In this episode, Tamron to release 3 new F/2.8 Primes for Sony FE mount. Adobe promises major updates for Photoshop on the iPad after initial release not doing so hot. Sigma to release RF mount road map in early 2020. Black Friday savings and more.
New Tamron F/2.8 Primes for Sony FE Mount
Adobe Promises Major Updates for Photoshop on the iPad
Sigma’s RF Road Map to be releases in early 2020
Need a Canon EF or EF-S Pancake? Black Friday Deals
New Firmware for Nikon Z6 & Z7
New Nikon patent for an N1823 camera pop up in Taiwan and Russia
Rumor: Nikon to scrap some of their Sports Opticals?
Transcription by www.temi.com, there may be grammatical errors.
You’re listening to the Liam Photography Podcast.
Greetings everybody. You’re listening to the Liam Photography Podcast. I’m your host Liam Douglas and this is episode 46 I want to take a moment to thank all of my listeners for subscribing, rating and reviewing and iTunes and anywhere else that you might be listening to the show and also ask [inaudible] see you, share it out with your friends on solo social media and elsewhere and ask them to give it a listen, subscribe, or rate and review if they’re so blind. Okay, so the first item I have up on this week’s episode, tamarin recently announced a trio of compact prime lenses for Sony, F E Mount the 24 millimeter 35 millimeter and 20 millimeter F 2.8 are all going to be released in the near future. Cameron has been on a hot streak with Sony lenses ever since. They released the 28 to 75 F 2.8 and even though that lens was released a year and a half ago, it can still be hard to find in stock at times they followed up, but the 17 to 28 F 2.8 a small wide angle lens that holds its own against the Sony 16 to 35 F 2.8 G master.
Instead of going for a large, heavy fast prime, tamarind took a different approach and one for small and affordable while adding a few neat features like one to two macro capabilities. Both the 24 and 35 are extremely light weighing in at around 7.5 ounces. Not only are they light but they’re small too at two and a half inches. You can easily fit the lens in a coat pocket if you so desire. Despite the lightweight build, the primes are still weather sealed and dust and moisture resistant. The most appealing part of these two primes though is going to be the price at three 49 these are some of the least expensive prime lenses available for the Sony F E Mount. The only lenses that are smaller and less expensive are the Rogan on 24 millimeter F 2.8 and 35 2.8 which are around two 49 and two 99 respectively.
The two big advantages that tear Ron has on their product co are on their side or a product quality consistency and their six year warranty and if you wanted to take a look, you’ll see that in the images along with this article on pet a pixel, it shows both the Cameron and the broken on one’s a side by side for comparison to get an idea of the sizing of each company’s lens offerings for the F E mat, even at a price point of just three 50 you still get quality LD and GM elements to reduce chromatic aberrations, tamarins BB AR coating to reduce ghosting and flares and sharp throughout the frame. The AAF is powered by tamarinds OSD optimized silent drive motor for quick quiet and fast auto-focus. The front element on the lenses moves in and out while focusing, but it stays within the lens for convenience.
All of tamarins at the lenses so far have a 67 millimeter filter thread making. Sharing filters a possibility without having to use stepping rings, which is nice for a lot of photographers. I know it would definitely be a nice thing to have on my lenses if they all took the same size filters despite their small size. The tamarind 24 and 35 primes have quality glass and fast AAF performance. Using a ER, I detect AAF lock to track a person. That tracking kept up just like it would on a Sony branded lens. When you’re getting nearer the minimum focusing distance. The app did tend to hunt or pulse a little bit. If light levels are somewhat low but it would eventually acquire focus after a second or two and anything past a foot focus fine and would keep focused on a moving subject while the 35 millimeter is closer, closer to a normal focal length and doesn’t show much distortion. The 24 millimeter does have some noticeable distortion if the correction features are turned off and camera, but it’s something that should easily be able to be corrected in light room when post-processing vignetting isn’t bad with a little bit present when shooting wide open one stop down to F five six it is all but gone.
The 24 millimeter features a typical lens had designed while the 35 gets a cap style lens hood with a rectangular opening. A benefit of this design is that you can attach a filter to the front of the hood and quickly take it off just by removing the lens hood. The hood also fits on the 24 but you get noticeable vignetting in the corners.
Wow. Many professionals may be looking for primes that are F 1.4 or even F1 0.2 there is a large percentage of Sony users who are casual shooters, hobbyists and pros on a budget. These lenses feel right at home on a full frame, a seven series camera as they do on a smaller a six series camera for street photographers or photographers who like to travel light. These lenses are definitely worth taking a look at. Pairing one of these lenses with an [inaudible] results in a comb combined weight of just under two pounds. The class leading macro capabilities of these lenses also allow for a new level of creative shooting with the third 24 and 35 millimeter focal lengths. The 24 and 35 millimeter primes will start shipping shortly and can preorder them. Now I will share the link to the preorder site in the show notes for this episode.
