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Panasonic Lumix S Pro 16-35mm F4 debuts in January for $1500

06 Nov

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Panasonic has announced the Lumix S Pro 16-35mm F4, a compact wide-angle zoom for its full-frame L-mount system. The lens will go on sale early next year for $ 1500.

Optically, the 16-35mm F4 is made up of 12 elements in nine groups and includes one ED, one UHR and three aspherical elements. The 16-35 weighs 500g (17.6oz) with an overall length of about 100mm (3.9″), and offers dust and splash-resistance. Its minimum focus distance is 0.25m (9.8″), and the lens accepts 77mm filters.

The Lumix S Pro 16-35mm F4 will arrive in January 2020 alongside the also-announced 70-200mm F2.8.

Press release:

Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S PRO 70-200mm F2.8 O.I.S. and LUMIX S PRO 16-35mm F4

Newark, NJ (November 6, 2019) – Panasonic is proud to introduce two new interchangeable lenses based on the L-Mount system for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Cameras. Designed for professional use, the LUMIX S Series offers uncompromising photographic expression with its high-quality cameras and lenses.

The LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) is a large-aperture telephoto zoom lens that boasts high descriptive performance across the entire zoom range. The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens that provides high resolution images and a beautiful bokeh despite its compact, light-weight profile. Both high-performing LUMIX S PRO lenses achieve LEICA’s stringent standards.

LUMIX S PRO/S Lens Lineup as of November 2019

LUMIX S PRO 50mm F1.4 (S-X50)
[NEW] LUMIX S PRO 16-35mm F4 (S-R1635)
LUMIX S PRO 24-70mm F2.8 (S-E2470)
LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)
[NEW] LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)
LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

In addition to Panasonic’s existing portfolio of first-class lenses for the LUMIX S series family of cameras, the company is committed to designing and developing 11 or more lenses with the emphasis on the “LUMIX S PRO” class by March 2021. Currently, more than 46 interchangeable L-Mount lenses are available or will be available from Panasonic, Leica Camera AG and Sigma, opening up a virtually limitless spectrum of new creative possibilities.

LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)

Designed and developed for professional field shooting, the LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200) uses 2 UED (Ultra Extra-low Dispersion) lenses, 3 ED (Extra-low Dispersion) lenses and optimum alignment comprising 22 elements in 17 groups, effectively suppressing both axial chromatic aberration and chromatic aberration of magnification. Astigmatism is also corrected with an aspherical lens, achieving high resolving performance. Adoption of a double focus system suppresses fluctuation of aberration even at close distances, which results in high descriptive performance from the center to the corners over the entire zoom range despite its large aperture.

Covering from 70mm to 200mm, the use of a Teleconverter allows a maximum 280mm (1.4x, with DMW-STC14) and 400mm (2x, with DMW-STC20) super telephoto shooting*1, with maximum 480 fps focus control for high-speed, high-precision auto focus. The O.I.S. (Optical Image Stabilizer) in the lens complies with the camera’s Body I.S. and the 5-Axis Dual I.S. 2*2 makes it possible to use a 7-stop slower shutter speed*3. Adoption of a focus clutch mechanism enables instant AF/MF switching and accurate manual focusing.

The constant F2.8 large aperture provides smooth defocus gradation from the focus peak to the neighboring area of the image to achieve a beautiful bokeh effect as well as a rich perspective. The LUMIX S PRO 70-200mm F2.8 O.I.S. also excels in video recording performance with a mechanism that suppresses focus breathing, which was a fatal problem in all interchangeable lenses designed for still image photography.

The rugged, dust/splash-resistant*4 design withstands use under harsh conditions even at 10 degrees below zero for high mobility. The filter size is 82 mm, with an 11-blade circular aperture diaphragm.

LUMIX S PRO 16-35mm F4 (S-R1635)

The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens boasts high descriptive performance in both photo shooting and video recording.

Comprising 12 elements in 9 groups, the use of 3 aspherical lenses, an ED (Extra-low Dispersion) lens and a UHR (Ultra-High Refractive Index) lens and the optimum alignment achieves high MTF performance despite its compact size and light weight. It boasts stunningly high resolution toward the corners even at wide open as well as a beautiful bokeh, suppressing double line bokeh and vignetting.

A double-magnet linear motor is integrated for the AF actuator, featuring high power despite its small size, achieving a maximum 480 fps high-speed sensor drive. This realizes fast, high-precision AF to ensure that photo opportunities are never missed. Like the 70-200mm F2.8 O.I.S. (S-E70200), the 16-35mm F4 (S-R1635) adopts a focus clutch mechanism, enabling instant AF/MF switching and accurate manual focusing, as well as excels in video recording performance thanks to a mechanism that suppresses focus breathing.

It is also rugged dust/splash-resistant,*4 withstanding harsh conditions even at 10 degrees below zero for high mobility. The filter size is 77 mm, with a 9-blade circular aperture diaphragm.

Both lenses will be at retail in January. The LUMIX S PRO 16-35mm F4 will available for $ 1,499 and the LUMIX S PRO 70-200mm F2.8 is $ 2,599.

*1 Use of the tele converter reduces the effective aperture by one f/stop (DMW-STC14) or two f/stops DMW-STC20)
*2 5-Axis Dual I.S. 2 can be used with the camera LUMIX S1R, S1 and S1H, as of November 6, 2019.
*3 Based on the CIPA standard [Yaw/Pitch direction: focusing distance f=200mm, when
LUMIX S1R/S1/S1H is used.]
*4 Dust and Splash Resistant does not guarantee that damage will not occur if this lens is subjected to
direct contact with dust and water.

