Canon and Sony News and What's New (Excluding Deals) (Page 25)
From 3Pod:
3Pod Debuts Everest Series of Carbon Fiber Tripods and Accessories at Adorama
3Pod’s New Series Feature Two 4-Section Carbon Fiber Compact Tripods and Two Arca-Type Ball Heads
NEW YORK, NEW YORK (June 27, 2023) – 3Pod today announced the Everest Series - a line of Carbon Fiber tripods and accessories designed to support photographers and videographers in any location and on any adventure. Featuring two 4-Section Carbon Fiber quick-release compact tripods and two Arca-Type Ball Heads, the new accessories give creators the tools they need to capture their vision with no bounds or restrictions.
The 3Pod Everest Carbon Fiber tripods and accessories are covered by a 5-year warranty and are available now exclusively at Adorama.
“The new 3Pod Everest Series is built to withstand the rigors of daily use, making any content-capture adventure possible,” said Usher Sperber, Product Manager for 3Pod. “Our mission is to aid and inspire photographers and videographers at every level through innovative design, durability, and easy-to-use systems. Whether you’re in a studio, on the streets, in rugged terrain or on top of a mountain, our product solutions will meet your needs without breaking the bank.”
3Pod Everest Series 4-Section Carbon Fiber Compact Tripods Equipped with Carry Case:
Made with 10X carbon fiber, the toughest travel 3Pods provide superior strength, and an innovative detachable center column design for compactness and extreme low angle performance. The lightweight tripods perform dependably in any environment and allow for still photography in the studio or shooting on location.
• Everest T3 4-Section Carbon Fiber Compact Tripod (MSRP $399.95) – Ultra-lightweight and designed for travel and adventure photographers, supporting up to 33lbs with a working height of up to 5.3ft.
• Everest T5 4-Section Carbon Fiber Tripod (MSRP $699.95) – The toughest workhorse with superior strength and stability for photographers and videographers, supporting up to 55lbs with a working height of up to 6.6ft.
3Pod Everest Series Ball Heads with Arca-Type Quick Release and Lever-Release Clamps:
The ball heads employ state-of-the-art ergonomic design, damping for flawlessly smooth movement and jitter-free panning. The two bubble levels assure absolute alignment in any three-dimensions. At the base of the head, the convenient inscribed 360-degree dial makes for easy, perfect positioning throughout the ball head's full range of panoramic movement. They are equipped with an innovative flip-lock clamping quick-release plate that lets users rapidly lock and release cameras with one hand.
• Everest H2 Ball Head (MSRP: $199.95) - Load Capacity up to 33lbs
• Everest H4 Ball Head (MSRP: $349.95) - Load Capacity up to 55lbs
Get the 3Pod Everest gear at Adorama.
The Canon EOS R100 is here, and it is time to set up this camera for use. Following are the 32 steps taken to prepare an out-of-the-box R100.
- Record serial number, and add camera to the insurance policy
- Open the box, find the battery, place it in the charger, and plug it in.
- Consider downloading and installing the latest Canon imaging software to gain support for the latest camera model(s). Canon Digital Photo Pro (DPP) and EOS Utility are the options I include in the install.
- Insert a memory card (we'll format the card in a later step), insert a charged battery, and power the camera on.
- The date, time, and time zone setup display will show at the first startup. Use the rear cross keys and set button to update this information.
- Set the camera's mode to Av, Tv, or M (some modes may provide only a subset of available menu options) and press the menu button.
- Shooting Menu, Tab 1: Image quality: Use the top control dial to set RAW to "RAW", and use the rear direction keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post-processing work)
- Shooting Menu, Tab 1: Auto Lighting Optimizer: Off (my choice is to adjust the images later)
- Shooting Menu, Tab 2: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust white balance modestly during post-processing)
- Shooting Menu, Tab 3: Picture Style: Neutral with Sharpness = 1 (Note: the low contrast "Neutral" picture style provides a histogram that best shows the available dynamic range. I usually change the Picture Style to "Standard" in DPP after capture.)
