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Archive for February, 2019

Kosmo Foto launches Mono 120 black-and-white film, now available for pre-order

16 Feb

Kosmo Foto has launched pre-orders for its Mono film in 120 format, adding the new product alongside the 35mm version launched in 2017. According to the company, the first batch of Mono 120 has entered production and will be sold exclusively through the Kosmo Foto shop. Future batches of the film will be available through Kosmo’s retailers and distributors, as well.

In its announcement today, the company explained:

Mono has proven to be really popular with film photographers – it’s now stocked in photography shops all over the world, and been bought by photographers from Greenland to Greece and Costa Rica to the Czech Republic.

Not everyone, however, shoots 35mm film. The resurgence that film has enjoyed over the last few years has also seen many people shooting on medium format cameras from humble Holgas through to Hasselblads.

So Kosmo Foto is very pleased to be able to say that Kosmo Foto Mono 120 is now available to pre-order.

According to Kosmo Foto, Mono features a traditional black-and-white chemistry that can be developed using Tetanal, Rodinal, Perceptol, and similar formulations, but it can’t be developed by mini-labs with only C41 processing. Mono 120 is suitable for use in a variety of shooting conditions, including both sunny and overcast environments.

Kosmo Foto requires pre-order customers to purchase at least three, but no more than 10, rolls of Mono 120 when ordering. Each roll costs £4.50 / $ 5.80 and is available now through the Kosmo Foto store; the company expects its first batch to be ready for shipment in May.

Articles: Digital Photography Review (dpreview.com)

 
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Slideshow: International Garden Photographer of the Year Winners

16 Feb

International Garden Photographer of the Year Winners

‘Fireworks’ by Jill Welham | IGPOTY

The winning photographs from the International Garden Photographer of the Year Competition 12 have been announced, with the top prize going to photographer Jill Welham of North Yorkshire, England for the above photograph titled ‘Fireworks’ that was submitted under the Abstract category.

Passionate about the cyanotype print process, ‘Fireworks’ showcases the details of three Allium heads created using a wet cyanotype process.

‘This image of three Allium heads was created using a technique known as wet cyanotype. Two chemicals, ammonium citrate and potassium ferricyanide, are mixed together to create a photosensitive solution which is painted onto the surface of watercolour paper and left to dry,’ says Welham in the image’s description. ‘This process needs to be conducted away from UV light, and once dry the paper must be kept in a light-proof bag until it is used.

In addition to Welham’s photograph, we’ve rounded up the remaining dozen winners from each of the remaining twelve categories. The winning photographs were narrowed down from more than 19,000 entries from over 50 countries.

The IGPOTY Competition 13 contest is already taking submissions. You can find out more information and submit your work on the IGPOTY website.

International Garden Photographer of the Year Winners

‘Bressingham Gardens in Autumn’ by Richard Bloom | IGPOTY

‘Bressingham Gardens in Autumn’ by Richard Bloom | IGPOTY

1st Place in Beautiful Gardens

Norfolk, England, UK

Glorious early morning sun bathed TheSummer Garden at Bressingham in rich, warming light. Ornamental grasses are featured with swathes of Aster and Rudbeckia.

Gear/Settings: Canon EOS 5D Mark IV, Canon 16-35mm lens, 1/4sec at f/16, ISO 100. Tripod, cable release, polarising filter, neutral density graduated filter.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘Farewell’ by Andrea Pozzi | IGPOTY

‘Farewell’ by Andrea Pozzi | IGPOTY

1st Place in Breathing Spaces

Torres del Paine National Park,Patagonia,Chile

The sun had already risen and the dawn had been incredible. Wandering through the vegetation, however, I realised that the essence of the territory was only revealing itself in that moment. The extraordinary colours of the sunrise had dissolved, leaving behind a unique intimate feeling amongst one of the most beautiful mountain ranges on Earth.

Gear/Settings: Canon EOS 6D, Canon 24-70mm lens, 1.3sec at f/13, ISO 200. Tripod, neutral density graduated filter, polarising filter.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘Lost in the Lush Beauty’ by Vincenzo Di Nuzzo | IGPOTY

‘Lost in the Lush Beauty’ by Vincenzo Di Nuzzo | IGPOTY

1st Place in Captured at Kew

Royal Botanic Gardens, Kew, London, England, UK

Opening the door of the Palm House at Kew is like entering a hidden paradise. It never fails to amaze me how fascinated and stunned I become in the presence of such natural beauty. I took this photograph whilst my friend was having a similar reaction to the sheer scale and abundance of lush tropical plants.

