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Sony Announces New FE 200-600mm & 600mm F4 G

F5.6-6.3 G OSS Super-telephoto Zoom Lens

Sony 200-600mm

Sony 600mm F4 G Master

SAN DIEGO —June 11, 2019 —Sony Electronics Inc. today announced another new lens for their expanding full-frame FE lens lineup, the newFE 200-600mm F5.6-6.3 G OSS super-telephoto zoom lens (model SEL200600G).

Sony’s furthest reaching E-mount zoom, the new G Lens series model utilizes many of the company’s most advanced lens design technologies to ensure excellent image quality, high-performance autofocus (AF) and outstanding control. When paired with any of the latest, fastest E-mount camera bodies, it will reliably track and accurately capture all types of moving subjects, including birds, wildlife, athletes in motion and much more.

“We will continue to innovate and expand upon our E-mount lens lineup, which now features 33 full-frame models and 51 lenses in total. The new 200-600mm super-telephoto zoom lens gives Sony’s camera users yet another powerful tool to realize their vision,” said Neal Manowitz, deputy president for Imaging and Professional Solutions Americas at Sony Electronics. “For wildlife or bird photographers, sports photography enthusiasts and many others, it offers a new level of creative freedom, striking the ultimate balance between performance and portability.”

 

Key Features – New FE 200-600mm F5.6-6.3 G OSS super-telephoto zoom lens

 

  • Extended reach with built-in stabilization
    • Versatile tele-zoom range from 200mm telephoto to 600mm super-telephoto
    • Compatible with Sony’s E-mount 1.4x and 2.0x teleconverters, extending the reach to a maximum of 840mm at F9 or 1200mm at F13 with outstanding image quality and AF performance
    • Built-in optical stabilization with three different mode settings, enabling images that are sharp and in-focus at extended super-telephoto focal lengths

 

  • High resolution and corner-to-corner sharpness throughout the entire zoom range
    • Five extra-low dispersion (ED) glass elements and an aspherical element, arranged in a new optical design that minimizes chromatic aberration
    • 11-blade circular aperture mechanism that ensures beautiful bokeh
    • Coated with Sony’s original Nano AR coating to suppress unwanted reflections, glare or ghosting in images

 

  • Fast, precise and quiet autofocus[i]
  • Equipped with Sony’s Direct Drive SSM (DDSSM) focusing system, which has the power and precision needed to drive the lens mechanism for remarkably fast, accurate focusing
  • Advanced focus system for exceptionally quiet operation, avoiding any unwanted noise that can disrupt an unpredictable subject like a resting bird or other forms of wildlife
  • Internal zoom mechanism for reliable and stable handheld shooting
    • Overall lens length does not change while zooming, maintaining consistent balance and distance between the front of the lens and desired shooting subject
  • A fixed-length structure – internal zoom mechanism – retains high resistance to dust and moisture[ii]in order to deal with difficult outdoor conditions
  • Quick zoom operation with light zoom ring torque

 

  • Refined control and reliability for use in the field
  • Focus ring featuring Linear Response MF for fine, responsive manual focus control
  • Three customizable focus-hold buttons, plus a Focus Range Limiter
  • Dust and moisture resistant designiiand fluorine coating on the front element to resist dirt and fingerprints

 

Pricing and Availability

The FE 200-600mm F5.6-6.3 G OSS will ship in August 2019 for approximately $2,000 US and $2,600 CA. It will be sold at a variety of Sony’s authorized dealers throughout North America.

A variety of exclusive stories and exciting new content shot with the new lensand Sony ‘s other imaging products can be found atwww.alphauniverse.com, a site created to educate and inspire all fans and customers of Sony’s Alpha brand.

The new content will also be posted directly at the Sony Photo Galleryand the Sony Camera Channel on YouTube. For detailed product information, please visit:

[i]When the NEX series, ILCE-3000/3500, ILCE-5000/5100, ILCE-7/7R/7S, is attached, the autofocus function is limited.  For details, please visit our support site.

https://support.d-imaging.sony.co.jp/www/cscs/lens_body/?area=gwt&lang=en&mdl=SEL200600G&cat=3

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The amount of fresh content being produced each and every day is staggering. From news reporters to niche vloggers to filmmakers, amateurs and professionals all around the world are working non-stop to enlighten and entertain – and many of these content creators need to work wirelessly.

