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Posts Tagged ‘first’

The Laowa 50mm F2.8 is the first 2x macro lens for MFT systems

19 Aug

Chinese lens manufacturer Venus Optics has introduced a new Ultra Macro lens to its Laowa line-up with a 50mm F2.8 model that offers a 2x macro function. The Laowa 50mm F2.8 2X Ultra Macro APO is claimed to be the first-ever 2x macro lens for the MTF system, and has a minimum focus distance of 13.5cm (5.3in).

Marked with the company’s ‘CA Dreamer’ slogan, the lens has apochromatic correction achieved with three extra-low dispersion elements in the 14-elements-in-10-group construction. The company says lateral and longitudinal chromatic aberrations are corrected and that out-of-focus highlights appear free of color fringes. As the lens provides the view you’d expect from a 100mm on a full-frame sensor Laowa says it also makes an excellent portrait lens.

Jimmy Chan Paul Harcourt Davies
Nicky Bay Paul Harcourt Davies

The lens is chipped and allows body-controlled apertures as well as full EXIF data to be recorded in the image metadata. The lens has a 7-bladed iris, a 49mm filter thread and it weighs 240g (8.4oz), while the short flange distance has allowed the company make it just 79mm (3.1in) in length.

The Laowa 50mm F2.8 2x Macro costs $ 400 before tax and is available to purchase now on the Laowa website.

Press release:

Venus Optics announced the world’s first 2x macro lens for MFT: Laowa 50mm f/2.8 2X Ultra Macro APO

Venus Optics, the camera lens manufacturer endeavoring in unique ultra-macro lenses, announce the release of Laowa 50mm f/2.8 2X Ultra Macro APO Lens. The new 50mm lens is specially designed for Micro Four Thirds (MFT) cameras and it is the first- ever 2X macro lens designed for this sensor size. The lens also features an apochromatic (APO) design to minimize the chromatic aberrations across the frame. The ex-VAT retail price is USD 399/pc and pricing may vary in different countries.

1) Focus from infinity to 2X macro magnification

Unlike most of the MFT macro lenses in the market which can focus only up to 1X, the new Laowa 50mm macro lens offers a 2X maximum magnification ratio along with a minimum focusing distance of 5.3” (13.5cm). It has become the first lens ever designed with a greater- than-life-size (2:1) maximum magnification for MFT cameras, allowing photographing close subjects with finer details. The wider magnification range also makes itself flexible for shooting subjects at different sizes. The lens can focus to infinity and serve as an excellent portrait lens with its 100mm equivalent field of view on 35mm sensors.

2) Equipped with a CPU chip and motor (Automatic aperture)

The lens is equipped with a CPU chip and motor and the aperture can be controlled via the camera body. All the lens data is directly recorded on EXIF. Moreover, the focus magnifier would automatically triggered for easier focus control when the focus ring is rotated.

3) Apochromatic optical (APO) design

The new 50mm f/2.8 2X Ultra Macro has a optics design with 14 elements in 10 groups, three out of which are extra-low dispersion glasses to minimize chromatic aberrations across the frame.
This lens has inherited the exceptional APO design from Laowa 65mm f/2.8 2x Ultra Macro APO, where both lateral chromatic aberration (LaCa) and longitudinal CA (LoCA or Bokeh Fringing) are eliminated.

4) Lightweight & Compactness

The 50mm lens is extremely compact and light in weight. It measures 3.1” (79mm) long and weighs only around 8.4oz (240g). Venus Optics take advantage of the short flange distance of mirrorless cameras and compress the size of the lens to the minimal. An internal focus design is also adopted so that the length of the lens can be maintained during focusing.

5) Compatible with MFT

With the previous success of the Laowa 65mm f/2.8 2x Ultra macro APO which was optimized for APS-C, the new 50mm lens is specially developed for MFT mirrorless camera users. It can be used on Panasonic, Olympus, BMPCC 4K, etc.

6) Pricing & Availability

The lens is currently available to order in authorized resellers and in Venus Optics official website (http://www.venuslens.net/). Shipping starts immediately. The ex-VAT retail price in the US is USD 399/pc. Pricing may vary in different countries.

Specifications

Format MFT
Focal length 50mm
Angle of View 24°
Aperture f/2.8-22 (Automatic aperture)
Optical Structure 14 elements in 10 groups
Aperture Blade 7 blades
Closest focusing distance 13.5cm
Max. Magnification 2X
Focus Manual
Filter thread ø49mm
Dimensions ø53.5mm x 79mm
Weight 240g

Articles: Digital Photography Review (dpreview.com)

 
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ZTE to launch the first smartphone with under-display front camera on September 1st

19 Aug

The front of modern smartphones is almost entirely occupied by the display which makes integrating the selfie camera an ever more difficult task for designers and engineers. We’ve seen solutions using camera notches, hole-punch cameras and pop-up mechanisms but none look as elegant and inconspicuous as a camera that is hidden under the display.

