This Week’s Challenge: #PRTV_vehiclesAs Back to the Bricks starts up here in Michigan there’s plenty of car shows going on to shoot vehicles. Planes, trains, or automobiles it was up to you this week to go for a great shot. Bonus points for those that thought out of the box with toys, went for the details, or headed to a scrapheap.Next Week’s Challenge: #PRTV_natureFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Toby’s Features:
Lovely framing with a hint of motion blur from the camera’s perspective draws me into this excellent shot
The Nikon D5600 and Canon T7i (800D) share several specs
24-MP (APS-C) Sensors
ISO range 100-25,600
3 inch LCD Touchscreen though the D5600 is a little bigger (3.2") and offers the touchpad function when it is up to your eye.
1080 at 60 fps
Bluetooth, WiFi and NFC connectivity - Though the D5600s snapbridge is a little more automated, automatically sending files across - with the Canon it is more of a conscious choice. I have been very frustrated with Nikon Snapbridge in the past - finding it flaky, confusing and downright broken, with the D5600 I have had a very smooth experience and prefer it to the Canon - But the Canon app provides a better experience for controlling the camera.
A few important differences - Nikon offers 39 AF points, 9 cross-type, Canon offers 45 AF points all cross-type - cross-type offer higher accuracy and when you have higher accuracy points the more likely you are to get moving subjects in accurate focus. Canon also offers dual pixel AF in live view - this is a very smooth and capable video focus, also useful for still photos in live view - Nikon’s video focusing is still distracting (it hunts more and is very noticeable when it refocuses) and while it’s a little quieter and smoother with their new AF-P lenses you still don’t want the lens to refocus during video, canon, however, is smooth and SILENT when paired with STM lenses The Canon is faster offering 6fps, vs 5 in the Nikon and more importantly, the Canon offers a deeper buffer - up to 148 jpegs and 24 raw images before slowing down. Nikon slows down at 100 JPEGS and just 8 raws. The buffer and the additional higher accuracy AF points make the Canon T7i my choice for any type of action, like sports or birds in flight, over the Nikon. The Nikon is capable of fast focus and operation but you will find yourself limited to very short bursts if shooting RAW. The Nikon D5600, however, has an edge in image quality, especially as the light levels drop. I see a clear difference, the Nikon has no AA filter and provides more detailed images and as you raise the ISO less noise (you can also pick 1/3 stops of ISO - canon is limited to full stops)
Nikon D5600 Frustrations (Especially for beginners)I find myself spending more time in live view - especially when I have a nice articulating screen that lets me set up for different angles and if you happen to have manual video mode on you are blocked from changing the aperture in manual mode in live view and you can’t select shutter speeds below 1/30 of a second. There are workarounds, the easiest is to switch to aperture priority or shutter speed priority OR turn off manual movie mode but then frustratingly when you go to shoot a movie you have no idea what settings and no control no matter which mode you use. AND I really miss exposure simultaion when using the Nikon D5600 the T7i does and actually every other camera besides Nikon offers exposure simulation in Live view. When inn manual mode I would like to see the screen change to reflect my exposure and the Nikon only does that if you are in manual movie mode and once again we are back to being blocked from changing the aperture and from setting shutter speed below 1/30 of a second. These two issues are in no way deal breakers but they certainly make the camera more frustrating for me and when I work with beginners, teaching photography all over the world - being able to switch to live view and get that easy feedback of your exposure before you take a photo is a really useful tool.
Summary and Conclusion - Nikon D5600 vs Canon T7i (800D)
Reasons you might want to pick the Nikon D5600 - you value the smaller size, the better image quality (especially in lower light), The additional features like time lapse (Canon only offers movie lapse) and the exceptionally easy and automated Ssnapbridge image sharing. Reasons you might choose the Canon - Video is important to you, the Dual Pixel AF is smooth and sneaky good, you plan to photograph action and or you want a straightforward manual control experience.
Other Options -The Panasonic G85 is even smaller, especially when you start comparing lenses - the micro 4/3rd system stays small even when you have a few primes in your bag AND shoots beautifully stabilized 4k video. The Sony a6300 also shoots 4k and does very well in low light though it isn’t as user friendly as either of these cameras. Which would you choose - I’d love to know your opinion?
This Week’s Challenge: #PRTV_liquidSomething a bit different this week, or another landscape, it was your choice for shooting liquids. It was great that many of you thought out of the box, focusing on aspects of the subject such as reflections, movement, or droplets to get a nice shot. Thanks to those that entered and checkout the rest of the entries at the #PRTV_liquid hashtag. Next Week’s Challenge: #PRTV_vehiclesFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Roy’s Features:
A nice bit of dew on a freshly watered gerbera daisy.
This Week’s Challenge: #PRTV_landscapesWhile I wish I could be like Oprah and say you’ve got top picks for #PRTV_landscapes, I can’t. I can say though that there are a ton of really great photos this week guys, beyond the top picks below take the time to go check these photos out. Next Week’s Challenge: #PRTV_liquidFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Roy’s Features:
A great sunset shot with low visibility, those mountains fade off in the distance for a nice silhouette
Lighting conditions aren't always ideal for photography. As photographers, we don't always have a lot of control over these conditions either. When you're touring a dimly lit cathedral or attending a wedding in a low light reception hall, you can't exactly bring in a bunch of lighting. Sometimes shooting with a flash solves the problem, but sometimes it doesn't. For certain types of photography, you don't want to use a flash. In other instances, flash isn't allowed, such as during a dance recital or in a museum. Learning to take great pictures in low light will help you make the most of low light shooting situations, producing crisp, high-quality photos with minimal noise and grain.
