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Chris and Jordan took the new Sony 12-24mm F2.8 GM to Calgary’s eclectic Ingelwood neighborhood. From record stores to spice shops, find out what got their attention when it was time to go wide.
Sony’s new 12-24mm F2.8 GM is the widest fast aperture zoom for full frame. Based on our tests it’s a worthy recipient of Sony’s ‘GM’ moniker.
Subscribe to our YouTube channel to get new episodes of DPReview TV every week.
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Articles: Digital Photography Review (dpreview.com)
The post This Drone Photography Checklist will Ensure You Never Miss Your Shots appeared first on Digital Photography School. It was authored by Matt Murray.
Capturing stunning images with your drone is incredibly exciting. But with so many things to think about before you take off, there can also be some nervousness wrapped up with that excitement. The first few times I flew my drone, I struggled to remember everything. Did I put a memory card in the drone? How strong would the wind be? Did I charge all the batteries? Did I need permission to launch my drone at the beach? Trying to keep track of all these issues was exhausting, but the one thing that made my life much easier was keeping a drone photography checklist with my backpack.
The process of checking through this list the day before a planned flight – as well as just before I left home – helped me to be calmer and better prepared.
Below is my drone photography checklist to ensure that you don’t forget anything and are flying as safe as possible.
Planning for your flight should start before you leave the house, preferably the day before the flight. There are three things I typically check: air space, location and the weather conditions.
This is quite possibly the most important check you’ll need to do: are you legally allowed to fly your drone in the airspace above your launch location? And if so, to what height can you ascend to? Do national limits apply or is there a local restriction?
Making sure you understand the laws that govern airspace where you fly your drone is incredibly important and can potentially save you a lot of trouble.
If you are able to fly in that airspace, you also need to check who else could be flying there too. Take a look at your proposed launch location using Google Maps – are there any helicopter pads, airports or airfields in the vicinity? Are there any model aircraft clubs or paragliding locations nearby? Is it a popular place that other drone enthusiasts might use? You need to take all these issues into consideration when planning your flight.
As well as considering the airspace where you plan to fly, you also need to take into account what local laws govern the flying of drones in the city, state, or region you’re in. Even if you can technically fly in the airspace, local laws or rules may ban drones flying at those locations. For example, many national parks in Australia do not allow drones.
Another factor to consider is if you need the landowner’s permission to take off at your proposed launch location. Many local councils publish information on their websites regarding places you can and can’t launch your drone from. It’s always best to check beforehand well ahead of time, especially if you need to apply or seek permission before your flight.
It’s always a good idea to check the forecasted weather conditions ahead of time. Many weather websites predict wind speeds for the next few days – this is invaluable for drone owners. If the predicted wind speeds are too high, it may be necessary to delay your flight.
Also, keep an eye on other weather conditions. For example, is there any rain on the radar map? Are thunderstorms predicted? For morning flights, what are the chances of fog limiting visibility?
Also, think about the possibility of bright sunshine impairing your ability to see your drone in the sky or view the device that controls your aircraft.
A drone photography checklist is also very handy for keeping track of your equipment. A checklist can help you to remember to pack everything you’ll need, as well as making sure your equipment is ready for your flight.
First of all, check that all of your batteries are fully charged the day before the flight. This can take some time, so doing it half an hour before you plan to leave the house is not a good idea.
Next, check your drone over to make sure that it’s in perfect working condition. This includes making sure the propellers are not damaged or have nicks in them.
Next, check that you have all of your accessories packed and ready to go. The accessories I pack include a set of neutral density filters, a launchpad, and, of course, at least one memory card.
Make sure your memory cards have enough space on them to record multiple videos and images during your flight. Also, check that you’ve copied the contents of the memory card to your hard drive if you decide to format it beforehand.
Finally, check that the device you use to control your drone (smartphone or tablet) is fully charged and that you have the latest drone software updated on it, ready to go.
When you arrive at your launch location, it’s important to have a good look around and assess the area where you’ll fly. Even after you’ve done your homework about the airspace, the location and the weather, there still can be significant risks.
Take a look around when you arrive at the location: what risks are present? Are there any power poles? Are there groups of children playing nearby? Check if there are any dogs off leash in the vicinity. Here in Australia, we also have the possibility of birds swooping you or your drone.
If you have a launch pad, set it up somewhere flat away from other people. Some people also carry bright cones to mark out a small area to warn other people that a drone will be taking off and landing in the vicinity.
Start your device and your drone. Make sure you calibrate your compass before the flight and that the drone records the home point at your launch location.
