Nikon News (Page 23)
I did not set out to photograph coyotes this evening, but Rocky Mountain National Park sometimes produces the unexpected.
While waiting for a herd of elk to do something interesting, movement in the tall grass caught my eye. It didn't take long to determine that a coyote was on the hunt. However, it was mostly obscured by the grass. Autofocusing on the coyote was impossible, and focusing on the grass at precisely the same distance was nearly as challenging.
Then, the coyote made a pounce to catch a rodent. On heightened alert, I readied to hit the shutter release on the next leap. This process was mostly waiting with little shooting, but it only takes one successful sequence to get the desired image.
As the coyote cleared the grass, a Sony Alpha 1 shutter release press instantly locked the FE 600mm F4 GM OSS Lens's focus and tracked through the leap.
Yes, this leap also resulted in dinner for the coyote. Of course, that dinner was mostly hidden by the grass.
A larger version of this image is available here.
ISO 6400
6796 x 4531px
I just returned from over two weeks of chasing the elk rut (and landscapes and nightscapes), including nearly two weeks of leading small photography groups in Rocky Mountain National Park.
With the incredible performance of the cameras now available, selecting a small number of images to share is daunting, to say the least. The image shared here was low-hanging fruit. Why do I like it?
The subject is a good starting point. Elk make great photo subjects, and this bull is an especially great specimen, having a big body and a large set of antlers, with all points visible. Also, all four legs are partially visible (no overlap).
Bugling is one of the primary elk rut activities, and this bull, angled slightly toward the camera, has his nose up and curled back. The high head position better facilitates a catchlight.
The cloudy sky provided even lighting void of harsh shadows.
The 600mm f/4 compression and shallow depth of field combined with a low shooting position render the foreground and background strongly blurred, making the subject stand out. At the same time, the juxtaposition of the blurred items is complementary to the bull.
While working on a monopod is significantly more demanding than working on a tripod, the monopod permits fast position adjustment that makes captures such as this one possible.
When photographing wildlife in dim light levels, it is advantageous to use a relatively slow shutter speed to enable optimally bright images with a lower ISO setting for less noise. However, motion-blurred subjects are not usually acceptable.
Elk seldom move fast when bugling, and the bugle usually lasts long enough for a quick adjustment before shooting. However, once the bugle is completed, the bull may suddenly chase after another animal. This fast action requires a significantly faster shutter speed.
I use manual exposure mode with the ISO set to Auto to enable quick shutter speed adjustment. A quick roll of the top dial takes the camera from still motion to fast action shutter speeds in a fraction of a second, with the ISO automatically adjusting as needed.
To accommodate auto exposures being affected by bright grass or a dark forest (both seen in this image), I adjust exposure compensation. That adjustment is simply the turn of a dial on the Sony Alpha 1.
A larger version of this image is available here.
ISO 400
8640 x 5760px
From Western Digital
Western Digital Turbocharges Versatility with New SanDisk Professional PRO-G40 SSD
San Jose, Calif. - October 05, 2022
Western Digital Corp. (NASDAQ: WDC) today announced it has expanded its SanDisk® Professional line of premium storage solutions with the new PRO-G40™ SSD that supports dual-mode compatibility with both Thunderbolt™ 3 and USB 3.2 Gen 2 interfaces. Inspired by the way people create and share data today, this new drive is the company’s most rugged offering to date with a high-level IP68 rating, allowing professionals to immerse themselves in the action wherever their work or vision takes them.
“The nature of my work is unpredictable and as a result I must be incredibly flexible and versatile. I share the same expectations for every piece of equipment that I use from capture to archive which is why the SanDisk Professional PRO-G40 drive will immediately be a crucial part of my workflow,” said Andy Handcock, action, portrait and reportage photographer, and PRO-TEAM ambassador. “I need storage solutions that are lightweight, compact, rugged, and insanely fast. This checks all the boxes for me. The PRO-G40 SSD can easily withstand the rigors of travel and location work while doing so with a minimal footprint. Thanks to SanDisk Professional products like these, workflow is one less thing I need to stress about which frees me to focus more on the creative. That is paramount.”
Whether for a business professional or creative pro, the PRO-G40 SSD is a simple, flexible solution that offers great efficiency to get the job done. Professionals who are ingesting, editing, rendering, and transferring large amounts of mission-critical content need portable storage that is powerful enough to eliminate unnecessary downtime, and durable enough to handle heavy usage. The versatility of both Thunderbolt 3 and USB 3.2 Gen 2 interface compatibility when collaborating eliminates the need to have two different drives, one for each interface. The PRO-G40 SSD offers extreme speed and durability for real-time editing 4K/8K straight off the drive, smooth AR/VR rendering, or transferring daily workloads in quickly.