Some under-display prototypes have already been making the rounds but now we’ll finally have a working production model to play with. Chinese manufacturer ZTE has just announced it will launch the world’s first smartphone with under-display front camera on September 1st. The company says the ZTE Axon 20 5G ‘will be the world’s first mass-produced 5G smartphone featuring under-display camera, marking another milestone in ZTE’s exploration of the true full display smartphone.’

Xiaomi prototype with under-display camera next to a device with front camera notch

Unfortunately no other specs or pricing information has been released at this point but XDA-Developers has discovered a recent database entry by Chinese regulator TENAA that lists the Axon 20 5G as a device with 32MP front camera and a quad-rear-camera setup with 64, 8 and a pair of 2MP modules. Other rumored specs include 6.92-inch HD OLED display and up to 12GB of RAM.

Previously manufacturers Xiaomi and Oppo were the first to demonstrate technology allowing for the front camera to be placed under and capture images information through the display. Prototype devices made an appearance but in January 2020 Xiaomi VP Lu Weibing said there were still too many technological challenged to overcome and a production devices should not be expected any time soon, mainly because the high pixel-density of modern smartphone displays blocked too much of the incoming light from the camera lens and sensor.

However, not too long after this statement was made OLED manufacturer Visionox announced it was ready to start mass production of displays with under-screen cameras. The company claimed it had been successful at increasing light transmission by using different organic and non-organic film materials that offer higher transparency. It also developed a new software for correcting brightness and color casts as well as viewing angle issues to work in conjunction with the new type of display.

In addition the pixel density on the portion of the display covering the camera lens has been modified to allow for better light transmission by reducing the display resolution in the specific area where the camera is located.

At this point it is unknown if the ZTE Axon 20 5G is using the VIsionox solution or a similar approach. However, we should know more and find out what kind of image quality the first under-display front camera can deliver on September 1st.

Articles: Digital Photography Review (dpreview.com)

 
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Meike’s first autofocus lens is a new 85mm F1.8 prime that costs just $190

12 Aug

Budget optics manufacturer Meike has announced the release of an ultra-affordable 85mm F1.8 autofocus lens for Canon EF- and Nikon F-mount cameras that costs just $ 190.

The lens, which is the first autofocus lens Meike has produced, is constructed of nine elements in six groups, features an aperture range of F1.8-F22, has a minimum focusing distance of 85cm (33.5”) and uses a nine-blade aperture diaphragm. It also has a built-in microUSB port for updating firmware.

The lens measures in at 79mm long, 75mm diameter and weighs 420g (14.8oz). The 85mm F1.8 lens is currently listed as available on Meike’s online shop for just $ 190 (Canon EF, Nikon F). It comes with the lens, a lens hood, front/rear caps, and a microfiber pouch for transporting it in.

Articles: Digital Photography Review (dpreview.com)

 
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The first trailer for the Pete Souza documentary, ‘The Way I See It,’ has been released

08 Aug

The first trailer for the forthcoming Pete Souza documentary, The Way I See It, has been released, providing a glimpse into what we can expect from the feature-length documentary.

Pete Souza has served as Chief Official White House Photographer under two presidents, Ronald Reagan and Barack Obama. Between his tenure at those positions, as well as his time as a photojournalist, he’s captured some of the most iconic shots of life in and beyond the Oval Office, with unrivaled access to two of the most iconic presidents from either party.

The official movie poster for The Way I See It

The Way I See It documentary is based on the New York Times #1 bestseller book of the same name. It provides ‘an unprecedented look behind the scenes of two of the most iconic Presidents in American History, Barack Obama and Ronald Reagan, as seen through the eyes of renowned photographer Pete Souza,’ as shared in the trailer’s description. ‘As Official White House Photographer, Souza was an eyewitness to the unique and tremendous responsibilities of being the most powerful person on Earth. The movie reveals how Souza transforms from a respected photojournalist to a searing commentator on the issues we face as a country and a people.’

The film is due out in theaters September 2020, but we’ll see if that comes to fruition amidst the COVID-19 pandemic. You can find out more about the film by visiting The Way I See It website.