Double-check your memory card is inside the drone – there is nothing more annoying than going to take a photo or a video before realizing it’s in your bag on the ground. Take a look at the lighting conditions: do you need to use an ND (neutral density) filter? If so, which one is best suited to the light today?
Before you take off, also make sure your smartphone or device is set to “do not disturb’ mode.
As you fly your drone, keep an eye out for other aircraft in the airspace, the weather conditions, and people or animals on the ground near your location. If it’s safe to do so, try to take a range of different shots with your drone. If you need ideas, check out my article, 7 shots to incorporate for better drone photography.
After your flight is completed, ensure everything is turned off correctly in the right order. Inspect your aircraft and propellers for damage.
Have a checklist of the items you brought with you and tick them off as you pack everything away. Drone ND filters are very small – you don’t want to leave one behind at your launch location.
When you get home, have a regular routine of how you pack your kit away. If you plan on flying again soon, put your batteries on charge again.
Copy your images and videos from your micro SD card ready for your next flight. If you have two or three verified copies of the images, at that point, you may wish to format your memory card, ready for your next flight.
A drone photography checklist is a great idea to keep you prepared and to ensure you are taking reasonable steps to fly safely and legally. Instead of worrying that I have forgotten to do something while driving to my location, I now head out confident that I have taken steps to prepare for the flight.
I start working through the checklist 24 hours before any planned drone activities. This gives me plenty of time to get things sorted, as well as providing me with some reassurance that I am a responsible drone flyer. My checklist is also a big help when packing my gear before the flight, and when packing up afterward.
I’d encourage you to create your own list to print out and keep with your drone backpack, ready to check before you take to the skies. What else would you add to your drone photography checklist? Tell us in the comments below.
You can download the PDF drone photography checklist here to keep and print out. That way, you will never miss getting your shots. Alternatively, you can just refer to the list below.
The post This Drone Photography Checklist will Ensure You Never Miss Your Shots appeared first on Digital Photography School. It was authored by Matt Murray.
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Fujifilm has released its Fujifilm X Webcam utility for macOS, making it possible to use compatible Fujifilm cameras as webcams on Apple computers.
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As with the Windows version, the macOS version of Fujifilm X Webcam makes it so you can use the following cameras as webcams in compatible video conferencing and live broadcasting apps when plugged into your Apple computer via USB:
Fuji X Webcam version 1.0.0 is compatible with macOS 10.12 (Sierra) or later and is free to download on Fujifilm’s website. Fujifilm has published a user guide to help you get up and running.
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Intel has released the full specifications for Thunderbolt 4, the successor to Thunderbolt 3 that was first announced earlier this year. As previously stated, Thunderbolt 4 will not offer a speed increase over Thunderbolt 3 — it will, however, still represent an important upgrade for the protocol.
Intel released the minimum system specifications for Thunderbolt 4 on Wednesday, July 8, explaining that it will feature USB4 compliance in addition to ‘expanded capabilities.’ Notable changes introduced by Thunderbolt 4 will include double the data and video minimum requirements compared to Thunderbolt 3, requiring minimum support for two 4K displays or a single 8K display.
As well, Thunderbolt 4 will offer the full 40Gb/s speed of Thunderbolt 3 with cables up to 2m (6.5ft) in length. Whereas Thunderbolt 3 has minimum support of 16Gb/s for PCIe connections, Thunderbolt 4 will boost this to 32Gb/s. When it comes to USB4 (which uses the same USB-C connector), speeds top out at 20Gb/s with 7.5W of power delivery and support for a single 4K display.
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Beyond that, Thunderbolt 4 will require Intel VT-d DMA protection and support for accessories like docks that have four Thunderbolt ports. Other minimum requirements include that Thunderbolt 4 docks must wake the PC from sleep and that notebooks requiring less than 100W of power must include at least one Thunderbolt 4 port for charging.
Though it’s clear at this point that Thunderbolt 4 won’t offer faster speeds than Thunderbolt 3, it is ultimately an upgrade over the current specification, offering double the minimum requirements in some cases. As expected, Intel says it is working closely with manufacturers on the Thunderbolt 4 certification standards.
Talking about this is storage company Kensington’s VP Ben Thacker, who said:
We expect Thunderbolt 4 products to be an inflection point for accessory makers who depend on PCs and Macs to offer an industry-leading set of product capabilities for a consistent user experience. The advancements in Thunderbolt 4 will help Kensington redefine the modern workspace of the future.