Panasonic Lumix S Pro 16-35mm F4 specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	16–35 mm
Image stabilization	No
Lens mount	Leica SL
Aperture
Maximum aperture	F4
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	9
Optics
Elements	12
Groups	9
Special elements / coatings	1 ED + 1 UHR + 3 aspherical elements
Focus
Minimum focus	0.25 m (9.84″)
Maximum magnification	0.23×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
Physical
Weight	500 g (1.10 lb)
Diameter	85 mm (3.35″)
Length	100 mm (3.94″)
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Filter thread	77 mm
Hood supplied	Yes
Tripod collar	No

Articles: Digital Photography Review (dpreview.com)

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How to Achieve the Perfect White Balance in Lightroom

06 Nov

The post How to Achieve the Perfect White Balance in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

Achieving the perfect white balance in your pictures can seem like a futile gesture. Don Quixote tilting at windmills is as nothing compared to finding the harmony that exists somewhere between 2,000 and 10,000 Kelvin! Photographers have wasted away before it, entranced by what they have seen, or been driven mad by their desire to get their pictures looking pixel-perfect with the ideal white balance that seems ever just out of reach. Fret not! With a few tips on adjusting white balance in Lightroom, you’ll be turning out beautiful photos in no time.

perfect-white-balance-in-lightroom

Understanding white balance can be a little tricky, but basically, what you are doing is giving your camera or computer a reference point to calculate all the colors in an image. It’s similar to explaining the size of something like a box or a bowl. Unless you have precise measurements, you need to compare it to a common object, so people have a frame of reference.

White balance is like a banana: it’s a reference point.

Digital cameras use white balance as a way of knowing how all the colors in an image should appear. It’s true north on the color compass, so to speak, and helps inform the values for every other color in the image. By using white balance as the foundation for color calculation, your camera will then adjust what everything else is supposed to look like.

Since colors change under different lighting conditions, white balance is often the key to getting your pictures to look just how you want them.

Temp: 5250K, +39 Tint

The image above has a crisp, bright appearance that seems fitting after a midsummer rain shower. This is mostly due to setting the white balance to mimic the tones of natural daylight.

Temp: 7274K, Tint +26

A change in the Temperature and Tint resulted in an image that seems as though it was shot in the early morning, or perhaps in a warmer climate. This one feels more comforting, while the top photo might be more true-to-life.

All cameras have an Auto white balance setting, which tries to interpret color based on an analysis of the perceived lighting conditions at the time a shot is taken. However, that doesn’t mean it’s the correct white balance. It’s just one particular value that your camera thinks might be appropriate given the algorithms it has been programmed with by the manufacturer.

The nice thing about white balance is that, like almost everything artistic, it’s entirely subjective. You can make your white balance be whatever you want! It’s a tool to make your pictures look not how someone else thinks they are supposed to look, but how you want them to look. Realizing this helped me immensely over the years, and refocused my editing process altogether. No longer do I look for the correct white balance, but instead, I try to find an accurate white balance given how I want my pictures to appear.

How to Achieve the Perfect White Balance in Lightroom

Shoot in RAW

You can use myriad tools to set your white balance at the time you shoot your pictures. Most cameras have presets like Sunny, Cloudy, Fluorescent, etc., to make sure your white balance is properly calibrated for your given shooting conditions.

However, the option that gives you the most creative freedom isn’t any of these at all. It’s the Photo Quality setting, and the first step to achieving white balance nirvana is to shoot in RAW. This lets you fine-tune the white balance ex post facto so you can edit and tweak in Lightroom rather than worrying about getting it right when you click the shutter.

Adjust the sliders in Lightroom left or right to change the color temperature and tint. Click the eyedropper to select a neutral color for setting the white balance. Use the Select Menu in the top-right to access various white balance presets.

Post-processing is where the real fun begins because when you shoot in RAW, you can edit your picture however you want. If you want your pictures to look warmer, you can adjust the white balance sliders accordingly. If you prefer a cooler look, you can do that too. The point is there is no correct value for white balance on any given picture – the end result is what matters. What that looks like can be entirely up to you.

Setting white balance in Lightroom

Changing white balance in Lightroom is fairly simple, but there are various options you can use to make the process easier and more customizable.

I like to start with the Eyedropper Tool, which lets you specify white balance by clicking on an area of your photo that is almost white. You’ll get the best results if you click on a slightly gray area. As you hover the eyedropper around your picture, you will see a preview of the results in the top-left corner.

Image: When selecting a target neutral color, look for a portion of your image that is slightly gray...

When selecting a target neutral color, look for a portion of your image that is slightly gray and not pure white. This is just a starting point though and should not be thought of as the final word on white balance.

Finally, you can specify your own white balance just by dragging the Temperature and Tint sliders left and right. You can streamline your editing process by copying and pasting the values into other pictures or use the sync feature to instantly apply them to an entire batch.

Finally, the way to set white balance is by using the preset options in the drop-down menu. These options are just preset values for the Temperature and Tint sliders similar to the white balance in any digital camera.

Creative customization

The mechanics of changing white balance are one thing, but the effect of changing white balance is another matter entirely. Say it with me: there is no such thing as correct white balance. Instead, your goal should be to create an accurate white balance – one that reflects your artistic intentions in terms of color, mood, and emotion.

Consider the following picture as an example. I shot this file in RAW and this is the result using Auto White Balance.

Temp: 4650K, Tint: +30

It looks fine, and there’s nothing wrong with the picture, but look what happens with a few clicks of the Temp and Tint sliders. I raised the Temperature and lowered the Tint, and the result is an entirely different image.

