Nikon News (Page 25)
Just posted: MindShift Gear Filter Nest Mini Review.
The next step in bettering the kit.
The MindShift Gear Filter Nest Mini has been backordered everywhere, but it just showed up in stock at B&H
Watch for the Filter Nest Mini to arrive at Think Tank Photo | Adorama | WEX
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"Capture One 22 (15.2.1) is a service pack with important bug fixes and a lens profile" for the Canon RF 70-200mm F2.8 L IS USM Lens.
Get the full details of this update in the release notes.
Get Capture One at B&H.
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Just posted: Pelican 1615 Air Wheeled Hard Case Review.
This case is nearly the same as the Pelican 1637 Air Wheeled Hard Case, with one significant exception — the dimensions.
Order the Pelican 1615 Air Wheeled Hard Case from B&H | Adorama | Amazon USA | WEX
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Time to start planning: a total supermoon lunar eclipse is coming on May 15-16, 2022 and, barring clouds, will be visible to a significant population, including most of the USA.
From EarthSky.org:
People in the Americas, Europe and Africa will see the total lunar eclipse during the night of May 15-16, 2022. Plus, on this night, the moon is close: a supermoon.
Penumbral eclipse begins at 1:32 UTC on May 16 (9:32 p.m. EDT on May 15).
Partial eclipse begins at 2:27 UTC on May 16 (10:27 p.m. EDT on May 15).
Totality begins (moon engulfed in Earth’s shadow) begins at 3:29 UTC on May 16 (11:29 p.m. EDT on May 15).
Totality ends at 4:53 UTC on May 16 (12:53 a.m. EDT).
Partial eclipse ends at 5:55 UTC on May 16 (1:55 a.m. EDT).
Penumbral eclipse ends at 6:50 UTC on May 16 (2:50 a.m. EDT).
Maximum eclipse is at 4:12 UTC on May 16 (12:12 a.m. EDT).
Duration of totality: About 85 minutes.
Note: This total eclipse is central. That means the moon passes centrally through the axis of Earth’s dark (umbral) shadow. The moon is in a near part of its orbit – close to Earth – during the eclipse. It’s a supermoon.
Because they are so deep, such eclipses typically have the longest total phases. In this case, the duration of totality lasts almost an hour and a half: 84.9 minutes!
Get the complete lunar eclipse details at EarthSky.org
Plan to participate in this event. Order your long telephoto lens now from B&H to ensure the ability to capture the lunar details in high resolution. You might want to also pick up a tracking mount.
Here is the story behind the Super Wolf Blood Moon Lunar Eclipse 2019 Progression Composite Image.
Use your favorite night sky app (such as Photo Ephemeris) to determine moon's elevation. You need to ensure that the shooting location does not have obstructions that will not block the view during the shooting period.
Many of us will find the moon high in the sky when the eclipse begins and will be shooting nearly straight up during totality. The How to Shoot Upward with a Large Lens While Using a Gimbal Tripod Head article may be helpful.
Just posted: Cartoni Focus 8 Fluid Video Head Review.
The Focus 8 is entry level into the high-performing Cartoni Focus series.
Order the Cartoni Focus 8 Fluid Video Head from B&H or Adorama.
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Note that the new, faster Delkin Devices 512GB BLACK CFexpress Type B Memory Card is priced at only 499.99. That is less than $1/GB for a fast, premium-grade card.
The new Delkin Devices BLACK CFexpress Type B Memory Cards are in stock at B&H.
From Delkin Devices:
Delkin's New BLACK CFexpress™ Type B Memory Cards Surpass Nikon Z9 Limits
POWAY, CA, MAY 6, 2022 - Delkin Devices, a manufacturer of flash storage solutions and camera accessories, announced today the launch of its latest version of top-selling BLACK CFexpress™ Type B memory cards. With improved speeds, more capacity and guaranteed full compatibility with the latest Nikon Z9 firmware (v2.0), Delkin’s BLACK CFexpress™ cards offer photographers and videographers a solution that is both reliable and trustworthy for professional use.