There loads of benefits to using wireless microphones. Most use them for their hands-free flexibility and inconspicuousness, and for many, wireless is the only way to go. No matter what field you’re working in, there’s a wireless RØDE mic to get the job done. Let’s take a look at the different options in the range and which one might be best for you.

A Note on RØDE Wireless Microphones

Before we dive in, it’s worth noting that all RØDE wireless mics use 2.4GHz digital transmission to beam audio between their respective transmitters and receivers. This is a license-free radio frequency in every country, meaning they can be used anywhere in the world without any issues. The entire RØDE wireless range also utilise a frequency agile system that automatically seeks out and hops between the best frequencies. This helps ensure the strongest signal is being used – reliable wireless audio at all times!

Wireless GO – NOW IN STOCK @ COMPETITIVE CAMERAS

The newest addition to the RØDE wireless family, the Wireless GO is an excellent audio solution for a wide range of content creators. It is super compact, with the transmitter and receiver weighing just 31g each and measuring less than the size of a matchbox. But what really sets it apart is the omnidirectional condenser mic built into the transmitter, meaning it doubles as a lavalier mic – truly wireless audio!

Other key features:

  • Up to 70m range (line-of-sight), but optimised for shorter-range operation in congested RF environments (such as shopping malls, office buildings, and dense urban areas)
  • Built-in rechargeable battery (charged via USB-C) offering up to 7 hours life on a full charge
  • 3-stage output pad: 0, -6dB and -12dB
  • Compatible with any lavalier
  • Use to 8 systems in one location

Who Is the Wireless GO Suitable For?

The Wireless GO is perfect for anyone looking for a compact, hassle-free wireless solution. It is quick and easy to set up and use, delivers excellent audio quality, and is optimised for use in environments with high RF activity – perfect for vloggers, streamers, YouTubers, run and gun filmmakers, podcasters and journalists, businesses, education institutes and more.

Wireless GO Features and Specifications - YouTube

RØDELink Filmmaker Kit

The Filmmaker Kit is the bigger brother of the Wireless GO and has been the industry standard in on-camera wireless audio since its release back in 2015. It is bigger than the Wireless GO and it has a greater range (100m and beyond in ideal conditions) and will help ensure a strong signal is maintained even when there isn’t line-of-sight between the receiver to the transmitter, making it suitable for filmmakers who find themselves on more demanding shoots.

Other key features:

  • 0db, -10db or -20db output attenuation on the receiver, plus a 0db, +10db or +20db gain switch on the transmitter
  • Powered by 2 x AA batteries – which can power the units for over 30 hours – as well as microUSB
  • 3.5mm TRS socket for plugging in a lapel mic
  • Receiver compatibility with other RØDELink transmitters, including the TX-M2 handheld mic, and TX-XLR adapter to plug in any XLR mic

Who Is the Filmmaker Kit Suitable For?

The Filmmaker Kit has found its way into the rigs of all kinds of content creators, from professional filmmakers to run and gun YouTubers. Obviously, it draws comparisons to the Wireless GO, but there are some key differences that may make one more suitable for you than the other. For detailed comparison, check out our RØDE Filmmaker Kit vs Wireless GO article.

RØDELink Newshooter Kit

As the name suggests, the RØDELink Newsshooter Kit is perfect for newsgatherers and journalists, but it is suitable for a wide range of use cases. The key difference between it and the Filmmaker Kit is the transmitter (in fact the receiver is the same in both kits), which is designed for use with any XLR microphone. This makes it an extremely versatile wireless system – plug in a handheld mic (like our Reporter) for broadcast-quality on-camera audio or connect a shotgun mic (like our NTG series) for wireless audio on set.

