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Wednesday, September 30, 2020

Sigma today introduced a new telephoto macro lens for its L-Mount system as well as Sony E-Mount. The Sigma 105mm F2.8 DG DN Macro | Art is a true 1:1 macro lens with a working distance of 5.5 inches. The L-Mount version of the lens is also compatible with Sigma’s TC-1411 1.4x and TC-2011 2x  teleconverters for enhanced macro magnification ratios of 1.4:1 and 2:1.

Image of the Sigma 105mm F2.8 DG DN Macro

A 3-zone focus limiter allows you to limit the focusing range of the lens for faster AF acquisition depending on your distance from the subject. In addition to its macro applications, the Sigma 105mm F2.8 DG DN Macro | Art will also make an effective portrait lens. The 9-blade aperture is rounded for soft bokeh effects at shallow depth of field. Sigma states that the Hypersonic Motor AF system “delivers smooth, quiet, confident autofocus in both close-up and portrait-distance settings,” an important consideration when photographing live macro subjects.

The Sigma 105mm F2.8 DG DN Macro | Art is expected in late October with a list price of $799. For additional details, see the press release below.

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Sigma Announces the Sigma 105mm F2.8 DG DN Macro | Art Lens, Redefining Mirrorless Macro Performance

  • Life-sized magnification (1:1) short tele macro for full-frame mirrorless
  • Dust and Splash-proof construction
  • Completely new optical formula for exceptional sharpness and pleasing bokeh
  • Hypersonic Motor optimized for both contrast and phase detection autofocus
  • Clicked and de-clicked aperture ring with Aperture Ring Lock Switch
  • Focus Limiter switch for macro, portrait, or full range autofocus
  • Available in L-Mount and Sony E-Mount
  • MSRP: $799
  • Anticipated Shipping Date: Late October 2020

Ronkonkoma, NY – September 30, 2020 – The SIGMA 105mm F2.8 DG DN Macro | Art lens is the first prime macro lens designed by Sigma exclusively for full-frame mirrorless cameras, as the DG DN in the name indicates. Announced today by Sigma Corporation, this lens offers 1:1 magnification (life-sized) at a 5.5-inch working distance with internal focusing, and it is available in Sony E-Mount and L-Mount formats.

Exceptional focal plane sharpness with minimal aberration is achieved through a new optical formula featuring 17 elements in 12 groups with one SLD element. The lens design also features excellent peripheral brightness for pleasing bokeh, complemented by nine rounded aperture blades. The L-Mount version of the 105mm F2.8 DG DN Macro | Art lens is compatible with the SIGMA Teleconverter TC-1411 and TC-2011, increasing the maximum magnification to 1.4:1 and 2:1, respectively.

“In order to capture the minute details of small subjects, macro lenses must meet an extremely high standard of optical precision, and the new SIGMA 105mm F2.8 DG DN Macro | Art lens truly delivers,” says Mark Amir-Hamzeh, President of Sigma Corporation of America. “Whether you are shooting images of flowers, insects or just interesting objects around the house, the sharpness, bokeh quality and practical functionality of this lens will exceed the expectations of professionals and hobbyists alike.”

The Hypersonic Motor delivers smooth, quiet, confident autofocus in both close-up and portrait-distance settings, and the three-zone focus limiter switch allows for even swifter response when focusing exclusively in either the macro or more distant range.

The Sigma Art line has been consistently redefining both imaging excellence and satisfying handfeel, and this new lens continues that journey. The dust and splash-proof design, aluminum and TSC (Thermally Stable Composite) construction, a brass bayonet mount, plus well-damped switches and rings demonstrate the level of build quality that the Art name represents.  The Aperture Ring can be clicked or de-clicked by flick of a switch, and the lens also includes an Aperture Ring Lock Switch function. Additional benefits include a programmable AFL button on the lens barrel, and compatibility with face and eye-detection autofocus.

The lens will begin shipping late October 2020.  /  MSRP: $799

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Photo By Clayton Peoples

Photo By Clayton Peoples

Today’s Photo Of The Day is “Celestial Dawn” by Clayton Peoples. Location: Mono Lake South Tufa Area, California.

“With comet NEOWISE putting on a dazzling, once-in-a-lifetime show, I pondered where I could photograph it with clear skies, no human-made lights and water,” says Peoples. “I decided on Mono Lake with its moonlit tufa providing a surreal, ‘otherworldly’ atmosphere. I pulled an all-nighter to drive there and get this shot, but it was totally worth it! An added bonus is that despite a few waves/ripples on the water, the long exposure smoothed the surface and allowed for reflections.”

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

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Tuesday, September 29, 2020

Photo By Christoph Stopka

Photo By Christoph Stopka

Today’s Photo Of The Day is “Lightning in Cloud” by Christoph Stopka. Location: Wet Mountain Valley, Colorado.

“This cloud was the grand finale of a big summer monsoon thunderstorm in the high country of Colorado,” says Stopka. “This cloud monster was basically hovering over the same area in the Wet Mountains for hours, slowly growing in size. And growing. Finally, just before darkness, this by now gigantic cloud started to explode. Lightning illuminated the belly of the beast, and eventually, the lightning bolts were reaching out of the vapor mass and were shooting nonstop in all directions. The most intense and scariest thunderstorm I’ve ever witnessed. But, at the same time, so stunningly beautiful that it was truly mesmerizing.”

Nikon D850. Exposure: 1/3 sec., f/5.6, ISO 320.

See more of Christoph Stopka’s photography at www.christophstopka.com.

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

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Monday, September 28, 2020

Congratulations to Bob Faucher for winning the recent Summer Storms Assignment with the image, “Electrical Storm,” which was taken near Thermopolis, Wyoming. See more of Bob Faucher’s work at www.faucherphotography.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 By Kevin King

Photo By Kevin King

Today’s Photo Of The Day is “Swirlpool” by Kevin King. Location: West Virginia.

“A large eddy at the base of a remote waterfall in West Virginia,” describes King.

Nikon D800E. Exposure: 30 sec., f/11, ISO 50.

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

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Prevent Background Blunders

Regardless of a subject’s impact, if the background is busy, has distractions, is too bright, etc., the photo falls short. Learn to treat your background with the same importance you treat your subject. It’s a winning formula. Think back to your Photo 101 days when you were shown the cliched image of a person with a telephone pole growing out of his head. Sometimes juxtapositions work well and bring a smile to the viewer’s face, but unless the end result is intentional and created to raise a laugh, it’s an obvious blunder. Learn how to simplify your backgrounds so when you run a background check, you feel confident you’ve succeeded.

Prevent Background Blunders

Tunnel vision in photography is very common. Even seasoned veterans fall victim to it. When a great subject appears in a viewfinder, the eye locks onto it and notices nothing else. It’s not until the image is reviewed on the back of the camera or on a computer when one says, I didn’t notice that dead log behind the lion, I didn’t see all those bright spots behind the owl in the tree, I never saw the ugly horizon bisect the giraffe’s neck or I wasn’t aware of the in-focus background that doesn’t separate from the subject.

Prevent Background Blunders

If you’re smiling right now because you’ve been there, I’m smiling with you as I, too, have made many background blunders. What makes it difficult to stop committing the same error is when you view a great subject through the camera, you hope and pray that if you press the shutter 100 times, at least one will be good. I hate to inform you, but if the background is bad and you keep pressing the shutter, the end result of every click is a photo with a bad background. A bad background is a bad background, and no number of clicks changes it.