- Shooting Menu, Tab 3: Lens Aberration Correction: All options "OFF" (I suggest that most photographers enable Chromatic Aberration correction, enable others to taste)
- Shooting Menu, Tab 3: High ISO speed NR: Low (noise reduction is destructive to images details, so I prefer to add noise reduction sparingly during post-processing)
- Shooting Menu, Tab 4: Continuous AF: Disable (I want the camera to focus only when I half-press the shutter release)
- Shooting Menu, Tab 5: MF peaking settings: On (highlight in-focus detail in red during manual focusing)
- Shooting Menu, Tab 6: Image review: Review duration: 4 sec.
- Shooting Menu, Tab 7: Shooting info. disp.: Screen info. settings: Enable 1, 2, and 4; edit screen 2 to show only: Basic shooting info and Histogram
- Shooting Menu, Tab 7: Shooting info. disp.: VF info/toggle setting: Enable 1 and 3 (the default); edit screen 3 to show only Histogram
- Shooting Menu, Tab 7: Shooting info. disp.: Grid display: 3x3 (sometimes the 3x3 grid is helpful for alignment checking while not complicating the view)
- Shooting Menu, Tab 7: Shooting info. disp.: Histogram disp: RGB, Small (show the brightness levels of each channel separately and do not let the graph to take up much space in the display as it can affect the perceived composition)
- Shooting Menu, Tab 7: Disp performance: Smooth (select Smooth if shooting fast action and battery life is not a concern, select Power saving otherwise.)
- Playback Menu, Tab 5: Playback information display: 1 and 2 only; change view 2 histogram to RGB
- Wireless Settings Menu, Tab 1: Airplane mode: Off (only choose this setting if not using the camera's wireless features)
- Function Settings Menu, Tab 1: Format card (always format a memory card in the camera before using it — all data on the card will be lost)
- Function Settings Menu, Tab 1: Auto Rotate: On computer (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
- Function Settings Menu, Tab 2: Beep: Disable (most will find your camera's beep annoying)
- Custom Functions Menu, Tab 4: Custom Functions(C.Fn): C.Fn II:Others 5: Retract lens on power off: Disable (I opt for off to prevent a carefully-selected focus distance from resetting when the camera auto powers off)
- Custom Functions Menu, Tab 4: Copyright information: enter as desired
- Display Level Settings Menu, Tab 1: Menu Display: Standard (novices may appreciate this feature)
- Display Level Settings Menu, Tab 1: Mode guide: Disable (novices may appreciate this feature)
- Display Level Settings Menu, Tab 1: Feature guide: Disable (novices may appreciate this feature)
- My Menu: Add My Menu 1: Register your most-used options
- With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp
I make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration means you intend to shoot as I do, including in RAW-only format. While this setup works optimally for me, you should adjust the camera setup to your needs.
If you can't remember your menu setup parameters, keeping an up-to-date list such as this one is a great idea. Anytime the camera is set to the factory state, such as when serviced or when acquiring an additional camera, the list will ensure all settings are quickly re-established.
More Information
Support this site by ordering the Canon EOS R100 from B&H | Adorama | Canon USA | Amazon (all available countries) | WEX
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From Sony Electronics
Sony Electronics Announces Free ZV-E1 Upgrade to Elevate Content Creation
4K 120p Upgrade Now Available for Users
SAN DIEGO, June 28, 2023 /PRNewswire/ -- Sony Electronics announces an upgrade for the ZV-E1, the world's most compact and lightweight full-frame interchangeable lens camerai, offering video creators maximum creative freedom and versatility. Announced in March of this year, the ZV-E1 is designed to offer the ultimate video creation experience.
With this new upgrade, the ZV-E1 joins a roster of Sony cameras featuring 4K 120p video recording, including the Alpha 1 and Alpha 7S III, and the FX6, FX3, and FX30 from Sony's Cinema Line. This feature enables faster high-speed frame rate video recording, resulting in smooth slow-motion footage that is five times slower than standard 24fps, highlighting Sony's commitment to providing groundbreaking technology for all creators.
The upgrade also introduces Full HD 240p recording capability to the ZV-E1, providing even more flexibility for the video creator.
