Photo Of The Day By Lori McLellan

Photo By Lori McLellan

Today’s Photo Of The Day is “Meet in the Middle” by Lori McLellan.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Shooting A Concept Assignment Winner Rene Gruber

Congratulations to Rene Gruber for winning the Shooting A Concept Assignment with the image, “Illuminate the Night.” See more of Gruber’s work at www.renegruber.com.

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By Beth Young

Photo By Beth Young

Today’s Photo Of The Day is “Colusa County Flowers and Hills” by Beth Young. Location: Colusa County, California.

“Last weekend, my husband and I ventured out for a drive to nearby rural Colusa County,” says Young. “Our favorite wildflower spot was devoid of my beloved poppies, but we found this massive field of purple lupine and yellow wildflowers. With partly cloudy skies, the dappled light danced across the green hills in the distance and I elected to use the telephoto for a more intimate scene.”

Canon EOS 5D Mark IV. Exposure: 1/1000 sec., f/16, ISO 2000.

See more of Beth Young’s photography at www.optimalfocusphotography.com.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Realize Your Vision

Nothing is as thrilling as the moment when all of your planning and preparation to get “the shot” pays off, right before your eyes. But the most lasting satisfaction comes from holding an archival photographic print that faithfully reproduces that vision.

A perfect sunrise over the landscape. Polar bears dancing in the tundra. Your best photographs deserve the finest printing capabilities. The incredible resolution and color reproduction of today’s digital cameras capture the details necessary to create prints with a tonal range and subtlety of hue never before possible—if your printer is equally obsessed with those details.

Intelligent Output Control With Smart Nozzles

Canon imagePROGRAF PRO-1000 (left) and imagePROGRAF PRO-300 (right).

Canon’s imagePROGRAF PRO-300 and imagePROGRAF PRO-1000 are no-compromise professional printers designed to fit in your home or small studio. Their stunning print quality is made possible by Canon’s FINE print head, an ink delivery system that produces an ultra-fine droplet size of 4 picoliters. The imagePROGRAF PRO-300 employs 7,680 nozzles and is capable of resolution up to 4800×1200 dpi. The PRO-1000 has 18,432 nozzles in total and resolution up to 2400×1200 dpi.

Canon’s imagePROGRAF PRO printers save you time, paper and ink because their thermal inkjet technology is less prone to clogging than the piezoelectric approach used by some manufacturers. And even if one of the nozzles does become clogged, smart nozzle technology uses sensors to monitor ink flow and automatically compensates by using another nozzle. Bottom line, you’ll spend less time and money making prints with white lines down them.

Archival Grade Pigment Inks

Both printers showcase the exceptional refinement of Canon’s LUCIA PRO ink system. These archival-quality, pigment-based inks make it possible to produce prints displaying the impressive dynamic range, color accuracy and rich shadow detail of Canon’s large-format printers while fitting comfortably on a desktop.

The imagePROGRAF PRO-1000’s 11-color plus Chroma Optimizer LUCIA PRO ink set.

The imagePROGRAF PRO-300 features a nine-color plus Chroma Optimizer LUCIA PRO ink set with a newly formulated matte black ink capable of greater black density and finer details in the shadow areas of your prints. The imagePROGRAF PRO-1000 uses an 11-color plus Chroma Optimizer LUCIA PRO ink set. Both printers have dedicated channels for each ink color, including matte black, photo black and Chroma Optimizer, so there’s never a need to swap inks when switching between paper surfaces, saving both time and ink.

The Chroma Optimizer in Canon LUCIA PRO ink sets provides a clear finishing coat that enhances black density, prevents bronzing and ensures smooth, consistent color on all types of paper.

Professional Prints On Demand

Ideal for art students, photo enthusiasts and pro photographers who need a compact solution for fine-art prints on demand, the imagePROGRAF PRO-300 can produce standard print sizes up to 13×19-inches, including borderless prints and a 13×39-inch panorama. It’s speedy, too, able to output a 13×19-inch bordered print in under 3 minutes.

The Canon imagePROGRAF PRO-300 can produce borderless 13×39-inch panorama prints.

For even larger print options, the imagePROGRAF PRO-1000 can go as wide as 17 inches and up to 25.5 inches long and can produce a bordered 17×22-inch print in under 5 minutes.

Fast, Efficient Workflow

Simplified controls, a colorful LCD display and a robust software driver make it easy to set up and manage your output settings and monitor ink levels. There’s a top feed tray for standard print media as well as a manual feed slot to accommodate thicker paper types. Both printers also include Skew Correction technology to correct paper alignment and keep prints straight through the print path. No more wasted prints with crooked borders.

The PRO-1000 adds an Air Feeding System that vacuum-grips the paper tightly to the platen, minimizing skew even with full 17×22-inch sheets of heavy fine-art stock.

Both printers feature elegant controls and a color LCD for information display and menus.

To enhance your creativity and output design options, these printers are compatible with Canon’s Professional Print & Layout utility, which can be used as a standalone application or as a plug-in for Adobe Photoshop, Adobe Lightroom and Canon’s own Digital Photo Professional software. With this application, you can create custom templates for multi-photo layouts and soft proof your output.

The printers are also WiFi-enabled for a wireless connection to your network and support Apple AirPrint functionality to print directly from your compatible iPad or iPhone.

Creativity On Demand

Canon imagePROGRAF PRO-300 (left) and imagePROGRAF PRO-1000 (right) printers are designed to make big prints in a small space.

Whether you’re producing prints for clients, a gallery showing or for display in your own home, Canon’s imagePROGRAF PRO-300 and PRO-1000 offer the technology of Canon’s large-format professional photo printers in a compact footprint to fit your workspace. They’re also priced competitively to fit your budget at just $899 for the imagePROGRAF PRO-300 and $1,299 for the imagePROGRAF PRO-1000.

From your original vision, through your camera, directly to print—master every detail with a printer that’s equally obsessed.