Specially designed to meet the data-intensive demands of today’s broadcast, cinema and photography industries, Delkin BLACK CFexpress™ Type B cards provide minimum sustained sequential write speeds exceeding 1240 MB/s, guaranteeing flawless cinema-quality video recording, including 8K RAW 12-Bit @ 60fps (2.6 Gbps) in the Nikon Z9. These cards when used in the Nikon Z9 also allow shooters to surpass the maximums stated in the camera manual, capturing an unlimited amount of high-resolution RAW photos in a single press. The cards are also capable of offloading data at speeds reaching up to 1725 MB/s, ensuring the quickest, most efficient data transfer from card to computer for immediate file access and sooner post-production start time.
“What is the Delkin Difference?” asks Jenn Sherry, Delkin's Director of Retail Sales & Marketing. She continues, “a handful of key things make us rock. Our Delkin BLACK line offers the World’s Best Warranty for memory cards, the cards come serialized from authorized retailers and we offer customer service in four time zones around the globe. No other memory card company offers that to their customers. If you haven’t purchased a Delkin CFexpress card before, give us a chance. I’m happy to take your call personally and answer any questions.”
Each BLACK CFexpress™ Type B memory card has undergone extensive testing to ensure full functionality in today’s high-end cinematic hosts, including ones from Canon® (C300 Mark III, C500 Mark II, 1D X Mark III, R3, R5 & R5C), Nikon® (D6, Z6 II, Z7 II & Z9), Panasonic® (S1/S1R & GH6) and Phase One® (XF IQ4). It is important to note though that CFexpress™ Type B cards are not backwards compatible with either CFexpress™ Type A, CFast 2.0 or CompactFlash hosts.
In addition to their “Lifetime Warranty” policy, Delkin continues to offer a unique built-in insurance policy for their BLACK memory cards, known as the “48-Hour Replacement Guarantee”. Delkin will replace any non-working BLACK card within 48 hours or less (not including weekends), prior to receiving the non-working card. Cards can also be exchanged over-the-counter at any authorized Delkin BLACK reseller.
Image quality, vignetting, flare, and distortion test results along with specs, measurements, and standard product images are now available on the Sigma 16mm F1.4 DC DN Contemporary Lens page.
This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Save $75.00 instantly via the current Sigma promotion. Order the Sigma 16mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX
Rent the Sigma 16mm F1.4 DC DN Contemporary Lens from Lensrentals.
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While I'm sure the new show will offer great opportunities, I'm going to miss the old PhotoPlus Expo.
PHOTOPLUS Embraces New Identity as Create NYC, Relocates to Brooklyn to Welcome Creator Community
MAY 2, 2022
After two years of in-person event cancellations due to the COVID-19 pandemic, PHOTOPLUS is proud to return this year as Create NYC Powered by PHOTOPLUS. To be held from September 29 to October 1, 2022, the three-day event leaves the Jacob Javits Convention Center for the Duggal Greenhouse in Brooklyn, NY.
The photography industry’s premier trade show morphs into a festival experience. Create NYC immerses attendees in anything and everything Image Culture. It celebrates all visual storytellers whose work crosses various platforms, expresses shared experiences, inspires dialogue for change, and blurs the lines between art and cultural relevance.
Create NYC puts education and experience first, featuring a main stage of dynamic speakers who will strike meaningful conversations about the impact of imagery on society. Additionally, the event will offer attendees the opportunity for intimate educational moments through creator walks, sessions, and lab-style workshops – all known as Creator Experiences led by engaging visual creatives, including photographers, filmmakers, editors, artists, and more.
Tickets for Create NYC will be available starting June 13. Unlike in previous years, ticket quantities will be limited.
“The decision to reimagine PHOTOPLUS into Create NYC was in response to demand from a rapidly growing emerging creator community,” said Create NYC Show Director Joseph Kowalsky. “The definition of an imaging professional and visual storyteller has broadened. Create NYC aims to be the home for all using imaging technology to create stories that trigger emotion and impact society.”
About Create NYC Powered by PHOTOPLUS: A 3-day experience based in Brooklyn, NY, that celebrates the world of Image Culture, shedding light on visual storytellers that transcend the boundaries of the frame, page, or screen to broaden and share collective experiences, inspire meaningful conversation and change, and act as the bridge between artistic work and cultural relevance.
About Emerald: Emerald’s talented and experienced team grows our customers’ businesses 365 days a year through connections, content, and commerce. We expand connections that drive new business opportunities, product discovery, and relationships with over 140 annual events, matchmaking, and lead-gen services. We create content to ensure that our customers are on the cutting edge of their industries and are continually developing their skills. And we power commerce through efficient year-round buying and selling. We do all this by seamlessly integrating in-person and digital platforms and channels. Emerald is immersed in the industries we serve and committed to supporting the communities in which we operate. As true partners, we create experiences that inspire, amaze, and deliver breakthrough results.
