Take a look at the view from Sony’s new ultra-wide zoom, paired with the 60MP a7R IV. The 12-24mm F2.8 GM rounds out a series of F2.8 constant zooms, joining the existing 24-70mm and 70-200mm in the high-end ‘G Master’ lineup. It’s a touch wider than Sigma’s 14-24mm F2.8 but more than double the cost – check out our samples above and see what that extra-wide view looks like.
Sirui is teasing the launch of its next lens, which will be a 35mm 1.33x anamorphic with a maximum aperture of F1.8. Until recently, Surui was best known for making tripods, but it’s branched out into lenses, with this being the second released this year.
Like the 50mm 1.33x anamorphic that was launched in February, this new lens is designed for APS-C and MFT sensors. It will be only available in the MFT mount but there are adapters for Sony E, Canon EF-M and Nikon Z mount camera systems, according to a video placed on the company’s U.S. Facebook page. The lens will come with detachable geared rings for the focus and aperture rings, uses a 68mm front filter thread and has a minimum focus distance of 0.85m (2.8ft).
The lens is promoted as the wide-angle answer to the existing 50mm lens, and the company says it provides the viewing angle of a 26.3mm lens when used on an APS-C sensor. Sirui says that once de-squeezed, footage from a 16:9 area of the camera’s sensor will take on a 2.4:1 aspect ratio with characteristic oval bokeh and blue light streaks of flare.
The Sirui 35mm F1.8 1.33x anamorphic lens will be available for an early-bird price of $ 599 via an Indiegogo campaign page that goes live on August 3rd at 9am EST. For more information on the company’s 50mm lens see the Sirui website.
Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.
Sony has announced a new member of its high-end ‘G Master’ full-frame lens series: the 12-24mm F2.8. It’s currently the widest F2.8 constant zoom offered for full-frame, with a hefty price tag to match: $ 3000.
The 12-24mm is dust and moisture-sealed and weighs in close to two pounds (847g / 1.9lb to be precise). It’s a bit larger than Sigma’s 14-24mm F2.8, measuring 97.6 x 137mm. With such a large front element, the 12-24 provides a rear filter holder.
Optical construction includes three XA Extreme Aspheric elements (including the largest that Sony’s ever made), two Super ED and three ED elements, as well as one aspherical lens element. Nano AR Coating II is used, along with a fluorine coating. Four XD linear motors move two focus groups – either together or independently – and focusing is silent. The lens uses a nine-blade aperture, and minimum focus distance is 28cm / 11in throughout the zoom range.
The Sony 12-24mm F2.8 GM is slated to arrive mid-August and will sell for $ 3000.
Press release
Sony Electronics Grows Lens Line-up with Launch of 12-24mm G Master, the World’s Widest Full-frame Zoom with a Constant F2.8 Aperture
SAN DIEGO – July 7, 2020 – Sony Electronics Inc. today announced an exciting new addition to its full-frame lens line-up with the introduction of the FE 12-24mm F2.8 GM (model SEL1224GM) Large-aperture Ultra-wide Zoom lens. This compact and versatile lens is ideal for shooting landscapes, astrophotography and architecture while providing extra mobility for active sports shooters who want to capture ultra-wide perspectives. As part of Sony’s flagship G Master series lenses, users can be completely confident that it delivers outstanding image quality up to an ultra-wide 12mm angle of view with F2.8 constant aperture and beautiful bokeh effects.
The introduction of the FE 12-24mm F2.8 GM now extends the F2.8 range of Sony’s G Master series zoom lenses all the way from 12mm to 200mm[ii] and at 12mm, offers the world’s widest range of zoom at F2.8. At this focal length, it is possible to emphasize distance and create dynamic perspectives that are beyond the scope of the human eye, opening the door to new avenues of creative expression.
“We are excited to introduce the new FE 12-24mm F2.8 GM as the 57th lens in Sony’s E-mount line-up”, said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “It is important for us to continue to push boundaries in the industry to develop the best tools for our customers. By extending our range of G Master constant F2.8 zoom lenses out to 12mm, we are excited to see how these new innovations will help our customers create like never before.”
The FE 12-24mm F2.8 GM benefits from innovative construction that delivers outstanding corner-to-corner image quality throughout the entire zoom range. It features three precise XA (extreme aspherical) elements including the largest XA element ever made for an ? – Alpha brand lens. These XA elements, with an additional aspherical element, effectively suppress astigmatism, coma and field curvature right out to the image edges. Furthermore, three ED (Extra-low Dispersion) glass elements plus two Super ED glass elements, powerfully control chromatic aberration and combine to deliver corner-to-corner clarity while minimizing color fringing.
