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Topics - Canon Rumors
DXOMark has completed their review of the Zeiss Otus 85mm f/1.4 Apo Planar T* for both Canon and Nikon. As you would expect, this lens is an absolute gem when it comes to image quality. It easily outperforms all the 85mm lenses from both Canon & Nikon in optical tests. How that all translates in the field is up to the photographer.
“The new Otus 85mm is without question the most desirable and best performing 85mm portrait lens available but at $4,490 it’s not for those without deep pockets. It’s also rather large and bulky (although it’s remarkably well balanced on the D800 models), and it lacks the convenience of autofocus. While that may not be an issue for most enthusiasts or professionals (particularly as AF is at best difficult with f1.4 models) it’s likely to further limit its appeal, even if the real reason is obvious.”
Samyang Europe announces the upcoming Autumn release of the full-frame Samyang 12mm 1:2.8 ED AS NCS Fish-eye lens. The new model is yet another product of the Korean manufacturer and its widest 35mm film format lens. The lens will be officially introduced during Photokina fairs in Cologne on September 16th 2014.
Samyang 12mm 1:2.8 ED AS NCS Fish-eye is a bright, super wide-angle fish-eye lens designed especially for full-frame cameras. It offers the image area in 24 x 36mm format and the diagonal angle of view of 180 degrees. In terms of the optics, it is one of the most advanced “fish-eye” lenses. The product’s sophisticated optics consists of 12 lens elements arranged in 8 groups. This includes three elements made of low dispersion ED glass and two aspherical lens elements to ensure perfect image depth and minimized chromatic aberration. Samyang 12mm 1:2.8 ED AS NCS Fish-eye is the third lens of the brand (along with 10mm f/2.8 and 12mm f/2.0) with highly effective nanocrystal anti-reflection NCS coating applied together with standard UMC coatings. Owing to this solution and the fast aperture ratio (f/2.8) the lens can be used as a perfect tool in diverse lighting conditions, as it provides great focus, high contrast and natural colour reproduction even with the fully opened aperture. The premiere of Samyang 12mm 1:2.8 ED AS NCS Fish-eye is like a dream coming true for professional photographers and filmmakers who seem to have an increasing demand for this type of lenses since the release of 8mm and 7.5mm models, which are considered to be the best “fish-eye” lenses on the market.
You will have an opportunity to take a look at the pre-production copy of the new lens on the Samyang stand (hall 2.1, A-025) during the upcoming Photokina 2014 fairs in Cologne. The visitors will be also able to test two other recently introduced lenses: Samyang 50mm 1:4 AS UMC and Samyang V-DSLR 50mm T1.5 AS UMC.
The market release date for the new lens and its retail price will be announced at a later date.
With the Otus 1.4/85 ZEISS is expanding its high-end lens family. The Otus 1.4/55, an SLR standard lens, already set new global standards in what is means to achieve perfection. The expectations for the 85-mm focal length are just as high. This new member of the Otus family is an outstanding and fast all-around lens that accepts no compromises. ZEISS will present this new world-class lens for the first time to the public at photokina in Cologne from September 16 to 21.The Otus 1.4/85 offers peerless image quality, even with an open aperture. As a short telephoto lens with an 85-millimeter focal length, this new member of the Otus family shows its strengths especially when people are center stage. Thanks to the longer focal length of this lens, photographers can keep a decent distance from the subject. At the same time, the lens is highly versatile: it excels in general studio work, as well as for fashion, advertising, product and architectural photography. Even photographers who are looking for a powerful companion for nature photography will find it in the Otus 1.4/85 – the edges of the picture can be used for compositional purposes at all f-stops. Photographers who had a chance to test exclusively this new flagship from Germany’s leading optics specialist were enthusiastic. Using the Otus 1.4/85 in combination with a full-frame SLR lets a photographer master all shooting situations and achieve effects that until now have only been known from the medium-format range: unusually high contrast, unusually high depth of field, impressive three-dimensional effects and sensational quality.
Is there little ambient light? That is no problem for the Otus 1.4/85. When the light fades, ZEISS’s newest high-end lens ‘sees’ just as well as the owl species from which this lens family gets its name. There is no trace of correction deficits, which are typical in such situations.
