Canon announced two DSLRs today, but perhaps nothing in the lineup was more highly anticipated than the EOS 6D Mark II. After looking through the spec sheet, photographers will definitely be pleased with Canon’s upgrades improving the camera in practically every way. Sitting just below the 5D Mark IV, the latest full-frame DSLR from Canon sports a brand new 26.2MP CMOS sensor and the DIGIC 7 Image Processor, which will help create sharp, low-noise imagery, even when working at native sensitivities up to ISO 40000 or extended up to ISO 102400. That isn’t the only major advancement in this camera, because it now comes equipped with a capable 45-point All Cross-type AF System that is leaps and bounds above the 11-point system of the original.
Dual Pixel CMOS AF with phase-detection makes an appearance in the 6D line now, ensuring lightning-fast and accurate focusing in both live view and video. The camera is faster now, with a continuous shooting rate of 6.5 fps and Full HD video recording at up to 60p. While not the 4K spec of the latest 5D, the quality of video from the 6D Mark II should be superb. Users will also have access to a 3.5mm microphone input for improved audio quality.
While the original 6D handled very well, there are some notable changes to the body design that will be appreciated, including weather sealing to protect against dust and water. The Mark II also becomes the first full-frame Canon camera to offer a vari-angle LCD, this one being a 3.0" touchscreen, as well, for intuitive operation. Along with these upgrades, the camera features a slightly redesigned body for improved comfort and ergonomics and it now offers a Canon 3-pin connection on the front. As is to be expected nowadays, the Mark II features built-in Wi-Fi, NFC, Bluetooth, and GPS. Users will also be able to pick up the BG-E21 Battery Grip for extended shooting times and improved ergonomics when shooting in portrait orientation.
The camera will be available as a body only, as well as in a kit with the EF 24-105mm f/3.5-5.6 IS STM Lens or a kit with the EF 24-105mm f/4L IS II USM Lens
ZEISS has launched a new, fast lens for full-frame Canon and Nikon DSLRs. The ZEISS Milvus 1.4/35 is the tenth lens in the Milvus lineup and aimed primarily at portrait photographers. While the lens boasts a high maximum aperture of f/1.4, ideal for portraits, its 35mm focal length is ideal for landscape and travel photography too.
The metal barrel construction makes the lens robost and like other lenses in the ZEISS Milvus family, it is protected against dust and water spray. The internal optical design however has been given a revamp. With the inclusion of aspherical lens elements, special glass materials and advanced correction, they claim “photos are practically free from chromatic aberrations.” ZEISS also state that their Milvus lenses can keep up with the increasing demand to cope with the high resolution of camera sensors that are constantly improving.
“The high maximum aperture enables the subject to stand out clearly against the background, and the photographer can achieve creative combinations of focus and blur,” says Christophe Casenave, Product Manager at ZEISS. “The manual focus enables very exact focusing, and the creamy bokeh provides an excellent image look. And even at full aperture the image quality leaves nothing to be desired.”
All ten lenses in the ZEISS Milvus family, which range from 15mm to 135mm are also suitable for video. The manual focus with a large rotation angle can be operated with the aid of a ZEISS Lens Gear with a follow-focus system. The Nikon version of the lenses enables you to use the de-click function to allows the aperture to be set continuously. In addition to this, ZEISS has ensured the colour characteristics are consistent across the lens range helping to reduce the amount of time spent in post-production.
The ZEISS Milvus 1.4/35 will be available from specialist dealers and in the ZEISS Online Shop from July 2017. The recommended retail price is £1,699 inc. VAT.
Adobe Product Manager Tom Hogarty writes:
“I would like to address concerns recently voiced by our community of customers around Lightroom performance, as improving performance is our current top priority. We have a history, starting with our first public beta, of working with our customers to address workflow and feature needs, and we’d like to take that same approach regarding your performance concerns. We already understand many of the current pain points around GPU, import performance, certain editing tasks and review workflows and are investing heavily in improving those areas. Over the past year we’ve added numerous enhancements to address your performance concerns but we understand we will have a lot of work to do to meet your expectations.”
Considering the popularity of Lightroom and that photographers have been calling for improvements for quite a while now, it’s encouraging to see Adobe break its silence and taking complaints seriously.