Gear/Settings: Canon EOS 5D Mark III, Canon 24-105mm lens, 1/60sec at f/8, ISO 400. Post-capture: basic image management

International Garden Photographer of the Year Winners

‘Cork Oak’ by Scott Simpson | IGPOTY

1st Place in European Garden Photography Award

Gazebo Cádiz, Andalucía, Spain

There cannot be too many gardens in Europe that combinecork oaks (Quercus suber) with manicured gardens. I was commissioned to photograph such a place at a luxury real estate property in Andalucía. The garden had the added bonus of a raised gazebo, which was nestled amongst the mature cork oaks.

Gear/Settings: Canon EOS 7D, Canon 70-200mm lens, 1/30sec at f/13, ISO 100. Tripod.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘Greenbelt’ by Halu Chow | IGPOTY

‘Greenbelt’ by Halu Chow | IGPOTY

1st Place in Greening the City

Kowloon, Hong Kong, China

I used infrared to precisely define the exact locations of plant life around the city, highlighting the scale and proximity of their presence. It is easy to forget the intimacy and importance of this relationship.

Gear/Settings: Canon IXUS860 IS, Canon 28-105mmlens, 1/100sec at f/2.8, ISO 100.Infrared converted camera.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘Tropical Wonderland’ by Jocelyn Horsfall | IGPOTY

‘Tropical Wonderland’ by Jocelyn Horsfall | IGPOTY

1st Place: Portfolios, Abstract Views

Royal Botanic Gardens, Kew, London, England, UK

The magical, dreamlike effect of infrared was the perfect way to express the mystery and exotic intrigue of the Palm House at Kew Gardens. I captured a selection of different plants and foliage to feature across the portfolio in order to show the subtle variety of textures and forms within this tropical paradise. Together the images vividly demonstrate the sense of lushness and tranquillity that the space provides.

Gear/Settings: Fujifilm X-E1, Fujifilm 14mm lens + Fujifilm 18-55mm lens + Fujifilm 18-135mm lens, 1/750sec to 1/125sec at f/7.1 to f/13, ISO 500 to ISO 800. Infrared converted camera.

Post-capture: colour tones matched across portfolio, Topaz filter, basic image management.

International Garden Photographer of the Year Winners

‘Lotus Tango’ by Kathleen Furey | IGPOTY

‘Lotus Tango’ by Kathleen Furey | IGPOTY

1st Place in The Beauty of Plants

Kenilworth Park & Aquatic Gardens, Washington D.C., USA

There are many stages of lotus growth on display at theAquatic Gardens, but to come across two twisted dancing stems of Nelumbo nuciferawas unexpected and quite magical.

Gear/Settings: Olympus OM-D E-M5 Mark II, Olympus 14-150mm lens, 1/320sec at f/5.3, ISO 200.

Post-capture: basic image management

International Garden Photographer of the Year Winners

‘Colourful Fields’ by Suwandi Chandra | IGPOTY

‘Colourful Fields’ by Suwandi Chandra | IGPOTY

1st Place in The Bountiful Earth

Sembalun Lawang, Lombok, Indonesia

I hiked to the top of Pergasingan Hill early in the morning to catch the sunrise. The view was amazing as it overlooked the rolling hills opposite and Sembalun village below. Since most of the people here are farmers, they transform the valley floor into a patchwork of agriculture, growing rice, vegetables and even strawberries.

Gear/Settings: Pentax K-3, Pentax 16-50mm lens, 1/2sec at f/8, ISO 100. Tripod, neutral density graduated filter.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘View Over Trauttmansdorff’ by Harry Tremp | IGPOTY

‘View Over Trauttmansdorff’ by Harry Tremp | IGPOTY

1st Place in The Spirit of Trauttmansdorff, a special award that celebrates the unique character and beauty of The Gardens of Trauttmansdorff Castlein Merano, South Tyrol, Italy.

The golden hour was just approaching when I captured this view of Trauttmansdorff in October, the green of the deciduous trees just starting to begin their autumn transformation.