“The new PRO-G40 SSD eliminates the problem we have all experienced before: grabbing the wrong USB-C™ cable or computer for our Thunderbolt 3 or USB devices,” said Hector Sandoval, vice president of product marketing, pricing and programs at Western Digital. “By supporting both interfaces and including a cable that does as well, this drive enables creatives to efficiently collaborate across devices without having to worry about carrying the right gear nor diminishing sustained performance as they continue producing impactful content that powers our world.”
Key Features
- Dual-mode compatibility with both Thunderbolt 3 (40Gbps) and USB 3.2 Gen 2 (10Gbps) hosts through a single port makes collaboration across devices easier for maximized efficiency.
- The new offering boasts super-fast speeds up to 2700MB/s** read and 1900MB/s** write with a Thunderbolt 3 (40Gbps) interface. Move 50GB in 30 seconds or less and power through even the most demanding workloads. The cool aluminum core pulls heat away from the internal drive to help maintain super-fast transfer speeds over time.
- The PRO-G40 SSD has a pro-grade enclosure that is ready for any adventure and delivers a premium strength you can feel. Its ultra-rugged design with IP68 dust/water resistance, up to 4000-pound crush resistance, and up to 3-meter drop resistance*** help withstand the elements in just about every location for ultra-durability.
Availability
The PRO-G40 SSD is available now for MSRP $299.99 (1TB*) and $449.99 (2TB*) in the United States with a five-year limited warranty.
Orders
Order the SanDisk Professional PRO-G40 SSD from B&H.
* 1TB = 1 trillion bytes. Actual user capacity may be less depending on operating environment.
** 1 MB/s = 1 million bytes per second. Based on internal testing; performance may vary depending upon host device, usage conditions, drive capacity, and other factors.
*** On a carpeted concrete floor.
From Benro:
Introducing Polaris
The world’s first electric tripod head with camera interface controller, remote DSLR preview & configuration through WiFi/cellular.
Remote Shooting - From Anywhere, Easily Capture the Best Moments, Smooth & Precise
As the world’s first electric tripod head with camera interface controller, Polaris enables remote precision - whether you’re adjusting the composition of a photo - or programming the geared head and camera to capture a series of photographs to create a high resolution motion timelapse. The head also supports WiFi or Cellular connection - you can preview, review, and download files quickly and from anywhere.
The intuitive app based pre-programming and electromotion system allows you to customize your own shooting schedule or routine. Simply frame the shot by adjusting your pitch and pan angles - then check and input your parameters like ISO, apeture, shutter and more.
After that - let Polaris take care of your pro-level shooting without the need to even snap the shutter. Moreover, Polaris is so smart that it analyzes your shots and automatically dials in exposure values and sharpens details in your creations, saves you from the time consuming hassle of image retouching like focus stacking and time-lapse, etc.
More than just a remote head, Polaris contains high-precision brushless motors that allow you to have control over micro adjustments to framing both vertically and horizontally.
Even a novice can tune in the perfect composition by adjusting the head through the app or manually using the physical knobs. Make the fine details in your photos even finer and capture enrapturing videos without missing a degree of what you were trying to capture.
Also, the built in GPS & compass can easily determine celestial paths and adjust the camera angles for you to capture your perfect starry sky shot or hone in on a breathtaking timelapse of a stunning landscape during sunrise or sunset.
Remote-Shooting-From-Anywhere, Strong, From Inside Out
Engineered to withstand the harsh elements outdoor shooting presents, Polaris is made with aluminum alloy that endures severe working environments. Having a bad weather day? With an IPX6 waterproof level, Polaris resists water and dust even when it comes as a splash, light rain, or a heavy storm - your inspiration is no longer limited. Polaris’s weather resistance makes every event you want to capture possible.
Moreover, driven by a high-efficiency power supply system with low consumption, Polaris ensures you an outdoor shooting experience that is both concise and reliable; The unique power-saving design further prolongs Polaris’s battery life for ultra-long outdoor shooting.
Polaris not only allows you to adjust the composition of a photo, but it enables users to program the intelligent head to capture a series of photographs, easily track and take long exposures of stars, or create high resolution motion timelapses. Polaris also offers a wireless connection so you can do all of the above remotely as well as preview, review, and download files via a dedicated app from nearly anywhere.
The Astro version is capable of all intelligent modes, and the Timelapse version is capable of all modes apart from star tracking. An Astro module add-on is also available separately if wish to upgrade your Timelapse version to be Astro capable.
Suport this site buy ordering the Benro Polaris Smart Tripod Head from B&H.
Image quality test results are now available on the Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens page.
I like what I see except the wide open 400mm results are a bit soft (f/8 produces better sharpness).
Create a few comparisons.
Support this site by ordering the Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens from B&H | Adorama | Amazon USA | WEX
Please share!