Prevent Background Blunders

Learn to previsualize how the image will look at the time you press the shutter. If the background is busy, it won’t automatically declutter when you make the photo. If you think Photoshop magic will help reduce distractions, make the image and decide if it’s successful after it’s optimized. Other techniques and strategies can be utilized so your end result is a photo with a clean background:

  • Fill the frame as much as possible to eliminate background confusion.
  • For macro work, create your own backdrop and place it behind the subject.
  • Make images under foggy conditions to obscure the background.
  • Use a clear blue sky to skyline the subject.

Prevent Background Blunders

  • The strategic use of backlight puts a halo of light around the subject. Expose for the highlights to create a black backdrop.
  • Create a story with the background—make environmental portraits to show the animal in its natural settings. Stop down the lens to maximize depth of field.
  • Use a long lens with a wide-open aperture to help throw the background out of focus.
  • Use flash on small subjects to create black backgrounds. Light falls off quickly. If you stop the lens down to Æ’/16 or Æ’/22, given the proximity of the subject to flash, the area behind the subject goes dark.

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

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Sunday, September 27, 2020

Photo By Sam Folsom

Photo By Sam Folsom

Today’s Photo Of The Day is “Flow Through Rock” by Sam Folsom. Location: Yosemite National Park, California.

“Bridalveil Falls in Yosemite as the water makes its way through the rocks during the dry season,” describes Folsom.

See more of Sam Folsom’s work at www.samfolsom.com.

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

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Saturday, September 26, 2020

Photo By Gene Putney

Photo By Gene Putney

Today’s Photo Of The Day is “Mountain Cascade” by Gene Putney. Location: Colorado.

“While traveling through the Northern Colorado mountains I came across this nice mountain cascade,” describes Putney. “At first it was harsh light with sunny conditions; however, I noticed clouds rolling in, so I waited for them to finally block the sun to get the soft light I was hoping for.”

See more of Putney’s work at www.putneynatureimages.com.

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

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Photo By Christine Haines

Photo By Christine Haines

“A friend arranged a photo tour to Lake Clark National Park, Alaska, in order to photograph coastal brown bears,” says Christine Haines. “This was my second time at the park during the same time period. However, on this visit, we didn’t have as many bears digging for clams or young cubs to photograph. I was told that the mothers were keeping their cubs hidden because of the boar activity. Luckily, we had a fox that occasionally visited near our cabins. When I first saw her from my cabin window, she was resting on a moss-covered boulder, making for a good photo opportunity. I quickly grabbed my camera and took a few images before she went on her way. Seeing her was one of the highlights of my trip.”

Canon 7D Mark II, EF 400mm f/4 DO IS USM lens, handheld. Exposure: 1/800 sec., f/7.1, ISO 1000.

See more of Christine Haines’ work at www.flickr.com/photos/cvhainesphotos/.

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Friday, September 25, 2020

Tamron has announced a new “all-in-one” zoom for Sony E-Mount cameras. Designed for use with full-frame sensors, the Tamron 70-300mm F/4.5-6.3 Di III RXD can also be used with APS-sensor Sony cameras, providing an equivalent range of 105-450mm with those models.

Image of the Tamron 70-300mm F/4.5-6.3 Di III RXD

The lens is very compact for a zoom with this range at 5.8 inches in length and weighing 1.2 pounds. It offers a minimum focusing distance of 31.5 inches at the widest focal lengths and 59.1 inches at the tele end of the range.

Tamron has been actively developing a lens lineup for Sony E-Mount. This is the eighth lens in the line, joining several Æ’/2.8 zoom and primes, and the Tamron 28-200mm F2.8-5.6 Di III RXD, another all-in-one style zoom with faster maximum apertures and more wide-angle coverage but less telephoto reach. Like the other Tamron Di III series lenses for Sony, it’s compatible with Sony camera technologies such as Fast Hybrid AF, Eye AF and in-camera lens corrections. And though there’s no image stabilization system built into the lens, Sony’s in-body stabilization addresses that need for handheld shooting.

Tamron 70-300mm F/4.5-6.3 Di III RXD mounted on a Sony camera

The Tamron 70-300mm F/4.5-6.3 Di III RXD is very compact for a lens with this focal length range.

The Tamron 70-300mm F/4.5-6.3 Di III RXD will be available at the end of October with a list price of $549, making it an excellent value for photographers who want a single lens to cover most shooting situations. For additional details, see the press release below.

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Tamron Announces the World’s Smallest and Lightest Telephoto Zoom Lens for Sony E-mount Full-Frame Mirrorless Cameras 

Tamron 70-300mm F/4.5-6.3 Di III RXD (Model A047)

September 24, 2020, Commack, New York – Tamron announces the launch of the 70-300mm F/4.5-6.3 Di III RXD (Model A047), a telephoto zoom lens for Sony E-mount full-frame mirrorless cameras. The lens will be on sale on October 29, 2020 at approximately $549.00; however, due to the current global health crisis, the release date or product supply schedule can change.

While Tamron has manufactured many popular telephoto zoom lenses that extend to 300mm for DSLR cameras, the new 70-300mm is the first model designed for full-frame mirrorless cameras. Developed with the concept of bringing the joy of easy telephoto shooting to photographers everywhere, it’s the world’s smallest and lightest[1] 70-300mm zoom lens— just 5.8 in. in length and weighing a mere 19.2 oz.— and delivers exceptional image quality.

Its Moisture-Resistant Construction provides greater protection when shooting outdoors and the lens shares the 67mm filter diameter common to all members of Tamron’s lens series for full-frame mirrorless cameras. The lens also takes full advantage of in-camera features, including Sony’s Fast Hybrid AF and Eye AF that support a fantastic shooting experience. The 70-300mm F4.5-6.3 is a highly practical lens that makes the excitement of telephoto shooting easier than ever before across a diverse range of shooting styles including landscapes, sports and other athletic events, wildlife, portraits, and more.

PRODUCT HIGHLIGHTS

  1. A telephoto zoom so compact you will want to carry it around everyday

Tamron has adopted a dedicated design for mirrorless cameras and achieved a compact size once again by fixing the aperture at F6.3 at the telephoto end. The maximum diameter is 77mm. Measuring just 5.8 in. and weighing a mere 19.2 oz., this 70-300mm F4.5-6.3 is the world’s smallest and lightest telephoto zoom lens for full-frame mirrorless cameras. Compatible with Sony’s popular E-mount cameras, it has been developed with the concept of enabling photographers to experience the universe of full-scale, full-frame 300mm telephoto photography more easily.

The AF drive system incorporates the exceptionally quiet RXD (Rapid eXtra-silent stepping Drive) stepping motor. Because this lens is compatible with Sony camera features, including in body image stabilization and Eye AF, you can enjoy comfortable, high-speed, high precision telephoto photography, even handheld.

Experience the excitement of bringing distant subjects closer as well as the perspective flattering characteristics achieved by full-scale telephoto photography more easily than ever before. For landscapes, sports, birds, and wildlife as well as closer subjects such as portraits and street scenes, this lens expands the range of telephoto photography.