Just like its older ‘brother’, the Otus 1.4/55, the new Otus has been designed to meet professional photographers’ most rigorous demands. Internal focusing, the dial window, and the dials‘ clearly recognizable yellow labeling, familiar from professional cine lenses like ARRI/ZEISS Master Prime, are just a few of the characteristics of the Otus 1.4/85. The smooth manual focus operation with the large angle of rotation of 261 degrees combined with the easy-to-grip focus ring enables the finest variations in focusing. The freedom to focus — one of the most important creative elements in photography — has literally been put into the hands of the photographer as an artistic tool. Both the extra-fine haptics and the precision of the focusing mechanism can only be achieved with the metal design of the Otus range. The robust all-metal barrel is also well equipped to deal with the rough daily work of a professional photographer, ensuring a long product life. And for all photographers who in addition to the actual optics also rely on screw-on filters in their work, matching T* UV and POL filters with a diameter of 86 millimeters will be available from ZEISS for the Otus 1.4/85.
Optically, the Otus 1.4/85 stands out for its high image quality, even with an open aperture — as is true for the entire Otus range. Specifically, that means a neutral bokeh in the background, highly detailed images without any bothersome optical artifacts, consistently high resolution power across the entire image field, no color fringing or distortion, and an extremely high image contrast all the way into the edges. The imaging performance remains entirely consistent for all shooting distances. High apertures can be used even for close-ups right down to a working distance of 0.65 meters. This freedom offers the photographer new opportunities to compose his or her subjects, without having to waste time thinking about a possible loss of quality This is one of the reasons why the photographers who tested the new Otus 1.4/85 lens exclusively beforehand returned it only reluctantly.
“After we launched the Otus 1.4/55, our customers immediately understood the enormous benefits they can get from such a lens. Photographers are in the position to take full advantage of their high-end full-frame cameras and shoot pictures with a quality and look that they were previously only used to getting from expensive medium-format systems. With the Otus 1.4/85 we are now bringing out the second lens with this promise,” explains Christophe Casenave, Product Manager with ZEISS Camera Lenses.
A view inside reveals how such optical quality was achieved. It is an optical-technical feat as you would expect only from ZEISS: The Otus 1.4/85 consists of eleven lens elements in nine groups. One of the lens elements has an aspheric optical surface and six are made of special glass. The optical design is based on the Planar. Because the Otus 1.4/85 is an apochromatic lens, chromatic diagonal aberrations (longitudinal chromatic aberrations) are corrected with the help of lens elements made of special glass with anomalous partial dispersion. As a result, there is practically no perceptible color fringing on contrast-rich edges both in front of and behind the focal plane. Bright-dark transitions in the image, and in particular highlights, are rendered free of color artifacts. Also, the variable air spaces between certain lens groups (“floating elements design”) create a consistently high imaging performance across the entire focusing range from 0.8 m to infinity.
“Otus lenses show a consistently high quality across the entire focusing range. That is something that scientific test institutes do not acknowledge because the test photos are made from just one distance. But professional photographers appreciate this feature in a lens, because it gives them more flexibility in their work,” continues Casenave. And it is precisely these photographers who can now use this outstanding lens as a tool to give full rein to their creativity and make excellent images.
D4, Otus 1.4/85, f/1.6, 1/200 sec, ISO 800 Portrait of mountain runner Rickey Gates. © David Clifford
More application photos in high resolution can be found in our Otus 1.4/85 Flickr album.
The ZEISS Otus 1.4/85 comes with lens hood, user manual, test certificate and lens caps.
The Otus 1.4/85 will be available worldwide with the F-mount (ZF.2) or EF-mount (ZE) from mid-September. The expected recommended retail price is €3,360.50* or US$ 4,490* (excl. VAT).
Canon has announced details of firmware upgrades for its EOS C500 and EOS C300 Digital Cinema Cameras, DP-V3010 4K reference display and Cinema RAW Development (CRD) software. The firmware upgrades, scheduled for release as free downloads from Canon Europe in Q4 2014, have been designed to better integrate acquisition and management of 4K footage into every workflow situation…
When Canon first entered the digital cinema market, it did so with a firm commitment to fully support every aspect of filmmaking. The latest firmware upgrades provide more compelling reasons for filmmakers to enjoy the significant advantages offered by the Cinema EOS system.
SUPPORT FOR BT.2020 COLOUR SPACE
The EOS C500 will be able to, thanks to new firmware, deliver BT.2020-defined Ultra High Definition (UHD) video.
Since launch, Canon’s Cinema EOS Digital Cinema Cameras and lenses have earned widespread praise and the C500 and C500 PL, which capture 4K video in stunning detail, can now be enhanced even further with a new firmware upgrade offering support for BT.2020, the recently-defined colour space for Ultra High Definition (UHD) video, the next-generation broadcast standard.
Supporting end-to-end BT.2020 workflow, Canon’s DP-V3010 4K professional reference display will also be upgraded to support content shot in BT.2020. BT.2020 input signals will be mapped to the native colour space of the DP-V3010 for output, implementing the latest derivation of luminance and colour-difference signal specified by the International Telecommunications Union, to ensure that images are displayed with the widest possible colour gamut and the greatest possible accuracy.