The original release of the ZV-E1 showcased impressive video performance with the ability to record high-quality 4K video at 10-bit 4:2:2 with full pixel readout, without pixel binning, and with minimized rolling shutter. This latest upgrade further enhances the camera's video capabilities and is unlocked through Sony's Creators' Cloud platform.
Sony's Creators' Cloud, designed for content creators of all types, offers services and applications optimized for the entire creative process, from shooting to collaboration with creators worldwide. This integration includes the Creators' App, a mobile application that facilitates seamless content transfer from camera to cloudii.
Completing the ZV-E1 upgrade via the Creators' Cloud is a simple process. Users sign into their Creators' Cloud account, access the Upgrade page, input their ZV-E1 model serial number, and download a free license. Installation can be performed via an SD card or with a USB plug-in. With the Creators' Cloud platform, users can also easily manage and reinstall licenses via the License Management pageii. A Sony Creators' Cloud account is required to access the license to upgrade.
Upgrade is available as of today, June 28, 2023, via the Creators' Cloud application at no additional cost to Alpha ZV-E1 users.
For more information about the ZV-E1 upgrade, please visit Sony's official website: https://creatorscloud.sony.net/cameraupgrade/4k120p/.
Get your Sony ZV-E1 at B&H.
Think Tank Photo just announced the MindShift Backlight XP 26L. The MindShift Gear BackLight 26L is currently my most-used backpack. The new XP version features X-pac Sailcloth, a lightweight yet incredibly durable material.
Learn more and place an order at Think Tank Photo (limited supply available).
Don't forget that you'll get a free gift and free shipping when using this site's links for your purchase at Think Tank Photo ($50.00 minimum purchase required).
Canon has announced new R5 C and C70 camera kits that include the RF 24-70mm F2.8 L IS USM Lens.
The R5 C kit is priced about $300.00 less than the camera and lens purchased separately, including the significantly discounted instant savings prices. Order the Canon EOS R5 C Mirrorless Cinema Camera Kit with RF 24-70mm f/2.8 Lens at B&H.
The C70 kit is priced about $200.00 less than the camera and lens purchased separately, including the $200.00 instant savings currently available for the lens. Order the Canon EOS C70 Cinema Camera Kit with RF 24-70mm f/2.8 Lens at B&H.
Sony FE 70-200mm F2.8 GM OSS II Lens firmware update version 03 is available for download.
Firmware Version 03 incorporates the following fixes and enhancements:
- Improves AF performance
While the benefits list is short, everyone appreciates better AF performance.
Get the Sony FE 70-200mm F2.8 GM OSS II Lens at B&H.
The short answer is "Get both." Otherwise, read on.
In this comparison, we look at a pair of stand-out professional-grade lenses in the ultra-popular 70-200mm focal length range, frequently used for photographing people and people participating in events, including sports. Landscape and product photography are two additional popular uses for these lenses. In addition to being so useful, lenses in this class also represent some of the longest focal length and widest aperture combinations available in an affordable, easily carryable lens.
Canon has long had a pair of 70-200mm image stabilized lens options in their lineup, and while their sizes and weights were reasonable, these were relatively long, heavy, fixed-size lenses that commanded a significant chunk of space in the case, requiring a horizontal position in most backpacks. Canon's first mirrorless 70-200mm lens option, the retracting RF 70-200mm F2.8 L IS USM Lens amazed us with its dramatically reduced size and weight, and the image quality produced by this lens was just as impressive.
Announced just over 1 year later, Canon RF 70-200mm F4 L IS USM Lens provided the second mirrorless option, featuring the same relative advantages as the F2.8 version.
The primary difference between these lenses from a use perspective is the maximum aperture opening. An f/2.8 aperture provides twice as much light to the imaging sensor as f/4, allowing it to do the same work in far darker conditions.
A wider aperture creates a shallower depth of field that results in a stronger background blur, and that is another big advantage of the f/2.8 lens.
While those two differences are tied directly to the required build specifications, the f/2.8 lens's modest image quality advantage is the result of optical design quality. The RF 70-200mm F2.8 vs. F4 lens image quality comparison shows the F2.8 lens as sharp (resolution and contrast) or sharper at f/2.8 as the f/4 lens at f/4. Equalized at f/4, the F2.8 lens has an advantage, and the two lenses perform more similarly at f/5.6.