To learn more, visit canon.us/imageprografproprinters.

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Cover Shot, August 2020

“You never realize how the pieces of your life are fitting together as it’s happening,” Zak Noyle observes in the introduction to “The Surfing Life” in this issue. “Then one day, you find yourself swimming through a world-class wave making photos of the world’s best surfers, and you take stock of how you got there.” For pros—and especially those who photograph sports like surfing—a passion for the subject is the foundation of success. Immersed in the lifestyle of the sport, photographers like Noyle make images that the passerby would miss, with authenticity that comes from being part of the community they document.

If you’re drawn to the genre, opportunities for adventure sports photography are likely readily available not far from where you are now. In “Local Adventure,” Tom Bol highlights four of the most accessible outdoor sports and recreation subjects to begin building your portfolio, with tips for technique and equipment selection, along with recommended locations.

Also in this issue, Gary Hart covers everything you need to know to photograph lightning, from precautions to recommended accessories and exposure settings. And Matt Stirn shares a personal story of how nature photography led to a deeper appreciation for his family home, a storied ranch on the edge of Grand Teton National Park. 

On the cover is a photograph by Zak Noyle taken in Honolulu, Oahu, Hawaii. Here’s the story behind the shot.

“Waikiki, the birthplace of surfing. The waters seen in this image are where it all began for the now-global sport. When flying into Oahu, planes take a path right over the waters of Waikiki, giving the glimpse of the surf below. These reefs have played the part of learning grounds for many surfers, including Duke Kahanamoku, an internationally known waterman who won five Olympic medals for swimming, including three gold medals, and played a major role in the popularization of surfing in the early 1900s.

“Growing up in Hawaii, my entire childhood revolved around the water, and the ocean has been a constant backdrop for my happiest memories. These days, I get to travel the world, seeing beautiful places and exploring the bond that the ocean creates between people—connections that served as my springboard into the world of professional surf photography. For me, photography isn’t just about “getting the shot.” It can be used to inspire and educate people and help raise awareness of the importance of protecting our oceans.

“This image was taken aboard a helicopter while flying over Waikiki. The reef is what makes the waves break, and you can see here how shallow it is. These surfers are sitting on their boards waiting for the next set of waves to come through to ride together. The colors and the light really make this image feel special, a moment stopped in time and a “board meeting” of sorts—done Hawaiian style.”

–Zak Noyle

The August 2020 issue is now available in a variety of digital formats including Apple News+.

Outdoor Photographer Plus and VIP members get full access to all of the content on outdoorphotographer.com, plus print and digital editions of the magazine, as well as other great benefits. Learn more about our membership options.

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Photo Of The Day By Jeff Nigro

Photo By Jeff Nigro

Today’s Photo Of The Day is “Moraine Lake” by Jeff Nigro. Location: Banff National Park, Alberta.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Sony Introduces Video-Focused a7S III, CFexpress Type A Card

Today Sony introduced the third generation of its a7S series as well as the first CFexpress Type A card, which can be used with the camera. The Sony a7S III is very focused on video capture, with a 12-megapixel sensor that’s relatively low resolution for stills but has advantages for video.

Sony a7S III

Fewer pixels on a full-frame sensor translates to larger pixels and better light gathering capabilities. Sony states that this sensor has achieved approximately 1 stop of noise reduction compared to the Sony a7S II in the middle and high sensitivity settings of the camera’s ISO range, which is adjustable from 40 to 409,600. Sony also states a “15+” stop dynamic range when shooting video. Video options include 4K at 120p in 10-bit color and 4K 60p RAW video via HDMI output.

While Sony emphasizes video with the Alpha S series, the sensitivity capabilities of the camera may appeal to photographers who shoot in extreme low-light conditions. Coupled with the 5-axis in-body stabilization system and the camera’s ability to capture 10 fps in bursts of over 1,000 uncompressed RAW files when shooting stills, this camera could be an interesting option for early morning and late evening wildlife photography.

Top view of the Sony a7S III.

Of interest to all Sony shooters with an eye on improvements that will likely make their way into other future models, the a7S III features an all-new ultra-high resolution EVF. The 9.44-million-dot viewfinder is said to closely resemble the experience of an optical viewfinder, and while we haven’t yet seen it in action, we have been very impressed with the quality of previous-generation Sony viewfinders like those in the a9 and a7R series cameras.

Along with the a7S III, Sony also introduced the first CFexpress Type A memory card. The new format is similar to CFexpress Type B cards which have been available for a few years, but is significantly smaller. The Sony a7S III has dual card slots which can accept both SD and CFexpress Type A cards. Though the camera can use SD cards, to take full advantage of the camera’s video and high speed still capabilities, you’ll need to use CFexpress Type A.

The Sony a7S III has dual card slots that can accept either SD or new CFexpress Type A cards.

The Sony a7S III will be available in September with a list price of $3,499. The CFexpress Type A cards will also be released in September starting at $199 for 80GB and $399 for 160GB.

For additional details on both the Sony a7S III and CFexpress Type A cards, see the press releases below.