Temp: 6758K, Tint: -9

This version feels much warmer and more intimate than the original, almost like rain has fallen on a parched plant. To change the image again, we can adjust the sliders for different values.

Temp: 3448K, Tint: +38

In the final version, the viewer is left wondering if those are drops of water or ice. The picture feels cold and distant and evokes an entirely different emotion than the second version.

Which image is the right one?

They all are, and for different reasons.

The point is to know what effect white balance has on your pictures and understand how to change it to get your images to look how you want them to look.

I use this technique all the time when shooting portraits. I used to fret and worry about finding the best white balance for each of my pictures when, in truth, I was putting the white balance cart before the emotional horse. Instead, I now ask myself what I want my clients to feel when they look at their pictures and then adjust white balance (along with other settings) accordingly.

The image below has been processed using Auto white balance.

Temp: 6000K, Tint: +1

Much like the previous example with water drops on leaves, the results here aren’t bad. It’s a perfectly serviceable image that the client would probably be happy to have in their home. However, a few clicks on the white balance sliders can have a dramatic impact.

Temp: 8285, Tint: +5

This picture has a warmer tone and feels more comfortable. One might argue that the top picture is more true-to-life, while another person could prefer the saturated tones of the lower. The options for adjusting white balance, as with anything in photography, are endless. However, the point is to create an image that is pleasing to you.

Take a break

You might look at any of the examples in this article and immediately prefer one particular white balance setting over another. This happens to me during much of my editing sessions, as well. I find myself drawn to one version of a picture while entirely disregarding another. I find, walking away from my computer to reset my eyes is the best option.

After a brief respite from editing, I often find my initial editing preferences dashed to pieces. It helps me see my photos with a set of fresh eyes, especially after removing myself from technology even for just a few minutes. I often find that photos take on an entirely different appearance when coming back to them from a break. I will usually try new things with white balance that I didn’t think of initially.

Temp: 5500K, Tint: +11

In the photo above, I went back and forth from warm to cool and back again before settling on a middle-ground approach that I preferred. If I had gone with my original instinct, I don’t think I would have liked the final result. Shooting in RAW, as well as trying different white balance options and finally taking a break from editing altogether, helped me arrive at what I felt was the best result.

How to Achieve the Perfect White Balance in Lightroom: Conclusion

Ultimately, the subjective nature of something as fundamental as white balance can seem a little scary. If there is no correct value, how can you even know where to start? There’s nothing wrong with using Auto, but I encourage you to experiment and try new settings you might not have thought of.

Just because your phone or your computer tells you that your picture should have a certain white balance doesn’t mean that’s the correct value. There is no correct value with creative editing! Tweaking and customizing the white balance is a great way to have creative control over your images to make them look the way you want.

Do you experiment with your white balance in Lightroom? Share with us your thoughts in the comments!

The post How to Achieve the Perfect White Balance in Lightroom appeared first on Digital Photography School. It was authored by Simon Ringsmuth.

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All-new Sigma 24-70mm F2.8 DG DN Art coming to E and L-mount

06 Nov

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Sigma has announced the newly developed 24-70mm F2.8 DG DN ‘Art’ for Sony E and Panasonic/Leica/Sigma L-mounts. The new lens joins the previously-announced 14-24mm F2.8 DG DN Art as the second of Sigma’s DN, or ‘Digital Native’ zooms designed from the outset for full-frame mirrorless.

The new 24-70mm has a total of 19 elements, including low dispersion, special low dispersion and aspherical glass. Sigma’s ‘Super Multi-Layer’ and ‘Nano Porous’ coatings have been applied to reduce flare and ghosting. Autofocus is driven by a stepping motor and the lens can focus as close as 18cm (7.1″).

The new 24-70 is weather-sealed, features a brass bayonet mount and uses 82mm filters. The L-mount version weighs in at 835 grams (1.8 pounds), with the E-mount version coming in a few grams lighter.

You can get your hands on the 24-70mm F2.8 DG DN Art lens in just a few weeks. Pricing has yet to be disclosed, but it will naturally be compared against Tamron’s popular 28-75mm F/2.8 Di III RXD, which retails for $ 850.

Press release:

Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount

Sigma Corporation today made the following announcement:

Launch of the 24-70mm F2.8 DG DN Art Zoom lens for full frame mirrorless cameras, leveraging the top-level Art zoom performance, featuring:

Best-in-class optical performance
Compatibility with the latest full-frame mirrorless camera bodies
Flexibility for various uses and photographic environments

Sigma 24-70mm F2.8 DG DN Art Lens

This second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and is available in Sony E-mount and L-mount. The Sigma 24-70mm F2.8 offers best-in-class performance due to a sophisticated optical design that delivers high resolution throughout the entire zoom range. This new Art zoom lens from Sigma follows the debut of the lauded 14-24mm F2.8 DG DN Art zoom for mirrorless cameras.

The Sigma 24-70mm F2.8 DG DN Art lens exerts superiority in mirrorless camera-dedicated designs, resulting in a reduced lens size and weight while achieving uniformity and high resolution from the center to the periphery throughout the zoom range. Compatibility with the latest mirrorless camera bodies and functions assists in various photographic environments and meets the high demands of both professional and advanced amateur photographers.