The F2.8 lens has less lateral and spherical CA overall, shows modestly fewer flare effects at narrow apertures, and stopped down 1 stop, has less peripheral shading at 200mm f/4. The F2.8 lens has slightly better bokeh, creates better sunstars, and has less pincushion distortion at 200mm. The F4 lens has slight focus shift at narrow apertures and close focus distances.
Thanks primarily to the smaller lens elements required to create an f/4 aperture vs. an f/2.8 aperture, the F4 lens's big advantages are a considerably smaller size, lighter weight (about 2/3 as much), and lower price (about 43% less).
The Canon RF 70-200mm F2.8 L IS USM Lens vs. Canon RF 70-200mm F4 L IS USM Lens comparison shows the just-mentioned size and weight benefits of the f/4 aperture.
| Model | Weight oz(g) | Dimensions w/o Hood "(mm) | Filter | ||
| Canon RF 70-200mm F2.8 L IS USM Lens | 37.8 | (1070) | 3.5 x 5.7 | (89.9 x 146.0) | 77 |
| Canon RF 70-200mm F4 L IS USM Lens | 24.5 | (695) | 3.3 x 4.7 | (83.5 x 119.0) | 77 |
The F2.8 lens has a tripod mount ring, an advantage for rotating a camera mounted on a tripod or monopod, but the F4 lens isn't heavy enough to require such for balance purposes. The F4 lens has a modest maximum magnification advantage (0.28x vs. 0.23x). The F4 lens's zoom ring is located behind the focus ring and closer to the rear of the lens (an advantage), and its control ring positioned at the front of the lens is easier to use vs. the F2.8 lens's rear position. The F2.8 lens's hood has a filter adjustment window (that I don't like).
If the size, weight, and price differences are not an issue, get the F2.8 lens. I choose the F2.8 version most frequently, including for freezing low light action such as sports on a cloudy day, after the sun sets, or indoors, creating a stronger background blur, and creating starburst effects. This lens version is also the best option for portraits, weddings, and stage events. I also use this lens version for product photography and other close work where focus shift is not tolerable.
Otherwise, the F4 lens has your name on it. If hiking and traveling are on the agenda, small and light are likely more important than the f/2.8 aperture, and I likely have the F4 lens in my pack.
As hinted in the short answer, the ideal kit will include both lenses.
Support this site by ordering the Canon RF 70-200mm F2.8 L IS USM Lens from B&H | Adorama | Canon USA | Amazon USA | WEX
Get the Canon RF 70-200mm F4 L IS USM Lens at B&H | Adorama | Canon USA | Amazon USA | WEX
Rent the Canon RF 70-200mm F2.8 L IS USM Lens and Canon RF 70-200mm F4 L IS USM Lens from Lensrentals.
Last fall, my oldest and her husband were blessed with a son, Elliott. Right, that makes me a grandfather, and no other word has made me feel older. If you have followed this site from the beginning (celebrating 20 years this fall), it might make you feel old too.
It was time for another round of Elliott pictures. Timing baby pictures, even for babies as adorable as Elliott (I admit bias in that regard), revolves around the short durations between eating, sleeping, and being fussy.
It was nearly noon when I got the "We're ready!" call. Outdoor pics were requested, and the available lighting was from a bright overhead sun. The good location option under this bright spotlighting condition is facing outward from just inside a shade, yielding a large, but directional, soft light. A patio was the choice for this example.
These pics were all about Elliott, and a sense of place was not important. The Canon RF 135mm F1.8 L IS USM Lens was my easy first choice. Especially with the close subject distance required to fill the frame with a baby, this lens easily turned the background into a strong blur.
The shallow depth of field produced by the 135mm and f/1.8 combination at close distances challenges a camera's AF system. With a DSLR, a significant percentage of always-moving baby pics with such a lens would be at least slightly out of focus, and getting a perfectly focused image combined with the perfect baby pose is difficult.