Other key features:

  • Four step gain control (0db, +10db or +20db, + 30db) on the transmitter, plus 0db, -10db or -20db output attenuation on the receiver (as with the Filmmaker Kit)
  • Powered by 2 x AA batteries (as well as rechargeable packs like the Sony NP-F)
  • Headphone output for direct monitoring of audio (with level control)
  • OLED display
  • 48v phantom power
  • 3.5mm TRS input, should you need to plug in a lav or headset mic
  • Comes with a waterproof pouch that doubles as a belt pack

Who Is the Newsshooter Kit Suitable For?

The Newsshooter Kit is suitable for many different content creators, leaning towards the more professional end of the spectrum: newsgatherers and journalists, videographers and filmmakers looking for a versatile wireless solution, audio engineers, sound designers and more.

RØDELink Performer Kit

The Performer Kit is our stylish desktop wireless system, perfect for live performance, presentations, lectures and more. Differing from the Filmmaker and Newsshooter kits, it comes with a powerful desktop receiver (RX-DESK) and handheld wireless mic (TX-M2), which is a wireless version of our M2 live mic.

Other key features:

  • Five step gain adjustment on the receiver (-20, -10, 0, +10, +30dB)
  • Digital display on the receiver to monitor peak levels, battery, signal strength and more
  • Mic and line outputs on the receiver
  • Mains power for the receiver and an included rechargeable battery for the mic
  • High-quality condenser mic
  • Low handling noise
  • Mute switch on mic and mute override on receiver

Who Is the Performer Kit Suitable For?

The Performer Kit is probably the least relevant wireless RØDE product when it comes to content creation. It is most suitable for live performance and presentation – for musicians, live sound engineers, wedding DJs, business professionals, educational institutions and more. That being said, how it could fit into your workflow is up to you!

Wireless Microphones for Content Creation: What RØDE Microphone Is Right for You?

As you can see, there is a RØDE wireless mic suitable for all kinds of content creators and all kinds of content creation. The most suitable option for you will really depend on what you’re working on, what kind of environments you find yourself in, and what types of accessories and features you need.

Want something that can handle lav mics and shotguns to record audio for film? The Newsshooter Kit is for you. Want something compact and highly portable that can capture high-quality audio for your vlogs? The Wireless GO is perfect. Want something with more range and longer battery life to take on complex shoots. Check out the Filmmaker Kit. Need a powerful and reliable wireless mic for a live performance or a conference? The Performer Kit is the way to go.

Check out the range of RØDE wireless mic here and find out more about the RØDELink series here.

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More Power of Small w/ Profoto B10 Plus IN STOCK TODAY @ COMPETITIVE CAMERAS

One of the biggest issues you’ll have when shooting on location happens before you even arrive; How much gear to take. Too much and you’re weighed down by lights and cables -take too little and you might not be able to deliver the images you’d hoped for.That insight drove Profoto to create two seriously small lights; Profoto B10 and B10 Plus. The B10 Plus is the most powerful of the two. Ten times more powerful than a speedlight in a package that’s similar in size and weight to a long camera lens, so it easily fits in any camera bag. Not only is the B10 Plus powerful, small, lightweight and easy to take on location; it’s flexible too. The integrated continuous light, with a wide range of light output from bright to gentle, means you can shoot both stills and video. And the adjustable color temperature makes it easy to blend the light from the B10 with the ambient light.Light shaping tools exist to help you be more creative with light. With the Profoto B10 Plus you can use any tool from the lightweight OCF family or select from over 120 light shaping tools available from the full Profoto range. So no matter what mood or feeling you want to create -you have the tools to make it happen.Ease of use has always been a priority for Profoto when designing their products. As a result, you’ll find a clean and minimal interface that makes The B10 Plus easy to use straight from the box. The battery is quick and easy to switch in and out, and you can also charge it while it’s in use. And the stand adaptor can be removed so it can be mounted on both camera tripods and light stands.You can trigger and control the B10 Plus from any Profoto Air Remote, or from the Profoto A1/A1X. Connect to the Profoto app and you can view and control all the settings from your smartphone screen, experience creative capture with your smartphone, and download all the latest upgrades.