  1. Superior optical performance and supreme lightweight portability

Pursuing lightweight design as a top priority, Tamron has created a compact 70-300mm F4.5-6.3 zoom lens that makes 300mm telephoto shooting easy and fun. The superb optical design is based on a rigorous simulation process using state-of-the-art design technologies. As a result, Tamron has successfully struck a balance between extreme lightness (19.2 oz.) and compactness (5.8 in.), incorporating a slim lens barrel with a maximum diameter of 77mm— all without sacrificing high image quality. The optical design includes 15 elements in 10 groups, with an LD (Low Dispersion) lens element precisely arranged to suppress axial chromatic and other aberrations that are likely to happen with telephoto zoom lenses. At 300mm, a commonly used telephoto zoom focal length, the design delivers excellent resolution from edge-to-edge. Overall, the efficient optical construction (which also contributes to its light weight), plus Tamron’s BBAR (Broad-Band Anti-Reflection) Coating with its well-established reputation for anti-reflection properties, combine to enable the photographer to capture extremely clear, crisp images across the entire zoom range. While the lens features an advanced design with excellent core image quality, optical performance can be enhanced even further by employing the lens correction features found on Sony cameras.

With the introduction of this lens, all photographers, from first-time users of dedicated telephoto zoom lenses to experienced enthusiasts seeking a compact, lightweight telephoto zoom, can comfortably enjoy the advantages of a powerful, versatile zoom without worry about size or weight. Photographers who are shooting with in-camera image stabilization or using a tripod, can reduce the burden of their gear. Moreover, the 70-300mm F4.5-6.3 maintains excellent balance even when used with the APS-C sized E-mount cameras that are smaller than full-frame cameras (e.g., Sony α6500); consequently, users can also enjoy photography with an even greater equivalent telephoto zoom appearance of approximately 450mm.[2]

  1. The RXD stepping motor unit is exceptionally quiet 

The AF drive incorporates a sensor that accurately detects the position of the lens while the RXD motor unit delivers optimized AF control. This achieves very fast and accurate autofocus operation and allows users to maintain tack-sharp focus on continuously moving subjects shot at the telephoto zoom position. Thanks to the exceedingly quiet AF, the lens can be used discreetly in concert halls and other situations that require low noise levels, and for video recording.

  1. A full family of superb, compact lenses made especially for mirrorless cameras

The 70-300mm F4.5-6.3 shares the same uniform 67mm filter diameter as other members of Tamron’s series of full-frame mirrorless camera lenses. When using an assortment of these lenses, users can easily interchange filters (e.g., PL, ND, etc.) and lens caps, thereby increasing convenience and minimizing costs as it is unnecessary to purchase a collection of different size filters.

Tamron’s lineup of lenses with 67mm filter diameter for full-frame mirrorless cameras (in the order they were launched):

– 28-75mm F/2.8 Di III RXD (Model A036) / High-speed standard zoom lens

– 17-28mm F/2.8 Di III RXD (Model A046) / High-speed ultra-wide-angle zoom lens

– 24mm F/2.8 Di III OSD M1:2 (Model F051) / Prime lens

– 35mm F/2.8 Di III OSD M1:2 (Model F053) / Prime lens

– 20mm F/2.8 Di III OSD M1:2 (Model F050)/ Prime lens

– 70-180mm F/2.8 Di III VXD (Model A056) / High-speed telephoto zoom lens

– 28-200mm F2.8-5.6 Di III RXD (Model A071)/ All-in-one zoom lens

  1. Moisture-Resistant Construction for added protection

Seals are located at the lens mount area and other critical locations to deter infiltration of moisture and/or rain drops and afford Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.

  1. Compatible with camera-specific features and functions

Tamron’s new 70-300mm F4.5-6.3 is compatible with many of the advanced features that are specific to certain mirrorless cameras. These include the following:

– Fast Hybrid AF

– Eye AF

– Direct Manual Focus (DMF)

– In-camera lens correction (shading, chromatic aberration, distortion)

– Camera-based lens unit firmware updates

* Features vary by camera. Please consult your camera’s owner’s manual for details. (As of August 2020)

[1] Among 300mm-capable telephoto zoom lenses for full-frame mirrorless cameras (As of August, 2020: Tamron)

[2] For APS-C mirrorless format: 105-450mm equivalent field-of-view

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Photo By Tom Elenbaas

Photo By Tom Elenbaas

Today’s Photo Of The Day is “Swallowing the Moon” by Tom Elenbaas. Location: Garrapata State Park, Big Sur coastline, California.

“Crashing waves swallow the setting moon at Garrapata Beach along California’s Big Sur Coast,” describes Elenbaas.

See more of Tom Elenbaas’ photography at www.tomelenbaas.com.

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

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Thursday, September 24, 2020

Photo By Valerie Millett

Photo By Valerie Millett

Today’s Photo Of The Day is “Mesa Sunrise” by Valerie Millett. Location: Hunts Mesa, Monument Valley, Arizona.

See more of Valerie Millett’s photography at valmillett.blogspot.com.

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

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Wednesday, September 23, 2020

Photo By Dave Elendt

Photo By Dave Elendt

Today’s Photo Of The Day is “Sunset on Long’s Peak” by Dave Elendt. Location: Rocky Mountain National Park, Colorado.

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

The post Photo Of The Day By Dave Elendt appeared first on Outdoor Photographer.



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“Visualization” is not a new concept in photography, but it’s one often suggested to photographers. Ansel Adams popularized the idea, and you can watch Adams describe it himself in a video at The Ansel Adams Gallery’s website. “As we talk about photography,” Adams said, “we speak of the external event, which is, we’ll call it ‘scenery,’ it’s everything that happens outside in time and space…Contrasting with that, in the creative work, is the internal event, it happens inside your mind when you see the photograph.” He continued, “The whole key lies very specifically in seeing into the mind’s eye, which we call visualization.”

Traditionally, visualization in photography referred to not only the process of “seeing” the photograph in a scene but also understanding of how that scene would be translated when captured on film and then printed. In part two of Marc Muench’s article series, “The Art of Luminosity,” Muench explores visualization techniques in the context of modern photographic tools.

Muench also talks about “pre-visualization”—anticipating the conditions and planning a photograph accordingly. This practice is the centerpiece of Glenn Randall’s “Visualize. Plan. Shoot!” Randall begins with one of the fundamental questions he asks when capturing an image: “How could you make the best possible photograph of your subject?” As Randall explains, the answer might be in returning to the subject at a different time of day or time of year. To that end, Randall introduces us to the software he uses to plan a photo shoot in a particular location when a confluence of terrestrial and celestial events will produce his ideal conditions for the subject and scene. 

The importance of seasonal timing also runs through Rachel Jones Ross’ article, “Atmospheric Landscapes.” While bold foliage colors dominate our ideas about fall photography, it’s also a time of year to witness moody skies, fog and mist that can transform a scenic location into, as Ross describes it, “an ethereal dreamscape.” Ross recounts the stories and conditions that resulted in some of her favorite fall photographs showcasing the creative opportunities of the season.

On the cover is a photograph made by Marc Muench at the “Fairy Pools” on the Isle of Skye in Scotland. Here’s the story behind the shot.

Outdoor Photographer October 2020 cover

“It is said that fairies bathe in the streams of Scotland, and if I were a fairy, I’d bathe here, too. Up in the Glenbrittle region of Isle of Skye, Scotland, is a very intriguing valley. The mountain-fed stream with crystal-clear pools and waterfalls makes for fantastic swimming—and photography.

