Today’s Photo Of The Day is “Spray Lake Sunset” by Denis Dessoliers. Location: Alberta.
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Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
“The cold morning air in Bojanala can make you hunt those warm rays of South African sunshine just to break the chill,” explains Dutch Dyer. “Several hours into a guided photo safari in the Pilanesberg Game Reserve, we had been on the hunt for some of that sunshine along with what locals call the ‘Big 5’—buffalo, elephant, leopard, lion and rhino. My ear-to-ear smile was some indication of how the day was going. I had also captured shots of hyenas, wild dogs and hippos, but I had yet to add a giraffe to that list.
“We stopped for lunch close to a water source. In the arid African grassland, water is the universal lure, and I didn’t have to wait long. I could see two giraffes approaching in the distance, and I moved into position. The young giraffe in this shot drank its fill while the other one kept watch for predators. Raising its head, the giraffe looked my way and used its long tongue to catch the last drops of water. I laughed out loud.”
Today’s Photo Of The Day is “Late Morning in Huangshan” by Siu Lau. Location: Southern Anhui Province, China.
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Today’s Photo Of The Day is “Mottled Wood Owls” by Krish Chandran. Location: Pune, India.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Congratulations to Saradwata Sarkar for winning the Fall Sunsets Assignment with the image, “The Belt of Venus on the Grand Canyon.” See more of Sarkar’s photography at www.fromdelhitocali.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!
The Fujifilm GFX100S is built around a 102-megapixel medium format sensor.
Fujifilm today introduced the GFX100S mirrorless medium format camera that offers similar performance to the GFX100 which debuted in 2019, but with a smaller form factor and a considerably lower price.
Like the GFX100, the Fujifilm GFX100S features a 102-megapixel back-illuminated CMOS sensor with in-body image stabilization, but improves upon the earlier model with an additional stop of stabilization: 6 stops in the GFX100S versus 5 (or 5.5 with the GF63mmF2.8 R WR lens) in the GFX100.
The top panel of the Fujifilm GFX100S includes a generously-sized, 1.8-inch monochrome information display.
Medium format digital cameras universally lag behind smaller sensor cameras in terms of continuous shooting speeds, so they’re not ideal for fast moving subjects like wildlife or sports. The Fujifilm GFX100S can shoot up to 5 fps for up to 42 JPEGs or 16 compressed RAW in a single burst—slow by comparison to full frame cameras, but still impressive when you consider the massive files that medium format sensors produce.
Speed aside, the big news is the camera’s smaller size and price compared to the GFX100. The new model is slightly thinner and considerably shorter, shaving off nearly an inch of height at 5.9×4.1×3.4 inches (WxHxD). It’s also a pound lighter at just under 2 pounds. Those specs translate to a body that’s almost as compact and lightweight as a typical full-frame mirrorless camera.
The LCD on the back panel is a 3.2-inch tilting touchscreen.
As for price, the Fujifilm GFX100S has a list price of $5,999. In comparison, the GFX100 launched at $9,999 just two years ago. For landscape photographers who want maximum resolution and medium format image quality, this price positions the GFX100S much more closely to premium full frame mirrorless models.
Availability is expected in March. For more details, see the press release below.
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More than Full Frame: Fujifilm Announces New FUJIFILM GFX100S Mirrorless Digital Camera
The Best of Fujifilm’s Image Making Technology In A Portable, Large Format,*1 Mirrorless Camera Body
Valhalla, N.Y., January 27, 2021 – FUJIFILM North America Corporation is pleased to announce the release of FUJIFILM GFX100S digital camera (GFX100S), the fourth large format mirrorless camera in Fujifilm’s GFX System.
“Fujifilm has taken the groundbreaking ideas that lead to the development of FUJIFILM GFX100 and now combined them with an approach rooted in portability, to create GFX100S — a camera that provides photographers and filmmakers with an unbelievable opportunity to take large format image-making to places it has never been before,” said Victor Ha, senior director of marketing and product development for FUJIFILM North America Corporation, Electronic Imaging Division.
Refusing to sacrifice performance for portability, Fujifilm has developed one of the most compact, high-performance, large format cameras in the world. GFX100S is more advanced than any GFX System camera to date and combines the best of Fujifilm’s imaging technology into a camera that weighs just 1.9lb (900g). Similar in size to most full-frame cameras, but beautifully engineered and designed with a 102MP sensor – 1.7 times larger*1 than a full-frame sensor – GFX100S also offers up to 6-stops*2 of five-axis in-body image stabilization (IBIS), incredibly fast and accurate autofocus, and world- renowned color reproduction to help image makers push the limits of their creativity.
Main features
102MP Images – Made with the Speed of a Compact Mirrorless Camera
Powered by Fujifilm’s high-performance quad-core X-Processor 4 CPU, GFX100S utilizes its 102MP, back-illuminated large format CMOS sensor to deliver images with stunning quality. Compared to smaller, lower-resolution sensors commonly found in traditional full-frame DSLR and mirrorless cameras, GFX100S’s imaging sensor is approximately 1.7 times larger and is enhanced to be incredibly sensitive to light. This provides it with a significant advantage over smaller sensors when it comes to producing images with incredibly shallow depth of field, fantastic dynamic range, faithful color reproduction, and outstanding, high-ISO
With a choice of 19 exclusive FUJIFILM Film Simulation modes, it is easy to achieve fantastic color straight out of camera. GFX100S includes a new Film Simulation mode to explore — Nostalgic Neg. Reminiscent of American New Color Photography, which emerged in the 1970s, Nostalgic Neg continues this movement by enabling image makers to explore the boundaries of photographic creativity through the deliberate use of color. “This Film Simulation mode adds an amber tone to highlights for a uniquely soft look and boosts saturation to shadows, while still preserving details, to deliver images that feel both familiar and unfamiliar all at the same time,” said
High-Performance Mirrorless AF Made for Large Format, Even in Low Light
On-sensor phase detection pixels cover almost 100% of GFX100S’s imaging sensor, unlocking a level of autofocus performance never before seen in large format digital photography. GFX100S can acquire focus in as little as 0.16 seconds, even in luminance levels as low as -5.5EV*3 making it versatile, accurate, and incredibly fast. Powered by X-Processor 4, the camera is also easily able to efficiently make use of an updated focus tracking algorithm to keep subjects in focus when using the Tracking AF and Face/Eye AF functions.