DP-V3010 – THE SUPERIOR 4K REFERENCE DISPLAY
Since the DP-V3010 was launched in January 2014, it has won critical praise for its exceptional colour accuracy and high image quality. Continuous feedback from users and industry professionals has resulted in this firmware upgrade. In addition to BT.2020 support, the ACESproxy transfer standard1 advocated by the Academy of Motion Picture Arts and Sciences will become an option following the update, enabling streamlined colour grading on set and in post-production.
The DP-V3010 4K reference display has received a significant firmware upgrade to allow for new inputs and signal formats as well as BT.2020 and ACESproxy modes.
The new firmware will also provide an output solution for footage shot using the Cinema Gamut and DCI-P3+ colour spaces available in EOS C500, simplifying monitoring and post-production work. Footage can be displayed using either DCI-P3 or BT.709, as the project requires, with optimised conversion occurring in the display. Further support added includes YCbCr 4:4:4 luminance and chroma sampling used in digital cinema production, while a new peaking function displays a colour outline around subjects in focus making it easier to judge a point of focus for a shot.
The update makes the DP-V3010 the first2 4K professional display to support the 48 frames-per-second digital cinema frame rate increasingly used by professionals in the industry.
DP-V3010 – KEY IMPROVEMENTS
The DP-V3010 will benefit from a variety of improvements thanks to the forthcoming firmware update, including BT.2020 and ACESproxy modes. The improvements include:
- BT.2020, DCI-P3+ and Canon Log to DCI 1.0 gamma conversion modes
- New colour space transforms
- Support for new signal formats
- Gain RGB and Bias RGB colour temperature settings
- Peaking function
- Automatic 3G-SDI and HD-SDI selection
- Selection of OSD display position
- New interface options
- Delete LUT function
- PsF conversion for signals with no payload
- IMPROVEMENTS FOR CANON RAW DEVELOPMENT (CRD) SOFTWARE
- Canon is improving on-set workflow to make 4K RAW production a more cost-effective proposition and at the heart of this is the continued enhancement of its Canon RAW Development (CRD) software, which will be upgraded to version 1.3 in Q4 2014.
CRD v1.3 will provide a colour space transform function to enable review of ‘developed’ 4K footage in the industry-standard colour spaces BT.709 and DCI-P3.
CRD v1.3 will also include support for Edit Decision List (EDL) files for the first time, helping to streamline RAW workflow. Hence it will be possible to complete an offline edit using HD proxy files (recorded to CF card) and use the resulting EDL file to determine which files should be developed by the CRD software. This means that only the required content will be developed – saving time and money.
CANON RAW DEVELOPMENT AND INTEL GRAPHICS
Furthermore, CRD v1.3 will also benefit from a collaboration with Intel, first announced in April 2014, that will help to make shooting in 4K RAW a simpler proposition. The upgrade will offer improved performance thanks to the Intel® Integrated Native Developer Experience RAW Media Accelerator, enabling fast de-bayering and drop-free playback of the resulting 4K footage (up to 24fps only) when using a laptop equipped with Intel ® Iris™ Pro Graphics. This solution reduces the cost and footprint of the necessary computer hardware and saves time (and budget) on set. With suitable software on a laptop this solution means it will be possible to edit, develop, play back and output 4K RAW footage using a single suitably specified laptop – thus providing a complete mobile RAW workflow.
C500 AND C300 – IMPROVED OPERABILITY WHEN SETTING COLOUR TEMPERATURE OF WHITE BALANCE
The new firmware upgrade also includes a useful feature for users of the EOS C500 and EOS C300 cameras, allowing users to easily set colour temperature values using the camera’s FUNC button.
FIND OUT MORE
Canon will also be showcasing the advantages offered by the new firmware at IBC 2014 (the International Broadcasting Convention), which will take place at the RAI conference and convention centre in Amsterdam, the Netherlands, from 12-16 September 2014.
Photokina is only 13 days away, and a lot of companies are already announcing their goods for the show. Canon will be announcing a new DSLR, some new lenses and a few PowerShot cameras. We have conflicting reports of when these announcements are being made. We were initially told that the NDA’s expired on September 5, 2014 in Europe. However, a good source tells us they don’t expect to see the EOS 7D Mark II announced until midnight on September 15, 2014, which is a day before Photokina begins. If anyone can shed light as to when the announcements are, please let us know.
Canon EOS 7D Mark II Specifications
Below is the expected specs of the Canon EOS 7D Mark II, we haven’t had anything to say that these are not the real deal. There could still be some surprises, especially around the sensor.