Key features include:

Best-in-class optical performance. The F2.8 Art flagship zoom lens series is developed to achieve superior optical performance. By employing three aspheric lenses, this zoom lens thoroughly subdues aberrations such as axial chromatic aberration or sagittal coma aberrations, which are difficult to correct in post-processing, tailors the resolution and achieves uniformity and superior optical performance from the center to the periphery throughout the zoom range. In addition to Super Multi-Layer Coating, Sigma’s proprietary Nano Porous Coating is employed to achieve high-contrast and clear image quality. This lens is designed to be less affected by strong incident light such as flare.
Ensuring compatibility with the latest full-frame mirrorless camera bodies. The Sigma 24–70mm F2.8 DG DN ensures compatibility with various types of the latest full-frame mirrorless camera bodies for Sony E-mount and L-mount, (including the new Sigma fp camera), capable of exerting the best performance under any photographic circumstances.
Flexibility for various uses and photographic environments. Featuring a dust and splash-proof body and zoom lock mechanism for preventing the lens barrel from extending unexpectedly, the 24-70mm F2.8 meets a wide range of needs for a variety of photographic environments. The maximum magnifications are 1:2.9 at the wide-angle end and 1:4.5 at the telephoto end, which provides a wider range of expression for close-up photography. The minimum focusing distance is 18 cm at the wide-angle end.

Additional features:

Zoom lock switch
Lens hood with a lock
Mount with dust- and splash-proof structure
Compatible with the Lens Aberration Correction
Available Mount conversion service
Designed to minimize flare and ghosting
Evaluation with Sigma’s own MTF measuring system: A1
11-blade rounded diaphragm
High-precision, rugged brass bayonet mount
“Made in Japan” craftsmanship

The Sigma 24-70mm F2.8 DG DN Art will be available in L-mount and Sony E-mount in mid-November 2019 through authorized US dealers. Pricing will be announced at a later date.

For full product details and technical specifications as well as press imagery, please refer to the official press release here.

More details are available at: http://www.sigma-global.com/en/lenses/cas/concept.

Sigma 24-70mm F2.8 DG DN Art specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	24–70 mm
Image stabilization	No
Lens mount	Leica SL, Sony FE
Aperture
Maximum aperture	F2.8
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	11
Optics
Elements	19
Groups	15
Special elements / coatings	6 FLD + 2 SLD + aspherical elements, Super Multi-Layer and Nano Porous coatings
Focus
Minimum focus	0.18 m (7.09″)
Maximum magnification	0.34×
Autofocus	Yes
Motor type	Stepper motor
Full time manual	Yes
Focus method	Internal
Distance scale	No
DoF scale	No
Physical
Weight	835 g (1.84 lb)
Diameter	88 mm (3.46″)
Length	123 mm (4.84″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	Yes
Filter thread	82 mm
Hood supplied	Yes
Tripod collar	No
Other
Notes	Weight and dimensions for L-mount version

Articles: Digital Photography Review (dpreview.com)

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Panasonic’s new Lumix S Pro 70-200mm F2.8 offers up to 7 stops of shake reduction

06 Nov

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Panasonic has officially unveiled the Lumix S Pro 70-200mm F2.8 for its full-frame L-mount system, adding a fast-aperture, stabilized telephoto zoom to the native lens lineup. The lens will go on sale early next year for $ 2600.

The 70-200mm F2.8 includes optical stabilization, which can be combined with in-camera ‘Dual IS 2’ system for a total of 7 stops of shake reduction. It’s dust and water-resistant, and offers a minimum focus distance of about 1m (3ft).

The lens weighs 1570g (3.5lbs) and accepts 82mm filters. Optical construction comprises 22 total elements in 17 groups, including one aspherical, three Extra-low Dispersion and two Ultra Extra-Low Dispersion lenses to reduce chromatic aberration.

The Panasonic Lumix S Pro 70-200mm F2.8 will arrive alongside the also-announced 16-35mm F4 in January at a price of $ 2600.

Press release:

Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S PRO 70-200mm F2.8 O.I.S. and LUMIX S PRO 16-35mm F4

LUMIX S PRO/S Lens Lineup as of November 2019

LUMIX S PRO 50mm F1.4 (S-X50)
[NEW] LUMIX S PRO 16-35mm F4 (S-R1635)
LUMIX S PRO 24-70mm F2.8 (S-E2470)
LUMIX S 24-105mm F4 MACRO O.I.S. (S-R24105)
[NEW] LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)
LUMIX S PRO 70-200mm F4 O.I.S. (S-R70200)

LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)

LUMIX S PRO 16-35mm F4 (S-R1635)

The LUMIX S PRO 16-35mm F4 (S-R1635) is a versatile wide zoom lens boasts high descriptive performance in both photo shooting and video recording.

It is also rugged dust/splash-resistant, *4 withstanding harsh conditions even at 10 degrees below zero for high mobility. The filter size is 77 mm, with a 9-blade circular aperture diaphragm.

Both lenses will be at retail in January. The LUMIX S PRO 16-35mm F4 will available for $ 1,499 and the LUMIX S PRO 70-200mm F2.8 is $ 2,599.