“On the day we visited during one of our photography workshops, it was raining, so I did not spend much time considering a swim. With all the wet rocks and subtle colors created by the overcast light, the photography was compelling. The location can be found within a 20-minute walk across the rural countryside, and the trail is well maintained.

“This is one of many sublime locations on the Isle of Skye, but like other great spots, it can become crowded. I highly recommend visiting on a rainy day when there are no swimmers; be sure to bring your polarizing filter to cut the glare off the water. It rains a lot in Scotland in the fall, so your chances are good at this time of year.

“The compositions are endless, considering all of the interesting rocks, waterfalls and many pools carved out by eons of water erosion. The surrounding country is covered in thick, marshy grass that had begun turning color in October while we were there. If you end up visiting during the summer, I would suggest bringing a swimsuit.”

–Marc Muench

The October 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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Tuesday, September 22, 2020

Photo By David Shield

Photo By David Shield

Today’s Photo Of The Day is “Sedona Highlands Sunset” by David Shield. Location: Sedona, Arizona.

“If my first priority is to chase color and light, my second priority would easily be to find compositions with some visual interest that I haven’t seen photographed many times before,” explains Shield. “For this image, I set off on a popular Sedona trail before leaving the crowds behind to go off-trail and ascend high up into a remote area of red rock country.”

See more of David Shield’s photography at www.davidshieldphotography.com.

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

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Congratulations to Bill Sisson for winning the recent Go With The Flow assignment with the image, “Gasadalur.” See more of Sisson’s work at billsissonphotography.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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Monday, September 21, 2020

Photo By Donnell Allen

Photo By Donnell Allen

Today’s Photo Of The Day is “Tiptoe Through the Lupines” by Donnell Allen. Location: Crested Butte, Colorado.

“This black bear was making his way down the hillside of lupines, seemingly oblivious to all the beautiful wildflowers,” says Allen.

See more of Donnell Allen’s photography at donnellallen.myportfolio.com.

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

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Let The Subject Compel You

C = Composition
O = Open Up
M = Macro
P = Preview
E = Exposure
L = Light

The more dialed in you are to your subject, the more you’ll do to make the perfect photo. As with anything else, when there’s a connection, feelings and emotions run strong. If you’re a pet owner, the unconditional love you have for it is beyond words. When that little four-legged puppy rips out the linoleum in the corner of your kitchen, it’s as if an aura of forgiveness floats above your head as you look down and smile at him and go on with getting it repaired. Photographers are the same: if a roadblock impedes us from getting the photo, we go back again and again because determination and persistence reign supreme when the subject is compelling and it’s one we long to capture.

Let The Subject Compel You

Every time a shutter is pressed, a conscious decision motivates the holder of the camera to make the image. It compels the photographer to click. It may be a spontaneous snapshot of a friend, majestic light on a grand scenic, a funny expression of a wildlife subject or the backlight behind a flower that lures the photographer into the subject’s world prompting the creation of the image. The magic of the moment compels the photographer to raise the camera to eye level. What’s encountered charms him with intrigue. Let’s take a look at what needs to be done when a subject does compel the photographer to create a photo.

Let The Subject Compel You

Composition

Many photographers I know consciously create a composition as the camera is raised to their eye. Before the viewfinder and eye become one, the placement of elements is already made. Sometimes it’s the best and sometimes it gets massaged. Either way, be sure there’s balance in the composition. Don’t let the “weight” fall too much on one side. If there’s a key element on the right, balance it with another important element on the left. Use the rule of thirds to place the main subject. Whether it’s a vertical or horizontal composition, use the imaginary tic-tac-toe grid inside the viewfinder to place key subjects. Make sure the background is clean and eliminate distracting hot spots. Get compelled by composition.

Open Up

The category of subjects that compels me the most is wildlife. I started off making scenics but switched gears because of the challenge. I can’t tell you how many gorgeous light days I’ve experienced but no animals were around. This is what keeps me going back for more. Throughout the years, I made many wildlife photos and most were made with a wide-open aperture. The wider the opening, the less depth of field. The less depth of field, the more the subject stands out from the background. As long as the chosen aperture covers the range of focus on the animal, all is good regarding the background. No clutter, no distractions, no branches or ugly grasses behind the subject—just a beautiful wash of color that allows the main character to pop off the page. Get compelled and open up.

Let The Subject Compel You

Macro

Just because a wildlife subject is small doesn’t mean it should be discounted. As a matter of fact, macro photography is an art unto itself. The challenges in working with very small subjects are often more difficult to overcome than working with large safari subjects. Specialized light, the proximity of the subject, depth of field and special lenses are all aspects that need to be addressed to make a successful macro photo. The same rules of light and composition apply to macro photography. Rule of thirds, the background is equally as important as the subject, even or dramatic light, the balance of the main elements and more have to be taken into consideration. Get compelled with macro.

Let The Subject Compel You

Preview

As stated in the section on composition, many photographers create a composition as they raise the camera to their eye. This is known as previsualization. When things aren’t happening quickly, I have my students create the image in their mind before they raise the camera to their eye. When you’re presented with a plethora of material across a huge, wide-open scene, you have to whittle it down into a 2×3 format. Verbally, I have the students describe to me what they’ll include and then have them make the photo. After doing so, we critique the composition. It’s a powerful learning tool and I encourage you to adopt the technique. Get compelled and preview the image.

Exposure

Today’s sensors have come a long way. Top-of-the-line versions can hold 12 to 15 stops of contrast. Compare that to slide film, which only allowed 5 to 6 stops. The dynamic range today is nothing short of amazing. This being said, if you overexpose the highlights, there’s no recovering them unless you use the clone stamp. If you underexpose the shadows and try to restore them, they take on a lot of noise. Noise can be reduced in post-processing, but don’t use that as a crutch. Get it right in camera and the file’s potential will be greater. Use your histogram to evaluate the exposure—not the way it looks on the LCD! Get compelled and use the histogram.

Let The Subject Compel You

Light

Frequent readers of my Tips of the Week know my favorite line and my company motto: “It’s All About The Light.” The word “photography” states it: Photo = Light and Graphy = to Write. When you make a photo, you write with light. The more dramatic or compelling the light, the better the potential to create a killer image. Storm light is one of my favorites. Work the edges of a storm to add total impact to your pics. Rainbows, ominous clouds, dramatic layers of clouds and more can be incorporated into the composition. Get compelled with light.

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

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Sunday, September 20, 2020

Photo By James Woolcock

Photo By James Woolcock

Today’s Photo Of The Day is “In a Sea of Grass” by James Woolcock. Location: Shiawassee National Wildlife Refuge, Michigan.

“A great egret stands tall in a sea of grass in the Shiawassee National Wildlife Refuge near us,” says Woolcock. 

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

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Saturday, September 19, 2020

Photo By Ross Stone

Photo By Ross Stone

Today’s Photo Of The Day is “Picturesque Sunset Over The Ancient Bristlecone Pine Forest” by Ross Stone. Location: Inyo County, California.

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

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Friday, September 18, 2020

Photo By Garry Everett

Photo By Garry Everett

Today’s Photo Of The Day is “Enjoying the View” by Garry Everett. Location: Lake Tahoe, California.

“A lone paddleboarder takes the time to admire the sunset on Lake Tahoe,” describes Everett.

See more of Garry Everett’s photography at www.gelandscapephoto.com.