- Kit lenses: 18-135 IS STM and 15-85 IS (no STM)
- CF, UDMA mode 7 + SD, UHS-I
- GPS is in the camera
- No WiFi
- Fixed LCD, with no touch function.
- 20.2MP APS-C Sensor
- Dual Pixel CMOS AF
- Dual DIGIC 6 Processors
- 65 AF points “All Cross-type”. Dual cross on the center point.
- f/8 on center point at least, could be on more points.
- ISO 100-12800, ISO Boost mode 25600 and 51200
- 1080p/720p both get 60fps
- Servo AF for video shooting.
- Anti-flicker mode, eliminates flickers under flickering lights (e.g. fluorescent lamps).
- Spot metering size 1.8%
- Built-in flash
- Mic and headphones connectors
- Can sync time between 7D II cameras.
- Lens electronic MF
- About 100% coverage OVF
- New Battery – LP-E6N
- New Battery Grip BG-E16
It looks like 3 new lenses are coming. Surprisingly we will not be seeing the announcement of the EF 100-400 f/4.5-5.6L IS replacement, unless Canon does a “development” announcement.
- EF-S 24mm f/2.8 STM Pancake
- EF 24-105mm f/3.5-5.6 IS STM
- EF 400mm f/4 DO IS II
New PowerShot Cameras
We can only confirm the announcement of a 1″ sensor camera from Canon that will be about the size of an “S” series camera. There’s a chance we’ll finally see the SX60 HS and a replacement waterproof/shockproof camera.
GetItDigital (99.4% approval) is selling the Canon EOS 5D Mark III body for $2659 via ebay.
Canon EOS 5D Mark III $2659 (Reg $3199)
GetItDigital (99.4% approval) is selling the Canon EOS 6D body for $1599 (Reg $1699 after $200 MIR) via ebay.
Canon EOS 6D Body $1599 ($1699 after MIR)
BigValueInc (99.4% approval) is selling the Canon EOS 6D w/24-105 f/4L IS kit for $1899 via ebay.
Canon EOS 6D w/24-105 f/4L IS $1899 (Reg $2299)
BigValueInc (99.4% approval) is selling the Canon EOS 70D w/18-135 IS STM kit for $1099 via ebay.
Canon EOS 70D w/18-135 IS STM $1099 (Reg $1499)
deals-all-year (99.8% approval) is selling the Canon EF 24-105 f/4L IS for $619 via ebay.
Canon EF 24-105 f/4L IS $619 (Reg $1149)
*All of the above items are most likely grey market, and may not be covered by a Canon USA warranty.
TOKYO, September 2, 2014—Canon Inc. commemorated today the 80th anniversary of the birth of Japan’s first 35mm focal-plane-shutter camera, dubbed the Kwanon, which was produced in prototype form in 1934.The engineers who created the camera decided to name it after Kwannon, the Buddhist goddess of mercy, hoping the deity would share her benevolence as they pursued their dream to produce the world’s finest camera. The camera’s lens, called Kasyapa—after Mahakasyapa, a disciple of Buddha—also took its name from Buddhism. Additionally, the top portion of the camera body featured an engraving depicting the thousand-armed Kwannon.
In 1936, two years after the birth of the Kwanon and following much trial and error, Canon launched the Hansa Canon,* its first commercial 35mm focal-plane-shutter camera, thus embarking on the Company’s history as a camera manufacturer.
In 1959, Canon introduced its first single-lens reflex (SLR) camera, the Canonflex, followed in 1961 by the Canonet, an immensely popular rangefinder camera that took the market by storm, selling out an entire week’s worth of inventory in a mere two hours. Following these successes, the Company continued to lead the industry with a range of popular camera models, such as the F-1, a top-of-the-line 35mm SLR camera introduced in 1971, and the AE-1, introduced in 1976, which was the world’s first SLR camera equipped with a built-in microcomputer.
In 1987, following continued technological innovation, Canon launched EOS, the world’s first AF (autofocus) SLR camera to employ a fully electronic mount system. In 1995, EOS marked its entry into the digital era and the lineup continues evolving today. In 2012, the Company released the Cinema EOS System, a lineup of professional digital cinematography cameras and lenses realized through the culmination of various technological innovations centered on optical technologies developed since the Company’s founding. Since its introduction, the Cinema EOS System has contributed to expanding the horizons of visual expression.
Over the 80 years since the birth of the Kwanon camera prototype, Canon, supported by its wide user base, has continuously striven to realize camera and lens technologies to fulfill the Company’s never-ending ambition to create the world’s finest cameras. Leveraging the technologies and know-how it has acquired over its history, Canon will continue contributing to the development of the photographic and video imaging culture through its technologies and products designed to satisfy the expectations of a wide range of users.
