360Photography – Page 165 – Photography news portal

7 Things Van Gogh Can Teach Us About Photography

The post 7 Things Van Gogh Can Teach Us About Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

In keeping myself motivated as a photographer, I love to look for inspiration from all across the creative spectrum. Today I want to share some ideas with you from the painter Van Gogh that I hope will bring some exciting new ideas for your photography.

I love who I am when I am taking photos. It is one of my favourite things, and I would imagine it’s the same for you.

7 Things Van Gogh Can Teach Us About Photography

To have my camera in my hand, exploring, finding beautiful light, and capturing interesting people I meet along the way, is immensely satisfying and massively fun.

However, life often gets in the way (who’d have thought it!), and I get distracted and lose my creative energy.

For example, I have too many conversations with my accountant, or I am doing a lot of admin or rushing around doing the tasks that are super important to make my life function but aren’t conducive to creativity.

I have been a photographer for over two decades, and I know that making time for being creative is really good for me. Of course, it’s good for my career as a whole, but more than anything, it makes me happy!

And don’t we always need more things to be happy about?

These ideas are timeless because they remind us what we love to do, and why – take photos, be creative, and make things.

I’ve also included some ideas that are reassuring – offering guidance on some of the common challenges that we all face as creative people.

So let’s get started!

1. “I am always doing what I cannot do yet, in order to learn how to do it.” Vincent Van Gogh

One thing I regularly hear from people when they arrive on my photography workshops is how they can’t do things.

It could be: I can’t be creative! Or I can’t shoot on manual, it’s impossible for me!

To me, this is just a habitual way of thinking that is not based on facts. Just because we can’t do something now, does not mean we will never be able to.

It is therefore an uncomfortable and unfamiliar feeling for us to be faced with things that we don’t understand, and so we really struggle with learning.

Photography almost always shows us the things we have struggled in the past to do. Because photography is a unity of skills – the ethereal concept of creativity and the highly technical world of cameras, computers, and post-processing software.

Many of my students fall into two camps: those who are comfortable with the technical, but not the ‘arty/creative’ side of photography. Or the reverse: very intimidated by tech, gear, etc but very comfortable with the idea of being creative.

If, though, we want to get really confident in photography (and we should because otherwise, why would you be drawn to this medium?), we have to overcome the discomfort and look to learn about these things we struggle with.

Here I can offer some inspiration. It is possible for anyone to learn anything. No one is too far gone, too un-creative or un-technical. It just comes down to belief. Can you believe you can find ways to learn what you need to learn to become comfortable and confident shooting?

If you say yes, you are halfway there. Saying yes to learning is the first step.

“Men often become what they believe themselves to be. If I believe I cannot do something, it makes me incapable of doing it. When I believe I can, I acquire the ability to do it even if I didn’t have it in the beginning.” Mahatma Gandhi

And how about we just decide to be people who are learning new things? Be like Van Gogh and always be doing things we don’t know how to do.

2. “Seek only light and freedom and do not immerse yourself too deeply in the worldly mire.” Vincent Van Gogh

This talks about how much we need to detach ourselves from normal life, and the endless tasks of our lives in order to create. Being creative connects us to the world in a completely different way to how we normally live.

In ‘normal’ life, we are living on the surface. We are doing a lot, we are being busy, we are jumping from task to task. We are responding. And that’s all totally necessary to take care of our lives.

But it is not the only way to live. It’s the least enriching, and least satisfying way to live.

And it’s definitely not the mode to be in when you’re being creative.

When you are out shooting, when you are creating something, it has to come from a different part of you. Because taking photos is the work of the soul, not the mind.

It’s diving deep into yourself and using everything you are, everything that you’ve experienced, known and loved, and bringing that out in your images.

But real life knocks very loudly and getting yourself into your creative flow state can be challenging. Even I, a professional photographer who shoots all the time, find it hard sometimes to switch off my mind when it starts reminding me about my mundane daily tasks.

So what I do when I am finding it hard to connect to my inner creative spirit, the inspiration I seek when I am out shooting is finding other ways to stoke my creativity.

That either involves going out into nature, searching for beautiful light or looking at other artists and what they have created.

I also love to read about what my favourite artists have said about making things, because it helps inspire me and helps me leap into a state of wanting to go out and create beautiful photos.

When Van Gogh said “The only time I feel alive is when I’m painting,” feels mostly very true to me.

We are rarely totally living in the moment, totally alive to everything that is around us, connecting to the world that we see.

Totally normal of course, we all do it. But I also think it’s important to carve out time to have those moments of deep fulfillment, of connection, deep beauty, and joy. This is what photography brings into my life. The chance to slow down, to see and be present for what life is.

3. “If you hear a voice within you say ‘you cannot paint,’ then by all means paint, and that voice will be silenced.” Vincent Van Gogh

Photography is an inner game.

Taking good photos has nothing to do with your current skills or your ability to nail sharpness or your exposure. It’s everything to do with what you believe about yourself and what you believe is possible for you.

If you start with this idea of not being able to do something, you won’t be able to do it. You have to overcome that mind of yours that loves to remind you of your inadequacies.