Gear/Settings: Sony ?7R Mark III, Sony 24-105mm lens, 1/50sec at f/13, ISO 400.

Post-capture: basic image management

International Garden Photographer of the Year Winners

‘Misty Bayou’ by Roberto Marchegiani | IGPOTY

‘Misty Bayou’ by Roberto Marchegiani | IGPOTY

1st Place in Trees, Woods & Forests

Atchafalaya Basin, Louisiana, USA

The Louisiana wetlands are a giant tangle of canals, swamps and forests of palm and cypress trees that encompass the great Mississippi estuary. Populated by numerous snakes, alligators, birds and venomous spiders, the often-hostile environment is capable of stunning beauty. Every day at dawn and dusk we motored out on a small swamp boat –the only way to get around the bayou –looking for the best light and conditions. A fog finally descended around a singular majestic cypress (Taxodium), framed by the other trees and adorned with Spanish moss.

Gear/Settings: Nikon D850, Nikon 70-200mm lens,1/50sec at f/7.1, ISO 64.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘Mount Rainier in the Mist’ by Robert Gibbons | IGPOTY

‘Mount Rainier in the Mist’ by Robert Gibbons | IGPOTY

1st Place in Wildflower Landscapes

Mount Rainier National Park, Washington, USA

I came across a spectacular array of summer alpine flowers on Mazama Ridge, including Castilleja, Lupinusand Anemone occidentalis, all adding character and texture to the scene as if by design.

Gear/Settings: Canon EOS 5D Mark II, Canon 24mm tilt-shift lens, 1/13sec at f/20, ISO 200. Tripod.

Post-capture: basic image management

International Garden Photographer of the Year Winners

‘Starlings’ by Jonathan Need | IGPOTY

‘Starlings’ by Jonathan Need | IGPOTY

1st Place in Wildlife in the Garden

Snowdonia National Park, Wales, UK

A heavy snowfall brought a lot of hungry birds to my garden feeder. This old nearby tap provided a convenient resting place for this trio of starlings (Sturnus vulgaris) while they waited for their turn to feed.

Gear/Settings: Nikon D3S, Sigma 500mm lens, 1/500sec at f/5, ISO 800. Tripod.

Post-capture: basic image management.

International Garden Photographer of the Year Winners

‘Ladies of the Meadow’ by Jake Kneale | IGPOTY

‘Ladies of the Meadow’ by Jake Kneale | IGPOTY

1st Place in Young Garden Photographer of the Year

Wiltshire, England, UK

The rising sun backlit this group of lady’s smock (Cardamine pratensis) in a Wiltshire meadow.I used the aperture to turn the water droplets into beautiful bokeh and created a smooth, clean and glistening background.

Gear/Settings: Canon EOS 7D, Canon 70-200mm lens, 1/160sec at f/7.1, ISO 100.

Post-capture: basic image management.

Articles: Digital Photography Review (dpreview.com)

 
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Weekly Photography Challenge – Wrinkles

16 Feb

The post Weekly Photography Challenge – Wrinkles appeared first on Digital Photography School. It was authored by Caz Nowaczyk.

This week’s photography challenge topic is WRINKLES!

Linnea Sandbakk

Your photos can include anything has wrinkles. It could be wrinkles on an animal, aging lines on a face or hands, wrinkles in clothing or sheets, wrinkles in paper, etc. They can be color, black and white, moody or bright. You get the picture. Have fun, and I look forward to seeing what you come up with!

Cristian Newman

Some Inst-piration from some Instagrammers:

 

View this post on Instagram

 

A post shared by Prime Pet Photography (@prime_pet_photography) on

 

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A post shared by Peter O’Doherty (@irishphotographer1) on

 

View this post on Instagram

 

A post shared by Martin Covey (@goodbye.1979) on

 

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A post shared by B (@easy__britt) on

 

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A post shared by Freya Stockman (@shotsbyfreya) on

 

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A post shared by hegde_photography (@photography_hegde) on

 

Check out some of the articles below that give you tips on this week’s challenge.