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Highly Anticipated Sony Alpha 7S III Combines Supreme Imaging Performance with Classic “S” Series Sensitivity

New Alpha 7S III Empowers Creators with 4K 120P[i] Video, 10-bit 4:2:2 Recording, 15+ Stop Dynamic Range[ii], Improved AF Performance and More 

• Newly developed BIONZ XR image processing engine with eight times more processing power[iii] and a brand new 12.1-megapixel (, effective) back-illuminated full-frame Exmor R CMOS image sensor, significantly reduced rolling shutter effect[iv]
• Ultra-high sensitivity with ISO range expandable from 40 – 409,600[v], and improved image quality byapproximately 1 stop noise reduction^iv in the middle and high sensitivity ranges
• Video recording capabilities include 4K 120pi, 10 bit 4:2:2 color depth, All-Intra recording, XAVC HS format with H.265 codec and more
• 15+ stop dynamic range for moviesii
• 4K 60p 16-bit RAW video HDMI output for the first time in the Alpha series
• Fast Hybrid AF system with 759 point phase-detection[vi] AF sensors covering 92% of image sensor
• Enhanced Real-time Eye AF for movie recording[vii] and still image recording
• New heat dissipating mechanism and dual slot relay recording enables over one-hour long 4K 60p 10-bit 4:2:2 movie shooting[viii]　　
• 5-axis optical in-body image stabilization supports handheld movie shooting, with added Active Mode [ix] to support especially difficult handheld movie shooting
• World’s brightest[x] and largestx new 0.64-type 9.44 million-dot () OLED electronic viewfinder
• Side Opening variable angle LCD screen enhances shooting flexibility
• Completely redesigned menu system with touch screen interface and touch operation
• High-speed continuous still image shooting at up to 10fps[xi] for more than 1,000 consecutive uncompressed RAW images[xii] with full AF / AE tracking
• Dual CFexpress Type A card slots that enable high speed data processing while keeping the compact size

SAN DIEGO – July 28, 2020 –Today, Sony Electronics Inc. announced the long-awaited addition to its acclaimed Alpha 7S full-frame mirrorless camera series⁠ — the Alpha 7S III (model ILCE-7SM3).

Featuring a brand new 12.1MP (approx., effective) back-illuminated full-frame image sensor with ultra-high sensitivity and 15+ stop wide dynamic rangeii, a host of impressive video recording capabilities including 4K 120pi and 10-bit 4:2:2 color depth, a new heat dissipating mechanism, dual slot relay recording enabling over one-hour of 4K 60p movie shootingviii, a new autofocus system, and touch screen interface and side flip LCD screen, the new Alpha 7S III will become the ultimate creative tool for video professionals and all types of hybrid still/video shooters.

“The Alpha 7S III is the ultimate representation of Sony’s passion to solve our customers’ pain points,”, said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “We are always listening to our customers’ feedback, pushing hard to deliver innovation that goes far beyond their expectations. There is no better example than this new camera. Combining classic S series sensitivity with a feature set, performance level and user experience that is simply unmatched in the market today — at any price level — the Alpha 7S III opens up a new world of possibilities for today’s creators.”

The system architecture for the new Alpha 7S III has been completely redesigned to deliver exceptional video and still shooting performance. The new 35mm full-frame 12.1MP (approx., effective) back-illuminated Exmor R CMOS image sensor reduces rolling shutter by up to three times^iv and utilizes a variety of advanced light-gathering techniques to ensure high-sensitivity with low noise, allowing users to shoot in low-light situations without needing large-scale lighting setups. In addition to improved image quality, this new image sensor includes a focal plane phase-detection AF system for the first time in an S-series camera. To compliment the new sensor, the Alpha 7S III also includes a new BIONZ XR image processing engine that provides up to eight times more processing powerⁱⁱⁱ, minimizes processing latency, and enables many of the hallmark still and imaging features of the camera. The new system also includes the world’s brightestx and largestx 9.44 million-dot (approx.) OLED electronic eye-level viewfinder and is the world’s first camerax with dual CFexpress Type A card slots, enabling high-speed data transfer in a compact size.

Professional Video Workflow Solutions

The Alpha 7S III offers in-camera 4K recording up to 120 frames per secondi, 10-bit depth and 4:2:2 color sampling, producing stunning video recording. The new camera offers a more flexible and efficient post-production workflow with a variety of advanced movie recording modes such as All-Intra[xiii] and MPEG-H HEVC/H.265 coding (XAVC HS)[xiv]. The Alpha 7S III makes it easy to integrate video recordings with other professional camcorders by providing three color gamut settings S-Gamut, S-Gamut3, and S-Gamut3.Cine, allowing users to easily match footage shot on the Alpha 7S III with footage shot on the professional camcorders simplifying multi-camera post-production workflow. In addition to S-Log3 gamma curves, the Alpha 7S III supports an HLG (Hybrid Log-Gamma) picture profile with minimum post-production. The Alpha 7S III also allows up to 4K 60p 16-bit RAW output[xv] to an external recorder via HDMI Type-A[xvi] connector, offering additional post-production flexibility.

Improved Image Quality

The new CMOS image sensor and BIONZ XR image processing engine in the Alpha 7S III delivers legendary S-series sensitivity with significantly enhanced color reproduction and texture renderings for improved overall image quality. The base ISO has been lowered to 80, resulting in a normal range of 80-102,400 (expandable to 80-409,600 for video and 40-409,600 for stills) to provide more flexible ISO plus wide dynamic range with low noise at all settings. It offers improved image quality by approximately 1 stop of noise reductioniv in the middle and high sensitivity ranges.

The colors and textures of foliage, human skin, and more are ideally and consistently reproduced without dependence on light sources. Gradation rendering has also been refined for better looking skin tones and highlight roll-off in portraits. It also improves AWB (Auto White Balance) performance with a new “Visible light + IR Sensor” that helps to achieve more precise white balance under artificial lighting, including fluorescent and LED lights.

Versatile Operability

Advanced Autofocus Performance for Hybrid use

For the first time in an Alpha 7S series camera, the Alpha 7S III offers Fast Hybrid AF by combining phase-detection and contrast-detection AF, giving it the ability to track subjects over a wide area with outstanding speed, precision and smoothness, even when using a narrow depth of field. Fine focus expression is possible with Sony’s E-mount lenses.

For environments with a lot of movement, Real-time Tracking and Real-time Eye AF are available to maintain constant focus on the intended subject. Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous systemⁱⁱⁱ, thanks to the new image processing engine. It ensures accurate, reliable detection, even when the subject’s face looks away. Real-time Tracking is initiated simply by touching the subject on the screen. Real-time Eye AF is automatically initiated when an eye is detected.

