Tag Archives: digital camera reviews

Its most compact Cinema Line camera ever is aimed at single shooters | Instant News


Sony announced a new member of its Sony cinema line FX3. The cinema line currently includes Venice, FX9 and FX6 cameras. The new FX3 is the most compact Cinema Line camera, combining Alpha 7S III-like form with FX6-like cinema performance.

The core of FX3 is the full-frame 12.1 megapixel Exmor R back-illuminated image sensor. The 12MP sensor has a high ISO of 409,600 and promises up to 15+ dynamic range stop when recording in S-Log 3. The 12MP sensor can also record still images at 10 frames per second.

Main functions of Sony FX3

  • 12.1MP full-frame backlit image sensor

  • The standard ISO range is 80-102,400, and the maximum can be expanded to 409,600

  • 4K recording up to 120p frame rate

  • Full HD video up to 240 fps

  • Five-axis anti-shake in the body

  • 16-bit RAW output via full-size HDMI

  • Use S-Log 3 to exceed 15 stops of dynamic range

  • Circulating ventilation and cooling fans enable “uninterrupted” 4K 60p recording

  • S-Cinetone Picture Profile

  • Up to 627 AF points when recording video

  • Bionz XR processor

  • Reduce rolling effect

  • User-friendly controls

  • Reminder light

  • XLR audio input

  • Included XLR handle

  • Dedicated zoom joystick

Sony FX3

In terms of video quality, FX3 records 4K UHD video at 120 frames per second. When recording Full HD video, the maximum frame rate is 240fps. The camera includes Sony’s S-Cinetone Picture Profile, which has a beautiful film effect with soft tones. There are 11 optional picture profiles. FX3 includes S-Log3 gamma, S-Gamut3 and S-Gamut3.Cine color space. According to Sony’s internal testing, when shooting in S-Log 3, FX3 promises more than 15 dynamic range files.

When using All-I (XAVC S encoding), the bit rate is up to 600Mbps. FX3 records 10-bit depth images at 4:2:2. The movie camera includes MPEG-H and HEVC/H.265 encoding. 10-bit 4:2:2 mixed logarithmic gamma (HLG) can also be used in all recording formats. FX3 has a proxy recording function, and provides 10-bit full HD and 8-bit 720p proxy options.

The current Sony Cinema Line (from left to right): Venice, FX9, FX6 and the new FX3

Sony designed FX3 for single-player shooting games, while its other Cinema Line cameras are more geared toward production teams. For this reason, FX3 is more compact, mobile and lighter than the existing FX series cameras and Venice. Soloists also have more requirements for autofocus, so FX3 aims to provide high-end autofocus and functions to assist manual focus operations. Sony said its control layout is very different from other Cinema Line cameras.

Sony FX3 size and main features

The FX3 with memory card and battery weighs only 715 grams. The camera is up to 5.1 inches wide, 3.1 inches high, and 3.3 inches deep. Despite its compact form factor, the FX3 still has a pass-through cooling design and a built-in fan, and Sony is almost silent on this. In terms of thermal design, Sony’s internal tests found that FX3 can record up to 13 hours of 4K/60p video. Of course, the ambient temperature will affect this result, but considering the size of the camera, it is still impressive. The system in FX3 is the smallest system ever created by Sony.

However, there are trade-offs to achieve a compact form factor. FX3 does not include an SDI connector, and there is no room for the electronic filters included in FX6. This means that FX3 does not have a built-in electronic variable neutral density filter.

From the front, FX3 has a cageless design. There are five ¼-20UNC mounting points on the camera and the included detachable XLR handle. The installation point is supported by the internal stainless steel substructure inside the magnesium alloy FX3. You can use these fixing pins to fix various accessories.

You can use the Catalyst software to select the compensation range and the resulting crop when processing the video.

FX3 has a 5-axis in-body anti-shake system inside the camera. This marks the first time Sony has incorporated IS into Cinema Line cameras. The IBIS system includes an active mode, which extends the compensation range in exchange for approximately 10% of the image area cropped. Taking into account the solo shooting, FX3 can be used hand-held without using a gimbal. You can also use Catalyst Browse and Catalyst Prepare software to utilize gyroscope data stored in the metadata of the recorded clip. Using software such as this, users can select the compensation range and the resulting crop when processing video files.