But it is also to say that all people who create, have fear. You are not alone when your mind tells you you’re not much of a photographer, or you might as well as give up because your photos are boring.

Your job is to ignore whatever rubbish your mind is saying about your photography, as Van Gogh says, and silence your mind by doing.

Creativity comes from such a magical and mysterious place– you can’t just find it anywhere. You can’t quantify it or set an exam for it. The fact that there is often no way to quantify if your photos are any good can create some anxiety.

The way to overcome this is to just get started. Just go out and shoot. Don’t worry if it’s going to come out well or not. Don’t pre-analyze what you may or may not achieve or what you are or are not.

The mind is clearly an incredible organ, but it’s not always on your side. It can dissuade you from doing things you love before you’ve even got started, so regardless of the outcome, go out and shoot and love the experience.

4. “Be clearly aware of the stars and infinity on high. Then life seems almost enchanted after all.” Vincent Van Gogh

It’s really easy to get so familiar with our world that we stop seeing what is beautiful and awe-inspiring in the world around us. It’s normal to see your everyday environment and not be inspired by what’s there. Our eyes get dulled to the familiar world around us.

That’s often why we travel or go to new places, to see new things.

But here is a big change we can make right here and now in our photography. When we are prepared to really find the magical and beautiful in life, wherever we are; when we can learn to be impressed and excited about what is, we will see more and more opportunities for photos.

We don’t need to travel or find new things to be inspired to shoot, we just need to connect with what is enchanting in this crazy, wild, and incredible world.

5. “Painting is a faith, and it imposes the duty to disregard public opinion.” Vincent Van Gogh

In many ways, I think learning photography now is harder than in the past. And that’s not because there are so many photographers, or because of smartphones, etc. Instead, it’s because of the amount of information out there, and the multitude of opinions.

The internet has given us so much incredible access to information and to communities and groups where we can share our photos. But often, instead of it being an empowering experience, it can become disheartening. You can get into the habit of judging your photos on how many ‘likes’ they receive.

When you post your photos online, you can get a whole raft of opinion back that is often useless for your photography.

People who aren’t necessarily any more experienced than you will share their random thoughts. (And I can guarantee there are very few professional photographers hanging out online doing constructive criticism on photos.) It’s also so easy to get dissuaded by what other people say about your images.

To make something unique and interesting, and to shoot with creative freedom, you need to be very careful about where you get feedback and who is giving it. You need to give most of your time creating images. Then find people you really trust – whose photography you admire – and seek feedback from them.

That’s how you can learn to grow and get better as a photographer.

6. “It is looking at things for a long time that ripens you and gives you a deeper meaning.” Vincent Van Gogh

Photography often becomes viewed as a series of technical tasks that need to be learned. To learn the way of the camera is to unlock all the gifts of photography.

For me that couldn’t be further from the truth.

The camera is merely the tool to execute your vision. That’s not to say the tool doesn’t have lots of cool and exciting features. I mean, I love tech, and I love what it can do. However, all of that gear is not going to get you great shots if you don’t know how to see, use your imagination, and bring feeling to your photos.

The key to accessing amazing photos all around you is to start to really learn to see.

You might say – but of course, I can see what’s around me! But you would be wrong. There is so much visual information around us, that our brain blocks out most of what is there. What we end up seeing is a mere fraction (less than one percent) of what is going on around us.

What is even more surreal is that because of how our brains like to make our lives as easy and simple as possible and to create habits in how we think and do things, we often see the same things over and over. We don’t notice the different things in our environment.

If you think about a street you’ve maybe walked down hundreds of times and all of sudden you have the urge to look up to the tops of the buildings. And it’s like – wow, I don’t remember seeing that.

This happens all the time with everything in our world.

Therefore, it is a good job as a photographer, to learn to open our awareness. Learn to see beyond what our brains feed us. Learn to look for a long time, and pay attention to what is around us.

This helps to develop our patience too. Developing patience in looking for shots is a great skill to nurture as a photographer. I find people are usually too quick to move on from a scene or a subject.

When we are patient and take that extra time working on a scene or subject, we often find more qualities of the subject are revealed. More ideas spring to mind too. Perhaps things in the moment change; like the light or things moving around the subject, thus, changing the possibilities of the photo.

Learn to really look at the world and it will open up so many incredible facets to your photography.

7. “If you truly love nature, you will find beauty everywhere.” Vincent Van Gogh

Completely.

I don’t just mean nature in a traditional sense – the beautiful flowers, people, or landscapes. It’s when we bring the idea of beauty into our photography that we see that we can capture what is beautiful to us, in any guise.

For me, it’s often the interplay of cities and nature. The smash of orange fruit on the tarmac. The gorgeous colors of the sunrise above a housing complex. Or the dramatic, metallic grey of a sky before a storm.

I would actually expand this idea to say there is beauty in all things, you just need to develop your ability to see and find it all around you.

Conclusion

I hope you found these ideas from Van Gogh useful for your photography. I would love to know what you thought, and if any of these ideas felt like they inspired or taught you something valuable. Please let me know in the comments below. Thanks for reading!

