment. South China Morning Post visited Chan and interviewed him about his impressive collection.

The short film, ‘The Camera Guardian’, was filmed by Chris Chang. Its title is apt, as David Chan views himself as less of a collector and more of a guardian. He is working to preserve vintage camera gear, rather than cultivating a personal collection.

Chan owns David Chan Co., where he has sold cameras since the 1960s. There are some cameras that have come into his shop that he doesn’t want to sell, thus his collection has grown. He enjoys showing off his cameras and helping a new generation of photographers come to learn about and appreciate vintage camera craftsmanship. Any shutterbug would certainly be in gear heaven in Chan’s shop.

David Chan in his Hong Kong camera shop

Chan says, ‘Cameras are complicated to make. Cameras are luxury items.’ Some of his vintage lenses even contain radioactive elements that current regulations ensure are no longer found in modern camera equipment. But without the radioactive elements, Chan believes some newer lenses have lost their ‘flavor.’ He continues, ‘Modern lenses can’t produce the unique texture that vintage lenses could.’

Of digital cameras, Chan argues that while digital is more convenient, some character has been lost. Chan’s passion for photography is readily apparent. When passersby stop to look through the shop windows at the cameras, Chan invites them in and is eager to share his knowledge with visitors.

With respect to his own photography skills, Chan laughingly says, ‘I’m not a good photographer. Photography is an art. But I cherish cameras as works of art. Holding a camera in my hand makes me very happy. Pressing the shutter and listening to the sound also makes me so happy. Having spent so much time around cameras, does Chan have a favorite camera? He loves European cameras, such as ones from Zeiss, Voigtlander and Leica.

(Via Reddit)

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Video: David Chan is the ‘Camera Guardian’ in Hong Kong

Posted in Uncategorized

 

US Navy shares photos, video from the Blue Angels’ farewell flight for its Legacy Hornet jets

06 Nov

The United States Navy Blue Angels have flown their last flight with their F/A-18A/B/C/D ‘Legacy’ Hornet aircrafts, which are being fazed out for the new F/A-18E/F Super Hornet. To commemorate the farewell flight of the 34-year-old planes, the U.S. Navy has released cockpit video and an array of images.

The final flight occurred yesterday, November 4, over the Hornet’s hometown of Pensacola, Florida, just as the sun was setting on the Florida coastline. Over the winter, the U.S. Navy flight demonstration team will enter its training period with 18 new F/A-18E/F jets that have been specifically modified for use by the Blue Angels, before showing off the new, larger ‘Super Hornets’ next year at its first show in Pensacola. The Drive has a fantastic deep dive into the modifications the U.S. Navy is making to the new Super Hornets for those of you interested in learning more.

An illustration showing the flight path of the Blue Angels’ final flight in the Legacy Hornet jets.

Below is a gallery of images from the final demonstration with the Legacy Hornet squadron, provided by the U.S. Navy:

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_1379255279″,”galleryId”:”1379255279″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Blue Angels demonstration team is a popular attraction for photographers at airshows around the world, with their incredible coordination, dizzying moves and near-flawless execution. You can read more about the U.S. Navy’s shift to the Super Hornet on Navy Times.


Image credits: Photos courtesy of the United States Navy.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on US Navy shares photos, video from the Blue Angels’ farewell flight for its Legacy Hornet jets

Posted in Uncategorized

 

Firmware v1.1.1 makes the Canon R6’s video much more usable

05 Nov

Alongside DPReviewTV’s re-assessment of the Canon EOS R6, we conducted some simple side-by-side testing of the latest firmware, in comparison to the original version. Our original tests showed that the R6 would deliver the promised amount of recording time in fairly challenging conditions, but that it would then struggle to recover.

Over the following weeks, diligent testing by users revealed Canon was factoring-in the initial temperature of the camera when determining how long to let it record for, but then was calculating recovery times without much consideration of internal or ambient temperature. This meant that the camera would take a long time to recover its recording capability and there was nothing you could do to speed up the process.

This could all be side-stepped if your shooting allows the use of an external recorder, but this somewhat undermines the convenience of the R6 as a stills-and-video tool.

Key takeaways:

  • The new firmware allows the EOS R6 to record for longer periods
  • An EOS R6 will require less cool-down time than before to recover recording times
  • Ambient temperature is likely to play a more significant role in recovery times

At the time of release, Canon’s description of this firmware update was:

  • Temperature detection and shooting time control in video shooting have been improved. In addition, the total shooting time when the short-time recording and power-on/off are performed repeatedly at room temperature is improved.

Our more recent testing supports this claim. A camera running firmware v1.1.1 was able to record for longer and, most critically, recover recording time faster than the example running firmware v1.0.

This makes the R6 a much more usable camera for stop/start video capture.

Of course the downside of the camera taking ambient and internal temperature into account to a greater degree is that its behavior is now more temperature sensitive and hence less predictable. However, this is much more consistent with how most other cameras work.

