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Posts Tagged ‘Canon’

What you need to know: Canon G1 X Mark III

16 Oct

Canon PowerShot G1 X Mark III

Canon’s G1 X Mark III is, as the name implies, the third iteration in the company’s range-topping large-sensor enthusiast compact series. However, what the name doesn’t make clear is that it’s a significant departure from its predecessors, in terms of both size and capability.

Rather than mimicking one of the older G series modes, as the original G1 X did, the Mark III most closely resembles the 1″-sensored G5 X: a small, thin body with lots of direct control and a centrally mounted electronic viewfinder. Unlike that model, it’s sealed, to be weather resistant.

Sensor size difference

Unlike the G5 X, though, the G1 X III does not use a 1″-type sensor. Despite being packaged in a smaller body than its immediate predecessor, Canon has managed to fit a larger sensor into the camera. It’s a full APS-C-sized sensor or, at least, the Canon 1.6x crop version of that format. This makes it 27% larger than the chip in the G1 X I and 36% larger than the region of its sensor the Mark II could use.

This means, in equivalent terms, the new camera will receive over 1/3EV more total light, when shot at the same f-number and shutter speed. However, equivalence only tells us about the potential for one system to out-perform another. The actual difference depends on the specific technology used…

Sensor performance

And, from our experience with Canon’s 24MP Dual Pixel sensor, we know it’ll perform pretty well: better at high ISO sensitivities than the chip in the older G1 X models and with less noise at low ISO, giving more flexible files with greater usable dynamic range.

And that’s before we consider the additional utility of its Dual Pixel design: the ability to provide depth-aware phase detection autofocus across most of the frame. So long as the camera can drive its focus fast enough, this should provide the ability to track subjects pretty convincingly, compared to the older G1 X models and most competitors.

Video spec

The other thing that Dual Pixel’s depth awareness brings is decisive autofocus while shooting video. This means that getting the camera to track a subject, or ‘rack’ focus smoothly between two points is as simple as tapping on the screen.

The G1 X Mark III gets a slight tweak over its predecessor, in that it can now shoot 60p video footage, rather than topping out at 30p. This either allows smoother capture of fast motion or the ability to shoot slow-motion (by filming at 60p and outputting via video editing software at 24p).

The G1 X III also has a built-in 3EV ND filter, meaning that you can shoot video at its wider apertures, even in bright light.

Sadly, every Canon we’ve seen using this chip produces slightly blurry video with a little less detail than the nominal resolution would imply. Even if the G1 X Mark III somehow manages to improve on previous models, the increasingly pressing question remains: ‘whither 4K, Canon?’

Lens range

The main means by which Canon has managed to make the G1 X III smaller than its predecessor is the inclusion of a shorter and slower zoom lens. Whereas the Mark II was able to include a 24-120mm equivalent zoom, the Mark III offers a more modest 24-72mm equivalent. It means doing without the classic 85-100ish millimeter equivalent focal lengths that are especially well suited to portraiture, but the 24-70mm range is a widely used and well-respected range.

However, while the F2.8-5.6 maximum aperture range of the Mark III might sound like a big step down from the more impressive sounding F2.0-3.9 of its precursor, the practical differences is smaller than this would seem to imply. The larger sensor (and hence lower crop factor) of the G1 X III means its F4.5-9.0 equivalent range isn’t as different from the F3.8-7.5 equivalent of the Mark II as the actual F-numbers make it appear.

Compared to the G1 X Mark II

The G1 X Mark I was one of the first large sensor enthusiast zoom compacts, meaning that it defined expectations of what could be achieved. Indeed, we were impressed – back in early 2012 – that Canon had fitted such a large sensor and flexible lens range into a camera so close in size to its small-sensor forebears, such as the G12.

The G1 X III may have a shorter, slower zoom than its predecessor, but it’s a much smaller camera and one that should have continuous focus performance to do justice to its 7 frame per second shooting. And, with an in-lens leaf shutter, it can flash sync at up to 1/2000th of a second, which its Rebel siblings can’t come close to.