Quick Features:

  • 500 watt seconds ( 2x the power of the B10 & 10x the power of your speed light)
  • TTL & HSS compatible with the Profoto TTL & Connect remotes
  • 200 Full Power Flashes per charge for the B10 Plus – Fully charge the battery in 90 minutes with the 3A charger
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By Jenn Gidman
Images By Anthony Cupaiuolo

Nearly 20 years ago, Anthony Cupaiuolo had a very different career than his current one: He was a political consultant. Then, in 2001, he decided to merge two of his passions—snowboarding and videography—and founded First Tracks Productions in California’s Lake Tahoe area, which soon built up a reputation as a full-fledged video production company specializing in action and adventure sports films, commercials, tourism clips, and event and promotional videos, in both the more-frequented parts of Tahoe, as well as deep in the backcountry.

Over the past year or so, First Tracks has added photography into the mix. “I took photography classes in high school and college and always enjoyed that immersive experience,” Anthony says. “I like the idea of telling a story in a single frame, as a complement to the way we usually tell it over an entire video. The photography angle also infused me with new energy. And clients seem to be responding to it: If a project is video focused, for instance, but you can provide a client with stills for their social media, that’s a real added benefit.”

Shooting these types of videos and photos in the Lake Tahoe backcountry is a natural fit for Anthony and his company. “It’s such a beautiful area here,” he says. “We work with nonprofits and groups like the National Forest Foundation, as well as do pro bono work for organizations like Lake Tahoe Wildlife Care, the Boys and Girls Club, and the Tahoe Area Mountain Bike Association. We work with the forest service, too, so we spend a lot of time promoting taking care of our trails and building new ones. I’ve got an almost 8-year-old daughter, and it’s terrific that she’s growing up understanding what it takes to maintain and respect the areas that we get to recreate in.”

Anthony recently added a Sony A7R III full-frame mirrorless camera system to their line-up, which meant he needed to invest in new lenses. That’s when he came across the Tamron 28-75mm F/2.8 Di III RXD. “When you switch ecosystems, having to start from scratch with lenses can be a tough thing when you’ve got a lot of money invested in other equipment,” he says. “This lens was so affordable for what you’re getting with it. It’s got a focal-length range that’s ideal for a variety of shooting scenarios, whether we’re on the slopes or in the lodge. Plus, being able to take advantage of that fast F/2.8 maximum aperture when I’m shooting indoors is awesome, since we often do indoor interviews or shoots at the bars and restaurants.”

What really excited Anthony about the 28-75, however, was its light weight, at just 19.4 ounces. “Since much of my work is in the backcountry, I’m constantly hiking up into the mountains, going far into the trailheads and climbing a lot of vertical feet,” he says. “Being able to keep the weight of my gear down is important, because if my equipment is too heavy, I’m not excited to get out there. Or if my lens is too heavy, I might sacrifice another piece of gear I need. Plus, I plan on using that lens on a gimbal for some upcoming videography projects. It’s reassuring to know that it’s compact and light enough to use on smaller gimbals, so I don’t have to lug a larger gimbal up the mountain with me.”

The lens also withstands the sometimes harsh weather. “I’ve used this lens a number of times when the snow’s been falling,” he says. “And if you’re doing a shoot with models and agencies involved, you sometimes have to go ahead with it, no matter what the weather. This lens has definitely been covered in snow, and there were zero issues. I would simply head inside, let the lens defog a bit, and I was good to start shooting again.”

Capturing a sense of place by making the scenery the star of the photo is one of Anthony’s goals when he’s creating his images. “I want my viewers to be able to imagine themselves there, even if they’re not a skier or snowboarder,” he says. “I want them to picture themselves in that moment, looking down at that view. Now, if you also happen to be a skier or snowboarder, that brings it to another level. Those viewers think: ‘I want to be there right now, that snow looks fantastic.'”

Anthony points to his scenic of Lake Tahoe as an example of placing the landscape front and center. “What I like with this image is you really get to see all of South Lake Tahoe from up above,” he says. “From this vantage point, you can see all of the different colors of the lake. It’s always blue, but depending on how the light’s hitting it, and what kind of light it is, the shades of blue differ. This is a perspective you can’t get unless you’re up high in this particular spot.”