The post 7 Things Van Gogh Can Teach Us About Photography appeared first on Digital Photography School. It was authored by Anthony Epes.

Digital Photography School

July 14, 2020

SLC-1L-11: Planting Rice at Sunrise

Seeing as no one is doing much traveling these days, I thought it'd be fun to pay a visit with a Strobist reader photographing somewhere far away.

Up for a little Lighting Cookbook field trip to Indonesia? Yeah? Then let's go… Read more »
Strobist

July 14, 2020

Video: Zooming to the heart of Messier 87’s supermassive black hole

In April 2019, the National Science Foundation (NSF) unveiled the resulting image from the Event Horizon Telescope (EHT) project, the world’s first ever photograph of a supermassive black hole. The image, seen above, shows a ‘bright ring formed as light bends in the intense gravity around a black hole…’ Now, over a year later, the European Southern Observatory (ESO) has published a video that zooms into the night sky, illustrating very well what an incredible feat the EHT’s first image of a supermassive black hole truly is.

Despite its name, a black hole is not empty space, but is rather a huge amount of matter occupying a relatively very small area. As NASA puts it, ‘…think of a star ten times more massive than the sun squeezed into a sphere approximately the diameter of New York City. The result is a gravitational field so strong that nothing, not even light, can escape.’

Observing a black hole requires observing its effect on the stars and gas near it. The supermassive black hole captured last year is in the center of the Messier 87 (M87) galaxy, which is located about 55 million light years from earth. The M87 black hole is believed to be about 6.5 billion times more massive than the sun.

The EHT that captured it is not a single telescope but a network of radio antennae located around the globe. The EHT is the result of an international collaboration of more than 200 researchers. The team worked to improve the capabilities of Very Long Baseline Interferometry (VLBI) in order to achieve the feat of photographing the environment of a black hole. The VLBI technique requires linking eight radio dishes to create an interferometer that is essentially earth sized.

The VLBI synchronizes telescopes and utilizes the rotation of earth to observe at a wavelength of 1.3 mm, resulting in an angular resolution of 20 micro-arcseconds. To put this resolution into perspective, it is ‘enough to read a newspaper in New York from a sidewalk café in Paris, France. Telescopes are in locations including Hawaii, Mexico, Chile (shown at the beginning of the above video) and Antarctica. In our coverage of the photo from last year, we shared a video that further discusses how the telescope array functions, which you can view below.

In coordination with the Event Horizon Telescope, astronomers utilized NASA’s Chandra X-ray Observatory to obtain additional data of Messier 87. The x-ray data, when combined with EHT’s radio image, allow scientists to further research and learn about how energy is emitted from the event horizon. Chandra has a ‘much larger field of view than the EHT, so it can view the full length of the jet of high-energy particles launched by the intense gravitational and magnetic fields around the black hole at M87.

Credit: X-ray: NASA/CXC/Villanova University/J. Neilsen; Radio: Event Horizon Telescope Collaboration

You can view a combination of the Chandra x-ray imagery and EHT’s radio image below and can learn much more by clicking here.

Articles: Digital Photography Review (dpreview.com)

July 14, 2020

Canon Japan warns R5, R6 and accessories could ship later than expected due to demand

Canon Japan has warned consumers that pre-orders for its R5 and R6 mirrorless cameras — as well as some accessories — might ship later than expected due to pre-orders ‘exceed[ing] expectations.

The machine-translated statement reads:

Information About Product Supply Status

We have received orders for the following products announced on July 9, 2020 that exceeded expectations, and it may take some time before the products are delivered.

[Applicable Products] EOS R5 / EOS R6 / Battery Grip BG-R10 / Extender RF 1.4x / Extender RF 2x

We would like to thank you for all the orders we have received, and we apologize for any inconvenience caused to our customers waiting for the release. Thank you kindly look forward for your understanding.

This isn’t the first time we’ve seen this kind of announcement following the launch of new and exciting camera gear: Nikon, Panasonic, Sony and others have done it in the past.

While there’s reasonable suspicion in these instances whether it’s purely a PR move to further drum up interest or a genuine warning that units might ship later than expected, it’s worth noting Canon specifically suggests shipments could be delayed. So, it’s worth keeping tabs on your order progress if you’ve pre-ordered one of the affected cameras or accessories.

You can find a full run-down of our Canon EOS R5 and EOS R6 coverage here.

Articles: Digital Photography Review (dpreview.com)

July 14, 2020

Canon EOS R5 vs. R6: What’s the difference?

Introduction

Canon’s EOS R5 and R6 are designed to act as mirrorless versions of the hugely popular EOS 5D and EOS 6D series of DSLRs. The relationship is very similar, with the R5 offering list of capabilities that will appeal to a variety of professional as well as enthusiast photographers.

But the R6 offers a strong feature set in its own right. We thought it’d be helpful to delve into the differences, to see just what you gain and give up by choosing between the two.

Sensors

The most obvious difference between the two camera is resolution. The R5 is based around a new 45 megapixel sensor, meaning it offers more than enough resolution for all but the most demanding of tasks. We’ve not had a chance to test the sensor fully yet, but there’s no question that it delivers in terms of detail. We’ll know more about things like dynamic range once we have full Raw support, but the last generations of Canon sensor have done well in this regard.