Select a lens with a wide aperture
The wider the aperture, the more light you're letting into the camera. In low light conditions, the difference between f/4 and f/1.8 is huge. Whenever possible, choose a lens with a maximum aperture of 2.8 or wider (i.e. 1.8, 1.2). When shopping for new gear, look for lenses with image stabilization (IS) or vibration reduction (VR). For many photographers, shooting with a prime lens is the best solution to take great pictures in low light without a flash. You get the wide aperture you need without breaking the bank.For less than $200, you can pick up the Canon EF 50mm f/1.8 STM, Nikon AF FX NIKKOR 50mm f/1.8D, or Canon EF 40mm f/2.8 STM. For less than $500, the Canon EF 85mm f/1.8 USM is another great option. If you're a professional photographer who shoots in low light settings (i.e. wedding reception venues, concert venues) on a regular basis, it's worth spending more and investing in a zoom lens with a wide aperture as well, such as the Canon EF 24-70mm f2.8L II USM or Canon 70-200mm f/2.8L IS II USM.Related: Recommended Canon Prime Lenses
Slow down your shutter speed
The slower the shutter speed, the more light you're letting into the camera. For handheld shooting, it's recommended not to shoot longer than 1/60. If you're trying to freeze action, keep your shutter speed at or above 1/200. Depending on the given conditions, flash may not be allowed, but you may be able to use a tripod. Shooting with a tripod enables you to slow down your shutter speed significantly below what you would be able to accomplish handheld. Using a remote shutter release further minimizes shake. When you shoot with a tripod, turn off image stabilization or vibration reduction. When you're shooting in low light without a tripod, you can keep your shutter speed low by bracing yourself against a wall or other solid object. Relax as much as possible to keep your hands steady.Keep in mind slowing down your shutter speed is preferable for compositions without people or moving objects, such as night landscapes and city skylines. Unless you're trying to create motion blur, your images will be soft without much detail. There are certain scenarios where you may not want tack sharp images or may even want a certain amount of blur, such as creative portraiture or other fine art photography. However, it's important to be aware of the effect you're trying to achieve, so you can dial in your settings accordingly.Related: Shutter Speed Basics
Bump up your ISO
There is a stigma in the photography industry against high ISO. While it's always preferable to keep ISO as low as possible to avoid noise and grain, high ISO range exists for a reason. In low light, it's worth the sacrifice of a little bit of noise and grain to create a well-lit image. When you're shooting with a DSLR camera and fast prime or zoom lens, the noise will be minimal, particularly when you shoot at ISO 1600 or lower. Unless you're printing images larger than 5x7, it's unlikely the noise will be much of an issue. Additionally, a noisy image is always better than a blurry image. You can brighten an image in post-production, but you can't fix blur. Set your shutter speed, and then raise or lower your ISO accordingly.Related: Raise Your ISO for Better Quality Photos
Shoot in aperture priority or manual mode
In low light conditions, some photographers prefer to shoot in aperture priority (A or Av) mode. Selecting aperture priority mode enables you to dial in the widest aperture available, ensuring every single shot will be at this aperture. You get a peace of mind knowing your shots will have a wide aperture without having to select shutter speed and ISO for every single image. If aperture priority mode doesn't give you quite enough control, switch to manual mode. For example, sometimes in low light settings, the camera will automatically select shutter speeds slower than 1/60 to accommodate for the low lighting, greatly increasing the risk of motion blur. Shooting in manual mode and selecting both aperture and shutter speed eliminates this risk.Related: Making the Transition from Auto Mode to Manual Mode
Shoot RAW
Shooting RAW gives you full control over your image. When a JPEG image has detail lost in blown out areas or heavy shadows, the detail is lost forever. When a RAW image has blown out areas or more likely in the case of a low light environment, heavy shadows, you'll be able to recover some of the detail in post-production. While it's still important to strive to create properly exposed images, you'll be able to retain and recover a lot more detail in your RAW files than you will in your JPEG files.Related: Why You Shouldn't Be Afraid of Shooting RAW
Embrace the opportunity to shoot a long exposure
Shooting long exposures isn't an option in all low lighting settings. However, in the right settings, it offers a whole new world of photographic possibilities. Blurring moving water, clouds in the sky, the headlights and taillights on vehicles, or people in a crowd creates a distinct, striking aesthetic that isn't possible with a shorter exposure. Make sure to bring a tripod if you want to experiment with long exposures.Related: Photographing WaterfallsWhen you know you'll be shooting in low light, plan ahead. Bring at least one prime lens and a tripod as well as a small flashlight or other portable light source, so you can access your camera controls without fumbling in the dark.
Do you have any additional tips to help photographers take great pictures in low light without a flash?
