Upgrade the memory of your 2018 Mac mini up to 64GB
877-865-7002
Today’s Deal Zone Items... Handpicked deals...
$359 $299
SAVE $60

$1799 $1299
SAVE $500

$100 $40
SAVE $60

$284 $174
SAVE $110

$147 $70
SAVE $77

$250 $230
SAVE $20

$3899 $3599
SAVE $300

$2799 $2499
SAVE $300

$1450 $900
SAVE $550

$1199 $999
SAVE $200

$5699 $4699
SAVE $1000

$1799 $1349
SAVE $450

$2999 $2399
SAVE $600

$18599 $17099
SAVE $1500

$600 $400
SAVE $200

$299 $199
SAVE $100

$1149 $799
SAVE $350

$1499 $1049
SAVE $450

$1799 $1349
SAVE $450

$1399 $1049
SAVE $350

$150 $50
SAVE $100

$380 $340
SAVE $40

$370 $330
SAVE $40

$420 $170
SAVE $250

$1597 $1097
SAVE $500

$1499 $699
SAVE $800

$1499 $699
SAVE $800

$420 $170
SAVE $250

$369 $200
SAVE $169

$1699 $1399
SAVE $300

$1498 $998
SAVE $500

$999 $949
SAVE $50

$1099 $999
SAVE $100

Save Big $$$$ on Memory for 2019 Mac Pro

Up to 65% better pricing than Apple

Lloyd recommends 32GB RDIMM modules for most users (more expensive LRDIMMS are for 512GB or more).


NOW SHIPPING: OWC ThunderBay FLEX 8

Industry-first Thunderbolt™ 3 storage, docking, and PCIe expansion solution for digital imaging, VFX, video production, and video editing professionals is available now.

  • Eight drive bays: maximize 3.5” SATA/SAS1 bays for up to 128TB of capacity
  • Future ready: top four bays can alternately use U.2 SSDs and you can create a hybrid config with real world speeds up to 2750 MB/s
  • Powerfully easy RAID: Easily design your RAID config to your exact specs with SOFTRAID
  • Connect more: (1) USB-C and (2) USB-A 10Gb/s ports for peripherals and mobile devices
  • See more: DisplayPort 1.4 for connecting up to an 8K display
  • Fast media ingest: front-side SD 4.0 and CFexpress card readers with up to 985MB/s speed
  • Do more: second Thunderbolt 3 port for daisy chaining devices or additional display(s)

Read more at MacPerformanceGuide.com:

OWC ThunderBay FLEX 8: Eight Bays for Hard Drives, U.2 NVMe SSDs, Hard Drives or SATA SSDs — Now Shipping

OWC Thunderbay FLEX8
OWC Accelsior 4M2 PCIe SSD
6000 MB/sec!
Mac or PC.


Ideal for Lightroom, Photoshop, video.
Capacity up to 16TB!
Save Big $$$$ on Memory for 2019 Mac Pro

Up to 65% better pricing than Apple

Lloyd recommends 32GB RDIMM modules for most users (more expensive LRDIMMS are for 512GB or more).


OWC Thunderblade Thunderbolt 3 SSD

Blazing fast, up to 16TB.

YEE HAH!



√ No more slow and noisy hard drives!

Canon EOS R5 Supports Focus Stacking via “Focus Bracketing” Feature (but Canon EOS R6 lacks it)

Thank you for using links on this site to buy—and FYI if you sign up for availability notifications by B&H, this doesn’t give credit to this site. Get Canon EOS R at B&H Photo.

See previous summary of the Canon EOS R5.

See also Canon EOS R5 Improvements List — Part 1.

Canon EOS R5 — front
Canon EOS R5 — front

The Canon EOS R5 includes a “focus bracketing” feature for focus stacking. The Canon EOS R6 indexplicably lacks this support.

Focus Bracketing enables new possibilities for photographers looking to increase their photo's Depth-of-Field. This operation automates the process of taking multiple images with the goal of combining the area of sharp focus of numerous depths within the scene into one image via the Digital Photo Professional application in post-production.

Of course, you need not use marginal software like Digital Photo Professional; I use Zerene Stacker.

Missing in the Canon EOS R5 are pixel shift as on Sony mirrorless, and a multi-shot high-res mode as in the Panasonic S1R.

Disappointing for still photography is the inclusion of an anti-aliasing filter aka low-pass filter. See Blur Caused by Anti-Aliasing Filter in Making Sharp Images. I’m not certain, but it might be that pixel shift and multi-shot high-res mode are precluded by the inclusion of a low-pass filter—a lousy tradeoff IMO, but I’m not a video shooter.

Canon EOS R Mirrorless System Now Has a Robust Lens Line

Thank you for using links on this site to buy—and FYI if you sign up for availability notifications by B&H, this doesn’t give credit to this site. Get Canon EOS R at B&H Photo.

With the arrival of the Canon EOS R5, a highly competitive Canon mirrorless system is now available, suitable for the vast majority of photographers, as shown below.

A few lenses are lacking, like a fisheye, 11mm to 15mm range, and super-telephotos. But the existing Canon EF super-teles can be used with the Canon Mount Adapter EF-EOS R, so that’s not a serious issue. And there are some unique offerings, like the ultralight Canon RF 600mm f/11 and Canon 800mm f/11.