Compact, 5-axis In-Body Stabilization (IBIS) delivering up to 6-stops of Vibration Reduction
GFX100S features a newly designed IBIS system, which dramatically expands the capability of photographers to confidently create handheld
Compared to the unit found in FUJIFILM GFX100, the IBIS mechanism inside of GFX100S is 20% smaller and 10% lighter. However, despite this reduction in size, the five-axis system provides 6-stops of CIPA-rated image stabilization, a 0.5-stop improvement over GFX100.
High-performance; Designed for Portability and the Elements
Measuring 5.9 in wide, 4.09 in. tall, and 3.4 in. deep (15cm x 10.4cm x 8.7cm), GFX100S’ compact body is comparable in size to many full-frame
However, despite its compact size, it is still able to pack in a high-performance IBIS and a 102MP imaging sensor that is almost twice the physical size of a typical full-frame sensor. GFX100S features a redesigned shutter unit and a brand new IBIS unit, while taking advantage of a uniquely small, but very efficient lithium-ion battery. This results in a camera body that is approximately 2.3in (6cm) shorter and 1.1lb (500g) lighter than GFX100, but is able to maintain the same level of still image and video performance. To that end, the reduction in GFX100S’s physical size is well balanced by a highly robust grip, with a comfortable in-hand feel that makes it exceptionally easy to hold for extended periods of time.
GFX100S is made to operate in temperatures as low as 14°F (-10°C) and to also be dust- and moisture-resistant. It is constructed with a magnesium alloy casing that is purposely 1mm denser around the lens mount as compared to GFX100, which provides added support for larger G Mount
Intuitive Controls for a Familiar Experience
GFX100S features controls that will be familiar to GFX System
For example, a PASM dial, with six programmable custom options, provides quick and direct access to frequently used settings, while a switch, conveniently located next to the mode dial, lets users quickly change between still and movie mode. An ergonomic update to the Focus Lever also makes choosing a focus point both easy and fluid.
The camera features a 3.2in. LCD monitor on the rear and a 1.8 in. sub LCD monitor on its top plate, which can be customized to show key EXIF settings – like shutter speed, aperture, ISO sensitivity and exposure compensation – and set to display the status of key functions or available capacity on storage media. The 3.2 in., touch-capable LCD display is a 2.36-million-dot monitor with 100% coverage that can be tilted in three directions (90° up, 45° down, and 60° right).
A Large Format system delivering smooth, 4K/30P video
With its large format imaging sensor, GFX100S is capable of recording incredibly cinematic 4K/30p movies that feature incredible shallow depth-of-field, impressive high-ISO performance, wide tonal gradation, and an overall image quality that is unmatched. Footage can be recorded at bit rates of up to 400Mbps in 10-bit 4:2:0 F-log internally saved to an SD card, or output to an external recording device via the camera’s HDMI port in either10-bit 4:2:2 F-Log or 12-bit
In addition to being able to record 4K footage in a 16:9 aspect ratio, GFX100S also supports a 17:9 aspect ratio, frequently used in digital cinema. The most commonly used compression codecs, like H.264 and H.265 are also available. Additionally, professional standards, like REC.2100 supported Hybrid Log Gamma (HLG), or F-Log can be selected for complete creative control. Compared to using commonly available compression codecs, like H.264, recording footage in F-Log or HLG gives filmmakers much more flexibility in post-production as footage is brought through the editing and color grading process and adjustments are made to luminance, color saturation, or any other image attribute.
When using an Atomos Ninja V Monitor Recorder, GFX100S is also capable of outputting 4K/30P footage through its HDMI port that can also be saved as a 12-bit Apple ProRes RAW file. This allows for maximum flexibility in post- production when it comes to the color-grading process. Simultaneous output of RAW footage and footage in F-Log or Hybrid Log Gamma (HLG) with a Film Simulation mode applied is also
Pricing and Availability
GFX100S is currently expected to be available in March 2021 at a manufacturer’s suggested retail price of $5,999.95 USD and $7,800 CDN. An optional metal hand grip accessory for the GFX100S will also be available in March 2021 at a manufacturer’s suggested retail price of $149 USD and $195 CDN.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Today’s Photo Of The Day is “Splitting the Sierra” by Ross Stone. Location: Alabama Hills, California.
“Boot Arch splits Lone Pine peak and Mt Whitney,” describes Stone.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
The Sony Alpha 1 features a new 50.1-megapixel full-frame stacked image sensor.
Sony today introduced the Alpha 1, the new flagship camera of its full-frame mirrorless system. The Alpha 1 includes several benchmark-setting improvements over the company’s previous flagship, the a9 II, that make it an incredibly powerful camera for both landscape and wildlife photography.
The Alpha 1 features a new 50.1-megapixel full-frame stacked image sensor that Sony states is capable of 15 stops dynamic range for stills and even greater range (“15+”) for video. That makes it the highest resolution full-frame mirrorless camera to date.
Top view of the Sony Alpha 1.
It can capture stills at up to 30 fps, totally blackout-free, meaning there’s no interruption to the viewfinder image while shooting. The viewfinder is noteworthy, too, with fastest refresh rate of any EVF at 240 fps. The camera offers both a mechanical and electronic shutter, and the 30 fps continuous capture rate is available with both. The Alpha 1 can sustain that capture rate for up to 155 compressed RAW files or 165 JPEGs at the full resolution of the camera.
The Alpha 1 also introduces significant advances in autofocus performance. The system employs 759 phase detection AF points that cover approximately 92 percent of the image area and is capable of 120 AF/AE calculations per second to maintain continuous focus and exposure tracking at the camera’s fastest capture rates, ideal for following fast-moving wildlife. The Real-time Eye AF technology in the Alpha 1 is 30 percent faster than before. The camera also adds Real-time Eye AF for birds, a new capability that promises to be a big advantage for photographing birds in flight. Sony states that the system will be able to maintain eye focus when a stationary bird suddenly takes flight.
The Alpha 1 includes a tiltable LCD display.
For landscape photography, the Alpha 1’s 50-megapixel resolution is already impressive, but for even greater resolution, the camera’s Pixel Shift Multi Shooting mode can capture 16 full-resolution images that can be later composited into a 199-megapixel image using Sony’s Imaging Edge software.
The Alpha 1 also includes big improvements for video capture. It’s capable of 8K video resolution at 30 fps with 10-bit color and 4K recording at up to 120 fps which allows for 5x slow-motion video capture.
Availability of the Sony Alpha 1 is expected in March, with a list price of $6,500.