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

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Thursday, September 17, 2020

Photo By Inna Malostovker

Photo By Inna Malostovker

Today’s Photo Of The Day is “Lost in Her Little World” by Inna Malostovker. Location: Florida.

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

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Nikon today introduced two new NIKKOR Z lenses for its Z series mirrorless cameras, the NIKKOR Z 14-24mm f/2.8 S zoom and NIKKOR Z 50mm f/1.2 S prime. These lenses are faster maximum aperture models that join the existing NIKKOR Z 14-30mm f/4 S and NIKKOR Z 50mm f/1.8 S in the lineup.

Image of the NIKKOR Z 14-24mm f/2.8 S

The NIKKOR Z 14-24mm f/2.8 S ships with two hoods, one of which has threads for a 112mm filter.

Though we love the retractable, travel-friendly size of the NIKKOR Z 14-30mm f/4 S, the new NIKKOR Z 14-24mm f/2.8 S is likely to be a very popular lens for landscape and astrophotography. Nikon states that the new lens is approximately 35 percent lighter than its F mount cousin, the AF-S NIKKOR 14-24mm F2.8G ED for Nikon DSLRs, a highly regarded lens. So while it is more to carry than the 14-30mm f/4, it’s still relatively compact for a pro-grade Æ’/2.8 wide zoom.

 The lens has a minimum focusing distance of just over 11 inches throughout the zoom range, great for wide compositions with prominent foreground objects. Another great feature of this lens is that Nikon was able to engineer a flatter front element for this lens compared to the F mount version, which allowed them to develop a clever lens hood with threads for a 112mm front filter. This hood is included along with a standard lens hood, plus caps to match each. There’s also a holder at the rear of the lens for gel filters.

Image of the NIKKOR Z 14-24mm f/2.8 S attached to a Z camera

The NIKKOR Z 14-24mm f/2.8 S attached to a Z camera for scale.

The NIKKOR Z 14-24mm f/2.8 S rounds out the Æ’/2.8 “trinity” of lenses for Nikon Z alongside the excellent NIKKOR Z 24-70mm f/2.8 S and the NIKKOR Z 70-200mm f/2.8 VR S, that latter of which was expected last February but delayed and yet to be released at the time of this writing. The 14-24mm f/2.8 is expected in November.

Another big difference between the lens and the NIKKOR Z 14-30mm f/4 S is the price. It’s nearly twice the Æ’/4 at $2,399 versus $1,299.

Like the new zoom, the NIKKOR Z 50mm f/1.2 S prime is a faster option for Nikon Z users who carry a standard prime. Nikon states that the 9-blade rounded aperture will produce beautiful bokeh effects. The lens is said to have a very precise, fast and quiet AF system with minimal focus breathing and exceptional edge-to-edge sharpness. It will be available in December for a list price of $2,099—$1,500 more than the NIKKOR Z 50mm f/1.8 S at $599.

Image of the NIKKOR Z 50mm f/1.2 S lens

The NIKKOR Z 50mm f/1.2 S is large at 6 inches long (more than 75 percent longer than the slower NIKKOR Z 50mm f/1.8 S) , but promises superior image quality.

For additional details on these lenses, see the press release below.

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NIKKOR Z INNOVATION CONTINUES: NIKON INTRODUCES TWO ESSENTIAL NIKKOR Z LENSES EQUIPPED WITH INCREDIBLE OPTICS TO DELIVER UNRIVALED IMAGE QUALITY

The Ultra-Wide NIKKOR Z 14-24mm f/2.8 S and Powerful NIKKOR Z 50mm f/1.2 S Lenses Bring Groundbreaking Advancements in Optical Performance and Design to the Nikon Z Series

MELVILLE, NY (September 16, 2020) Today, Nikon Inc. unveiled two exciting additions to the rapidly expanding NIKKOR Z lens lineup, demonstrating the brand’s commitment to the evolving Nikon Z series. These new full-frame S-Line1 lenses showcase the superior optical performance and capabilities of the Nikon Z mount for photographers and creators. The ultra-wide angle NIKKOR Z 14-24mm f/2.8 S is the world’s shortest2 and lightest2 full-frame f/2.8 zoom lens with a 14mm field of view, enabling a versatile range to capture expansive views including cityscapes, landscapes, astrophotography and more. Meanwhile, the NIKKOR Z 50mm f/1.2 S is the paramount fast-aperture prime lens engineered for optical excellence to help Z series users achieve unrivaled power, exceptional sharpness and show-stopping bokeh.

“This is an exciting time for Nikon lens technology as we lead the way in providing the most incredible optics available today,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The highly anticipated NIKKOR Z 14-24mm f/2.8 and the powerful NIKKOR Z 50mm f/1.2 lenses demonstrate the incredible innovation behind the Z series and the limitless possibilities of what our engineers are capable of achieving.”

NIKKOR Z 14-24mm f/2.8 S: Broaden Your Horizons with the Essential Ultra-Wide Angle Zoom Lens

The much anticipated NIKKOR Z 14-24mm f/2.8 S is the shortest and lightest full-frame zoom lens of its kind, offering unique user benefits and incredible rendering capabilities across the wide zoom range. Joining the previously announced NIKKOR Z 24-70mm f/2.8 S and NIKKOR Z 70-200mm f/2.8 VR S lenses, this lens completes the trinity of coveted fast aperture Z series zooms. The 14-24mm is a versatile lens that proves the optical superiority of the Nikon Z mount, producing excellent edge-to-edge sharpness, minimal distortion and exceptional photo and video capabilities for creators. The new optical design allows for a significantly shorter lens that is nearly 35 percent lighter than its predecessor, the popular AF-S NIKKOR 14-24mm f/2.8, making this lightweight lens ideal for a trek into the field. Meanwhile, its wide-angle zoom range offers video content creators a new option for capturing tack-sharp establishing shots, interiors or POV angles.

The NIKKOR Z 14-24mm f/2.8 S lens is engineered to deliver unrivaled optical excellence and maximum usability. This thoroughly modernized lens design features a nearly flat front lens element, which allows the attachment of a threaded filter to the included additional lens hood (HB-97). This design provides users the ability to attach a Neutral density (ND) filter, as well as the new Neutral Color NC Filter 112mm or Circular Polarizing Filter II 112mm3, while a rear filter holder also accepts a trimmable filter gel. With the option to easily use multiple filter types, users can capture epic landscapes with greater versatility and flexibility in more lighting conditions than ever before. An excellent choice for photographing stunning night-time views, the 14-24mm lens delivers amazing low-light performance with a constant f/2.8 aperture and stellar point light reproduction capabilities that suppress sagittal coma and flare for tack-sharp stars and city lights.

The NIKKOR Z 14-24mm combines a robust design and reliable performance with custom controls, including a customizable one-touch shortcut button, EL Display panel and custom control ring, making controls and settings convenient and accessible. The optical formula includes four ED lens elements, helping to control chromatic aberrations, and capture fine details, including colors and lines, with consistent accuracy – a true benefit to those shooting interiors and architecture. Additionally, flare, ghosting and coma are suppressed, even with harsh backlight, thanks to the lens’ Nano Crystal Coat (N) and anti-reflective ARNEO Coat, while its robust fluorine coating and extensive weather sealing allow Nikon Z series users to shoot confidently in rugged and unpredictable environments. As an added benefit to videographers, the lens also features an electro-magnetic diaphragm, to help maintain smooth exposures as light changes.