Full-frame FX3 uses Sony E mount and can use nearly 60 lenses made by Sony

Autofocus performance is driven by Sony’s hybrid autofocus technology. The 627 AF points of FX3 cover 94% of the vertical image area and 95% of the horizontal image area. FX3 also includes face detection and real-time eye autofocus. You can use the variable-angle touch screen at the rear to enable touch tracking and enable autofocus when focusing manually. Like FX6 and A7S III, users can also control the autofocus transition speed and subject movement sensitivity quite a bit. Although we do not have specific numbers, Sony also promises to provide powerful low-light autofocus performance.

Many parts of the FX3 body include weatherproof seals, including body seams, cabin covers, hinged doors and media slots. Sony states that the device is dust-proof and moisture-proof. The camera includes a full-size Type A HDMI slot, which supports 16-bit RAW output. The camera can use a wired LAN with a compatible USB adapter, and in addition to the micro USB terminal, it also includes a USB Type-C super speed port. The camera has built-in Wi-Fi with 2.4GHz and 5GHz channels. FX3 supports mobile network sharing, remote control and FTP data transmission. You can also use USB-powered devices via USB-C.

When using the supplied XLR handle, FX3 provides 4-channel 24-bit audio recording. The handle includes XLR input, built-in stereo microphone and 3.5 microphone jack. The FX3 body itself includes a microphone and headphone jack, and also includes a built-in stereo microphone. FX3 supports a variety of accessories, including microphones, lights, handles, wireless microphones, etc.

If Sony FX3 has all these small features, what is the difference between it and FX6? FX3 does not include a built-in LUT, nor does it have a continuously variable built-in neutral density filter. FX6 also includes DCI 4K, pure 24p frame rate, 12G-SDI, time code, and its larger size can realize different functions.

Nevertheless, FX3 is still a category of compact features. Compared with A7S III, the overall size of FX7 is not completely different, while FX3 has a more friendly video design and other features. FX3 has S-Cinetone, which is not currently provided by A7S III. FX3 also has internal fans, cue lights, video-friendly controls and additional scalability.

FX3 includes a new XLR handle. The left side of the handle can be seen here.

In the end, Sony introduced the FX3 to the market as a compact, cinema-centric camera, specifically aimed at individual shooters. The camera’s S-Cinetone Picture Profile, internal cooling, XLR handle, cageless design, cue lights and video control layout can prove this.

Sony FX3 will be available in mid-March, with a suggested retail price of US$3,899 in the US and US$4,999 in Canada. FX3 comes with an XLR handle in the box. The handle will not be sold separately.

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Hands-on use of Panasonic’s new Lumix S 70-300mm f/4.5-5.6 macro full-frame telephoto lens (Gallery) | Instant News



Click here to browse our Panasonic S 70-300mm F4.5-5.6 MACRO Gallery

With its compact, weatherproof and sealed debut, Panasonic has added a convenient new lens to its growing library of full-frame L-mount lenses. Lumix S 70-300mm F4.5-5.6 Macro OIS Telephoto zoom. This new full-frame Lumix S 70-300mm lens, designed for professionals and enthusiasts, is Panasonic’s current longest zoom lens. It is a great choice for Panasonic S series photographers who are looking for longer shots of sports, nature, and wildlife. An obvious missing point. (That said, for those who want more coverage, Sigma does provide Sigma 100-400mm f / 5-6.3 DG DN OS Contemporary Coupled with some macro shooting functions, the 70-300mm lens is more close-up than Panasonic’s two S-series 70-200mm full-frame lenses.