Flexible Autofocus Settings for Movie Shooting

Based on customer feedback, the camera includes several AF features for professional users including AF Transition Speed in seven settings, to easily create rack-focus transitions, and five AF Subject Shift Sensitivity settings, which allows the user to customize how easily AF will switch or stay with the locked-on subject. Touch Tracking allows user to not only initiate Real-time Tracking, but also compose and shoot while using a gimbal or while shooting solo. It’s now possible to Touch Focus during manual focus mode on the LCD screen or remotely from the Imaging Edge Mobile application[xvii].

New Heat-dissipating Structure

The Alpha 7S III’s design has been updated to ensure effective heat dissipation and minimizes overheating — even during extended continuous recording sessions at 4K 60p 10-bit 4:2:2 video lasting an hour or moreviii. A newly developed unique heat dissipating structure keeps the image sensor and image processing engine temperatures within their normal operating ranges, preventing overheating while maintaining compact body dimensions. The new heat-dissipating structure requires no fan or cabinet vents allowing Alpha 7S III to maintain dust and moisture resistance[xviii].

Movie Assist Functions

For video on-the-go, the Alpha 7S III is the first Alpha series camera to include Active Modeix with 5-axis optical in-body image stabilization to support especially difficult handheld movie shooting. It is also the first Alpha series E-mount body to feature a side-opening vari-angle rear screen, perfect for gimbal-mounted shots, complicated angles, handheld operation and more. The screen rotates sideways, up and down, and features a 3.0 type 1.44 million-dot (approx.) touch panel LCD monitor, for optimal visibility even in bright outdoor environments.

In addition, the Alpha 7S III provides a selection of new Creative Look with 10 presets that can be used for both photo and video shoots, making it easy to create interesting moods right in the camera to be used as is or customized by the user.

A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe for clearer audio recordings from a compatible Sony external microphone. Used with Sony’s XLR-K3M XLR Adaptor Kit, the Alpha 7S III provides 4-channel 24-bit digital audio recording capability in an Alpha series camera for the first time. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking.

Additional movie assist functions include a redesigned monitor display with a bold, clearly visible red frame that makes it clear when recording is in progress even when mounted on a rig or gimbal, custom zoom settings, adjustable white balance while recording, display rotation, interval recording, still extraction from movies and more.

Outstanding Still Image Photography

The Alpha 7S III includes a fast Hybrid AF system with 759 phase-detection AF points covering 92% of the image sensor. The camera can also achieve high AF precision to accurately and reliably focus in light down to EV-6[xix],where subjects are difficult to see clearly even with the naked eye. Users can continuously shoot more than 1,000 uncompressed RAWxii images at up to 10fps, or up to 8fps in live view mode, with either the mechanical or electronic shutter.

The Alpha 7S III also includes the world’s first^x 9.44 million-dot (approx.), 0.64 type Quad-XGA electronic viewfinder with a high-definition OLED display and refined. The Alpha 7S III viewfinder offers a 0.90x viewfinder magnification[xx], 41° diagonal field of view, 25mm high eyepoint for clear, low-distortion corner to corner viewing. It is also dust, fog and moisture resistant^xviii, extremely responsive, and has switchable modes for different subject types. Every aspect of the Alpha 7S III viewfinder has been designed and refined for a professional workflow.

For the first time in one of Sony’s digital cameras, the Alpha 7S III includes HEIF (High Efficiency Image File Format) allowing for smooth 10-bit gradations and advanced compression technology to maintain image quality while significantly reducing file size and saving storage space. HEIF stills shot in this mode can be played back on a compatible Sony HDR (HLG) TV via a direct HDMI Type-A connection from the Alpha 7S III, delivering true-to-life dynamic range[xxi].

Versatile Design Made for the Pros

CFexpress Type A for High-speed Data Transfer

In another world’s first^x, the Alpha 7S III features two CFexpress Type A compatible media slots which also support UHS-I and UHS-II SDXC/SDHC cards, enabling high write-and-read speeds while keeping the camera body compact in size. CFexpress Type A cards are ideally suited to high-speed continuous RAW still image shooting as well as 4K 120pⁱ movie recording at high bit rates[xxii], providing next-generation write speeds that can quickly clear the buffers of cameras that generate high volumes of still image and movie data. High-speed data transfer to a PC is possible at about 1.7 times faster[xxiii] than that of SD card. The dual slots can be set to relay mode for extended continuous recording of even the highest bit rate data as well as simultaneous recording and sort by format type recording.

Revised Menu System with Enhanced Touch Screen

The Alpha 7S III also features a revised menu structure for easier navigation and touch-responsive menu operation for faster, more intuitive control. For creators who shoot both stills and movies, separate settings can now be stored for stills and movie shooting for quick transition between the two.

High Reliability Gives Creators New Freedom

Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 7S III features a redesigned grip for greater comfort and a secure hold, an improved dust removal feature, plus dust and moisture resistance ^xviii that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and is the first Alpha series camera to support USB PD (Power Delivery), allowing higher power to be supplied from an external source so that users can continue to record for extended periods with minimal internal battery usage.

Advanced Connectivity for Professional Working Environments

The Alpha 7S III has been designed and configured to support photo and video journalists and sports shooters who need to deliver stills or movies as quickly as possible with several advanced connectivity options. The camera supports 5GHz[xxiv]/2.4GHz wireless LAN (IEEE 802.11ac) and offers MIMO (multiple-input and multiple-output) to improve communication quality by using multiple antennas, doubling in speed when compared to the Alpha7R IV. It also carries new USB tethering support[xxv]. When connected to a 5G (5th generation technology standard for cellular networks) compatible device via USB cable, it is possible to use 5G network for fast and stable FTP file transfer[xxvi]. USB to high-speed wired LAN connectivity[xxvii] also offers stable and fast FTP transfer for both movies and stills. A USB Type-C connector that supports fast SuperSpeed USB 5Gbps (USB 3.2) data transfer is provided, enabling high-speed PC Remote (tethered) data transfer available for smooth handling of large image files.