Testing two R6’s side-by-side, one with the previous firmware, one with the latest.

The original firmware was very dependable: you’d tend to get 40 minutes of 4K/24, 25 or 30p, as promised, but with dependably long recovery times. This meant that you were much more likely to hit that 40 minute limit than with other cameras that, on paper, promised less recording time (because they’d do a better job of recovering between clips).

With the latest firmware, in moderate and room-temperature shooting at least, the R6 is much better at recovering, which means you hit the temperature limit much less readily, particularly if you shoot clips of video and have some time between each one.

The R6 is generally a more usable camera for anyone shooting sequences of multi-minute clips

However, given we’re experiencing an early cold snap in Seattle, we can’t comment on how the camera will do when the summer comes.

Of course none of this is much help for, say, wedding photographers, for whom it may not be possible to turn a camera off for several minutes between clips, but it means the R6 is a much more usable camera for anyone shooting sequences of multi-minute clips.

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Firmware v1.1.1 makes the Canon R6’s video much more usable

Posted in Uncategorized

 

Canon introduces compact RF 70-200mm F4L and 50mm F1.8 STM lenses

05 Nov

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_9582728382″,”galleryId”:”9582728382″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Canon has introduced a pair of lenses for its EOS R system.

First up is the RF 70-200mm F4L IS USM, which is 32% shorter (at wide-angle) and 11% lighter than its popular EF counterpart. The lens is just 119mm (4.7″) long and weighs in at a 695g (1.5lbs), yet it retains the build quality and weather-sealing of other L-series lenses. Unlike those lenses, this 70-200 does not support teleconverter or offer a tripod mount.

The lens’s image stabilizer can reduce shake by up to five stops, and when attached to an EOS R5 or R6, can reach 7.5 stops by working in conjunction with in-body image stabilization. The 70-200 features 16 elements, four of which are ‘UD’ (ultra low dispersion) glass that help control chromatic aberration. Canon’s Air Sphere Coating reduces flare and ghosting. The lens’s minimum focus distance is 0.6m (2ft), regardless of focal length. The focus elements are driven by a pair of Nano USM motors for fast and silent autofocus.

The 70-200mm F4L IS USM will be available in early December for $ 1599.

Along with the 70-200 comes the tiny RF 50mm F1.8 STM lens. The lens weights only 160g (5.6oz) and is 41mm (1.6″) long. It contains a total of six elements (one being aspherical) and can focus as close as 0.3m (0.98ft). Its control ring can be used for manual focus, by default, or other functions including aperture and exposure compensation, depending on your needs. Focus elements are driven by a stepping motor. The RF 50mm F1.8 STM will hit store shelves in mid-December for $ 199.

Go hands-on with the new Canon RF lenses

Press release

CANON ADDS TWO RF LENSES AND PIXMA PRO PRINTER IDEAL FOR THE ENTHUSIAST PHOTOGRAPHER

MELVILLE, N.Y., November 3, 2020 – Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the compact and lightweight RF70-200mm F4 L IS USM and the RF50mm F1.8 STM, two completely re-designed RF mount lenses with bloodlines to immensely popular EF models that feature new lens formulas and enhanced elements. Canon is also introducing the PIXMA PRO-200 printer, which is ideal for photography students and graphic designers.

“As Canon began to further build out the company’s RF lens portfolio, the goal in mind was to create advanced lenses, for a variety of experience levels, that also featured a sense of familiarity for longtime Canon users,” said Tatsuro “Tony” Kano, executive vice president and general manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “Canon prides itself on being able to uniquely offer both input and output solutions to our customers. We are equally excited to see the images captured with the new lenses, and the prints that are to be created with the new PIXMA PRO-200 printer.”

Canon RF70-200mm F4 L IS USM Lens

The Canon RF70-200mm F4 L IS USM lens is ideal for photography enthusiasts ranging from advanced amateur to professional skill levels. The compact and lightweight nature of the lens makes it Canon’s shortest and lightest 70-200mm F4 zoom lens to date. This RF lens is approximately 32 percent shorter and 11 percent lighter than its EF counterpart with a large portion of the lens element arrangement closer to the camera body. This arrangement is designed to provide photographers with a more balanced feel and experience even at the zoom range’s telephoto end. Additionally, the shorter and lighter design allows the lens to more easily be stowed away in a camera bag when not in use.

The RF70-200mm F4 L IS USM features two independent Nano USM motors, providing an even greater level of high-speed autofocus for still image shooting as well as quiet and smooth autofocus for video shooting. The lens also incorporates a floating focus control that drives the two lens groups individually while using the two aforementioned Nano USM motors. The floating focus lens element shortens the focusing distance and helps reduce breathing, providing users with fast, consistent and reliable performance.