Panasonic Lumix S Pro 70-200mm F2.8 O.I.S. specifications

Principal specifications
Lens type	Zoom lens
Max Format size	35mm FF
Focal length	70–200 mm
Image stabilization	Yes (up to 7 stops with Dual IS 2 compatible bodies)
CIPA Image stabilization rating	7 stop(s)
Lens mount	Leica SL
Aperture
Maximum aperture	F2.8
Minimum aperture	F22
Aperture ring	No
Number of diaphragm blades	11
Optics
Elements	22
Groups	17
Special elements / coatings	1 aspherical + 3 ED + 3 UED elements
Focus
Minimum focus	0.95 m (37.4″)
Maximum magnification	0.21×
Autofocus	Yes
Motor type	Linear Motor
Full time manual	Yes
Focus method	Internal
Distance scale	Yes
DoF scale	No
Focus distance limiter	Yes
Physical
Weight	1570 g (3.46 lb)
Diameter	94 mm (3.7″)
Length	209 mm (8.23″)
Materials	Magnesium alloy
Sealing	Yes
Colour	Black
Zoom method	Rotary (extending)
Power zoom	No
Zoom lock	No
Filter thread	82 mm
Hood supplied	Yes
Tripod collar	Yes

Articles: Digital Photography Review (dpreview.com)

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Canon unveils the EOS Ra, a full-frame mirrorless astrophotography camera

06 Nov

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Canon very quietly today released a dedicated astrophotography version of its EOS R camera, the EOS Ra.

Much like the Nikon D810a and Canon’s own 60Da, the EOS Ra has been modified to better capture celestial objects in the night sky, but aside from that remains unchanged from its more conventional counterpart. Specifically, Canon has modified the IR filter in front of the full-frame sensor, to allow the Ra to capture as much as four times the amount of hydrogen alpha rays (656nm wavelength) compared to the standard EOS R camera. This alteration will make it easier to capture the deep red infrared rays given off by objects in space.

The EOS Ra also offers a 30x magnification option in the EVF and in Live View, a dramatic increase from the 10x magnification found in the standard EOS R. This increase should make it easier to focus on celestial bodies to get focus just right.

Aside from those two alterations, the EOS Ra is effectively identical to the EOS R, complete with the 30MP sensor, 3.69M-dot OLED EVF, dot-matrix LED panel and magnesium-alloy body.

The Canon EOS Ra is currently available to pre-order for $ 2,500. No estimated shipping timeframe has been given at this time.

Update: As of 5pm PT, the EOS Ra product page on Adorama.com has been removed. We have asked Canon for clarification and will update this article accordingly.

Articles: Digital Photography Review (dpreview.com)

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Canon Announces 24P Video in 90D, EOS RP Via Firmware Update

05 Nov

The post Canon Announces 24P Video in 90D, EOS RP Via Firmware Update appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon Announces 24P When Canon debuted the EOS RP, photographers who also shoot video were intensely frustrated by one feature:

The lack of 24p video recording when shooting HD.

24p is especially important to videographers going for a cinematic look; 24p is a very common choice in movies, and the 24p look is now expected by moviegoers.

While the Canon EOS RP did offer 24p when shooting 4K, Canon customers were still disappointed. For anyone who wished to shoot in the HD arena at 24p, the Canon EOS RP was off-limits.

This trend continued with the Canon 90D, which also lacked 24p, though this time when shooting both 4K and full HD. And the Canon EOS M6 Mark II also missed the 24p feature.

Fortunately, Canon seems to listen to its consumers. On October 8th, the photography giant announced that it would be bringing 24p recording to a series of DSLR and mirrorless cameras. It promised to start with the EOS RP and the Canon 90D, followed by the PowerShot G7 X Mark III, the G5 X Mark II, and the Canon EOS M6 Mark II.

And just last week, Canon delivered. The company released its firmware version 1.4.0 for the Canon EOS RP and its firmware version 1.1.1 for the Canon 90D, allowing both cameras to shoot video at 24p. As the EOS RP already had 24p capabilities when doing 4K video, the firmware update simply expands this into the full HD territory. But the Canon 90D offered no 24p capabilities, and the firmware update has turned this around, giving the DSLR 24p shooting in both full HD recording and 4K recording.

You can download this new firmware from the Canon website (completely free!).

While the G7 X Mark III, G5 X Mark II, and EOS M6 Mark II haven’t yet received their firmware updates, you can be fairly confident that Canon will deliver. Canon has even offered a timeline, promising 24p for the G7 X Mark III and the G5 X Mark II before New Years, and the EOS M6 Mark II in 2020 (hopefully early on!).

Now I’d like to ask you:

What do you think of this firmware update? Does this make the Canon 90D or the Canon EOS RP more desirable? Share in the comments!

The post Canon Announces 24P Video in 90D, EOS RP Via Firmware Update appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

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Dropbox Transfer file-sharing service with up to 100GB limit is now out of beta

05 Nov

Dropbox Transfer, a file-sharing service previously made available to beta testers, is now available to all Dropbox users. The tool enables anyone to share files at capacities up to 100GB with optional password protection and expiration dates. The content is accessed using a privately shared link; the recipient doesn’t need a Dropbox account to download the content.

Dropbox Transfer is similar to WeTransfer, Smash, Hightail and other file-sharing services. The platform enables Dropbox users to rapidly upload content from their account or computer’s hard drive, set an expiration date and password if desired and choose the background and logo for the Dropbox Transfer interface that’ll be presented to the recipient.

According to Dropbox, its file-sharing service gives users more control over the content than they’d have if they shared a folder. For example, the link to the transferred content automatically expires in seven days. As well, the recipients aren’t able to edit the files in the transfers and the sender can monitor the number of views and downloads.

By default, a Dropbox Transfer link will show the recipient a list of the shared files and their sizes, the name of the sender, and the transfer’s expiration date. The transfer size limitation is based on the sender’s Dropbox plan: free users are limited to 100MB, Plus ($ 12 per month) and Business Standard ($ 15 per month) include 2GB transfers, and the following plans support 100GB transfers:

– Professional ($ 19.99 per month)
– Business Advanced ($ 25 per month)
– Enterprise (Pricing varies, contact Dropbox for details)
– Education (Pricing varies, contact Dropbox for details)

Users who want to change the transfer’s background and logo will need a Dropbox Professional subscription. Content can be transferred and accessed using the Dropbox.com/Transfer desktop website and the company’s iOS mobile app. It’s unclear whether Android support is in the pipeline at this time.