Articles: Digital Photography Review (dpreview.com)

 
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Canon says ‘first set’ of EOS R5 units shipped out this week, quieting rumors over delays

01 Aug

Over the past few days, there have been numerous reports Canon is delaying shipments of its EOS R5 camera and that retailers weren’t receiving shipments as expected. While Canon Japan did mention there could be delays due to demand earlier this month, these reports suggested several retailers in the UK and throughout Europe weren’t receiving as many cameras as they had expected.

Until today, only Canon Australia had issued a statement on the matter to Newsshooter, saying the ‘speculations are untrue.’ Now, Canon U.S.A. has issued its first statement on the matter, confirming EOS R5 units were shipped from its warehouses this week and on the way to photographers.

In the statement, shared with DPReview through a Canon spokesperson, Canon U.S.A. writes:

‘Orders of the EOS R5 are scheduled to be delivered as initially stated at launch. The first set of cameras shipped from our warehouses this week. We eagerly await the content that will be produced by talented creatives using this camera to be shared with the world.’

Canon U.S.A. specifically mentions the ‘first set of cameras,’ but doesn’t specify the status of the second installment in its statement(according to a few of the rumors, it’s the second installment that could be delayed).

We have contacted Canon U.S.A. in hopes of receiving further confirmation of future shipments and potential delays involved with its EOS R5 and EOS R6 camera systems. We will update the article accordingly if we receive a response.

In regards to future shipments, a Canon U.S.A. spokesperson has told DPReview ‘shipping is as scheduled right now, with no delays.’

Update (July 31, 2020): We updated the article with a statement from a Canon U.S.A. spokesperson regarding future shipments.

Articles: Digital Photography Review (dpreview.com)

 
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Sony announces world’s first CFExpress Type A cards and card reader

30 Jul

While the Sony a7S III rightly received most of the attention yesterday, Sony also announced it’s releasing the world’s first CFExpress Type A memory card and reader.

These new CFExpress Type A Tough cards offer max read and write speeds of 800MB/s and 700MB/s, respectively, and come in 80GB and 160GB capacities. While these cards will work in other cameras that offer CFExpress Type A slots, these are clearly designed to go hand-in-hand with Sony’s a7S III, which features dual hybrid card slots that can take UHS-II SD cards or CFExpress Type A cards.

New cards mean you’ll need a new way to get data off the cards, so Sony has also unveiled a USB 3.2 Gen 2 USB-C card reader that also accepts both SD cards and CFExpress Type A cards. The reader can transfer data at up to 10Gbps, which should leave more than enough overhead for even the fastest UHS-II SD cards as well as the new CFExpress Type A cards.

Both the CFExpress Type A Tough cards and SD/CFExpress Type A card reader are available to pre-order today. The 80GB (Adorama, B&H) and 160GB (Adorama, B&H) cards cost $ 200 and $ 400, respectively, while the card reader costs $ 120 (Adorama, B&H).

Articles: Digital Photography Review (dpreview.com)

 
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Canon’s 100-500mm F4.5-7.1L IS USM is the first super-zoom for RF-mount

13 Jul

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Canon’s RF 100-500mm F4.5-7.1L IS USM is the company’s first super-zoom lens for the RF-mount. It’s not the fastest lens in the lineup, but it’s certainly the most versatile RF optic for sports and wildlife photography. The lens’s IS system can reduce camera shake by up to five stops, and there are three IS modes to choose from: standard, panning or active during exposure. When paired with the in-body image stabilization systems of the EOS R5 / R6 bodies, the system is capable of around six EV of total stabilization.

Optically the lens comprises 20 elements in 14 groups. Six elements are ‘UD’ (ultra low dispersion) while one is ‘Super UD’. These elements help reduce chromatic aberrations. The two focus groups are driven by their own Nano USM motor for fast and silent autofocus. The lens extends while zooming, and the torque can be adjusted, or the zoom ring locked. Even with the extension of the lens, Canon claims that it is well-sealed against dust and moisture.

The RF 100-500mm lens offers a maximum magnification ratio of 0.12x and 0.33x at its wide and telephoto ends, respectively. Nine aperture blades help retain circular out-of-focus highlights as you stop the lens down. The lens accepts 77mm filters and weighs a fairly substantial 1365g (3lbs).

The 100-500mm is compatible with Canon’s new RF 1.4x and 2x teleconverters, though the lens must be set to 300mm or longer before one can be attached. A physical hard stop prevents the user from accidentally zooming out past 300mm with these teleconverters.

The 100-500mm F4.5-7.1L IS USM will be available in September for $ 2699.