Pricing and Availability

The new Alpha 7S III Full-frame Interchangeable Lens Camera will be available in September 2020 for approximately $3,499.99 USD and $4,799.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Notes:

[i] 10% of view cropped

[ii] S-Log3 movies, Sony internal tests

[iii] When compared to the BIONZ X image processor

[iv] When compared to Alpha7S II

[v] 40 to 409,600 for stills and 80 to 409,600 for movies. Sony test conditions

[vi] When shooting full-frame still images. The number of AF points used depends on the shooting mode.

[vii] This function does not track animal eyes

[viii] Sony test conditions. XAVC S-I 10-bit 4:2:2, 25 deg C (ambient, camera when recording started), Auto Power Off Temperature: High. The value will vary depending on the shooting conditions. Movie shooting past an hour will continue until battery ends.

[ix] In active mode, the shooting angle of view is slightly narrowed. If the focal length is 200 mm or more, it is recommended to set to standard

[x] As of July 2020, Sony survey. Among full-frame mirrorless cameras

[xi] Up to 10fps in continuous “Hi+” mode, and up to 8fps in continuous “Hi” mode Maximum fps will depend on camera settings

[xii] Requires CFexpress Type A memory card

[xiii] When XAVC S-I 4K or HD is selected via the file format menu

[xiv] Requires compatible memory card

[xv] Atomos Ninja V HDR monitor-recorder support planned. As of July 2020

[xvi] Sony’s Premium High Speed HDMI Cable DLC-HX10 recommended

[xvii] Imaging Edge Mobile Ver. 7.4 or later required

[xviii] Not guaranteed to be 100% dust and moisture proof

[xix] ISO 100 equivalent, F2.0 lens, AF-S mode

[xx] 50mm lens, infinity, -1m^-1 diopter

[xxi] Desktop application “HEIF Converter” for displaying and editing HEIF format is planned to launch in September 2020

[xxii] 4:2:2 10-bit All-I, when recording slow motion

[xxiii] Sony test conditions.

[xxiv] 5 GHz communication may be restricted in some countries and regions

^[xxv] Power Delivery supported smartphone is required

^[xxvi] Does not guarantee connection with all smartphone. FTP file transfer by USB tethering that utilizes 4G network is also possible

[xxvii] A compatible USB-Ethernet adapter is required

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Sony Announces World’s First CFexpress Type A Memory Card with High-speed Performance and Tough Durability

• Up to 700MB/s[i] write speed and 800MB/sⁱ read speed
• Compact design and advanced functionality
• Effective heat dissipation design
• TOUGH specification construction ensures high durability and dust/water resistance
• Supported by File Scan Utility memory diagnostic software and Memory Card File Rescue data recovery software

SAN DIEGO – July 28, 2020 – Today, Sony Electronics Inc. announced a new generation of media — the world’s first[ii] CFexpress Type A memory cards, in both 80GB and 160GB, (CEA-G80T and CEA-G160T) as the most recent addition to Sony’s TOUGH specification cards. Delivering high transfer speed, durability and reliability, Sony’s new CFexpress Type A cards offer professional and stress-free performance for photographers and content creators.

High-speed Performance

Both the CEA-G80T (80GB) and CEA-G160T (160GB) use the latest flash memory control technology to achieve write speeds as high as 700MB/sⁱ and read speeds as high as 800MB/sⁱ, greatly reducing buffer clearing times for efficient, stress-free shooting. The CFexpress Type A cards are ideally suited for high-speed continuous shooting of more than 1,000 uncompressed RAW still images, as well as 4K 120p movie recording at high bit rates with the Slow & Quick Motion function ^[iii]when paired with new Alpha 7S III, which features two CFexpress Type A compatible media slots, that also support UHS-I and UHS-II SDXC/SDHC cards, for simultaneous media capture or extended continuous recording of even the highest bit rate data. Compliance with the VPG400 video performance guarantee profile specification ensures stable video recording at 400 MB/s—creating a smooth workflow for professional creators.

Effective Heat Dissipation Design
The new CFexpress Type A memory cards are equipped with a heat sink to transfer heat generated by the card to the exterior when transmitting large amounts of data at high speed, using Sony’s original alloy with excellent thermal conductivity. This enables users to record for long periods of time[iv] even when recording 4K 120p video internally.

Tough Durability

Keeping up with Sony’s TOUGH specifications, the new CFexpress Type A memory cards feature bending and impact resistance to protect precious data, even when frequently changing cards in the harshest environments.  They are up to five times more resistant to drop impact and up to ten times more resistant to bending, compared to CFexpress Type A requirement standards, for outstanding durability. In addition, thanks to a specialized internal structure, they achieve an IPX7 water ingress protection rating and an IP5X dust ingress protection rating (IP57) for enhanced durability.

Reliability

Accidents happen. Sony’s Memory Card File Rescue[v] data recovery software allows users to recover accidently deleted RAW images and 4K video from memory cards. In addition, Sony’s Media Scan Utility[vi] media diagnostic software will be updated to support CFexpress Type A cards allowing users to diagnose and receive a warning before the number of read/write cycles approaches the card’s limit.

CFexpress Type A/SD Card Reader

Optimized for the new CFexpress Type A memory cards, the CFexpress Type A/SD card reader (MRW-G2) provides SuperSpeed USB 10Gbps (USB 3.2 Gen 2) transfer speed, via its USB Type-C® connector, allowing creators to establish an efficient workflow when dealing with high-resolution images files, 4K video and other types of high-volume data. When combined with a CFexpress Type A card, it allows users to transfer data approximately 2.8 times faster than with conventional media[vii]. The MRW-G2 card reader can be used with CFexpress Type A and SDXC/SDHC (UHS-I and UHS-II) memory cards.