The Sigma 18-35 f/1.8 remains my pick for BEST crop (APS-C) sensor. Pairs well with Canon and Nikon. It is also possible to use the Sigma 18-35 on Micro 4/3 cameras, like the Panasonic GH4 and GH5 with Metabones Speed Booster Ultra (Canon EF-mount). Using the speed booster gives you an extra stop of aperture!Buy the Sigma 18-35 from B&H Photo Canon | NikonWant more zoom? The Sigma 50-100 is heavy but also fantastichttps://www.youtube.com/watch?v=gWo3y7_8vcA
This Week’s Challenge: #PRTV_freedomWhether fireworks and flags for the US or an old-fashioned jailbreak, via Lego that Toby's son Henry liked, we had some great shots that ran the gambit. Overall some nice shots and thanks as always for entering. Next Week’s Challenge: #PRTV_landscapesFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Toby’s Features:
Great shot of the FW, perfect framing and I like the off center memorial.
This Week’s Challenge: #PRTV_tinyplanetAs a bit of a mix up this week we wanted you to show us this tiny planet. We had some great tiny planet edits, tilt-shift, macro, and more this week with some neat photos.Next Week’s Challenge: #PRTV_freedomFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Toby’s Features:
Perfect execution of the Tiny Planet look - love the watery world surrounding a beach island and skyrise!
https://youtu.be/gaSmBmCgV3gPreorder Canon 6D Mark IIPreorder Canon 6D Mark II (Body only $1999 | with 24-105 f/4 II | with 24-105 STM)Best Place to buy used gear"EOS 6D Mark II and EOS Rebel SL2 DSLR Cameras Provide Photographers with Improved Features over Predecessors".Canon’s own marketers couldn’t come up with a more exciting opening statement than - we made them better than the old ones?!?!I have some thoughts to share on the newly announced Canon 6D Mark II.Let’s run through those improved features -
26 Megapixel Full-frame Sensor up from 20MP of the 6D
45-point All Cross-type AF System, serious upgrade from the 11 points with ONE cross type and this AF system is identical to what’s in the 80D
Dual Pixel AF for smooth and capable focus in live view - stills or movies
1080 at 60fps but you do have electronic IS - NOTE this is JUST for movies - and identical to what is offered in the 77D.
DIGIC 7 Image Processor supporting an ISO range from 100-40000
High-speed Continuous Shooting at up to 6.5 fps
And YES, YES YES - we have a Vari-angle Touch Screen, 3 inch LCD - do you know how many times I have heard you ask for an articulating screen on a full frame Canon
Updated connectivity we see on all the recent Canon releases with Built-in Wi-Fi, NFC, Bluetooth and GPS technology
I have seen this described as a full frame version of the 80D and that is fairly accurate - You do lose the pop-up flash and your top shutter speed decreases to 1/4000 vs 1/8000 in the 80D, disappointing but otherwise this should perform very similarly to the 80D - same focus system, almost the same burst rate - so if you are an existing Canon shooter and you have been waiting for a full frame option with articulating screen - here you go. But is that enough?What may be deal breakers for some -Single Card SD slot - you need to go with a 5D Mark III or 5D Mark IV if you want the peace of mind of two card slots - Wedding and portrait photographers capturing can’t miss moments like the insurance of having these photos saved to two cards simultaneouslyTop Shutter speed of 1/4000 of a second - this isn’t about capturing fast action- this is about being able to use fast prime lenses outside in bright light and a flash sync speed on the low side at 1/180 of a second.No 4K video recording - you know - I work with photographers of all abilities - either through my support group or when teaching with Mckay photography academy and 95% of them are photographers and don’t really care about 4K video or care about video at all BUT as I said in my 5D Mark IV video - Canon at one time was groundbreaking in offering cameras that were great hybrids and competitive in both photos and videos and when you have headlines and youtube reviewers left and right saying No 4k it makes you consumers stop and wonder if this is a good value and while today video features might not matter to you - when you spend two grand on a camera I expect you expect to be using it for awhile and it’s a bit of a joke to not include 4k now and in just a few short months it’s going to feel quite dated. And as I said many of you don’t care about 4K but can you be sure you won’t care about it next year or the year after? Between the headlines, the tweets the Youtubers - the lack of 4k on this camera will hurt its sales. And no headphone jack makes this a less desirable hybrid shooting tool too. In short - no one and I mean no one should be buying this for video.Let’s wrap this up -Photographers with Canon lenses dying for an articulating screen on a full frame camera- this looks very nice and seriously, I don’t mean to make light of how useful an articulating screen is for landscape and general photography and that is who this camera is targeted at and does represent a decent offering. However, For professionals wedding - family portrait etc - I would consider a used 5D Mark III that can be bought for cheaper and gives you the dual card slots plus the better shutter speed and flash sync speed.Once the 6D ships, I will do a hands-on review. Make sure to subscribe to be notified.I’d love to know your thoughts - is this the camera you have been waiting for. Did they offer enough improved features over the predecessors? What is the next most exciting camera to anticipate - Nikon D760, Sony a7III? Or something else? Leave those thoughts in the comments below.
After a little more than four years of shooting exclusively with the Canon t4i, I upgraded to the Canon 80D. The Canon t4i was my entry into the world of DSLR photography and leaving it behind was a little bittersweet. I put my t4i through its paces shooting more than 40,000 images in light levels ranging from harsh sunlight to golden hour to low light in jazz clubs. My photography has included, but isn't limited to, cityscapes, landscapes, jewelry, pets, and food. The Canon Rebel line is well-built with intuitive menus, making it a great option for anyone just starting out with DSLR photography.When you're thinking about upgrading to a new camera body, the question is always will the upgrade really be worth it? Upgrading from a Canon t4i or older Rebel body to the Canon 80D is definitely worth it. Personally, the top four features I appreciate most with the upgrade are as follows:
Focus point and focus point systems. You're upgrading from nine single focus points to a 45 point cross-focus system.