Press release:

THE SECRET IS OUT: CANON OFFICIALLY ANNOUNCES THE CANON EOS R5 AND R6, THE COMPANY’S MOST ADVANCED FULL-FRAME MIRRORLESS CAMERAS EVER

The Company is Also Announcing Four RF Lenses, Two RF Lens Extenders, and a PRO Printer

MELVILLE, N.Y., July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 is geared towards advanced amateurs featuring a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps. The addition of the EOS R5 and the EOS R6 cameras within the EOS R series lineup further solidifies Canon’s commitment to providing the equipment needed for users to bring their content to the next level.

Canon is also introducing four RF lenses and two RF lens extenders: The Canon RF100-500mm F4.5-7.1 L IS USM, Canon RF600mm F11 IS STM, Canon RF800mm F11 IS STM, and RF85mm F2 MACRO IS STM lenses. All four new lenses were designed to meet the ever-expanding demands of the skilled creatives who capture amazing imagery using EOS R series cameras, including the new EOS R5 and EOS R6. In addition to the lenses, there are two new RF lens extenders, a 1.4x and a 2x model, allowing for users to take their compatible RF lens focal lengths even farther, and a 13-inch professional printer, the imagePROGRAF PRO-300, to bring photos to life through the power of print.

“For all of the Canon research and development team members who worked tirelessly on the production of these new products, today marks the culmination of a long journey. For those people looking for the next great tools to work with to expand their creative possibilities, the door is now wide open,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The industry has asked for new products that can push their levels of creativity to new heights, and we are confident that the EOS R5 and EOS R6, alongside the new lenses, lens extenders, and the pro printer, will fulfill those needs and more.”

Canon EOS R5 and EOS R6
Both the EOS R5 and EOS R6 cameras have the ability to capture the action of a variety of fast-moving subjects with impressive accuracy and speed. When using the mechanical shutter, each can shoot up to 12 fps and up to 20 fps when using the completely silent shutter. Both cameras are the first to be outfitted with Canon’s advanced Dual Pixel CMOS AF II which utilizes up to approximately100 percent coverage of the AF area and EOS iTR AF X incorporating AF tracking algorithms using deep learning technology and enhanced readout speed of the CMOS sensor and processing speed thanks to the DIGIC X image processor. The 1,053 automatically selected AF Zones are made even more potent by the ability to detect the human eye, face or head as well as the eye, face or body of animals such as dogs, cats and even birds. Adding to the feature set is the 5-axis In-Body Image Stabilizer, having coordinated control with Optical Image Stabilizer in IS equipped RF lenses. This provides up to 8 stops of shake correction, a feature that many creators have long asked for from Canon. Both the EOS R5 and R6 cameras come with a new LP-E6NH battery with a higher capacity than the previous model.

As the new flagship model in the EOS R series lineup, the EOS R5 camera has features that pack a punch for a variety of users who create both still and video content. It has a powerful 45-megapixel full-frame CMOS sensor and is driven by the speedy DIGIC X image processor, giving wide dynamic range as well as boasting an ISO range of 100-51,200 that is expandable up to 102,400. In a camera full of eye-popping features, one that really stands out is the ability to record uncropped 8K RAW internal video recording up to 29.97 fps and 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). The camera can also record 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). External recording in 4K is also available up to 59.94 fps. When in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes. Additional features of the EOS R5 camera include:

  • Dual-card slots: 1x CFexpress and 1x SD UHS-II
  • Built-in 0.5-inch OLED EVF with approximately 5.76 million dots and a 119.88 fps refresh rate
  • 3.2-inch 2.1 million dots vari-angle LCD touch screen
  • 5GHz/2.4GHz Built-in Wi-Fi® and Bluetooth Technology with the ability to utilize the image.canon application, as well as optional WFT-R10A wireless file transmitter with Ethernet support
  • Enhanced operating controls such as rear-dial, multi-controller • The ability to voice tag photos and videos
  • Weather, drip and dust sealing on par with the EOS 5D series

The EOS R6 camera is well-equipped with a host of new features to push the limits of creativity for imaging enthusiasts. The combination of the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor and the DIGIC X image processor produces an ISO range of 100-102,400 and is expandable to 204,800. Internal video recording at 4K is capable up to 59.94 fps or 1080p up to 119.88 fps in 10 bit 4:2:2 Canon Log(H.265) or HDR PQ(H.265). The camera also features a built-in 0.5-inch OLED EVF with approximately 3.69 million dots and a 119.88 fps refresh ratevi. Additional features of the EOS R6 camera include:

  • Dual UHS-II SD card slots
  • 3-inch 1.62 million dots vari-angle LCD touch screen
  • 2.4GHz Built-in Wi-Fi®vii and Bluetooth Technologyviii with the ability to utilize the image.canon application
  • Enhanced operating controls such as rear-dial, multi-controller
  • Weather, drip and dust sealing on par with the EOS 6D series

Battery Accessory
The optional BG-R10 battery grip accessory will be available for both the EOS R5 and EOS R6 full-frame mirrorless cameras. The BG-R10 accommodates up to two batteries and is compatible with the new LP-E6NH, LP-E6N and LP-E6 batteries. The convenient BG-R10 grip accessory can also improve handling for users while capturing portrait photography.

Canon RF100-500mm F4.5-7.1 L IS USM
The Canon RF100-500mm F4.5-7.1 L IS USM is a high-performance and versatile super-telephoto zoom lens that will find its way into the bags of many photographers. The compact and lightweight lens features optical image stabilization of up to five stops* of shake correction with three different IS modes, including standard, panning and during exposure only. Two Nano USM motors are at the heart of this lens and provide users with high-speed, smooth and quiet auto focus with a minimum focusing distance of three feet. Additional features of the Canon RF100-500mm F4.5-7.1 L IS USM include:

  • Rotation-Type zoom ring and torque adjustment allows for precision control and feel
  • Customizable control ring that enables photographers to adjust exposure compensation, shutter speed, aperture or ISO
  • 12-pin Communication System
  • Canon L-Series grade dust and weather-resistant construction with a fluorine coating
  • Lens hood with side window allows specialty filters to be adjusted even while Lens Hood is attached
  • Compatible with the new 1.4x and 2x RF lens extenders (from 300 to 500mm focal length)

Canon RF600mm and 800mm F11 IS STM
The Canon RF600mm and RF800mm F11 IS STM lenses are the first fixed focal length super-telephoto RF lenses and are incredibly compact and lightweight. The portability of the new lenses is made even greater due to the ability for the lens barrel to retract and lock in place when the lenses are stowed away and not in use. Diffractive Optics technology helps to reduce the necessary number of lenses and greatly diminish the cost of the lenses, making them affordable for a broader group of photographers. Additional features of the Canon RF600mm and RF800mm F11 IS STM lenses include:

  • Lightweight – the RF600mm weighs approximately 2.05lb and the RF800mm weighs approximately 2.78lb, respectively
  • Compact size, RF600mm measures approximately 7.85inch and RF800mm with measures approximately 11.09inch when retracted, respectively
  • Fixed f/11 aperture
  • Optical image stabilization of five stops* for the RF600mm and four stops* for the RF800mm of Shake Correction
  • Lead screw-type STM enables smooth auto focusing for still-image and video shooting
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
  • 12-pin Communication System
  • Compatible with the new 1.4x and 2x RF lens extenders

Canon RF85mm F2 MACRO IS STM
The third RF85mm lens in the RF lineup, the Canon RF85mm F2 MACRO IS STM is compact and lightweight, featuring a bright f/2 aperture helping to capture images that have exceptional bokeh. The lens features a maximum magnification of 0.5x and a minimum focusing distance of 1.15 feet, providing users with macro-photography capability. Additional features of the Canon RF85mm F2 MACRO IS STM include:

  • Optical Image Stabilization with up to five stops* of Shake Correction
  • Hybrid IS compensates for angular and shift camera shake during macro photography
  • Control Ring for Direct Setting Changes.
  • 12-pin Communication System
  • Nine blade Circular Aperture

RF Lens Extenders
Lens extenders have long been a practical and useful tool for a variety of photographers. That story continues with the introduction of the Extender RF 1.4x and Extender RF 2x. The new lens extenders inherit the same high image quality, precision AF and reliability, such as being drip and dustproof, of EF lens extenders. When used in combination with the newly-released compatible lenses, the capturing range can be dramatically increased, providing consumers with additional use cases for their existing RF lenses.

Canon imagePROGRAF PRO-300
Completing the lineup of professional printer options from 13 inches through 60 inches, Canon also unveiled today the new 13-inch Canon imagePROGRAF PRO-300 Inkjet Printer along with a new Premium Fine Art Rough paper. Providing an improved workflow and high-quality output within a smaller footprint compared to previous models, this new printer excels at professional printing performance. Combined with the new Premium Fine Art Rough paper that features a textured surface to express the depth of an image, the printer along with the paper and new EOS R5 or EOS R6 camera introduces a new powerhouse professional imaging trio that meets creators’ demands.