From Topaz Labs:
Topaz Photo AI is here.
Maximize your image quality on autopilot. Edit sharper, cleaner, enhanced, and upscaled photos with our brand new flagship app.
We know you love Topaz apps! This is your chance to get the all-new Topaz Photo AI at a huge discount! Topaz Photo AI is on sale until October 7, 2022
Buy Topaz Photo AI once, own it for life with unlimited upgrades for 1 year.
Learn more at Topaz Labs.
"Capture One 22 (15.4.0) is a service pack containing several bug fixes, along with additional lens support."
Get the full details of this update in the release notes.
Order Capture One Pro at B&H.
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Learn more about the GoPro HERO11 Action Camera at B&H.
Learn more about the DJI Osmo Action 3 at B&H.
From Canon USA:
Help Make Your Memories Last with the New Canon SELPHY Photo Printer
For crafting, decorating, and more – the new Canon SELPHY compact photo printer provides high quality prints quickly and easily
MELVILLE, NY, September 14, 2022 –Scrapbookers and parents rejoice as Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the SELPHY CP1500 compact photo printer as the newest addition to the SELPHY printer line. Delivering long lasting1, durable, high-quality prints in less than a minute2, gifting friends and family physical memories and keepsakes which can be shared and enjoyed for decades3 (when stored in an album) has never been easier.
Designed with Space in Mind
In a stylish and compact design, the Canon SELPHY CP1500 photo printer is small enough to fit in a pocket or small purse and can be taken on the go – whether using the included AC adapter or the optional battery (sold separately)4. Its diminutive size doesn’t make the CP1500 short on function, though. The printer’s standard print size is 4”x 6” postcard – printed in approximately 41 seconds2. With the purchase of the optional cassette (sold separately)5, it can also print card (2.1” x 3.4”) and square label (2.1” x 2.1”) sizes. Thanks to protective coating, the CP1500 creates long-lasting photos that can withstand wear for more than 100 years when stored in an album3. Those looking for a bit more fun can personalize photos with a variety of borders, text, and pattern overlays – such as hearts around your family or paw prints for your furry friends. The creative possibilities are endless – customers can use these photos for crafting, journaling, decorating, or for school projects such as family trees.
Photos In A Pinch
The SELPHY CP1500 compact photo printer comes with diverse connectivity, allowing users to connect wirelessly to a compatible smart phone using the Canon PRINT Inkjet/SELPHY app6. Additionally, users can utilize the SELPHY Photo Layout app7 to convert a URL into a QR code that can be printed onto a photo – directing to social media pages or to photo locations on a map.
Specific product specs of the SELPHY CP1500 compact photo printer include:
- Dye-Sub technology
- Accommodates paper sizes: Postcard (4.0” x 6.0”) and, with purchase of optional cassette (sold separately)5, Card Size (2.1” x 3.4”) and Square Label (2.1” x 2.1”)
- Enlarged LCD monitor (3.5 inches) compared to the CP1300 printer
- Pattern overcoats (stars, hearts, flowers, and others)
Pricing
The Canon SELPHY CP1500 compact photo printer is scheduled to be available in October 2022 for an estimated retail price of $139.998 and will be available in two colors, black and white.
Orders
Order the Canon Selphy CP1500 Compact Photo Printer from B&H.
###
Availability and specifications subject to change without notice.
1 Canon cannot guarantee the longevity of prints; results may vary depending on printed image, display/storage conditions, and environmental factors.
2 Postcard size (4” x 6”) prints in approximately 41 seconds. Print speed obtained using compatible digital camera incorporating DIGIC II (other camera models may vary).
3 Based on accelerated testing by Canon in dark storage under controlled temperature, humidity and gas conditions, simulating storage in an album with plastic sleeves. Canon cannot guarantee the longevity of prints; results may vary depending on printed image, display/storage conditions, and environmental factors.
4 Supplies may be limited. Battery has an anticipated suggested retail price of $89.99. Actual price is set by individual dealers and may vary. Price is subject to change without notice.
5 Supplies may be limited. Cassette has an anticipated suggested retail price of $12.99. . Actual price is set by individual dealers and may vary. Price is subject to change without notice
6 Requires an Internet connection and the Canon PRINT Inkjet/SELPHY app, available for free on the App Store and at Google Play. Compatible with Apple devices running iOS 7.0 or later and Android mobile devices running Android 4.0 or later. Your device must be connected to the same working network with wireless 802.11 b/g capability as your printer. Requires a compatible social media account and is subject to that social media account's Terms of Service. Certain exceptions may apply.