Sigma has announced the prices for two of its latest full-frame Art lenses – the fast and wide 14mm f/1.8 DG HSM, and the 24-70mm f/2.8 DG OS HSM – as well as when eager customers can expect to get their hands on them. Both were first announced way back in February at CP+.
The 14mm f/1.8 DG HSM Art will be on sale for £1,679.99 from early next month for Sigma and Canon mounts, though Nikon users will have to wait a little longer until late July. The 24-70mm f/2.8 DG OS HSM Art, meanwhile, will be available for all three mounts in early July for £1,399.99.
SIGMA 14mm F1.8 DG HSM
Introducing the world’s first and only* F1.8 ultra-wide-angle lens
A true high-speed lens that delivers a new dimension of visual experience
*Among interchangeable lens for digital SLRs as of February 2017
Sigma Imaging (UK) Ltd is pleased to announce that the new SIGMA 14mm F1.8 DG HSM Art lens will have a Suggested Retail Price of £1,679.99 including VAT. Sigma and Canon mounts will be available to purchase in early July with Nikon mount following towards the end of July.
Accessories: Case, Cover Lens Cap
AF Mounts: SIGMA, NIKON, CANON
Appearance and specifications are subject to change without notice.
A true high-speed lens that delivers a new dimension of visual experience
In taking photographs of starry skies or other celestial scenes at night, or of the seashore with a wide perspective, a large-diameter lens is a strong ally, since it allows the capture of a moving subject by adjusting shutter speed without relying on ISO sensitivity. With its full-frame 35mm coverage, 14mm focal length for an ultra-wide angle of view, F2 barrier-breaking F1.8, the SIGMA 14mm F1.8 DG HSM | Art is the true high-speed ultra-wide-angle lens for which so many photographers have been waiting. Although some zoom lenses are available that can cover 14mm, the large diameter delivering F1.8 brightness is a singular advantage. Going beyond fast shutter speed, this lens can capture a swarm of fireflies with crystal clarity, a beautiful bokeh effect, and outstanding control of light streaking.
SIGMA 24-70mm F2.8 DG OS HSM
Top-level performance optimized for the era of ultra-high-megapixel cameras
Sigma Imaging (UK) Ltd is pleased to announce that the new SIGMA 24-70mm F2.8 DG OS HSM Art lens will have a Suggested Retail Price of £1,399.99 including VAT. Sigma, Canon and Nikon mounts will be available to purchase in early July.
Accessories: Case, Hood（LH876-04）
AF Mounts: SIGMA, NIKON, CANON
Appearance and specifications are subject to change without notice.
The definitive large-diameter standard zoom lens for any shoot
What photographers demand from the 24-70mm F2.8 specification is much more than outstanding image quality. They want all the features that make this a go-to lens for a wide range of photographic opportunities, including optical design ideal for the latest ultra-high-megapixel digital cameras, hypersonic motor (HSM) for high-speed autofocus, optical stabilizer (OS) with powerful stabilization effect, dust- and splash-proof mount with rubber sealing, and a metal barrel for a stable, rigid feel. This all-new 24-70mm F2.8 lens from SIGMA delivers the performance and functionality that help pros succeed in news, nature, and many other fields of photography.
Hot on the heels of the 18-400 mm last week, Tamron has announced details of a fresh update to its popular 24-70mm lens for Canon and Nikon cameras, in the form of the SP 24-70mm f/2.8 Di VC USD.
The biggest update comes in the form of a new Dual MPU (Micro Processing Unit) control system, which Tamron promises will produce faster and more precise autofocus performance, as well as up to five stops of vibration compensation for more stable images – giving it the highest vibration compensation performance of anything in its category.
It features a minimum focus distance of 15 inches, a maximum magnification ratio of 1:5 and weighs it just about 900g for both Canon and Nikon mounts.
Inside, the SP 24-70mm wields 17 lens elements arranged in 12 groups – including a range of Extra Refractive Index, Low Dispersion elements, glass aspherical and hybrid aspherical elements. Put together, this design should work to minimise as many chromatic aberrations as possible while maintaining a quite compact design.
The lens is also treated with Tamron’s nanotechnology-based eBAND (Extended Bandwidth & Angular-Dependency) coating, to help control any ghosting or flare effects that might occur while shooting a back-lit subject.
On the outside, a fluorine-based coating protects the new lens from dirt, and it benefits from a locking lens hood and weather-resistant build.