Pricing and Availability
The EOS R5 full-frame mirrorless camera is scheduled to be available at the end of July for an estimated retail price of $ 3899.00 for the body only and $ 4999.00 for the R5 and RF 24-105mm F4 L IS USM lens kit**.

The EOS R6 full-frame mirrorless camera is scheduled to be available at the end of August for an estimated retail price of $ 2499.00 for the body only, $ 2.899.00 for the R6 and RF 24-105 F4-7.1 IS STM lens kit or $ 3,599.00 for the R6 and RF 24-105mm F4 L IS USM lens kit**.

The BG-R10 battery grip accessory and WFT-R10A are both scheduled to be available at the end of July for an estimated retail price of $ 349.99 and $ 999.99**, respectively.

The RF100-500mm F4.5-7.1 L IS USM lens is scheduled to be available in September 2020 for an estimated retail price of $ 2,699.00. The RF600mm F11 IS STM and RF800mm F11 IS STM lenses are scheduled to be available at the end of July 2020 for an estimated retail price of $ 699.99 and $ 899.99, respectively. The RF85mm F2 MACRO IS STM lens is scheduled to be available in October 2020 for an estimated retail price of $ 599.99 **.

The RF Extender 1.4x and 2x are scheduled to be available at the end of July for an estimated retail price of $ 499.99 and $ 599.99** each.

The imagePROGRAF PRO-300 Printer will be available later in July for a suggested retail price of $ 899.99. Premium Fine Art Rough paper will also be available later in July for a suggested retail price of $ 44.99 for Letter size, $ 109.99 for 13” x 19” inches and $ 169.99, 17” x 22” inches**.

For more information please visit, www.usa.canon.com/virtualproductlaunch

** Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.

Canon 100-500mm F4.5-7.1L IS USM specifications

Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 100–500 mm
Image stabilization Yes
CIPA Image stabilization rating 4 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F4.5–7.1
Minimum aperture F32–54
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 20
Groups 14
Special elements / coatings 1 Super UD + 6 UD elements
Focus
Minimum focus 0.90 m (35.43″)
Maximum magnification 0.33×
Autofocus Yes
Motor type Nano ultrasonic
DoF scale No
Physical
Weight 1365 g (3.01 lb)
Diameter 94 mm (3.69″)
Length 208 mm (8.17″)
Materials Magnesium alloy
Sealing Yes
Colour White
Zoom method Rotary (extending)
Filter thread 77 mm
Hood supplied Yes

Articles: Digital Photography Review (dpreview.com)

 
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First impressions: ON1 360 is a cloud-based alternative to Lightroom’s ecosystem

12 Jul

Smartphones not only introduced the ability to capture photos anywhere, they also opened us to the idea of accessing our photo libraries on any device we’re carrying. Apple’s Photos and Adobe’s Lightroom ecosystems enable you to view and edit images that have been uploaded to their respective cloud services.

ON1 360 is a cloud-based service that links the ON1 Photo RAW desktop software with a new ON1 Photo Mobile app

Now, add ON1 to the any-device club. ON1 360 is a cloud-based service that links the ON1 Photo RAW desktop software with a new ON1 Photo Mobile app on iOS or Android devices. (I tested the macOS and iOS versions on a 2019 16-inch MacBook Pro, 2019 iPad Pro, and iPhone 11 Pro.)

System requirements:

  • iOS: iPhone or iPad with iOS 12.3 or higher
    • Recommended: iOS 13 or higher
  • Android: Phone or tablet with Android 7 (Nougat) or later with current maintenance releases (64-bit only)
    • Recommended: 64-bit Android 9 (Pie) or later

Sync Infrastructure

The cloud approach taken by Apple and Adobe is to automatically upload everything added to Photos and Lightroom. ON1 360 isn’t as aggressive, leaving it up to you to decide what gets synchronized between devices. (Lightroom Classic also takes this approach.)

In ON1 Photo RAW on the desktop, image sources can come from any folder, connected drive, or mountable network volume, and the software leaves the originals in place. To publish photos to ON1 360, you specify a folder as a Cataloged Folder, create an album, or add existing cataloged folders or albums.

Choose which cataloged folders or albums to sync with the ON1 360 service.

The images can be uploaded in their original formats or using ON1’s Editable Preview format, a compressed Raw format that is smaller in size but retains the same tonal information. In the ON1 Photo Mobile app, there’s no indication that you’re working with a format other than the original; the filename appears the same. A setting also lets you choose to upload only the Raw portion of Raw+JPEG pairs.