Consumers will benefit from the new minimum specifications, including the future arrival of faster Thunderbolt 4 drives, guaranteed support for two external 4K monitors and the ability to charge a slim notebook from at least one of the Thunderbolt 4 ports. These likewise exceed that of the USB4 spec, which uses the same port as Thunderbolt 3 and 4.
Ultimately, consumers can expect to see Thunderbolt 4 devices start arriving later this year when Intel makes its controllers available to accessory and computer manufacturers. It’s unclear how many of these products we can expect to see before 2021, however.
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The National Audubon Society (NAS) has announced the winning images for its 2020 Audubon Photography Awards competition, including the mesmerizing grand prize-winning photograph titled ‘Double-crested Cormorant’ by photographer Joanna Lentini.
The winning photographs, which include six prize-winning photographs and four honorable mentions selected from a panel of six judges, were whittled down from more than 6,000 photographs captured across North America. In addition to the grand prize winner and the three main divisions (Professional, Amateur and Youth), The NAS also selected two winners for its Plants for Birds Prize and Fisher Prize, both of which are explained in the NAS press release:
‘The Plants for Birds Prize highlights the essential role of native plants and the natural habitat and food sources they provide for birds. The Fisher Prize, named after former creative director of Audubon Kevin Fisher, is awarded to the photo that exemplifies a blend of originality and technical expertise.’
Below is a breakdown of the prizes each winning photographer will receive for their respective works:
Below are the judges that pored over the photographs, who selected the winning images based on technical quality, originality and artistic merit:
You can find out more about the National Audubon Society and its photo contests by visiting the Audubon.org website.
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Double-crested Cormorant by Joanna Lentini/Audubon Photography Awards/2020 Grand Prize Winner
Category: Professional
Species: Double-crested Cormorant
Location: Los Islotes, Mexico
Camera: Canon EOS 7D Mark II with Tokina 10-17mm f/3.5-4.5 AT-X 107 DX AF Fisheye lens; 1/640 second at f/6.3; ISO 320
Story Behind the Shot: I’ve spent many hours underwater at this California sea lion rookery in the Bay of La Paz, but I had never before encountered diving cormorants there. Shifting my focus from the playful sea lions, I watched in awe as the cormorants plunged beak-first into the sea to snap at the sardines swimming by. Although I spent a long time admiring these birds, I didn’t see a single one catch a fish. Adding insult to injury, curious sea lion pups would zip by the hunting birds and nip at them from behind.
Bird Lore: Cormorants are superb divers, well adapted to rapid pursuit of fish underwater. Their bodies are heavy but streamlined, with dense plumage. When they dive, they hold their wings tightly to their sides, propelling themselves with their powerful legs and webbed feet, steering through the water with their tails. Some cormorants may be capable of diving more than 300 feet below the surface, but most of their hunting is done at shallower depths.
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American Dipper by Marlee Fuller-Morris/Audubon Photography Awards/2020 Fisher Prize Winner
Category: Amateur
Species: American Dipper
Location: Yosemite National Park, California
Camera: Canon EOS 70D with Canon EF 100-400mm f/4.5-5.6L IS II USM lens; 1/2000 second at f/5.6; ISO 800
Story Behind the Shot: I followed a little-known trail in Yosemite to the top of a small waterfall and sat at the edge of the pool. A moment later, a dipper flew in. The river was moving quickly, but it wasn’t too deep. So instead of diving, the bird stuck its head underwater in search of prey. I thought the spectacular splash would make an awesome photo. The bird kept getting closer and closer as I sat snapping hundreds of shots of that splash. I will treasure that afternoon as one of my favorite moments in Yosemite!
Bird Lore: The American Dipper lives on the edge—on the boundary between air and water, on the border between streams and their banks, and even on that vague margin between songbirds (it is one, technically) and water birds. Above the surface or below, it can either walk or fly, demonstrating a mastery of all its elements, and attracting the admiration of the most creative photographers.
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Magnificent Frigatebird by Sue Dougherty/Audubon Photography Awards/2020 Professional Winner
Species: Magnificent Frigatebird
Location: Genovesa Island, Ecuador
Camera: Canon EOS 7D Mark II with Canon EF 100-400mm f/4.5-5.6L IS II USM lens; 1/1250 second at f/8.0; ISO 1250
Story Behind the Shot: The sun was setting behind a frigatebird breeding colony in the Galápagos. The birds were very active and stunningly close, and the experience was all the more special because I was with great friends who were equally mesmerized by the scene. We got on the sand, lying on our bellies and handholding our cameras, composing silhouettes and starbursts on birds’ wingtips. I noticed this male, with his throat pouch lit up by the sun, and zoomed in to capture his portrait.