NIKKOR Z 50mm f/1.2 S: Immense Details. Exceptional Sharpness.

The new NIKKOR Z 50mm f/1.2 S is Nikon’s fastest and most optically impressive AF prime lens yet, effortlessly balancing the combination of intense sharpness and dreamy bokeh. For pro-level creators that need powerful performance and versatility, the 50mm f/1.2 delivers a standard focal length with unrivaled sharpness, speed, and life-like clarity. With a bright f/1.2 aperture and premium S-Line engineering, the NIKKOR Z 50mm lens is the definitive and versatile prime for a range of photography styles including portraiture, street photography, landscapes, nightscapes and more.

The NIKKOR Z 50mm f/1.2 S lens effortlessly achieves a soft and enchanting bokeh, with a circular background blur that is smooth and gradual when focusing for a natural “fall-off”. The bright f/1.2 aperture affords a dramatically shallow depth of field with beautiful subject isolation for stunning portraiture, while it also offers exceptional low-light performance. Maximizing the capabilities of Z series’ technology, the 50mm f/1.2 lens adopts stepping motors (STM) as well as a multi-focusing system4, enabling multiple lens elements to focus simultaneously for fast and precise autofocusing, even when shooting close-up or wide open. Furthermore, the lens’ ability to maintain stable exposure in changing lighting conditions, combined with its quiet operation and minimal focus breathing, establishes the lens as an appealing tool for video creators.

The NIKKOR Z 50mm f/1.2 S lens tells a story of balance in design and functionality, seamlessly harmonizing intense resolution and velvety bokeh. The symmetrical optical design prevents light from being bent or distorted as it passes through the lens, meaning the purest, sharpest image reaches the camera sensor without any added distortion or aberration for true edge-to-edge sharpness. This innovative lens design also includes three aspherical elements to help virtually eliminate distortion, for superior resolution, point light reproduction and superb three-dimensional clarity. Designed for pro-level reliability, the NIKKOR Z 50mm is a superbly balanced lens constructed with robust weather sealing, a customizable control ring and shortcut button, as well as an EL Display panel to enhance workflow. Meanwhile, the lens is engineered with Nikon’s Nano Crystal and ARNEO Coating to minimize flare, ghosting and coma, allowing Z series users to confidently shoot in a variety of lighting scenarios, including harsh backlighting, to capture any scene with incredible sharpness and clarity.

Pricing and Availability

The NIKKOR Z 14-24mm f/2.8 S lens will be available in November 2020 for a suggested retail price (SRP) of $2,399.95*, while the NIKKOR Z 50mm f/1.2 S lens will be available in December 2020 for a suggested retail price (SRP) of $2,099.95*. For more information on the latest Nikon products, including the new NIKKOR Z 14-24mm f/2.8 S and NIKKOR Z 50mm f/1.2 S lenses and the full Nikon Z series, please visit www.nikonusa.com.

Specifications, equipment, and release dates are subject to change without any notice or obligation on the part of the manufacturer.

 *SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.

  1. The S-Line is a grade of NIKKOR Z lenses that demonstrate outstanding optical performance, adhering to a high standard of design principles and quality control.
  2. Among interchangeable zoom lenses for full-frame (Nikon FX-format) digital cameras with interchangeable lenses with a focal range beginning at 14 mm or lower, and a constant maximum aperture of f/2.8 throughout the zoom range, available as of September 16, 2020. Statement based on Nikon research.
  3. The Neutral Color NC Filter 112mm and Circular Polarizing Filter II 112mm are scheduled to be released soon
  4. Multiple AF drive units work together to control the position of multiple focus lens groups with great precision for superior imaging performance regardless of shooting distance.

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Wednesday, September 16, 2020

Photo By mrfaucher

Photo By mrfaucher

Today’s Photo Of The Day is “Shoe Lake” by mrfaucher. Location: Goat Rocks Wilderness, Washington.

“It’s a 7-mile hike to Shoe Lake, but it’s not overly difficult,” explains mrfaucher. “Follow the well-graded Pacific Crest Trail (PCT) through cool forest and along an open craggy ridge to this pretty little lake tucked in an open alpine meadow. The wildflowers are sublime. The views are breathtaking—especially of Mt. Rainier hovering over the Hogback Ridge. And mountain goats are abundant here in this sprawling wilderness named for them.”

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

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Congratulations to Max Foster for winning the recent Summer Sunrises And Sunsets Assignment with the image, “Teton Treasures.” See more of Foster’s work at maxfosterphotography.com.

[See image gallery at www.outdoorphotographer.com]

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Tuesday, September 15, 2020

Image of the front of the Sony a7C

The Sony a7C is the company’s most compact full-frame interchangeable lens camera yet, similar in form factor to its a6000-series APS-sensor models.

Sony today introduced a new Alpha full-frame model, the a7C. The design more closely resembles Sony’s a6000-series APS-sensor cameras, and Sony is positioning it as the “World’s smallest and lightest full-frame body,” with the disclaimer “Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism. Technically, the Sigma fp is smaller and lighter, but it doesn’t have in-body image stabilization, nor does it have a built-in eye-level finder, which the Sony a7C does, and which we think is arguably a more important distinction between the two. But regardless of the marketing angle, the Sony a7C is a very compact full-frame camera making it an excellent choice for photographers who want to minimize the gear they carry in the field.

Image of the back of the Sony a7C

The Sony a7C features a 3-inch touchscreen LCD that can flip and swivel.

Though smaller than its Sony Alpha full-frame siblings, the a7C doesn’t compromise on performance. It shares many characteristics similar to the a7 III, including 24-megapixel resolution, dynamic range of approximately 15 stops and the ability to shoot continuously at speeds up to 10 fps. The AF system includes Sony’s Real-time Tracking and Face/Eye detection technology found in recent Alpha models.

Along with the camera, Sony introduced a new compact, retractable FE 28-60mm F4-5.6 zoom lens that’s a perfect match for the camera with a diameter of 2.6 inches and a length of 1.8 inches when retracted. The lens’ zoom range is a versatile one for landscape and travel photography and we expect photographers picking up the a7C will choose to get the camera in a kit with this lens.

Top view of the Sony a7C

The top view of the Sony a7C with the new FE 28-60mm F4-5.6 gives you a good idea of how compact the lens and camera combo is with the lens retracted.

The Sony a7C will be offered in both black and silver (pictured) color options. It is expected in late October with a list price of $1,799 for the body only, or in a kit with the FE 28-60mm F4-5.6 for $2,099. The lens will also be available separately in “early 2021” with an estimated price of $499.

For more details on the a7C, lens and a compact new flash designed to pair nicely with the camera, see the press release below.

###

Sony Electronics Introduces Alpha 7C Camera and Zoom Lens, the World’s Smallest and Lightest[i] Full-frame Camera System  

New HVL-F28RM Compact Flash is also Announced

SAN DIEGO, CA – September 14, 2020 – Today, Sony Electronics Inc. announced several additions to an already impressive imaging lineup — the Alpha 7C full-frame camera (model ILCE-7C), the FE 28-60mm F4-5.6 (model SEL2860) zoom lens and HVL-F28RM flash.