The R6, meanwhile, is based around a 20MP sensor, said to be closely-related to the one in the 1D X III. It’s a chip we saw perform well when we tested that camera, and we suspect Canon chose to use it here to let the R6 keep up with the R5’s burst shooting speeds. 20MP is sufficient for a wide range of photography, but it may be a deciding factor if you shoot for print publication or demanding clients.

Both cameras include anti-aliasing filters. And, while these have somewhat fallen out of favor as pixel counts have risen and the need for them has been reduced, Canon still clearly believes they have a valuable role to play. Whether it’s their faith in the sharpness in the new RF lens designs, or experience with providing tools to wedding photographers who can’t risk moiré creeping into critical images,

In-body image stabilization

Despite the price difference, both cameras are said to have the same image stabilization system, rated at up to 8EV, depending on the lens it’s used with.

It’s a five-axis sensor-shift system that works collaboratively with the IS system in RF lenses. Canon says the unprecedentedly high rating is achieved by the in-body and in-lens systems constantly communicating with one-another.

Canon hasn’t commented (and we’ve not yet had time to test) how well the IS systems work with EF lenses, that don’t have the greater communication bandwidth of the RF mount.

Continuous shooting

Another specification common to the two cameras is their continuous shooting rate. Both cameras can shoot at 12 fps with their mechanical shutters or 20 fps in e-shutter modes.

The R5’s higher pixel count makes this harder to maintain. At 20 fps, it’ll write at least 84 Raws + Large/Fine JPEG files to a CFexpress card, a number that increases to 170 shots if you just shoot JPEG. In 12 fps mode you’ll get 90 Raw + Large/Fine HEIFs, 160 Raws with JPEGS and 180 Raw files. Moving to C-Raw boosts most of these numbers by around 50%. HEIF and JPEG figures are similar whether you use CFexpress or a UHS-II card, but Raw shooting definitely benefits from the faster card format.

The R6’s most limited burst with a fast UHS-II card is 140 Raw + Large/Fine HEIF files. Move to Raw+JPEG and it increases to 160 shots in a burst, or 240 if you just shoot Raw. If you move across to C-Raw the numbers more than double, and shooting C-Raw, HEIF or JPEG only will see you get over 1000 shots in a go. Not shabby for the more basic model.

Viewfinder and screens

One area in which Canon has decided to differentiate between the two models is display resolution. The R5, commensurate with its higher price tag, has the latest 5.76M dot OLED EVF, paired with a 2.1M dot rear LCD. The R6 has a 3.68M dot EVF and slightly smaller 3.0″ 1.68M dot LCD.

However, it’s noticeable that both use the same viewfinder optics to give a solid 0.76x magnification and 23mm eye-point. And both viewfinders can be run at 120Hz for a more OVF-like shooting experience.

We’ve seen some criticism of this decision, but the 3.68M dot panel in the R6 is still very good. It’s comparable to the one in the Nikon Z6 and higher resolution than the viewfinder in the Sony a7 III. Only the Panasonic S1 (which shares the R6’s launch price) gets a 5.76M dot display in this class, so it’s up to you to decide whether foregoing the best available finder is a fair trade-off for the areas in which the R6 out-specs the Panasonic.

Video

Video is one of the biggest areas of difference. The R5’s sensor is designed to shoot 8K video at up to 30p (though this can also be output as perfectly 2:1 oversampled 4K footage, if that makes more sense for your workflow). It also includes the option to internally record Raw video, which means 8K to avoid the need for sub-sampling or cropping. It can also shoot 4K/120p from the full width of the sensor, but this doesn’t use all the available pixels, so is likely to be less detailed.

The R6, meanwhile, shoots 4K footage at up to 60p. It uses what is effectively a 16:9 crop from what would be a full-width DCI capture, which means it’s slightly cropped-in (it’s a 1.07x crop). But again it benefits from the same impressive stabilization capabilities.

Canon hasn’t withheld any video tools from R6 users: both cameras have headphone and mic sockets and offer both focus peaking and zebra exposure indicators. Like the R5, the R6 can capture C-Log or HDR PQ video as 10-bit 4:2:2 H.265 files and has view assist modes for both.

Video

There are major differences to the video-shooting experience, though: the R5 offers a full range of video exposure modes, including Shutter Priority, Aperture Priority and Custom modes, whereas the R6 only shoots in Program or full Manual mode. That said, the R6 does let you use Auto ISO in manual mode and lets you adjust the aperture in 1/8th EV steps, so you can get a decent degree of control or automation, if you need it.

Beyond the resolution differences and Raw capture, Canon has clearly decided that the wider DCI aspect ratio and All-I encoding are higher-end requirements, so they’re only available on the R5.

Body

The bodies look similar at first glance but the differences stack up the closer you look at them.

The most visible difference is that the R5 has a top-plate settings display, whereas the R6 has a conventional exposure mode dial. The R5 has a full-size ‘N3’ three-pin screw-in remote release socket on its front plate, whereas the R6 has a simpler ‘E3’ three-pole 2.5mm headphone-style connector as one of the ports on the camera’s left flank. On the R5 that space is taken up with a flash sync port.