Update (November 5, 2019): Updated headline to clarify the 100GB limit is only for select Dropbox plans and clarified the pricing on the various plans offered.

Articles: Digital Photography Review (dpreview.com)

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The Sony a6600 is (almost) a great camera for event photographers

05 Nov

Introduction

Out-of-camera JPEG.
Sony 16-55mm F2.8 G | ISO 400 | 1/250 sec | F2.8

In Eden, there is greasy pizza, hoppy beer, a DJ and a ton of hipsters (myself included). I am of course describing Eden Seattle, an event space in the city’s industrial neighborhood that was recently home to an Art Battle.

Before you ask, an Art Battle is a competitive, live-action art contest. There are a series of twenty minute rounds, with the audience voting at the end of each to decide which artists progress to the finals. At the end of it all, the paintings are auctioned off and everyone goes home happy – often a little tipsy, and possibly with a piece of rapid art under their arm.

As it turns out, the a6600 is just too darn slow

As a photographer, the challenge is to capture the fast-moving, well-lit painters as well as the atmosphere of the attentive audience in the surrounding shadows. This means constantly changing settings to properly compensate for lighting and subject movement. I needed a camera that could keep up with me, that would react instantly to my inputs, and get out of my way so I could get on with taking pictures.

Out-of-camera JPEG.
Sony 16-55mm F2.8 G | ISO 320 | 1/250 sec | F2.8

Along with a new 16-55mm F2.8 G lens, we just got the Sony a6600 into the DPReview office. We already know a lot about the image quality of the camera, and have been impressed with its autofocus system, but I wanted to see how Sony’s APS-C flagship and a high-end zoom lens (plus a couple fast primes for good measure) would cope with the fast-paced environment.

As it turns out, the a6600 is just too darn slow.

Taking the good (photos) with the bad (lag)

Processed in Adobe Camera Raw.
Sony 16-55mm F2.8 G | ISO 3200 | 1/100 sec | F2.8

Now, it’s true that the a6600 shoots ridiculously fast bursts, high-speed video, and all that. By ‘slow,’ I mean that I experienced such distinct operational lag when changing settings – lag that is noticeably worse than the company’s a7 or a9 series of full-frame cameras – that it was an incredibly frustrating tool for this type of use.

I was constantly double-checking my settings instead of focusing on my photographs

To start, here’s how I set up the camera: full manual control, with auto ISO. I did this because I wanted to make sure that the aperture stayed wide-open regardless whether I had the zoom or a prime on the camera, and I wanted to be able to quickly change the minimum shutter speed with direct dial control. I could drop to 1/60 sec for static subjects in the dark, and 1/320 sec for the properly-lit painters. But here’s where the lag comes in.

Processed and cropped slightly in Adobe Camera Raw.
Sigma 56mm F1.4 | ISO 1600 | 1/320 sec | F1.4

First, lag in the dials. If I quickly turn a dial, say, three clicks, the camera will almost always adjust my setting by three steps – but only after a small pause. That’s frustrating, but not a deal breaker.

Then, there’s a pretty pronounced lag when swapping between the electronic viewfinder and the rear screen. Again, not a deal breaker, but if I’m changing settings just before, after, or as I’m raising the camera to my eye, sometimes the camera seems to get bogged down and doesn’t catch up to the number of clicks I’ve felt the dial go through. That meant I was constantly double-checking my settings instead of focusing on my photographs.

Out-of-camera JPEG.
Sony 16-55mm F2.8 G | ISO 125 | 1/100 sec | F2.8

Then, there is a lag with the buttons. When I hit the exposure compensation button, I have to wait a beat before I can turn a dial to adjust it (and again, if the camera is swapping from EVF to LCD or vice versa, it would occasionally ignore this input altogether). And I tried assigning the rear AF/MF button to AF-ON, since I prefer back-button autofocus, but then there was a lag before autofocus initiated. It initiated much faster if I left autofocus on the shutter button.

And lastly, there’s lag if you want to use the touchscreen to move your AF point around with your eye to the finder. Sony’s Real-time tracking means I could theoretically keep my AF point in the center, alter my framing to get it over my subject, initiate tracking and recompose at will. However, I don’t want to always have to drastically alter my composition to get my focus point over my subject. But that’s what I ended up doing, because the screen lag meant I couldn’t quickly and precisely move the AF point where I wanted to.

Not a big deal, or a deal breaker?

Out-of-camera JPEG.
Sigma 56mm F1.4 | ISO 640 | 1/200 sec | F1.4

Now, it’s true that the Sony a6600 is an enthusiast camera, not a professional camera, and this sort of use-case is really pushing both what it’s capable of and could reasonably be expected to do.

But here’s the rub – there are other cameras, including the Nikon D7500, Fujifilm X-T3 and the Panasonic G9 – that I can expect to perform well in these situations. It’s not unreasonable to say that a larger sensor in an even more pro-oriented body would be even better, but at least those aforementioned cameras don’t leave me feeling as though I’m waiting for them to keep up with me.

To be fair, I can’t say that another camera would necessarily have gotten me appreciably more technical ‘keepers’: images that are in-focus, properly exposed, and so on. But what I can say is that I would have had a lot more fun, and felt a lot less frustration, and been able to focus far more on my surroundings and compositions if I didn’t have to worry about whether my shutter speed is where I wanted it to be.