The Alpha 7C is the world’s smallest and lightest[ii]  full-frame body with uncompromising performance, featuring advanced AF (autofocus), high-resolution 4K video[iii] capabilities and more. When paired with the world’s smallest and lightest[iv] FE 28-60mm F4-5.6 standard zoom lens, this versatile combination delivers an experience unlike any other, maximizing portability and versatility without sacrificing any of the power of full-frame imaging. The HVL-F28RM flash allows users to broaden their photo expressions with outstanding compactness, and an intelligent light intensity control linked to camera face detection[v].

“We are committed to creating the best tools possible, based on the needs of our customers,” said Neal Manowitz, deputy president of Imaging Products and Solutions Americas, Sony Electronics. “The new Alpha 7C camera and FE 28-60mm F4-5.6 zoom lens pack many of our most advanced imaging technologies in a brand new design that is the smallest and lightest full-frame camera and lens system in the world. This opens up a new world of possibilities for creators, giving them the uncompromised power of a full-frame system in the palm of their hand.”

New Alpha 7C: Uncompromised Full-frame Performance in a Compact Design

The new Alpha 7C combines Sony’s full-frame image quality, advanced AF capabilities and versatile video shooting functions in a stunningly light and compact design. The new camera features a 24.2MP (approx. effective) 35mm full-frame back-illuminated Exmor R™ CMOS sensor and BIONZ X™ image processing engine, offering high sensitivity, outstanding resolution, 15-stop[vi]  wide dynamic range and high-speed image data processing. 

Measuring only 4.9 inches x 2.8 inches x 2.2 inches (124.0mm x 71.1mm x 59.7mm) and weighing just 18oz (509g)[vii], the Alpha 7C is similar in size and weight to an APS-C camera[viii], with only 1 percent more weight than the Alpha 6600. The Alpha 7C achieves the world’s smallest and lightest compact bodyii through upgraded 5-axis in-body stabilization and shutter units, and the utilization of magnesium alloy monocoque construction, often used in the bodies of cars and aircraft. Even in this compact body, the Alpha 7C features a 5-step[ix] stabilization effect that allows for shooting snaps without a tripod. Moreover, despite the compact body, the high-capacity NP-FZ100 battery provides enough power for long shooting durations and to capture up to an industry-leading[x] 740 images[xi]when using the LCD monitor, or 680 imagesxi when using the viewfinder.

Outstanding Full-frame Image Quality

Sony’s new Alpha 7C combines high resolution with low noise for excellent image quality at all sensitivities, offering the user stunning image quality for shooting everyday photography and movies such as nature, portraits, sports, street photography and more. Standard ISO extends up to 51,200 and is expandable from ISO 50-204,800[xii] for low-light environment captures with low noise. The Alpha 7C also supports 16-bit processing and 14-bit RAW output[xiii] for natural gradations.

Advanced Autofocus

Using AI-driven functions, the Alpha 7C’s Real-time Tracking[xiv] maintains accurate focus automatically while the shutter button is half-pressed. In addition, “Tracking On + AF-On” is now assignable to a custom key and can be activated at once while the AF-ON button is pressed. Moreover, the intended subject can be specified just by touching it on the monitor when “Touch Tracking” has been turned ON via the menu and is available for both stills and movies. The Alpha 7C’s AF functions also feature Real-time Eye AF for both humans and animals[xv] to achieve fast and accurate focus[xvi]. When using Real-time Tracking while “Face/Eye Priority in AF” is ON with a human subject, the subject’s eye and face is detected and locked on in real-time with extremely high tracking precision.

The Alpha 7C provides wide, fast, reliable AF that locks onto the intended subject instantly without losing focus, thanks to its 693-point focal-plane phase-detection AF system covering approximately 93 percent of the image area, with an additional 425 contrast-detection points to ensure reliable focus, even in busy environments.

The Alpha 7C also features continuous shooting at up to 10 fps[xvii] with AF/AE (autoexposure) by using a newly developed shutter unit and refined image processing system. It is also possible to shoot continuously at up to 8 fpsxvii in live view mode, with minimal viewfinder/monitor display lag for easy, stable framing, even with intense subject motion. The Alpha 7C allows up to approximately 223 JPEG (Fine L) images, 115 compressed RAW images, or 45 uncompressed RAW images to be captured in one continuous burst[xviii], and achieves highly accurate and reliable AF precision in light down to EV-4[xix]. These features make it easier to capture fast moving subjects in challenging environments.

Expanded Video Capabilities

Full-frame full-pixel readout without the need for pixel binning makes it possible to capture more than twice[xx] the amount of data required for 4K video (QFHD: 3840 x 2160)iii, which is then oversampled to produce high quality 4K footage with exceptional detail and depth. In addition, the Alpha 7C supports HDR (HLG[xxi]) and S-Log/S-Gamut profiles, Slow & Quick motion, high-speed full HD recording at 120 fpsiii and other advanced video features for additional creative freedom.

Furthermore, the Alpha 7C features Real-time Eye AF (human) for video shooting. The eye is automatically tracked with high precision and reliability so that the operator can concentrate on the content rather than focus operation. Users can also customize AF Transition Speed in seven settings, and AF Subject Shift Sensitivity in five settings, in their preferences. Touch Tracking functionality is also available for movie shooting.

The Alpha 7C features a side-opening vari-angle LCD monitor, making it easy to record selfies, overhead shots, low ground-level shots or whatever the user requires. The MOVIE button has been positioned on the top of the camera making it easier to operate while recording in selfie mode. The new Alpha 7C not only records high-quality video, but also high-quality audio. A digital audio interface has been added to the camera’s Multi Interface (MI) Shoe, allowing the ECM-B1M Shotgun Microphone or XLR-K3M XLR Adaptor Kit can be connected to input digital audio signals directly to the MI shoe for cleaner, clearer audio recordings. Like other MI shoe accessories, no cables or batteries are required, providing unrestrained freedom for Alpha system moviemaking. Headphone and microphone jacks are also provided to accurately monitor recorded sound, and metadata attached to movie footage shot vertically on the camera allows the footage after transfer to the smartphone or similar device, to also be replayed and edited in the vertical position.

Designed for Reliable Operation

The Alpha 7C is designed with the user in mind. The touch panel LCD monitor is a large touch-sensitive 3.0 type with approximately 921 thousand dots, providing optimal visibility even in bright outdoor conditions, and supporting touch focus, tracking and shutter operations.  The Alpha 7C also features a high-quality view mode for finer, more natural detail in addition to a 2.35 megadot (approx.) XGA OLED Tru-Finder™ EVF. The Alpha 7C offers functions that simplify operation during and after shooting, such as Fn button customizations and more. It is also dust and moisture resistant[xxii] to support shooting needs in challenging environments.

To simplify workflow needs, Wi-Fi compatible wireless-communication functions allows images and movies to be directly transferred[xxiii] to a smartphone or tablet for convenient sharing, viewing or saving. In addition to the conventional 2.4GHz band, support for the 11ac standard allows transfer via 5GHz band (IEEE 802.11a/b/g/n/ac)[xxiv]  so that users can select that stable and high-speed transfer with low interference. A USB Type-C® connector that supports SuperSpeed USB 5Gbps (USB 3.2) is also provided, allowing fast transfer of images during PC remote shooting and power supply from external mobile batteries.