Image quality, vignetting, flare, and distortion test results along with specs and measurements are now available on the Sigma 30mm F1.4 DC DN Contemporary Lens page.
This lens is available in Canon EF-M, Sony E, Leica L, Fujifilm X, and Micro Four Thirds mounts.
Save $75.00 instantly via the current Sigma promotion. Order the Sigma 30mm F1.4 DC DN Contemporary Lens from B&H | Adorama | Amazon USA | WEX
Rent the Sigma 30mm F1.4 DC DN Contemporary Lens from Lensrentals.
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When other serious photographers are photographing you instead of the amazing scene in your viewfinder, your sanity feels questioned.
Despite appearing big in this image, Lathe Arch is relatively small. Making it appear large in the frame requires getting close to it relative to the background. Getting close from the best side of this arch offers very few options, and gaining this vantage point required getting into a small opening between the large, abrasive granite rocks.
The tripod legs were spread straight out, straddling the crevice, and I was thankful for sturdy boots that were not crushing my feet despite being wedged between the rocks. I was mostly hidden from people walking by but was apparently photo-worthy to a couple of photographers that noticed me.
The widest focal length available on the mounted lens was 15mm, and that angle of view was not nearly wide enough to capture the entire arch and the supporting rocks beside it. Thus, a panorama was called for.
I suspected that this scenario was coming and often have a Really Right Stuff MPR-CL Rail with Integral Clamp in the bag. The rail mounted on the vertical side of the L-plate allowed the lens to pivot over its nodal point, ensuring that the foreground details aligned when stitched together. While nodal alignment is not essential when the foreground is distant, this foreground was very close.
There was a lot of blue sky above the arch, but much of that was framed (and cropped) out of this image. The 22mm focal length provided a sufficient vertical angle of view. The finished horizontal angle of view was determined by the sum of the camera angles used for the pano.
The next issue to resolve was the inadequate depth of field. The closest foreground rock was immediately in front of the lens, while Lone Peak and the mountains beside it were far away. This scenario calls for focus bracketing, an easy strategy with the Canon EOS R5.
I considered adding HDR bracketing to the already complicated capture and processing but didn't — and didn't regret that decision. The R5's dynamic range easily handled this scene.
After dialing in a manual exposure that barely avoided red channel overexposure, the camera was rotated to the left-most side of the capture, autofocus was acquired on the nearest point of the rock, and the set of focus bracketed images was captured. The ball head base was not close to level, so the panning base could not be used for the lateral movement. The ball was loosened, and the camera moved using the thirds gridline to locate the next position. Moving the bottom-left thirds gridline intersection to the former position of the bottom-right thirds line intersection provided a considerable 2/3 frame overlap between image sets, with the electronic level ensuring the camera remained level.
A 1/3 overlap is usually adequate, so moving the bottom-left thirds gridline intersection to the former position of the bottom-right line leaving the frame would have been more efficient.
Additional sets of images were captured until the complete width of the pano was finished. The result was five images per focus stack and four focus-stacked image sets for the panorama.
Creation of the final image involved processing the stacks and then creating the panorama from the four stacked images. While this process may sound complicated, it was simple. The computer did all of the work.
Capturing this image was high on the awkwardness scale, but as usual, I barely remember the discomfort, and the image will bring back the great memories of this morning long into the future.
A larger version of this image is available Here.
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Check out the just announced edelkrone JibONE v2 Motion Control Jib Arm at B&H.
Check out the new, rugged Samsung T7 Shield Portable SSDs with an up to $50.00 introductory savings at B&H.
From Lexar:
LEXAR UNVEILS THE WORLD’S FASTEST CFEXPRESS TYPE B CARD DIAMOND SERIES AND CFEXPRESS TYPE A CARD GOLD SERIES
San Jose, USA, April 25, 2022 – Lexar, a leading brand of flash memory solution, proudly unveils the world’s fastest Lexar® Professional CFexpress™ Type B Card DIAMOND Series and Lexar® Professional CFexpress™ Type A Card GOLD Series at the National Association of Broadcasters (NAB) event this week in Las Vegas, Nevada.