Gallery

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Articles: Digital Photography Review (dpreview.com)

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Your Workflow for Styling Food Photography

05 Nov

The post Your Workflow for Styling Food Photography appeared first on Digital Photography School. It was authored by Darina Kopcok.

The success of any shoot relies on the timing and organization of the various elements to your workflow. There are so many things to remember when shooting. In food photography, forgetting one detail can make the difference between a great picture and one that is so-so. Here are my tips on what to consider during every stage of your food shoot and styling food photography.

styling-food-photography

Choose the right lens

Like with any genre of photography, choosing the right lens for what you’re trying to achieve is essential. In food photography, you can get a lot of mileage out of a couple of key lenses.

One of these is a 100mm/110mm macro lens if you’re shooting with a camera with a full-frame sensor. The macro capabilities will allow you to take the tight shots of ingredients or dishes, but you can also step back to take beautiful “food portraits.” This can make it a really versatile lens.

Another important lens is a 50mm. This will allow you to take overhead shots, and it’s a good lens to have for food portraits as well. Just keep in mind that on a full-frame, a 50mm is actually a wide-angle lens for food photography. You might need to use large backgrounds, and you can also end up getting distortion when shooting at a 3/4 angle — another good reason to have 100mm macro in your kit.

A 35mm lens is best suited to overhead shots and capturing large spreads of food and some lifestyle type of shots.

If you have the budget for it, I recommend a 24-70mm, as it’s an excellent all-around food photography lens.

Your Workflow for Styling Food Photography

Check your camera settings and exposure

If you want to shoot food, it’s best to set your camera to take RAW images. JPEG images are processed, which is handy, but they have a very limited color range as opposed to a RAW file. They also degrade in quality each time you retouch them, whereas you can edit RAW images as much as required without losing important information.

Do what you can to obtain the best exposure in-camera. Getting things right in-camera saves you a lot of time. It’s much harder and more time-consuming to try to fix things in post-production, and you still can’t always get as good of a result as you would if you just took the time to get things right in-camera.

When shooting in natural light, put your white balance on Auto and correct it in post-production if you need to. If you’re shooting with flash, be sure to set it to Daylight white balance.

If you’re using artificial light, set your ISO to 100. Your shutter speed should not exceed the sync speed of your camera. If you don’t know that, you’ll have to look it up. It’s generally around 200.

When shooting in natural light, use a tripod and lower your shutter speed to account for lower light conditions rather than cranking up your ISO, which will give your images unwanted noise.

Your Workflow for Styling Food Photography

Harness the light

Before you put the “hero” food down on the table, do a lighting test with a stand-in that is a similar shape and size of the dish you are shooting. Food dies very quickly, so you don’t want it sitting around while you’re tinkering with your lights.

Soft light is usually best for food photography, so use a diffuser, scrim, or translucent fabric to diffuse the light. In most cases, directional light (coming from one direction) will look best. Use black cardboard to create shadows, white cardboard or reflectors to kick in light or fill shadows.

The light should come from the side, the back, or somewhere in between to be most flattering to food. Never use front light – it looks great in portraits, but is too flat for food and will cause unwanted shadows on your set.

styling-food-photography

Choose the right surfaces and backdrops

Styling food photography also includes your surfaces. Your surface is what you place your food on. The backdrop is what goes behind your scene.

Slightly textured backgrounds and surfaces add more dimension and interest. But you can have too much of a good thing; a lot of texture will detract from the food, so tread lightly.

Avoid backgrounds or wood surfaces that are orange in tone, which looks unattractive with food. Most food is warm-toned, so a cool or neutral backdrop will make it pop. A warm backdrop with warm food can end up looking dated.

When choosing custom backdrops, avoid those that are shiny or reflective in any way. Metallic paint, black marble and such will be difficult to work with. A lot of matte varnishes also end up having a bit of glare, so do a patch test first.

Get creative with your surfaces and backdrops. Tablecloths, tissue paper, craft paper, canvas, linen, cheesecloth are all inexpensive DIY backdrops you can use.

Choose the right props and shooting them correctly

There is a reason that “prop stylist” is a whole occupation on its own. Don’t underestimate how powerful the right props can be.

The key is to not over-prop your scene. One or two props are often all you need unless you’re telling a wider food story like a tablescape. Too many props distract from your food.

It’s also vital that you use dishes and flatware that are on the smaller size. Props can often appear to the camera much larger than they really are, and dominate the image.

Go for matte dishes as much as possible. You can manage reflections in glass and cutlery by spraying them with “Dulling Spray” by Krylon.

You can also use a polarizing filter to cut down on reflections, although you’ll lose 1-2 stops in doing so.

Your Workflow for Styling Food Photography

Food styling tips

Use garnishes, herbs, seasonings, crumbs etc to create interest and texture on your set. Use them sparingly though, to avoid a messy look.

Keep herbs fresh by storing them between sheets of wet paper towels. You can also put them in a Mason jar filled with water to make them last longer.

When dressings salads, do so at the last minute, and always have extra dressings and sauces ready to brush on your food subjects.

One great tip used by pro food stylists is to use citric acid, a product like “Fruit Fresh,” to keep produce fresh-looking. Simply dissolve it in water and soak fruits and vegetables in the solution for 1/2 an hour. To keep a misted look on produce without having the water droplets evaporate quickly, use glycerine mixed with water and spray it on the items.

A food photographer should always have a food styling kit with items like brushes, cotton swabs, water spritzers, and squeeze bottles to bring to shoots. Other important items for your kit are drinking straws, tweezers, paper towel, and clean cloths.