The construction of the two cameras is different, too. Both have primarily metal construction with a polycarbonate rear plate, but the components themselves are different. The R5’s body is slightly more angular in places and the camera as a whole is heavier than the R6. Canon says the R5 is sealed in a way that’s up to the standards of the 5D series of DSLRs, while the R6’s weather-proofing is a match for the 6D cameras.

Autofocus

Autofocus is another area in which the two cameras are essentially matched. Both have the latest iteration of Canon’s Dual Pixel AF system, with 100% coverage both horizontally and vertically across the frame.

Both use AF systems which have been trained by machine learning. This provides the subject recognition capabilities that underpin their Human and Animal detection modes. The snappily titled ‘EOS iTR AF X’ system can detect human eyes, faces and heads, and the eyes, faces and bodies of animals including cats, dogs and birds. You can tell the camera whether to prioritize focus on humans or animals (or show no preference) and it will maintain focus on the subject, even if a person looks away, and switching from body-AF to eye-AF as an animal gets closer.

The R6’s AF is rated as working in light as low a -6.5EV when used with an F1.2 lens, or -5EV in video mode. The R5 is rated down to -6EV in stills and -4EV in video, again with an F1.2 lens attached.

Battery life

The different internals have an impact on the cameras’ respective battery life figures. Both share the latest 16Wh LP-E6NH battery and can use older LP-E6-type batteries if you have them.

The R5 is rated at 320 shots per charge through the viewfinder and 490 shots using the LCD, in default mode. Shifting to the higher refresh rate mode sees these drop by around 30% to 220 and 320 shots, respectively.

The R6 posts slightly better results: 380 shots per charge using the viewfinder in standard mode and 510 via the LCD. Again there’s about a 30% reduction if you engage the faster viewfinder mode, with the endurance dropping to 250 and 350 shots per charge for the EVF and LCD.

Both cameras can be recharged if you have a high-current USB-C charger or power bank.

Cards

The R5’s 8K video and 45MP stills produce a lot more data than the R6, so Canon has equipped the camera with a CFexpress slot, in addition to a UHS-II SD card slot. As we’ve seen, the SD card slot can’t clear the buffer as fast during burst shooting, and can only record IPB-encoded 8K video, so it’s worth buying some CFexpress cards if you need to make full use of the R5’s capabilities.

The R6’s lower pixel count means a fast UHS-II card is sufficient for both stills and video. The use of the SD format not only means you’re more likely to already own some compatible memory cards, but also that you can fill your pockets with a single card type, if you ever expect to fill both.

Wi-Fi

Both cameras have built-in Wi-Fi for transferring video and stills, either to a smart device, a computer or even over FTP. The R5 has both 2.4 and 5GHz radios, while the R6 is only compatible with the slower (and often more congested) 2.4GHz networks.

Both cameras let you separately select which files to transfer when you’re shooting Raw + JPEG and Raw + HEIF, so you can set it to upload just the JPEGs for standard DR images but upload the Raws for when you’re shooting HDR PQ HEIFs, for instance.

As well as the difference in frequency bands the cameras can communicate over, it’s also only the R5 that can be used with the WFT-R10A wireless grip accessory. This adds more powerful Wi-Fi transmission and has an Ethernet connection for dependable fast file transfer.

Dual Pixel Raw

One notable R5-only feature is Dual Pixel Raw. This separately retains data from both halves of the pixel, meaning that it’s possible to reconstruct some depth information about the scene, even after the photo has been taken.

This opens up various processing options, both in-camera and when using Canon’s Digital Photo Professional software. DPP already offers a focus-shift feature but the new camera adds the internal options ‘Portrait Relighting’ which selectively brightens parts of the image, based on depth and face recognition data. There’s also a Background Clarity option that we haven’t yet had a chance to use.

Price

And there you have it. Other than the resolution differences, the R6 has a lot in common with the more expensive R5. Of course there’s a price to be paid for the R5’s extras: specifically a recommended retail price of $ 3899, compared to the R6’s $ 2499.

Which camera interests you more is likely to depend a lot on what kinds of photos you take and how you plan to use the video. But we hope we’ve teased-out enough of the differences to help you understand whether there are any unexpected differences or omissions you might have overlooked.

If you are about to reach for your credit card, there might be one more factor to consider: the R5 is available in late July, whereas you have to wait until late August for the R6.

Articles: Digital Photography Review (dpreview.com)

July 13, 2020

Canon Officially Announces Two DSLR-Crushing Options: The EOS R5 and EOS R6

The post Canon Officially Announces Two DSLR-Crushing Options: The EOS R5 and EOS R6 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

After months of waiting, it’s finally official:

Canon is releasing two new R-series mirrorless cameras, both of which will ship before the summer is out.

The Canon EOS R5

The first of these is the highly-anticipated Canon EOS R5, a full-frame body that offers 8K video, 20 frames-per-second shooting via the electronic shutter (12 fps via the mechanical shutter), in-body image stabilization, and dual card slots (1 CF and 1 UHS-II SD).