Groundbreaking Sony Alpha 1 Camera Marks a New Era in Professional Imaging
The Alpha 1 Delivers an Unprecedented Combination of Resolution, Speed and Video Performance, EmpoweringProfessionals with a New High-Resolution 50.1-megapixel Full-frame Image Sensor, High-speed Shooting at up to 30 Frames per Second, 8K 30p Video and More
New 50.1-megapixel (approx., effective) full-frame stacked Exmor RS CMOS image sensorin combination with an upgraded BIONZ XR imaging processing engine with eight times more processing power[i]
Blackout- free continuous shooting at up to 30 frames per second[ii]
Fast sensor readout enables up to 120 AF/AE calculations per second[iii], double the speed of the Alpha 9 II, even during 30fps continuous shooting
Bright and large64-type 9.44 million-dot(approx.) OLED Quad-XGAelectronic viewfinderwith the world’s first[iv] refresh rate of 240 fps
Silent, vibration-free electronic shutter
World’s first[v] anti-flicker shooting with both mechanical and electronic shutter
Electronic shutter flash sync[vi] up to 1/200 sec. for the first time in the Alpha series
World’s fastestvmechanical shutter flash sync up to 1/400 sec.
8K 30p[vii] 10-bit 4:2:0 XAVC HS video recording with 8.6K oversampling for extraordinary detail and resolution, in addition to 4K 120p[viii] 10-bit 4:2:2 movie shooting capabilities
Wide dynamic range of15 stops for stills[ix] and 15+ stops for video[x]
Improved Real-time Eye AF (autofocus) for humans and animals, and new Real-time Eye AF for birds[xi], as well as Real-time Tracking that automatically maintains accurate focus
5-axis optical in-body image stabilization for a 5.5-step[xii] shutter speed advantage
S-Cinetone color matrix as seen in FX9 and FX6to deliver expressive cinematic look
Professional workflow support with the industry’s fastest[xiii] built-in Wi-Fi, SuperSpeed USB 10Gbps, 1000BASE-T Ethernet and more
SAN DIEGO, CA – January 26, 2021 – Sony Electronics, a global leader in imaging sensor technology and digital imaging, has announced the arrival of the groundbreaking new full-frame mirrorless Alpha 1 camera – asserting their commitment to leading the industry with a stunning combination of innovative new features.
The most technologically advanced, innovative camera that Sony has ever released, the Alpha 1 combines high-resolution and high-speed performance at a level that has never been accomplished in the world of digital cameras. With a brand new 50.1-megapixel full-frame stacked Exmor RS image sensor, up to 120 AF/AE calculations per second, 8K 30p 10-bit 4:2:0 video and much more, the Alpha 1 will allow creators to capture what they’ve never been able to before.
“We are always listening to our customers, challenging the industry to bring new innovation to the market that goes far beyond their expectations.” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “Alpha 1 breaks through all existing boundaries, setting a new bar for what creators can accomplish with a single camera. What excites us the most – more than the extensive product feature – is Alpha 1’s ability to capture that which has never been captured before. This camera unlocks a new world of creative possibilities, making the previously impossible now possible.”
The newly developed image sensor is built with integral memory and paired with an upgraded BIONZ XR imaging processing engine, making it capable of shooting 50.1-megapixel images continuously at an astounding 30fps with up to 120 AF/AE calculations per second. The Alpha 1’s shooting capabilities are further enhanced by a 9.44 million dot OLED Quad-XGA electronic viewfinder, with a refresh rate of up to 240 fps[xiv], ensuring no black out. Additionally, for the first time in an Alpha series camera, 8K 30p 10-bit 4:2:0 video is available. The Alpha 1 is also capable of 4K 120p / 60p 10-bit 4:2:2 recording and includes S-Cinetone color. The Alpha 1 is also packed with features that support field professionals with faster workflow, including 3.5 times faster wireless FTP transfer speed[xv] and more.
Unprecedented Resolution and Speed
Continuous Shooting at Up to 30 Frames Per Second
The Alpha 1 captures moments that would otherwise be lost thanks to its high-speed performance, providing any photographer the speed they require to capture fast-moving objects. High speed readout from the 50.1-megapixel image sensor and a large buffer memory make it possible to shoot up to 155 full-frame compressed RAW images[xvi] or 165 full-frame JPEG images[xvii] at up to 30 frames per second with the electronic shutter while maintaining full AF and AE tracking performance[xviii].
At an astonishing calculation speed of up to 120 AF/AE per second, the Alpha 1 can maintain focus with high accuracy even for fast moving subjects. It can automatically adjust exposure, even with sudden changes in brightness, with an AE response latency as low as 0.033 secondsii.
Advanced Electronic Viewfinder with the World’s FirstivRefresh Rate of 240 fps
Complimenting the camera’s ability to capture images at an unprecedented speed, the Alpha 1 viewfinder features the world’s firstiv 240 fps refresh ratexiv, for a super-smooth display. The viewfinder does not black out when an exposure is made to offer an uninterrupted view and allow for seamless framing and tracking, even during continuous shooting. The 9.44 million-dot (approx.), 0.64 type Quad-XGA high-definition OLED display and refined optics deliver the highest resolution in its classiv. It also offers 0.90x[xix] viewfinder magnification, a 41° diagonal FOV, and a 25mm-high eyepoint for clear, low distortion viewing from corner to corner.
Advanced Autofocus
Sony continues to push the boundaries of autofocus technology with the introduction of the Alpha 1, which can easily track complex, fast-moving subjects with high precision. The camera features 759 phase detection points in a high-density focal plane phase-detection AF system cover approximately 92% of the image area – ensuring accuracy and unfailing focus in environments where focusing might otherwise be difficult.
Sony’s advanced Real-time Eye AF improves detection performance by 30% over the previous systemi, thanks to the powerful image processing engine, BIONZ XR. It ensures accurate, reliable detection, even when the subject’s face looks away. In addition to improved Real-time Eye AF for humans and animals, the Alpha 1 employs high-level subject recognition technology to provide Real-time Eye AF for birdsxi, a first in an Alpha series camera. Optimized algorithms ensure that tracking is maintained even if a sitting bird suddenly takes flight, or the framing suddenly changes[xx].
The Alpha 1 also features AI-based Real-time Tracking that automatically maintains accurate focus. A subject recognition algorithm uses color, pattern (brightness), and subject distance (depth) data to process spatial information in real time at high speed.
Silent, Vibration-free Electronic Shutter
High-speed readout from the new image sensor has made it possible to reduce rolling shutter by up to 1.5 times when shooting stills, compared to the Alpha 9 II. It also offers silent anti-flicker continuous shooting with an electronic shutter for the first timev in the world. The electronic shutter[xxi] operates silently, without mechanical noise, and is vibration-free. Stress-free continuous shooting is now possible even when shooting in challenging lighting situations with florescent or other flicker-prone types of artificial lighting. And for the first time in an Alpha camera, electronic shutter flash sync up to 1/200 sec[xxii] is possible. The advantages of the electronic shutter advantages can now come to life even when using flash for broadly expanded shooting versatility.