With the latest round of mirrorless cameras, the challenge has become selecting the favorite image to share (and having the fortitude to delete cute baby pictures to avoid overload). The Canon EOS R5 in servo mode with people eye detection AF enabled allowed me to focus on framing and shutter release timing. The camera's results were nearly perfect. Image selection was almost exclusively based on Elliott and I coordinating on the timing and framing.
Post processing primarily involved use of the drool and mulch removal tools. Check out how sharp this eye is:
Most results looked like this. Drool inspiring.
Hopefully you picked up a photo tip and felt the joy of this little boy.
A larger version of this image is available here.
ISO 100
5464 x 8192px
Just posted: Canon BG-R10 Battery Grip Review.
The BG-R10 is one of my most-used and highest-valued accessories.
Used BG-R10 prices are influenced by the current $50.00 instant savings promotion on the new BG-R10. B&H currently has three used Canon BG-R10 Battery Grips in stock. Conditions from 9+ to "Like New" are priced at only $244.95 to $262.95.
Adorama also has a couple of BG-R10s starting at $221.00.
Get it new from B&H | Adorama | Canon USA | Amazon (all available countries) | WEX
Rent the Canon BG-R10 Battery Grip from Lensrentals.
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While you may or may not think this image is "great", the bird is undoubtedly a "great egret", and this beautiful bird is a great subject, especially at Gatorland, where they are acclimated to people.
Combine the permitted close proximity with the greatness of the Canon EOS R7 and RF 100-500mm F4.5-7.1 L IS USM Lens combination, providing an ultra-high-resolution APS-C imaging sensor and a tight angle of view at 500mm, and creative bird headshots become easy.
In this example, another egret behind the subject provided an all-white background, making the colorful bill and eye stand out artistically.
A larger version of this image is available here.
ISO 320
6960 x 4640px
Sigma 70mm f/2.8 DG Macro Art Lens firmware update version .04 is available for download.
Firmware Version .04 incorporates the following fixes and enhancements:
- AF assist function during video recording is now supported.
*Only SONY camera models with AF assist function are supported.
Get the Sigma 70mm f/2.8 DG Macro Art Lens at B&H.
Do you ever dream of the perfect shot playing out before you? For example, a huge bull moose emerging from hemlocks into a clearing while walking over a bed of bright red huckleberries? This cooperative bull meant I didn't have to wake up from that dream.
As I said before, when many miles are on the wildlife photography hiking plan, the Canon RF 100-500mm F4.5-7.1 L IS USM Lens is probably on my camera, the Canon EOS R5 in this case.
A larger version of this image is available here.
ISO 1600
8192 x 5560px
Canon EOS R5 C firmware update version 1.0.4.1 is available for download.
Firmware Version 1.0.4.1 incorporates the following fixes and enhancements:
- The following features are enabled when the following lenses are attached: CN-E14-35mm T1.7 L S, CN-E20-50mm T2.4 L F, CN-E45-135mm T2.4 L F, CN8×15 IAS S/E1,:
- Displaying metadata, such as the model name and the focal distance of the lens attached.
- Displaying T number.
- Support for Peripheral Illumination Correction and Chromatic Lens Aberration Correction.
- Support for Dual Pixel CMOS AF autofocus(CN8×15 IAS S/E1 only
- Support for [Dual Pixel Focus Guide]. - The following features are enabled when the following lenses are attached: RF-S18-45mm F4.5-6.3 IS STM, RF-S18-150mm F3.5-6.3 IS STM: - Adds a menu to switch lens functions. (Focus Ring, Control Ring, Lens Optical Image Stabilization)
- Adds EF lenses compatible with EF-EOS R 0.71x Mount Adapter.
CN-E14mm T3.1 L F
CN-E20mm T1.5 L F
CN-E24mm T1.5 L F
CN-E35mm T1.5 L F
CN-E50mm T1.3 L F
CN-E85mm T1.3 L F
CN-E135mm T2.2 L F
EF14mm f/2.8L?USM
EF24mm f/1.4L?USM
EF35mm f/1.4L?USM
EF50mm f/1.2L USM
EF85mm f/1.2L?USM
EF135mm f/2L USM - Enables left/right switching with one touch when using Magnify. (When recording 8K RAW with VR lens attached.)