Bird Lore: Frigatebirds are among the most aerial of all birds, by necessity: Seabirds that don’t swim, they are almost incapable of taking off from the water’s surface, so they soar on long, angular wings over tropical seas, sometimes for weeks. Males in courtship displays inflate huge, balloon-like red throat pouches, vibrate their wings, and make rattling noises to attract females.
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Greater Sage-Grouse by Gene Putney/Audubon Photography Awards/2020 Professional Honorable Mention
Species: Greater Sage-Grouse
Location: Jackson County, Colorado
Camera: Nikon D500 with AF-S VR Zoom-Nikkor 200-400mm f/4G IF-ED lens; 1/400 second at f/5.6; ISO 1600
Story Behind the Shot: In spring 2019 I made my first venture to watch the Greater Sage-Grouse perform its courtship ritual. Late one afternoon
I set up my camera at the edge of a rural road and used my car as a blind. This male was the first bird I saw, and he proved to be a great model. As he faced away from me, he provided a nice profile pose, and I thought it was a neat perspective to get his photo from behind.
Bird Lore: After their spectacular springtime courtship dances, Greater Sage-Grouse seem to disappear into the vast sagebrush steppes of the West. Studies have shown that they may move many miles with the seasons, often shifting to higher elevations in summer, lower elevations in winter, so they need large, continuous tracts of habitat to survive.
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Bare-throated Tiger-Heron by Gail Bisson/Audubon Photography Awards/2020 Amateur Winner
Species: Bare-throated Tiger-Heron
Location: Tárcoles River, Costa Rica
Camera: Canon EOS-1D X with Canon EF 600mm f/4L IS III USM lens; 1/800 second at f/4.0; ISO 1600
Story Behind the Shot: After a torrential rainstorm, I went out on a late-afternoon boat trip on the Tárcoles River. It was still raining when we left the boat ramp, but once the sky finally cleared, we spotted this Bare-throated Tiger-Heron walking along the river. As the boat drifted by, the bird leaned over the bank to watch us. I raised my camera and quickly switched to a portrait orientation to capture the beautiful post-storm sky behind it.
Bird Lore: Stocky and chunky, suggesting bitterns in shape, the three species of tiger-herons lurk in mangrove swamps and along rivers in the American tropics. The Bare-throated Tiger-Heron is the northernmost of these species, found mainly from Mexico to Panama. It is often most active at dawn and dusk, but fortunate observers sometimes spot one hunting fish and frogs in bright daylight.
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Anna’s Hummingbird by Bibek Ghosh/Audubon Photography Awards/2020 Amateur Honorable Mention
Species: Anna’s Hummingbird
Location: Ardenwood Historic Farm, California
Camera: Fujifilm X-T3 with Canon 600mm f/4L II lens and Fringer EF-FX Pro II Lens Mount Adapter; 1/4000 second at f/4.0; ISO 3200
Story Behind the Shot: Near my home in Fremont is a historic farm with a water fountain that’s a magnet for birds. I was by the fountain looking for warblers and other migrants when I saw this hummingbird, a year-round resident, exhibiting some very interesting behavior. It swooped in for a drink and then stuck around to play in the water, as if trying to catch a droplet. After several frames, I finally captured the bird succeeding at its game.
Bird Lore: Human activities aren’t always beneficial for birds, but Anna’s Hummingbird has taken full advantage of changes we’ve made to the landscape. Formerly a resident of Southern California and Baja, it has expanded its breeding range east, to Arizona, and north, to British Columbia. Planting of year-round gardens has allowed it to thrive across this vast new territory.
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Northern Jacana by Vayun Tiwari/Audubon Photography Awards/2020 Youth Winner
Species: Northern Jacana
Location: New River, Orange Walk District, Belize
Camera: Canon EOS 7D Mark II with Canon EF 100-400mm f/4.5-5.6L IS II USM lens; 1/320 second at f/5.0; ISO 1250
Story Behind the Shot: On a boat ride on the New River, I noticed a few Northern Jacanas on a patch of water lilies and asked the captain to stop. I hoped our vessel wouldn’t scare away the birds. I couldn’t believe my luck when one walked closer and closer to us. The boat was rocking, but when the bird stopped for a moment to peer into a water lily, I was able to set up and get this special shot.
Bird Lore: Distinctive marsh birds of the tropics, jacanas have very long toes, enabling them to walk across floating vegetation as they seek insects and seeds. The Northern Jacana is common from Mexico to Panama and the Caribbean, and sometimes wanders to Texas.
