Episode 34: New Canon Firmware, Lenses, Sony’s New APS-C Offerings…..

In this episode Canon teases new firmware for the EOS R and EOS RP, which will greatly improve the AF and EyeAF. Canon also announces their latest RF lenses. Sony announces their new APS-C bodies and Samyang releases a new 18mm F/2.8 Sony E-Mount lens.

Canon Teases New Firmware for EOS R and EOS RP

https://fstoppers.com/gear/canon-teases-impressive-firmware-update-improved-af-eos-r-and-eos-rp-coming-soon-402692

Here Come the new Canon Mirrorless Lenses

https://fstoppers.com/gear/here-come-canon-mirrorless-lenses-402336

Sony’s new Flagship and Entry Level APS-C Bodies

Sony Unveils New Flagship a6600 and Entry-Level a6100 APS-C Cameras

Samyang Releases new 18mm F/2.8 E-Mount Lens for Sony

Samyang Launches Ultra-Compact 18mm f/2.8 Lens for Sony E-Mount

Transcription by www.temi.com, there may be grammatical errors.

00:01 Canon teases an impressive firmware update. To improve the I detect auto focus in the Eos R and RP. Here comes some new Canon mirrorless lenses, Sony unveils two new flagship crop body cameras and Sam Yang launches an ultra compact 18 millimeter lens for Sony. Email all of this on episode 34 of the Liam Photography Podcast.

00:45 you’re listening to the Liam Photography podcast. I’m your host Liam Douglas and this is episode 34 I want to take a moment to thank all my listeners for subscribing, rating and reviewing the show on an iTunes or anywhere else that you might listen to your podcasts, which includes Google, uh, Google play as well as Spotify and as of a month ago, radio.com and if we want to of course thank the good folks@radio.com for adding this show to their library. I’d appreciate it. Also, if all of my listeners, we take the time to share the link to the show and ask your friends and family members to give it a listen, give it a five star review if you don’t mind or leave some comments. You can also join the Facebook group. I’ll talk about more about the Facebook group at the tail end of the show. So the first thing I want to talk about in this week’s episode, cannon teases impressive firmware update with improved AAF or the eos are in RP to be released soon while cannons RF lenses had met with general acclaim.

01:49 Many photographers had been clamoring for a more professionally oriented eat mt body from the company while that camera has not been announced yet. The firmware update recently teased by Canon seems to show a major improvement in autofocus performance on the way for both the Eos r and the Eos RP. The video posted by cannon shows side by side comparisons of auto focus performance with the new and the old foe firmware versions and seems to show major improvements in speed, accurately accuracy and usability in particular I detect autofocus appears to have been improved quite a bit now working at much further distances and holding focus more strongly as opposed to the old firmware in which the subject had to be very close to the camera in order for it to activate. Tracking also seems to have been, may have made great strides. Unfortunately, sports and wildlife photographers will still have to contend with the eos rs middling continuous shooting rate of five frames per second with continuous auto focus.

02:55 But for the people like wedding photographers, it surely a welcome or the sports and wildlife crowd. It’s good to see the autofocus performance moving forward nonetheless, knowing that these improvements will make their way into the upcoming professional level, our body. Now, as I’ve mentioned in previous episodes of this show, uh, I have no doubt that Canon’s going to be releasing an EOC, our professional body of it at some point in the near future. I have a feeling it may be coming at the tail end of this year, if not by the end of 2019 certainly by early 2020. Now, if you remember, as I also mentioned in previous episodes, I don’t believe Canon’s gonna release an hour an our replacement for their one DX, especially since they’ve already announced a one dx mark three, it will be released the first part of 2020 in time for the Tokyo Olympic Games.

03:52 Now more, more than likely, as I’ve mentioned in previous episodes, the first professional body they’re gonna release will be something along the lines of an Ios r s. And the reason why I say that is I believe the first professional body they’re going to release is going to be a direct replacement for the current, uh, five d s and five d s. R. Um, and as I’ve mentioned before, I have the SR absolutely love that camera and I believe that’s going to be the first professional body that Canon’s gonna release. I believe it’s going to have dual card slots. I’m hoping that they will make both the card slots, s d and it’d be really nice if they make them both uhs too. Because as people have mentioned before with other camera manufacturers like Sony, why in God’s name would you put two SD card slots in a single full frame body and make one of them uhs one and the other one, uhs two defeats the purpose.