From field to post production, Lexar aims to provide our users products that offer unmatched quality, performance, reliability and compatibility to dramatically accelerate workflow from start to finish.
To meet the demand of high-performance memory solution needed for professional filmmakers and content creators, the Lexar® Professional CFexpress™ Type B Card DIAMOND Series provides unmatched read speeds of up to 1900MB/s, dramatically accelerating your post-production workflow for enhanced productivity. And with blazing-fast write speeds of up to 1700MB/s1, quickly capture smooth RAW 8K, 6K and 4K video with ease. It is also backwards compatible with select XQD® cameras2.
Designed to leverage the capabilities of next-gen cinema cameras and mirrorless camera adopting the CFexpress™ Type A format, Lexar also unveils the Professional CFexpress™ Type A Card GOLD Series. Featuring superior speeds of 900MB/s read, and 800MB/s1 write, this card allows you to capture high-quality images and seamless 8K, 6K and 4K video. Lexar will also launch the CFexpress™ Type A Reader, which supports ultra-high-speed USB 10Gbps transfer protocol via USB Type-C®, in the coming months.
The cards support VPG 400 specification which guarantees a minimum sustained write speed of 400MB/s to capture professional-quality video for compatible host devices. Designed specifically for professional video users, it also ensures that your content is captured seamlessly with no drop frames. Moreover, they are built with the rugged durability you need to capture content even in the harshest of conditions. The cards are designed to be shock and vibration-proof, and resistant to extreme temperatures3. And, for added peace of mind, both cards are backed by a Lifetime Limited Warranty4.
“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 and Lexar® Professional CFexpress™ Type A Card GOLD Series. These cards 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 and Lexar® Professional CFexpress™ Type A Card GOLD Series are under development and will be available in Q2 2022.
Lexar is exhibiting at this year’s NAB Tradeshow held at the Las Vegas Convention Center, Las Vegas, NV, from April 24th – 27th.
1 Speeds based on internal testing. Actual sustained speed may vary depending on host device
2 Compatible with firmware enabled CFexpress™ cameras
3 Temperature-proof: Withstands operating temperature range from 14ºF (-10ºC) to 158ºF (70 ºC) and non-operating temperatures from -4ºF (-20ºC) or 185ºF (85 ºC).
Shock resistant (50[G], 11[ms] / half sine wave.Apply the above impact 3 times from each of 3 orthogonal directions.)
Vibration resistant (10[Hz] to 2000[Hz] to 10[Hz], Sweep time: 20 minutes. 12 cycles per axis, (36 cycles for 3 axes) , Test time: 12[hr]).
4 Limited lifetime warranty is limited to 10 years from purchase in Germany and regions not recognizing lifetime warranty
So Lexar, owned by Chinese company Longsys, lays claim to the "World's Fastest" title.
If read speed is important to you, this card's claim matters, "... dramatically accelerating your post-production workflow for enhanced productivity." Write speed is the factor in play during capture, and the 1700 part of the "up to 1700MB/s" write speed is also extremely fast.
Temporing is the "minimum sustained write speed of 400MB/s" part. While 400MB/s is the minimum sustained write speed required to obtain the VPG 400 specification, is that the true minimum sustained write speed of this card? If so, the speed is less impressive, as other long-available cards have minimum sustained specs that far surpass this minimum spec.
Get your Lexar CFexpress Card at B&H.
This morning's sunrise delivered the highly desired pink sky to the west as I was overlooking the incredible landscape from Zabriskie Point in Death Valley National Park. That is a perfect combination, right?
What if the colorful sunrise sky color does not match the tone of the landscape? Warming the sky reduced its purpleness, bringing the color tones into closer alignment, but does the pink sky complement the yellow and brown landscape in this example? Or, does that combination clash?
Attractive distant details abound at Zabriskie, making foreground details easy to overlook. This composition takes advantage of the lines and texture in a nearby rolling hill just off the point.
A larger version of this image is available here.
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Just posted: Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod Review.
This is an impressively rigid tripod.
Order the Cartoni L507 Carbon Fiber 2-Stage SDS Smart Stop Tripod from B&H.
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Just posted: Cartoni Focus 10 Fluid Video Head Review.
This head costs substantially more than the recently reviewed Manfrotto 608 Nitrotech Fluid Video Head, but the Cartoni's fluid motion is better.