7 Requires an Internet connection and the SELPHY Photo Layout app, available for free on the App Store and at Google Play. Compatible with Apple devices running iOS 7.0 or later and Android mobile devices running Android 4.0 or later. Your device must be connected to the same working network with wireless 802.11 b/g capability as your printer. Requires a compatible social media account and is subject to that social media account's Terms of Service. Certain exceptions may apply.
8 Price is subject to change without notice. Actual price is set by individual dealers and may vary.
App Store is a service mark and Apple is a trademark of Apple Inc., registered in the U.S. and other countries and regions. iOS is a trademark or registered trademark of Cisco in the U.S. and other countries, and is used under license. Android and Google Play are trademarks of Google LLC. All other product and brand names are trademarks of their respective owners.
Just posted: Sigma 20mm F1.4 DG DN Art Lens Review
Image quality test results from a second lens (Sample 2) are now available. The second lens performs similarly to the first.
Please share!
Order the Sigma 20mm F1.4 DG DN Art Lens from B&H | Adorama | WEX
Rent the Sigma 20mm F1.4 DG DN Art Lens from Lensrentals.
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From Sigma Corporation of America:
SIGMA Announces Development of 65mm T1.5 FF CINE Prime and 65mm T2.5 FF CINE Classic Prime Lenses, Plus Individual Purchase Option of All CINE Classic Prime Lenses
New lenses to debut at IBC 2022
Ronkonkoma, NY – September 7, 2022 – SIGMA Corporation of America, the US subsidiary of SIGMA Corporation (CEO: Kazuto Yamaki. Headquarters: Asao-ku, Kawasaki-shi, Kanagawa, Japan) is pleased to announce the development of the 65mm T1.5 FF CINE Prime lens, an addition to the SIGMA CINE LENS Full Frame Prime line, as well as the 65mm T2.5 CINE Classic Prime lens. With the addition of these new 65mm lenses, SIGMA now offers a total of eleven full-frame compatible prime lenses in each line ranging from 14mm to 135mm, covering the full range of standard cine focal lengths.
Additionally, effective with the introduction of the 65mm T2.5 FF CINE Classic Prime, lenses in this line may now be purchased individually. Prior to this announcement, the FF CINE Classic Prime lenses were offered exclusively for purchase as a ten-lens bundled kit.
Pricing and availability of the 65mm T1.5 FF CINE Prime will be announced at a future time. Pricing and availability of all individual CINE Classic Prime lenses will be announced at a future time.
Both new lenses will be on display at SIGMA Booth 12.C35 at IBC 2022, Amsterdam, the Netherlands, from September 9th to 12th, 2022.
Development of FF High Speed Prime Line 65mm T1.5 FF Announced
SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce its development of the FF High Speed Prime Line 65mm T1.5 FF, an addition to the offering of SIGMA CINE LENS interchangeable lenses for movie production. The 65mm T1.5 FF is a FF High Speed Prime Line lens that is compatible with large format digital cinema cameras. This is a prime lens that incorporates an optical system specially designed for cinema lenses to meet the stringent demands of this audience. As one of the few options compatible with the latest digital cinema cameras with large image sensors, it further expands the possibilities of movie production in the digital age. With the addition of the 65mm T1.5 FF, SIGMA will have a total of eleven 35mm full-frame compatible prime lenses ranging from 14mm to 135mm. The 65mm T1.5 FF announced at this time will be exhibited at IBC 2022, which is scheduled to take place in Amsterdam, the Netherlands, from September 9th to 12th, 2022.
FF High Speed Prime Line
65mm T1.5 FF
Launch: TBD
Accessories: Cap, Lens Support Foot (SF-31) supplied
Lens Mounts: PL (/i Technology compatible), EF and E-mount
* The appearance and specifications of the product are subject to change.
* /i is a registered trademark of Cooke Optics Limited used with permission.
* For detailed specifications, please refer to the product specifications.