Top deck display. The top deck display gives the shutter speed, aperture, ISO, Wi-Fi status, estimated exposure level, single shot vs. burst mode, battery life, and number of shots remaining on the memory card.
Live screen mode. The Canon 80D offers an intelligent viewfinder with approximately 100% viewfinder coverage, a significant upgrade from the t4i's noisy, slow, and largely ineffective live mode.
More ISO settings. In addition to having a slightly higher ISO capacity, the Canon 80D also has more ISO settings. The more ISO settings, the more control you have over your images. For example, when ISO 400 is too dark but ISO 800 is too bright, you can select ISO 500 or 640.
Of course, there are a number of other upgrades as well, such as megapixels, shutter lag, and JPEG and RAW shooting and buffer rates, all of which I include in the review.Finally, I discuss whether it's easy to make the transition to the Canon 80D from the Rebel line and if this upgrade is worth the price. Most likely, you already know that my answer to both of these questions is yes. You'll have no problem getting acclimated to the new menu system and will see a difference in your image quality within just a few days of shooting with the Canon 80D.Read the full post over on roseclearfield.com: Upgrading from the Canon t4i to the Canon 80D.
Do you own the Canon 80D?
Share your thoughts on this camera.
Are you considering purchasing the Canon 80D and still have questions?
While Sony may be a great mirrorless system we all like Canon's SL1/100D/Kiss X7 (Toby's SL1 review) as it was a solid performer for an entry level camera and quite small. Thanks to Nokishita Camera we've got a few photos and specs of the SL2 to pass along after their 6D MII leak last week. Interesting to note, like the 6D MII coming down the line, the SL2 will also get an articulating LCD. If the given rumor holds true we'll have the official announcement later next week with the full specs of this tiny camera and the new 6D MII.Specs
Tamron has announced a new 18-400mm F3.5-6.3 Di II VC HLD APS-C lens billed as the world's first to cover the extended range. Having reviewed the Sigma and Tamron 18-300's in a previous video this might be the one for those that prioritize convenience. For $649 you get 22.2x zoom ratio covering wide angle shots from 28mm to ultra-telephoto 640mm (Canon crop ratio). The lens also features a maximum magnification ratio of 1:2.9 so you can enjoy tele-macro photography. With the new design comes their new LD (Low Dispersion Glass) with an ashperical lens to control the chromatic aberration (color fringing) all-in-one lenses are known for typically. For it's size, Tamron managed to make it quite small at 4.8 inches long and 24.9 ounces, in comparison Sigma's 18-300 Contemporary Lens clocks in at 4 inches and 20.6 ounces with 100mm less in focal length. The 18-400mm lens also incorporates 2.5 stops of stabilization with a zoom lock to get the sharpest shots possible from the 640mm focal range. If you are interested the 18-400mm gets you that all-in-one convenience for a decent price. As with our 18-300mm comparison, there is a cost for the benefit, we'll have a review out soon on this new lens.Interesting to note, rumor held the new Tamron 24-70 was also to be announced with advanced notice going to the press. With a Sigma 24-70 also being released this week it seemed the announcement has been postponed for now.Pre-order today at B&H, available in Canon and Nikon mounts:
Introducing the world’s first*1 ultra-telephoto all-in-onezoom lens with an extended range that covers 18-400mm18-400mm F/3.5-6.3 Di II VC HLD (Model B028)
Dramatic extended range achieved by combining cutting-edge optical design andother new breakthrough technologies including a redesigned cam structure
June 23, 2017, Saitama, Japan - Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the launch of the new 18-400mm F/3.5-6.3 Di II VC HLD (Model B028), the world’s first ultra-telephoto all-in-one zoom lens for APS-C DSLR cameras, which covers a focal length range of 18-400mm. Since the 1992 launch of its AF28-200mm F/3.8-5.6 Aspherical (Model 71D), Tamron has dominated the all-in-one zoom category and has produced many lenses that cover wide-angle to telephoto zoom ranges. Tamron has now developed an ultra-telephoto all-in-one zoom that extends to 400mm (35mm equivalent of 620mm) and a 22.2x zoom ratio. Packed in a light, compact body (121.4mm/705g)*2 is Tamron’s accumulated knowledge and experience for all-in-one zoom lenses, including the most advanced optical and mechanical designs, an HLD (High/Low torque modulated Drive) for the AF system and the Vibration Compensation system. Photographers can now enjoy wide-angle to ultra-telephoto photography using one lens, which is ideal for travel photography and eliminates the need to carry extra lenses. The new Model B028 lens enables a wide variety of ultra-telephoto images including everyday casual scenes.
PRODUCT NAME
18-400mm F/3.5-6.3 Di II VC HLD(Model B028)
DATE OF LAUNCH
July 20, 2017The Canon and Nikon mount models will be launched simultaneously.
*1 Among interchangeable lenses for DSLR cameras (As of May 2017; Tamron)*2 Length and weight are based on the Nikon-mount lens.