In short, we now have a 35mm full-frame mirrorless world where Canon and Nikon and Sony and Leica and Panasonic all have highly credible mirrorless systems—terrific!

Canon mirrorless
Nikon mirrorless
Sony mirrorless
L-Mount mirrorless

None of these systems all have pixel shift and multi-shot high-res mode and focus stacking support, though the Panasonic S1R has multi-shot high-res mode and focus stacking support and thus gets high marks. The other systems are a WTF situation: for example it is inexplicable why focus stacking support is not available for Sony and Canon. And none of them have any form of ETTR metering.

In most regards, Sony mirrorless retains a substantial lead, with a far wider lens selection along with resolution dominance, and so it remains the go-to system for most. But some of those Canon f/1.2L primes are spectacular and may be compelling for things like portraiture (or simply spectacular lens performance).

In August, I’ll be reviewing the Canon RF 15-35mm f/2.8L and the Canon RF 24-70mm f/2.8L on the Canon EOS R5, which is due to ship July 31.


Best Deals, Updated Weekly

Canon EOS R5 Ships Soon + Canon RF 85mm f/2 Macro IS STM, Canon RF 100-500mm F4.5-7.1 L IS USM, Canon RF 600mm f/11 IS STM, Canon RF 800mm f/11 IS STM

Thank you for using links on this site to buy—and FYI if you sign up for availability notifications by B&H, this doesn’t give credit to this site. Get Canon EOS R at B&H Photo.

Canon has finally announced availability of the about $3899 Canon EOS R5 as the end of July. B&H Photo has a livestream event covering the Canon EOS R5.

All in all the Canon EOS R5 looks like a highly capable and worthy camera that will surely be favored as the #1 pick for some types of photography (action, sports, weddings, etc).

Canon EOS R5 — front
Canon EOS R5 — front

The Canon EOS R5 is aimed squarely at video, sports and action with never-before seen 8K video, formerly the province of high-end pro gear. The dual-pixel CMOS AF II should make action and sports photographers thrilled, likely also bringing the death knell of DSLR cameras in that last holdout area. DSLRs are now not just dead, but buried.

The 5-axis in-body image stabilization (IBIS) brings claimed image stabilization of up to eight stops, a boon for many types of shooting.

Imaging quality should be very high, but the 45MP sensor is rather a yawn compared to 60MP for Sony, and Nikon and other brands have been at 45MP for ~2 years already. I don’t see pixel shift or multi-shot high-res mode or focus stacking support mentioned on the Canon EOS R5 web site, in spite of the IBIS capability. That’s disappointing for a landscape photographer, ruling it out as a serious camera for landscape and similar usage, but perhaps Canon could add these features later in firmware.

UPDATE: the EOS and EOS R6 includes a “focus bracketing” feature for focus stacking. See CANON.com: Canon EOS R5 Improvements List — Part 1.

Focus Bracketing enables new possibilities for photographers looking to increase their photo's Depth-of-Field. This operation automates the process of taking multiple images with the goal of combining the area of sharp focus of numerous depths within the scene into one image via the Digital Photo Professional application in post-production.

While the EOS R5 is not a camera aimed at landscape photography, it is puzzling to see these “free money” features left out—it pretty much makes eviscerates the camera possibility of it being a superb jack-of-all-trades camera and restricts it to the sports/action/wedding and similar markets. Yeah, you can use it for landscape of course, but there is zero incentive to do so compared to the 60MP Sony A7R IV, which at least is slightly less lame for having pixel shift.

The inclusion of an anti-aliasing filter (“Low Pass Filter Installed in front of the image sensor, non-detachable”) is another significant negative from my perspective; it makes sense for video but it’s an anti-feature as far as general photography. It remains to be seen how aggressive the AA filter is at damaging micro contrast.

Canon EOS R5 specifications

  • 45 megapixel full-frame dual pixel CMOS sensor
  • 10-bit HDR photos in HEIF format
  • 12fps / 20fps bursts (mech. / elec. shutter)
  • 5.76M-dot OLED EVF with 120fps max refresh rate
  • 3.2" 2.1 megadot fully articulating touchscreen
  • 100% coverage Dual Pixel II AF system with deep-learning based human and animal detection
  • VIDEO: 8K with option for RAW or 10-bit 4:2:2 C-log or HDR PQ, up to 4K/120p, or oversampled 4K up to 30p
  • 1x CFExpress slot, 1x UHS-II SD slot
  • Weather-sealing to EOS 5D Mark IV levels
  • 2.4/5Ghz Wi-FI with Bluetooth and FTP connectivity

The Secret Is Out: Canon Officially Announces The Canon EOS R5 and R6, The Company's Most Advanced Full-Frame Mirrorless Cameras Ever

The Company is Also Announcing Four RF Lenses, Two RF Lens Extenders, and a PRO Printer

MELVILLE, NY, July 9, 2020 – With anticipation at a fever pitch, Canon U.S.A. Inc., a leader in digital imaging solutions, is excited to introduce the company’s next generation of full-frame mirrorless cameras – the EOS R5 and EOS R6. These groundbreaking cameras are the result of many years of collecting and listening to feedback from Canon users and are sure to meet the needs and demands of a variety of creators. The EOS R5 is a camera designed for professional applications featuring a new 45-megapixel full-frame CMOS sensor and uncropped 8K video recording up to 29.97 fps. The EOS R6 is geared towards advanced amateurs featuring a 20.1-megapixel full-frame CMOS sensor and 4K video recording up to 59.94 fps. The addition of the EOS R5 and the EOS R6 cameras within the EOS R series lineup further solidifies Canon’s commitment to providing the equipment needed for users to bring their content to the next level.