Nikon users can expect to see their version of the lens arriving at the start of August 2017 (Canon users have to wait until September), priced at $1,199 – though there’s no word on official UK pricing just yet.
Loupedeck, a purpose-built console for controlling Adobe’s Lightroom photo editing suite, is soon to be available on UK shores.
Designed and built by a team of ex-Nokia developers, Loupedeck is a custom-built hardware console that provides complete control of Lightroom. A little bit like a DJ’s mixing desk, the idea is to use the console’s scrolling wheels, dials and buttons to enable users to edit photos and images faster and without the distraction of a keyboard or mouse.
It’s designed to work with both Mac and Windows-based computers and, since the layout of the deck corresponds directly to Lightroom’s interface, it should prove pretty useful for beginners and pros alike.
The idea was first conceived by Finnish entrepreneur and keen photographer Mikko Kesti, who presented his idea to former senior Nokia developers. In November last year, they launched an Indiegogo campaign for funding and support – in the first day alone, Loupedeck generated half of its fixed goal of €75,000 and by the close of the campaign, had raised a whopping €366,000.
Kesti, now CEO of Loupedeck, writes: “Loupedeck is a peripheral created by photographers, for photographers so there was never any doubt that what we’d conceived wouldn’t be relevant or game changing for our target audience.”
“But to see the amount of backing and support we received through the initial Indiegogo campaign was exhilarating and encouraging after years of honing the prototype, countless long meetings and the usual challenges that start-ups today experience. We’re looking forward to hearing more feedback as our product becomes available across the globe and users get to touch and feel the console for themselves.”
Loupedeck is available to buy now from their online store for £325, due to be shipped to UK customers form 17th July. Availability in retail stores across the country is expected to follow in due course.
Buy 1776 Lightroom presets here just £44.99
Opening the telephoto door for newcomers and advanced users alike, Nikon’s AF-P NIKKOR 70-300mm f/4.5-5.6E ED VR Lens is a superb FX-format option for DSLR users looking to capture distant subjects. The lens aims to balance zoom range with size and features by offering a versatile 70-300mm focal length, a variable maximum aperture, and Vibration Reduction that is rated to 4.5 stops. Also, it offers a pulse stepping motor that works wonderfully for stills and video, and it features full-time manual focus override, which permits quick switching by just rotating the focusing ring.
Maximizing image quality is the use of one extra-low dispersion element to combat various aberrations, and a Super Integrated Coating to limit flare and ghosting. And, as with all of Nikon’s latest glass, this lens features an electromagnetic diaphragm mechanism, which ensures consistency while using fast continuous shooting speeds. DX-format users can use this lens, as well, and will benefit from an equivalent focal length of 105-450mm. The lens is dust- and moisture-resistant, making it a great choice for bringing outdoors into less forgiving conditions.
The rise in popularity of digital photography in recent years has radically changed the way we interact with photographs. Much of this change can be attributed to the transformation of photos from physical objects to pieces of data. Computer and phone screens have ousted photo albums as the dominant means of sharing family memories and artistic creations alike. Yet, for many, the barrage of images on touchscreens and monitors has led to a newfound appreciation for photographs that you can physically touch and hang on the wall. Analog processes have rebounded among dedicated professionals, as well as the casual photographer, nostalgic for the “feel” of film photographs. Although arguments over whether digital prints will ever match or exceed the aesthetics of analog photographs will probably go on forever, we can all agree that printing technologies have evolved to the point of creating quality photographs that deserve quality presentations.
Preparing and displaying your work can be as easy or as complicated as you want it to be. If your photo is destined for a frame on your desk at work, this article is not for you. There are plenty of options available to take care of this need. On the other hand, if you have a photograph that you have been itching to get on the wall, whether it be in your home, office, or an art gallery, what follows should help orient you in the world of mounting and display.
Frame Frames come in an infinite variety of sizes and shapes, from tiny to gigantic, minimal to extravagant, wood to metal. Ultimately, your frame choice is a personal decision but a few factors should be kept in mind. Since you will be framing photographs to hang on a wall, it is useful to think about the space that your photo will occupy. A decadently carved frame that looks like it was stolen from the Palace of Versailles would probably seem out of place in most modern living rooms or offices. Contemporary galleries and museums tend to favor simple designs. This makes sense when you consider that ultimately, you want your audience to focus on your photograph rather than the object protecting it. Avoid frames that might distract viewers from your work. Don’t forget to consider the color of your frame relative to the colors in your photograph or matting. If you are computer-savvy, it never hurts to do a quick mock-up in an imaging program to create a preview of what your finished framed photo will look like. Depending upon your chosen wall or the size of your work, weight can become a limiting factor. Metal frames offer a simple and lightweight alternative to wooden frames. Also, if you are working with a frame that has a rabbet (inside) made of raw wood, frame-sealing tape can be used to prevent unwanted toxins from transferring to your print.