Product Information
The world’s first*1 ultra-telephoto all-in-one zoom lens to achieve 400mm telephoto
The new Model B028 is the world’s first lens for APS-C DSLR cameras that covers a focal length range of 18-400mm and achieves a zoom ratio of 22.2x. The focal length of 400mm on the telephoto end enables the capturing of ultra-telephoto pictures with the 35mm equivalent of 620mm angle of view. Now, with just this one lens, a photographer can readily enjoy the power of the ultra-telephoto to bring distant subjects closer as well as the perspective-flattening effects that only extreme telephoto settings can achieve. This all-in-one zoom lens is ideal for travel and everyday carry. It allows a photographer to switch from wide-angle to ultra-telephoto without changing lenses, making it faster and easier to capture a much wider range of subjects including travel scenes, wildlife, action sports, landscapes, cityscapes, portraits and food.*1 Among interchangeable lenses for DSLR cameras (As of May 2017; Tamron)
Excellent image quality across the entire zoom range, from wide-angle to ultra-telephoto
The optical construction of the B028 consists of 16 lens elements in 11 groups. The use of specialized glass elements such as LD (Low Dispersion) and aspherical lens elements effectively minimizes wide-ranging aberrations, including chromatic aberrations and distortion, thereby assuring outstanding image quality. Optimum power distribution among the individual lens element groups achieves both the optical performance and the compact size necessary for an ultra-telephoto all-in-one zoom lens that boasts 400mm focal length. Also, it enables tele-macro photography with a maximum magnification ratio of 1:2.9.
Lightweight and compact design exhibits Tamron’s basic philosophy for all-in-one zoom lenses
Despite being an all-in-one zoom lens that achieves 400mm ultra-telephoto, Model B028 is light and compact with a total length of 121.4mm and a weight of 705g*2. A new lens barrel design utilizing three-step extensions was developed to enable the necessary elongation to produce a 22.2x zoom ratio. Compared to the conventional approach, the division into a larger number of cams ensures comfortable operation and stability while zooming. Tamron’s philosophy for all-in-one zoom lenses is to allow each photographer to casually capture everyday images with a lens of a practical size, and Model B028 fulfills this philosophy.*2 Length and weight are based on figures for the Nikon-mount lens.
HLD motor provides high-precision AF and enables compact lens construction
The AF drive system for Model B028 uses Tamron’s exclusive HLD (High/Low torque modulated Drive) motor. The power-saving HLD motor produces outstanding driving torque, and adjusts motor rotation from low to high speed to enable accurate and quiet focusing. The HLD motor takes up less space thanks to its small size and circular arc shape that allows the size of the lens to be reduced.
Equipped with the Vibration Compensation system necessary for ultra-telephotography at 400mm
Despite its compact size, Model B028 is equipped with Tamron’s original VC (Vibration Compensation) system, which effectively curbs camera shake under low light conditions (such as a dimly lit room or at dusk) and while taking ultra-telephoto pictures. This greatly expands opportunities for casual handheld shooting. The jitter-free stability of the viewfinder image allows for easier framing and enables the photographer to compose the subject quickly and comfortably.
Electromagnetic diaphragm system now used also for Nikon-mount lenses
The electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses*3. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.*3 Available only with cameras compatible with the electromagnetic diaphragm (D3100, D3200, D3300, D3400, D5000, D5100, D5200, D5300, D5500, D5600, D7000, D7100, D7200, D300S, D500) (As of May, 2017; Tamron)
User-friendly features for everyday comfortable use
With an eye toward active outdoor photography, Model B028 features Moisture-Resistant Construction to ensure worry-free shooting as well as confidence while shooting under adverse weather conditions. Also, the Zoom Lock mechanism prevents undesired movement of the lens barrel under its own weight when the camera is angled downward while walking.
Compatible with TAP-in ConsoleTM, an optional accessory product
The optional TAP-in Console provides a USB connection to a personal computer, enabling the user to easily update the lens’s firmware as well as to customize features, including fine adjustments to the AF and VC.
External design placing importance on functionality and ease of use
While inheriting the design that makes use of many organic curves and the delicately polished form down to fine details that characterize the SP lens series, the new Model B028 comes with a highly sophisticated design that also places a lot of importance on the lens’s functionality and ease of use, featuring an overall form that faithfully encompasses the internal structures within, a slim Luminous Gold brand ring and the switch shape design.
Tamron, the pioneer of all-in-one zoom lenses
Tamron launched the world’s first all-in-one zoom, the AF28-200mm F/3.8-5.6 Aspherical (Model 71D), in 1992, thereby establishing this exciting and popular market category and making Tamron truly the pioneer of all-in-one zoom lenses. Because of this innovation, photographers can change the composition and the angle-of-view easily by zooming instead of changing lenses or distance from the subject. This benefit made all-in-one zoom lenses widely popular among consumers all over the world. In the course of developing and refining its lens products over the years, Tamron has developed key innovative technologies such as groundbreaking optical systems, compact lens barrels and complex, high-precision cam configurations—in addition to durable and attractive design aesthetics. Now equipped with Tamron’s proprietary Vibration Compensation system, the Tamron all-in-one zoom lenses continue to exceed the user's expectations.