Canon EOS R5 — front
Canon EOS R5 — front

Canon is also introducing four RF lenses and two RF lens extenders: The Canon RF100-500mm F4.5-7.1 L IS USM, Canon RF600mm F11 IS STM, Canon RF800mm F11 IS STM, and RF85mm F2 MACRO IS STM lenses. All four new lenses were designed to meet the ever-expanding demands of the skilled creatives who capture amazing imagery using EOS R series cameras, including the new EOS R5 and EOS R6. In addition to the lenses, there are two new RF lens extenders, a 1.4x and a 2x model, allowing for users to take their compatible RF lens focal lengths even farther, and a 13-inch professional printer, the imagePROGRAF PRO-300, to bring photos to life through the power of print.

“For all of the Canon research and development team members who worked tirelessly on the production of these new products, today marks the culmination of a long journey. For those people looking for the next great tools to work with to expand their creative possibilities, the door is now wide open,” said Tatsuro “Tony” Kano, Executive Vice President and General Manager of Canon U.S.A.’s Imaging Technologies & Communications Group. “The industry has asked for new products that can push their levels of creativity to new heights, and we are confident that the EOS R5 and EOS R6, alongside the new lenses, lens extenders, and the pro printer, will fulfill those needs and more.”

Canon EOS R5 — top view
Canon EOS R5 — top view

Canon EOS R5
Canon EOS R6
Both the EOS R5 and EOS R6 cameras have the ability to capture the action of a variety of fast-moving subjects with impressive accuracy and speed. When using the mechanical shutter, each can shoot up to 12 fps and up to 20 fps when using the completely silent shutter. Both cameras are the first to be outfitted with Canon’s advanced Dual Pixel CMOS AF II which utilizes up to approximately 100 percent coverage of the AF area and EOS iTR AF X incorporating AF tracking algorithms using deep learning technology and enhanced readout speed of the CMOS sensor and processing speed thanks to the DIGIC X image processor. The 1,053 automatically selected AF Zones are made even more potent by the ability to detect the human eye, face or head as well as the eye, face or body of animals such as dogs, cats and even birds[i]. Adding to the feature set is the 5-axis In-Body Image Stabilizer, having coordinated control with Optical Image Stabilizer in IS equipped RF lenses. This provides up to 8 stops[ii] of shake correction, a feature that many creators have long asked for from Canon. Both the EOS R5 and R6 cameras come with a new LP-E6NH battery with a higher capacity than the previous model.

Canon EOS R5 — rear
Canon EOS R5 — rear

As the new flagship model in the EOS R series lineup, the EOS R5 camera has features that pack a punch for a variety of users who create both still and video content. It has a powerful 45-megapixel full-frame CMOS sensor and is driven by the speedy DIGIC X image processor, giving wide dynamic range as well as boasting an ISO range of 100-51,200 that is expandable up to 102,400[iii]. In a camera full of eye-popping features, one that really stands out is the ability to record uncropped 8K RAW internal video recording up to 29.97 fps and 8K internal video recording up to 29.97 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). The camera can also record 4K internal video recording up to 119.88 fps in 4:2:2 10-bit Canon Log (H.265)/4:2:2 10-bit HDR PQ (H.265). External recording in 4K is also available up to 59.94 fps. When in DCI modes, the 8K and 4K video recording is uncropped and Dual Pixel CMOS AF II is available in all 8K and 4K recording modes. Additional features of the EOS R5 camera include:

  • Dual-card slots: 1x CFexpress[iv] and 1x SD UHS-II[v]
  • Built-in 0.5-inch OLED EVF with approximately 5.76 million dots and a 119.88 fps refresh rate[vi]
  • 3.2-inch 2.1 million dots vari-angle LCD touch screen
  • 5GHz/2.4GHz Built-in Wi-Fi®[vii] and Bluetooth[viii] Technology with the ability to utilize the image.canon application, as well as optional WFT-R10A wireless file transmitter with Ethernet support
  • Enhanced operating controls such as rear-dial, multi-controller
  • The ability to voice tag photos and videos
  • Weather, drip and dust sealing on par with the EOS 5D series

The EOS R6 camera is well-equipped with a host of new features to push the limits of creativity for imaging enthusiasts. The combination of the EOS-1D X Mark III based 20.1-megapixel full-frame CMOS sensor and the DIGIC X image processor produces an ISO range of 100-102,400 and is expandable to 204,800. Internal video recording at 4K is capable up to 59.94 fps or 1080p up to 119.88 fps in 10 bit 4:2:2 Canon Log(H.265) or HDR PQ(H.265). The camera also features a built-in 0.5-inch OLED EVF with approximately 3.69 million dots and a 119.88 fps refresh rate[vi]. Additional features of the EOS R6 camera include:

  • Dual UHS-II SD card slots
  • 3-inch 1.62 million dots vari-angle LCD touch screen
  • 2.4GHz Built-in Wi-Fi®[vii] and Bluetooth Technology[viii] with the ability to utilize the image.canon application
  • Enhanced operating controls such as rear-dial, multi-controller
  • Weather, drip and dust sealing on par with the EOS 6D series

Battery Accessory
The optional BG-R10 battery grip accessory will be available for both the EOS R5 and EOS R6 full-frame mirrorless cameras. The BG-R10 accommodates up to two batteries and is compatible with the new LP-E6NH, LP-E6N and LP-E6 batteries. The convenient BG-R10 grip accessory can also improve handling for users while capturing portrait photography.

