For many photographers, a fast, 85mm prime lens is a dream lens. It’s perfect for a variety of portrait styles and can produce the dreamy bokeh that is the hallmark of large aperture glass. The latest 85mm prime on the market is the second generation Sony 85mm f/1.4 G-Master II. The original was introduced eight years ago, to meet (or maybe exceed) that era’s digital camera capabilities.

But eight years is a long time in a tech timeline, and naturally, digital cameras are much more advanced. To keep up, Sony has upgraded its popular f/1.4 lens. The new 85mm GM II is capable of capturing higher resolution images with extreme detail. Sony promises corner to corner sharpness as well as beautiful bokeh from its shallow depth of field.

Importantly, the lens’ autofocus and AF tracking are designed to keep up with Sony’s  latest cameras like the Alpha 1 (a1). When shooting stills, Sony claims AF is up to three times faster than the lens’ predecessor while subject tracking has improved as well (“up to seven times”)—depending on camera body used.

Sony has paid attention to its cinema capabilities as well by minimizing focus breathing and supporting in-camera focus breathing compensation. AF is quiet thanks to its XD linear motor adding to the lens’ versatility.

At 22.7 ounces, the new Sony FE 85mm f/1.4 G Master II lens is about 20% lighter than its predecessor. Its slightly smaller, too, at 3 3/8 x 4 1/4 inches. But it maintains important physical attributes, such as an aperture ring, two customizable focus hold buttons, and dust and moisture resistance.

Even better, the FE 85mm f/1.4 G Master II lens is launching at the same price as the original eight years ago: $1,800. The lens should be shipping at the end of September.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters course below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

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Canon released a new standard zoom with its RF28-70mm f/2.8 IS STM lens. This lens provides a versatile focal range similar to the RF24-70mm f/2.8 L USM lens but at less than half the price: $1,099 vs. $2,499. Granted the L designation of the older lens is, at least partly, responsible for the price difference but the new 28-70mm will likely be a popular standard zoom option among many photographers.

In addition to its versatile focal range, the RF28-70mm offers a constant fast aperture at f/2.8. Optical image stabilization is rated at up to 5.5 stops. Pair an IBIS-equipped camera with the lens’ OIS for up to 7.5 stops of image stabilization.

Lightweight and compact, the RF28-70mm lens weighs in at 17.5 ounces. When retracted, its 3.0 x 3.5-inch body is highly portable. Fully extended to its telephoto end, the lens is still relatively compact at 5.5 inches.

The Canon RF28-70mm f/2.8 IS STM lens is slated to ship in September for an estimated $1,099.00

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters course below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

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Canon has officially launched two new, pro-level R-series mirrorless cameras: the 24-megapixel EOS R1 with its high speed performance and the 45-megapixel, high resolution EOS R5 Mark II. Not surprisingly, the R1 with its 40fps burst shooting will appeal to sports photographers and photojournalists—hence its built-in Wi-Fi and Ethernet. Of course, we expect to see this camera in action at the Olympics in Paris this summer.

Still, the R5 Mark II is no slouch when it comes to performance with a burst rate of up to 30fps, even when pushing those hefty 45 megapixel files. The R5 Mark II is slightly smaller and one pound lighter than the R1 and costs $2,000 less ($4,299vs. $6,299 for the R1).

At the same time, both cameras offer many of the same features including the new Digital Accelerator processing system designed for high speed readout of large amounts of data. Autofocus capabilities have been improved with the new Dual Pixel Intelligent AF, which takes the full body of a person into account—not just the eyes or face/head—and locks more securely into the subject.

With either camera you’ll benefit from improved eye control technology, action priority (to choose from a trio of sports: basketball, volleyball and soccer) and the ability to prioritize specific people in a frame. The R1 also features Cross Type AF for more sensitive assessment especially when vertical and horizontal lines are present in the frame.

The two cameras’ similarities extend to most video features as well with one major exception: the EOS R1 is capable of recording 4K/60p (with a crop) while, as expected, the higher resolution EOS R5 II offers up to 8K/60p. Canon has also added a full HDMI connector along with Cinema EOS video quality capabilities, and, importantly 2K proxy files to streamline your workflow.

There are plenty more features and functions for these cameras on the Canon site (usa.canon.com) for additional details about these cameras.