Glazing This refers to the sheet of glass or acrylic forming the “window” that your audience will look through to see your print. Not all glazing is created equal. If long-term preservation is your aim, it may be worth shelling out the extra dollars to use a conservation-grade material that blocks UV rays from reaching your print. Glass and acrylic both offer pros and cons, depending upon your particular application. The chief benefits of acrylic are its light weight and resistance to shattering. These are especially important qualities if you ever plan to ship your work. Shipping a glass frame, no matter how carefully packed, is always a daunting task at best. The area where glass trumps acrylic is on its surface. Acrylic is more prone to scratching than glass. Also, if your sheet of acrylic becomes statically charged, you will quickly learn just how much dust and hair is floating around in the room in which you are working. With this in mind, the benefits of anti-static gloves and anti-static cloths can hardly be overstated. This is equally true when handling your print. The best way to avoid getting grease or dirt on your photo is to never touch it with your bare hands.
Mat / Mounting Board The materials to which you attach your photograph are especially important because they should be the only materials that physically touch your work. There are several options available to fulfill this role. Choosing the proper material for your needs will be discussed at length later in the article.
Dust Paper Adding a paper back to your “framing sandwich” not only adds a clean, finished look to your job but, more importantly, keeps dust and other particles from sneaking inside of your frame.
Wire Last, but certainly not least, is the equipment responsible for securing your frame to the wall. The most important specification to take into consideration is the maximum weight that your wire can support. Be sure to use a wire that supports well over the weight of your framed work. Equally important is what you use to hang your photograph. Most framing wire kits will include appropriate weight-bearing hooks to secure your work to the wall. Nobody wants a broken frame and a ripped-open wall.
Choosing a backThe first step in your photo’s journey onto the wall involves choosing a suitable mounting back. The two most important properties of your back to take into consideration are rigidity and quality. Rigidity is especially important for large or un-matted prints where buckling can compromise your display. There are few sadder sights than a beautifully framed photograph that bends toward its glass on account of inadequate backing. You want to choose a material that will keep your image parallel to the wall. It is important to know that temperature and humidity are capable of increasing the risk of your mounting material warping over time. In general, the thicker the better—just so long as the total thickness of the materials in your frame do not exceed the depth of your frame’s rabbet (the inside part of the frame).
The quality of the material that you choose to use is an equally important decision when mounting your photograph. We all have witnessed the damaging effects of improper storage of photographs at one time or another. Despite the popularity of sepia toning in some segments of the photo community, nobody wants their pictures to end up yellowed or browned unintentionally. Without getting into the complex criteria used by museums when preserving their collections, it is worth emphasizing the value of choosing acid-free materials. This is true not only of your mounting board, but also of any material that comes in physical contact with your print (e.g. adhesive). This will ensure that your prints look their best for years to come.
Three popular and common materials for photo mounting are: mat board, foam core, and gator board.
To mat or not to mat? Hopefully, by this point in the article, it has become obvious that photographs are sensitive objects that are easily damaged by their environment. Add glazing to the list of things that your photograph should never touch. Time, humidity, and temperature can easily team up to cause the emulsion or surface of your print to adhere to glass or acrylic, wedding them (unhappily) for life. While it is crucial that your photograph does not physically touch its glazing, there are a variety of ways to accomplish this task. Placing a mat with a viewing window cut out of it is the oldest solution to this problem.