Canon RF 100-500mm F4.5-7.1 L IS USM
Canon RF 100-500mm F4.5-7.1 L IS USM

Canon RF 100-500mm F4.5-7.1 L IS USM
The Canon RF100-500mm F4.5-7.1 L IS USM is a high-performance and versatile super-telephoto zoom lens that will find its way into the bags of many photographers. The compact and lightweight lens features optical image stabilization of up to five stops* of shake correction with three different IS modes, including standard, panning and during exposure only. Two Nano USM motors are at the heart of this lens and provide users with high-speed, smooth and quiet auto focus with a minimum focusing distance of three feet. Additional features of the Canon RF100-500mm F4.5-7.1 L IS USM include:

  • Rotation-Type zoom ring and torque adjustment allows for precision control and feel
  • Customizable control ring that enables photographers to adjust exposure compensation, shutter speed, aperture or ISO
  • 12-pin Communication System
  • Canon L-Series grade dust and weather-resistant construction with a fluorine coating
  • Lens hood with side window allows specialty filters to be adjusted even while Lens Hood is attached
  • Compatible with the new 1.4x and 2x RF lens extenders (from 300 to 500mm focal length)

Canon RF 600mm f/11 IS STM
Canon RF 800mm f/11 IS STM
The Canon RF600mm and RF800mm F11 IS STM lenses are the first fixed focal length super-telephoto RF lenses and are incredibly compact and lightweight. The portability of the new lenses is made even greater due to the ability for the lens barrel to retract and lock in place when the lenses are stowed away and not in use. Diffractive Optics technology helps to reduce the necessary number of lenses and greatly diminish the cost of the lenses, making them affordable for a broader group of photographers. Additional features of the Canon RF600mm and RF800mm F11 IS STM lenses include:

Canon RF 600mm f/11 IS STM
Canon RF 600mm f/11 IS STM
  • Lightweight - the RF600mm weighs approximately 2.05lb and the RF800mm weighs approximately 2.78lb, respectively
  • Compact size, RF600mm measures approximately 7.85inch and RF800mm with measures approximately 11.09inch when retracted, respectively
  • Fixed f/11 aperture
  • Optical image stabilization of five stops* for the RF600mm and four stops* for the RF800mm of Shake Correction
  • Lead screw-type STM enables smooth auto focusing for still-image and video shooting
  • Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
  • 12-pin Communication System
  • Compatible with the new 1.4x and 2x RF lens extenders
Canon RF 800mm f/11 IS STM
Canon RF 800mm f/11 IS STM
Canon RF 85mm f/2 Macro IS STM
Canon RF 85mm f/2 Macro IS STM

Canon RF 85mm F2 MACRO IS STM
The third RF85mm lens in the RF lineup, the Canon RF85mm F2 MACRO IS STM is compact and lightweight, featuring a bright f/2 aperture helping to capture images that have exceptional bokeh. The lens features a maximum magnification of 0.5x and a minimum focusing distance of 1.15 feet, providing users with macro-photography capability. Additional features of the Canon RF85mm F2 MACRO IS STM include:

  • Optical Image Stabilization with up to five stops* of Shake Correction
  • Hybrid IS compensates for angular and shift camera shake during macro photography
  • Control Ring for Direct Setting Changes.
  • 12-pin Communication System
  • Nine blade Circular Aperture

RF Lens Extenders
Lens extenders have long been a practical and useful tool for a variety of photographers. That story continues with the introduction of the Extender RF 1.4x and Extender RF 2x. The new lens extenders inherit the same high image quality, precision AF and reliability, such as being drip and dustproof, of EF lens extenders. When used in combination with the newly-released compatible lenses, the capturing range can be dramatically increased, providing consumers with additional use cases for their existing RF lenses.

Canon imagePROGRAF PRO-300
Completing the lineup of professional printer options from 13 inches through 60 inches, Canon also unveiled today the new 13-inch Canon imagePROGRAF PRO-300 Inkjet Printer along with a new Premium Fine Art Rough paper. Providing an improved workflow and high-quality output within a smaller footprint compared to previous models, this new printer excels at professional printing performance. Combined with the new Premium Fine Art Rough paper that features a textured surface to express the depth of an image, the printer along with the paper and new EOS R5 or EOS R6 camera introduces a new powerhouse professional imaging trio that meets creators’ demands.

Pricing and Availability
The EOS R5 full-frame mirrorless camera is scheduled to be available at the end of July for an estimated retail price of $3899.00 for the body only and $4999.00 for the R5 and RF 24-105mm F4 L IS USM lens kit**.