Your Workflow for Styling Food Photography

Be aware of composition

Composition is a big subject and it can have a lot of impact on your food photography. Without it, the eye loses interest in what’s in the frame.

When shooting, check that you don’t have too much empty/passive space; crop tighter or rearrange your composition. On the other hand, you can shoot a bit wider to give yourself more leeway for cropping your compositions in post-production.

Remember that odd numbers of elements create balance and harmony, while even numbers compete with one another and weaken the impact of the image. There are many other principles of composition, like the Golden Mean, as well as leading lines, patterns, repetition, and texture.

Color is also a part of composition, so think carefully about how the colors of your props and backdrops complement your food.

Colors that are opposite the color wheel are called “complementary colors” and are especially pleasing to the eye.

Shooting your image

It’s best to shoot with a tripod and tether to your computer or laptop so you can see a larger and more accurate rendition of your image on the screen.

If you’re working with clients, they will expect you to shoot tethered. You’ll need to be able to show them every image and get their approval before moving on to the next shot to avoid them coming back to you, saying they didn’t like the image.

Shoot at a minimum of f/5.6 if you’re shooting overhead images

As for your aperture in general, f/5.6 or f/8 is a good default for food shots. You can have some nice bokeh with more of the food in focus.

While you’re shooting, don’t forget to take an image with a grey card or Color Checker to properly white balance in post-processing.

styling-food-photography

Focus and angle

To get the correct focus and angle, think about which would best complement the food and show it to the best advantage.

Overhead shots are the most graphic and work for many types of flat foods, such as pizza. They’re also a great way of getting more elements into the shot because the depth becomes flattened.

Use lower angles or straight-on angles for tall foods, such as burgers and stacks of pancakes. Keep in mind that lower angles create more surface shine

In general, you usually want to focus on the front of the food.

styling-food-photography

Post-Processing

Everyone has their own personalized workflow, but here are some tips for editing and retouching that you might find helpful.

If you use Lightroom, work on virtual copies of your files and keep the original untouched. Organize your images in Collections and input metadata that will help you find certain images according to keywords and other attributes.

If you’re more of a Photoshop person, save working copies as you retouch to avoid losing your work. Make sure you are using the correct color space for your purposes.

Always back up your RAW files and your work in at least three places, including a cloud backup system.

Your Workflow for Styling Food Photography

Your workflow for styling food photography: conclusion

There are a lot of details to remember while shooting and styling food photography. Hopefully, these workflow points can function as a kind of checklist for you of all things to keep in mind so you can take your images to the next level.

Do you have any other tips on styling food photography that you’d like to share? Please do so in the comments!

The post Your Workflow for Styling Food Photography appeared first on Digital Photography School. It was authored by Darina Kopcok.

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Sample gallery and impressions: We shot a test roll of Lomography’s new Metropolis film

05 Nov

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Lomography recently announced LomoChrome Metropolis, the company’s first new film stock in five years. It’s currently available for pre-order, however Lomography was nice enough to send us an early production roll to experiment with. We’ve had some rare sunny Seattle days here recently, so I took advantage and loaded the roll up in my Leica M6 + Rokkor 40mm F2 combo and got shooting.

Metropolis is pitched as a film stock with muted tones, desaturated color and heavy contrast. And though the results of my test roll aren’t exactly my cup of tea, I think it’s accurately advertised.

Then again, my initial choice in subject matter, dogs in halloween costumes, may not have been the best match for Metropolis. The greenish hue of the film doesn’t lend itself particularly well to scenes with a lot of bright colors. But I could certainly see this being a tempting choice for moody cityscapes and street photography. I’d also be curious to push it a little and shoot closer to dusk (I shot it at ISO 400).

Dogs in Halloween costumes may not have been the best choice of subject matter to compliment Metropolis’ unique characteristics.

This is not an everyday film, of course, its a subject-specific film. And choosing subject matter based on your film stock is sort of a foreign concept to me. I’ve always been in the mindset that the film being used should be adaptable to whatever subject matter you choose. But I think it’s cool that Lomography is coming up with creative new films for people wanting a specific or novel look.

Ultimately, of the images I shot, those with urban elements are the ones I think look the best. And I look forward to putting another roll through my camera, this time with the intention of shooting subjects that will complement its unique characteristics. Until then, I’ll stick with my standard film stocks.

See our ISO 400 LomoChrome Metropolis sample gallery

Articles: Digital Photography Review (dpreview.com)

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Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

LUMIX S PRO 70-200mm F2.8 O.I.S. (S-E70200)

LUMIX S PRO 16-35mm F4 (S-R1635)

Panasonic Lumix S Pro 16-35mm F4 specifications

Shoot in RAW

Setting white balance in Lightroom

Creative customization

Take a break

How to Achieve the Perfect White Balance in Lightroom: Conclusion

Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount

Sigma 24-70mm F2.8 DG DN Art Lens

Key features include:

Additional features:

Sigma 24-70mm F2.8 DG DN Art specifications

Panasonic Launches Two New L-Mount Interchangeable Lenses for the LUMIX S Series Full-frame Digital Single Lens Mirrorless Camera

Panasonic Lumix S Pro 70-200mm F2.8 O.I.S. specifications

Introduction

Taking the good (photos) with the bad (lag)

Not a big deal, or a deal breaker?

Gallery

Choose the right lens

Check your camera settings and exposure

Harness the light

Choose the right surfaces and backdrops

Choose the right props and shooting them correctly

Food styling tips

Be aware of composition

Shooting your image

Focus and angle

Post-Processing

Your workflow for styling food photography: conclusion

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