28mm, F/7.1, 1/800th sec., ISO 100

What time of day Anthony and his team head out depends on what they’re shooting. “When the lake is the central character of the image, then having the water and background lit up is the most desirable,” he says. “When you’re photographing an athlete on the slopes, however, the best light to work with is often in the early morning and late afternoon. The conundrum comes in because the best snow-accumulation conditions are often found on north-facing terrain—and that’s not usually where the light is best. You’ll be working in shade sometimes, or filtered light. On a south-facing slope, you’ll get better light, but you won’t always get good snow. There’s almost always a trade-off.”

Being surrounded by all of that snow means Anthony has to keep a careful eye on his exposures. “I see a lot of snow photos that don’t have texture in them, and it just looks like a blur of bright white,” he says. “I want to show the texture I was seeing when I was out there. I try to never overexpose, because when you blow out the snow, it can be hard to recover. So I’ll underexpose a third of a stop, and then in post I can usually just bring the highlights down so I won’t lose that texture I’m after. I shoot in RAW just so I have that kind of flexibility.”

Polarizing filters can prove handy for certain situations, though Anthony doesn’t use them all of the time. “Sometimes they can be too HDR-like for my personal taste,” he says. “I want everything in my images to look as natural as possible. But I do use them on occasion, such as in the pictures here of Ian, the guy in the yellow jacket, on the top of the mountain and pulling off a jump.”


40mm, F/3.5, 1/1000th sec., ISO 100

Anthony usually shoots handheld for his still photos, and often in Shutter Priority. “By shooting this way and closing the aperture quite a bit, I can create an appealing background blur—a technique I also use during the warmer months when I’m photographing mountain biking, with the trees in the background,” he says. “That said, sometimes I’ll have shoots with multiple athletes I’m trying to capture in one frame. In those cases, I’ll switch to manual or Aperture Priority, because I don’t want the camera to revert to F/2.8 in those situations and only get the athlete in front in focus. To make sure the others are also sharp, I need to be at F/5.6 or even smaller.”

Timing is important for capturing ski and snowboard jumps, and Anthony and his team rely on a combination of hand signals, two-way radios, and even talking when they’re close enough to the athletes. “The radios we only use for the bigger lines,” he says. “When we’re photographing a specific jump or turn, we resort to arm signals, I’ll put up a big ‘X’ over my head to indicate to the athlete it’s not time yet; then, when I’m ready, I’ll touch my hands over my head. That’s their sign to start coming down within 10 seconds or so. Other times we just simply yell, if there isn’t too much distance separating us.”


50mm, F/4, 1/5000th sec., ISO 100

How Anthony composes his snowboarding shots depends on what he wants the main focus to be. “If my goal is to capture the athlete, I want to be in front of the athlete, so I can see the front of their torso and their face if possible,” he says. “You don’t want to shoot from behind and get a picture of their back and butt. It’s almost the same approach you’d take if you were doing a street portrait: You want to see what the person is experiencing through the expression on their face.”

Other times, the athlete becomes secondary to the action. “The picture you see here of the snowboarder kicking up some snow spray is a perfect example of that,” he says. “I wanted the focus to be more on the spray—which shows how cold, fresh, and soft the snow is—than on the snowboarder. I love that I was able to capture him during this part of the turn, so you get the juxtaposition of his motion moving one way, while the snow spray is moving another way. You can almost make the athlete faceless in these sort of pictures, because you want the viewers to be able to imagine they’re the ones in the shot, ideally.”


60mm, F/6.3, 1/400th sec., ISO 100

To round out the establishing shots and action photos, Anthony will also insert complementary images into the narrative. “The photo you see here of Ian as he nears the apex is one example of that,” he says. “This is what I call a ‘sense of accomplishment’ photo. You get to see how much work went into him getting where he is; the people further down on the slope offer a sense of scale so you can see how far he had to climb. Plus, once again, you get a chance to place that jaw-dropping backdrop in there.”


