- National Geographic Channel and Canon Launch the EOS Young Photographer Awards –> read it here
- Give Your DSLR a Brain by Connecting an Android Phone –> read it here
- Owner Finds Lost Camera After Nearly Six Years –> read it here
- Incredibly impressive music video shot on Canon 550D for SBTRKT….NSFW –> read it here
[Italian] Photoshow 2013 – Canon EOS 100 D (price & specs) –> read it here
- Worth another look: beautiful video captures one year in 40 seconds –> read it here
Video: Canon Cinema EOS-1D C (B&H | Adorama) at Filmtools –> read it here
- How to Shoot Video on Your Canon Rebel –> read it here
- Shane Hurlbut Talks the Art & Technology of Cinematography, Shooting ‘Need for Speed’ on Canon C500 –> read it here
- How do I take outdoor macro photography with the Canon twin lens kit? –> read it here
- Adobe Lightroom Basics: 6 things you need to know getting started –> read it here
- Soft colours : Free Lightroom and Aperture Presets : Instant Downloads –> read it here
- Canon EOS SL1 (price & specs) camera bolsters the argument of a converging DILC market –> read it here
- 3 Ways to get Better Control of Autofocus –> read it here
- Intellectual Ventures sues Canon, Ricoh over printer tech –> read it here
- 3D a proven failure, 4K unlikely to succeed – HBO –> read it here
- Adobe Defends Its Ridiculous Australian Pricing Before Parliament –> read it here
- Bizarre Portraits of People Dressed In the Food They’d Like to Eat –> read it here
- Digitizing Your Film Using Your DSLR –> read it here
- Top 10 Lightroom Tutorials and Tips –> read it here
Egami spotted another patent filed by Canon. The patent refers to s 50 mm F1.4 , 50 mm F1.2 , 45mm F1.6 and 60 mm F1.8 lenses, and describes an apochromatic design that aims to reduce chromatic aberration.
Patent description (machine translated):
- Patent Publication No. 2013-57802
- 2013.3.28 Release Date
- 2011.9.8 filing date
Example Focal length Fno. Angle of view Focus One 51.7 1.45 45.4 Floating rear focusing + Two 51.7 1.45 45.4 Fed whole Three 51.7 1.25 45.4 Floating rear focusing + Four 51.7 1.25 45.4 Fed whole Five 45.0 1.6 51.4 Fed whole Six 60.0 1.85 39.7 Fed whole
- In many large-diameter Gaussian secondary spectrum of axial chromatic aberration
- This problem occurs when using glass and others with the same Abbe number, a lens that is different partial dispersion ratio
- When used in a positive lens lanthanum flint glass small partial dispersion ratio
- When used in a negative lens of flint glass titanium large partial dispersion ratio
- Canon patent
- Using a lens with a partial dispersion ratio appropriate correcting the axial chromatic aberration secondary spectrum
- The concave lens surface adjacent to the aperture, coma aberration correction, the sagittal flare
Video above: Dr. Hubert Nasse, Staff Scientist at Carl Zeiss about a new dimension in photography.
Zeiss is going to release a new 55mm f/1.4 lens by the end of 2013. They published an interesting post – titled From brand personality definition to prize-winning design – on their site about finding an aesthetic identity that moves their line-up further on from the well known qualities usually associated with the brand. The Zeiss 55mm f/1.4 will be the first of a new family of high-end lenses. A lens that will not only deliver the well known image and build quality but also introduce a new aesthetic dimension to Zeiss’ line-up. Quoting Martin Dominicus, Head of Marketing in the Carl Zeiss Camera Lens Division:
ZEISS lenses are known for their technical precision, excellent image performance and ergonomics. That will always be the case because we know photographers’ needs and user circumstances. But our new lenses should also fulfill the highest aesthetic expectations of our customers to become design objects in their own right […].
The main question Zeiss was facing is about how to mirror the consolidated brand identity in a form without compromising it.
Zeiss put [German design studio Phoenix Design] in contact with a pool of professional photographers, many of whom had worked with ZEISS for a long time. In a series of interviews with photo artists, as well as product and automotive photographers, the core factors of the ZEISS brand were analyzed and given certain attributes. Accordingly, it was concluded the brand’s image has three core elements. The technology is defined in the combination of terms “precise – progressive – high-performance”. From the user’s perspective, the elements “logical – uniform — reliable – user-oriented” are most important. Finally, the effect of the lenses is described as “integrative – pleasant – distinct.” This definition prescribed fairly clearly how the external design of the lenses should look: Form and labeling should be part of the brand’s uniqueness. At the same time, ZEISS lenses should also be recognizably ZEISS.