We learned about the new product early Panasonic Lumix S 70-300mm F4.5-5.6 Macro OIS Telephoto zoom, so in addition to our standard classification of lens specifications and functions, I also provided some handling and usability instructions and real-world samples Gallery image. (Note: The firmware on the lens is listed as v0.22, not the final production firmware. However, we have confirmed with Panasonic that the lens can be fully shot and can be shared Full resolution image)

Lumix S 70-300mm F4.5-5.6 key features and specifications

  • 70-300mm full-frame L-mount telephoto zoom

  • F/4.5-5.6 variable aperture design (f/22 minimum aperture)

  • 17 lens elements in 11 groups, including 1 UED lens, 2 ED lenses and 1 UHR lens

  • The maximum magnification is 0.5 times at 300mm

  • 0.54cm close [email protected]; [email protected]

  • 11-blade circular aperture

  • Dust-proof and moisture-proof; freeze-proof to 14 degrees Fahrenheit (-10 C)

  • 790 grams (1.75 pounds)

  • Suggested Retail Price USD 1249.99

Design and usability

Compared to the high-end “S PRO” series, the new Lumix 70-300mm is part of Panasonic’s standard “S series” series. Nevertheless, regardless of its “category”, this new telephoto zoom feels rugged and durable. Well made. “Lumix S 70-300mm, at least from an operational and visual point of view, looks completely made of durable and strong polycarbonate plastic with a metal lens mount. Nevertheless, the lens feels very good in the hand. Robust, the telescopic lens barrel is smooth and precise, without any swinging or swimming between the two main lens barrel components.

The lens also has a weather-resistant structure with gaskets and a seal for the entire lens barrel, including the seal around the metal frame, and a fluorine coating on the front element to further repel oil, dust and moisture. The lens is designed to withstand freezing temperatures as low as 14°F / -10°C, which was very useful when I tried to use the lens at -17ºF earlier this week. The lens is ok, but my hands don’t…

In terms of physical size, Panasonic 70-300mm is quite compact and lightweight for a full-frame telephoto zoom lens, with a length of 148mm (5.83 inches) at 70mm and a diameter of 84mm (3.31 inches). When zooming, the telescopic lens barrel extends outward about three inches (~76mm). The bayonet hood adds about 2.5 inches (~63mm) of extra length.

The lens also has a good sense of solidity, but it is by no means heavy. The lens weighs about 790 grams (1.75 lbs). When attached to the Lumix S1R camera, I definitely noticed that the weight of the camera body is heavier than the lens itself. This combination certainly has no front weight, especially when the lens is fully retracted 70mm. When zooming in to 300mm, the setting will reach a good balance.

As mentioned earlier, Lumix S 70-300mm adopts a retractable design. This is a very smooth zoom action with considerable resistance and can zoom the lens to the desired position without accidentally changing the position of the lens. That being said, when the camera is held by your side or the lens is pointed below, there will be some “lens creep” in which the lens barrel begins to stretch on its own. Fortunately, Panasonic added a lock switch on the side of the lens to lock it at 70mm when not in use.

The slower iris design of Lumix S 70-300mm is one of the key features that help reduce size and weight. The f/4.5-5.6 design makes the lens lighter, although it does make it a better choice for daytime shooting or other well-lit situations (rather than low-light shooting). As the focal length increases, the lens will stall. The Lumix S 70-300mm lens only maintained its brightest f/4.5 aperture until about 73mm, after which the aperture began to narrow. For a given focal length, see the list below for the width of the aperture:

  • 70mm: f / 4.5 maximum aperture

  • 100mm: f / 5.0 maximum aperture

  • 135mm: f/5.2 maximum aperture

  • 200mm: f/5.5 maximum aperture

  • 263mm-300mm: f/5.6 maximum aperture

The smallest (narrowest) aperture of all focal lengths is f/22.

Optical design and image quality

S1R: 300mm, f/5.6, 1/320, ISO 1000

As far as the optical design of Lumix S 70-300mm F4.5-5.6 is concerned, the lens uses a total of 11 lens elements in 11 groups. The lens includes an ultra-low dispersion (UED) element, two ultra-low dispersion (ED) elements and an ultra-high refractive index (UHR) lens, which can jointly suppress the chromatic aberration of the telephoto and wider focal lengths. . Panasonic said that UHR components are particularly helpful in maintaining excellent image quality across the entire screen.