This photo was uploaded using ON1’s Editable Preview format, but it retains the same .RAF file name extension as if it was in its original Fujifilm raw format.

In the ON1 Photo Mobile app, images you import or capture using the app’s Camera feature are automatically uploaded (in their original formats) and made available to your other devices.

This structure is designed to differentiate all of the sources. Tapping the 360 icon in the mobile app displays the other devices sharing your account; in the desktop app, the other sources appear in a list under My Catalogs.

ON1 360 leaves it up to you to decide what gets synchronized between devices

What’s missing is the ability to view all shared images at once. If your goal is to keep the desktop app as the primary photo source, the approach transitions well. But if, say, you leave the computer at home and import lots of photos onto your tablet, soon you need to maintain a mental model of where images are stored; they’re all there, but you may still end up hunting and pecking to locate the ones you want to edit. Lightroom and Photos prioritize that everyone-in-the-pool approach, which can often feel crowded, which is why ON1’s more targeted approach will probably prove a refreshing change for some photographers. Having the option to switch between views would be a helpful addition in the future.

What’s missing is the ability to view all shared images at once

Syncing, for the most part, happens quickly among devices. Your internet speed is a huge factor when initially uploading images, but edits transfer as small instructions and are quite limited in terms of bandwidth. In my testing, thumbnails sometimes didn’t update correctly and images occasionally came up blank, so there are still some rough edges.

As for the infrastructure itself, ON1 is securely distributing the online storage among large providers (Microsoft Azure and Backblaze S2). Unlike Adobe’s CreativeCloud approach, ON1 is not using users’ images to feed its machine learning algorithms.

Editing and Metadata

The editing features of the ON1 Photo Mobile app cover the basics of tone, color, and detail adjustments, plus a single-slider AI tool for one-stop improvement. A handful of effects are also included, such as adding a vignette and converting to black and white.

Editing a photo in ON1 Photo Mobile on an iPad Pro. Editing a photo in ON1 Photo Mobile on an iPhone 11 Pro.

Not everything in ON1 Photo RAW is represented, which isn’t a surprise for a first release. There’s no histogram, for instance. In one area, though, you have to be careful: If you apply any edit in the desktop app that isn’t supported on mobile, you’re locked out of all edits. For example, the Vignette effect in both versions let you set opacity, brightness, size, feather, and roundness attributes. In the desktop version, you can also click a shortcut such as ‘Subtle’ that applies preset values for those sliders.

If you apply an adjustment control in ON1 Photo RAW that isn’t supported on mobile… … you’re locked out of all edits (ON1 Photo Mobile on iPad Pro shown here).

However, when you try to edit that in mobile, a message says, “This photo has settings applied in ON1 Photo RAW that are not supported in the app yet.” The only option is to tap OK; you’re not able to edit supported adjustments, such as any of the tone tools.

Be careful: If you apply any edit in the desktop app that isn’t supported on mobile, you’re locked out of all edits

As for metadata, the only visible information is an image’s filename, star rating, and like/dislike flag. That also means there’s no way to filter images based on rating or even see, in the thumbnail view, which ones you’ve marked to work on later. It would be nice to sort the images, too, since by default the photos are listed based on file names.

ON1 Camera

The advantage of incorporating a camera into the mobile app is twofold: first, the images you capture are automatically added to ON1 360, bypassing the need to import them into ON1 Photo RAW; and second, it records photos in raw format by default, with the option to invoke manual control over shutter speed, ISO, focus, and white balance. (You can also choose to shoot in JPEG or, in the iOS version, HEIC formats.)

Adjusting manual focus in the camera feature of ON1 Photo Mobile.

Dragging up or down on the screen adjusts the exposure compensation, but if you leave your finger on the screen too long, the app assumes you want to use that spot as auto-focus and auto-exposure. Another annoyance is that if you’ve set manual settings such as shutter speed or ISO, tapping the screen to set focus reverts everything back to automatic.

Pricing

ON1 360 is a subscription add-on for existing owners of ON1 Photo RAW, or the two can be bundled as a subscription. For 200 GB of cloud storage, the service add-on costs $ 5.99 per month or $ 59.99 per year. The service/software bundle costs $ 7.99 per month or $ 89.99 per year.

A no-subscription perpetual license for just ON1 Photo RAW is also available for $ 99.9

The next tier up is 1 TB of storage, which costs $ 9.99 per month or $ 109.99 per year for the add-on plan, or $ 15.99 per month or $ 179.99 per year for the service/software bundle.

A no-subscription perpetual license for just ON1 Photo RAW is also available for $ 99.99. The ON1 Photo Mobile app for iOS or Android is free.