04:50 I mean the reason why people want dual card slots is for redundancy when they’re shooting in the event that they have a memory card. Failure by making one of the card slots uhs too. And the other one, uhs one you’re basically hamstringing the photographer because the uhs two slot is only going to record as fast as the uhs one slot as just the nature of the beast. That’s how technology works. So if you’re writing to both card slots at the same time, it’s only gonna write as fast as the slowest card slot. Now, according to recent information, the newest, uh, Sony Body, uh, which I believe is they a seven three or no, wait, no, the a seven r four. That’s right. That was the newest one. That one now has to uhs to SD card slots. Cannon would be smart to follow suit on this and I’m hoping that they do.

05:46 I’m hoping that they listen to what their users want, what their, what their customers want. It’s hard to tell though. Cannon’s never been overly known for listening to their, they tend to like to do things their own way. Old World, Japanese thinking. I believe a lot of people speculated that’s the reason. Although it is interesting because somebody who’s a Japanese company as well and yet they tend to listen to their customers and give their customers exactly what they asked for. So we’ll have to wait and see what happens. As far as a pro body, again, I believe the Eos r s will be the first pro body that cannon releases. I don’t know if they’re actually going to call it that or not, and I predict it’s probably gonna have a 75 or a hundred megapixel sensor because Gannon’s not about to be outdone by Sony’s newest camera that has a 60 60 or 61 megapixel sensor.

06:38 Yeah. Gannon’s not gonna let that slide. They’re known for being the king of sensor size, so as far as megapixels, so I’m sure they’re going to retake the crown soon. Now I did watch this video and I’ll share a link to it in the show notes for this episode of the side by side comparison of the current firmware versus the new firmware that they’re going to be releasing some time in the near future. The new firmware looks absolutely amazing. The, I detect autofocus does work a heck of a lot better than it does right now, especially when it comes to the distance between the subject and the camera. So I’m really excited about that. And again, that’s one of the things I really do love about mirrorless cameras is the fact that the manufacturer can release a major firmware update that basically revamps the whole camera for you.

07:26 A lot like Hasselblad has done for years. Would their medium format digital uh, digital camera bodies where you buy the camera one time and yeah, maybe depending on which model you get, you may be paying up to $30,000 for a Hasselblad body, but chances are you’re never going to buy another camera again as long as you live. You’re going to keep that one. You’re going to use it for years and years and years and they’re going to continually release major software updates for the camera that basically give you new features, new functions, new get new capabilities, all kinds of crazy stuff. I mean they’re basically like a computer and you just out upgrading the operating system to get new features that the hardware was already capable of but wasn’t in the original software because it took time to flesh it all out. That’s just the nature of the beast.

08:14 All right. Now the next bit of news I want to talk about and this episode is the arrival of cannons, new mirrorless lenses or their RF mount bodies. The Eos are an RP, so cannons, mirrorless lenses had been esoteric, exquisite, and some of them ridiculously expensive. As I’ve mentioned in previous episodes, I still have no idea why the 50 millimeter or 1.2 l even though it’s got better glass and it’s got newer technology behind it, all that good stuff. I still don’t understand why they feel that warrants $1,000 higher price tag and the 50 millimeter 1.2 for the f mouth and they did the same thing with the RF 28 to 70 f too. It’s like $1,300 more expensive than the 24 to 70 f 2.8 l that’s already on the market. And yet other lenses that they released, and I’ve given this example before, their standards, 35 millimeter non l m f 1.8 cells for the same price is their eff, 35 millimeter f two and again, the same thing with their 24 to one oh five I s f four Lens, both the f and the RF models.

09:34 So for the exact same price. So the pricing on the RF lenses has been really confusing for me from the beginning. And I can’t seem to get any answers from anybody on Canon’s side. I’ve reached out to several people at Gannon and nobody has really gotten back to me with, uh, with a decent answer on it. Um, so I guess we’ll never find out. Um, but as I mentioned, you know, the RF 28 to 70 f two is an amazing Lens. There’s no doubt about that. So it was the 50 millimeter RF, 1.2 l everybody that has used either of these lenses clamor about how amazing the quality of the images are that you get with them. But again I do not see where they get the ridiculously higher price tag from. So if you’re a photographer who is more used to the standard 24 to 70 f 2.8 you’ll be pleased to hear that Canon launched exactly that lens with availability in late September of 2019 one pleasant surprise is that the lens will have image stabilization something Canon shooters have been clamoring for in the 24 to 70 f two eight four years.