But while we’ve reported on plenty of R5 details, it’s only now, thanks to Canon’s announcement, that we can fill in any knowledge gaps.

The Canon EOS R5 will pack a 45-megapixel sensor, which makes the R5 the highest-resolution camera in Canon’s mirrorless stable, and the second highest-resolution camera in Canon’s full-frame lineup (just after the 5DS/5DS R pair, both of which sport 50.6 megapixels). Combine this with the 20/12 fps shooting speeds, and you’ve got yourself some truly awesome capabilities, both for landscape and other high-resolution shooting, as well as for serious action photography.

The EOS R5 is also equipped with top-notch autofocus features, including Canon’s Dual Pixel CMOS AF II technology, human and animal eye detection, and a whopping 1053 AF zones.

Much of the debate around mirrorless versus DSLRs has centered around electronic viewfinder capabilities, so we’re happy to reveal that the EOS R5 will offer a class-leading 5.76M-dot EVF, which is a significant step up from the (excellent) EVF on the EOS R, and puts the EOS R5 on par with the Sony a7R IV and the Panasonic S1R. This will ensure a better all-around shooting experience with an extremely life-like display and may satisfy even some of the more pro-OVF photographers.

Canon also notes that the EOS R5 will offer “weather, drip, and dust sealing on par with the EOS 5D series,” which suggests that the EOS R5 should be able to handle shooting in difficult weather, a requirement for landscape and wildlife photographers in particular.

Bottom line:

The EOS R5 is the best kind of generalist camera, one that suits nearly any genre of photography, from action to wildlife to landscape and more, and does it all at the highest level.

Of course, a camera this powerful doesn’t come without a significant price tag, but the EOS R5 will drop at a reasonable $ 3900 USD (body only).

The Canon EOS R6

As for the Canon EOS R6, you get a lot of the same features, but with a lower ($ 2500 USD) price tag.

This includes in-body image stabilization, identical autofocus specs, and dual card slots (albeit 2 UHS-II SD compared to the 1 SD/1 CF design on the EOS R5).

As you might expect, Canon has made several cuts compared to the EOS R6, primarily in terms of resolution. The R6’s full-frame sensor includes just 20.1 megapixels, the EVF offers a (still-respectable) 3.69M-dot resolution, and video capabilities top out at 4K/60p.

Canon also claims that weather sealing is “on par with the EOS 6D series,” which isn’t especially comforting for more serious shooters, but which is better than nothing and should be able to hold up in light rain or snow.

In many ways, the EOS R6 feels like the far more compelling option compared to the R5, at least for non-professional shooters. For nearly $ 1500 USD less, you get powerful IBIS, dual card slots, blazing-fast shooting speeds, impressive autofocus, and 4K/60p video (which is more than enough for even more serious videographers). You can also expect an excellent high-ISO performance from the EOS R6, as implied by its expansive native 100-102400 ISO range (compared to the 100-41200 ISO range on the EOS R5).

The main disappointment here is the 20 MP sensor, which feels low compared to the EOS R5, the EOS R, the EOS RP, and the 6D Mark II (all of which sit at 26 MP and above). But 20 MP is enough for most purposes, and the bigger pixels should guarantee top-notch low-light performance.

Lenses

Canon has also officially announced a Canon RF 100-500mm f/3.5-7.1L IS telephoto lens ($ 2699 USD), an RF 600mm f/11 IS STM ($ 700 USD), an RF 800mm f/11 IS STM ($ 899 USD), and an RF 85mm f/2 Macro IS STM ($ 600 USD).

Note that these cameras and lenses will begin shipping at various points over the next few months. You can expect the EOS R5 before July is out, however, and the EOS R6 toward the end of August.

Comparison video

So if any of these cameras or lenses interest you, go ahead and put in a preorder! You don’t want to miss out.

Now over to you:

What do you think about this announcement from Canon? Are you more interested in the EOS R5 or the EOS R6? And will you consider purchasing any of the lenses? Share your thoughts in the comments!

The post Canon Officially Announces Two DSLR-Crushing Options: The EOS R5 and EOS R6 appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Digital Photography School

July 13, 2020

Report: Kodak Alaris has sold off its paper and chemical division to its largest Chinese distributor

According to Australian photo industry publication Inside Imaging, Kodak has sold its ‘Paper, Photochemicals, Display and Software’ business unit to its largest Chinese distributor, Sino Promise Group (Sino also distributes Canon, Epson and Noritsu photo printers and scanners) and transferred its film business to its Kodak Moments business unit.

The confirmation from Inside Imaging comes on the heels of a report that an announcement of the proposed sale was distributed internally within the company.

Sino has been manufacturing Kodak photochemicals as well as silver halide photo paper and dye-sub paper destined for the Asia Pacific market in its Xiamen factory since 2015 and has been manufacturing Kodak medical X-ray film, industrial film, photographic film, photographic paper and photochemicals at its Wuxi factory since 2016.

A screenshot from the ‘About’ section on Sino Promise Group’s website.