Tips for Shooting WRINKLES

How To Easily Improve Your Street Photography Portraits

Tips for Creative Plant Photography

Tips for Better Forest Photography

26 Expressive Images of Hands

How to Pose Hands in Portraits

Five Tips for Creative Pet Photography

Tips for Great Lighting for Pet Photography

 

Weekly Photography Challenge – WRINKLES

Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see or if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.

Share in the dPS Facebook Group

You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.

If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPSwrinkles to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.

The post Weekly Photography Challenge – Wrinkles appeared first on Digital Photography School. It was authored by Caz Nowaczyk.


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This website uses AI to generate portraits of people who don’t actually exist

16 Feb

A new website called This Person Does Not Exist went viral this week, and it has one simple function: displaying a portrait of a random person each time the page is refreshed. The website is pointless at first glance, but there’s a secret behind its seemingly endless stream of images. According to a Facebook post detailing the website, the images are generated using a generative adversarial networks (GANs) algorithm.

In December, NVIDIA published research detailing the use of style-based GANs (StyleGAN) to generate very realistic portraits of people who don’t exist. The same technology is powering This Person Does Not Exist, which was created by Uber software engineer Phillip Wang to ‘raise some public awareness for this technology.’

In his Facebook post, Wang said:

Faces are most salient to our cognition, so I’ve decided to put that specific pretrained model up. Their research group have also included pretrained models for cats, cars, and bedrooms in their repository that you can immediately use.

Each time you refresh the site, the network will generate a new facial image from scratch from a 512 dimensional vector.

Generative adversarial networks were first introduced in 2014 as a way to generate images from datasets, but the resulting content was less than realistic. The technology has improved drastically in only a few years, with major breakthroughs in 2017 and again last year with NVIDIA’s introduction of StyleGAN.

This Person Does Not Exist underscores the technology’s growing ability to produce life-like images that, in many cases, are indistinguishable from portraits of real people.

As described by NVIDIA last year, StyleGAN can be used to generate more than just portraits. In the video above, the researchers demonstrate the technology being used to generate images of rooms and vehicles, and to modify ‘fine styles’ in images, such as the color of objects. Results were, in most cases, indistinguishable from images of real settings.

Articles: Digital Photography Review (dpreview.com)

 
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Live Q&A with DPReview editors about the Canon EOS RP

15 Feb

Want to know more about the Canon EOS RP? Dying to ask a question that hasn’t been addressed anywhere else online? Join the editors of DPReview for a live Q&A about this new camera next Tuesday, Feb. 19 on our YouTube channel.

If you have a question but can’t watch live, leave it below in the comments and we’ll do our best to answer it during the event. We’ll post a direct link to the live stream shortly before it goes live. Here’s a list of what time to tune in depending on your location:

Location Time Day
Seattle 9:00 AM Tuesday
New York 12:00 PM Tuesday
UTC 17:00 PM Tuesday
Europe (CET) 18:00 PM Tuesday
Tokyo 02:00 AM Wednesday
Melbourne 04:00 AM Wednesday

Articles: Digital Photography Review (dpreview.com)

 
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The Atomos Shinobi is a light, bright 5″ 1920×1080 HDMI monitor for $399

15 Feb

Atomos has released the Shinobi, a new super bright 5in 1920×1080 HDMI monitor designed with vloggers and photographers in mind.

The Atomos Shinobi weighs just 200g / 7oz thanks to its polycarbonate body and uses the same HDR display and color processing technology found in Atomos’ popular Ninja V monitor/recorder. It features a 1000nit screen for easy viewing in bright situations, has a pixel density of 427PPI, and includes a headphone on the side of the device to add external recording, even if the camera being used doesn’t have one built-in.

Atomos says the Shinobi comes color calibrated straight from the factory, but also includes calibration support using Atomos’ free software and the X-rite i1Display Pro probe. It features a six-hour battery life on a single Sony NP-F750 battery, which is cleverly placed in the middle of the device to help keep it balanced on top of cameras.

The device features Atomos’ AtomOS 10 touchscreen interface and all of the features that come with, including focus peaking, histogram, zebras, waveforms, guides, markers and magnification. There’s even a mirrored option for vloggers who will have the monitor facing backwards on their device.

Despite having just a 1920×1080 display with 60fps support, the Shinobi’s HDMI port can actually accept signals up to 4K (4096×2160) at 30fps. The screen displays 10+ stops of dynamic range when being used with Log or HLG HDR video and built-in gamma presets are included to match popular camera systems when shooting Log or HLG.