100% cropped (from unedited JPEG)

The distinguishing feature of Lumix S 70-300mm is its close focus function. Unlike Panasonic’s other S series 70-200mm telephoto zoom, the 70-300mm S lens can focus closer, which is only 0.54mm at 70mm and 0.74mm at 300mm. In this way, the maximum magnification of 0.5 times at 300mm places the 70-300mm lens in the field of macro photography; with a 1:2 macro function (half-life size macro). 70-300mm is not only very suitable for shooting a variety of distant objects, but also a good choice for close objects.

S1R: 300mm, f/5.6, 1/320, ISO 800

In addition, the Panasonic S 70-300mm lens also has a built-in optical image stabilization function, which can be used in conjunction with the body-based image stabilization system of the Lumix S series cameras. The 70-300mm lens is compatible with Dual IS and can provide up to 5.5 levels of stable compensation.

So far, I am very satisfied with the image quality performance of 70-300mm, although so far, I have taken a short time with the lens. Due to some unpleasant weather conditions, I only have a short time to go outdoors for lens testing. Nevertheless, in terms of details and clarity, Lumix S 70-300mm still performs well. According to my preliminary experience, it can capture clear images with many fine details.

S1R: 300mm, f/5.6, 1/320, ISO 1250
(300mm on full frame may sometimes not be enough for bird watching. Thankfully, the S1R has great trimming potential.)

100% cropped (from unedited JPEG)

We plan to continue to test the lens further and update the gallery with more real-world example images.

Focus

Like many other Lumix lenses, the new 70-300mm f/4.5-5.6 lens uses a linear focus motor and a high-speed sensor driver that can operate at 480fps to achieve fast and precise autofocus performance. In terms of video, Panasonic said that 70-300mm also has excellent video autofocus performance, and its design can minimize focus breathing and provide minimum focus shift when zooming, which will make tracking easier to move the subject And adjust the zoom level while keeping the focus on the subject.

70 mm -S1R: 70mm, f/4.5, 1/800, ISO 100

In the field, the focus performance of still images will be fast and accurate, especially in daylight conditions. Under dim light, I found that the autofocus speed may be reduced (especially in the silent shooting mode on the S1R, which disables the autofocus assist light on the camera; the contrast detection autofocus system must take more time To get focus). The wide focal range of the lens will also be somewhat slow over the entire focal range of the lens. In other words, under bright and well-lit conditions, I found that it still only takes about one second to auto focus from the minimum focusing distance to infinity. However, small changes in focus are almost instantaneous.

Although the two Lumix S PRO 70-200mm lenses use a rear focus clutch design to switch between autofocus and manual focus modes, the 70-300mm lens uses a simple toggle switch on the left side of the lens barrel. The lens itself does not have any physical focus distance markings. You must use the distance markers on the camera’s screen instead.

300 mm (299 mm) -S1R: 299mm, f/5.6, 1/1000, ISO 100

Pricing and Availability

This Panasonic Lumix S 70-300mm F4.5-5.6 Macro OIS The lens will go on sale in April, with a suggested retail price of US$1249.99.

Panasonic S 70-300mm F4.5-5.6 MACRO image library

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Tamron announces the supply of 17-70mm f/2.8 standard zoom lens for Sony APS-C mirrorless camera | Instant News


by
Jeremy Gray

Posted on Thursday, December 3, 2020, 10:45 a.m. Eastern Standard Time

Tamron announced the launch of the 17-70mm f/2.8 Di III-A VC RXD (B070 type) lens. It is a high-speed standard zoom lens for Sony E-mount APS-C mirrorless cameras. This is the first f/2.8 APS-C zoom lens with a 4.1x zoom ratio. This is Tamron’s first high-speed zoom lens for APS-C mirrorless cameras.

The lens can provide a full-frame equivalent focal length range of 25.5-105mm, which is ideal for many types of photography such as travel, landscape and general portraits. The lens is equipped with Tamron’s vibration compensation (VC) mechanism to minimize camera shake. The lens includes optimization algorithms and an independent micro-processing unit dedicated to stable performance. VC can also be used in conjunction with the in-camera image stabilization function.