Pricing and Availability

CFexpress Type A memory cards and card reader will be available in September 2020. See below for suggested retail pricing:

• (US) – CEA-G80T/CEA-G160T: $199.99 USD / $399.99 USD
• (CA) – CEA-G80T/CEA-G160T: $259.99 CAD / $519.99 CAD
• (US) – MRW-G2: $119.99 USD
• (CA) – MRW-G2: $159.99 CAD

Notes:

[i] Actual performance may vary and is dependent on environment and usage.

[ii] As of July 2020, Sony Survey

[iii] 10-bit depth and 4:2:2 color sampling, All Intra recording, when shooting in slow motion.

[iv] Depends on camera performance

[v] Does not support data recovery for Content Protected and Game Data files. Not all data may be recoverable.

[vi] MRW-G2 CFexpress Type A/SD card reader is required for CFexpress Type A card diagnosis. Diagnosis is not possible with readers from other manufacturers or a direct camera connection.

[vii] Sony test conditions. Compared to Sony’s SDXC UHS-II memory card.

###

 

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Photo Of The Day By Douglas Croft

Photo By Douglas Croft

Today’s Photo Of The Day is “Primary Colors” by Douglas Croft. Location: San Jose, California.

“A silvery blue on a buttercup,” describes Croft. “A hike at a local Open Space Preserve gave me this shot of a tiny butterfly on a tiny wildflower.”

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Hands On With The 40-Megapixel Leica M10-R

I shot with the Leica M10-R on a bright day in the Angeles National Forest. Sunny conditions were an opportunity to photograph high-contrast scenes. In this image, I was able to recover substantial detail in the shadows of the foreground.

The vast majority of new cameras today are marketed with an emphasis on their technology features. “AI” autofocus that can identify and track subjects, even the subject’s eyes as it moves about a scene, is just one example of an emerging technology that’s becoming a standard in the latest camera introductions. We’ve come to expect that a camera can more or less operate automatically, with the photographer’s only mandatory action being to trigger the shutter.

Though the technology inside the cameras have evolved, the iconic good looks of Leica M-System bodies have remained largely untouched through the years, lending a sense of familiarity and consistency to the line.

Contrast that with the Leica M10-R, the latest model in the company’s M-System, which, while digital, retains a photographic experience largely unchanged from the film-based M cameras that earned the company a devoted following. The M10-R is built around a new 40-megapixel sensor, the highest resolution yet for an M-System camera, but in other respects is very similar to its predecessors, unmoved by the prevailing winds of the industry to change its basic formula.

The Price Of Exclusivity

Like a note handwritten with a fine fountain pen or a sports car with a manual transmission, Leica’s M-System cameras recall a time when more was required of the operator. You won’t find autofocus on these traditional rangefinders, and although an electronic viewfinder is available, it’s an optional $635 accessory that mounts to the camera’s hot shoe.

Leica M-System enthusiasts expect and prefer an experience that hasn’t changed much from the classic M film cameras. This is a rarefied niche and one fortified by the cost of entry: the 40-megapixel M10-R is priced at $8,295 for the body only. Lenses for the system are also relatively expensive—the Leica Elmarit-M 28mm f/2.8 ASPH lens that was loaned to us for review along with the camera sells for $2,595.

The M10-R is offered in both black and silver options.

Compare that to the 61-megapixel Sony a7R IV at $3,199 and the Sony FE 24mm F1.4 G Master at $1,399. Though not a perfect comparison, the Sony camera and lens combination comes in at $4,598, while the Leica pair will set you back more than twice that amount at $10,890. And it should be noted that while the M10-R’s sensor has not yet been evaluated by DXOMARK, Sony sensors typically outperform Leica sensors of the same time period. While we don’t have the data to make a definitive comparison of image quality, we’re very comfortable stating that the sizable disparity in price isn’t warranted by a dramatic difference in the resulting photographs from the two systems.

So, if it’s not high-tech features or a substantial difference in image quality, what about the Leica M-System commands the ultra-premium fare? Leica is undeniably a luxury brand, and like a Rolls-Royce or a Patek Philippe, part of the price is the associated prestige. Certainly, some automobiles and timepieces accomplish their tasks just as well or even better and for a fraction of the expense—though not with the same elegance.

Putting the luxury tax aside, it’s unfair to account for the cost of a Leica M10-R solely on the basis of implied exclusivity. Leica cameras and lenses are largely produced by hand with top-quality materials and by extensively trained craftspeople in Germany, where manufacturing wages are among the best in the world. Leica positions the M-Series as “…synonymous with reliability and durability, making it a valuable long-term investment.” In handling the camera, Leica delivers on the promise of a precision instrument. Every detail, from the camera’s controls to its build quality, exudes refinement.

Leica M10-R In The Field

The principal reason Leica approached Outdoor Photographer for a review of the M10-R is its newly developed 40-megapixel sensor with improved dynamic range that may appeal to landscape photographers. While the relatively slow continuous shooting rate of 4.5 fps, lack of long telephoto lenses (135mm is the longest) and the absence of autofocus are limitations of the M-System for subjects like wildlife or sports, the system is well-suited for landscape work, and the aperture control rings on the lenses are reminiscent of large-format field camera lenses that were the mainstay of the medium’s early masters.

The M10-R has a 3-inch LCD monitor flanked by minimal controls, simplifying interaction with the camera. The thumbwheel is used to set exposure compensation while shooting and for navigation in menu and playback modes. The directional pad is exclusive for menu and playback controls.

The mechanical, manual approach to operating the camera may take a bit of adjustment if you’re used to the buttons-for-everything, software-laden shooting experience of the typical modern camera. The M10-R’s controls are spare, and its software menus are similarly simplified, but as someone who tends to shoot using manual exposure and focus often, I quickly adjusted to the mindset. In fact, I rarely used the camera menus at all after making some initial settings. The experience reminded me of shooting with a film camera, though with the conveniences of digital capture and image review. The M10-R is also very quiet in operation, with the same dampened shutter mechanism introduced in the M10-P that reduces noise and vibration.