Should you be a Sony shooter that’s interested in checking out these new Tamron primes. Now this is extremely exciting news. Uh, I’m not personally a Sony shooter, but I have a lot of friends that shoot Sony and Tamron has been making some seriously quality lenses for quite a while now and when they’re six year warranty, as [inaudible] mentioned earlier in this article, it’s kind of hard to beat that with the lightweight, the vast capabilities, the low price tag and the six year warranty. You’d be hard pressed to pass on these lenses and go with something much heavier and much more expensive, especially when you’re getting a decent at wide aperture at F 2.8 that’s nothing to be sneezed at. Now I like a, they mentioned in the article some pros like to have F 1.4 or 1.2 me personally, I think 2.8 is plenty wide enough for low light performance.
Most of the time if you’re going to buy an F one for one two lens, you’re not going to shoot it wide open up one four, one two anyways, you’re going to, chances are you’re going to stop it down to F two or 2.8 and uh, get the best performance out of those lenses. Most of them when they’re X all the way wide open are going to have issues as far as vignetting and softness and stuff like that. So this is definitely some exciting news for Sony E Mount shooters and I have a feeling that those lenses are going to sell like hotcakes. Just my opinion. All right, the next item I wanted to touch on this week, Adobe reveals the major updates coming soon to Photoshop on iPad. When Adobe released the first full version of Photoshop for iPad, the company reassured us that updates to this limited first version will be impactful and frequent today and no be followed up on that promise by revealing some of the major updates will be that will be coming to the app in the coming months.
The release of Photoshop, Photoshop on the iPad hasn’t gone quite as smoothly as Adobe probably hoped with early reviews slamming the app or being a severely limited application, but if you’re worried that Adobe was lying about that frequent quote unquote frequent update schedule, the brand wants you to know it means business and a blog post published minutes ago, and this is earlier today, November 21st Photoshop product manager Pam Clark, is giving users a glimpse into what’s to come and how your input is reflected in our planning process and the first major feature to be added in 2019 will be the AI powered select subject tool that was first previewed for the desktop version of the ad back in 2017 and before the year is out. Cloud documents that will also become faster than ever before. Allowing you to sync files between iPad and desktop versions of Photoshop seamlessly without bogging down your connection by only saving changes that you’ve made.
Quote, if you change just one pixel rights, Clark only that pixel syncs to the cloud end quote. That’s it for 2019 which is almost over anyways, but Adobe promises to add much more in the first half of 2020 never fine edge brush and the curves adjustment layer will both be making their debut on the iPad version, both major enhancements for photo editors while other adjustment layers like levels. We’ll see improvements in functionality. The team also promise to quote, begin to deliver integration of Lightroom and Photoshop workflows on the iPad, making it easier to go from editing a raw image and light room to making major adjustments in Photoshop without leaving your iPad. Oh, they’ll also be adding brush sensitivity and canvas rotation, but those are such absurd emissions from version one that we can’t really call them new features to read about all of these updates in slightly more detail.
Head over to the Adobe blog and don’t be afraid to share your thoughts with Adobe while you’re there. All of these planned improvements, rights Clark are being prioritized in response to feedback from the community, so if you have further feature requests, she encourages you to join in and offer feedback through this link and I will share the link in the show notes for this episode. Now to be honest, I hadn’t realized that Adobe head finally released Photoshop for the iPad the last time I checked a few weeks back. It still hadn’t been released yet. At least I couldn’t find it in the app store when I did a search for Photoshop. So it is great that it’s out, but from the sounds of it I’m not going to get too excited about it yet because it’s extremely limited as far as what you can do with it at this time.
So I’ll probably wait a little while before I even bother to download it on my iPad pro to give it a shot with the Apple pencil version two okay. The next item I wanted to talk about and this week’s episode, Sigma to address their RF Mao plans in early 2020. Now this is coming from Canon rumors as of yesterday at 9:30 AM they had been told that Sigma is actively working on an RF Mount lens roadmap and we’ll announce their plans sometime in early 2020 we suspect and announcement head of CP plus in February would be the ideal time to do so. Apparently distributors have received some early information about sigmas plans, but our source on this didn’t want to divulge any more information. It would be great for the U S our system as Sigma gets on board early with some compelling lenses and I can’t agree more.
Sigma has had some fantastic glass for quite a few years now, especially in their art series lenses. I only currently own one myself and that’s the 12 to 24 our art lens, uh, with the F four aperture. But it is a fantastic lens. The only downside is extremely heavy, like the earlier version, that lens that I had numerous years ago, but if they’re going to come out with some compelling RF Mount art lenses for considerably better pricing than Canon, which is pretty much a given that there’ll be cheaper than Canon, I will definitely be intrigued by that because as I said in numerous episodes in the past, cannon seems to be all over the map as far as their pricing for RF mat lenses. Some of them, they’re pricing astronomically high, like $3,000 for a 2.8 lens or even an F 1.2 lens or a 1.4 lens is just ridiculous.