- Enables magnify during 8K MP4 recording. (Not available when HDMI 4K is output.)
- Improves switching time between Video/Photo mode.
- Adds Power Saving Mode.
- Enhances Clear Scan resolution.
- Adds Digital-Teleconverter function. (1.5x /2x /2.5x /3x)
- Enables to change WFM size.
- Enables to change Vector scope gain by touch.
- Enables to change WFM/Vector scope opacity.
- Improves AF performance.
- Enables tracking frame to change variably depending on subject.
- Enables to detect heads facing sideways or backwards, or in situations such as when wearing a helmet.
- Enables to select Face via control ring/dial. - Adds [Subject Selection] assignable function via control ring/dial.
- Adds [Canon 709 / BT.709] to the Gamma/Color Space in Custom Picture setting.
- Adds [CMT 709] in Proxy Rec Color Conversion.
- Adds [CMT 709] in View Assist.
- Adds [G Gain] in White Balance in Custom Picture settings.
- Adds support for 4CH display in audio meter.
Get the Canon EOS R5 C at B&H.
With the sustained write speed, the performance factor that usually matters most, on the label, new from ProGrade Digital:
PROGRADE DIGITAL ANNOUNCES HIGHER CAPACITY 3rd GENERATION CFEXPRESS TYPE B 2TB MEMORY CARD
The CFexpress 2TB Gold Memory Cards Provide Dramatically Improved Specifications Needed for Longer Duration, High-Resolution Video Applications at Very Attractive Price Points
San Jose, CA June 16, 2023, 8:00 am — ProGrade Digital, Inc., founded with a mission to provide the highest quality professional grade digital memory cards and workflow solutions, announces its new higher capacity 3rd generation of 2TB CFexpress™ Type B Gold memory cards. This new generation features the same industry-leading quality of ProGrade current 2nd generation 128GB and 256GB capacity cards - leveraging PCIe, Gen 3 interconnect with NVMe 1.3 host controller interface. ProGrade Digital 3rd generation CFexpress 2TB cards provide read speeds of up to 1,700MB/s and burst write speeds of up to 1,500MB/s and sustained write speeds of up to 1,300MB/s – ideally suited for high-resolution video capture applications. To differentiate the new generation from prior generations, the sustained write speed is now clearly stated on the card’s top label.
“The introduction of our 3rd generation CFexpress 2TB Gold cards provides the extra-large capacity and performance needed for a very broad range of video capture needs,” said Wes Brewer, founder, and CEO of ProGrade Digital. “Our introduction of a 2TB capacity point, ensures that nearly all video capture modes can be utilized while also meeting traditional read speeds for quick offloading.”
ProGrade Digital CFexpress Type B 2TB Gold Memory Card:
- Maximum read speed up to 1700MB/s
- Burst write speed up to 1500MB/s
- Minimum sustained write speed up to 1,300MB/s
- Capacity: 2TB
- MSRP: $799.99
CFexpress Type B 2TB Delivers:
- Fully compliant with CompactFlash™ Association 2.0 specification
- NVMe host interface with PCIe Gen3 X2 interconnect
- Extended battery life and low standby power through NVMe PS0 – PS4 support
- Metal enclosure for improved durability and heat dissipation
- Thermal throttling protects the card from overheating
- Laser etched unique serial numbering for the tracking of key components and manufacturing data for the highest quality control
- Temperature ranges: operating 14°F to 158°F/ -10°C to 70°C; storage -4°F to 185°F/ - 20°C to 85°C
- Packaging: Biodegradable fiber
- Refresh Pro ready*
- X-ray proof and shock-proof
- 3-year warranty
Get the ProGrade Digital 2TB Gold CFexpress Type B Memory Card at B&H.
I know, my daughter graduated from college a couple of years ago, but my image processing backlog is ... eh, maybe I'll share that number later. It's high. Anyway, I want to talk about portraits today, so I selected this graduation portrait to final process and share.
When capturing a portrait image, the goal is usually to emphasize the subject. Competing for that attention is everything else in the frame. While those additional elements are often not removable, they can be blurred to reduce the sharp lines of contrast that catch and pull the viewer's eye.