An extremely effective floating focus mechanism divides the lens’s focus group into two independently controllable groups, ensuring both outstanding close-up performance and maximum sharpness at any distance. The two independently controlled groups help realize a constant 11” (28 cm) minimum focusing distance throughout the zoom range, and because it is an internal focus lens, its length remains constant, so its center of gravity varies very little and is always optimally balanced in the hand.
The signature bokeh effects of Sony’s G Master series lens are achieved through the fine tuning of the lens’s spherical aberration characteristics during both the design and manufacturing process. At the same time, the extremely high surface precision of the lens’s XA elements effectively suppresses spherical aberration and, in combination with a 9-blade circular aperture, further enhances its exquisite bokeh.
The FE 12-24mm F2.8 GM employs four original high-speed, high-thrust XD (extreme dynamic) Linear Motors to ensure that it is compatible with the speed performance of both current and future camera bodies. With two XD Linear Motors for each of the lens’s focus groups, autofocus is fast and precise. New control algorithms maximize the response of the system while achieving flawless synchronization between the two focus groups. Further benefits include extremely quiet operation with minimal vibration and lower power consumption.
A brand-new Nano AR Coating II that can be evenly applied to large lens elements or highly curved element surfaces has been used for the first time on the FE 12-24mm F2.8 GM. It suppresses internal reflections, minimizes flare and ghosting for clear, crisp imagery and despite the lens’s wide angle of view, Nano AR Coating II maintains high clarity and contrast throughout the entire image, even in difficult light.
Moviemaking The constant F2.8 maximum aperture at all focal lengths ensures that exposure is stable when zooming. As a result, this means that shutter speed and ISO sensitivity can remain constant while shooting movies. The creative opportunities afforded by shooting movies at a 12mm angle of view with F2.8 constant aperture in full-frame are boundless, and when used on an APS-C or Super 35 camera, the wide end of the zoom range becomes equivalent to 18mm, providing a useful zoom range for moviemaking.
Professional Control Weighing only 1.87 lbs (847 g), the FE 12-24mm F2.8 GM offers numerous features for full professional control of shots. These include a customizable focus-hold button, focus-mode switch, zooming ring and focusing ring that are positioned for easy operation while shooting. The Linear Response MF ensures that the focus ring responds directly to the most subtle adjustments when focusing manually so control feels immediate and precise. It is dust and moisture resistant[iii] and the front lens element features a fluorine coating that repels water, oil, and other contaminants, making it easier to wipe off any fingerprints from the lens surface. The rear filter holder accommodates standard sheet-type ND, color correction and other filters for expanded expressive capability. A cutting template for sheet filters is supplied.
Pricing and Availability The FE 12-24mm F2.8 GM is available in in August 2020 for a suggested retail price of $ 2,999.99 USD and $ 3,999.99 CAD.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
There are many different approaches to learning photography. Some people would have you believe that one way is far superior to others. But the reality is, everyone learns differently. People have different lifestyles and learning methods, various time constraints, and different budgets.
You’re already on a site that offers one way of learning photography, but have you considered the other paths that you could take? Here’s a rundown of different ways that you can structure your practice and improve your photos.
1. Blogs
It doesn’t take much to find a myriad of blogs looking to help you learn photography. Anyone from the most experienced professional photographer to someone who just bought their camera can start a blog. I guarantee that you can learn something from all of these photographers.
For some people, like myself, blogs are an excellent format for learning photography. I’m the kind of person who learns well from text and pictures, so I read a lot of different blogs by many different photographers.
There are two significant advantages of blogs over other kinds of learning. The first is that anyone can create them, which leads to all sorts of ideas being shared. The second is that they’re quick to respond to new technologies and techniques. You’ll probably see articles about near gear or styles on a blog way before you see the same information in a book.
2. Books
Having just said that blogs are more likely to have new information than books, books still have some advantages. They often go into much more detail than blogs, especially where the content is unlikely to change even with new technology.
I have several books that cover scientific aspects of cameras and photography, and they’re still useful almost fifteen years after I bought them.
This solid foundation of knowledge can be where it’s helpful to use a few different approaches to learning photography, topping up your foundations with videos or blogs.
You can often pick up second-hand photography books cheap in thrift stores and on online auction sites. I have some real gems from decades back. They are fascinating to use to learn techniques that were in fashion at the time.
My particular favorites are the 70s and 80s glamour photography books I own; when I started shooting male glamour models and wanted an 80s vibe, they were the first place I looked for inspiration!