The Tamron 17-70mm f/2.8 lens is 4.7 inches long and weighs 18.5 ounces.Image courtesy of Tamron

When recording video, VC uses artificial intelligence technology for stabilization. It is not clear how AI affects the factors, but Tamron pointed out: “By using AI technology when shooting videos, image stability has been improved compared to traditional models.”

In terms of manufacturing quality, Tamron 17-70mm f/2.8 Di III-A VC RXD has a moisture-proof structure and fluorine coating. The lens is also very compact, measuring 4.7 inches (11.94 cm) long and has a maximum diameter of 3 inches (74.6 mm). The 17-70mm zoom lens weighs 18.5 ounces. (524 grams). The lens includes a 67 mm filter thread.

The new 17-70mm f/2.8 lens has a moisture-proof structure. Image courtesy of Tamron.

Optically, the Tamron 17-70mm lens contains 16 elements in a dozen groups. There are a pair of glass molded aspheric (GM) lenses and a hybrid aspheric lens.

Tamron 17-70mm f / 2.8 Di III-A VC RXD optical structure. The lens includes 16 lens elements in 12 groups. Image courtesy of Tamron.

At 17mm, the 17-70mm f/2.8 zoom can focus to around 7.5 inches (19 cm), and the maximum magnification is 1:4.8. At a focal length of 70mm, the close focal length is 39 cm (15.4 inches), so the maximum magnification is 1:5.2.

The lens uses Tamron’s RapideXt-silent stepper drive (RXD) stepper motor unit to achieve fast and quiet autofocus, suitable for still photos and videos. The lens is also compatible with many Sony cameras with built-in autofocus functions, including fast hybrid autofocus and eye autofocus.

Image courtesy of Tamron

The Tamron 17-70mm f/2.8 Di III-A RXD lens is expected to be available on January 14, 2021, with a suggested retail price of US$799.

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Check out our in-depth field test | Instant News


Initially debuted on CP+ in 2019 with E-M1X Development announcement, M.Zuiko 150-400mm f/4.5 TC1.25x IS PRO This lens can be said to be one of Olympus’ most ambitious new lenses, with telephoto capability, and combining its unique portability and lightweight design as its main features. Almost two years later, the Olympus 150-400mm f/4.5 lens finally appeared. It is an excellent optical device.

This new Zuiko Pro series lens is specially designed for professional and serious enthusiast nature and wildlife photographers, providing excellent telephoto capabilities equivalent to 300-800mm equivalent zoom range. However, the lens is also equipped with a built-in 1.25x teleconverter, which can reach 1000mmeq at the touch of a switch. focal length. But wait, there is more! The lens is also compatible with Olympus’s independent teleconverter, and when you add MC-20 2x TC, you will have a super telephoto lens equivalent to 2000mm, due to its unique lightweight structure and easy to use handheld Style (despite the appearance). Powerful image stabilization function.

Olympus has used the 300mm f/4 IS Pro lens to amaze us and others in the wildlife world, but the new 150-400mm f/4.5 IS Pro lens takes things to a whole new level. Olympus 150-400mm is designed to compete with larger, heavier and more expensive super telephoto zoom lenses, such as Canon 200-400mm f/4L IS or Nikon 180-400mm f/4E VR, which has unexpected It is light, portable and fully functional. All-weather sealed packaging and impressive image quality performance and autofocus speed.

However, all these exciting technologies, functions and unique designs are not cheap. The suggested retail price is US$7,499, 150-400mm f/4.5 TC1.25x IS Professional Edition It is undoubtedly a big investment and the most expensive lens of Olympus so far. But when you consider that full-frame competing lenses usually cost more than $10,000, things get even more interesting.

E-M1X: 438mm (equivalent to 877mm), f / 5.6, 1 / 800s, ISO 2500, 1.25x TC

We have a preliminary understanding of the new Olympus 150-400mm f/4.5 IS Pro lens, and we have conducted in-depth field tests, and wait for all curious people to see Olympus’ new extreme wildlife lens in action.Go to read our Olympus 150-400mm f/4.5 IS Pro field test All the details about how this lens is handled in the field.Of course, be sure to check Gallery page Various RAW and JPEG available for download!