#SIGMA #SIGMA65mmT15FF #SIGMACINELENS
[ SPECIFICATIONS ]
Model Name 65mm T1.5 FF
Product Line FF High Speed Prime Line
Edition Number 023
Lens Mount PL Mount (/i Technology compatible), Canon EF Mount, Sony E-Mount
Focal Length 65mm
Aperture T1.5 – T16
Diaphragm Blades 9 (rounded)
Close Focus *1 0.65m / 2'2"
Magnification Ratio 1:7.9
Image Circle FF f43.3 mm
Front Diameter f95mm / 3.7"
Filter Size M 86 x 1.0mm
Length *2 PL Mount (/i Technology compatible): 120.6mm / 4.8"
Canon EF Mount: 128.6mm / 5.1"
Sony E-Mount: 154.6mm / 6.1"
Weight *3 TBD
Angle of View FF *4: 31°
S35 *5: 21.4°
APS-C *6: 20.7°
Lens Support Foot LENS SUPPORT FOOT SF-31
* 1 Close focus distance is measured from the image plane
* 2 Front to mount flange
* 3 Without lens support foot
* 4 Horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 36mm x 24mm / 1.42" x 0.94")
* 5 Horizontal angle of view for a super 35 digital cinema camera aperture (aspect ratio 1:1.8, dimensions 24.6mm x 13.8mm / 0.97" x 0.54")
* 6 Horizontal angle of view for an APS-C camera aperture (aspect ratio 1:1.5, dimensions 23.7mm x 15.7mm / 0.93" x 0.62")
Development of FF Classic Prime Line 65mm T2.5 FF Announced
SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce the development of the 65mm T2.5 FF from the SIGMA CINE LENS "FF Classic Prime Line". The Classic Prime Line 65mm T2.5 FF adopts an optical system designed exclusively for the 65mm T1.5 FF cinema lens, but like the previously released FF Classic Prime Line lenses, the optical system is centered upon uncoated lenses. This configuration makes it possible to achieve both the high resolution that SIGMA CINE LENS is known for, as well as classic image expression with low contrast and beautiful flaring and ghosting effects. With the addition of the 65mm T2.5 FF Classic Prime Line lens, SIGMA now offers a total of 11 of these expressive 35mm full-frame prime lenses ranging from 14mm to 135mm. Both new 65mm cine lenses announced at this time will be exhibited at IBC 2022, scheduled to take place in Amsterdam, the Netherlands, from September 9th to 12th, 2022.
FF Classic Prime Line
65mm T2.5 FF
Launch: TBD
Accessories: Cap, Lens Support Foot (SF-31) supplied
Lens Mount: PL (/i Technology compatible)
* The appearance and specifications of the product are subject to change.
* /i is a registered trademark of Cooke Optics Limited used with permission.
* From conventional cine lenses, it is not possible to apply for the Mount Conversion Service for this "FF Classic Prime Line".
#SIGMA #SIGMAClassicPrimeLine #SIGMACINELENS
[ SPECIFICATIONS ]
Model Name 65mm T2.5 FF
Product Line FF Classic Prime Line
Edition Number 023
Lens Mount PL Mount (/i Technology compatible)
Focal Length 65mm
Aperture T2.5 – T25
Diaphragm Blades 9 (rounded)
Close Focus *1 0.65m / 2'2"
Magnification Ratio 1:7.9
Image Circle FF f43.3 mm
Front Diameter f95mm / 3.7"
Filter Size M 86 x 1.0mm
Length *2 120.6mm / 4.8"
Weight *3 TBD
Angle of View FF *4: 31°
S35 *5: 21.4°
APS-C *6: 20.7°
Lens Support Foot LENS SUPPORT FOOT SF-31
* 1 Close focus distance is measured from the image plane
* 2 Front to mount flange
* 3 Without lens support foot
* 4 Horizontal angle of view for a full-frame camera aperture (aspect ratio 1:1.5, dimensions 36mm x 24mm / 1.42" x 0.94")
* 5 Horizontal angle of view for a super 35 digital cinema camera aperture (aspect ratio 1:1.8, dimensions 24.6mm x 13.8mm / 0.97" x 0.54")
* 6 Horizontal angle of view for an APS-C camera aperture (aspect ratio 1:1.5, dimensions 23.7mm x 15.7mm / 0.93" x 0.62")
Announcement of the Start of Individual Sales of FF Classic Prime Line
SIGMA Corporation (CEO: Kazuto Yamaki) is pleased to announce that the FF Classic Prime Line, the latest lineup of SIGMA CINE LENSES will be available for sale individually. The FF Classic Prime Line will be exhibited at IBC 2022, scheduled to take place in Amsterdam, the Netherlands, from September 9th to 12th, 2022.
LAUNCH: TBD
#SIGMA #SIGMACINELENS #SIGMAClassicPrimeLine
[ Common Specifications ]
Lens Mount PL Mount (/i Technology compatible)
Diaphragm Blades 9 (rounded)
Image Circle FF f43.3 mm
Front Diameter f95mm / 3.7"
Get your Sigma Cinema Lens at B&H.
When two wide-angle f/1.4 lenses promoted as ideal for photographing the milky way (an addicting pursuit) show up in the same box with a dark, cloudless sky predicted for the next evening, you drop everything and drive hours to the darkest sky location in the region. In this case, that location was Cherry Springs State Park, an International Dark Sky Park, near Coudersport, PA. After a few hours of sleep and especially after loading the photos from the memory cards, you forget about arriving home at 2:30 AM.
The two lenses were the Sigma 20mm F1.4 DG DN Art Lens and the Sigma 24mm F1.4 DG DN Art Lens. The 20 and 24mm ultra-wide-angle focal lengths are ideal for framing the heart of the milky way, and the ultra-wide f/1.4 aperture allows sufficient light to reach the imaging sensor in the exposure time necessary to prevent star trails.