This head in the with-tripod kits is on sale at B&H – save $308.00 - $500.00.
Order the Cartoni Focus 10 Fluid Video Head from B&H | Adorama
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Overall, Canon and Sony offer outstanding camera and lens line-ups. It is hard to go wrong with either choice, and with no unanimous winner declared, neither Canon nor Sony will be referencing this article. However, making Canon or Sony happy is not my job — advising you is — and advantages exist between the brands.
While my kit is primarily based on Canon gear, I maintain a full complement of Sony cameras and lenses to use during evaluations. Having a solid basis from both brands permits a best-of-breed approach.
Aside from a Canon EOS 1Ds Mark III utilized to capture the site's standard lens product images in the studio, the kit is all mirrorless (I know, I should sell that last camera and process R5 images to the 1Ds III pixel dimensions). Most of the best cameras and lenses are mirrorless models; those starting out should opt for a mirrorless kit, and those interested in bettering their kits should begin the migration to mirrorless.
The Canon side of the kit foundation is built on a pair of EOS R5 bodies. The R5 is an outstanding performer, featuring general-purpose utility, outstanding AF performance, and excellent image quality, including high resolution.
A Sony Alpha 1 and a Sony Alpha 7R IV represent sony in the kit. The a1 is Sony's flagship model, featuring up to 30 fps continuous shooting with no viewfinder blackout, 50 MP resolution, and best-available specs and features throughout. The a7R IV's only advantage over the a1 is higher resolution. It would only take a moment of weakness to upgrade the a7R IV to a second a1.
Listing the cameras was easy, and most often, the which camera decision is answered by the lens needed.
Let's look at the lenses, starting with the zoom lenses and following with the prime lens options. The sort within those two categories will be the widest focal length and then the widest aperture.
Although it does not go to 11mm, this phenomenal zoom lens is smaller and lighter, has a 2x wider aperture, is at least as sharp wide-open as the Canon EF 11-24mm f/4L USM Lens, and has the same price. That Canon lens is another great option.
I primarily use this lens for landscapes, nightscapes, and interior architecture. Note that the Sony cannot utilize front filters, a detraction for certain needs, primarily those requiring a circular polarizer filter. The Canon lens has the same problem; however, the Drop-In Canon Mount Adapter adds full filter capabilities to this lens.
Canon RF 15-35mm F2.8 L IS USM Lens
Sony FE 16-35mm F2.8 GM Lens
The RF 15-35 is my go-to landscape lens, and it works well for other needs, including capturing the big view at events, etc. Because this focal length range is so important to me, I also have the most equivalent lens on the Sony side, the Sony FE 16-35mm F2.8 GM Lens. If a Sony camera is under evaluation, I'll take the Sony option without hesitation.
Canon RF 24-70mm F2.8 L IS USM Lens
Canon RF 24-105mm F4 L IS USM Lens
Canon RF 28-70mm F2 L USM Lens
The general-purpose focal length range tends to get a lot of use, and there are currently three superb-performing options in the kit. Initially, only the RF 24-70mm F2.8 had membership, and the results from this lens never disappoint. However, a wider aperture or lighter, more compact option was often needed.
The RF 28-70 F2 had been on the want list since it first arrived, but I waited long enough to ensure the high cost was justified. As it turns out, I waited too long, and this lens was still back ordered when a large indoor music festival assignment hit the calendar, providing the incentive to order. Unfortunately, the lens arrived about a month after the concert. Still, other needs for the f/2 lens are steadily arriving, especially the event coverage it is perfectly suited for.
While the RF 24-70 F2.8 is not a large or heavy lens, a modestly lighter option can make a big difference when hiking long distances, and the RF 24-105mm F4 recently joined the kit to facilitate some hiking needs later this year.
A phenomenal general-purpose zoom lens is arguably Sony's biggest opportunity.
Canon RF 70-200mm F2.8 L IS USM Lens
Canon RF 70-200mm F4 L IS USM Lens
My uses for the 70-200mm focal length range include portraits, events, landscapes, and product images. Until recently, the relatively compact and lightweight F2.8 lens was the kit's solo 70-200mm option, but some distance hiking needs justified the F4 variant's entry into the kit.
The Sony FE 70-200mm F2.8 GM OSS II Lens is an outstanding option for those with a sony kit, and this lens addition would help round out the Sony kit shared here.