* Made possible through the cooperation of Nippon Kogaku K.K. (present day Nikon Corporation). “Hansa” was the trademark of Omiya Photo Supply, a wholesaler of cameras and photo products. In accordance with a contractual obligation, it was engraved on the top of the camera.
We mentioned a few weeks ago that Canon would be dropping the price on various L lenses around September 1, 2014. Both B&H Photo and Adorama have switched over to the new Canon pricing.
This looks like permanent price drops as we do not see any sort of rebate program, we’ll keep an eye out for one though.
All the price drops and links are after the break.
|Canon EF 8-15mm f/4 L USM||$150||$1,349||B&H Photo | Adorama|
|Canon EF 24-70mm f/2.8 L II USM||$200||$2,099||B&H Photo | Adorama|
|Canon EF 24-70mm f/4 L IS USM||$500||$999||B&H Photo | Adorama|
|Canon EF 28-300mm f/3.5-5.6 L IS USM||$140||$2,549||B&H Photo | Adorama|
|Canon EF 70-200mm f/2.8 L IS II USM||$200||$2,299||B&H Photo | Adorama|
|Canon EF 70-200mm f/4 L IS USM||$50||$1,299||B&H Photo | Adorama|
|Canon EF 70-300mm f/4-5.6 L IS USM||$150||$1,449||B&H Photo | Adorama|
|Canon EF 14mm f/2.8 L II USM||$110||$2,249||B&H Photo | Adorama|
|Canon TS-E 17mm f/4 L||$250||$2,249||B&H Photo | Adorama|
|Canon EF 24mm f/1.4 L II USM||$100||$1,649||B&H Photo | Adorama|
|Canon TS-E 24mm f/3.5 L II||$200||$1,999||B&H Photo | Adorama|
|Canon EF 50mm f/1.2 L USM||$70||$1,549||B&H Photo | Adorama|
|Canon EF 85mm f/1.2 L II USM||$100||$2,099||B&H Photo | Adorama|
|Canon EF 100mm f/2.8 L IS USM Macro||$100||$949||B&H Photo | Adorama|
|Canon EF 135mm f/2 L USM||$40||$1,049||B&H Photo | Adorama|
|Canon EF 180mm f/3.5 L USM Macro||$80||$1,499||B&H Photo | Adorama|
|Canon EF 300mm f/2.8 L IS II USM||$700||$6,599||B&H Photo | Adorama|
|Canon EF 400mm f/2.8 L II USM||$1,000||$10,499||B&H Photo | Adorama|
|Canon EF 500mm f/4 L IS II USM||$1,000||$9,499||B&H Photo | Adorama|
|Canon EF 600mm f/4 L IS II USM||$1,000||$11,999||B&H Photo | Adorama|
|Canon EF 800mm f/5.6 L IS USM||$500||$13,499||B&H Photo | Adorama|
|Canon 1.4x III Teleconverter||$50||$449||B&H Photo | Adorama|
|Canon 2.0x III Teleconverter||$50||$449||B&H Photo | Adorama|
Adorama is selling the Canon EF 24-70 f/4L IS for $999 for a very limited time. That’s a savings of $500.
BigValueInc (99.3% approval) is selling the Canon EOS M body with the 22mm f/2 STM lens for $249. At this price, it’s one heck of a walk around point and shoot. White is the only color remaining.
Some new ideas as to what lenses Canon will announce for Photokina in a couple of weeks.
First up an EF-S 24mm f/2.8 STM. We were told about this one a few days ago, and it may be in pancake form and an EF-S mount, which makes a bit more sense. The second lens mentioned is a 24-105 f/3.5-5.6 IS STM, which we were told about at the same time as the pancake, but didn’t have the focal length. The third lens is a new EF 400mm f/4 DO IS II, which would be a great lens to see and we had no previous information that it was coming. It’s good to see the DO patents amount to a new DO product.
There is no 100-400 replacement or ultrawide f/2.8L zoom being announced for Photokina. A full frame ultrawide zoom at the same time as the EOS 7D Mark II doesn’t make a lot of sense, but I think a new 100-400 definitely would. Here’s hoping it does indeed come this year.
EOS 7D Mark II Availability
We’re told that the EOS 7D Mark II won’t be immediately available, but will most likely reach market by the end of October.
Large Sensor PowerShot
I also added a [CR3] to the 1″ sensor PowerShot camera rumor from a few days ago. This camera is indeed coming and will be about the size of the “S” series camera.