Compared to the competition

However, just six months later, ‘what’s possible’ got redefined again. In July 2012, Sony unveiled the DSC-RX100, a 1″ sensor camera with a 28-100mm equivalent zoom in a truly minuscule body.

So, whereas the G1 X had no peers when it was launched, the Mark III, with its 24-72mm F4.5-9.0 equivalent zoom will have to compete with the cheaper, 24 frame per second capable RX100 V with its 24-70mm F4.9-7.6 equiv. lens and highly capable AF.

In addition to this potential for slightly better image quality, the RX100 V can also shoot impressive 4K video and, despite its much smaller form factor, promises slightly better battery life (a CIPA rating of 220 shots per charge, rather than 200). As always in reality you’re likely to get more than this number from both cameras, but these are pretty modest figures.

Impressively small, steeply priced

The Canon PowerShot G1 X Mark III is an interesting-looking camera. It’s an impressively small camera with a useful zoom and all the benefits that the company’s Dual Pixel sensor should bring.

However, against the likes of Sony’s RX100 series, Panasonic’s LX10/15 and Canon’s own G5 X and G7 X II models, it will inevitably struggle to set a new bar for enthusiast zoom compacts, in the way its progenitor did.

It’s also an expensive camera: $ 1299 makes the G1 X Mark III one of the priciest compacts on the market. But the prospect of a compact camera with Canon JPEG color, Dual Pixel focus and extensive control is something we look forward to testing.

Articles: Digital Photography Review (dpreview.com)

 
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ICYMI: Canon 28mm F2.8 IS USM sample gallery

15 Oct
ISO 100 | 1/800 sec | F8

Canon’s 28mm F2.8 IS USM may not be the most exciting lens in the company’s lineup, but it’s reasonably affordable, lightweight and solid. As fall weather begins to hit Seattle, we find ourselves visiting the sunny images of this gallery and thinking fondly of summertime past. Take a look to see what this little lens can do.

See our Canon 28mm F2.8 IS USM sample gallery

Articles: Digital Photography Review (dpreview.com)

 
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The camera I almost bought (again and again): The Canon PowerShot G5

12 Oct

At this point in my life, I could probably write a series of articles on cameras that I considered buying, almost bought, or actually did buy before reconsidering and returning them. Of all of the cameras that would make that list, the Canon PowerShot G5 is probably the model that I almost bought more times than any other.

Released in 2003, the PowerShot G5 was in that respect a companion model to the EOS 10D – my first personal DSLR. The G-series was traditionally marketed at enthusiasts and semi-pros, with the idea being that while most photographers couldn’t afford or quite justify a DSLR, cameras like the G5 could deliver a similar user experience, with comparatively good image quality and limited system cross-compatibility, for less money.

The thinking was that photographers making the expensive transition away from film and towards digital, might use the G-series as an affordable halfway point before investing fully in a DSLR. Conversely, professionals or well-heeled amateurs that owned a 10D or EOS-1D-series DSLR might consider a camera like the G5 as a second body, for backup and travel.

To court both sets of customers, Canon made sure that the G5 looked and worked broadly like the EOS-series DSLRs that it was marketed alongside. It was black, for one thing, which immediately made it look more ‘professional’ than the silvery G2 and G3 that proceeded it. It offered Raw mode, and was powered by the same ubiquitous BP-511 battery as the 10D and 300D. The G5 also featured the familiar EOS exposure mode dial and front control dial of the EOS-series, and it even had a hot shoe, for full E-TTL compatibility with Canon’s range of Speedlites.

And like a DSLR it had an optical viewfinder. A blurry, low-accuracy tunnel-type viewfinder, sure, and nowhere near a match even for the dim finder in the EOS 300D, but it was better than nothing, and handy in some situations. More useful was the fully-articulating rear LCD screen on the back, which no DSLR could match.