<Tamron’s all-in-one zoom lens products over the years>
Released year
Product name
1992
AF28-200mm F/3.8-5.6 Aspherical （Model 71D)
1996
AF28-200mm F/3.8-5.6 LD Aspherical [IF] Super （Model 171D)
1999
AF28-300mm F/3.5-6.3 LD Aspherical IF MACRO (Model 185D)
2000
AF28-300mm F/3.8-5.6 LD Aspherical IF Super II MACRO （Model 371D)
2001
AF28-200mm Super Zoom F/3.8-5.6 Aspherical XR [IF] MACRO (Model A03)
The Sigma 14mm F/1.8 DG HSM Art and Sigma 24-70mm F/2.8 DG OS HSM Art lenses are available to preorder now for Canon and Sigma Mounts. Nikon will be coming out shortly in July so you won't have to wait long. Sigma's new 14mm lens is faster than Nikon and Canon respectively being F/2.8 with Sigma going down to F/1.8. As for Sigma's 24-70 Art, it's priced under the competition with the Nikon ($2200) and Canon ($1700) much higher. With news of the upcoming Tamron 24-70 G2 also releasing at the same price it'll be interesting which wins out. These may be the lenses to beat for their focal lengths and great options to order today, we'll have reviews soon.Available to pre-order via B&H: [vc_row][vc_column width="1/2"]Sigma 14mm F1.8 DG HSM Art[/vc_column][vc_column width="1/2"]Sigma 24-70mm F2.8 DG OS HSM Art[/vc_column][/vc_row]Canon EF Mount with MC-11 Mount Converter/Lens Adapter for Sony E Kit[vc_row][vc_column width="1/2"][/vc_column][vc_column width="1/2"][/vc_column][/vc_row] Press Release via Sigma[quote_box_center]
Sigma Begins Shipping Its 14mm F1.8 DG HSM and 24-70mm F2.8 DG OS HSM Art Lenses
The world’s first and only F1.8 ultra wide-angle full-frame lens for DSLR cameras is available now for $1,599.00 USD; the new Sigma Global Vision workhorse zoom lens is available now for $1,299.00 USDRonkonkoma, NY – June 22, 2017 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, announced today the pricing and availability for its new Sigma 14mm F1.8 DG HSM and Sigma 24-70mm F2.8 DG OS HSM Art lenses from its lauded Global Vision line. The ultra-wide angle full-frame 14mm F1.8 Art lens begins shipping in June 2017 for Canon and Sigma camera systems and in July 2017 for Nikon camera systems, for a retail price of $1,599.00 USD. The standard zoom full-frame 24-70mm F2.8 Art lens begins shipping in June 2017 for a retail price of $1,299 USD.The Sigma 14mm F1.8 Art, which is the first and only F1.8 ultra wide-angle lens among interchangeable lenses for digital SLRs*, incorporates the same aspherical element as Sigma’s critically acclaimed 12-24mm F4 Art, allowing the lens to deliver a new dimension of visual experience. Boasting outstanding image quality from center to edge, the 14mm F1.8 Art features an 80mm front lens — the world’s largest glass aspherical lens in the industry, offering photographers an ultra-wide prime with virtually no distortion, flare or ghosting. Equipped with a superfast and efficient autofocus system, three FLD (“F” Low Dispersion) elements, and four SLD (Special Low Dispersion) elements to reduce chromatic aberration and coma flare, the 14mm F1.8 Art is suitable for a wide range of photographic needs including astrophotography, architecture and landscape photography.The 24-70mm F2.8 Art lens, Sigma’s new workhorse standard zoom lens, touts a brand new Optical Stabilizer (OS), Hypersonic Motor (HSM) for highly efficient and fast autofocus, as well as a dust- and splash-proof mount with rubber sealing. The 24-70mm F2.8 Art lens embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. A popular industry focal range covering a wide array of shooting scenarios, the 24-70mm’s optical design also includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to ensure image accuracy and sharpness. The 24-70mm F2.8 Art aspherical elements use Sigma’s thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion.Both the 14mm F1.8 DG HSM and the 24-70mm F2.8 DG OS HSM Art lenses are available in Canon, Nikon and Sigma mounts. The Sigma and Canon mount lenses work with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm.Sigma 14mm F1.8 DG HSM Art Lens Features and Benefits:> Sharp, rich image quality
Minimized chromatic aberrations: Three FLD (“F” Low Dispersion) glass elements and four SLD (Super Low Dispersion) glass elements help reduce transverse chromatic aberration, which tends to be noticeable in shots taken with ultra wide-angle lenses. The result is outstanding image quality from the center of the image to the edges.
Distinctive bokeh effect: Even at the 14mm ultra wide-angle of view, F1.8 brightness makes possible a very shallow depth of field with the subject standing out dramatically against a pleasingly softened background. It’s the unique mode of expression that only a large-diameter lens can deliver.
Minimized distortion: Serving as the front lens element, the large 80mm precision-molded glass aspherical lens effectively minimizes distortion. Offering excellent peripheral brightness, this lens delivers outstanding image quality from the center to the edges.
> Offers full-frame coverageSigma 24-70mm F2.8 DG HSM OS Art Lens Features and Benefits:> Superior optical performance
Optimal image quality for ultra-high-megapixel DSLRs: This lens offers top performance from the center to the edges of the image thanks to the optical system minimizing coma, which causes points of light to streak, and transverse chromatic aberration, which cannot be corrected via aperture control. The optical system also minimizes distortion, which can be particularly evident in wide-angle shots, resulting in excellent optical performance throughout the zoom range.