The EOS R6 full-frame mirrorless camera is scheduled to be available at the end of August for an estimated retail price of $2499.00 for the body only, $2.899.00 for the R6 and RF 24-105 F4-7.1 IS STM lens kit or $3,599.00 for the R6 and RF 24-105mm F4 L IS USM lens kit**.

The BG-R10 battery grip accessory and WFT-R10A are both scheduled to be available at the end of July for an estimated retail price of $349.99 and $999.99**, respectively.

The RF100-500mm F4.5-7.1 L IS USM lens is scheduled to be available in September 2020 for an estimated retail price of $2,699.00. The RF600mm F11 IS STM and RF800mm F11 IS STM lenses are scheduled to be available at the end of July 2020 for an estimated retail price of $699.99 and $899.99, respectively. The RF85mm F2 MACRO IS STM lens is scheduled to be available in October 2020 for an estimated retail price of $599.99 **.

The RF Extender 1.4x and 2x are scheduled to be available at the end of July for an estimated retail price of $499.99 and $599.99** each.

The imagePROGRAF PRO-300 Printer will be available later in July for a suggested retail price of $899.99. Premium Fine Art Rough paper will also be available later in July for a suggested retail price of $44.99 for Letter size, $109.99 for 13” x 19” inches and $169.99, 17” x 22” inches**.

For more information please visit, www.usa.canon.com/virtualproductlaunch.

Sony FE 12-24mm f/2.8 GM: will it be the ultra wide zoom I’ve been hankering for?

Thank you for using links on this site to buy—and FYI if you sign up for availability notifications by B&H, this doesn’t give credit to this site.

The about $2999 Sony FE 12-24mm f/2.8 GM weighs in at a remarkably lightweight 867 grams for its f/2.8 speed. As a complement to other zooms such as the Sony 24-70mm f/2.8 G, it would be my strong preference over the Sony FE 16-35mm f/2.8 GM for getting into the moderate wide angle range, especially given the modest performance along with unappealing pincushion distortion at the long end of the 16-35/2.8. But mainly—there is a huge difference between 16m and 12mm, so it is disqualifying to give up the 12-16mm range for my shooting.

Sony FE 12-24mm f/2.8 GM
Sony FE 12-24mm f/2.8 GM
  • E-Mount Lens/Full-Frame Format
  • Aperture Range: f/2.8 to f/22
  • 9 special glass elements: 3 extreme aspherical, 1 aspherical, 2 Super ED, 3 ED
  • Nano AR II and Fluorine Coatings
  • Direct Drive Super Sonic Wave Motor
  • Focus Hold Button, AF/MF Switch
  • Dust and Moisture-Resistant Construction
  • Seven-Bladed Rounded Diaphragm

Will the Sony FE 12-24mm f/2.8 GM be the ultra wide angle zoom lens I finally buy? It has the speed, it has the full range I want (11mm would have been a nice touch I suppose), and it has the specifications that say it ought to be the best lens of its range yet made (the Canon EF 11-24mm f/4L is superb, but it is a stop slower). And maybe it will outperform primes in its range, like the Zeiss Batis 18mm f/2.8 Distagon and the Voigtlander FE NOKTON 21m f/1.4.

The difference between 12mm and 14mm is much greater than the small numeric difference suggests. For me, that difference is a compelling factor in selecting an ultra-wide zoom.

Also, at 12mm there will surely be strong barrel distortion which will diminish in the 14-16mm range—versus a 14-24mm zoom which will have the full or nearly full distortion problem at 14-16mm—keeping distortion down is a very real practical advantage to a 12-24mm instead of 14-24mm. UPDATE: checking sample raw images, the barrel distortion at 12mm is remarkably well controlled, and at 14mm it looks to be as good as it gets for 14mm. Pincushion distortion ismore than desirable at 24mm but it is not worse than similar lenses.

But can a good sample be obtained?

Sample (build) variation that leads to lens skew is the single biggest factor in lens performance these days (lens mount / sensor parallelism as a secondary issue)and so it’s not a question of theoretical lens design with fantasy MTF, but the concrete challenge of getting a good sample. So as much as I liked the Sigma FE 14-24m f/2.8 DG DN Art a great deal, I never could find a symmetric sample—including a sample I tried in May this year which was badly blurred on one side wide open. I for one see strong evidence that lab bench tests do NOT detect or show issues properly, because tiny changes in focus can produce wildly differing results when the lens is shot on distance scenes.

About $2998 Sony FE 12-24mm f/2.8 GM

Thank you for using links on this site to buy—and FYI if you sign up for availability notifications by B&H, this doesn’t give credit to this site.

The exceptionally high price (for Sony) and 17-element design suggests that Sony is going all out to deliver the world’s best 12-24mm zoom. Will it outperform the Sigma 12-24mm f/4 DG HSM Art and Sigma 14-24mm f/2.8 DG DN Art?

Optical design of Sony FE 12-24mm f/2.8 GM
Specifications for Sony FE 12-24mm f/2.8 GM
Focal length: 12-24mm
Aperture range: f/2.8 - f/22
Focusing range: 11.02 in / 28 cm
Angle of view: 122° - 84°
Number of elements/groups: 17 elements in 14 groups
9 special glass elements: 3 extreme aspherical, 1 aspherical, 2 Super ED, 3 ED
Nano AR II and Fluorine Coatings
Diaphragm: 9, rounded
Magnification: 11.02 in = 28 cm to INF
0.14X = 1:7.1
Filter thread: gel filter, rear
Weight, nominal: 1.86 lb = 847g
Dimensions: Approx. 33.84 x 5.39 in / 97.6 x 137 mm
Street price: about $2999
Supplied with: Front Lens Cap
Sony ALC-R1EM Rear Lens Cap
Lens Case
Filter Cutting Template
Limited 1-Year Warranty

July 4th Conditions Vary Widely Year-to-Year in the Mountains

What a difference 3 years make!