E-M1X: 500mm (1000mm eq.), f/5.6, 1/1000s, ISO 1000, 1.25x TC

E-M1X: 500mm (1000mm eq.), f/5.6, 1/1000s, ISO 2000, 1.25x TC

Olympus 150-400mm f/4.5 IS Pro field testPicture library


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Canon announced the launch of RF 70-200mm f/4L IS, RF 50mm f/1.8 lens and Pixma PRO-200 photo printer | Instant News


As one might expect, Canon continues to expand and develop its new RF camera system, adding two RF fixed lenses to its arsenal today: RF 70-200mm f/4L IS and RF 50mm f/1.8 STM. Similar to their EF lens series, the RF lens series now offers two options for 70-200mm telephoto zoom, a faster f / 2.8 option or a lighter and more portable f / 4 version (there are also on the EF- Non-IS version) mount side, to be fair). Similarly, EOS R series shooters can now choose the fast 50mm prime lens, the expensive and extremely fast 50mm f/1.2L lens, or the ultra-compact and reasonably priced 50mm f/1.8. Indeed, the Canon R series mirrorless body now has “fifty”!

In addition to these two new lenses, Canon’s printer department also introduced a new consumer-grade photo printer. The new Canon Pixma PRO-200 is suitable for advanced amateurs and professional consumers who want to improve the quality of printed games. They have higher quality and larger print sizes.

Canon RF 70-200mm f/4L IS USM

For those who want a classic wrap-around telephoto lens but don’t necessarily need an f/2.8-sized lens or want additional costs, the new RF 70-200mm f/4L IS may just be the ticket. Although the early RF 70-200mm f/2.8L IS is smaller and lighter than its EF mount companion, it is still a fairly heavy lens, weighing 2.36 pounds. (1070 grams). At the same time, the new RF 70-200mm f/4L IS is very compact, and its size is significantly smaller than that of EF similar products.

The size of this lens is almost the same as the RF 24-105mm f/4L IS lens, which is impressive. In fact, the RF 70-200mm f/4L IS is Canon’s shortest and lightest 70-200mm f/4 lens. It is about 32% shorter than the EF 70-200mm f/4 and 11% less weight. In addition, due to the new radio frequency mounting design, the optical layout is arranged so that many glass elements are pushed back closer to the camera body, thus achieving a more balanced operation.

Given this smaller size and new optical layout, the RF 70-200mm f/4L IS-very similar to the RF 70-200mm f / 2.8-uses a retractable design, while the EF equivalent 70-200mm lens is inside All have a zoom design. In other words, the internal barrel of the lens extends when zooming. Nevertheless, Canon pointed out that the RF 70-200mm f/4L IS lens is thoroughly weather sealed like other L-series lenses, and also contains a fluorine coating to help prevent dust, oil and water on the lens elements from entering .

Regarding the details of the lens optical layout, the new RF 70-200mm f/4L IS divides 16 elements into 11 groups in total, and includes 4 UD lens elements to eliminate chromatic aberration, and combines Canon’s Air-Sphere coating to suppress glare and heavy shadow. Considering the RF specific optical layout of the lens, it must be pointed out that unlike the EF mount version, the RF 70-200mm f/4L IS (and f/2.8 version) is not compatible with Canon’s RF teleconverter because there is no space behind the lens Can accommodate a teleconverter.

Other features include the Nano USM-based dual focus system, which uses two independent focus motors to provide fast AF speeds for still images and quiet and smooth focus for video recording. Canon also pointed out that due to the floating focus control function, the focus of the lens is minimal. In addition, this also helps to provide better close focus performance, the 70-200mm f/4 lens can focus to 1.96 feet (59.7 cm), and provide 0.28 times magnification. The lens also has a customizable control ring, just like other RF mount lenses, and uses a 77mm filter thread size.

As the name suggests, the RF 70-200mm f/4L IS also has onboard optical image stabilization. Canon alone claims that the lens can provide an impressive five apertures. However, when combined with the EOS R5 or EOS R6 camera body with built-in anti-shake function, the pair of cameras can perform up to 7.5 levels of correction.