Expressive bokeh effect every time: At wide-open aperture, this lens offers outstanding photographic expression. The area in focus is extremely sharp, while the background exhibits a beautiful, creamy bokeh effect with only slight spherical aberration. Since large-diameter zoom lenses are often used at wide-open aperture, Sigma has paid close attention to the shape of the bokeh, aiming for artistic circularity.
Aspherical Lens Processing Technology: The Sigma 24-70mm F2.8 DG OS HSM Art incorporates an aspherical lens element that helps achieve extremely high resolution. This element is much thicker at the center than the edges, and forming its unusual shape is a feat of manufacturing technology. Moreover, Sigma processes the surface of this aspherical lens element with ultra-precise tolerances that are measured in hundredths of a micrometer. This extremely fine surface allows the Sigma 24-70mm F2.8 DG OS HSM Art to deliver a very natural and smooth bokeh effect, without the visible concentric rings that afflict typical aspherical lens elements.
> Fast and nimble autofocus photography
Designed for advanced utility in a wide variety of situations, the optical stabilizer (OS) offers a powerful stabilization effect. The newly designed large hypersonic motor (HSM) offers 1.3 times the torque of its predecessor for exceptionally stable performance.
Sigma Global Vision Line Features & Benefits:
Each lens is eligible for user customizable micro-focus and in-home firmware updates with the optional USB Dock and Sigma Optimization Pro software.
Each unit is crafted in Aizu, Japan and individually tested for QC and optical performance with the exclusive A1 MTF device.
Sigma’s Exclusive Mount Conversion Service allows lenses to be switched between any released mounts (fee-based).
Compatible with Sigma Mount Converter MC-11, allowing use of Sigma lenses in Sigma and Canon mounts with the Sony E-mount camera systems.
This Week’s Challenge: #PRTV_travelTravel as a place or genre was your goal for this week’s challenge. Hiking, cars, cruise ships, and more... whether you were traveling with the McKay’s or picked up a travel shot you all had some really nice shots this week. Next Week’s Challenge: #PRTV_tinyplanetFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Toby’s Features:
Love the curve of the road (do we think that car strengthens or weakens the shot?)
Summer is an amazing time for outdoor photography. With long days, warm weather, and tons of special events, there are endless possibilities for creative shooting. From early mornings capturing the sunrise to busy days photographing weddings to evenings documenting the local fair, summer is a magical season. Equipped with a few critical tips, you'll be able to step up your summer photography game and make the most of your shooting throughout the entire season.
Assess the condition of your gear
The start of a new season is a perfect opportunity to evaluate the condition of your photography gear, including lenses, bags, straps, and other accessories. Repair or replace any items that are broken or damaged. If you've been itching to upgrade your camera body, invest in a new lens, or try a new accessory, think about taking the plunge now.
Invest in circular polarizers
I always have circular polarizers in my bag, but I pull them out in the summer more than any other season. A circular polarizer (CPL) is like sunglasses for your camera lens. When you're shooting in bright outdoor conditions, a CPL filter helps reduce blown out areas and saturate colors, creating richer, more balanced images.
If applicable, pick up a few summer props
For family photographers, a carefully selected bag of props goes a long way toward adding character to sessions. You may even want to bring a few items to your engagement couple sessions. Vintage step stools in a field are a popular option. Blankets, balloons, and sweet summer treats (i.e. lollipops, ice cream) are perfect as well. When you're shooting in an iconic summer location, such as a county fair or beach, make sure to frame your subjects to highlight the summer imagery.
Streamline your gear management system
Juggling gear wastes time and energy, particularly when it's hot outside. Be honest about the gear you'll need for a given event or outing, and leave everything else at home. You may need to develop multiple gear management setups to cater to varying shooting needs. For example, a large backpack may be ideal for day hikes while a small shoulder bag is preferable for a quick newborn or engagement session. If you wear a camera or cameras, invest in a comfortable strap or strap system, so the weight is well distributed and you can access your gear quickly and easily.
Equip yourself and your clients for long hours in the sun
Unless your summer photography is limited to early morning sunrises and golden hour portrait sessions, most likely you'll be out shooting during some of the hottest and brightest hours of the day. Even when you're striving to shoot in soft, flattering light, inevitably you'll end up taking pictures in the sun during family vacations, gatherings with family and friends (i.e. birthday parties, bridal showers), and other mid-day events. Bring sunglasses, sunscreen, and a hat to protect yourself. Encourage clients to bring the gear they need to protect themselves from the sun as well.When you're working with clients for summer portrait sessions and events, keep hair product on hand to minimize frizz. During a consultation prior to a session, recommend clothing that will be flattering in hot weather, including lightweight, breathable fabrics, as well as hairstyles. For example, a braid or updo may be preferable to big, loose curls.On the hottest days of the year, reassure clients that they will be spending a minimum amount of time in direct sunlight with broiling temperatures. When a family steps out of their car and is immediately shielding their eyes from the sun or a bride is breaking into a sweat before the ceremony is over, the last thing they want to hear is that they'll be standing right in the sun for their pictures. Spend as much time in the shade as possible, take breaks in an air-conditioned building or vehicle as needed, and take care not to push anyone past their comfort limit.
Dress appropriately and comfortably for the current weather conditions
Once you've prepared for your clients for their photography sessions and big events, follow your own advice to look your best, even when it's sticky and humid. Select clothing and footwear that will hold up well in the hot weather and keep you comfortable through long hours on your feet. When you're shooting on your own, you don't have to be concerned about looking professional. For example, lady photographers may prefer to wear dressy sandals with clients but would rather put on sneakers when heading out for hikes with friends.