37mm, F/7.1, 1/1250th sec., ISO 100

End-of-day activities are important to include, too. “We were photographing at the Heavenly Ski Resort, and although our primary mission was to shoot the powder, the snow that day wasn’t great, and the light was flat and gray,” Anthony says. “So we decided to mix it up a bit and take some après-ski photos at the bar and outside. I always want to pull viewers into the photo to make them feel like they were there, to convey the message that you can come up to the resort with your friends, have a blast on the slopes, and then still have a blast when you’re done.”


50mm, F/5.6, 1/400th sec., ISO 200

That’s just one way Anthony tries to make his photos relatable to a broader audience, even if they’re not avid skiers and snowboarders. “I often try to introduce into my images something that the viewer can relate to, whether they’re into the sport or not,” he says. “That’s where my dog, Emmie, often comes in. When conditions are safe for her, we’ll take her with us on our shoots. She’s very well-behaved, so when I tell her to sit somewhere and ‘pose,’ she does. People who look at the photos with her in it think they’re cute or compelling, or they’ll think about their own dogs playing in the snow. It helps to draw viewers into the picture if you can make that sort of connection with them.”


28mm, F/3.5, 1/800th sec., ISO 100

To see more of Anthony Cupaiuolo’s work, go to https://firsttracksproductions.com.

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Full Frame For The Masses! Canon Introduces Its Second Full-Frame Mirrorless Camera — The EOS RP Pre-Order today @ Competitive Cameras New Super-Compact and Ultra-Lightweight EOS RP is Ideal for Users Looking to Graduate to Full-Frame Mirrorless Camera at an Affordable Price




MELVILLE, NY, February 13, 2019 – Responding to the demand from amateur and advanced amateur photographers for an entry-level, full-frame mirrorless camera, Canon U.S.A. Inc., a leader in digital imaging solutions, today announced the second camera in the EOS R lineup, the EOS RP. The EOS RP is designed for photographers looking to step up from Canon’s APS-C cameras: the EOS Rebel, EOS M and the EOS 80D, into the world of full-frame mirrorless photography. Weighing in at just 17.29 ounces, the EOS RP camera is lighter than a 500ml bottle of water and smaller than Canon’s popular APS-C DSLR camera, the Canon EOS Rebel T7i, coming in at approximately 5.0in (w) x 3.77in (h) x 2.36in (d). With optics at its core, the EOS RP takes full advantage of the complete line up of RF lenses and is compatible with the existing collection of Canon’s EF and EF-S lenses with the use of one of three optional RF EOS-R Mount Adaptersi.

“As Canon continues to evolve its full-frame mirrorless cameras, our goal is that one day the EOS R line becomes as widely popular as our celebrated lineup of EOS DSLR cameras,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “As a company, we believe that in order for us to accomplish that goal, Canon needs to develop full-frame mirrorless cameras for every skill level of photographers and that starts with amateurs and advanced amateurs. This makes the EOS RP the perfect addition to the existing lineup.”

The new Canon EOS RP full-frame mirrorless camera features a 26.2 megapixel CMOS sensor that is powered by the company’s DIGIC 8 image processor, providing users with high-image quality, outstanding operation and functionality. The new Canon EOS RP features Dual Pixel CMOS Auto Focus (AF) with 4,779 manually selectable AF pointsii and a wide AF coverage area of 88 percent horizontal and 100 percent vertical. With f/1.2 lenses, the camera astonishingly boasts AF sensitivity in low light in as little as Exposure Value (EV) -5. When using the RF 24-105mm F4 L IS USM lens with the EOS RP, the camera can focus in as little as 0.05 seconds with Dual Pixel CMOS AFiii. When using eye detection AF, the camera can automatically detect faces and focus on the eye of the subject. This feature is supported when the camera is set in either servo AF mode during continuous shooting and movie servo AF, as well as one-shot AF.