Conclusion

When you look back at the first mobile steps taken by Apple and Adobe’s photo offerings, they started basic and broadened their features over time; the mobile version of Lightroom is close to being in parity with the desktop version (though still not comparable with Lightroom Classic).

Sometimes a thumbnail doesn’t accurately reflect the edit (though the underlying image adjustments are intact). The ON1 360 sync status says everything is up to date, but a few thumbnails are lagging.
Before: Editing a photo on the iPad. After: Bizarre streaks appeared when activating the AI Auto adjustment.

ON1 360 is taking its own first steps. I did run into a few glitches, ranging from inconsistent thumbnails to images sometimes showing up blank and one instance of odd streaking when applying the Auto adjustment on mobile. However, the basic infrastructure is in place and extends the ecosystem beyond the desktop for photographers who use ON1 Photo RAW.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Panasonic Lumix G100 first impressions

26 Jun

Chris and Jordan got their hands on a pre-production Panasonic G100 and have been able to do some preliminary testing on features like the camera’s new OZO directional audio system. Bearing in mind that this isn’t a full production unit, their impressions of the camera so far are… not outstanding.

Subscribe to our YouTube channel to get new episodes of DPReview TV every week.

  • Introduction
  • Design and Handling
  • Displays
  • Controls
  • Video Handling
  • OZO Audio
  • HD Vlogging Tests
  • 4K Vlogging Tests
  • Audio inputs/outputs
  • Record Limits
  • Video Profiles
  • Video Quality Analysis
  • Video Quality vs. Z-V1
  • Video Autofocus
  • Image Stabilization Performance
  • Audio Quality
  • Who is it for?

Sample images from this episode

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Articles: Digital Photography Review (dpreview.com)

 
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Tamron Announces First Mirrorless All-In-One f/2.8 Zoom

15 Jun

The post Tamron Announces First Mirrorless All-In-One f/2.8 Zoom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Tamron f/2.8 zoom lens announced

Earlier this week, Tamron announced its brand new 28-200mm f/2.8-5.6 lens designed for Sony mirrorless cameras.

In addition to its massive range, the lens boasts a maximum aperture of f/2.8 at its widest focal length, making it officially the first all-in-one zoom lens to begin at f/2.8.

While the lens ultimately tops out at f/5.6 at the 200mm end, the wide-angle f/2.8 maximum aperture offers low-light shooters the opportunity to work with a fast, lightweight, compact zoom, one that also features significant reach on the long end.

In terms of weight and dimensions:

The Tamron 28-200mm clocks in at just 20.3 oz (575 g), while measuring 4.6 in (117 mm). This positions the lens as a comprehensive option for travel photographers, landscape photographers, and more; just slip the Tamron 28-200mm plus a Sony camera in your backpack, and you’ll be ready for anything.

Tamron 28-200mm zoom

Of course, none of this matters if the lens can’t deliver on image quality, and all-in-one zooms are known for their lackluster optics, especially at focal length extremes.

While we can’t definitively comment on sharpness, Tamron promises “liberal use of special lens elements…to greatly suppress chromatic aberrations, making it possible to achieve high image quality from edge to edge.”

Tamron also claims to have “concentrated all its all-in-one zoom technologies into achieving optical performance that sets a new standard among existing all-in-one zoom lenses.”

While we’ll have to wait a few weeks to confirm Tamron’s claims, the company’s other all-in-one zooms have been mediocre-to-great. If Tamron has taken this one a step further, then the rewards could be great.

The new lens also offers:

  • An impressive minimum focusing distance of 7.5 in (0.19 m) on the wide end and 31.5 (0.8m) on the long end, making for a close-up magnification ratio of 1:3.8
  • A fast, quiet AF motor
  • Moisture resistance
  • A reasonable price of US$ 729

Assuming the optics are good, this lens will be a steal for almost any shooter, but especially photographers looking to reduce the size of their kit for travel, outdoors, or walkaround photography.

At the time of writing, the lens will launch on June 25, though Tamron warns of potential COVID-related delays.

So if you’re interested in an all-in-one zoom for Sony with tremendous low-light capabilities, great optical potential, and much more, check out the new Tamron 28-200mm f/2.8-5.6 Di III RXD.

Now over to you:

What do you think of this new lens from Tamron? Do you expect it will separate itself from other all-in-one zooms in terms of optics? And if so, will you purchase it? Share your thoughts in the comments!

The post Tamron Announces First Mirrorless All-In-One f/2.8 Zoom appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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