We reported back in February 2019 Kodak Alaris was looking to offload its paper and film division, estimated to be worth roughly $ 34 million at the time. Kodak Alaris went so far as to say in its 2019 financial report (page 16) that it expected ‘the successful completion of the sale of [its] PPF business in the next year.’

According to Inside Imaging’s report, there were multiple entities interested in the division, including Sino, Eastman Kodak (separate entity from Kodak Alaris) and even Chinese film company Lucky Film. In the end, it was Sino Promise Group that sealed the deal. Sino Promise Group was originally planning to purchase more of Kodak Alaris than just the paper and chemistry business, says Inside Imaging, but ‘withdrew at the last minute […] due to concerns with the accounts of the document scanning business unit.’ There’s no information on exactly how much the final deal was worth.

We have contacted Kodak Alaris ourselves to independently confirm this information and will update accordingly if we receive a response.

Articles: Digital Photography Review (dpreview.com)

July 13, 2020

Canon debuts imageProGraf Pro-300 13″ inkjet printer

Canon has announced a new small-footprint inkjet photo printer, the imageProGraf Pro-300. It produces prints up to 13 x 19″ with approximate print speeds as fast as 4 minutes and 15 seconds. The Pro-300 uses 9-color LUCIA PRO plus Chroma Optimizer ink as well as a new matte black ink for improved black density. Users can monitor print status and ink levels via a 3″ LCD. It will go on sale later this month for $ 900.

Also unveiled is the new Premium Fine Art Rough paper with a textured surface. Canon says it’s suitable for long-term storage and 25-pack sheets will cost $ 45 for letter size, $ 110 for 13 x 19″ and $ 170 for 17 x 22″. The new paper is also expected to go on sale later in July.

Press release:

DEAR IMAGE MAKERS: CANON’s new imageprograf PRO-300 PROVIDES EXCEPTIONAL QUALITY PRINTS AND OFFERS NEWLY UPDATED SOFTWARE SOLUTIONS

New Premium Fine Art Paper for Professional, Advanced Amateur Photographers and Art Lovers Further Benefitting Image Makers also Introduced

MELVILLE, N.Y., July 9, 2020 –– After taking the time to create your ideal photo, every creative image maker should look to complete the process with a vibrant print to share for everyone to admire. Completing the lineup of professional printer options from 13 inches through 60 inches, Canon U.S.A., Inc., a leader in digital imaging solutions, unveils 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 introduces a new powerhouse professional imaging duo that meets creators’ demands.

“With the introduction of the Canon imagePROGRAF PRO-300, we are continuing our outstanding tradition of creating great quality printers for a variety of image makers, making it easier to print work at home,” said Tatsuro “Tony” Kano, executive vice president of the Canon U.S.A., Inc. Imaging Technologies & Communications Group. “As the creative responsibilities of our customers have evolved and the importance of preserving historic moments has increased, it is imperative the features Canon integrates into new solutions and consumables meet the needs, wants and asks of our customers.”

Smaller Footprint Completes the Lineup
There has been a shift in what traditional work and school looks like over the last few months, as many creative-focused jobs, industries and areas of study now require tasks to be completed in non-traditional ways. Without access to a studio, office space or classroom with all the necessary tools and equipment, there is no better time to introduce a professional printer that is 15% smaller than its predecessor. With the addition of the new 13-inch Canon imagePROGRAF PRO-300 printer, the lineup of professional inkjet printers expands while offering a new space-saving design that is fitting for a home studio or office.

Core features of the newest printer include:

9-color LUCIA PRO plus Chroma Optimizer ink providing expanded color gamut and enhanced black density
New matte black ink offering greater black density, smooth gradations and details in darker areas
Technologies to help prevent print failures such as a nozzle recovery system and a skew correction function. Nozzles are carefully checked by sensors, and if a clog is detected in one nozzle, others will automatically compensate for it
Updates to the Professional Print & Layout software to help create seamless photo printing from image-editing software including Digital Photo Professional and Adobe® Photoshop®, Adobe Lightroom, or as stand-alone software
Improved media compatibility with the additional capability to support panorama-sized paper, and multiple feeding methods for media of varying thicknesses
High-speed printing at up to approximately 4 minutes and 15 seconds1 for a bordered 13” x 19” inch print when using Photo Paper Pro Premium paper
The usability of the imagePROGRAF PRO-300 is also improved with the addition of a 3.0 inch LCD display, allowing the user to check printer status and monitor ink levels at a glance.

New Fine Art Paper
Continuing the theme of high quality to use with the new imagePROGRAF PRO-300 printer: new Premium Fine Art Rough paper is now available in a variety of sizes including 17 inches by 22 inches, 13 inches by 19 inches and Letter sized within a pack of 25 sheets. To help express the depth of an image and add a three-dimensional touch, the new paper consists of a rough texture. The cotton used to create the paper provides a luxurious touch and makes it suitable for long-term storage.