Be prepared for a sudden change in weather
Summer storms often come on very quickly with little or no warning. When you're outdoors in the evening for a golden hour family session or some personal shooting at a favorite beach or park, the temperature may drop quickly as the sun sets. At a minimum, travel with a waterproof camera bag and camera rain cover as well as a long-sleeved shirt or jacket, so you won't find yourself freezing or with wet camera gear. Depending on the forecast for a given day, you may want to bring additional supplies, such rain boots, an umbrella, or a wind breaker.
Have water and snacks on hand
Summery photography can get miserable when you're thirsty and hungry. Don't ever leave the house on a warm summer day without a water bottle or two and a few snacks. Pack food items that you will keep you full and energized and that will hold up in the heat, such as granola bars, dried fruit and nuts, rice cakes with almond butter, and beef jerky.
Keep a running list of summer photography ideas
Whether you're looking for new places to visit around town with family or friends or you want to keep your client sessions fresh and interesting, having an ongoing list of summer photography ideas will keep your creative juices flowing. Create a list on your phone or stash a small notebook in your camera bag, so you can jot down ideas while you're on the go. Make note of upcoming events to attend as well, such as fairs, festivals, and concerts.
Challenge yourself
Long days and warm weather create an ideal environment for setting some new photography goals and challenges. Take advantage of an evening wedding reception to practice your back lit portrait technique or push yourself to edit an entire set of images in black and white. The PRTV Instagram challenges are also a great way to get out and shoot different subjects every week of the summer.
Do you have any additional tips for summer photography?
This Week’s Challenge: #PRTV_animalsWith Toby and co back from shooting all the baby animals with the Mckay’s it’s fitting the start of year three is animals. It’s summertime and you guys got some great shots of wild fluffy babies to your every day furbabies (pets) with some really nice shots. Next Week’s Challenge: #PRTV_travelFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
My daughter and I just returned from a great camping trip to Yellowstone National Park - She used the Canon T6i with an old Sigma 18-50 f/2.8 and a refurbished 55-250 STM Lens - here are a few of her favorite photos from the trip. This entire package is affordable and capable of great results. Honestly it is more about going someplace interesting than the gear you use.
This Week’s Challenge: #PRTV_hdrVia Toby - This week I was looking for images that provided a wide dynamic range without looking unreal - something the eye is capable of seeing but not taken to the extreme with saturation or clarity, or really even any additional color cast that happens in some HDR. I have a few small prizes I will be reaching out to our top picks soon. Next Week’s Challenge: #PRTV_animalsFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Toby’s Features:
This spot looks nicely shady but detail throughout makes me feel like I am there.
I have been here, I know it’s tricky to shoot into the sun through the arch and still get detail in the shadows! Maxence did a fantastic job of balancing the lights and the darks here to produce a detailed rich image.
This Week’s Challenge: #PRTV_photojournalismJust as a good writer adds the story the news gains a lot from a good photographer. As you’ve seen from other stories two photos of the same event can tell different stories so it’s up to you to decide. Hopefully with the holiday you all went out and tried to get some photojournalism shots as it was a perfect time to go shoot something different this week. Next Week’s Challenge: #PRTV_hdrFind out more about upcoming challenges and past winners at photorec.tv/prtvYou can follow Photorec.TV on Instagram at @Photorec.tv and the team:
Roy’s Features:
A nice patriotic shot for the week with a nice perspective using the flag
A post shared by Carson Torchia (@carsontography) on
Photojournalism takes a hard view on life and sometimes as a race we have to look at how we treat the poor and neglected parts of our society, even if they are from a zoo
Lighting conditions aren't always ideal for photography. As photographers, we don't always have a lot of control over these conditions either. When you're touring a dimly lit cathedral or attending a wedding in a low light reception hall, you can't exactly bring in a bunch of lighting. Sometimes shooting with a flash solves the problem, but sometimes it doesn't. For certain types of photography, you don't want to use a flash. In other instances, flash isn't allowed, such as during a dance recital or in a museum. Learning to take great pictures in low light will help you make the most of low light shooting situations, producing crisp, high-quality photos with minimal noise and grain.
After a little more than four years of shooting exclusively with the Canon t4i, I upgraded to the Canon 80D. The Canon t4i was my entry into the world of DSLR photography and leaving it behind was a little bittersweet. I put my t4i through its paces shooting more than 40,000 images in light levels ranging from harsh sunlight to golden hour to low light in jazz clubs. My photography has included, but isn't limited to, cityscapes, landscapes, jewelry, pets, and food. The Canon Rebel line is well-built with intuitive menus, making it a great option for anyone just starting out with DSLR photography.When you're thinking about upgrading to a new camera body, the question is always will the upgrade really be worth it? Upgrading from a Canon t4i or older Rebel body to the Canon 80D is definitely worth it. Personally, the top four features I appreciate most with the upgrade are as follows:
Summer is an amazing time for outdoor photography. With long days, warm weather, and tons of special events, there are endless possibilities for creative shooting. From early mornings capturing the sunrise to busy days photographing weddings to evenings documenting the local fair, summer is a magical season. Equipped with a few critical tips, you'll be able to step up your summer photography game and make the most of your shooting throughout the entire season.