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Greater Roadrunner by Christopher Smith/Audubon Photography Awards/2020 Youth Honorable Mention
Species: Greater Roadrunner
Location: San Joaquin River Parkway, California
Camera: Panasonic Lumix FZ80 4K with 60X Zoom DC VARIO 20-1200mm f/2.8-5.9 lens; 1/500 second at f/5.6; ISO 200
Story Behind the Shot: While on a walk through a nature preserve in Fresno, I heard a roadrunner cooing to its mate. I followed the sound to find the bird clutching a gift for its partner: a really big fence lizard! The roadrunner perched on a post above me for nearly 10 minutes. The lighting was harsh and it was difficult to get the proper camera setting, but I managed to take this shot. I like how the photograph shows a small predator with its prey.
Bird Lore: Ritualized feeding is a part of courtship for many birds, from cardinals to gulls to hawks. For the Greater Roadrunner, it’s no challenge for the male to catch a lizard to give to the female. At times, though, he will present to her a large insect or a piece of nest material, or go through the motions of bestowing a gift with nothing at all. Apparently, it’s the thought that counts.
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American Goldfinch on a cup plant by Travis Bonovsky/Audubon Photography Awards/2020 Plants For Birds Winner
Species: American Goldfinch
Location: Minneapolis, Minnesota
Camera: Nikon D7100 with Tamron SP 150-600mm F/5-6.3 Di VC USD Model A011 lens; 1/160 second at f/10.0; ISO 320
Story Behind the Shot: Through frequent visits to North Mississippi Regional Park, an area restored with native plants, I became familiar with the cup plant and learned that its leaves can hold rainwater, as the name suggests. I read that birds and other wildlife like to drink from these plants, so I always keep an eye out for bird activity when I pass by them. Finally one late July day I was lucky enough to witness a female American Goldfinch plunge her head into a plant.
Bird Lore: Few birds are total vegetarians, but American Goldfinches come close. While other seed eaters feed their young on insects, goldfinches serve mashed-up seeds to their nestlings. The flowers on this cup plant will go to seed later, but in the meantime the plant acts as a watering hole for the birds: Its large, opposite leaves, joined at their bases, surround the stem and create the rain-trapping cup.
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Tennessee Warbler on an eastern prickly gooseberry by Natalie Robertson/Audubon Photography Awards/2020 Plants For Birds Honorable Mention
Species: Tennessee Warbler
Location: Point Pelee National Park, Ontario, Canada
Camera: Canon 7D Mark II with Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary lens; 1/1000 second at f 6.3; ISO 500
Story Behind the Shot: This warbler was difficult to photograph as it frantically hopped from branch to branch while foraging on a native gooseberry—one of the plants that flower in early spring in this part of Canada. Gooseberries are an important source of food for exhausted songbirds migrating north over the Great Lakes, and I was thrilled to get a clear image of this warbler drinking nectar from the tiny flowers.
Bird Lore: Warblers are mainly insect eaters, but some also have a taste for nectar. On their main wintering grounds in Central America, Tennessee Warblers often show splashes of bright color on their faces, the result of probing in red or orange flowers. Their attraction to nectar continues as they migrate north. In the open woods of southeastern Canada and northern states, the inconspicuous blooms of eastern prickly gooseberry appear in late spring, just in time for migrating warblers to seek them out.
The post Weekly Photography Challenge – Historic Buildings appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
This week’s weekly photography challenge – HISTORIC BUILDINGS!
Go out and take some photos of historic buildings. Do exterior shots, interior shots, and close-ups of details. Get down low and shoot high for extreme angles.
So, if you are lucky enough to be somewhere you can photograph some historic buildings, capture them in any way you like. Alternatively, go through your catalog and find your best historic building photos!
Play with post-processing too – try split-toning, black and white or sepia.
Slot photos together, like I do to see how images work together as a series too.
Take them with your camera or smartphone.
The choice is yours! I look forward to seeing what you share 
Check out some of the articles below that give you tips on this week’s challenge.
Simply upload your shot into the comment field (look for the little camera icon in the Disqus comments section) and they’ll get embedded for us all to see. Or, if you’d prefer, upload them to your favorite photo-sharing site and leave the link to them. Show me your best images in this week’s challenge.
You can also share your images in the dPS Facebook group as the challenge is posted there each week as well.
If you tag your photos on Flickr, Instagram, Twitter or other sites – tag them as #DPShistoricBuildings to help others find them. Linking back to this page might also help others know what you’re doing so that they can share in the fun.
The post Weekly Photography Challenge – Historic Buildings appeared first on Digital Photography School. It was authored by Caz Nowaczyk.