Pricing and Availability of the imagePROGRAF PRO-300 and Premium Fine Art Rough paper
The imagePROGRAF PRO-300 Printer will be available later in July with an MSRP price of $ 899.99*. Premium Fine Art Rough paper will also be available later in July for an MSRP* of:

$ 44.99, Letter size
$ 109.99, 13” x 19” inches
$ 169.99, 17” x 22” inches

For more information and the full list of product specifications, visit http://shop.usa.canon.com

Articles: Digital Photography Review (dpreview.com)

July 13, 2020

Canon introduces RF 600mm and 800mm F11 IS STM lenses, 1.4x and 2x teleconverters

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_4218148383″,”galleryId”:”4218148383″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

Canon has announced a pair of super-telephoto fixed-aperture lenses: the RF 600mm F11 IS STM and RF 800mm F11 IS STM.

The use of gapless dual-layer diffractive optics and fixed apertures of F11 allowed Canon to reduce the size and length of the lenses compared to their EF equivalents. Canon also says the design of the DO elements also allows for much lower pricing than would otherwise be possible. Both lenses are collapsable, which reduces their stowed length by around 25%. Neither is weather-sealed.

The design of the DO elements also allows for much lower pricing

The image stabilization on the lenses reduces shake by five stops on the 600mm and four stops on the 800mm. Canon does not claim any additional image stabilization advantage when using the IBIS systems in the newly launched EOS R5 and R6. Both lenses use stepping motors to drive their focus groups, so focus is unlikely to match the speeds and silence of the company’s lenses using Nano USM motors. When attached to the R5 and R6, AF coverage area is 60% x 40% (W x H).

The RF 1.4x and 2x will give the 600mm F11 and 800mm F11 even more reach

Canon has also introduced a pair of teleconverters alongside the RF lenses released today. The RF 1.4x and 2x will give the 600mm F11 and 800mm F11 even more reach. With the 2x teleconverter attached, the 800mm F11 becomes a 1600mm F22 – and yes, the R5 and R6 can maintain autofocus at that aperture.

The teleconverters are also compatible with the just-announced 100-500mm F4.5-7.1L. Note, however, that the 100-500mm must be set to 300mm or longer before the teleconverter can be attached, so the lens becomes either an effective 420-700mm or a 600-1000mm, depending on which converter you’re using.

The 600mm, 800mm and both converters will be available later this month. The 600mm is priced at $ 699, while the 800mm comes in at $ 899. The 1.4x and 2x converters will sell for $ 499 and $ 599, respectively.

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 RF 600mm / 800mm F11 IS STM specifications

	Canon RF 600mm F11 IS STM	Canon RF 800mm F11 IS STM
Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	600 mm	800 mm
Image stabilization	Yes
CIPA Image stabilization rating	5 stop(s)	4 stop(s)
Lens mount	Canon RF
Aperture
Maximum aperture	F11
Minimum aperture	F11
Aperture ring	No
Number of diaphragm blades	9
Aperture notes	Fixed aperture
Optics
Elements	10	11
Groups	7	8
Special elements / coatings	DO lens (Gapless double-layer diffractive optics)	Gapless double-layer diffractive optics
Focus
Minimum focus	4.50 m (177.17″)	6.00 m (236.22″)
Maximum magnification	0.14×
Autofocus	Yes
Motor type	Stepper motor
Focus method	Internal
DoF scale	No
Physical
Weight	930 g (2.05 lb)	1260 g (2.78 lb)
Diameter	93 mm (3.66″)	102 mm (4″)
Length	270 mm (10.61″)	352 mm (13.85″)
Sealing	No
Colour	Black
Filter thread	82 mm	95 mm
Hood supplied	Yes

Articles: Digital Photography Review (dpreview.com)

July 13, 2020

Canon’s RF 85mm F2 Macro IS STM is ideal for close-ups and portraits

$ (document).ready(function() { SampleGalleryV2({“containerId”:”embeddedSampleGallery_3697049869″,”galleryId”:”3697049869″,”isEmbeddedWidget”:true,”selectedImageIndex”:0,”isMobile”:false}) });

The Canon RF 85mm F2 Macro IS STM is a relatively inexpensive telephoto prime lens that’s ideal for both close-up and portrait work. Ostensibly it appears similar in design to the RF 35mm F1.8 IS STM, and together with the RF 35/1.8, should make for a compelling package for wedding photographers wanting to shoot everything from groups to close-up portraits to macro detail shots. The RF 85mm can focus as close as 0.35m (13.8″) and offers a maximum magnification of 0.5x.

Optically, the lens comprises 12 elements in 11 groups, including one UD (ultra low dispersion) element to help reduce chromatic aberrations. On an EOS R or RP, the 85mm F2 offers five stops of image stabilization, but when you attach it to an EOS R5 or R6, with their built-in stabilization systems, Canon claims a benefit of eight stops thanks to the two-way communication between motion and gyro sensors in the camera body and lens. It uses a stepping motor to drive its focus group, so autofocus speeds are unlikely to be as fast as the company’s lenses with Nano USM focus drive systems, and it remains to be seen if focus drive is silent.

The lens is relatively compact, featuring a 67mm filter thread and weighing in at 500g / 1.1lbs. Nine aperture blades aid in producing circular out-of-focus highlights. The lens is not weather-sealed – you’ll need to step up (way up) to the F1.2 version for that.

The Canon RF 85mm F2 Macro IS STM will be available in October for $ 599.

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