This year, Saddlebag Lake was free and clear of all ice by late May.

Compare that to June 25 2017 at Saddlebag Lake—wow! The lake was still full of ice on the 4th.

CLICK TO VIEW: Leica M10 and Recommended Lenses

Heavy Snow Pack on Saddlebag Lake
Heavy Snow Pack on Saddlebag Lake
f8 @ 1/500 sec, ISO 100; 2017-06-25 16:38:01
LEICA M10 + Leica 18mm f/3.8 Super-Elmar-M ASPH

[low-res image for bot]

Craig writes:

I keep coming back to this picture above, what a great capture and beautiful colors.

This along with your photos and commentary on the Leica 21 SE/ M9 coverage + your hike/documentary with the Leica Q represent some of your best work in creating a truly immersive experience.

It was a tough transit to this location (mountain bike ride past closed gate, traversing 3-feet-deep snow gulleys, etc, but this was an amazing once in a decade OMG day... never seen since or before.

f8 @ 1/500 sec, ISO 100; 2017-06-25 16:57:10
LEICA M10 + Leica 18mm f/3.8 Super-Elmar-M ASPH

[low-res image for bot]
f8 @ 1/500 sec, ISO 100; 2017-06-25 17:01:02
LEICA M10 + Leica 18mm f/3.8 Super-Elmar-M ASPH

[low-res image for bot]

Upgrade the memory of your 2018 Mac mini up to 64GB

Putting the 16TB OWC Accelsior 4M2 PCIe SSD to Use as Main Storage

UPDATE:technology like this is wonderful: fast beyond measure and totally silent. See the blazingly-fast performance of the OWC Accelsior 4M2 PCIe SSD.

...

A dream of mine is now fully realized: no more noisy 'spinners' (hard drives) except for backup!

With the 16TB OWC Accelsior 4M2 PCIe SSD as main storage along with the 8TB internal Apple SSD (24TB SSD internal total), I now can store all the data and images I’ve ever created in my life, on internal SSD storage, with room to spare for ~2 years to come.

OWC Accelsior 4M2 PCIe SSD

And with dual 8TB OWC Thunderblade external SSDs, I have another 16TB of SSD storage, which is ample for several more years of 100MP and 150MP cameras. For now I can use them for clone backups and travel storage.

With such large amounts of data, data integrity with a tool like IntegrityChecker is essential for validating backups and data transfers. Not to mention finding many gigabytes of duplicate files.

Over the next few days, I’ll be reporting on performance (outrageously fast) and how I’m utilizing the OWC Accelsior 4M2 PCIe SSD in my 2019 Mac Pro as main storage. The OWC Accelsior 4M2 is an awesome choice for video use too, ditto for the OWC Thunderblade.

Regarding the 2019 Mac Pro for professionals, it is by far the best Mac out there for outstanding flexibility and my recommendation for professionals is to apply risk mitigation by avoiding ARM-based Macs and required macOS Big Sur until they are well established.

SoftRAID configuration of 4-blade RAID-0 stripe for 16TB OWC Accelsior 4M2 PCIe SSD

Upgrade the memory of your 2018 Mac mini up to 64GB

REVIEWED: Netgear Nighthawk X10 Wireless-AD7200 Tri-Band Gigabit Router

I haven’t been happy with my WiFi for quite some time now—Apple Airport Extreme not only has poor range and poor performance, but they go AWOL often enough to be annoying, and the performance is flaky too.

Accordingly, I ordered the Netgear Nighthawk X10 Wireless-AD7200 Tri-Band Gigabit Router a few days ago, and I have now tested it and it is a very satisfying upgrade.

REVIEWED: Netgear Nighthawk X10 Wireless-AD7200 Tri-Band Gigabit Router

As always, I strongly recommend wired Gigabit (or 10G) ethernet as vastly superior to all forms of WiFi, at least until we see 60GHz support (which the Netgear Nighthawk X10 supports). All my Macs are using gigabit ethernet (though my kids stick to WiFi). WiFi is for entertainment and miscellaneous devices like iPad/iPhone/TV etc—WiFi is best avoided for performance-sensitive work.

Noteworthy Deals at B&H Photo

It’s a buyer’s market these days!

Thank you for using my links—it matters.

Representative items shown, be sure to check out all the Top Deals pages.

Reader Comment: Hasselblad X1D-50C II vs Fujifilm GFX100 and Lenses for Each System

See also: Reader Question: Fujifilm GFX100 Best Medium Format Option?.

Reader Micha writes:

I’ve recently subscribed to your digital medium format reviews as I am considering to invest in one of the two systems, either the Hasselblad X1D II or the Fujifilm GFX-100.

I am mainly photographing people in all sorts of situations (mainly on location) and have tried out both systems myself by renting or loaning them for a couple of days.