Like the back panel, the top plate is similarly uncluttered, with only the shutter release, hot shoe and dials to select ISO and shutter speed. Aperture is selected via a ring on the lens itself.

One aspect of the camera that’s perhaps a “love it or hate it” proposition is that it’s a rangefinder. In my younger years before needing eyeglasses, I found rangefinders more likeable, with the caveat that some are better than others when it comes to providing an accurate representation of image framing. With eyeglasses, the rangefinder experience feels awkward to me, and though the quality of the M10-R’s rangefinder is quite clear and bright and offers diopter adjustments from -3 to +3, I was pleased that Leica had included the optional Visoflex electronic EVF for our review. I used it most of the time while shooting with the camera. One of the niceties of EVFs to which I’ve grown accustomed is focus peaking display, a modern tech amenity that the M10-R offers.

The M10-R with the Visoflex EVF attached (left), and the Visoflex itself from the side (right). We appreciated this accessory for both easy viewing and precise composition, as well as tech niceties like focus peaking display.

In terms of handling, the M10-R is nimble and precise, in part due to the simplified controls and also owing to the excellent build quality. That build quality also conveys a certain confidence when shooting outdoors. The all-metal diecast magnesium body with brass top and bottom plates makes the camera feel like a tank, yet well-balanced and not too heavy. To maintain compatibility with legacy M lenses, Leica doesn’t weather seal M cameras to the same extent as other Leica systems, such as the SL line. However, because of the tight tolerances of the camera’s construction and the fact that M lenses are just metal and glass with no electronic components, Leica does consider the system weather resistant.

To access the battery and SD card slot, you remove the entire bottom plate of the M10-R. This plate is sealed for weather resistance.

Image Quality & File Handling

As you would expect from a storied brand like Leica or, indeed, any camera at this price point, image quality from the M10-R is exceptionally good. Despite the substantial increase in resolution—nearly double the resolution of the 24-megapixel M10—Leica states that the M10-R’s sensor exhibits “significantly reduced” noise and a wider dynamic range than the M10.

The images I captured with the camera maintained detail in both the shadows and highlights. Even with very high contrast scenes, shadow details were easily recovered when processing the raw files. The M10-R provides both 14-bit lossless DNG raw and 8-bit JPEG file options, but I shot exclusively in DNG for post-processing latitude. The M10-R offers an ISO range of 100-50,000 and also long-exposure capability up to 16 minutes. Images are recorded to SD media, for which there is a single slot.

This was a particularly tricky exposure as the bright, direct sunlight washed out detail even to the naked eye, but I was able to recover color and tonality in post processing that I hadn’t expected to record.

Note that M10-R is still capture only—no video here. As someone who is primarily a photographer and only rarely dabbles in video, I didn’t find that a limitation, but if you want video capabilities in addition to still, Leica’s SL line may be the right option for you. That would also be the line to consider if you’re looking for faster continuous shooting, tech features like in-body image stabilization and a broader selection of telephoto lenses.

High Resolution For The M Shooter

The Leica M mount was introduced in 1954, and though the camera line has evolved, the M10-R is outwardly very similar to the iconic Leica M6 film camera released in 1984 and the company’s first digital M, the 10-megapixel M8, introduced in 2006. Change comes slowly to the M system, exemplified in the Leica M10-R’s rather modest list of improvements apart from a major advance in resolution.

While most consumer camera makers tend to feverishly iterate and develop “smarter” cameras or chase video resolution, Leica’s M-System takes a slower pace, both literally in the line’s development and also figuratively in the user’s photographic experience using an M camera. And that’s just how M photographers like it.

[See image gallery at www.outdoorphotographer.com]

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Liquid Reflections Assignment Winner d.mitler

Congratulations to d.mitler for winning the recent Liquid Reflections Assignment with the image, “Half Dawn.”

View the winning image and a selection of submissions in the gallery below. And be sure to check out our current photography assignment here and enter your best shots!

[See image gallery at www.outdoorphotographer.com]

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Photo Of The Day By Heather Nicole

Photo By Heather Nicole

Today’s Photo Of The Day is “Lone Lioness” by Heather Nicole.

“A hungry lioness scans the lush landscape for signs of life…and signs of lunch,” describes Nicole.

Canon EOS 6D Mark II, Tamron SP 150-600mm F/5-6.3 Di VC USD A011. Exposure: 1/1000 sec., f/7.1, ISO 500.

See more of Heather Nicole’s photography at https://momentsbyheathernicole.com/.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Cover All Bases In Photography, Part 1

As far back as I can remember, I had a camera in my hand. It started with my sister’s Kodak Brownie and evolved into the whole system I carry to Tanzania today to lead my photo safaris in the Serengeti. My first 35mm camera was an old Konica T through which I ran many rolls of slide film. I continued to upgrade my Konica bodies, simultaneously broadening my horizons of film types. When I reached the apex looking like a total photo geek, I had three Konica bodies strung around my neck. Each body contained a different type of film.

I donned a photo vest with many pockets while wandering the streets of Manhattan looking for black-and-white shots, images made with color negatives, and finally, I repeated all compositions on slide file. I’ll always smile thinking about those days, but the biggest takeaway I learned from them is to cover all bases in photography, especially when I made a slide. The piece of film was the end result and I had to get it right in the camera. Using Photoshop today, I wonder how I ever got by, but through persistence and determination, I worked my way up the ranks. 

In this two-part series, I’ll share ways that you can cover all bases in photography to increase your chances of coming home with winning images. 

Vary the Aperture

Depth of field is critical to the success of a photo. It controls how much focus depth is created when the shutter is pressed. Wide-open apertures provide very limited depth of field, while stopped-down apertures increase the “Range Of Sharpness.” Wide-open apertures vary from ƒ/1.4 to ƒ/4 depending on the lens, while stopped-down apertures vary from ƒ/11 to ƒ/22, again depending on the lens. Most 35mm digital cameras have a Depth Of Field Preview button that shows the depth of field through the viewfinder. Unfortunately, it’s somewhat hard to discern and I know very few photographers who use it.