Here is the Cherry Springs State Park Milky Way at 24mm.
A larger version of this image is available here.
ISO 5000
5760 x 8640px
DJI just introduced the Avata FPV Drone. Check it out at B&H.
Image quality test results are now available on the Sigma 20mm F1.4 DG DN Art Lens page.
This lens is considerably sharper at f/1.4 than Sigma's first 20mm f/1.4 Art lens.
Compared to the Sigma 20mm f/1.4 DG HSM Art Lens
Compared to the Sony FE 20mm F1.8 G Lens
Compared to the Sony FE 24mm F1.4 GM Lens
Compared to the Sigma 20mm F2 DG DN Contemporary Lens
Compared to the Sigma 24mm f/1.4 DG HSM Art Lens
Compared to the Tamron 20mm f/2.8 Di III OSD M1:2 Lens
Order the Sigma 20mm F1.4 DG DN Art Lens from B&H | Adorama | WEX
Rent the Sigma 20mm F1.4 DG DN Art Lens from Lensrentals.
Please share!
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Note that these cards are reasonably priced and currently on sale. From Lexar:
LEXAR UNVEILS THE WORLD’S FASTEST CFEXPRESS TYPE B CARD DIAMOND SERIES
Key Features:
- Superior performance with transfer speeds of up to 1900MB/s, write speeds up to 1700MB/s and minimum sustained write speeds of 1600MB/s1
- With read speeds of up to 1900MB/s1, dramatically accelerating your post-production workflow from start to finish
- Features blazing-fast write speeds of up to 1700MB/s1 to capture smooth 8K RAW video. It is also compliant with VPG 400 video class
- Features PCIe Gen 3×2 and NVMe protocols for smooth, high-speed recording of high-quality images and 8K video
- Backwards compatible with select XQD® cameras2
- Lifetime limited warranty3
San Jose, USA, August 24th, 2022 – Lexar, a leading brand of flash memory solution, proudly unveils the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series, designed for professional filmmakers and content creators.
Unleashing blazing fast speeds of up to 1900MB/s read and 1700MB/s1 write, you can experience the unmatched performance of the Lexar® Professional CFexpress™ Type B Card DIAMOND Series. With minimum sustained write speed of 1600MB/s1, dramatically accelerate your post-production workflow for enhanced productivity.
Featuring PCIe Gen 3×2 and NVMe high-speed protocols, the Lexar® Professional CFexpress™ Type B Card DIAMOND Series allows you to capture the highest quality RAW, ProRes, and 8K video with ease. This card also supports VPG 400 specification for professional-quality video, enabling seamless and sustained performance when content is written to the card.
For added versatility, the DIAMOND Series is backwards compatible with select XQD® cameras2, enabling existing devices with next-generation performance. And, the cards are designed to be shock and vibration-proof, and resistant to extreme temperatures* for added durability.
“Lexar has a long history of providing industry leading memory solution for professional users and we are excited to continue this tradition with the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series. This card will dramatically help professionals speed up their workflow while providing the quality, performance and reliability they’ve come to expect from Lexar.” said Joel Boquiren, General Manager of Lexar.
Lexar® Professional CFexpress™ Type B Card DIAMOND Series will be available in this month for purchase online at an MSRP of xxx:
Availability and Introductory Sale
Lexar Professional CFexpress Type B DIAMOND Series Cards are in stock and on sale at B&H.
Notes
1 Up to 1900MB/s read transfer, write speeds lower. Speeds based on internal testing. Actual sustained speed may vary depending on host device.
2 Compatible with firmware enabled CFexpress™ cameras
3 Limited lifetime warranty is limited to 10 years from purchase in Germany and regions not recognizing lifetime warranty
*Shock resistant (1500G, duration 0.5ms, Half Sine Wave) and vibration resistant (10~2000Hz, 1.5mm, 20G, 1 Oct/min, 30min/axis(X,Y,Z)). Based on internal testing. Actual performance may vary.
Temperature-proof: Withstands operating temperature range from 14ºF (-10ºC) or 158ºF (70 ºC) and non-operating temperatures from -13ºF (-25ºC) or 185ºF (85 ºC).
CFexpress™ Type B cards are only compatible with devices that support the CFexpress™ format. Highest transfer speed achieved only when used with a CFexpress™ Type B reader, indicated by a boxed USB logo on the product. Contact your device manufacturer for details.
Lexar is not liable for any loss of data or images.
Actual usable memory capacity may vary. 1GB equals 1 billion bytes.
Check out the new mid-sized Robus RTH-1030 Triple Action Ball Head at B&H.
The Robus brand offers excellent quality for a reasonable price.