As far as image quality was concerned, the G5 was a solid performer by the standards of its time, but not spectacular. Its lens range of 35-140mm equivalent and reasonably fast maximum aperture of F2-3 were decent for 2003, but the zoom was limited at the long end, and while adapters were available to extend the range, they were clumsy and heavy (because they were lens adapters).

There was even a general feeling, amusing to recall now, that 5MP represented a degree of ‘maturity’ when it came to digital imaging.

I remember the G5 being more desirable to me than the G3 simply by virtue of being matte black, and (mostly) metal-bodied, but looking at it now, it seems blocky and inelegant. In my opinion the more-rounded G1, G2 and G3 have actually aged a little better, despite being physically a little larger. Opinion in the DPReview office on this point is divided (by which I mean Dan disagrees with me).

Apart from its color, the biggest differentiator between the G5 and the earlier G3 was the bump in pixel count from 4 to 5 megapixels. In practical terms, the increase in effective resolution was very modest (“not worth it” as we opined in our review at the time) but 5MP came to be regarded as something of a benchmark among enthusiasts and within the photo press. From 1-4MP, each megapixel jump had brought noticeably improved resolution, but from 4/5MP onwards, generational increases in image quality became more subtle.

There was even a general feeling, amusing to recall now, that 5MP represented a degree of ‘maturity’ when it came to digital imaging. Perhaps this was more of a psychological benchmark than anything, but it was real nonetheless.

One of the reasons I nearly bought the PowerShot G5 so often is that my EOS 10D spent so much of the first year of its life being sent repeatedly back to Canon to have its autofocus system adjusted. In the end though, I just couldn’t afford it (the G5 retailed for $ 799 in the US when it was new, which from memory worked out at about £600). After a frustrating few months, my 10D was (finally) fixed, and at that point I didn’t have any need for a backup. The following year I ended up buying an IXUS 50 (SD400 Digital ELPH) for social photography and low-profile shots at concerts, which was a good deal more pocketable than the G5. The PowerShot G6, which replaced the G5 in 2004, offered greater resolution and a more refined user experience in a more stylish body, but the tacky silver chrome finish turned me off.

I did buy a PowerShot G5 eventually though, after fifteen years of thinking about it. This past weekend, for $ 9 at my local thrift shop. As you can see from the images in this article, it’s cleaned up pretty nicely. Another itch scratched off the list.

Do you have any cameras in your past that ‘got away’ at the time? Let me know.

Read our PowerShot G5 review

Canon PowerShot G5 samples gallery (2003)

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Articles: Digital Photography Review (dpreview.com)

 
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Taking the Canon 28mm F2.8 IS USM to Big Sur, California

08 Oct

Big Sur, little lens

Standing alongside the Bixby Creek Bridge in Big Sur, California. Processed to taste from Raw.
ISO 125 | 1/160 sec | F11

By virtue of a considerable quantity of dumb luck, we had timed it perfectly.

Our belongings shifted gently to and fro in our rented cherry-red Hyundai Sonata as we zig-zagged freely along Highway 1 in California’s Big Sur region, a stretch of road that has been described as the ‘longest and most scenic stretch of undeveloped coastline in the contiguous United States.’*

We were visiting Big Sur just into the off-season, with Highway 1 subdivided by a massive landslide to the south and a bridge closure to the north. As a result, the road was remarkably unoccupied, devoid of the typically ubiquitous caravans of gawking tourists.

Although the extensive closures tacked on about six hours of additional driving onto our trip, the journey along the famous Nacimiento-Fergusson Road – the only way in and out of the region cut-off by the closures – was unforgettable. Unfortunately, thanks to the rampant switchbacks, it was also literally nauseating. Can’t have it all, I guess.

It was into this scenario that I brought Canon’s diminutive 28mm F2.8 IS USM lens attached to an EOS 5D Mark IV; my only photographic tools for the duration of our time in central California.