When the eff cousin to that lens was a fraction of the price and they were still not cheap lenses. I mean, don’t get me wrong, the the F L glass was never cheap glass as far as cost, but some of the RFL lenses that are comparable to there as far as aperture, you know 1.2 is one point fours when compared to their eff cousins are two and three times the price, which to me is just ridiculous. There’s no way I’m looking to spend $3,000 for a 70 to 200F 2.8 telephoto lens when my current ETF version Mark two was less than $2,000 I mean it’s just crazy to spend $3,000 on just to get the RF version of that lens. I’m just going to stick with the one I have now and continue to use the control ring adapter for eff to RF on it and that’s my plan for now.
So I’ll definitely be intrigued to see if Sigma does announce some new RF Mount lenses in early 2020 hopefully they do. Hopefully they come out with some compelling lenses and maybe if they come out with a high quality art version 70 to 202.8 for a reasonable price, I may just go ahead and snatch up their version instead of cannons and just say to heck with Canon’s RF 70 to 200 altogether cause I’m not crazy about spending $3,000 for a 70 to 200 lens when my Mark to EMF version of the lens still makes amazing images that are a fraction of the price. But we’ll have to wait and see exactly what Sigma does announce in the beginning of 2020 need a pancake. Well now you can say big on cannons, stubby lenses. Black Friday pricing for Canon lenses from authorized dealers is now live and we’ve noticed big discounts on cannons to pancake lenses.
For the F N E F S Mount, they can an EFS 24F 2.8 STM regular price one 49 is on sale for black Friday for $99 and the Canon eff 40 millimeter F 2.8 STM pancake lens regular price one 99 is on sale for one 29 so you can save some serious money on either one of these stubby little pancake lenses. You can also save up to $400 for black Friday on lots of other Canon lenses at a Rama and you can check out the link, which I’ll post in the show notes to find all of the other deals that ad aromas going to have for black Friday.
Now switching gears in the world of Nikon, Nikon Z six and Z seven firmware update version 2.1 that zero has been released as of yesterday, Nikon released the updated firmware for the [inaudible] camera bodies, which added support for optical VR for Nightcore Z DX 16 to 50F three five to six three VR and the Nicor is Z a DX 50 to two 50 at 4.5 to 6.3 VRC Mount lenses. Note that attaching these lenses disables the mechanical shutter option for custom settings. [inaudible] shutter type in group D shooting slash display of the custom setting menu, leaving a choice of auto and electronic front curtain shutter options only
ISO sensitivity can now be adjusted using the lens control ring and ISO sensitivity has been added to the options available for custom setting F to custom control assignment lens control ring and group F controls of the custom setting menu as of November 14th, 2019 the aperture display and the lens info panel for Nicor Z 24 to 72.8 S and then iCore Z 50 millimeter 58 millimeter at zero nine five S knock lenses shows both the current aperture and adjacent aperture values in modes a and M also added when on when on was selected for auto ISO since duty control and an option that does not include slow sync with selected for flash mode. Shutter speed was formerly restricted to values between those chosen for custom settings, [inaudible] flash sync speed and [inaudible] flash shutter speed. But this has now been changed to match the behavior of digital SLR cameras with the result that the minimum shutter speed now corresponds to the value selected for auto ISO sensitivity control under minimum shutter speed.
This update also fixed an issue that in extremely rare cases resulted in a camera failing to correctly record movies with 1920 by 10 81 20 priests selected for frame size and frame rate. This update also fixed an issue that occasionally resulted in quote unquote noise in the form of white lines at the bottom of the display when the electronic viewfinder was on. It also addresses an issue that in rare cases resulted in quote unquote noise in the of fine horizontal lines appearing throughout the frame and movies and the live view display. The update also fixed errors in the UTC time zones for the following three cities and the time zone and date time zone display in the setup menu, Caracas was minus four 30 is now minus four Casa Blanca was zero. Zero is now plus one and a car out was plus two is now plus three and additionally fixed an issue that resulted in incorrect date of creation being displayed in the windows 10 properties, dialogue for movies and time-lapse movies created with the camera as well as copies created with camera movie editing controls.
Now for the Nikon Z six those were the changes or updates for the Z seven for the Z six they’re all pretty much the same all the way down to the bottom. Yeah, I don’t see any major differences, so even no need to repeat all of these. If you want to download the latest version of the [inaudible] firmware update, I will share a link to this article in the show notes for this episode so that you can go download the latest version for yourself and get it installed on your Z six or Z seven body. Another item of Nikon news this week. Nikon registered a new camera under the code name and 1823 the new camera was registered in Russia under the code name and 1823 equipped with wifi and Bluetooth. Obviously it is not clear yet if the end 18 eight 23 will be mirrorless DSLR or compact camera and the same registration has also shown up on the Taiwan NCC.