Learn more about the new SanDisk Professional G-DRIVE Enterprise-Class USB 3.2 Gen 2 External Hard Drives and preorder at B&H.
Thanks to suggestions and comments, clarifications and additional information have been added to the Does an APS-C Format Imaging Sensor Increase Reach? EOS R7 vs. R5 Comparison article.
Let's talk about "reach", which I'll loosely define as the number of pixels remaining in the desired composition, rendering a subject large when the image is viewed at 100% resolution. Longer focal lengths are the ideal method for accomplishing "reach" with any camera, but the term "reach" is usually reserved for when the longest available lens focal length is not long enough for the desired composition.
This article evolved from its conception, and with crop factors, focal lengths, extenders (teleconverters), pixel density, and reach in the discussion, I take on the challenge of omitting confusion.
To get started, I'll share the original purpose behind this article. A friend is on a mission to obtain sharper, higher-resolution images of distant birds. He is using an EOS R5, currently Canon's highest resolution mirrorless camera, with a Canon EF 600mm f/4L IS III USM Lens and EF 1.4x III Extender mounted.
The primary question is, will the Canon EOS R7 and 600mm F4 lens provide better final image quality than the R5, 600mm F4 lens, and 1.4x extender combination? I'll answer that specific question while providing more widely relevant information.
An important clarification is that an APS-C imaging sensor's smaller size does not provide more "reach" than a full-frame imaging sensor. Instead, it crops away a portion of the image circle. While the cropping provides a significant 1.6x narrower angle of view, simulating better reach in the viewfinder, a higher pixel density on the imaging sensor is what provides reach. That most APS-C imaging sensors have a higher pixel density than the full-frame camera models means that photographers touting APS-C cameras as having a reach advantage are usually right, regardless of why they think that.
Mounting a 1.4x extender behind the lens on a full-frame camera makes up for much, but not all, of the full-frame vs. APS-C angle of view difference just discussed. That comment addresses the final framing available but not the reach. When focal length limited, the max available framing is often less important as cropping is likely still necessary. Again, for this article's primary purpose, we are looking for the option that affords the most reach.
For reach, high pixel density is paramount.
A simple way to measure pixel density is to view the pixel size spec. For example, the EOS R5 has a 4.39µm pixel size, and the Canon EOS R7's spec is 3.20µm. Modern image sensors are gapless, so a smaller pixel size correlates to a higher pixel density, and in this example, the R7 has a significantly higher pixel density than the R5.
Interesting is that the R7 pixels are 1.37x smaller than the R5 pixels — creating R7 reach nearly equivalent to that of the R5 with a 1.4x mounted behind the same focal length. The full-frame camera will provide a wider angle of view (1.4x vs. 1.6x) and will provide more pixels overall (45 MP vs. 32.5 MP). Still, when the images are zoomed in to a 100% pixel level view, individual subjects are contained in approximately the same number of pixels from both options. Crop both images to the same composition within the APS-C angle of view, and the images will be nearly identical — assuming that the pixels from both solutions have equivalent quality.
Pixel-level image quality can vary from factors that include low pass filter strength (or lack of this filter), processing applied to the base RAW image, etc.
Another important clarification is that global statements about extender performance must be carefully crafted, as every extender model performs differently with every lens it is mounted behind. Magnifying the image circle of a lens that barely out resolves the imaging sensor may push it past that resolving point, resulting in some amount of blur imparted in an image.
I've long wanted to create an exhaustive extender comparison, but that means testing every camera, lens, and extender combination available, an unrealistic endeavor that is sure to have results impossible to describe concisely. Testing only the lens manufacturer's latest extender models with each lens test provides relevant, valuable results.
When comparing reach, the pixel-level image quality matters, and the R7 and R10 are both excellent in this regard. Always true is that extenders magnify lens aberrations. However, so do higher density imaging sensors.
Another universal truth is that 1.4x extenders reduce the maximum aperture, the focal length to entrance pupil diameter ratio, by one stop (and a two-stop reduction comes with 2x extenders). That one stop is approaching the difference in the amount of light captured by an APS-C sensor vs. the full-frame variant — before any cropping.
Extenders can impact geometric distortion. For example, the Canon RF 1.4x Extender introduces modest barrel distortion. Barrel distortion magnifies the details in the center of the frame more than those in the periphery. In that case, is the 1.4x rating is from the center of the frame (with the periphery magnification something less), or is the magnification rating an average over the entire frame?
Extenders impact AF performance.