Dual Driven Shutter System for 1/400 Flash Sync
The Alpha 1 boasts the world’s fastest flash sync speedv of 1/400 sec. with mechanical shutter, making it even easier to capture dynamic action. In addition to a carbon fiber shutter curtain, the Alpha 1 features the newly developed dual driven shutter system utilizing spring and electromagnetic drive actuator, offering high durability and lightness at the same time.
High Resolution Shooting Enhancements
Even with this sensor’s high pixel count, the Alpha 1 offers high sensitivity with low noise, plus 15+ stops of dynamic range for video and 15 stops for stills, for smooth, natural gradations from shadows to highlights thanks to its cutting-edge processing system, throughout a wide ISO sensitivity range of 100-32,000 (expandable to 50-102,400, when shooting stills).
Additionally, the new camera features an evolved Pixel Shift Multi Shooting mode that composites up to 16 full-resolution images. In this mode, the camera precisely shifts the sensor in one pixel or half-pixel increments to capture 16 separate pixel-shifted images containing a total of 796.2 million pixels of data, which are then composited into a 199 million pixel (17,280 x 11,520 pixels) image using Sony’s Imaging Edge desktop application. With a flash sync of up to 1/200 sec. in this mode, it is ideal for photographing architecture, art or any other still life subject with a level of detail and color accuracy that is simply stunning.
Professional Video Quality
8K High-resolution Movie Shooting
For the first time in an Alpha camera, the Alpha 1 offers 8K 30p 10-bit 4:2:0 XAVC HS recording with 8.6K oversampling for extraordinary resolution. Combined with Sony’s acclaimed autofocus technology, gradation and color reproduction performance, the Alpha 1 will help the user realize their creative vision with the finest detail. It’s 8K footage can also be used for flexible 4K editing during post-production.
Supporting Various Video Formats for Professionals
The Alpha 1 offers in-camera 4K recording at up to 120 frames per secondviii which allows the user to shoot up to 5X slow-motion video[xxiii]. In addition to supporting 10-bit 4:2:2 recording, this feature can be used with efficient Long GOP inter-frame compression or high-quality Intra (All-I) intra-frame compression.
The Alpha 1 features S-Cinetone, the same color matrix that produces the highly regarded FX9 and FX6 color and skin tones. It delivers natural mid-tones, plus soft colors and gorgeous highlights to meet a growing need for more expressive depth. The S-Log3 gamma curve makes it possible to achieve 15+ stops of dynamic range, while the S-Gamut3 and S-Gamut3.Cine color gamut settings make it easy to match Alpha 1 footage with video shot on VENICE cinema camera, FX9 and other professional cinema cameras.
Heat-dissipating Structure
A unique heat dissipating structure keeps image sensor and image processing engine temperatures within their normal operating range, preventing overheating while maintaining compact body dimensions. This makes it possible to record 8K/30p video continuously for approximately 30 minutes[xxiv].
Supporting Hand-held Shooting
A high-precision stabilization unit and gyro sensors, plus optimized image stabilization algorithms, achieve up to a 5.5-step shutter speed advantage, maximizing the quality of the high-resolution images derived from the camera’s 50.1-megapixel sensor. The Alpha 1 also features an Active Mode[xxv] that offers outstanding stabilization for handheld movie shooting. When using Sony’s desktop applications Catalyst Browse or Catalyst Prepare[xxvi] for post-production, an accurate image stabilization function is available which utilizes metadata generated by camera’s built-in gyro.
Other features that the Alpha 1 offers include; 16-bit RAW output[xxvii] to an external recorder[xxviii] via HDMI for maximum post-production flexibility, 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, 5.8K oversampled full pixel readout without pixel binning for high-resolution 4K movies in Super 35mm mode and more.
Enhanced Workflow withNetwork Technologies including Connectivity to 5G Compatible Devices
The Alpha 1 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 advanced connectivity options. It offers several features for fast, reliable file transfers. Industry’s fastestxiii built-in wireless LAN allows communication on 2.4 GHz and 5 GHz[xxix] bands with dual antennas to ensure reliable communications. 5 GHz includes 2×2 MIMO support (IEEE 802.11a/b/g/n/ac) offering 3.5 times faster wireless FTP transfer speed than the Alpha 9 II – a notable advantage for news and sports shooters who need to deliver with reliable speed. There is also a provided USB Type-C® connector to support fast data transfer when connected to a 5G mmWave compatible device such as Sony’s Xperia PRO and makes high-speed PC Remote (tethered) data transfer available for smooth handling of large image files. The Alpha 1 also has a built-in 1000BASE-T LAN connector for high-speed, stable data transfers, including remote shooting. FTPS (File Transfer over SSL/TLS) is supported, allowing SSL or TLS encryption for increased data security.
In addition to compressed and uncompressed RAW, the Alpha 1 includes efficient lossless compression with no quality degradation, Lossless Compressed RAW. There is also a new “Light” JPEG/HEIF image quality setting that results in smaller files than the “Standard” setting, allowing faster deliver for news and sports photographers who depend on speed. Along with a versatile range of RAW and JPEG formats, the Alpha 1 includes the HEIF (High Efficiency Image File) format for smooth 10-bit gradations that provide more realistic reproduction of skies and portrait subjects where subtle, natural gradation is essential. Images shot on the Alpha 1 can be trimmed in-camera to a desired aspect ratio, size, or position for versatile usage.
The Alpha 1 is also compatible with a variety of apps, add-ons and tools. With Imaging Edge Mobile and Imaging Edge Desktop[xxx], professionals can easily transfer RAW files and files that use lossless compression and remotely control Touch Tracking and Touch Focus for convenient AF operation. The Transfer & Tagging add-on (Ver. 1.3 or later) can automatically covert voice memos attached to image files to text captions or transfer the files to an FTP server from a mobile device. Desktop applications Catalyst Browse/Catalyst Preparexxvi allow professionals to browse and manage video clips shot by Sony’s camera. In addition, the Remote Camera Tool[xxxi] can remotely change camera settings and shoot from a computer connected via LAN cable and feature a number of refinements for the Alpha 1: faster transfer, touch response, dual slot and HEIF support, and more.