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Alongside a trio of telephoto lenses, Canon also announced a new 85mm this week. The RF 85mm F2 Macro IS STM is a compact, affordable alternative to the pro-oriented 85mm F1.2L, which can’t match the light-gathering power of its costly cousin, but adds optical image stabilization and a handy close-focusing ability. Not to mention it’s a whole lot easier to carry around.
Click through this article for a closer look at Canon’s sixth autofocus 85mm lens.
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At 500g (1.1 lbs) the 85mm F2 is far from a featherweight, but it’s less than half the weight of the 85mm F1.2. It’s nicely-balanced, too, and doesn’t feel heavy on an EOS R6. The filter thread is a very reasonable 67mm, so no need to hunt around for expensive, larger, less common filters.
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The RF 85mm F2 features a pretty clean, matte black, low-key design, with a broad rubber-clad focus ring in the middle of the barrel (manual focus is focus-by-wire, as we’d expect) and a customizable ‘clicky’ control ring at the front, nearest to the filter ring. The two rings are textured differently to help differentiate them by touch.
There’s a lot of polycarbonate in the body of the lens (our copy is made in Malaysia, for those who care about such things), and overall build quality seems very high. It should be noted, however, that Canon makes no claims about weather-sealing in this lens.
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The RF 85mm F2 Macro IS STM is a lot less of a handful than the F1.2L, but it’s still a pretty advanced, complex design. Optical construction comprises 12 elements in 11 groups, including one UD (ultra low-dispersion) element for chromatic aberration control. A nine-bladed aperture ensures that out of focus highlights will be rendered as near-circles when the lens is shot near or wide open. Canon claims ‘beautiful bokeh’ from this lens, which should be a favorite of portrait photographers.
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The ‘Macro’ in the full product name of this lens refers to its close focusing abilities, and its maximum reproduction ratio of 0.5X. Technically this isn’t true macro (that would be 1:1 reproduction) but manufacturers (not only Canon) have been playing fast and loose with that word for years, so we’ll forgive it. Especially since this kind of close focusing ability (you can focus down to 1.1 ft, or 35 cm) is so impressive in a lens of this kind. For (near) macro work, you can lock the lens’s autofocus to a range of 0.5m – 0.35m to prevent hunting.
We expect this macro capability will make this lens a handy kit – particularly when paired with the RF 35mm F1.8 – for portrait and wedding photographers who can quickly go close in for detail shots.
Speaking of autofocus, like its shorter focal length RF 35 cousin, the RF 85mm F2 uses a stepping motor to drive its focus group. Given our past experience with Canon’s STM motors, we expect 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.
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The RF 85mm F2 features optical image stabilization, rated to five stops of correction (per CIPA, tested on an EOS R). Canon claims that when mounted on an EOS R5 or R6, photographers can expect a combined stabilization effect of up to eight stops with this lens, which will be hugely beneficial for the kind of closeup work that the lens is capable of. Regardless of what body it’s attached to, the 85mm F2’s ‘Hybrid I.S’ system is designed specifically to help with the kinds of rotational and up/down left/right movements that can create problems at very close focusing distances.
We’re unable to test stabilization performance (or autofocus, or image quality) in this pre-production sample, but these are all things that we want to try out when we get an opportunity. In the meantime, let us know what you think of Canon’s latest portrait prime lens in the comments.
The RF 85mm F2 Macro IS STM lens is scheduled to be available in October 2020 for an estimated retail price of $ 599.99.
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Alongside the EOS R5 and R6, Canon has announced a brace of lenses, all in the short to long telephoto range. Filling out the ‘long’ end are one L-series zoom, and two innovative primes. Click through to learn more about the 100-500mm F4-7.1L IS USM and the RF 600mm and 800 F11 IS STM.
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Let’s start with the more conventional lens of the trio – the 100-500mm F4-7.1L IS USM, which first appeared in mockup form at events earlier this year (remember when we had events?) featuring 20 elements in 14 groups, this is a complex design, which incorporates six UD (Ultra Low-Dispersion) elements and one ‘Super’ UD element. These elements should help control chromatic aberrations.
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The 100-500mm is relatively compact when zoomed ‘out’ to 100mm (207.6mm / 8.2 in) but extends (to 297mm / 11.7 in) at 500mm. A torque adjustment allows you to make the zoom movement stiffer or looser as desired, and lock the zoom ring if required.
Canon is at pains to reassure users that despite its telescoping design, this lens is very well-sealed against dust and moisture. At 1370 g (3 lbs), the 100-500mm is far from a lightweight lens, but it’s only a couple of hundred grams heavier than the much faster RF 70-200mm F2.8L IS USM. The front filter thread is a very reasonable 77mm.