Like the EOS R full-frame mirrorless camera that was announced in September 2018, the EOS RP is built around the same 54mm mount diameter and short-back focus. This allows for the use of one of three optional mount adapters for full compatibility with all existing EF, EF-S, TS-E and MP-E lenses. Through the use of the optional Drop-In Filter Mount Adapter or Control Ring Mount Adapter, these lenses, in fact, gain functionality.

For photographers looking to further expand their abilities and capture a wide variety of both still and video images, the EOS RP features Visual Guide mode. First introduced with the EOS Rebel T7i and EOS 77D, this mode allows users to see on screen how switching modes on the mode dial or tweaking settings can alter the image they are about to capture. This mode helps to guide photographers to capture more compelling images, such as ones with a shallow depth-of-field or being able to give moving subjects a frozen or flowing look. For those looking to expand their imaginative options, the camera also features Creative Assist mode that allows photographers to use new and unique visual effects and adjustments when shooting, such as brightness, contrast, saturation, color tone, monochrome and background blur. In addition, the design, ergonomics, layout and ease-of-use of the camera are very similar to that of other Canon cameras consumers might already be familiar with.

Additional noteworthy features of the EOS RP camera include:

  • Built-in 0.39 inch, 2.36 million dot Electronic Viewfinder with Touch-and-Drag AF
  • Vari-Angle LCD touchscreen
  • 4K UHD 24P/Full HD 60p video recording with 4K time-lapse shooting and the ability to extract still images from 4K video recordings
  • ISO range of 100-25,600 that is expandable up to ISO of 102,400
  • Built-in Wi-Fi®iv and Bluetooth®v technology
  • Mobile RAW workflow supported paired with Digital Photo Professional Express Appvi

Availability and Pricing

The Canon EOS RP full-frame mirrorless camera is scheduled to be available in March 2019 for an estimated retail price of $1299.00 for the body only. It will also be sold as a body-and-lens kit with the RF 24-105mm F4 L IS USM lens for $2399.00*

To learn more about the EOS R system, including in-depth educational tutorials, please visit www.usa.canon.com.

About Canon U.S.A., Inc.

Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions to the United States and to Latin America and the Caribbean markets. With approximately $36 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents granted in 2018† and is one of Fortune Magazine’s World’s Most Admired Companies in 2018. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting www.usa.canon.com/rss and follow us on Twitter @CanonUSA.

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Fujifilm X-T30 Announced



ABOUT FUJIFILM X-T30: 

The FUJIFILM X-T30 combines a sleek mirrorless camera with next-generation image-making technology to meet the ever-increasing needs of content creators, regardless of their skill level. Boasting a new 26.1MP APS-C X-Trans CMOS 4 sensor and X-Processor 4 Quad-Core CPU, the X-T30 provides beginners, advanced amateurs, and professionals with fast auto-focus, strong face detection, and power to create high-resolution stills with notable sharpness and clarity. Combined with its increased sensitivity range up to ISO 51200 and the ability to record 10-bit, 4:2:2 DCI 4K video through the camera’s HDMI port, the X-T30 is truly the perfect camera for releasing your creativity. 

Professional Performance: The 26.1MP BSI APS-C X-Trans CMOS 4 image sensor and X-Processor 4 quad-core CPU 

combination with AF and Face Detection performance when tracking moving subjects, while also providing all-around 

performance when capturing high-resolution stills or recording 4K video. 

Advanced Image Quality: The new X-Processor 4 Quad Core-CPU doubles the speed of face-detection for moving people. 

Additionally, eye-detection AF now works in AF-C mode, which results in accurate focus-tracking for moving portrait subjects. 

The low-light limit for phase detection AF has been expanded even more from the conventional +0.5EV to -3EV, to allow for 

operation in a wide range of lighting scenarios. 

Superior Video and Image Effects: Offers the ability to record 4K video at 30 frames per second or capture of 120 frames 

per second at 1080p to create super slow motion effects. Filmmakers needing more color fidelity can record 10-bit, 4:2:2 color 

through the camera’s HDMI port. Leveraging Fujifilm’s advanced color reproduction technology, users are able to record video 

in Film Simulation’ modes. The X-T30 also incorporates numerous shooting functions, such as “monochrome adjustments” 

available for ACROS and Monochrome, and “Color Chrome” effect that produces deep colors and gradation in subjects with 

highly saturated colors, which are notoriously difficult to photograph. 