Fitting into the lineup

Photograph courtesy Jordan Stead

The Canon 28mm F2.8 IS USM is not a new lens by any means. So why write about it now? Well, for starters, we didn’t yet have a gallery on it here at DPReview. It also happens to be among the smallest and lightest full-frame Canon lenses around, and so a great way to (attempt to) minimize the bulk of bringing a full-frame DSLR on my vacation.

Announced back in early 2012 alongside its 24mm cousin, the 28mm IS is very straightforward. You get a rubberized focus ring with a fairly long throw, an AF/MF switch and a stabilizer on/off switch. And that’s about it.

Alongside Canon’s EF 40mm F2.8 Pancake and two ‘nifty fifties,’ it’s among the the lightest full-frame lenses that the company currently offers, though it is by far the most expensive of this group with a current MSRP of $ 499. Despite its price, the 28mm IS does not come with any claims of weather-sealing, which is a disappointment.

I’m happy to report that, despite the lack of weather sealing, the EF 28mm F2.8 IS USM survived a few drops of salt water. Processed to taste in Adobe Camera Raw.
ISO 100 | 1/200 sec | F8

Regardless, the build seems very good. The outer barrel is polycarbonate, and the mount is metal. Due to the stabilizer, there’s a very slight rattle if the camera is jostled while the power is off, but the 28mm has an overall dense feel of quality to it.

For use on 30MP (and even higher pixel count) cameras, the 28mm is good, if not mind-blowing in terms of sharpness. There are also noticeable amounts of green and purple fringing if you leave those corrections off, but both the camera’s JPEG engine and Adobe Camera Raw tame those handily, so it’s rarely an issue.

Corrections off Corrections on
I actually quite like some vignetting, and in certain situations, I think it can add to a certain ‘mood.’ It certainly won’t be everyone’s cup of tea, though.

The biggest issue you’re likely to run into comes in terms of vignetting, which is readily noticeable with this lens. In particular, if you have the corrections turned on within Adobe Camera Raw, the corner exposure will be lifted enough as to perhaps introduce unwanted noise, especially if your image was already taken at a higher ISO value.

Recommendations

I’ll freely admit that I haven’t been much of a 28mm guy until this past year and half. That changed after I was tasked with reviewing the Leica Q, and subsequently purchased a secondhand Nikon Coolpix A as a casual carry-everywhere camera.

Without a super fast aperture or a telephoto lens to fully isolate subjects and blur backgrounds into oblivion, the 28mm F2.8 IS USM made me slow down and focus on my compositions more. Processed to taste in Adobe Camera Raw.
ISO 160 | 1/125 sec | F4

What I find most intriguing about the 28mm focal length this Canon offers is that it forces me to think more holistically about the images I’m making. Without telephoto compression or a faster aperture to more easily isolate my subject, the context becomes nearly as important as the subject itself.

When I pick up a 35mm, 50mm or 85mm lens, I know that I’m likely going to get a faster aperture, and more background compression, making the scene look a little more ‘interpreted.’ When I pick up a 24mm-and-wider lens, I’m often doing my very best to exaggerate the perspective between objects that are both near to me and far away for a more interesting look.

But with 28mm, I feel almost as though I’m simply documenting what’s happening in front of me without letting the optics of wider or more telephoto focal lengths influence the look of the scene.

Processed to taste in Adobe Camera Raw.
ISO 100 | 1/250 sec | F8

In other words, it’s a fun challenge if you’re used to those other options. As with many photographers, I’ll admit I sometimes find myself relying on fancy gear as a crutch to make a photograph more ‘interesting.’ On the other hand, this 28mm lens just got out of the way and recorded what I put in front of the camera; it was up to me to make the most of my subjects and compositions.

If you haven’t given 28mm a try, I’d certainly recommend it, and if you happen to be a Canon shooter, the EF 28mm F2.8 IS USM represents a solid, lightweight and affordable option.

Samples

Please do not reproduce any of these images on a website or any newsletter / magazine without prior permission (see our copyright page). We make the originals available for private users to download to their own machines for personal examination or printing (in conjunction with this review), we do so in good faith, please don’t abuse it.