Additional Features of The Canon RF70-200mm F4 L IS USM Lens Include:

  • 16 lens elements in 11 groups, including four UD lenses, that help to reduce chromatic aberration
  • Optical Image Stabilizer with up to 5 Stops[i] of shake correction
  • Up to 7.5 stops[ii] of shake correction with coordinated control of Optical Image Stabilizer and In-Body Image Stabilizer
  • Three stabilizer modes
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO
  • 12-pin communication system
  • L-Series dust and weather-resistant build with a fluorine coating
  • Minimum focusing distance of 1.97 feet and a maximum magnification of 0.28x
  • Air Sphere Coating (ASC) that helps minimize lens flare and ghosting

Canon RF50mm F1.8 STM Lens

Creatives love using a 50mm lens because that focal length is similar to the natural viewpoint of the human field of vision. This perspective allows for the lens to be used in a wide variety of shooting situations, including portraits, landscapes and food photography. What’s more, Canon 50mm f/1.8 lenses have long been a popular tool for both photographers and creators due to their budget-friendly price point, extremely compact and lightweight form factor, and versatility.

The tradition continues with the RF50mm F1.8 STM that, in many ways, is improved over its EF counterpart. The first visually noticeable improvement is the customizable control ring that has become synonymous with RF lenses. The control ring allows photographers to adjust exposure compensation, shutter speed, aperture, or ISO and with a flip of the side switch can adjust focus. The inclusion of a PMo aspherical lens helps to reduce chromatic aberration and provides high-image quality even at the periphery of the image. Additionally, the combination of the lens shape and Super Spectra Coating (SSC) helps to minimize ghosting and flaring.

Additional Features of The Canon RF50mm F1.8 STM Lens Include:

  • Six lens elements in five groups
  • 12-pin communication system
  • Minimum focusing distance of 0.98ft and a maximum magnification of 0.25x
  • Up to 7 stops[iii] of Shake Correction with EOS R Series cameras with In-Body Image Stabilizer

Canon PIXMA PRO-200 Printer

Continuing a long history of high-quality input to output digital imaging equipment, the PIXMA PRO-200 printer is 15% smaller than its predecessor, the PIXMA PRO-100. With the ability to print up to 13 inches x 19 inches and featuring improved ChromaLife 100+ dye-based ink, the latest PRO printer helps to create prints that are more representative of the original digital file. A helpful tool of the trade for photographers who print work for themselves and graphic artists or photography students working on their portfolios from their homes, the PIXMA PRO-200 printer also features:

  • A new 3-inch LCD screen to help users set up the printer, connect to WiFi, monitor ink and paper levels for an improved user experience
  • New Skew Correction feature, which automatically corrects shifts the paper may encounter during printing
  • Professional print and layout software, which can work as a stand-alone program, or integrated into Adobe® Lightroom® or Photoshop® as a plugin to work within a photographer’s workflow, to help take the guesswork out of making great prints
  • Vast media support to print on a variety of surfaces such as Canon Photo Paper Pro Luster and Premium Fine Art Rough, as well as the ability to print longer panoramic images in comparison to previous models

Pricing and Availability

The Canon RF70-200mm F4 L IS USM, and RF50mm F1.8 STM lenses are scheduled to be available in early and mid-December 2020 for a suggested retail price of $ 1,599.00 and $ 199.99, respectively*.

The PIXMA PRO-200 printer is scheduled to be available later in November for a suggested retail price of $ 599.99*.

For more information, please visit cusa.canon.com.

[i] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 200mm using the EOS R camera.

[ii] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 200mm using the EOS R5 camera.

[iii] Based on CIPA (Camera & Imaging Products Association) standards. Testing performed at a focal length of 50mm using the EOS R5 camera.

Canon RF 70-200 F4L IS USM / RF 50mm F1.8 STM specifications

  Canon RF 70-200 F4L IS USM Canon RF 50mm F1.8 STM
Principal specifications
Lens type Zoom lens Prime lens
Max Format size 35mm FF
Focal length 70–200 mm 50 mm
Image stabilization Yes No
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F4 F1.8
Minimum aperture F32 F22
Aperture ring No
Number of diaphragm blades 9 7
Optics
Elements 16 6
Groups 11 5
Special elements / coatings 4 UD elements + Air Sphere coating 1 aspherical element + Super Spectra Coating
Focus
Minimum focus 0.60 m (23.62) 0.30 m (11.81)
Maximum magnification 0.28× 0.25×
Autofocus Yes
Motor type Nano ultrasonic Stepper motor
Full time manual Yes No
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 695 g (1.53 lb) 160 g (0.35 lb)
Diameter 84 mm (3.31) 69 mm (2.72)
Length 119 mm (4.69) 41 mm (1.61)
Materials Magnesium alloy
Sealing Yes No
Colour White Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock Yes
Filter thread 77 mm 43 mm
Hood supplied Yes No
Hood product code ES-65B
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
Comments Off on Canon introduces compact RF 70-200mm F4L and 50mm F1.8 STM lenses

Posted in Uncategorized