An outstanding way to accomplish the blurred background goal is to use an ultra-wide aperture, creating a shallow depth of field that leaves the background strongly out of focus.
Sometimes, a sense of place is desired for the portrait. The 50mm angle of view is wide enough to incorporate those identifying elements without magnifying them into obscurity.
The Canon RF 50mm F1.2 L USM Lens or Sony's alternative, the FE 50mm F1.2 GM Lens, is a superb choice for this goal.
Here, the subject's head is aligned between the two buildings to further reduce background distractions.
Also check out The Graduation Exit and Athletic Graduation Portrait After Sunset images.
A larger version of this image is available here.
ISO 100
8192 x 5464px
Let's talk about getting the right shutter speed for airshow photography. This discussion is largely seeking or avoiding motion blur.
Seeking opposites for the same event may seem strange, but moving parts on an airborne aircraft should be blurred to illustrate movement, to avoid the parked-in-the-sky-appearance. Primarily, helicopter and airplane rotor and propeller blades appear best when blurred, while non-moving parts look best sharp.
Blur is created when subject details move across pixels on the imaging sensor during the exposure. The movement can be from the subject, the camera, or both, and the movement relationship between the two is what determines the amount of blur.
Higher-density imaging sensors essentially magnify blur, but the final output size equalizes this difference.
Motion rendered large in the frame, close or magnified with a longer focal length, will be stronger than that of the same motion rendered small in the frame. So, subject distance and focal length play into the decision.
When there are multiple movements in the frame, blur differences occur. Turning the zoom ring affects change in all directions, and focal length zooming during the exposure can create a blur that panning cannot mitigate.
With so many factors coming into play, and with those factors changing constantly, airshow shutter speed rules are imperfect. Still, especially for those not regularly photographing airshows (or not having the ability or interest to change shutter speeds constantly during a pass), rules are helpful.
Let's start with capturing the motion blur. Try starting with 1/400 or 1/500 second exposures to blur airplane and helicopter props and rotors. While this speed is a good starting point for motion blur, unfortunately, it is not easy to keep fast aircraft sharp at these exposure durations, and you can expect a high blurry aircraft ratio in the results.
Jets do not show moving parts on the exterior, and they typically move faster. Thus, there is no need to blur any portion of the subject (though a blurred ground background may be desired), and fast shutter speeds are the best choice to stop the motion. Figure 1/1600 or faster.
When jets are flying in multiple directions, as illustrated in this image, the speed and direction of all aircraft in relation to the camera's panning direction must be accounted for, and stopping all the action requires a faster shutter speed than when panning with a single jet or with a formation of jets flying in the same direction. Freezing both planes in the Blue Angels and Thunderbirds opposing pass routines requires an extremely fast shutter speed, considerably faster than the 1/2500 exposure used for this image.
Obtaining fast shutter speeds means higher ISO settings for adequately bright results. As mentioned in the last Blue Angels image I shared, aircraft are not super detailed and the sky lacks detail. This means that noise reduction can be applied without much loss of detail, smoothing the high ISO noise.
Use the rules for insurance level settings and check the results between passes. If you are getting consistently sharp prop aircraft at 1/400, try longer exposures for greater blur (and perhaps pan-blur the ground-based background when such avails itself). If all your jets are sharp at 1/1600, consider trying a longer exposure.
While I'm talking about airshow photography here, the concepts are transferable to other photographic pursuits.
A larger version of this image is available here.
ISO 640
3799 x 5331px
After presenting the Canon EOS R8 compared to the EOS R6 Mark II, I was asked how the Canon EOS R8 compared to the EOS R6. Good question, so let's answer it.
The Canon EOS R8 vs. EOS R6 specification comparison, along with the visual comparison of these cameras, highlight most of the "What are the differences between the Canon EOS R8 and the EOS R6?" answer.
Here are the R8 advantages over the R6:
- Newer imaging sensor featuring 24.2 MP resolution vs. 20.1
- Improved AF algorithms
- Autofocuses in slightly brighter conditions (EV -6.5 to 21 vs.EV -6.5 to 20)
- 1/16000 sec. electronic shutter
- 40 fps continuous shooting with electronic shutter vs. 20
- RAW Burst Mode with 0.5-second Pre-Shooting
- 2 hour max movie continuous recording time vs. 29 min 59 sec.