Unless otherwise noted images taken with no particular settings at full resolution. Because our review images are now hosted on the ‘galleries’ section of dpreview.com, you can enjoy all of the new galleries functionality when browsing these samples.

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* Per Wikipedia: Marvinney, Craig A. (1984). “Land Use Policy Along the Big Sur Coast of California; What Role for the Federal Government?”. UCLA Journal of Environmental Law & Policy. Regents of the University of California. Accessed 22 August 2016.

Articles: Digital Photography Review (dpreview.com)

 
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$80,000 vs $3,000: Arri Alexa vs Canon 80D video shootout

26 Sep

These days, capturing professional-looking video no longer requires Hollywood-sized budgets. But does that mean that there’s no longer much advantage to Hollywood-quality gear? Let’s find out. Gene of the YouTube channel Potato Jet pegged his Canon 80D setup against an Arri Alexa setup that costs upwards of $ 80,000 and filmed several scenes with both cameras rigged up side-by-side.

Unlike his previous (very popuplar) iPhone 7 vs Arri Alexa video, this one is a bit more of a fair fight—the sensor area used to shoot most formats on the Arri is much closer in size to the 80D sensor than the iPhone, and one of the cameras isn’t a freaking smartphone.

Of course, the difference between the footage is still immediately obvious—who would have guessed an $ 80K setup would shoot better footage than a $ 3,000 setup?—but the side-by-side comparison is fun and interesting to watch all the same. That’s because Gene doesn’t just point out the differences in the dynamic range and quality of the video from the two cameras, he outlines the pros and cons of using a small light-weight DSLR like the 80D vs a cinematic powerhouse like the Arri Alexa.

Check out the full comparison for yourself up top, and if you want to see more from Gene or consider yourself an amateur filmmaker, definitely subscribe to Potato Jet.

Articles: Digital Photography Review (dpreview.com)

 
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New product overview videos: Canon EOS 6D II and more

23 Sep

We’re always expanding our collection of product overview content, and we’ve just added videos for the Canon EOS 6D Mark II, the EOS Rebel SL2 and EOS M6. Take a look at some of the key features these cameras offer – demonstrated in the shooting scenarios they were built to handle. For more overviews and gear tests, be sure to subscribe to our YouTube channel.

Canon EOS Rebel SL2 overview

Canon EOS M6 overview

This is sponsored content, created with the support of Amazon and Canon. What does this mean?

Articles: Digital Photography Review (dpreview.com)

 
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Throwback Thursday: the Canon PowerShot G1

21 Sep

It wasn’t the first ‘prosumer’ compact on the market, but it did check off a lot of the items on enthusiasts’ wish lists at the time. The Canon G1, announced to the world on September 18, 2000, offered a great deal of manual control options, a hot shoe, Raw capture and a fully articulated 1.8″ screen. That line would eventually evolve into the present-day PowerShot Gx X series – but it all started 17 years ago this week.

Read our full Canon PowerShot G1 Review

Canon PowerShot G1 sample gallery

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Canon EOS Rebel SL2 / EOS 200D Review

19 Sep

The EOS Rebel SL2 (known as the EOS 200D outside of North America) is Canon’s second-generation ultra-compact digital SLR. It’s largely packed with Canon’s latest tech, including Dual Pixel AF, a DIGIC 7 processor, Wi-Fi with NFC and Bluetooth, and a new user interface for beginners.

While its small size may lead one to believe that it’s an entry-level model, similar to Nikon’s D3400, the SL2 actually sits above the bottom-end Rebel T6 (EOS 1300D), which costs $ 150 less.

The SL2’s main competitor is the aforementioned Nikon D3400, which is just a tad larger and heavier. The SL2s’ other peers are all mirrorless and include (in our opinion) the Canon EOS M5, Panasonic DMC-GX85 and the Sony a6000 which, after 3+ years on the market, is still competitive.