Canon RF 100-500mm F4.5-7.1 L IS USM Lens
Sony FE 100-400mm F4.5-5.6 GM OSS Lens
The RF 100-500 goes almost everywhere with me. This lens is an outstanding choice for landscapes, wildlife, portraits, daytime field sports, and more.
The FE lens fills this important role when working with a Sony camera.
Those with Sony-based kits should also consider the Sony FE 200-600mm F5.6-6.3 G OSS Lens. This lens shifts the focal length range to the long direction, which noticeably increases the size and weight of the lens. Because I most often have a 600mm f/4 lens complementing the long telephoto zoom, I opted for the more compact and wider-angle lens option.
Now we look at the primes, starting with a combined discussion of the widest three lenses.
Sony FE 14mm F1.8 GM Lens
Sony FE 20mm F1.8 G Lens
Sony FE 24mm F1.4 GM Lens
These three lenses will outperform all others matching their focal length, and the ultra-wide apertures make them the ultimate astrophotography lenses. These three lenses are in the pack if I'm photographing the night sky.
A 35mm prime lens most often joins the pack when portraits are scheduled. The strong background blur and low-light capabilities of the f/1.4 aperture are extremely attractive features, with the 35mm angle of view facilitating a great perspective for full-body portraits.
Canon's EF 35mm f/1.4L II USM is an outstanding lens, both optically and physically. However, the Sony lens is smaller, lighter, and less expensive. I purchased the Sony lens to review and kept it.
When this lens arrived in the Canon USA refurbished inventory, I couldn't resist adding it to the kit. Reviewing the RF 50mm F1.2 revealed it the incredible-performing 50mm lens we had long waited for.
The focal length and aperture make the RF 50mm F1.2 an ideal portraiture and event lens.
Later, Sony introduced the FE 50mm F1.2 GM Lens. It is also an outstanding choice, slightly smaller and less expensive. In this decision, select the lens that matches your camera.
Especially with the RF 85mm F1.2 and RF 28-70 later joining the kit, my 50mm prime lenses do not see much use. Thus, I don't own models from both brands, and the RF 50mm lens is at the top of the consideration to sell list.
This lens joined the most wanted list immediately upon providing the image quality test results, where it showed a stunning improvement over its EF predecessor. This lens is so optically high-performing that it is currently used for image quality testing of Canon EOS R-series cameras.
If portrait photography is on your list, the RF 85mm F1.2 lens is an outstanding choice, one that makes low light a non-issue.
Canon EF 100mm f/2.8L IS USM Macro Lens
The only non-mirrorless lens in this list, the adapted EF 100mm L macro is an outstanding performer. I may upgrade to the Canon RF 100mm F2.8 L Macro IS USM Lens someday, but I'm not yet over the RF lens's focus shift issue.
Similar to the RF 85 F1.2 to the Canon system is the FE 135mm F1.8 to the Sony system. The 135mm focal length is superb for portraits (and products), and the extremely high optical quality is the reason this lens is used for Sony Alpha camera image quality testing.
Canon RF 400mm F2.8 L IS USM Lens
Periodically, I decide that I could get along without a 400mm f/2.8 lens in the kit. Then life happens, and I realize how important this lens is to the needs coming in. A 400mm f/2.8 lens is used primarily for sports and wildlife photography, but it gets called upon for portraits since it is already in the kit. This lens delivers differentiating results in all its uses, with the background blur strength surpassing nearly all other options.
Sony-based kits should opt for the also-superb FE 400mm F2.8 GM OSS Lens. I like the Canon option very slightly better, with better image stabilization performance being the biggest differentiator.
Canon RF 600mm F4 L IS USM Lens
Sony FE 600mm F4 GM OSS Lens
Wildlife and sports are among my primary photographic pursuits, the 600mm f/4 is the best option for those needs, and this option for both brands is covered in the kit.
The Canon lens's image stabilization system is better, but I'll pick the Sony option for a sharpness advantage if extenders/teleconverters are needed.
Canon RF 1.4x Extender
Canon RF 2x Extender
Sony FE 1.4x Teleconverter
Sony FE 2x Teleconverter
I like carrying and using the RF 1.4 with the RF 400 F2.8, and I like using the FE 2x with the FE 600 F4 when photographing the sun and moon. Otherwise, getting closer is usually better than using extenders, and in this kit, extenders and teleconverters are most frequently used for lens image quality testing.