Reliable and Easy Operability
Professional users need more than just refined features and performance. They also need the reliability and durability demanded of any professional tool. The Alpha 1 has two media slots that both support UHS-I and UHS-II SDXC/SDHC cards, as well as new CFexpress Type A cards for higher overall capacity and faster read/write speeds. It also features a durable magnesium alloy chassis, long battery life with the Z-battery which can be extended using the optional VG-C4EM Vertical Grip (sold separately), an improved dust removal feature, shutter close function on power-off to protect image sensor, plus dust and moisture resistance[xxxii] that maximizes reliability in challenging environments. It includes a durable, reliable HDMI Type-A connector, and USB PD (Power Delivery) support, allowing higher power to be supplied from an external source so that users can record for extended periods with minimal internal battery usage.
A revised menu structure provides easier navigation, and touch-responsive menu operation offers fast, more intuitive control with Touch Focus and Touch Tracking on its 3.0 type 1.44 million-dot (approx.) LCD monitor. For easy customization, a subset of the camera’s shooting settings now changes according to the selected shooting mode, making it easier than ever to use different aperture, shutter speed and other settings for shooting stills and movies.
Pricing and Availability
The Alpha 1 Full-frame Interchangeable-Lens Camera will be available in March 2021 for approximately $6,500 USD and $8,500 CAD. It will be sold at a variety of Sony’s authorized dealers throughout North America.
Notes:
[i] Compared to the BIONZ X imaging processing engine.
[ii] “Hi+” continuous shooting mode. In focus modes other than AF-C, effective at 1/125 sec. or higher shutter speed. In AF-C mode, effective at 1/250 sec. or higher shutter speed, and the maximum continuous frame rate will depend on the shooting mode and lens used. 20 fps max. when shooting Uncompressed or Lossless compressed RAW.
[iii] At shutter speeds of 1/125 sec. or higher. The number of AF calculations will depend on the lens used.
[iv] As of January 2021, Sony survey. Among full-frame mirrorless cameras.
[v] As of January 2021, Sony survey. Among full-frame interchangeable-lens digital still cameras.
[vi] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.
[vii] [APS-C S35 Shooting] is fixed [Off] when shooting 4K 120p and 8K movies.
[viii] 10% image crop.
[ix] Sony internal tests.
[x] When recording with S-Log3. Sony internal tests.
[xi] Still images only.
[xii] CIPA standards. Pitch/yaw shake only. Planar T* FE 50mm F1.4 ZA lens. Long exposure NR off.
[xiii] As of January 2021, Sony survey. Among interchangeable-lens digital still cameras.
[xiv] Field of view is fixed at 33° and resolution is UXGA when selecting frame rate at 240 fps.
[xv] 3.5 times faster when compared against the Alpha 9 II.
[xvi] “Hi+” continuous shooting mode, compressed RAW, CFexpress Type A memory card. Sony tests.
[xvii] “Hi+” continuous shooting mode, CFexpress Type A memory card. Sony tests.
[xviii] At 20 frames per second, users can shoot up to 238 full-frame compressed RAW images or 400 full-frame JPEG images.
[xix] 50mm lens, infinity, -1m-1 diopter.
[xx] Accurate focus may not be achieved with certain subjects in certain situations.
[xxi] Shutter speed slower than 0.5 sec. cannot be set while continuous shooting. Tracking performance and max. aperture differs by settings and lenses.
[xxii] Up to 1/200 sec. Synchronization via the sync terminal is not available for electronic shutter.
[xxiii] Post-production editing and S&Q mode recording required. Data must be recorded to a CFexpress Type A memory card when the frame rate is 120 (100) fps or higher.
[xxiv] Sony internal tests with [Auto Power OFF Temp.] set to [High].
[xxv] Active Mode is not available for 8K recording.
[xxvi] Catalyst Browse version 2020.1 or later, Catalyst Prepare version 2020.1 or later are required.
[xxvii] 8K is not applicable.
[xxviii] Compatible recorders to be announced.
[xxix] 5 GHz communication may be restricted in some countries and regions.
[xxx] The Imaging Edge (Remote/Viewer/Edit) desktop application Ver. 3.1 or later is required for compositing.
[xxxi] Remote Camera Tool version 2.3 or later is required.
[xxxii] Not guaranteed to be 100% dust and water resistant.
The 900 miles along the California Pacific Coast, strewn with dramatic rocky cliffs, sandy beaches, majestic mountains, desert lands and redwood forests, offer enormous opportunity for photography.
Coastal redwoods occupy a narrow strip of land approximately 470 miles in length and 5 to 47 miles in width along the Pacific Coast; the most southerly grove is in Monterey County, California, and the most northerly groves are in southwestern Oregon. Jedediah Smith, Del Norte Coast and Prairie Creek Redwoods State Parks and Redwood National Park are all close to each other. To the south of these is Humboldt Redwoods State Park. For those seeking a comprehensive list of all redwood hikes, check out redwoodhikes.com.
Weather At Del Norte Coast Redwoods
Temperatures range from 40 to 60 degrees throughout the year. Snow isn’t unusual in some parts in winter. In summer, the warm weather brings in the much-sought-after fog through the forest. When the coastal fog rolls through the forest, it has a profound impact on simplifying the composition and creating an overall ethereal feel to the scene. Distractions are reduced, light is softened, and tonal contrast is subdued, making it possible for strong, simple patterns to emerge. Fog is a frequent occurrence in the mornings.
Photo Experience
The challenge we often face while photographing a forest is the complexity of the scene before us. The opportunity to simplify the composition presents itself with increased frequency—although with unpredictability—in the early morning, when the coastal fog rolls in. Fog has the transformative power to change the mundane to magical. The depth of field is reduced, distractions eliminated, ethereal light diffused through the scene, and voila. What was a random concoction of visual elements is suddenly transformed into an aesthetic arrangement.
Late mornings on days that the fog lingers, the rising sun pierces its warmth through the fog, and the “god beams” are formed. This creates a both challenging and rewarding experience in photographing the coastal redwoods. Unlike conventional landscape photography, where it’s possible to arrive in time to set up your composition and then wait for the light to change, the “beam chaser” has to react instantaneously to the light. It’s hard to know exactly where in the forest the beams will emerge. When they do, there’s a short window of time to create the image.
It’s best to use a wide-angle lens to capture these mammoth trees and to get low to the ground in order to convey the feeling of their immense height.
Best Times To Visit
In late May and early June, the rhododendron bushes are adorned with the lush light green of fresh leaves punctuated by the bright pink of the delicate blooms. Be it a foreground component to lure the viewer into the composition or to add a beautiful accent color, the “rose of the forest” provides intense visual appeal.
Contact: California Department of Parks and Recreation, parks.ca.gov.
