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

13 Jul

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)

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

13 Jul

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.

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

13 Jul

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)

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Canon debuts imageProGraf Pro-300 13″ inkjet printer

13 Jul

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)

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

13 Jul

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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

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

13 Jul

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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

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

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

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)

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

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

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 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.

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 85mm F2 Macro IS STM specifications

Principal specifications
Lens type	Prime lens
Max Format size	35mm FF
Focal length	85 mm
Image stabilization	Yes
Lens mount	Canon RF
Aperture
Maximum aperture	F2
Number of diaphragm blades	9
Optics
Elements	12
Groups	11
Special elements / coatings	One UD lens
Focus
Minimum focus	0.35 m (13.78″)
Maximum magnification	0.5×
Autofocus	Yes
Physical
Weight	500 g (1.10 lb)
Diameter	78 mm (3.07″)
Length	91 mm (3.56″)
Colour	Black
Filter thread	67 mm

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

13 Jul

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

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

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

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

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

Press release:

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

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

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

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

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)

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

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

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 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.

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

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

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

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

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Video: Astronaut Doug Hurley on what it’s like to photograph Earth from the International Space Station

13 Jul

Photo via NASA: view of the SpaceX Crew Dragon and Japan’s HTV-9 resupply ship

The Twitter account of the International Space Station (ISS) recently shared a short video wherein NASA astronaut Doug Hurley talks about what it’s like to photograph Earth from low Earth orbit.

The video, embedded below, is just 75-seconds long, but in it, Col. Hurley explains how incredible it is to take in the beauty of Earth from a distance and points out a few of the more recognizable landmarks visible from 410 km (254.8 mi) above Earth’s surface.

Have you seen our @NASA_Astronauts’ photography of Earth from their home 250 miles above? @Astro_Doug explains one reason they snap photos to share and describes some of the most easily recognizable spots. ?

To browse astronaut photography, visit https://t.co/hI1oyYM84S. pic.twitter.com/eMHOrB61rE

— Intl. Space Station (@Space_Station) July 9, 2020

You can keep up with Col. Hurley on Instagram and Twitter, and follow the ISS Twitter account for future videos and photos.

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

12 Jul

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

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

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

System requirements:

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

Sync Infrastructure

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

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

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

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

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

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

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

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

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

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

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

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

Editing and Metadata

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


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

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


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

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

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

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

ON1 Camera

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

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

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

Pricing

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

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

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

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

Conclusion

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


Sometimes a thumbnail doesn’t accurately reflect the edit (though the underlying image adjustments are intact).	The ON1 360 sync status says everything is up to date, but a few thumbnails are lagging.

Before: Editing a photo on the iPad.	After: Bizarre streaks appeared when activating the AI Auto adjustment.

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

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Tips and Tricks to Achieve a Graffiti Effect in Photoshop

12 Jul

The post Tips and Tricks to Achieve a Graffiti Effect in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

tips for creating a graffiti effect in Photoshop

Are you a fan of street art? Creating a graffiti effect is a great way to give an urban look to your designs or photos. In this article, I’ll show you some tips and tricks to get more realistic results using Photoshop.

Prep Work

You’ll need to do a little prep work to get you started on your way to making a realistic graffiti effect in your images.

Reference images

Whenever you’re recreating something that’s based on real-life, it is good practice to have a reference. Create a library from your own photographs or use online resources like Pinterest. That way, you have a visual guide to make your graffiti effect as realistic as possible.

Pinterest gallery for visual reference — Resources like Pinterest are great for finding graffiti resource images.

Get a photo of a wall

First, photograph the wall you want to use for your graffiti effect. (If you can’t photograph one yourself, look to stock libraries or free-use images online.) There are no specific rules to follow, but the more texture it has, the better the effect will look. For example, you can use a brick wall, a rough concrete wall, a corrugated iron fence etc.

Then you need to create a black and white version of your image that is highly contrasted. This will serve as your displacement map.

There are many ways to do this, so feel free to use your own technique. I like to add adjustment layers. Use the Hue/Saturation to make it greyscale by moving the saturation slider all the way to the left. Then add a Brightness/Contrast one to increase the contrast.

