Tag: photos

Everything You Need To Know About Canon’s EOS R Camera

Canon and Nikon protected their DSLR turf as long as possible, but Sony has been killing them lately with its mirrorless range.

Nikon finally jumped into the fray by launching the Z6 and Z7 models, and today, Canon unveiled the $2,299 EOS R, a 30.3-megapixel video-centric full-frame mirrorless camera.

It also introduced a new lens mount, Canon RF, along with four lenses, including three interesting high-end “L” models.

The EOS R slots between Sony’s A7 III and A7R III and the Nikon Z6 and Z7, resolution-wise. It’s a near match to Canon’s own EOS 5D Mark IV DSLR, with similar resolution, dual-pixel autofocus, shooting speeds and video specifications.

Canon unveiled the EOS R with four lenses, one more than the Z6 and Z7 had at launch. They are, I daresay, also more interesting than Nikon’s Z-Mount models.




The first is the Canon RF 24-105mm f/4L IS USM model, a very solid kit lens for both photographers and videographers.

There’s a macro lens available right off the bat too: the RF 35mm f/1.8 IS STM Macro. At 35mm, it will do double-duty as a relatively inexpensive walking-around lens.

The last two are the most interesting (and expensive). Canon’s RF 28-70mm f/2L USM is an extremely fast zoom lens with a normal range that illustrates the power of the new mount.

The company also launched a 50mm f/1.2 that’s not quite as light-sensitive as Nikon’s crazy f/0.95 Z-Noct, but it’s still damn fast and will be available sooner.

On top of the regular focus and zoom controls, each of the new lenses has a special new control ring. You can program it to change f-stop, shutter speed and other settings.

The three new EF to RS lens adapters, meanwhile, will let you use any EF and even EF-S lenses (with a crop on the latter) with no loss in quality.

You’ll also get full autofocus, stabilization and metering capabilities, so you won’t be left in the lurch if you already have a lot of Canon glass.

Canon also introduced a lens adapters for drop in neutral density and other filters, and another with a control ring much like the one on the new RF lenses.

All of those will let you use EF and EF-S lenses exactly as if they’re on a 5D Mark IV or other DSLR, Canon promised.

Unfortunately, because of the mount size (54mm with a 20mm flange distance), it will never be compatible with Canon’s mirrorless APS-C EOS-M system.

This will likely anger EOS-M owners, especially because Sony lets you use full-frame lenses on APS-C E-Mount cameras like the A6500, and E-Mount lenses on A7 cameras (albeit with cropping on the latter).

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Pass it on: Popular Science

This Isn’t The End Of Printed Photos, It’s The Golden Age

As a society, we now produce more photographs than ever before, and the total number is becoming difficult to fathom. This year, it is estimated that billions of humans armed with smartphones will take some 1.2 trillion pictures.

Many of them will be shared on social media, but many more will simply be forgotten. A few good selfies will flash before your eyes as you swipe left or right on them, late some Friday night.

But hardly any will make the transition into the physical world, bits becoming blots of ink that coalesce into an image on a piece of paper, canvas, wood, or metal — a print.

The reasons for this are rational, and there’s no point fighting progress, but nor should we ignore the value of a print. We may no longer print every photo by default, but this can actually be a good thing for printing.

It is now about quality rather than quantity, and the pictures we choose to print deserve the best treatment.

Honestly, there has never been a better time to print than now, thanks to technological advances in both digital cameras and inkjet printers.

If you haven’t yet tried your hand at photo printing, you owe it to yourself to do so, even if you’re just a casual photographer.




Print isn’t dead — it’s better than ever

It’s a common refrain in the digital age, and not just in reference to photography. Print is dead, or at least dying, right? In truth, a certain type of print has certainly declined, but this isn’t a tragedy.

Prints used to be the only way we had to view our photos. We’d drop our film off at the drugstore and pick it up 24 hours later not because it was a better system, but because it was all we had.

We tend to romanticize the print, but when printing was the norm, many photos were still lost and forgotten (and some were found again).

Most were destined for photo albums or shoeboxes that would sit around and collect dust until moving day. If fewer were forgotten, it was because fewer were made.

Far fewer, in fact — in 2000, Kodak announced 80 billion pictures had been taken that year.

Sure, that sounds like a lot (it was a new milestone at the time), but for those who think of such large numbers as vague clouds of zeros, consider that 80 billion is still 1.12 trillion shy of 2017’s 1.2 trillion photos.

For the mathematically disinclined, let’s put it another way: Subtracting the total number of photos made in the year 2000 from those made in 2017 would have no effect on the number of shirtless mirror selfies posted by lonely men on Tinder.

With so many photos being taken, it’s no wonder so relatively few are being printed. Every print costs money, after all, so of course people aren’t going to print 1.3 trillion photos.

What’s more, the point of printing (often the point of taking a photo in the first place) was to share your memory with someone else.

Now that we don’t need prints to do that, it makes sense that people are choosing not to spend money on them, especially when electronically sharing images also happens to be much more convenient.

But people still love prints. Even the “low end” of printing is alive and well as instant photography has seen a huge resurgence in recent years.

Polaroid Originals has built an entire brand around it, and Fujifilm Instax cameras and film packs made up six of the top ten best selling photography products on Amazon last holiday season.

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Pass it on: Popular Science

Kodak Brings Ektachrome Back to Life

Kodak announced Thursday it will bring back its Ektachrome film, better known as color reversal film.

In 2012, Kodak discontinued its line of color reversal films, which stand out for its fine grain, clean colors, sharp tones and contrasts. At the time, Kodak blamed declining demand for such film.

A year later, Kodak divested its film business to Kodak Alaris, the UK-based company behind Ektachrome’s revival.




Over the next 12 months, Kodak Alaris will be remanufacturing the film at Kodak’s factory in Rochester, N.Y., with the revived film available for both motion picture and photography.

Color reversal film is quite complicated as its recipe is concerned,” says Diane Carroll-Yacoby, Kodak’s world wide portfolio manager for motion picture films says.

A tall tale.

It’s very unique and quite different than a black-and-white film or a color negative film.

“We’re in the process right now of procuring the components that are needed for this special film and in addition to that we are setting up a color reversal processing capability again, which we have to have in order to test the film as we manufacture it.

Into the light.

She adds: “It is a complicated project for us to bring it back but because our customers are telling us that they want it, we’re very excited to do this again. It’s kind of a really special time for us.

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Pass it on: Popular Science