Easy-to-Use Design: Offers 3.0-inch touch LCD with 2-way tilting and improved touch screen to capture images efficiently in 

challenging situations. Provides advanced SR Auto mode – easily activated with a lever – to automatically choose the optimum 

shooting settings for a given scene out of 58 presets. 

Fujifilm XF 16mm F2.8

The FUJINON XF16mmF2.8 R WR is part of a collection of lenses within the XF family that are affordable, compact, weather-resistant and lightweight. It should be thought of in the same group as the XF23mmF2 R WR, XF35mmF2 R WR and XF50mmF2 R WR lenses because of their price point and how they fit together as a collection of affordable prime lenses in our XF Lens System. 

High Resolution Performance – Edge-to-edge sharpness from the center to the corners of the frame is achieved by the precise arrangement of 10 lens elements in 8 groups. This lens also includes two aspherical elements, which serve to suppress the image degrading effects of chromatic aberration and field curvature imperfection. 

Compact, Lightweight and Stylish design – Weighing in at 5.47oz (155g) and measuring just 1.79in (45.4mm) in length, this lens offers up the renowned image quality and refined style associated with the FUJINON XF family of lenses. With its metal exterior, precise click stops, and smooth dampening, this lens offers incredible image quality in a durable aesthetically pleasing appearance. 

Fast and Quiet Autofocus – The inner focusing AF system uses a stepping motor to move focusing elements into place through precise electrical pulses, in order to achieve fast and near-silent autofocus performance. 

Weather and Dust Resistant Durability – The lens is designed to operate in temperatures as low as 14° Fahrenheit and is sealed at nine points around the barrel, making it both weather and dust resistant. 

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Panasonic – Full Frame without Compromise






Panasonic S1 – Pre-Order Now!
  • FULL FRAME SENSOR – 24.2-megapixel full-frame (35.6mm x 23.8mm) MOS sensor that provides a wide dynamic range and excellent performance at high sensitivity. (ISO 51200 Max sensitivity)
  • 4K HDR VIDEO – 4K 60p/50p, 4K 24/30P unlimited recording, 4K60P 29:59 min limited recording. HDR Mode and Hybrid Log Gamma (HLG). V-Log with Internal 4:2:2 10-bit 4k30/24p (4K60p output only) available via optional software upgrade key.
  • 96MP HIGH RESOLUTION MODE – A sensor shift technology suitable for taking very high-resolution landscapes and fine art photos via tripod with toggleable motion correction capabilities
  • LVF and MONITOR – 3.2” 2,100K-dot RGBW LCD monitor (3:2 aspect ratio) with triaxial tilt moving element, plus large 5,760k-dot high-resolution OLED eye viewfinder
  • RUGGED MIRROLESS CAMERA DESIGN – Dust/splash*/freeze-resistant design withstands heavy field use under harsh conditions for high mobility
Panasonic S1R – Pre-Order Now!
  • FULL FRAME SENSOR – 47.3-megapixel full-frame MOS sensor that provides a wide dynamic range and excellent performance at high sensitivity (ISO 25600 Max sensitivity)
  • 4K VIDEO – Up to 4K 60p/50p recording plus 6K Photo functions and HLG Photo.
  • 187MP HIGH RESOLUTION MODE – A sensor shift technology suitable for taking very high-resolution landscapes and fine art photos via tripod with toggleable motion correction capabilities
  • LVF and MONITOR – 3.2” 2,100K-dot RGBW LCD monitor (3:2 aspect ratio) with triaxial tilt moving element, plus large 5,760k-dot high-resolution OLED eye viewfinder
  • RUGGED MIRRORLESS CAMERA DESIGN – Dust/splash*/freeze-resistant design withstands heavy field use under harsh conditions for high mobility
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LUMIX S - Opening a new chapter of LUMIX history - YouTube

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