See more of Sapna Reddy’s work on Instagram @sapnareddy.
The 900 miles along the California Pacific Coast, strewn with dramatic rocky cliffs, sandy beaches, majestic mountains, desert lands and redwood forests, offer enormous opportunity for photography.
Coastal redwoods occupy a narrow strip of land approximately 470 miles in length and 5 to 47 miles in width along the Pacific Coast; the most southerly grove is in Monterey County, California, and the most northerly groves are in southwestern Oregon. Jedediah Smith, Del Norte Coast and Prairie Creek Redwoods State Parks and Redwood National Park are all close to each other. To the south of these is Humboldt Redwoods State Park. For those seeking a comprehensive list of all redwood hikes, check out redwoodhikes.com.
Weather At Del Norte Coast Redwoods
Temperatures range from 40 to 60 degrees throughout the year. Snow isn’t unusual in some parts in winter. In summer, the warm weather brings in the much-sought-after fog through the forest. When the coastal fog rolls through the forest, it has a profound impact on simplifying the composition and creating an overall ethereal feel to the scene. Distractions are reduced, light is softened, and tonal contrast is subdued, making it possible for strong, simple patterns to emerge. Fog is a frequent occurrence in the mornings.
Photo Experience
The challenge we often face while photographing a forest is the complexity of the scene before us. The opportunity to simplify the composition presents itself with increased frequency—although with unpredictability—in the early morning, when the coastal fog rolls in. Fog has the transformative power to change the mundane to magical. The depth of field is reduced, distractions eliminated, ethereal light diffused through the scene, and voila. What was a random concoction of visual elements is suddenly transformed into an aesthetic arrangement.
Late mornings on days that the fog lingers, the rising sun pierces its warmth through the fog, and the “god beams” are formed. This creates a both challenging and rewarding experience in photographing the coastal redwoods. Unlike conventional landscape photography, where it’s possible to arrive in time to set up your composition and then wait for the light to change, the “beam chaser” has to react instantaneously to the light. It’s hard to know exactly where in the forest the beams will emerge. When they do, there’s a short window of time to create the image.
It’s best to use a wide-angle lens to capture these mammoth trees and to get low to the ground in order to convey the feeling of their immense height.
Best Times To Visit
In late May and early June, the rhododendron bushes are adorned with the lush light green of fresh leaves punctuated by the bright pink of the delicate blooms. Be it a foreground component to lure the viewer into the composition or to add a beautiful accent color, the “rose of the forest” provides intense visual appeal.
Contact: California Department of Parks and Recreation, parks.ca.gov.
See more of Sapna Reddy’s work on Instagram @sapnareddy.
Today’s Photo Of The Day is “Moose’s Tooth” by Bob Faucher. Location: Denali National Park, Alaska.
“The distinct 5000-foot vertical columns of the Moose’s Tooth, with Bear Tooth on its right, appear suddenly on the east as one approaches the northern end of the Ruth Gorge.”
Canon EOS 5D II, Canon EF 28-70mm @ 50mm, Exposure: 1/250 sec., f/16, ISO 100.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Lead viewers of your photographs through a scenic journey by incorporating lines into your images. Strategically placed, you control where the viewer enters your image, how the viewer’s eye travels through the image and even direct the viewer to the most important elements within your photos. The lines can be bold and pronounced or soft and subtle. It doesn’t matter. What is important is they enhance the image in a positive way as the viewer courses his or her eyes throughout your photo.
Lines help convey depth when they start at the perimeter of the photo and converge at a key part of the composition. They can also convey movement depending on their direction of flow and how they create rhythm. The direction of the flow is critical to keep the viewer within the boundary of the edges. The direction in which they run communicates further implications. For instance, horizontal lines exude very different meanings than vertical or diagonal ones.
A Line In The Sand
In the image of the Totem Pole taken in Monument Valley, there are a number of ways I incorporated lines. I used leading lines and strong verticals. Vertical lines are synonymous with power, strength and fortitude. When people stand tall it represents confidence and power. Think about the expression, “Look up to your elders.” It implies they be respected for their intelligence, knowledge and stature. Compositionally, strong vertical sand patterns lead directly to the iconic and proud totem. The straight vertical of the formation dominates the sky and commands attention.
The Story Line
In the image of the formation known as The Wave, the vast majority of lines are curved. These portray grace and beauty. The eye gently flows through the image as one curved line brings the viewer to the next curve and so on. Curved lines depict harmony and elegance. Even though the material in the composition is comprised of hard rock, the lines soften it and give the viewer the feeling the rock isn’t hard to the touch.
Read Between The Lines
The close-up photo of the tree pattern was deliberately made with my tripod head at a 30-degree angle. In reality, the lines of the bristlecone tree are vertical, but because I wanted to depict movement, speed and action, I intentionally skewed the composition. Lines that run diagonally show motion. I made the lines convey movement rather than appear static as they’d have appeared if I hadn’t skewed the camera.
Draw the Line
Converging lines command the viewer’s attention to fixate upon a single focal point. They create depth in a two-dimensional photograph by bringing the viewer to the location within the composition where the lines come to stop. In the image made in Zion National Park, I included the yellow line on the road, which allows the viewer to enter the frame and be led to the primary red rock formations of the park.
To learn more about this subject, join Russ on one of his photo safaris to Tanzania. Visit www.russburdenphotography.com to get more information.
Today’s Photo Of The Day is “In Expectation” by Linn Smith. Location: Oviedo, Florida.
“Covered with downy feathers, two great egret chicks wait patiently for their parents to bring them some food,” says Smith.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Today’s Photo Of The Day is “Crossing the Mara River” by Robert Henderson. Location: Serengeti National Park, Tanzania.
“This wildebeest herd was crossing the Mara River in Serengeti National Park late in the season in mid-November,” explains Henderson. “They jam themselves so closely together there’s literally no room for the 6-meter crocodiles who are lurking nearby.”
Canon EOS 7D Mark II, Canon EF 100-400mm f/4.5-5.6 L IS II USM at 476mm, Canon 1.4X III teleconverter. Exposure: 1/640 sec., f/8, ISO 400.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Today’s Photo Of The Day is “Hangin’ Out” by Christopher Baker. Location: Joe Wheeler State Park, Alabama.
“My wife and I were camping at Joe Wheeler State Park and we were relaxing in our chairs at our campsite,” explains Baker. “I heard a squeaky noise coming from above and it was this squirrel hanging on a branch right above my head. Fortunately, I had my camera next to me and I slowly reached for it and got a couple of shots before the squirrel took off.”