The new aesthetic philosophy Zeiss’ is embracing doesn’t neglect pragmatic aspects, as how to make reading the lens parameters easy even in poor lighting conditions. This is achieved by taking care of details in consideration of the aesthetic dimension:
The lenses’ new window scales serve the same purpose: Only the relevant scale range around the index line is visible to the photographer. The yellow scale numbers, which like the scales themselves were modeled after professional cinema lenses, are easy to recognize in poor lighting conditions and therefore represent an additional unique feature for camera lenses. The new typeface DIN 1451, which was introduced with the lenses, is highly legible. This typeface is known not only for its clear, classic, modern appearance; it has been in use since 1936 for German road and rail signage. It was cut into the lens using fine cutters and a fixed stroke width.
That’s what they mean:
The high-end SLR lens that will come on the market at the end of 2013 reflects the new design language the best: the funnel-shaped form, a surface that is soft to the touch, the optimized focus ring and other details will contribute to even better manageability and an unmistakable look.
Well, yes, looks really good! 🙂[source: Carl Zeiss]
First of all, it appears that Canon will stick with a relatively “low” megapixel figure (21MP), and the body of the EOS 7D Mark II should be similar to the body of the EOS 7D (though it feels more rugged). And it should feature WiFi and GPS!. The murmured specs:
- 21MP APS C
- ISO 100-25600 (L: 50, H1 51200, H2 102400)
- Video ‘stills burst’ mode 30/60 fps
- Full HD video with manual control
- Single CF card slot
- 19 AF Points all cross
- On chip phase detect pixels for liveview and AF tracking
- 100% viewfinder
- Viewfinder LCD higher resolution than 7D
- 3.2″ LCD
- GPS, WiFi
- Alloy body with better weather sealing over 7D
Take everything with a grain of salt. The specs are said to be of a test camera, in other words: a prototype Canon is testing. However, the shape and other physical aspects are said to be unlikely to change.NL]
Big, and long (53 minutes) video review of the Canon EOS 6D (price & specs), EOS 5D Mark III (price & specs), EOS 7D (price & specs), Rebel T3i/EOS 600D (price & specs), EOS 5D Mark II (price & specs) by Tony Northrup. Should answer all your questions 🙂
TABLE OF CONTENTS:
* Natural Light Portraits: 1:30
* Studio Portraits: 8:45
* Sports: 12:00
* Wildlife: 19:45
* Night: 24:30
* Lab Image Quality: 33:35
* Wi-Fi: 40:15
* Video Moire: 43:55
* Video Rolling Shutter: 45:00
* Summary: 48:18
Canon EOS 6D price check Amazon | B&H Photo | Digitalrev | eBay | Adorama | Canon USA, or rent it here.
Canon EOS 7D price check Amazon | B&H Photo | Digitalrev | eBay | Adorama | Canon USA, or rent it here
Canon EOS 5D Mark III price check: Amazon | B&H Photo | Digitalrev | eBay | Adorama | Canon USA, or rent it here
Canon EOS 5D Mark II price check: Amazon | B&H Photo | Digitalrev | eBay | Adorama | Canon USA, or rent it here
Canon Rebel T3i/EOS 600D price check:: Amazon | B&H Photo | Digitalrev | eBay | Adorama | Canon USA, or rent it here
The Canon Professional Network (CPN) published an interview with photographer Jeff Ascough. The talk is about the new Canon EF 24-70mm f/2.8L II lens (price & specs). A lens that has outstanding optical performance and a rather hefty price tag.
Over the past few months Canon Ambassador Jeff Ascough has been photographing weddings in his distinctive documentary style, primarily with a Canon EOS 5D Mark III DSLR teamed with the EF24-70mm f/2.8L II USM zoom lens. He spoke to CPN about his experiences shooting with the latest incarnation of an already much-loved standard zoom lens; one that is smaller, lighter, more durable and optically more sophisticated than its predecessor.
The lens is actually sold for around $2050 (Amazon | B&H Photo | Digitalrev | eBay | Adorama | Canon USA, rent it here). We featured lots of reviews (here, here, here). DxOMark called the EF 24-70mm f/2.8L II a peerless performer.
CPN: The lens is more durable and is better weather-sealed than its EF24-70mm f/2.8L USM predecessor. What is your opinion on the build quality of the lens?
JA: “To be honest the old 24-70mm wasn’t the best made lens I’ve ever used. But this one seems a lot ‘tighter’ – that’s how I describe it – everything is more positive. It’s much more solid.
Ergonomically it’s much better – it’s a smaller lens and I’ve got quite small hands, so when you use it with a camera ergonomically it’s much nicer to use. The zoom ring is really nice because it’s not as wide as the other lens was in terms of the actual ‘throat’ of the lens – you haven’t got to move it so far to get it to zoom in and out. The focus is really nice as well – that’s just on the end of my scale with my fingers.”
Read the interview here.
[via The Digital Picture]