Hasseblad X1D 50C

My experiences regarding the X1D II mirror exactly yours, on the outside it’s a lovely camera, but what’s being used inside is just outdated and can easily lead to frustration. The AF system used is incredibly archaic. And not having a multifunction button to focus and have to use the display instead just doesn’t feel right.

I am not sure and don’t think that those issues will be amended in the upcoming camera version, I was told by sources who are close to Hasselblad that there will be a 100MP X1D next year (which in my case would be more than I need for my kind of work).

Hence I am leaning towards the Fujifilm system.

I’ve read that you praise the quality of the XCD lenses in general, do you find that the GF lenses come close quality wise? I did read the reviews of the lenses which would be of interest for me. XCD 21mm, 45mm and 80mm, and the GF 23mm, 45mm, 63mm and the 110mm

I’d be very interested to hear your opinion and thank you so much for providing those very helpful reviews on your site.

Have a great Sunday, with best wishes from London, Micha

Fujifilm GFX100

DIGLLOYD: my essay on this topic including the true cost of each system is found in my review of the Hasselblad X1D-50C II:

Value Proposition: Hasselblad X1D II System vs Fujifilm GFX100 System

By the end of my trip shooting the Hasselblad X1D II, I was so pissed-off and irritated with the camera that it felt like punishment to use it. After a few hundred camera lockups (often losing me shots at critical moments), I wouldn’t advise anyone in their right mind to consider it. And yes, the autofocus is as bad as it gets on any modern camera, a huge handicap that that is a huge time-waster that forced me to to verify focus manually since I found I could never depend on the AF to get it right.

In general, my experience tells me that Hasselblad XCD lenses are generally held to higher quality control standards than Fujifilm GF lenses. But seeing asymmetry with most of the lenses I tested, I now have to wonder about that, as this go-round it looks more like a lens mount / sensor parallelism issue. I would also say that overall, lens performance is superior with Hasselblad XCD lenses (which carry a large price premium), BUT that is very different than choosing the best lenses in each system and getting good samples of those lenses.

However, Fujifilm GF lenses chosen well (and good samples) range more than good enough excellent, and image quality is also about the huge quality advantages of oversampling. Sampling at 100 megapixels (100MP sensor) blows away any 50MP camera in detail of course, but it also means greatly reduced digital artifacts for a more natural result. And when 100MP is downsampled to 50MP and then compared to a native 50MP sensor image, it is easily seen that the native 50MP image is grossly inferior in every way (digital artifacts of all kinds, noise, detail, etc).

Micha continues:

... thank you so much for your kind reply! .. and even putting my question and the answer on your website :) That’s super helpful and very appreciated.

Yes the X1D II still feels and operates very much like an unfinished product. I spoke to a few of my colleagues who owned one, invested a lot of money for extra lenses, and then switched over to the Fujifilm GFX, it’s not as sexy and pretty, but at least it works and gets the job done in a reliable way.

DIGLLOYD: exactly. The Hasselblad X1D II 50C is the “dumb blonde” of the camera industry. A mindful person (photographer) knows that “beauty” starts inside, with reliable operation, bang-on AF, fast response time, etc.

Thanks everyone for buying via my B&H links if you can as it matters to me a lot.

Howard C writes:

I read with interest your recent review of the Hasselblad X1D II and several XCD lenses, and then your comparison of the X1D II v. the Fuji GFX 100. I thought I would provide a counterpoint. 

First, your experience with the multiple freeze-ups with the X1D II you reviewed is totally at odds with my experience over the last 3 years. I used an X1D from January, 2017 to the Fall of 2019, and an X1D II from the Fall of 2019 until now. For the first 5-6 months, I did find the X1D to be buggy and at times frustrating to use. Lock-ups were frequent and the AF was also not always reliable. However, after a number of firmware updates, the stability of the X1D improved dramatically. The X1D and now the X1D II have proven to be the very best cameras I have ever used, going all the way back to 1967. Are they the perfect answer for every photographer? Of course not. Nothing in life is perfect. Everything has it plusses and minuses, and we all decide how to prioritize them.

Are there quirks in the way the X1D operates? Yes. I agree with you about the way it bounces out of magnified Live View if you use back button AF. I want it to stay in magnified Live View so I can assess how well the AF performed. However, I can adapt to that, as well as the way the AF sometimes hunts in low light. OTOH, I have taken many long exposures with the X1D, and it has never locked up like your sample apparently did on many occasions. Nor has the response time of the camera ever been an issue for me. I primarily shoot landscapes. When I pull the X1D out of my backpack, I turn it on. The camera is ready to shoot long before I have set up my tripod and figured out the best composition to shoot. I shoot slowly and deliberatively. The X1D has no trouble keeping up with me. 

Second, for me, the portability, the ergonomics and the user interface of a camera are critical. I insist on a camera that is simple to learn and operate, not littered with a multitude of menus and alternative ways to program it. I want the camera to get out of my way, not get in my way as I try to recall how I programmed it and which button is for which function. The X1D is fundamentally different from the GFX 100 in these respects. Day and night. 