Key Features

  • 24.2MP APS-C CMOS sensor
  • Dual Pixel autofocus (for live view and video)
  • 9-point autofocus (through the viewfinder)
  • DIGIC 7 processor
  • 3″ fully articulating touchscreen LCD
  • 5 fps burst shooting (3.5 fps with continuous AF)
  • 1080/60p video
  • External mic input
  • Wi-Fi with NFC and Bluetooth
  • Available ‘Feature Assistant’ user interface

Just about everything in that list is Canon’s latest and greatest, and the external microphone input is a nice extra. The one feature that’s not new is the 9-point autofocus system that you’ll use when shooting through the viewfinder – it’s identical to what’s found the original SL1, which is over four years old. You’ll get a much better focusing experience by shooting in live view, which uses Canon’s excellent Dual Pixel AF technology.

Compared to…

The SL2 (left) is the mini-me to the still-small Rebel T7i.

First, let’s take a look at how the SL2/200D compares to the step-up model, the Rebel T7i (EOS 800D). Here’s what you get for another $ 200 (with kit lenses for both models):

  • 45-point AF versus 9-pt AF
  • 7500-segment RGB+IR metering versus 63-segment (from which we’d expect better subject tracking)
  • 6 fps versus 5 fps bursts with S-AF
  • 4.5 fps versus 3.5 fps bursts with C-AF
  • Significantly larger buffer
  • Color tracking for AF in Single AF as well as Continuous AF
  • Semi-transparent LCD in viewfinder that can overlay grids, different AF points, an electronic level, and more
  • Built-in flash can trigger wireless strobes

Does the average point-and-shoot user need any of that? Probably not. If you plan on gaining more experience in the world of digital photography or want a more robust autofocus system, though, the extra $ 200 might be worth it.

Now, let’s take a look at how the specs compare between the the SL2 and the peers mentioned a few paragraphs earlier.

Canon SL2 Nikon D3400 Canon M5 Panasonic GX85 Sony a6000
Resolution 24MP 24MP 24MP 16MP 24MP
Sensor size APS-C APS-C APS-C Four Thirds APS-C
Lens mount EF F EF-M Micro 4/3 E
Image stab. Lens-based Lens-based Lens-based In-camera Lens-based
AF system (live view) Dual Pixel Contrast-detect Hybrid
(Dual Pixel)		 Contrast-detect Hybrid
AF system (viewfinder) 9-point 11-point N/A N/A N/A
LCD 3″ fully articulating 3″ fixed 3.2″ tilting 3″ tilting 3″ tilting
Touchscreen Yes No Yes Yes No
Viewfinder type/mag. OVF / 0.54x OVF / 0.57x EVF / N/A EVF / 0.7x EVF / 0.7x
# control dials 1 1 2 2 2
Video 1080/60p 1080/60p 1080/60p UHD 4K/30p 1080/60p
Wireless Wi-Fi + NFC + BT BT Wi-Fi + NFC + BT Wi-Fi + NFC Wi-Fi + NFC
Battery life 650 (OVF)
260 (LV)		 1200 (OVF)
N/A (LV)		 295 (LV) 290 (LV) 360 (LV)
Dimensions (mm) 122x93x70 124x98x76 116x89x61 122x71x44 120x67x45
Weight 453 g 445 g 427 g 426 g 344 g

Strictly comparing the SL2 and D3400 you’ll see that they each have their own strengths and weaknesses. While there are ‘little things’ like the type of LCD, viewfinder size and wireless functionality, live view autofocus is the main differentiator. It’s simply no contest there with the SL2’s AF system blowing away the D3400 in live view and movie mode.

With the exception of the Sony a6000, the SL2 is close in weight, and not far off in size, to the three mirrorless cameras in the group. All three of the mirrorless cameras have an additional control dial, making exposure adjustment quick, and their EVFs are larger than the optical viewfinders on both DSLRs. None of the mirrorless models can compare to the DSLRs in terms of battery life, but only when you’re using the latter with their optical viewfinders.