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
Congratulations to Jessica Nelson for winning the Fall Wildlife Assignment with the image, “Tufted Titmouse Fall.” See more of Nelson’s work at www.thegagglephotography.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!
Today’s Photo Of The Day is “Grand Canyon Winter Shadow” by Kathleen Wasselle Croft. Location: Grand Canyon National Park, Arizona.
“The earth’s shadow illuminates the sky as winter dusk falls upon the Grand Canyon,” describes Croft.
Want to get your images in the running for a Photo of the Day feature? Photo of the Day is chosen from various galleries, including Assignments, Galleries and Contests. Assignments have weekly winners that are featured on the website homepage, Facebook, Twitter and Instagram. To get your photos in the running, all you have to do is submit them.
A brief two years ago, we wrote about a significant breakthrough in photographic technology of particular interest to Canon users: the 30.3-megapixel, full-frame EOS R mirrorless camera. Here we offer a major update in the progression of the EOS R system with a review of the new 45-megapixel Canon EOS R5, two of its dedicated lenses perfect for wildlife photography—the RF100-500mm F4.5-7.1L IS USM and the RF800mm F11 IS STM—and other EOS R5 and EF lens combinations I use in my nature-oriented projects.
Resting Hummer. The light weight and long reach of the EOS R5 and RF800mm F11 IS STM lens and RF 1.4x extender (1120mm) combination allowed me to approach this female Anna’s hummingbird as she rested on a branch and photograph her, handheld, at the closest focus point of the lens. Animal and eye detection functions helped to target the autofocus. Exposure: 1/250 sec., ƒ/16, ISO 6400.
If you’re new to mirrorless photography, you might want to review that earlier article for discussion of how mirrorless differs from DSLR technology. In this piece, we’re going to talk about Canon’s latest expression of mirrorless and the achievement of a milestone in the history of photography that is nearly as significant as the transition from film to digital capture. Here’s why the EOS R5 system is a huge upgrade for me—and for any Canon-based nature and wildlife photographer.
The Canon EOS R5 Is A Major Upgrade
I’ve been working exclusively with the Canon EOS R5 since mid-June. Even in this very unusual year of limited opportunity to work far afield, my location in central Oregon has offered a variety of subjects: documenting the progression of a family of rare Oregon tundra swans from hatching to fledging; following the flight of herons, falcons, hawks, hummingbirds and other wild birds; capturing newborn fawns and velvet-antlered bucks; immersing myself in fields of dahlias, cosmos and wildflowers; and generating high-resolution floral studies in my studio. Here are the major attributes of the EOS R5 that changed my photographic approach and improved the outcomes in all these environments.
Electronic Viewfinder. An essential element of mirrorless technology, the electronic viewfinder allows us to see the image the camera is going to capture with the settings in place at the time. While this is an obvious benefit, in some previous iterations, the display was slow to respond, resulting in missed opportunities to capture ongoing action. In the EOS R5, this feature is instantaneous, high resolution and flawless.
Tadpole for Breakfast. Sunrise silhouettes a great blue heron as it downs a tiny tadpole. Handheld Canon EOS R5, RF100-500mm F4.5-7.1L IS USM lens and RF 1.4x extender (700mm). Exposure: 1/3000 sec., ƒ/27, ISO 1600.
Speed. Frame-capture rates are really important to wildlife photographers, and the Canon EOS R5’s capabilities are significant, with 12 fps using the camera’s mechanical shutter and up to 20 fps with its electronic shutter. The electronic capture is silent, which can be an important asset when working with wildlife in the field or from a blind. For those concerned about rolling shutter that may occur with rapid electronic capture rates, I did find it present in macro images of flying insects such as bees, where the rendition of the wings can be distorted. However, when working with flying birds at 20 fps, I saw no evidence of rolling shutter. It is a bit unnerving to depress the shutter and hear no capture-confirming sound in response. And at those rates, there is a tendency to shoot many more frames than expected, and that means a lot of extra editing. But the positive point is that you will find “the shot” somewhere in the sequence, and that’s what it’s all about.
Higher ISOs. Increased light sensitivity (ISO) is a complementary aspect of capture speed in that it can enable the use of faster shutter speeds and/or smaller apertures for increased depth of field while maintaining excellent image quality. In the past, the DSLR cameras I’ve used maxed out at less than ISO 1600 before quality became unacceptable for my purposes. I find that the Canon EOS R5 generates excellent image quality at ISO 1600, and I’ve pushed it to ISO 3200 and 6400 with good results. In a pinch, you can go to ISO 12800 for a usable image. In general, I would say I’ve gained at least two stops of speed because of the improved ISO capability of the EOS R5.
Resolution. The Canon EOS R5’s 45-megapixel full-frame sensor offers a higher-quality image with more detail and potential for post-capture cropping. By comparison, the R5’s resolution is close to that of the 50-megapixel EOS 5DS R that I’ve used extensively in the past, but the R5 offers far better capture speed in both frames per second and ISO. The R5’s sensor is excellent for both landscape and macro photography, where detail is essential.
Wild Goose Chase. A female trumpeter swan chases Canada geese from “her” small lake in Central Oregon. The EOS R5’s tracking and AF animal detection helped to keep the swan in focus as she raced around in the low light before sunrise. Handheld Canon EOS R5, RF100-500mm F4.5-7.1L IS USM at 428mm. Exposure: 1/500 sec., ƒ/8, ISO 1600.
Autofocus & Tracking. The Canon EOS-1D X Mark II was my previous choice for flying or fast-moving subjects because of its quick autofocus and frame-capture speed. Now I go to the Canon EOS R5 for its incredibly fast tracking mode with animal and eye detection, which works in most situations by placing and keeping the AF directly on the subject’s eye (where it almost always needs to be). It wasn’t that long ago that ƒ/5.6 was the maximum aperture for AF capability. But with the R5’s AF, animal and eye detection all work well in combination with a “slower” lens like the RF800mm F11, even with an RF 1.4x extender attached (achieving 1120mm with a set aperture of ƒ/16). I’ve even added the RF 2x extender to the RF800mm lens (1600mm at ƒ/22), and the AF still works! This combination of reach and sharp focus is really a game-changer for wildlife photography.
Image Stabilization. Here’s where size and stability come together. Because we wildlife photographers need to be mobile when tracking a subject in the wild, we often work handheld. But long lenses need to be steady. The EOS R5 is Canon’s first camera with in-body image stabilization (IBIS), which adds additional stability to many of the RF and EF lenses. For example, when combined with the EOS R5’s IBIS, the RF100-500mm F4.5-7.1L IS USM lens offers 6 stops of image stabilization, and with some other RF lenses a total of 8 stops can be achieved. Note that the RF600mm F11 and RF800mm F11 telephotos do not tie into the R5’s IBIS, but they still have 5 and 4 stops of IS, respectively, within the lenses. I’ve found that to be adequate for working handheld with these remarkably lightweight and compact optics.