New FE 28-60mm F4-5.6: The World’s Smallest and Lightest[iv] Full-frame Zoom Lens with High Image Quality

The new FE 28-60mm F4-5.6 offers the world’s smallest and lightest[iv] form factor in a standard zoom lens, delivering high optical performance that achieves the high-resolution depiction of full-frame everywhere in the image. Optimal arrangement of the three aspherical lens elements effectively suppresses aberrations throughout the zoom range and realizes high resolution from corner to corner. A minimum focus distance of 0.99 foot (0.3m) (wide-angle) to 1.48 feet (0.45m) (telephoto) delivers close-up capability, making it perfect for everyday use or vlogging with a gimbal or grip.

At 5.9oz (167g) and 2.6 inches dia. x 1.8 inches length (66.6 mm dia. x 45 mm length), along with its mechanical and optimal optical design that features a retracting structure, the FE 28-60mm F4-5.6 achieves unrivaled compactness and lightness, allowing users to easily carry it all the time. From everyday shooting to scenery, portraits and travel, it’s the ideal lens for any type of on-the-go shooting in a wide variety of environments. When combined with the Alpha 7C, the combination achieves uncompromising full-frame performance with the world’s smallest and lightest full-frame camera and lens system[i]. Even with its compact size and light weight, the FE 28-60mm F4-5.6 is dust and moisture resistant[xxii] and accepts a variety of 40.5mm filters.

The FE 28-60mm F4-5.6 delivers high-speed, high-accuracy AF allowing for Real-time Tracking and Real-time Eye AF, using a linear motor. In addition to Sony’s advanced AF capabilities, the FE 28-60mm F4-5.6 features an internal focus design which leaves the lens length unchanged with focus motion and close-up shots, enabling users to easily capture a wide variety of content from regular movie shooting to comfortable vlogging.

New HVL-F28RM: Compact Flash with Light Intensity Control Linked to Camera Face Detection[v]

The HVL-F28RM is a compact flash designed to match Sony’s mirrorless cameras for a compact, manageable system, and offers the type of reliable, stable performance that only a genuine Sony product can provide. When compared to the HVL-F32M, the HVL-F28RM features a 12 percent reduction in volume and 7 percent reduction in weight. This compact, easy-to-use flash unit delivers the capabilities and dependability to meet the needs of both professional and advanced amateur content creators.

The HVL-F28RM offers consistent GN28[xxv] light output, optimized light distribution and continuous flash performance that won’t interrupt the user’s workflow, as well as stable radio wireless communication and multi flash radio control. The new flash also features Sony’s newly introduced flash control linked to camera face detection[v] advanced technology. When used with a compatible camera, the balance between the light falling on the subject’s face and ambient light is evaluated to automatically adjust accurate white balance so that the subject’s face is rendered with natural, lifelike color. In addition, flash compensation, light ratio, and other detailed flash parameters can be controlled directly from a compatible camera[xxvi]. A camera custom key can be assigned to call up the flash parameter display so that adjustments can be made while looking through the viewfinder and gripping the camera. Flash parameters are shown in the selected camera display language.

A newly developed “Metal Shoe Foot with Rugged Side Frame”[xxvii] that also houses the unit’s electrical contacts offers improved resistance to physical shock and impact from all directions. The Multi Interface foot is fabricated from metal for higher strength. The HVL-F28RM also features a dust and moisture resistant[xxii] design. When the HVL-F28RM is mounted and locked onto the Alpha 7C, Alpha 7S III, Alpha 7R IV and Alpha 9 II, durability to dust and moisture is improved, even when used in challenging outdoor environments.   

The HVL-F28RM also features simple, intuitive operation with minimal controls including +/- light level buttons, pairing button, test button and lock lever. Plenty of light is available for bounce applications. The flash angle can also be set as required via 0, 20, 40, 60, 80, and 120 degree click stops for easy positioning. The new flash also features a built-in wireless radio trigger for reliable flash triggering when mounted on a compatible camera[xxvi] and paired with an off-camera unit. When used as a transmitter, the HVL-F28RM can control up to 15 flash and/or receiver units in 5 groups[xxviii] at distances of up to 114 feet (35 meters)[xxix] for extraordinary lighting control and versatility.  The HVL-F28RM is powered by two AA (LR6) alkaline or NiMH batteries. A fresh pair of alkaline batteries can provide power for up to 110 continuous flashes (1/1 manual flash with alkaline batteries)xxix.

Pricing and Availability

The new Alpha 7C compact full-frame camera will be available in late October and will be sold for approximately $1,799.99 USD and $2,399.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The FE 28-60mm F4-5.6 zoom lens will be available in early 2021 and will be sold for approximately $499.99 USD and $649.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

A new kit featuring the Alpha 7C compact full-frame camera and FE 28-60mm F4-5.6 zoom lens will also be available in late October and will be sold for approximately $2,099.99 USD and $2,699.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

The HVL-F28RM flash will be available this winter and will be sold for approximately $249.99 USD and $329.99 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.

Notes:

[i] An Alpha 7C with an FE 28-60mm F4-5.6 lens mounted. Among full-frame interchangeable-lens digital cameras, in combination with an interchangeable zoom lens. As of Sept. 2020. Sony survey.

[ii] Among full-frame interchangeable-lens digital cameras with optical in-body image stabilization mechanism, as of Sept. 2020. Sony survey.

[iii] A Class 10 or higher SDHC/SDXC card is required for XAVC S format movie recording. UHS speed class 3 or higher is required for 100 Mbps recording.

[iv] Among interchangeable zoom lenses for 35mm full-frame format digital camera bodies, as of Sept. 2020. Sony survey.

[v] This function is only compatible with Alpha 7C as of Sept. 2020

[vi] When shooting still images. Sony test conditions.

[vii] With battery and memory card included

[viii] Compared to the size of Alpha 6600, 120.0mm x 66.9mm x 59.0mm and a weight of 503g (With battery and memory card included).   

[ix] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.

[x] Among full-frame mirrorless interchangeable-lens digital cameras with autofocus function, as of Sept. 2020. Sony survey.

[xi] CIPA standards.

[xii] ISO expandable to 50 – 204,800 for stills, 100 – 102,400 for movies.

[xiii] Limited to 12-bit when compressed RAW is used for continuous shooting, BULB shooting, or when long-exposure noise reduction is [ON].

[xiv] “Tracking” in the menu.

[xv] Available on still images only.

[xvi] Accurate focus may not be achieved with certain subjects in certain situations.

[xvii] Up to 10 fps in continuous “Hi+” mode, and up to 8 fps in continuous “Hi” mode. UHS-II compatible SDXC memory card required. Sony test conditions. Maximum fps will depend on camera settings.

[xviii] Continuous “Hi+” mode. UHS-II compatible SDXC memory card required. Sony test conditions.

[xix] ISO 100 equivalent, F2.0 lens.

[xx] 24p recording. Approx. 1.6x at 30p.

[xxi] HDR (HLG) images can be viewed by connecting the camera directly to a Sony TV that supports HDR (HLG) playback.

[xxii] Not guaranteed to be 100% dust and water resistant.

[xxiii] Smartphone or tablet must have Imaging Edge Mobile installed. Please use version 7.2 or later.

[xxiv] Models sold in some countries/regions support IEEE 802.11b/g/n (2.4 GHz) wireless LAN only.  5GHz communication may be restricted in some countries and regions.

[xxv] 50 mm, at ISO 100 in meters

[xxvi] Visit Sony support webpage for functional compatibility information.

[xxvii] Design registration application pending.

[xxviii] In group flash mode. 3 groups (A-C) in TTL or manual flash mode.

[xxix] Sony internal test conditions.

###

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