If you are working with a standard-sized image, pre-cut mats are available to simplify your life. Be aware that, often, a mat window will be slightly smaller than the size of the print that it is designed to display. So, for example, a window cut to display an 8 x 10" print is actually 7.5 x 9.5". This will ensure that the edges of your print are safely positioned out of view. At the same time, you want to make sure to have your photograph cropped in such a way that significant details of your print do not get obscured by the overreach of the mat window. An easy solution to this problem is to add a small, white border around your image. If your mat window eats ¼" of your print on all sides (½" of your total picture) you can minimize its effect on your composition by adding a 1/8" border to your photograph. This gives back ¼" to your picture while still making sure that there is enough overreach to prevent anyone from seeing the border once the print is mounted.If you find yourself needing a custom-sized mat window, you have two options. Pay someone at a framing or art store to cut it for you. Or, alternatively, cut it yourself. I only mention the first option because cutting mat windows is not exactly the easiest thing in the world to master and the equipment necessary to get reliable, clean cuts can get rather pricey. If you are only framing one or two prints, you might spare yourself the headache and have someone else do it for you. However, if you intend to do a number of prints, investing in a quality cutting system is well worth the expense. Many options are available, depending upon the volume of your output and the size of the boards you are using. Keep in mind that boards generally come in standard sizes, so you should choose a system that accommodates boards larger than your intended dimensions, since you will be cutting them down.
The popularity of large prints, coupled with the somewhat conservative connotation of a matted photograph, has led many photographers to explore alternative ways of displaying their work. Among the more popular options used today is the positioning of spacers between a print and its glazing. Spacers may be made of archival plastic or simply strips of foam core cut and adhered to the rabbet of the frame. This allows your photograph to fill the entire space within your frame while still protecting your print. If you decide to cut spacers out of foam core, make sure that you are using an acid-free board.
Another alternative to matting your photograph is what is known as “float mounting.” This technique is a popular means of displaying drawings and other paper arts that has recently been picked up by photographers as well. You can either float-mount flush with your backboard or place an additional board in between to create an elevated, shadowed effect.
Keeping Your Photo in Place. Now, you need to decide the best way to adhere your photograph to its support. First, a few words of advice on how NOT to mount your photograph. Despite its popularity in high school photo classes back in the day, never use rubber cement to adhere your work to its back. Doing so will make all of the preservation steps mentioned in this article completely useless, as you pour toxins straight onto your precious photo. Similarly, never assume that a tape or adhesive is archival. Always check the labels of any product that you put in contact with your photographs. Ok, now onto better options.
A tried-and-true method to permanently attach your print to its backing is to dry-mount it. This is a fairly straightforward procedure, where dry mount tissue is placed between your print and its mount before applying pressure and heat with a dry-mount press. This approach allows you to freely manipulate your print prior to its adhesion and promises a flat mount when done properly. However, prints mounted in this manner are plagued paradoxically by the permanence and impermanence of the adhesive used. Depending upon environmental conditions, dry-mounted photographs are susceptible to peeling away from their backings, making for a difficult situation where part of the print peels away while the rest of it remains permanently bonded. For this reason, conservators usually advise against this method—if only to spare themselves headaches in the future.
Spray adhesives offer a cheap alternative to dry-mounting your photograph if you are in a rush or do not want to invest in a dry mount press. The downside of this method is its potential to make a mess of your print, mount, and surroundings. Unless you are a photographer by day and graffiti artist by night, you may want to choose a less sticky solution.
Wet mount adhesives can be used as an alternative to sprays. Be sure to apply the adhesive evenly and use uniform pressure to your photograph while it dries.
One of the safest and most popular ways to mount a photograph is to use hinging tissue. While this method can serve as a permanent adhesive when left alone, its adhesive is removable via mineral spirits. Of course, you want to avoid or limit your print’s contact with such caustic agents.
Wiring Your Frame. Now that your photo is snugly secured inside its frame, it is time to put on the finishing touches. Double-sided tape can be run along to the edges of your frame’s back before applying dust paper. A little pressure along the edges will secure the paper and a razor blade can be used to clean up the edges. At last, it is time to add your wire and hang your frame. A good rule of thumb for hanging your frame is to position your screws 1/3 of the way down from its top. Use a ruler—never “eyeball” your measurements. Screw in your hangers. Next, cut your framing wire a little longer length than your frame. One side at a time, pass the wire through your hanger and tie a knot. Wind the remaining wire around itself a couple of times and trim the excess. Make sure that your framing wire has some tension—you don’t want it to sag too much under the frame’s weight.
Conclusion. Presenting and framing photographs is an art in and of itself and those interested in learning more should check out the many resources in print and online. Once you get the hang of the many possibilities, your options will be limited only by your imagination. Now go take some frame-worthy pictures!