Focus Bracketing. You know I’m a fan of extreme depth of field in macro and landscape photography. But I also want to control the placement of the depth of field in the image. The Canon EOS R5 (like the EOS RP and the EOS 90D) has automated focus-bracketing, aka stacking, built into the camera, making the technique easy to accomplish in any situation where the subject is motionless, and the camera is on a tripod. We used to move the subject or the camera in slight increments through the plane of focus, but now the photographer sets in-camera the desired number of images and the amount of focus shift between captures, and the camera automates the process within the lens. The resulting images, or whatever portion of them the photographer wants to use, are composited post-capture in stacking software for resulting expanded depth of field. The range of frames needed depends upon the subject; I’ve used more than 180 focus-bracketed images for a macro subject at 1x, and only two or three for a landscape.
Gladiola in Detail. This close-up of a brilliantly colored gladiola blossom was captured using in-camera focus bracketing on a tripod-mounted EOS R5 with an EF 180mm f/3.5L Macro USM lens and EF-RF adaptor. The extreme depth of field was derived from post-capture compositing of 146 images taken at 1/30 sec., ƒ/8, ISO 200.
Video. While video isn’t a top priority in my photography, I do occasionally produce it for educational purposes. I have used video more often as a source of still captures (frame grabs from video sequences) that freeze a subject’s behavior. The limiting factor with this method in the past has been the approximate 8-megapixel (24MB) file size of the individual frame. Now the EOS R5’s 8K video produces 35.4-megapixel frame grabs at 30 fps. This is incredible if you need to capture both 8K video and still images at the same time. But if stills are the goal, the R5’s electronic shutter with 20 fps capability is going to produce even higher-quality stop-action images at the full 45-megapixel resolution.
Compatibility With DSLR Lenses & Accessories
One of the smartest things about the EOS R system is its adaptability to EF lenses and accessories originally produced for DSLRs. Canon accessories, such as flash systems (both macro and hot-shoe types) and electronic cable releases work with the Canon EOS R5 in the same ways they worked with previous systems.
Three very capable adapters allow all the EF lenses to work perfectly on Canon mirrorless EOS R camera bodies. There’s actually an advantage to one of these adapters, the EF-EOS R Drop-In Filter Mount Adapter. It connects the EOS R series cameras to all of the EF lenses and allows the addition of either a polarizing or variable neutral density filter between the lens and the camera body. This is the ideal position for placement of such image-modifying filters, and some third-party manufacturers make additional options. I’ve used the adapters with several of my EF lenses. They work perfectly with the EOS R5 and the three EF-RF adapters, which are priced at about $99 for the basic adapter, $200 for the adapter with a Control Ring, and $400 for the adapter with the drop-in filters.
I See You. The EOS R5’s Tracking AF with animal and eye detection worked perfectly on this handheld capture of an osprey in flight. Canon EOS R5, RF800mm F11 IS USM. Exposure: 1/4000 sec., ƒ/11, ISO 1600.
So, you can go mirrorless with the R5 or other Canon cameras in the EOS R series without investing in any additional glass. But two of the remarkably affordable and compact new Canon RF lenses have become permanent additions to my inventory for outdoor and wildlife photography: the RF100-500mm F4.5-7.1L IS USM and the RF800mm F11 IS STM. Here’s why.
Impressive Tele Zoom: RF100-500mm F4.5-7.1L IS USM
The RF100-500mm is replacing my EF 100-400mm f/4L II lens—and that is really significant because the 100-400mm has been integral to my work for 22 years. I’m not usually that sentimental about gear, but this one was tough. The new lens design made possible by the RF mirrorless mount offers expanded photographic options in a more compact design. The range is 100-500mm; add the 1.4x extender, and you’ve got 420mm to 700mm, or 600mm to 1000mm with the 2x extender. (Due to the protruding front elements of the RF extenders, you can’t use them at less than 300mm, but that’s not an issue since you wouldn’t add the extender unless you needed more than 500mm of reach.) Close focus is 3 to 4 feet. My experience with the RF100-500mm has shown it to be at least as sharp as the EF 100-400mm lens and possibly even better, even with the RF 1.4x or RF 2x extenders. With these combinations, you’ve got options from 100-1000mm with this lens, and even with the maximum aperture approaching ƒ/14, the AF continues to work. It’s the great high-ISO capability of the EOS R5 that makes all this possible.
The Gear. Here are my new favorite tools for nature and wildlife imaging: Canon EOS R5 body, RF100-500mm F4.5-7.1L IS USM lens, RF800mm F11 IS STM lens, RF 1.4x and RF 2x extenders.
Affordable Super-Tele Prime: RF800mm F11 IS STM
This lens and its partner, the RF600mm F11 IS STM, are the source of my new motto, “F/11 and be there.” I never expected to carry an 800mm telephoto lens in a photo-backpack. I’ve worked on many occasions with the monster Canon EF 800mm f/5.6L (Canon’s largest), which weighs just under 10 pounds. The RF800 F11, in contrast, is a lightweight 2.77 pounds. Hand-holding this lens in the field is easy and effective. The optical design of the lens includes double-layer diffraction elements that enable the compact dimensions. The single aperture of ƒ/11 also keeps things simple, and the fixed tripod mount keeps the weight down and the price at about $900. Because of the excellent higher ISO capabilities of the Canon EOS R5, the ƒ/11 aperture is not an issue. I frequently add the RF 1.4x extender, making the lens 1120mm at ƒ/16. I was still able to hand-hold the setup, the AF continued to be viable, and the animal and eye-detection modes worked well. Imagine this on your next photo safari to Africa or Alaska.
What’s In My Bag Now?
Here’s my new setup for heading out to the field: the Canon EOS R5 (with its incredible AF and ISO), the versatile RF100-500mm zoom, the lightweight RF800mm telephoto, and the 1.4x and 2x extenders to increase their reach. Add the EF 24-105mm f/4L and the EF-RF adapter, in case a scenic landscape appears before me. Where big, heavy and expensive used to be the measure of top-level photographic gear, this setup can be had for considerably less investment than its DSLR equivalents. Yes, I really said that. For perhaps the first time in history, learning about George Lepp’s equipment choices can save you money. (My wife Kathy is rolling her eyes.)
CMOS image sensor in combination with an upgraded BIONZ XR