Articles: Digital Photography Review (dpreview.com)

 
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Godox announces affordable XPRO-C wireless flash trigger for Canon users

15 Sep

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Godox has unveiled the new XPRO-C, an affordable wireless flash trigger compatible with all of the company’s X1-series 2.4GH lamps and flashes, and built specifically for Canon cameras. The new trigger seems to be competing with both Canon and Nissin, whose Air 10s trigger features some similar features at a steeper price.

The XPRO-C supports manual, high-speed sync, and TTL control alongside TTL-Convert-Manual (TCM) functionality. The TCM function enables users to meter flashes in TTL and then switch to manual mode; the settings are auto-adjusted to maintain an equivalent output.

User control is simplified via a large dot matrix LCD able to display five groups alongside five physical group buttons. Selecting a specific group pulls up additional information on the LCD, according to Godox, and there’s support for multiple custom functions. High-speed sync ranges up to 1/8000, manual flash power from 1/1 – 1/256, and there’s support for X1/R2 receiver flashes in up to 16 groups.

The XPRO-C (also called Flashpoint R2 Pro in the US) has a retail price of $ 80 and is already available for pre-order online.

Articles: Digital Photography Review (dpreview.com)

 
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Sigma can install a rear-mounted filter holder on your Canon 14mm F1.8 Art lens

12 Sep

Lens manufacturer Sigma has announced an interesting new service: users of the company’s Canon mount 14mm F1.8 DG HSM Art lens can now pay the company to fit a rear mount filter holder onto their lens. The FHR-11 filter holder is designed to allow gel filters to be held over the rear element of the lens so photographers can enjoy “more freedom of expression.”

Those who want to fit the holder themselves can buy it without the installation service, but keep in mind that damage caused by erroneous fitting will not be covered by the lens’ warranty. Sigma says the time the fitting will take depends on local services, but in Japan users are being told to expect the lens to be away for a week.

In the UK, the FHR-11 on its own costs £35 (~$ 45 USD), while the filter+install service costs £60 (~$ 80 USD). Sigma USA has yet to release official US pricing. For more information see the Sigma website.

Press Release

Chargeable service for installing the Rear Filter Holder FHR-11 on SIGMA 14mm F1.8 DG HSM | Art for Canon

The Sigma Corporation is pleased to announce a chargeable service for installing the Rear Filter Holder FHR-11 on the SIGMA 14mm F1.8 DG HSM | Art for Canon.

From September onwards, Sigma will be able to install the Rear Filter Holder FHR-11 on SIGMA 14mm F1.8 DG HSM | Art for Canon.

The Rear Filter Holder FHR-11 is an accessory exclusively designed for the SIGMA 14mm F1.8 DG HSM | Art for Canon, and it enables photographers to use a filter sheet with the lens.

By attaching it to the rear of the lens, it will allow more freedom of expression.

The Rear Filter Holder FHR-11 will be available in the UK towards the end of September for a Suggested Retail Price of £34.99 including VAT. The Rear Filter Holder FHR-11 and installation service by Sigma Imaging UK Ltd is £59.99 including VAT.

Please contact Sigma Imaging (UK) Ltd for further information. Customers who do not own the appropriate tools or who do not feel confident in attaching the filter holder themselves may take advantage of the chargeable installation service.

PACKAGE CONTENTS
1. Rear Filter Holder FHR-11
2. Guide template
3. Fixing screws (3 pieces)
UPC Code: 0085126 934866

  • Any damage or faults caused by attaching the filter holder on your own will not be covered by the warranty.
  • This product is exclusive to the SIGMA 14mm F1.8 DG HSM | Art 017 (CANON Mount).
  • Please do not attempt to attach it to any other lens or mount. There is a risk that it may cause damage to the lens and camera.
  • Please be careful to avoid scratches to the lens or the electrical contacts when attaching the filter holder.
  • Please ensure not to drop the small fixing screws inside the lens.

Articles: Digital Photography Review (dpreview.com)

 
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