The battery is E N E L 20 a for Nikon V3 and the AC adapter is H Dez seven three P for Coolpix cameras and the USB cable is USI dash E 21 the camera is compatible with speed lights, SB dash 500 stereo microphone Emmy dash one and remote controller MC dash DC too. So it’d be interesting to find out down the road what exactly this new camera turns out to be. Will it be a mirrorless, a DSLR or a compact system camera? Only time will tell, but it is interesting. Now the last bit of Nikon news I have for this week, there’s a rumor Nikon is supposedly killing some of their sport optic product lines as of yesterday. This rumor started circulating. It’s coming from vendor’s Nikon to supposedly slashing production of some of their sport optics product lines. Apparently they’re being told that all scopes and red dots are discontinued.
We cannot confirm this rumor at this time. We’ll have to wait and see if Nikon will make a, an official announcement to be an official press release or not, but these are the rumors that are currently circulating among vendors that Nikon is definitely going to be cutting their sport optics product lines. Is this an indication that Nikon is hemorrhaging money, they’re losing in battle, you know, a mirrorless battle against Sony and Canon and other big game manufacturers? It’s hard to tell. I mean, that’s one possibility because Nikon does not have nearly as deep pockets as either Canon or Sony when it comes to research and development because their portfolio of products isn’t quite as diverse as both Sony and Canon. So is this a a sign of the times that Nikon could be falling by the wayside there? Are they hemorrhaging cash? Are they on the verge of becoming obsolete going the way of the Dodo bird or the dinosaur?
I guess only time will tell, let to wait and see. Now the last thing I wanted to mention in this week’s episode, I did recently finally received my Fuji film GFX 50, our medium format mirrorless with the 50 millimeter Fujinon lens. And I must say that I love this cameras, body and lens setup. I am looking to get the 17 millimeter, I think it’s pronounced allow. Woah. Uh, F for landscape lens. Cause I didn’t want to spend $2,100 on the Fujinon, a 23 millimeter lens, which would be about an 18 millimeter equivalent. Instead, I’m going to go with the Louella manual. Only lens doesn’t have any optics, but I don’t care about that. It’s got an aperture ring and it’s got a focus ring. That’s all that matters. And it’s native G mail and it’s less than half the price of the 23 millimeter Fujinon lens. So I think that’s definitely the route I’m going to go from my landscape work because I do want to start using my medium format jammer.
Now that I have one for my forgotten pieces of Georgia project, uh, where I’m traveling to all 159 counties in Georgia to shoot abandoned and dilapidated commercial buildings, whether they’re small business buildings, former manufacturing buildings, factories, whatever the case may be. I’ve been working on this project for a little while now and I really was excited at the idea of finally having a medium format camera that I could use to take these images and get the maximum amount of detail for my photos so we will see how things go. I’m planning on getting the Lao, a 17 millimeter, which is a full frame equivalent of 13 and a half millimeters, so extremely wide, a much wider than the Fujinon 23 millimeter lens. And again, for less than half the price. So that is the route I will be going for my Fujifilm GFX 50 are, I will give you more information on my thoughts on that lens once I pick it up and take it out and put it through its paces.
But so far I really love the 50 millimeter lens that I got with the camera body. I’m quite happy with the performance I get from that. Now of course down the road I’ll probably add one or two other lenses to my GFX 50 AR. We’ll have to wait and see. Uh, for now I can get by with a decent portrait and landscape lens. That’s all I really, really need. I’m not planning to do any telephoto shooting with the, the GFX 50 AR. I just don’t personally think that, uh, medium format cameras are really intended to be used for telephoto shooting. And of course they’re not made for sports. That’s not why you buy a medium format. They’re not the fastest cameras in the world as far as frames per second count. But again, that’s not what you buy when you buy one to get maximum detail.
So you’ll have to continue to listen to the show each week. And I will be sure to share more on my feelings on this new acquisition, this new body and, and the accompanying lenses. So far, I’m very pleased with it and I want to thank the good folks to add a Rama for helping me make that purchase possible by them purchasing. My three old cam, our older Canon DSLRs, they weren’t extremely old. I had a one DX Mark two 60 Mark two in the five DSR and I sold those to Adorama and bought the GFX 50 AR with the 50 millimeter lens. All right, I am going to go ahead and wrap up episode 46 of the Liam photography podcast. I want to thank all of my listeners again for subscribing, rating and reviewing an iTunes, Pandora radio.com and anywhere else you might be listening to the show and I will see you all again next week for episode 47.