3. Videos
YouTube is a great place to find both photographic inspiration and tutorials of all kinds. And just like blogs, everyone can start a channel and upload videos to help other photographers learn.
An advantage of video is that if you’re the kind of person who learns best visually, you can get to grips with a technique much more effectively as you watch a photographer demonstrate it. Different approaches to learning photography will suit different people – everyone learns in different ways.
Some websites offer whole libraries of classes to watch, with some of the courses lasting several days! You can generally either buy the class to keep forever or take out annual or monthly subscriptions that allow you to view all the classes on the site for as long as you keep subscribing.
Many people find watching video tutorials a great way to learn. I’ve got several friends who have taught themselves photography almost entirely from YouTube. If you love watching videos, then you’re spoilt for choice. There is a video tutorial on just about every aspect of photography that you can imagine (and a few you’ve never thought of).
4. Workshops
If there’s one good thing that will come out of our global extended time at home, it’s that there are now many more workshops happening online. Participating in a photography workshop can now be as simple as firing up some video conferencing software and tuning in to listen to an instructor talk!
The advantage of live workshops over pre-recorded videos is that you can usually ask the instructor questions during the workshop. Many online video conferencing platforms have the ability for you to type our a question or virtually raise your hand. Do take advantage of this feature and ask all the questions you can think of.
Of course, workshops that happen in person are great too because you can often get hands-on with equipment that you might not have at home. Lighting workshops should give you the time to try out the gear that you’re being taught to use, and ideally, there’s scope to play around a be a bit creative while you have a go.
One type of workshop that it’s particularly helpful to keep an eye out for is when camera manufacturers release new equipment. Often they hold cheap (or even free) seminars that allow you to get hands-on with new lenses and cameras. Even if you don’t intend to buy a new camera or lens, this can be a great way to have access to a professional photography teacher who you can ask questions!
5. University
Perhaps the ultimate long-term commitment to learning about photography is going to university and doing a degree. It’s not an option for everybody, of course. But for those that can afford both the time and the money, it’s incredible to be able to immerse yourself in a single subject for three years and one of the most intense approaches to learning photography.
If this is an option that you’re considering, then do think outside of the standard photography degree. Some universities let you combine photography with subjects like marketing. This combination would be an incredible option for those wanting to go into advertising photography.
If you wanted to go into photojournalism, then you might choose to find a way to combine photography with international politics.
And don’t forget fine art as a subject either! There’s often lots of scope for photography practice on a fine art degree.
I chose to go to university to study art history as a mature student. It is genuinely the best decision that I ever made as a photographer. It has matured my work, given me a greater understanding of issues when it comes to artistic practice, and it has opened my eyes to a whole incredible history of creativity and art. I liked it so much that I’m now doing a PhD. You never know where studying photography might lead you!
Pick the right option for you
The advice that I always give when photographers ask about how best they should learn is that they should pick the route that makes the most sense for them and their photographic aspirations.
There are so many different approaches to learning photography that everyone should be able to find an option that suits their life, budget, and their dreams. And remember that if you’re not enjoying what you’re doing, then try something new! You can always ask photographers that you know and see what worked for them.
Do you have anything you’d add to this? Feel free to share any other tips, or your experiences of learning photography with us in the comments section.
The post 5 Different Approaches to Learning Photography appeared first on Digital Photography School. It was authored by Charlie Moss.
One of the most frustrating things that can happen while editing photos is lag. Especially photoshop brush lag. Imagine, you’re right in the middle of doing some intricate touch-up edits to finalise an amazing photo for your portfolio or for a client and you cannot get the photoshop brush to do the edits in the exact place that you want Continue Reading
The post How to Fix Photoshop Brush Lag: 5 Steps appeared first on Photodoto.
Nikon Rumors is reporting that Nikon will be announcing two new mirrorless cameras this year, the Z6s and Z7s. As the names suggest, these alleged models will be incremental updates to the current Z6 and Z7 models.
According to Nikon Rumors’ report, the two rumored cameras will use the same sensors as their respective predecessors but feature dual Expeed processors. Other rumored specifications include a new EN-EL15c battery, USB-C powering, dual memory card slots (assumed to be dual CFexpress), 4K60p video and have the option to use an add-on vertical grip, which would be sold as an optional accessory.
Nikon Rumors says it expects the announcement to be made in October 2020, but as with all things this year, there’s the chance it could be pushed back to a further date.
Canon UK has confirmed it will be hosting a livestream event for what it calls its ‘biggest product launch yet.