High contrast black and white displacement map

Once you’re done, save it as a PSD format for later use.

Create your graffiti

There are many types and styles of graffiti: Blockbuster, Throw up, Tag, Stencil, Piece, etc. If you want to achieve a good graffiti effect, you should pick one of them for your work. I don’t intend for you to be a street art expert, nor do I pretend to be one, that’s why you can use the reference pictures. That way, the effect will be more realistic.

1. Blockbuster

This is one of the most common text-based graffiti. In simple words, it’s the one that has colorful chunky letters with thick borders.

If you want to buy or download a specifically designed graffiti font, you’re welcome to do it. If you want to make it more unique, you can also use a default font and modify it.

Using the Text tool, you can choose your font in the Options bar. Type your text, and it will be created in a separate text layer. If you right-click on that layer, choose “Convert to Shape.”

Once it’s a shape, you can modify it using the pen tool.

In the toolbar, under the Pen tool, you’ll find the Convert Point tool. With it, you can drag any of the anchor points to modify the shape.

Modify fonts for a graffiti effect — Select and drag any of the anchor points to change the shape of the letters to what you want.

Note: Using the pen tool, you could create the letters from scratch too, but unless you’re a painter or a graphic designer, it’s easier to have something to get you started.

Now, using Layer styles, add the colors, edges, and shadows to mimic the effect from the graffiti you chose.

Layer styles give your text a graffiti effect

2. Stencil

Another style of graffiti is Stencil. This can be as easy or complex as you want it to be. It’s often one color (but can be more) and without internal details or depth. So, a basic way to do them is by using the Shape tool. You can use predetermined shapes or create your own with the Pen tool.

Just like you did for the text, use the Convert Point tool to modify your shapes at any time.

3. Piece

The third choice you have is to use a photograph in order to create a Piece (as in masterpiece). For this, you just go to File->Place and select the image of your choice. This will open it as a Smart Object.

A graffiti piece is more of a drawing, so it will be less detailed than a photograph. To get a better result, you can turn it into a painting or a cartoon before you apply the graffiti effect.

Give your photo a graffiti effect using filters

Try using the filter’s gallery to simplify your work. Go to Filter > Filter Gallery and apply different styles until you find the one you like. Notice that you can build up many of them if you feel like experimenting.

Finishing Touches

Once you have chosen the type of graffiti effect you would like to use, there are a few more steps to make it realistic.

1. Displacement Filter

It doesn’t matter if you did a Blockbuster, a Stencil, or a Piece, you need to integrate it into the wall in order to make a graffiti out of it. This is where the displacement map you created in the prep work comes into play.

Just go to Menu->Filters->Distort->Displacement. In the pop-up window, select the values you want. I’ll use a value of “10” in both. Click “OK” and it will open a window for you to browse your files.

Choose the grayscale image of the wall you did in the prep work and apply it.

To fully incorporate this ‘distorted’ image into the wall, right-click on the empty part of the layer and choose Blending Options from the menu. Then use the “Blend If” sliders until you’re happy with the results.

2. Adding perspective

This step is completely optional, but if you want to give more depth, you need to add a vanishing point. For this, make a new layer that merges all of the other by pressing Shift+Ctrl+Alt+E for PC or Shift+Command+Option+E for Mac.

Now select it and go to Edit->Transform->Perspective. Pull one of the corners up and stop when you’re happy with the result. Apply the transformation and your Graffiti effect is ready.

Create a graffiti effect in Photoshop — The finished artwork uses Blockbuster, Stencil and Piece graffiti effects.

Conclusion

Graffiti is a very rich and complex art form that is very difficult to sum-up in just one article. However, I hope these tips and tricks will help you achieve a real graffiti effect.

There really is a lot of material to get creative in this area, so try it out, and have fun. Share your results and tips in the comments section.

The post Tips and Tricks to Achieve a Graffiti Effect in Photoshop appeared first on Digital Photography School. It was authored by Ana Mireles.

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