While I am getting ready to leave for the upcoming PL fall workshops this week, it was exciting to hear today that Sony is finally going to address the Lossy 11+7 bit RAW issue we have seen on all Sony A7-series cameras (you can read about the Lossy RAW issue in my Sony A7R review). Although the press release below states that Sony will feature uncompressed 14-bit RAW beginning with the A7R II and the newly announced A7S II, I really hope that the company adds this must-have feature to its older A7-series cameras as well, since landscape photographers could really benefit from shooting true 14-bit RAW, without worrying about seeing artifacts in images. This is great news and I am glad that Sony responded to our complaints – it is great to see such a large company listen to customer and expert feedback.
I have been using ACDSee Pro for many years, because I found it to be pretty convenient to use for viewing different image formats. It has great built-in tools for viewing EXIF / exposure data and customizing exactly what I want to view, which is great. Although I have switched to FastRawViewer for fast viewing of RAW files and culling images, ACDSee can be a great tool for reviewing other images and graphics – it can literally open any image format out there. We have previously published a detailed review of ACDSee Pro 8 and although we found it to be quite messy and cumbersome for photo editing when compared to Lightroom, ACDSee still worked out great as a general purpose image viewer. However, since we published the review, I have been very annoyed by all the pop-ups and ACDSee’s attempts to lure me into upgrading to their Ultimate version (which started out at around $70+, then eventually came down to $40), showing up way too often, sometimes several times a day! And now I am getting pop-ups for the new upcoming version 9 of the software, as seen below:
Today Canon announced the updated Canon EF 35mm f/1.4L II USM lens, which promises remarkable performance for a 35mm prime, thanks to its updated optical formula and the new “Blue Spectrum Refractive Optics”, which is designed to further reduce chromatic aberration to new levels. With a total of 14 elements (2 of which are aspherical), 9 diaphragm blades for beautiful bokeh, fluorine coating and a dust / water-resistant construction, the Canon EF 35mm f/1.4L II USM will surely be a popular choice among Canon enthusiasts and professionals. The only issue might be the added weight – at 760 grams, it is 180 grams heavier than its predecessor. It will retail for $1,799 in October of 2015.
Nikon’s last announcement today is the new Nikkor 200-500mm f/5.6E ED VR, a super telephoto zoom lens designed for sports and wildlife enthusiasts. This lens is a very interesting announcement, because it is very different from all other super telephoto Nikon lenses we have seen in the past – it is Nikon’s first zoom lens with a fixed aperture that covers such a long range. Many enthusiasts have been asking for a 400mm f/5.6 lens and one wonders if this lens could address such needs. The 200-500mm f/5.6E VR supposedly can work with all three teleconverters and if it proves to be as versatile as it sounds, this might be something many wildlife photographers have been waiting for. The best part is the price – at $1,399.95 MSRP, it certainly falls into the “affordable” category when compared to other super telephoto lenses. Let’s take a look at this lens in more detail.
Being a huge fan of the 24-70mm f/2.8G for many years now, I am well aware of its strengths and weaknesses. It is a superb lens for landscape and many other photography needs, but its rather weak wide open performance in the corners, heavy weight and lack of image stabilization have been leaving me wondering if there would be a replacement coming out soon from Nikon. Today, Nikon finally revealed such a replacement – the Nikkor 24-70mm f/2.8E ED VR is finally out and it is a monster of a lens! Looks like Nikon has completely changed the optical design of the new 24-70mm f/2.8E compared to its predecessor. Not only does it look a lot more beefed up, with its huge 88 x 155mm barrel and 1,070 grams of total weight (compare that to 83 x 133mm and 900 grams on the 24-70mm f/2.8G), but it also comes with a large 82mm filter thread diameter, which might present additional expenses for working pros for purchasing new filter holders and filters. Speaking of expenses, the updated 24-70mm f/2.8E ED VR will leave a lot of people scratching their heads, since it is one of the most expensive zoom lenses made by Nikon, at $2,399.95 MSRP. Let’s take a closer look at this lens and see what Nikon has changed and why there is such a high price tag attached to this 24-70mm f/2.8E VR.
Today Nikon revealed another addition to the f/1.8 family of prime lenses, the Nikkor 24mm f/1.8G ED. This fast, enthusiast-level prime lens fills the gap between the Nikkor 20mm f/1.8G and the Nikkor 28mm f/1.8G, giving Nikon shooters yet another excellent wide-angle choice in a lightweight and affordable package. While the professional Nikkor 24mm f/1.4G has been out for over 5 years now, its high price point and heavy weight have been deterring many photographers, who have been waiting for a lighter and cheaper option ever since. The wait is finally over – at only 355 grams and $749.95 MSRP, the new Nikkor 24mm f/1.8G ED will surely satisfy many photographers who have been craving for such a lens.
Today is a big day in the photography world, because a rather serious competitor to Adobe Photoshop has been launched – Affinity Photo. We have written about Affinity Photo in the past and our readers really enjoyed the teaser and provided a lot of feedback and commentary about this software. Well, it is finally out today and you can already get it from the Mac Store. Sadly, Affinity Photo is currently only available for Mac, but the developers are promising to work on a PC version soon.
In addition to the high-end 500mm and 600mm super telephoto lenses, Nikon also announced the AF-S DX Nikkor 16-80mm f/2.8-4E ED VR, a high-quality lens designed specifically for smaller APS-C / DX cameras. I have not had a chance to post this announcement due to my busy travel schedule earlier this week, but thought it would be important to post it at PL, since it is a pretty interesting announcement. The Nikkor 16-85mm f/3.5-5.6G ED VR has been a pretty popular lens for DX cameras for many years now, but after the release of high-resolution 24 MP cameras, the lens has been showing its age, with fairly average sharpness, particularly in the corners. The new 16-80mm f/2.8-4E has a completely new optical formula, designed to outperform the 16-85mm in every way.
Nikon has just announced two highly anticipated super telephoto lenses for sports and wildlife photography, the AF-S Nikkor 500mm f/4E FL ED VR and the 600mm f/4E FL ED VR. After Nikon released the 800mm f/5.6E VR and the 400mm f/2.8E VR lenses, it was a matter of time before the 500mm and 600mm lenses got updated with the latest and greatest optical designs and technology. As before, Nikon has completely revamped the optical formula of these new lenses, shredding as much as 20% off the total weight on the 500mm and 25% off the total weight on the 600mm! Now the new 600mm f/4E VR weighs as much as the 400mm f/2.8E VR, which is incredible. Considering how hand-holdable the 400mm f/2.8E VR is, both of these new lenses open up a lot of amazing opportunities to get closer to action.
Sigma has just announced world’s first large aperture full-frame wide-angle zoom lens with a constant aperture of f/2, the Sigma 24-35mm f/2 DG HSM Art. Built on the concept of the already successful Sigma 18-35mm f/1.8 DC HSM Art lens for APS-C cameras, the 24-35mm f/2 Art offers similar advantages to full-frame camera shooters. With this announcement, Sigma challenges other prime lenses between from the 24mm to the 35mm range, claiming that this one lens can replace them all and offer the same quality and sharpness in a single, versatile and convenient package. The lens will be available for Nikon, Canon and Sigma mounts and at this time, there is no word yet on the pricing.