Third, I want lenses with superb optical quality in the limited range of focal lengths that I need. The XCD lenses are the best I have ever used, and yes, I have tried the Fuji GFX lenses. I have never had to buy multiple copies of an XCD lens. And, I have never had any lens skew issues with the five that I own. The Fuji 32-64 GFX zoom is an excellent lens. The best zoom I had ever used. The new XCD 35-75 zoom is even better. Are the XCD lenses fast lenses? No, but that’s irrelevant to me. I am far more concerned with optical quality and portability than speed. Hasselblad gets that. 

Finally, I should mention the color palette in the X1D files. It’s not easy to describe, because what makes it exceptional is that it is so natural and, in a word, elegant. It’s just…beautiful and in good taste. And it’s true whether you are talking about portraits, landscapes, product, really anything. I suggest that anyone evaluating an X1D versus a GFX spend a little time on the Hasselblad website getting a sense of the “look” of the images that are showcased there. It actually tells you a lot about the aesthetics that are important to Hasselblad (and, of course, the photographers who took the photographs.) Hasselblad is a small manufacturer. They can’t do everything well, or even at times communicate very well. However, I do appreciate that the virtues in photography and camera systems that are apparently important to Hasselblad are the ones important to me. 

DIGLLOYD: everyone is welcome to prefer a brand or a camera for completely arbitrary reasons of their own, or because of specific features, or any reason at all. But when it comes reviewing something, I deem it essential to document and discuss bugs and usability problems and time-wasting behaviors, since they may be of crucial consideration for anyone considering the system.

Hasselblad XCD lenses: excellent. Hasselblad color and tone: excellent.

With the X1D II, I could not shoot in the best dawn or dusk light over my entire evaluation 4-week evaluation period due to lockups at 16s or longer exposures (a few exceptions, which IMO all but proves it is a bug that flakes out the camera). The camera locked up hundreds of times, frequently 5 seconds just after turning it on (when it quickly entered power save mode). I lost many images. Gone forever just like the Hasselblad X1D back in 2018, which failed me on Mt Whitney with my daughter not producing even a single image—images I can never repeat any more than a wedding. Unacceptable.

45 minutes on the phone with USA Hasselblad tech for no solutions. Redoing firmware several times. Major firmware update in early June that fixed nothing. No interest by Hasselblad in camera logs to debug the problem. BTW, why does the camera have log files at all? Maybe because it is buggy as hell, and Hasselblad must need the logs to figure out what’s failed (which makes me puzzled why no interest in the logs). I don’t have log files on Canon or Nikon or Sony or Fujifilm and those cameras are highly reliable. Connect the dots.

Maybe I got a “bad camera”, but what is that exactly? I don’t know after 12 years of using just about everything on the market, but I do know that Hasselblad X1D and X1D II have been the worst experience of any cameras I have ever used. Having the X1D destroy my plans on Mt Whitney back in 2018 was bad enough (so all I got was iPhone images). But it was followed by radio silence from Hasselblad after I provided logs and the camera back to them—no explanation, no followup.


Upgrade the memory of your 2019 iMac up to 128GB

Olympus Exits the Camera Business

Olympus is selling off its imaging business, according to its press release.

Olympus Corporation ("Olympus") and Japan Industrial Partners, Inc. ("JIP") hereby announce that, today, the parties signed a memorandum of understanding to carveout Olympus’s Imaging business to a new company (“NewCo”) and subsequently transfer its shares to a fund managed, operated or otherwise handled by JIP (the "Transaction").

After the due diligence and further discussions and negotiations, the parties are aiming to sign a legally- binding definitive agreement for the Transaction (the "Definitive Agreement") by September 30, 2020.

Reader Roy P writes:

I guess the MFT format just got killed by ASP-C:

https://petapixel.com/2020/06/24/olympus-exits-the-camera-business

I don’t know if you know the story about Yoshihisa Maitani, the guy who started Olympus. He was a short man with small hands, and he wanted to create an SLR that was really compact and comfortably fit his hands. All Olympus SLR cameras were really tiny, the smallest you could make an SLR camera.

Olympus E-M1X

The challenge today is how to find a competitive position in the industry. Sony and Canon both have the scale, own proprietary sensor technologies, have extensive chip design expertise in house, and can draw out their own technology roadmaps that have no critical dependencies on anyone in their supply chain.

Panasonic has very deep pockets and owns a good slice of consumer videography. It remains to be seen how far they take the Panasonic S1R / S1 line. So far, they haven’t exactly been super aggressive, but they have the staying power.

Fujifilm has the money, a strong share of the APS-C market and increasing share of the large format market, and the staying power.

Phase One has its own unique niche positioning that no one else will want to step into, and has the staying power

You have to wonder how Pentax is going to survive. It’s going to be a struggle for Nikon and Hasselblad also.

DIGLLOYD: I’d rather see Olympus around, this is a shame, but I’ve long felt that Micro Four Thirds was doomed in the era of sub-$1000 full-frame cameras with bodies smaller then MFT. There is still a place for MFT of course, but enough to keep it viable.? Dubious. But the scandals and mis-management at Olympus were too much of a load to carry.


Upgrade the memory of your 2018 Mac mini up to 64GB

MacPerformanceGuide.com

diglloyd Inc. | FTC Disclosure | PRIVACY POLICY | Trademarks | Terms of Use
Contact | About Lloyd Chambers | Consulting | Photo Tours
RSS Feeds | Twitter
Copyright © 2020 diglloyd Inc, all rights reserved.