According to the microsite on Canon UK’s website, the ‘Reimagine’ event will take place at 14:00 CEST on July 9. In addition to the vague ‘product launch’ teaser, Canon Ambassadors and experts will also be hosting a Q&A during the event to talk about ‘Canon’s latest additions to its product range.’
The sign-up form, which appears as a pop-up dialog box on Canon UK’s microsite for the event.
The event will be livestreamed on YouTube, where Canon suggests it will be taking questions from the live comments feed. You can sign up to be notified of the event on Canon UK’s microsite.
Becca Farsace, Video Director at The Verge, has shared a video detailing how she built her own Raspberry Pi camera with no coding experience.
The nine-minute video is a fun overview of what it took to turn a Raspberry Pi 4 computer into a fully-functioning interchangeable-lens camera with the help of Raspberry Pi’s new HQ Camera add-on, a three-inch touchscreen, a spare lens or two from Becca’s 16mm Bolex camera and a sacrificial Ninoka nk-700 film camera.
Since Becca isn’t too familiar with Python, the coding language needed to build apps for the Raspberry Pi 4 computer, she had more than a few hurdles to clear before she could get shooting. However, with the help of her Instagram followers, the camera’s manual and plenty of perseverance over the course of a few days, she was able to get a program up and running that allowed her to capture images.
The resulting ‘Becca Cam’ is far from intuitive (particularly when the keyboard is required) and quality of images captured with the camera isn’t going to blow anyone away, but for a 1.0 product built with zero coding knowledge, it’s impressive.
Becca shared links to all of the materials and code used to create the camera (aside from the frame, which was hacked together from an old film camera), so if you’re feeling like making your own camera, follow the video link and pick up the required components.
This past February, Canon announced the development of its next full-frame mirrorless camera, the EOS R5. At the time, details were scarce, but a month later Canon followed up with new information confirming the forthcoming camera will offer 8K/30p video as well as ‘advanced animal AF.’
Despite the initial and additional information, plenty remains unknown about exactly what features and specifications the EOS R5 will offer, as well as how the specifications provided by Canon will actually be implemented (i.e. what codec will the 8K/30p video use and what’s the bitrate?).
A Canon EOS R5 under glass at WPPI earlier this year.
As you might expect, the rumor mill has been churning away, with whispers of more detailed specifications and even some suggestions that further hardware might be on the way in addition to the EOS R5. With all of that in mind, what are you hoping to see from Canon when the official launch takes place? Leave a comment and let us know, and we’ll publish a roundup of the most-requested features soon.
The post The Five Key Features on any Street Photography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
Are you struggling to choose the perfect street photography camera?
You’ve come to the right place.
Because while picking the perfect camera for street photography can be tough, it doesn’t have to be.
In fact, there are five basic features you’re going to want with any street photography body. While finding them all in a single camera can be tough, depending on your current lens lineup and preferred system, I’d recommend getting a camera that offers as many as possible.
And if you can find a camera that includes all of these features, you know it’s going to be a great street shooting option.
Let’s dive right in:
50mm | f/1.8 | 1/320s | ISO 200
1. A compact body
When you look for a street photography camera, the very first aspect you’ll want to consider is size.
Because here’s the thing about street photography:
The less that people notice your camera, the better.
50mm | f/2.8 | 1/320s | ISO 200
As soon as people start to see your camera, they get nervous, you get nervous, and photography becomes uncomfortable.
And while it’s inevitable that your camera will be seen, the smaller it is, the less this will happen.
That’s why I recommend you get the most compact camera you can find. Or, at least, a camera that offers a small form factor.
One option is a higher-end point-and-shoot camera, such as the Fujifilm X100V. That camera is tiny but still manages to offer excellent image quality.
But if you’re a fan of interchangeable lens cameras, you have other options. Some APS-C mirrorless cameras are designed to be near pocket-sized, including models such as Sony’s a6000 series, or the Fujifilm X-T200. Same with quite a few Micro-Four-Thirds cameras, such as the Olympus OM-D E-M10 Mark III.
These bodies are light, they’re compact, and they’re some of the most inconspicuous cameras I’ve ever come across.
(Another advantage of a compact body is that they’re easy to carry around. You can take a Fujifilm X-T100 with you wherever you go, so that you never miss a shot!)
So start your search by looking for a small body, and only then should you consider the rest of the features on this list.
If you want to capture close-up candid shots of people, I recommend a compact street photography camera. 50mm | f/3.5 | 1/200s | ISO 200
By the way:
It’s not just the camera that should be small; you’ll want small lenses, as well. One of the best ways to ensure you have plenty of small lenses to choose from is by working with a Micro-Four-Thirds camera (offered by both Panasonic and Olympus).