A removable tripod collar allows the lens to be mounted directly onto a tripod, in situations where hand-holding isn’t desirable or practical.
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Considering its focal length range, the 100-500mm offers good close focusing performance, with a minimum focus distance of 0.9m at the 100mm end of the zoom, and 1.2m at 500mm. This should make it practical for conventional short-tele portraiture. The maximum magnification ratio of 0.33X is achieved at 500mm (full extension at 500mm shown in this image).
Autofocus is handled by dual Nano USM motors that can work independently of one another for fast and silent AF.
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This is a stabilized lens, rated at 5 stops of correction on an EOS R. When mounted on an R5 or R6, Canon claims that total stabilization with its I.S.-enabled lenses should improve due to both in-body and lens IS systems receiving information from the others’ sensors.
This two-way communication is enabled by the fast protocols developed for the RF mount. Canon quotes as much as an 8 stop benefit with some lenses. Canon claims you can expect 6 EV of correction from the 100-500mm and R5/6 combination, and this is something we’ll be sure to test as soon as we can. There are three IS modes to choose from: standard, panning or active during exposure.
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The 100-500mm is compatible with Canon’s new RF 1.4X and 2X teleconverters, but only at focal lengths of 300mm and longer. A locking mechanism prevents their use at wider focal length positions, where damage might occur to the lens’ rear element.
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. The RF Extender 1.4x and 2x are scheduled to be available at the end of this month for an estimated retail price of $ 499.99 and $ 599.99.
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Alongside the 100-500mm Canon unveiled two very unusual lenses, both of which employ collapsible mechanisms and DO – Diffractive Optics – elements in their designs, to reduce their size and weight. The first is the RF 600mm F11 IS STM. Canon claims that the use of a new material for the gapless dual-layered DO element allows for smaller and more cost-effective designs compared to the EF equivalents.
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The 600mm F11 IS STM weighs less than a kilo (930 g / 2.05 lbs), features a perfectly reasonable 82mm filter thread and measures only 200mm (7.9 in) when stowed. Considering its focal length, these figures are impressive. The DO optical technology certainly helps, but the main reason for its unusual compactness is an innovative retractable design.
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Retracting / collapsing designs have been around for as long as photographic lenses have existed, and the basic principle (and benefit) has remained the same – extend and lock the mechanism when you need to shoot with the lens, and retract / collapse it when you don’t, for compactness. This isn’t possible with complex multi-element primes (let alone zooms) but for a long tele like the RF 600mm, where most of the glass is clustered together, in a design with a lot of empty space between groups, it becomes an option.
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To unlock the 600mm’s extending mechanism, just turn the collar, and pull (or push) to put the lens into either the extended shooting position, or collapsed storage position. When extended, the lens measures 270mm (10.6 in).
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Another way of keeping this lens small is its fixed aperture of F11. This is the kind of aperture that traditionally, we would have associated with mirror lenses, which were a devil to work with on D/SLRs because of the dim viewfinder image associated with such a small working aperture.
However, on a mirrorless camera with a decent EVF, that’s much less of a concern, especially now that the Dual Pixel CMOS AF systems in Canon’s EOS R-series cameras can autofocus at working apertures down to F22 (which – not coincidentally – allows for these lenses to be used with the new RF teleconverters). Yes, F11 (and remember that’s fixed – you cannot stop down as there is no multi-bladed iris) is still a limiting aperture for exposure, but it’s a much more practical working aperture now than it would have been back in the days of SLRs.
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The 600mm F11 is also equipped with an image stabilization system which can deliver up to 5 stops of stabilization. Canon did not claim an increase in performance when paired with the EOS R5 and R6 IBIS systems, and this makes some sense given the limited ability of IBIS systems to effectively stabilize very long focal lengths. Autofocus is handled by an STM motor, of the kind that has become common in Canon’s more enthusiast-centric lenses and those optics intended to be used for video, as well as stills. It’s not as fast – or usually as silent – as Canon’s Nano USM motors, but still quite effective.
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The RF 800mm F11 IS STM is a very similar lens to the 600mm, but it’s a little bigger, a little heavier and features a little more glass (11 elements in eight groups, as opposed to ten elements in seven groups for the 600mm).
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The 800mm is 35% heavier than the 600mm, weighing in at 1260 g (2.77 lbs). At 282mm (11.1 in) when stowed in its collapsed position, it’s about the same length as the 600mm is when extended. When the 800mm is extended to its shooting position, overall length increases to 352mm (13.8 in). That’s longer than a mirror lens would be, but very compact for a conventional 800mm.