Which lens will be added to the kit next? It probably has not been announced yet.
Most often, a wildlife silhouette opportunity comes unexpectantly and is fleeting.
Because the sky is typically very bright relative to the subject, the camera's meter usually selects silhouette exposure settings that lead to underexposed images, and correcting the underexposed images during post-processing yields increased noise.
To quickly acquire the right camera settings this opportunity, rules are ideal. For example, with a blue sky in the background, instruct the camera to create exposures X number of stops higher than it thinks is necessary.
Unfortunately, too many rules are needed to accommodate all scenarios. The primary reason that auto exposure + EV rules do not work is that the percentage of the frame filled with the subject and foreground changes dramatically, possibly during the same opportunity if varying exposures with a zoom lens. Also affecting the exposure rule is the sky color, ranging from bright white to deep blue or even the darkness of storm clouds.
While spot metering on the focus point can result in a more stable exposure basis for rules to work from, even animal color varies. For example, black bears are considerably darker than mule deer.
Mirrorless cameras with electronic viewfinders programmed to show the actual image brightness make establishing the ideal silhouette exposure settings considerably faster and easier than doing the same with a DSLR. While I often have the EVF histogram turned off due to interference with my brain's compositional abilities, that tool clearly shows the selected exposure, especially the bright side's available dynamic range. Even without the histogram enabled, the brightness can be discerned by looking at the brightest areas on the EVF.
What is the ideal silhouette exposure? That answer depends on the final look desired. If the animal and foreground are to be pure black, expose the sky to the preferred brightness. If a high key look is desired, expose for a normal animal brightness, letting the sky become blown — pure white and blinking on the LCD.
To gain the most post-processing latitude or if you don't want to decide what the final image should look like while frantically trying to capture the momentary opportunity, use the expose to the right strategy. Create an exposure that pushes the histogram graph lines to the right edge of the chart. There will likely be some small areas of the image showing over-exposed blinkies during image review, but not large areas of blinkies indicating loss of detail. The goal is to retain detail in the highlights while capturing as much detail as possible in the shadows.
If photographing landscape, an HDR technique would be implemented for this scenario. Unfortunately, animals tend to move before the multiple exposures can be recorded. If your animal is motionless and your camera is locked down on a tripod, bracketing exposures is a great option.
The expose to the right option was chosen for this bull moose image capture. The sky is bright but still blue. Using Photoshop, the moose was selected and brightened slightly.
The Canon EOS R5 and RF 100-500mm F4.5-7.1 L IS USM Lens get the credits for this capture. This combination is perfect for many wildlife photography pursuits.
A larger version of this image is available here.
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Sony astrophotography lens recommendations are now available on the Sony Lens Recommendations page.
While creating the Sony list was easy, the Canon line-up has more room for improvement. New to the Best Canon Lenses page:
Best Canon Astrophotography Lens (Mirrorless)
Best Canon Astrophotography Lens (DSLR)
The remoteness of the beautiful Ibex Dunes in Death Valley National Park is a big advantage and a big drawback.
The advantage part is that few people make the effort required to get there, and the Ibex dune field is often untracked.
The drawback is that these dunes are located near ... well, nothing. The drive from Furnace Creek took nearly two hours, with very few services encountered on the way, and the last 10 miles are narrow dirt and sand roads that require differing vehicle classes depending on the current conditions (including at an intermittent stream crossing).
The adventure does not stop upon arrival. The dunes are over a mile from the road, but they are massive and easily visible from the road (a generous term for it by this point — more like a trail), and the hike to the dunes is not difficult. In contrast to the size of the dunes, the vehicle is tiny and may not be visible from the dunes. A small angular mistake on the way out could mean a significantly longer walk and perhaps a night in the desert.
That adventure aspect was avoided with a GPS pin, an old-school compass reading, and a feature on the mountain opposite the dunes noted.
On this afternoon, a solitary set of tracks led through the low area between the untouched northern and southern dune fields. After photographing my way around the dunes, I settled into the selected sunset location to catch the day's last rays.
As I shared in the last dune image, the Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 proved the optimal choice in the Death Valley National Park dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
The R5's focus bracketing feature made complete depth of field easily obtained for every image. Four f/11 images were required for this 48mm focus stacked final photo.
A larger version of this image is available here.
ISO 100
7982 x 5324px
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