10:42 It also comes with three ultra low dispersion elements, three a spherical elements and air spear coding as well as a customizable control ring of course. And we’ll also feature nine aperture blades and 21 elements in 15 groups while coming in at a more manageable 1.98 pounds and 2199 for the price tag. And there is a link where you can preorder that Lens. I’ll make sure I include the link in the show notes for anybody that might be interested. Along with the 24 to 70 RF 2.8 L I s USAA l USM Lens will come the RF 15 to 35 f 2.8 L I s USM, the wide angle component of the standard f to Zoom Holy Trinity. This lens will feature image stabilization as well along with nine aperture blades, 16 elements and 12 groups and a weight of 1.85 pounds. It is currently expected to cost 2199 as well and will be available in late September along with the 24 to 70 f 2.8 it also comes with two ultra low dispersion elements, three a spherical elements and aerosphere coding as well as the customizable control ring and I will include the link in the show notes where you can preorder yours if you’re interested in placing your order today.

12:07 All right and the next segment, because I don’t want to be getting hate mail from the Sony lovers out there, Sony unveils new flagship, a 6,600 and entry-level, a 6,100 aps c cameras after weeks of rumors and speculation and leak spec. Sony has finally unveiled the two HPSC mirrorless cameras we’ve been expecting for awhile now. The flagship Sony a 6,600 with ims and a bigger battery and the entry level Sony a 6,100 for photographers and vloggers on a budget

12:42 The hero product from today’s announcement was no doubt the long awaited Sony a 6,600 the flagship APC mirrorless camera officially replaces the Sony a 6,500 and boast all of the latest autofocus technology that was missing from its precursor. Inside, you’ll find the same 24 Megapixel, a PSC sensor with bionic as x image processor, 425 point hybrid autofocus system with 84% frame coverage and a flip up three inch 921 k. Dot. Touchscreen LCD that you’ll find on the a 6,400 and the ace 6,100 that means the same 11 frame per second burst shooting with auto focus and auto exposure. The latest real time tracking aff and the ability to record over sampled for k 30 p video with full pixel readout and a super 35 millimeter format. Now what sets the 6,600 apart from the rest of the lineup is its magnesium alloy body five axis and body image stabilization. The ability to use real time. I detect auto-focus during video shooting, the inclusion of Mike and headphone jacks and a larger grip than houses. Sony’s much improved z battery and they do have a, as part of the announcement at video, which I will include in the show notes for this episode.

14:11 it’s only a 6,600 will begin shipping in November, but you can already preorder it for $1,400 for the body only or $1,800 in a kit with the Sony 18 to one 35 millimeter lens for some sample photos and hands on first impressions from Sony Alpha Ambassadors. I will share a post from Alpha universe. Also in the show notes. By comparison, the Sony a 6,100 doesn’t offer as many professional grade features. Let the internals of this entry level, a PSC mirrorless camera are still quite powerful like the ace 6,400 and the 6,600 and it’s only 6,100 boasts a 24 megapixel aps see sensor by on as ex image processor and a 425 point hybrid autofocus system with 84% frame coverage. It to can shoot it up to 11 frames per second with autofocus tracking features a three inch flip up touchscreen LCD over-sample four k video recording with full pixel readout and Sony’s real time tracking autofocus system is included as well.

15:21 Where it falls short of its more expensive sibling is the 1.4 4 million. Dot EBF down from 2.3 6 million and the a 6,460 600 and a slower, slightly lower ISO range that maxes out at 51,200 instead of 102,400 not that anybody would use ISO that large like the 6,400 you’ll get a mic Jack but no headphone Jack and since this isn’t flagship level, you can’t use IAF during video recording and there is also no in body image stabilization. Now I will also include the link to the video from Sony on the a 6,100 so you’d be able to check that out as well. There’s not a ton separating the $750 6,100 from the $900 Sony 6,400 making it a good option for budget friendly amateurs and bloggers who don’t mind Sony cutting a few corners as long as the photos and the footage aren’t effective. To that end.