Up to eight LUTs can also be installed directly onto the Shinobi using its built-in memory, with the ability to add even more using the SD card slot. Once installed, the LUTs can be switched on-the-fly to compare one look to another.

The Atomos Shinobi is available now from B&H and authorized Atomos retailers for $ 399 USD.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm announces firmware version 2.00 for its X-T100 and X-A5 camera systems

15 Feb

In addition to a barrage of product announcements, Fujifilm has also updated the firmware for its X-T100 and X-A5 camera systems.

Both cameras will receive firmware 2.00 sometime this month, which will include three new and improved features.

The first of the three major features in the updates is a new ‘Bright Mode,’ which Fujifilm says ‘provides a brighter and more vivid image when using the Advanced SR Auto mode.’ If the feature isn’t wanted, it can easily be turned on and off with a tap on the LCD touchscreen on either camera.

Fujifilm has also added its Portrait Enhancer Mode to the X-T100 and X-A5 in these updates, which makes it easy to select from three levels of skin tone enhancement using the touchscreen.

The last major addition is a new Night+ Setting. This new setting automatically adjusts ISO, brightness and vividness of the picture to better render the image in low or poor light situations.

Firmware version 2.00 for the X-T100 and X-A5 and instructions on how to install it can be found on Fujifilm’s website.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm XF 16mm F2.8 sample gallery

15 Feb

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Fujifilm’s XF 16mm F2.8 compact prime is one of the widest lens of its type in the company’s lineup (tied with the existing 16mm F1.4 WR). It comes with a 24mm-equivalent field of view, an aperture ring, weather sealing and impressively fast autofocus. But most importantly, how are the optics? Take a look through our sample gallery (shot with a pre-production sample) to get a glimpse of just how well this lens performs against the backdrop of a snowy Seattle winter.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-T30 first impressions review

15 Feb

The new X-T30 may not be Fujifilm’s flagship model, but it arrives with some very impressive features and specifications. Chris and Jordan have been shooting it for a few days and share their first impressions, along with a look at an iconic new building in their hometown of Calgary, Alberta.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Shot on the X-T30
  • Design and handling
  • LCD design
  • Film simulations
  • The sensor
  • The processor
  • LCD and EVF quality
  • Burst mode
  • Autofocus
  • Video quality and features
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Canon shows forthcoming RF lenses including radical 70-200mm F2.8 IS

15 Feb

Introduction

Alongside the EOS RP, Canon has announced the next six lenses it plans to introduce for its RF mount. Don’t be fooled by the timing: although they are being announced with the RP most of these lenses are not being targeted at entry-level or even mass-market customers.

Canon has already said it’s working on a full frame mirrorless camera aimed at professionals, and most of today’s development announcements make clear it intends to have appropriate lenses ready to suit it. All six lenses will be formally launched by the end of 2019, the company says.

Details are pretty scant right now (technically Canon is only announcing its intention to develop these lenses), but mockups of all six were on show at the pre-launch RP event.

RF 70-200mm F2.8L IS USM

To us the most exciting lens to be revealed is the RF 70-200mm F2.8L IS. Part of our excitement is that a 70-200mm F2.8 is one of the workhorses of any system. Pros and enthusiasts use these lenses for a whole range of shooting situations, from portraiture to sports, so it’s an essential ingredient for a system trying to appeal to high-end shooters.

Another piece of good news is that the lens uses Canon’s Nano USM lens motors. The company is a little cagey about exactly how these work, other than that they provide linear, rather than the rotational motion of the ring-type USM motors used in DSLR lenses. What we do know is that the fastest and smoothest focusing lens in the RF system so far (the 24-105mm F4L IS) is powered by Nano USM, which bodes well for the 70-200mm.

RF 70-200mm F2.8L IS compared to the EF 70-200mm

Oh, and the other interesting thing about the RF 70-200mm F2.8L IS? It’s TINY. Here we’ve shot it alongside the most recent EF 70-200mm F2.8L IS and you can see just how much smaller it’s going to be. Unless the ‘pro’ RF model ends up being huge, this is going to make an impressively compact combination.