The RF 70-200mm f/4L IS is scheduled to go on sale from early to mid-December, with a retail price of US$1,599.

Canon RF 50mm f/1.8 STM

The second 50mm protagonist of the RF installation series is on the other side of the price range. The early RF 50mm f/1.2L lens sold for as much as US$2299 and weighed 2.09 pounds (950 grams). The newly released RF 50mm f/1.8 STM was a classic “50s” in many respects. This new RF 50mm lens is priced at only $199 and weighs only 0.35 pounds (160 grams). It is a budget-friendly and ultra-portable fixed-focus lens for Canon shooters who are looking for a compact lens at a reasonable price. Portrait, low-light shooting and all-round general photography subjects. Perfectly matched with compact R series cameras such as EOS RP.

The RF 50mm f/1.8 uses only 5 optical elements in 5 groups and includes an aspherical element. PMo (Precision Molded) aspheric lens helps suppress chromatic aberration, and the optical design and the use of Canon Super Spectra Coating (SSC) help reduce ghosting and flare. The lens uses a 7-blade aperture diaphragm, which can bring pleasure, smooth background blur and good subject isolation. The 50mm f/1.8 lens provides a 0.25x magnification and a close focus distance of 0.98 feet (30 cm). The lens has a small 43mm filter ring size.

Like other RF lenses, the 50mm f/1.8 also includes a customizable control ring, which can also double as the focus ring of the lens when you press the AF/MF switch on the side. In auto focus mode, it can be programmed to adjust various exposure settings, such as ISO, aperture or exposure compensation. As the name suggests, the autofocus system of the new RF 50mm f/1.8 uses a stepping motor (STM). It is said that the gear-level SRM motor can provide smooth and quiet autofocus performance for still images and videos.

RF 50mm f/1.8 does not include optical image stabilization. However, when used on EOS R series fuselages that support IBIS, the combination has a CIPA level and can stabilize up to 7 gears.

Like 70-200mm, the new RF 50mm f/1.8 STM will be unveiled in major stores from early to mid-December, with a retail price of US$199.

Canon Pixma PRO-200 printer

Finally, we have a brand new advanced photo printer Pixma PRO-200 for hobbyists. As the successor to the PRO-100 printer, the total footprint of the new printer has been reduced by about 15%, but it can still provide large photo printing up to 13 x 19 inches. The new PRO-200 uses an improved 8-color ChromaLife 100+ dye-based ink system to provide an enhanced color gamut for magenta, red, and blue inks, and a higher black density for deeper and richer blacks. It is said that the printer can also increase the pre-production of dark colors of red and blue. Just like the characteristic rich red that Canon extracted from its camera files, the new PRO-200 is said to provide a more vibrant red. Canon also pointed out that the improved color reproduction capability is applicable to both glossy and matte printing papers.

Pixma PRO-200 supports top feed and manual feed, and now also includes a new skew correction function, which can automatically correct any deviation of the paper during printing. In addition to printing standard photos of 13 x 19 inches, PRO-200 also provides longer aspect ratio printing than previous models, including 23.4 x 8.3 inches of panoramic photos and 39 inches of user-defined size. The new model supports a variety of print media, including Canon’s professional photo paper and the newer advanced fine art rough paper.

The printer has a new 3.0-inch LCD panel, which makes it easier to operate and monitor the network and ink supply. Users can now use the on-board LCD screen to connect the printer to their wireless network without having to set it up through a computer. PRO-200 supports 2.4Ghz and 5Ghz Wi-Fi and Ethernet connections. PRO-200 supports Canon’s professional printing and layout software, which can be used as a standalone application or as a plug-in in Adobe Photoshop and Lightroom.

Pixma PRO-200 uses a brand-new ink system, namely 12.6mL CLI-65 ink cartridges, Canon said, the price of each ink cartridge is about 13.99 US dollars.

The Canon Pixma PRO-200 printer is scheduled to go on sale later this month, with a suggested retail price of $599.99.

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