16:26 If you’re interested in the Sony a 6,100 you can preorder yours today for 750 for the body only eight 50 and a kit with Sony, 16 to 50 millimeter lens and $1,100 in a two lens get with the Sony 16 to 50 and the 55 to 210 millimeter lenses combined, a 6,100 will begin shipping and October of this year. So after reading this article, I know there’s a lot of Sony shooters out there that are going to be excited. They’re going to be anxious to preorder these a a either one of these cameras depending on what their needs are. They do look fantastic. I watched the uh, the official videos from Sony. They look very impressive. And when the 6,100 having a price tag of seven 50 for the body, I mean that’s not bad, although I think it’s going to get harder for Sony because as I mentioned in an earlier episode when it was first announced and released, Canon came out with the Eos RP, which is still full frame and sells for only $1,200.

17:30 Now granted $1,200 is silver, $100 more expensive than seven 50 but there are rumors circulating that Canon is pushing to release a full frame mirrorless body for the thousand dollars price point or maybe a little bit below that at 900 and if that happens, it’s going to be a lot harder for somebody that currently shoots Sony to stick with the a 6,100 for seven 50 and get a crop body camera when for $150 more they you get full framed from Cam. And so that’s going to create some interesting controversy I think in the mirrorless camera world. We’ll have to wait and see. Uh, I know a lot of Sony shooters are, they’re called Sony Fan boys and girls for a reason because they’re die hard Sony and they’ll never switch away from Sony no matter what. But I don’t know, I think it would be interesting to see how tempted somebody might be if it comes down to well do I get the latest Sony Crop Body for seven 50 or do I buy the latest can and full frame mirrorless for $150 more and go full frame.

18:37 Definitely some food for thought. Whether or not that sub thousand dollar full frame camera does materialize from Gannon, we’ll have to wait and see. But it is something that is worth pondering something definitely to think about. Now, the last segment for this week, uh, last item I wanted to talk about is also for the Canon shoot or sorry for the Sony shooters out there, Sam Yang launches and ultra compact 18 millimeter f 2.8 lens for the Sony email. Now. Sam Yang Slash Rogan has announced a new ultra compact ultra wide angle prime first Sony full frame mirrorless cameras at just 145 grams light two inches long and 500 bucks. The new Sam Yang aF 18 millimeter f 2.8 lens is the most compact, lightweight and affordable super wide angle. Full frame lens for the Sony email despite its diminutive size, the Sam Yang broken on AFK 18 millimeter f 2.8 offers a Riddick, excuse me, ridic linear 100.1 degree angle of view when used on Sony’s full frame mirrorless cameras attach it to the new Sony, a 6,600 and the lens crops to a narrower but still pretty wide, 27 millimeters with a 76.2 degree angle o view.

20:07 Optically, the lens was designed with nine ultra multi coated elements and eight groups including three a spherical, two high refractive index and three extra low dispersion elements to keep distortion and aberration in check even at 18 millimeters. The lenses. Minimum minimum woking focus distance is just 9.8 inches. And at boasts a step lists SDM motor for a quiet and smooth focus performance and they have some great images here. The Lens close up images of the Lens. I will, uh, include the link to this article in the show notes so you can check them out for yourself. And that does also include some sample images captured by a CN Yang broken on ambassadors showing different types of photography that they’ve captured with this lens from landscape to astro photography to sea scapes. All kinds of beautiful images here. And like I said, I’ll, I’ll include the art, uh, the link to this article in the show notes.

21:07 This is from Pettit pixel.com. To learn more about this lens and to see more sample images, visit the same Yang website, which again, I’ll include in the show notes, the Sam Yang broken on AAF 18 millimeter f 2.8 lens will begin shipping in October, but you can preorder it today for $500. Now, I must say, um, to be honest, lately I’ve been extremely impressed with Sam Yang slash broken on his lenses. As many of you are aware, I’ve mentioned in previous episodes a few months ago, I, uh, purchased the, the, uh, broken on MF 14 millimeter f 2.8 RF Mt. Lens for my Ios r and I use that every day for my full time real estate photography job. It is a fantastic lens. It’s a little bit of a bummer that it doesn’t have any electronics in it, like their lenses for Sony always do a, I guess maybe broken on, doesn’t have the same kind of relationship with Canon or Nikon, possibly that they have with Sony.