- Depth Compositing available in-camera
- USB 3.2 Gen 2 vs. USB 3.1 Gen 2
- Smaller: 5.22 x 3.39 x 2.76" vs. 5.45 x 3.84 x 3.48" (132.5 x 86.1 x 70.0mm vs. 138 x 97.5 x 88.4mm)
- Lighter: 16.3 oz vs. 24.0 oz (461g vs.680g)
- Considerably less expensive list price (though R6 promotions are equalizing this factor)
- Has a stills/video switch
- Has a Multi-Function Shoe
Here are the R6 advantages over the R8:
- In-Body Image Stabilization
- 1/8000 sec. electronic first curtain shutter vs. 1/4000
- 0.5" (12.7mm) EVF vs. 0.39" (9.9mm) with 2.36 million dots vs. 3.69, 0.76x magnification vs. 0.70x
- Anti-smudge coating on LCD
- 1/250 sec. X-Sync vs. 1/200
- 12 fps shooting with electronic first curtain vs. 6
- Dual memory card slots
- Higher capacity LP-E6NH battery vs. LP-E17, 510 shots vs 370 (LCD), 380 shots vs. 200 (EVF)
- Has a battery grip available
- Has a joystick, a rear dial, and additional buttons
- Has 3 custom modes vs. 2
While both cameras have signification advantages that should be carefully considered, the R8 delivers impressively for the lower list price. As mentioned, the R6 promotions are now equalizing this difference.
Have a difference to add? Email it to me.
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Any lake earning the name Picture must be worth stopping by, and this lake, in the Mt. Baker-Snoqualmie National Forest, just west of North Cascades National Park, deserves that name.
A great scene is made better when duplicated by a reflection, and this still evening enabled full advantage of this lake's reflecting surface.
The Canon RF 24-105mm F4 L IS USM Lens was this day's walkabout lens choice. In addition to covering the ideal angles of view, this relatively compact and lightweight lens consistently delivered sharp images, as always.
A larger version of this image is available here.
ISO 100
8192 x 5464px
Check out Lowepro's latest backpacks and camera box at B&H.
The larger backpacks provide plenty of open space and feature bring-your-own padded storage. I've been using this style of pack with increasing frequency, including with Lowepro Photo Active TLZ AW Top-Loader Camera Bags.
I often carry an extremely lightweight collapsible backpack similar to the RunAbout when traveling. It makes a good emergency pack, including when forced to gate check a larger pack, and it is great when only the basics are needed (such as a lunch).
On a trip targeting the Bisti / De-Na-Zin Wilderness Area in New Mexico, I ended up in Bears Ears National Monument, Utah — twice.
Why? Two reasons.
First, 3 days of sand and dust storms (even stones were in the air) provided an unfavorable New Mexico greeting. Second, Bears Ears National Monument has some great photo subjects.
I told you that before. This image is of Falling Rood Ruin Cliff Dwelling in Cedar Mesa, and this image capture shares the same circumstances and concepts as House on Fire.
Late in the morning, the sun reaches the warm-toned rock below this ancient Puebloan granary, creating a warm-toned light that reflects up into the massive rock overhang.
The name suggests the unique feature of this subject — the chunks of roof that appear to have fallen. While walking under this overhang, one can't help but wonder when the next chunk of roof will let go.
This image was processed using the cloudy white balance setting, cooler than the shade option technically right for the scenario (6500k vs. 7500k), with a bit of vibrance (+30) to bring out the richness in the colors.
While the Sony FE 24-70mm F2.8 GM II Lens was in the BackLight 26L, a cliff immediately behind this tripod position ensured there was no backing up. The Sony FE 12-24mm F2.8 GM Lens covered all the angles I needed at this location. This corner-to-corner sharp image is a single shot.
The 12mm angle of view captures a vast portion of the scene, including the lines in the rock under the structure.
A larger version of this image is available here.
ISO 100
5760 x 8640px
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