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The general ‘upsizing’ of the 800mm compared to the 600mm extends to the filter ring, which is a less traditional (and less convenient) 95mm. The IS system in the 800mm is only rated to four stops, too, compared to five in the 600mm (rated as per CIPA, measured on an EOS R body). The minimum focus distance is longer, too, at 6m compared to 4.5m.
All of this probably makes the 600mm slightly more practical for most photographers, but there’s no doubt that 800mm can itch some places that 600mm can’t quite scratch. We suspect that both lenses will be a hit with fans of bird photography.
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 post 4 Ways to Create Awesome Infrared Images appeared first on Digital Photography School. It was authored by Simon Bond.
A really interesting form of photography that can transform your images is infrared photography. This form of photography has been around for a long time, and today, you’ll discover how to make your own infrared images. Anyone can do this, and it’s possible to do with minimal or even no extra equipment at all. So read on and find out how you can enhance your photographs today.
The first and most accessible way for photographers with a digital camera to get into infrared photography is to buy a filter. Filters work by filtering out all light except infrared. This will lead to an infrared image rendered onto your camera sensor.
Using a filter is the quickest route into this genre of photography, but it’s not without it’s problems. The fact is your camera is built to resist infrared light, a fact that has both positive and negative results for you as a photographer. Let’s take a look at some of the factors you’ll need to consider.
As mentioned infrared photography with a filter requires long exposure, however this can often really add to your image. You’ll need a tripod, a way for triggering your shutter remotely, and you’ll need to cover your camera to prevent light leaking in. Using long exposure is often the choice of many landscape photographers anyway, so what will you gain? If you’re photographing anywhere with moving water or clouds, then you’ll capture their movement with long exposure. Coastlines and seawater are somewhat different in that it will flatten the water, again often a desirable effect.
There are plenty of options when it comes to filters you can buy. Obviously, as with different manufacturers, the results will vary, and you’ll need to choose a filter that suits your style. However, all of these filters will do the same thing, and that is filter out infrared light. The photos in this article were produced using the Hoya R72 filter.
To get to your desired result with an infrared filter, you’re going to need to adjust the white balance. You’ll usually want to do this in post-processing, however, it’s also possible to do it in-camera.
The method needed to do this in-camera is as follows:
If you chose not to use the camera’s custom white balance, then you’ll now need to process your image. You’ll have a RAW image that is mostly red. You can now decide whether to process for a color infrared image, or a black and white one. In both cases, you’ll need to adjust the red and blue channels to achieve this.
Those more serious about infrared photography can look into modifying their camera. It’s important to mention that once modified, your camera will only be useful for infrared photography, so don’t get this done with your main camera.
Those that go down this road often have a second camera body, which they’re prepared to dedicate to infrared photography.
Remember that most camera manufacturers produce cameras that block out infrared light? You will modify your camera to remove that infrared blocking filter in front of your camera sensor and put an infrared filter in place. That’s the process, and now your camera will be sensitive to infrared light.
You can now use this camera more like a regular camera, instead of only being able to take long exposure photos. That means techniques like panning and infrared are possible. You’ll be able to use fast exposures to capture moments. In other words, you will regain full artistic control of your camera, just now it only photographs in infrared.
Infrared images have been produced for a long time, and certainly predate digital photography. It’s possible to take beautiful infrared images with film, though you’ll need to get film that specifically for this form of photography.
An infrared filter used on a digital camera won’t be needed this time, as the film itself exposes for infrared light. However, you may well consider using filters anyway. The same filters that enhance regular black and white photos can also do the same for infrared. That means the classic yellow, orange, and red filters should be in your camera bag. Should you choose to use an infrared filter this will certainly work, but again it will block most of the light, meaning you’ll be taking a long exposure.
The last method to produce infrared images is post processing.
That means you can choose any of your existing photos, and process them to replicate the infrared effect. It’s worth choosing a photo that would work well if it were photographed as an infrared.
Think of a landscape photo with plenty of green foliage, and a blue sky with one or two clouds. Those wishing to learn how to process their images in this way can do so by reading this article.
This article has given you all the information needed to create infrared images, or where to find that information.
Have you tried out this form of photography? If so, which of the above methods did you use, and do you have a preference?
Infrared photography is fun. If you’re waiting to get out on a sunny day, why not try the post-processing route? If you have any infrared images already, why not share them in the comments? We love to see your images!
The post 4 Ways to Create Awesome Infrared Images appeared first on Digital Photography School. It was authored by Simon Bond.