22:06 And that’s the reasoning behind it. Um, but I am very impressed with my lens. It may be manual only, but as I’ve said before, with the focus peaking turned on in the Ios are, it’s not a problem. It’s easy to make sure your shots are in focus all the time. And especially when I’m doing real estate work, I’m always shooting at f eight. So pretty much everything’s going to be, you know, everything’s going to stay evenly in focus across the entire viewing angle or viewing window of the Lens as you’re taking your shot, so no worries there. I’ve been extremely impressed with that lens so much so that broken on had asked me after I did a review of their 14 millimeter lens and provided some sample images that they could put on their official Instagram. They asked me to also check out their new 85 millimeter RF.

22:54 Now Lens for the Eos r and RP and that is another amazing, amazing Lens. Again, manual only Lens, but man does that same, make some beautiful images. I’ve been extremely impressed with both my broken on lenses and I think most tutors will be impressed with this stuff they offer for the the Sony email. This lens looks extremely promising. There’s some fantastic sample images here. I don’t see where anybody could go wrong by in this ultra wide 18 millimeter f 2.8 lens with the full auto focus system in it, their [inaudible] or further Sony email system. I mean, I don’t think you can go wrong now. I’m not sure off the top of my head what Sony is currently charging or what size a uh, wide angle they have for their email system. Now I did pause the recording to do a quick look on a, on sony.com for their lens selection, what they offer.

23:56 Um, they do have a 16 millimeter f 2.8. Um, it’s email, but it says for a PSC format only and that one’s two 24 99. So it looks like you might be better off with the, uh, with the road cannon in this case or the same Yang Lens because yeah, it’s 18 millimeters, but at least you can use it on both the full frame and the HPSC email bodies without any issues. So I think this lens is going to be really exciting for a really exciting new entry for the Sony shooters out there. And I’d be interested to hear if any of my listeners that are Sony shooters do go ahead and pre-order this lens. And when it comes in and you’ve tried it out for a little bit, reach out to me and let me know how you like it. Let me know if it performs the way you would expect a quality lens to perform on your Sony email body.

24:47 I would absolutely love to hear that. Now you could post a a comment in the Facebook group about this lens or you could either leave a voicemail or send a text at (470) 294-8191 that is the phone number for the show. That number again is (470) 294-8191 or you could shoot an email to liam@liamphotographypodcast.com all right, I am going to go ahead and wrap up this week’s episode of the Liam Photography Podcast, episode 34 I want to, once again thank all of my listeners for subscribing, rating and reviewing and iTunes and anywhere else you might be listening to the show. Please share the show out with your friends and family on social media. Ask them to give it a listen and give it a rating if you would be so kind. Still trying to build up the audience more. We haven’t been doing too bad but I’d like to see it grow a little bit faster than it has been.

25:42 I know it takes quite a bit of time to build up a podcast and build up a decent size audience. I’d like it if I, you know, if we could pull off doing it before the two to five year mark with this show, but I guess only time will tell there. As I mentioned at the top of the show, uh, feel free to join the Liam photography Facebook group. You can find us on Facebook now you do have to answer one question in order to join the group because it is a closed group, but that question is what is the name of the host of the show? And you can simply put Liam or Liam Douglas, either one. We’ll get you in. Once you’re a member of the group, you’re allowed to post up to five photos per 24 hour period. You can either break them up and post them one at a time throughout the day or you’re welcome to post all five at once and let Facebook do its little photo slideshow thing for you.

26:32 You’re welcome to ask for creative criticism on your images by saying cc, please and please, whatever you do, do not share other people’s work. Even if you have permission. We do not want to see that only post your own original work. That’s what we like to see and we always love to see other photographers, whether you’re a pro or a hobbyist or an or an amateur, we’re always happy to see your work and give you pointers on you know, what you’re doing right, what you’re doing wrong, what you can tweak, what you can improve. It’s all a process. People, we all learn together in the photography world and hopefully, uh, we can help you master your skills as a photographer, whether you’re doing it for a living or just as a hobby that you enjoy. All right, I’m going to go ahead and wrap up this episode and I will see you again next week. In episode 35