These systems have unusually compact lenses, thanks to their smaller sensor size.
2. A high continuous shooting speed
If you’re planning on doing lots of street photography, then you’re going to need a camera that shoots fast.
Why?
Because the best street photos tend to involve a convergence of elements. Three people are perfectly aligned with a building, a person makes a sudden strange expression, or a biker passes in front of an interesting facade.
The ability to shoot frame after frame is key when shooting images like this. 50mm | f/2.8 | 1/200s | ISO 250
And you’re going to miss out on these moments…
…unless your camera can fire off a burst of shots in quick succession.
I’d recommend a continuous shooting speed of at least five frames per second, and more is better. For me, the 8-10 range is ideal, which you can find on quite a few cameras these days.
And honestly, anything more than 10 fps is overkill for most street photography purposes. You’ll run through your memory cards ridiculously fast, and end up with a huge amount of unnecessary shots.
You’ll also want to get a camera with a decent buffer. There’s no use in being able to shoot at 10 fps if you can only capture 15 frames. So I recommend you look for a camera with a buffer of at least 25 RAW files (and more is better!).
50mm | f/3.5 | 1/160s | ISO 320
3. Excellent autofocus with strong eye detection
As I said above, street photography happens fast.
And you’re often reacting to moments that come and go instantly.
24mm | f/8 | 1/200s | ISO 320
That’s why the best street photography cameras have lightning-fast autofocus and, ideally, face/eye detection.
I’m talking about systems that can nail focus instantly, as well as track a subject through a complex array of objects without losing focus.
For this latter requirement, a great option is any of the more recent Sony a6000 models (including the a6100, the a6400, and the a6600). These cameras offer fantastic tracking, great AF speeds, and amazing Eye AF.
A camera with fast autofocus will allow you to seize the moment and grab shots like this! f/3.5 | 1/640s| ISO 320
Now, it is possible to do street photography with a less AF-adept camera. But you’ll frequently struggle, especially when trying to lock focus for spur-of-the-moment shots.
You’ll also want good AF for situations when you’re shooting from your LCD or from the hip. If your camera can grab focus with ease, you’ll end up with quite a few keepers, even if you’re firing the shutter without looking!
4. A silent shooting mode
Getting a camera that can shoot in silence was a real game-changer for my street photography.
Finally, I could shoot without people realizing, and it made me feel so much less anxious.
f/2.8 | 1/640s | ISO 200
And the truth is that most street photographers feel anxious at one time or another, and a loud shutter sound just made that anxiety worse.
(If you’re a street photographer that never feels uncomfortable, please share your secret in the comments!)
In fact, I almost quit street photography. It was only once I had a camera that could do true silent shooting that I was able to resume and feel better about what I was doing.
That’s why I recommend you get a street photography camera that has some sort of silent shooting mode. Ideally, it has an electronic shutter, one that allows you to shoot in total silence (though any silent shooting mode is better than nothing at all).
You’ll want to be careful, though:
Some cameras can be restricted when using a silent shutter. For instance, my Sony a6300 can only shoot bursts at about 3 frames per second when silent, and this can be extremely frustrating. So, I’d suggest looking for a camera that can maintain both silence and fast continuous shooting speeds.
That way, you can capture bursts of action without dealing with the chatter of a camera shutter!
5. A tilting screen
This feature is a bit more optional, but it’s still useful in quite a few situations.
You see, there will be times when you want to shoot from the hip (i.e., keep your camera held down low and fire off some shots).
50mm | f/4 | 1/800s | ISO 200
I do this while walking past people on busy streets because I don’t want to bother them with the sight of my camera. And I also like the low-angle look that it creates!
Of course, you can do this blindly, and you’ll end up with some keepers.
But if you have a tilting screen…
…you can look down at the camera while you walk, in order to ensure perfect focus and composition!
Note that you don’t need a fully articulating screen, as you won’t need to shoot from ultra-strange angles. A screen that tilts up 90 degrees will do just fine.
And since we’re talking about screens, I’ll mention that a touchscreen can be pretty useful in these situations, too. If you can tap to set focus, you can quickly choose a subject while looking down at your LCD, then fire off shots as they come closer.
Make sense?
The five key features on any street photography camera: Conclusion
Choosing a camera for street shooting doesn’t have to be hard.
Just make sure it has as many of these characteristics as possible, and you’ll be capturing stunning shots in no time!
That’s the power of a great street photography camera.
50mm | f/2.8 | 1/160s | ISO 400
The post The Five Key Features on any Street Photography Camera appeared first on Digital Photography School. It was authored by Jaymes Dempsey.