With this in mind, “Bracket” the depth of field range and determine what aperture is best when you view your images on a desktop monitor. Use your widest aperture, a mid-range aperture and a stopped-down aperture to bracket the depth of field. For each aperture, place the focus point approximately one-third into the frame to maximize the depth of field. If all the components in the composition demand attention, increase the depth of field. This is why scenics with foreground to background sharpness work well. On the other hand, to create a specific center of attention, decrease the depth of field. This allows a critically focused portion of the image to remain sharp against an out-of-focus background.

Different Day, Different Conditions

I’ve heard photographers say, “I never go to the same place twice—I already have that shot.” I understand their thinking, but I still turn to them to share that they could be depriving themselves of a great image if it’s an iconic location. As with snowflakes, no two days are ever the same. Clouds change, atmospheric conditions vary, your frame of mind is different, along with a number of other variables. You never can predict when a rainbow or dramatic sky may appear. Should a rainbow decide to make an appearance on a day after you’ve “been there,” you’re guaranteed to miss it.

Bracket Your Exposures 

Errors in exposure can be compensated for when you optimize the RAW file, but if it’s too far off, there’s no recovery. An overexposed file will have no detail in the highlights and an underexposed file gets very noisy if you try to open up the shadows. I admit that the meters in today’s cameras are very sophisticated and the sensors have wider contrast ranges, but there are limitations. This is especially true with delicate warm tones of red, orange and yellow. I strongly urge you to activate your color histogram. Many cameras have it available but not as a default. Go to the custom settings and enable the setting that makes it visible in the PLAYBACK mode. I find that I need to go at least minus one stop when the skies go electric at sunrise and sunset. Base your exposure solely on the RED CHANNEL and ignore all the others. Bracketing ensures you get the proper exposure. The more familiar you become with your camera and how it reacts to any given lighting situation, the less you’ll need to bracket.

Vary The Background

When I make photographs, I place as much importance on the background as I do on the subject. Regardless of how spectacular the primary focal point is, a busy background results in a busy image. A background shouldn’t compete with the subject, its color should be in harmony with it and it should be as unobtrusive as possible. If the subject allows, try to shoot it against as many backgrounds as possible. Each will net a different result. Even a slight alteration in your camera position may have a radical effect on the image. Be cognizant about what appears in the entire viewfinder to fine-tune your images and produce better pictures.

Take More Than One

Whether it’s an animal, person, sunset or sunrise, the decisive moment has a huge impact in determining the success of an image. It can be a great expression, a glance, a fleeting look, the turn of the head or another key aspect. If you shoot more than one image, you vastly increase the chance of capturing a once-in-a-lifetime moment. With people, when there’s strategic interaction between the photographer and subject, it helps create better opportunities. With animals, patience, knowledge of the species, a quick shutter finger and a bit of luck all work to your advantage.

Be sure to catch next week’s Tip to learn more ways to cover all bases in photography in Part 2.

Visit www.russburdenphotography.com for information about his nature photo safaris to Tanzania.

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Photo Of The Day By Gene Putney

Photo By Gene Putney

Today’s Photo Of The Day is “Enjoying The View” by Gene Putney. Location: Rocky Mountain National Park, Colorado.

“On an August afternoon I was traveling over Trail Ridge Road and spotted this lone Rocky Mountain bighorn sheep ram relaxing on the tundra,” explains Putney. “He was in a nice setting that worked well for capturing a portrait of him as he enjoyed the view.”

Nikon D500. Exposure: 1/200 sec., f/5.6, ISO 400.

See more of Gene Putney’s photography at www.putneynatureimages.com.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Gary Fua

Photo By Gary Fua

Today’s Photo Of The Day is “Efflorescence” by Gary Fua. Location: Garrapata State Park, California.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Mark Koskulitz

Photo By Mark Koskulitz

Today’s Photo Of The Day is “Lake McDonald” by Mark Koskulitz. Location: Montana.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Ning Lin

Photo By Ning Lin

Today’s Photo Of The Day is “Yosemite Tunnel View” by Ning Lin. Location: Yosemite National Park, California.

See more of Ning Lin’s work at www.flickr.com/photos/thelinvision.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Photo Of The Day By Rom Savage

Photo By Rom Savage

Today’s Photo Of The Day is “The Beast and the Bonsai” by Rom Savage. Location: Colorado.

“A beast of a storm approaches a lone bonsai tree growing out of a large boulder,” describes Savage.

Canon EOS 5D Mark III. Exposure: 1/60 sec., f/18, ISO 160.

Photo of the Day is chosen from various OP galleries, including Assignments, Galleries and the OP Contests. Assignments have weekly winners that are featured on the OP website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.

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Last Frame: Not Tonight, I Have A Headache

Photo By Alissa Crandall

“Round Island is part of the Walrus Islands State Game Sanctuary managed by the Alaska Department of Fish and Game,” explains wildlife photographer Alissa Crandall. “The rocky, mountainous and remote island is Alaska’s best place for photographing Pacific walruses during summer. One afternoon, after shooting most of the day from high cliffs, I returned to my camping area and found a small number of walrus hauled out on the rocks just near a low area on the cliffs. I was able to shoot almost straight across at this one who seemed to be shielding his eyes from the sun. He was close enough to get good face shots with the 600mm lens.

“Travel to the sanctuary involved a commercial flight from Anchorage to Dillingham, a small plane flight to the village of Togiak, and then a 35-mile boat taxi to the island. The island has a primitive camping area, but you have to bring your tent, camping gear and food as well as extra supplies for potential delays due to storms and weather.”

Canon F-1, Canon 600mm f/4 lens, Fujichrome 100 slide film, Bogen tripod and ballhead.

See more of Alissa Crandall’s photography at facebook.com/alissa.crandall.7.

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