"While it’s apparently less than was the case with EF-mount tele extenders and AF, there’s a designed-in reduction in actual AF drive speed of a lens with extenders mounted. This isn’t a design flaw, but rather a feature to ensure consistent AF, and ability for the AF drive to stop at the precise point of sharpest detected focus. Obviously, there’s also the issue of light loss with extenders, and while modern R-series cameras can technically AF at effective max apertures down to f/22, it’s clear that any modern AF system performs better with more light hitting the AF sensor, or image sensor in the case of mirrorless cameras." [Rudy Winston, Canon USA]
As a generalization, smaller pixels create a lower signal-to-noise ratio (SNR) and show more noise visible at a 100% resolution view. While that aspect does not distinguish between full-frame and APS-C imaging sensor sizes, APS-C imaging sensors often have higher pixel densities. This means that 100% view comparisons typically show full-frame models outperforming APS-C models.
Because of its larger size, a full-frame format (35mm) imaging sensor captures over a stop more light than an APS-C format sensor, with equivalent output size reflecting that difference in noise levels.
If cropping the full-frame image to the APS-C angle of view or narrower, the sensor size advantage evaporates, and in that case, f/4 is twice as wide as the f/5.6 max aperture of the 600 F4 + 1.4x combination.
Higher density imaging sensors show the effects of diffraction more readily, with slight effects beginning to show at about f/5.2 for the R7. However, those photographing long-distance subjects with long telephoto lenses likely want the widest aperture available, avoiding diffraction issues.
Should I get a higher pixel density camera or a longer focal length lens is a legitimate question. When getting to the long telephoto focal lengths, with reach as a goal, the camera option may be smaller, lighter, and less expensive.
A variation of that decision and the specific comparison investigated by this article is: should I get an EOS R7 or a 1.4x extender for a full-frame camera? Both options meet the same need.
When focal length limited with the highest resolution full-frame camera model, moving to a longer focal length lens with equal or better image quality is the ideal solution. However, such a lens is not always available, and it may be extremely expensive if it is — potentially far more costly than the R7.
In the case of the Canon RF 600mm F4 L IS USM Lens, Canon offers longer lenses, but with integrated 2x extenders, the Canon RF 800mm F5.6 L IS USM and Canon RF 1200mm F8 L IS USM Lenses do not have equivalent image quality and they are extremely expensive.
Let's take a look at a single APS-C vs. full-frame plus 1.4x comparison.
Note that I am testing the RF versions of the 600 F4 and 1.4x as they are what I currently have. The RF 600mm F4 and EF 600mm F4 III lenses have the same optics, and the RF 1.4x has only a slight optical advantage over the EF 1.4x III.
The images below were processed identically to the samples in the image quality test tool, with the low contrast neutral picture style and a very low sharpening value selected. However, the target was photographed at the same distance for both cameras and framed from farther than the standard framing distance.
Here is the R7 vs. R5 resolution comparison using the proper chart framing.
Numerous other camera combinations can be tested, but with the densest imaging sensor available, the R7 will rule all of them at this time, slightly besting the M6 II and the 90D.
Back to the promised test images:
The R7 image appears to have very slightly better resolution, and the R5 result's details are slightly larger, though I doubt these slight differences will be noticed in real-world images. The R5 image has more pixels and a modestly wider angle of view, but the R5 + 1.4x and the R7 have about the same reach.
When composed and cropped identically, the background blur created by 600mm f/4 should be similar to that of the 840mm f/5.6. At the same APS-C or wider angles of view, the R7 should take some high ISO noise advantage from the wider aperture enabling a lower ISO setting, and the R7 should avoid the (minor) AF performance penalty imparted by the extender.
Obtaining a sharp image requires all subject details to remain within the indivdual pixels capturing them during the entire exposure. In other words, motion blur is created by subject details crossing into adjacent pixels while the shutter is open. As imaging sensor pixel density increases, so does the shutter speed required to avoid camera and subject motion blur. The image brightness effect from increasing the shutter speed will often be offset by increasing the ISO setting, which increases noise.
However, increasing the focal length has the same effect. So in the end, the option with the most reach will have the highest shutter speed requirement.
Sometimes the camera settings required for a situation include a shutter speed sufficient for stopping motion at the lowest-noise ISO setting, making this point irrelevant.
Did you notice the diffraction softness showing in the R7 f/8 result vs. f/5.6?
Usually, a lens produces better image quality in the center of the image circle than in the periphery. APS-C imaging sensors utilize only the optimal center of the imaging circle. However, extenders magnify the center of the image circle, also utilizing the sweet spot. Thus, both options avoid the worst aberrations.
Here is a periphery comparison from the test described above:
These results tell a story similar to the first results.
Hopefully, the mix of information presented in this article was helpful. A conclusion from this discussion is that the Canon EOS R7 (or another high-density APS-C format camera) is a viable alternative to a 1.4x extender on a full-frame model when significant cropping (APS-C angle of view or smaller) will be required. That's just in case you needed an excuse to get this high-performance camera.
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