Canon’s engineers wouldn’t be drawn on exactly how they’ve managed to make it so small, beyond pointing us back to the claimed benefits of the short and wide lens mount. There may well be something more complex going on: we’ll find out when it’s formally released but we were given the distinct impression that it’s not a diffractive optics (Fresnel) design.

RF 24-70mm F2.8 L IS USM

Another great pro workhorse is the 24-70mm F2.8 and Canon’s going to launch one of those, too. We’ve had no details about specifics but it’s a sensibly-sized lens, even if it isn’t as impressively small at its tele counterpart.

Canon has confirmed that it’s working on an in-body stabilization system

Like the 70-200mm the 24-70mm has built-in image stabilization and Canon has confirmed that it’s working on an in-body stabilization system for future camera models that will work in conjunction with this. So you’ll get stabilization on all RF bodies and even greater stabilization on others.

Like the 70-200mm, the 24-70mm will be driven by a Nano USM focus motor.

RF 15-35mm F2.8 L USM

The last in the cover-the-bases pro lineup is the 15-35mm F2.8. Canon says the RF lens mount allowed them to make it a 15-35mm, rather than starting at 16mm.

Again the lens is small and stabilized and, like the other two F2.8 zooms, will be driven by a fast, silent Nano USM motor.

We only wonder whether it needs more prominent markings to make it easier to distinguish from the 24-70, when they’re placed next to one another in a camera bag.

RF 85mm F1.2 L USM

While the trio of F2.8 lenses are all pretty compact, the same can’t be said of the 85mm F1.2. We thought the RF 50mm F1.2 was big (in part because we’ve only had the mid-range EOS R to mount it on, so far), but perhaps not unreasonably, the 85mm F1.2 is even bigger.

We’ve been impressed by the optical performance of the 50mm F1.2 so far. And, while we can’t be sure how much of that can be ascribed to the short, wide lens mount, Canon is clearly doing something right. A super-fast 85mm prime that can be confidently shot using off-center AF points is likely to be an exciting prospect as a portrait lens, even if you don’t always opt for for the hairbreadth depth-of-field that F1.2 can give you.

On the subject of focus, like the RF 50, the 85mm’s focus elements are too big and heavy for the use of a Nano USM motor, so it’s based around slightly less snappy ring-type USM drive.

RF 85mm F1.2 L USM DS

The ‘DS’ designation is new for Canon. Sadly it doesn’t mean we should expect avant garde engineering and styling. Instead, it stands for ‘Defocus Smoothing’ and promises improved bokeh, compared with the standard version.

If that makes you think of apodization elements (essentially an element that’s progressively darker towards the edge to prevent bright-edged bokeh), then the things we were told in our interview with senior engineers will only confirm that assumption.

The DS was the only lens not shown in mockup form as we’ve been told that not all the design decisions have been made yet. Despite this, a computer rendering of the lens has been issued: it says ‘Defocus Smoothing’ on the front, whereas the non-DS version does not.

RF 24-240mm F4-6.3 IS USM

The only lens not clearly aimed at a high-end audience is the RF 24-240mm F4-6.3 IS USM. It’s designed as a do-everything travel zoom, giving a 10x zoom capability.

We’ve mounted it here on the EOS RP and you can see it’s well matched (many of the other RF lenses have a wider diameter, and as a result lift the RP body off the ground if you haven’t attached the optional grip extension).

The two most obvious features are its comparatively small size and comparatively slow aperture range. We stress ‘comparatively’ when it comes to aperture, since you’d need a 15-150mm F2.5-4.0 on Canon APS-C to be equivalent, and few keen photographers would turn their noses up at such a lens. The other thing to notice is that it has only two rings, so we wonder whether the ‘focus’ ring will double as a custom ring when in AF mode.

Summary

The addition of these six lenses will extend the RF system to ten lenses by the end of 2019. With the three F2.8 zooms, 50 and 85mm F1.2s and the monstrous/rather cool 28-70mm F2, it means seven of the options have a distinctly high-end feel to them (and, we suspect, will have price tags to match).

This may leave EOS RP and many EOS R users a little short of choice (or push them towards adapting EF DSLR lenses), but makes very clear that Canon is gearing up for a pro-level RF camera sooner, rather than later.

Articles: Digital Photography Review (dpreview.com)

 
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