The Canon EOS R1’s is “expected to be available” this fall for $6,299; the Canon EOS R5 Mark II’s estimated availability this August for $4,299.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters course below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

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The recently announced Nikon Z6III full-frame mirrorless camera gets a major boost in performance and takes on a resemblance to its higher end (and more expensive) siblings, the Nikon Z8 and Z9, with the addition of several new features. Still and video capture both benefit from the updates, cementing its role as a hybrid camera. At the same time, Nikon revealed the company’s new complimentary cloud service. Nikon Imaging Cloud will offer some interesting connectivity features as well as downloadable Picture Control presets to add to the camera.

Changes to the new model can be found in the Z6III’s unique 24-megapixel sensor, the world’s first partially stacked CMOS sensor. Along with the camera’s EXPEED 7 processing engine (the same processer used in the Z8 and Z9 models), this newly designed sensor is responsible for the Z6III’s speedier performance and other capabilities. Nikon claims 3.5x faster readout than its Z6II predecessor, 6K internal N-RAW and ProRes Raw video and up to 120 fps pre-release capture. These are just a few of the benefits the camera offers. The AF system and advanced subject detection, the same used in the Z8 and Z9, promises to be an excellent upgrade to this mid-range camera.

Physically, the Z6III weighs 1.67 pounds with battery and memory card. More importantly, it takes its weather sealing from the Nikon Z8 for extra protection from dust and moisture. New to the Z6III are an exceptionally bright EVF and a fully-articulated 3.2 inch LCD versus the usual tilt screen. The Z6III is also equipped with a full complement of ports, including a full-size HDMI connection. Dual card slots house Cfexpress Type B, XQD and UHS-II compliant SDHC or SDXC cards.

In addition to the Nikon Imaging Cloud, Nikon has added new capabilities to its NX Studio software for the Z6III. Working with the software’s Color Blender and Color Grading features, users can create their own custom presets and upload them to the camera as Custom Picture Controls.

Nikon also announced the MG-N14 Power Battery Pack, which is equipped with an integrated shutter button. The pack can hold two EN-EL15c batteries. For more information about the camera and pack, visit NikonUSA.com

The Nikon Z6III is scheduled to ship at the end of June for the MSRPN OF $2,500 (body only) or $3,100 with the NIKKOR 24-70mm f/4 lens. The MB-N14 Power Battery Pack is slated for release this summer for $360.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters course below. Use the code RF25 at checkout to redeem. This code cannot be used in combination with other sales.

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Working as a retoucher, one of the hardest parts of my job wasn’t even the clean up work that an image typically requires, it was the color grading. Applying a specific look to an image to really enhance or create a mood that meets the client’s vision was either doable or really hard. There was never a time when it was completely easy, even for me.

When the client has appropriate references in similarly lit situations to the job at hand, it’s a bit easier to dissect. If a client has no particular idea of what they want, this became impossible. Think about how many potential options there can be? It’s hard to live up to. What if there was a way to communicate in color that could assist you in color grading?

People always know what they don’t want, but figuring out what they like is the hard part. With the sheer amount of possible color variations that an image could lead to, the choices are almost infinite! And in that moment of realization, I came the idea for Infinite Color. It was born out of necessity for me. I was curious to see what a color grading tool like this could do for my life and for others.

What if there was something that allowed you to see an infinite amount of ways you could do color grading for an image? It almost sounded like a superpower in Infinity War. However, that might be the worst superpower ever in a fight! But for a photographer or a retoucher, it’s a good power to have!

This would open up a level of color communication with yourself and your client. For instance, it would give you an idea of the possible direction you might want to go in without doing a lot of work when you see the color potential of your work. Then, you could easily navigate it towards the final destination.

In relation to clients, I had someone who told me that they used it on set when the client wanted something “edgy” and had no other references. He told them to give Infinite Color a spin and then suddenly the client found something they liked within a few tries. It was a done deal and the process of communication was much easier.

Even within your own personal work, if you’re curious to see which color grading path an image could go on, this opens up an opportunity to explore that. I’ve opened up old work just to see what it could look like and if I had missed any potential paths with color. Maybe you don’t want to use what it provides, but you like the idea of what it created, this gives you that clarity of direction and the ability to modify it to suite your taste.

Suddenly, I realized I solved a huge part of my frustration as a retoucher. I initially developed this for myself but wanted to make it available to everyone to try.

How It Works

Here’s a video I made about what Infinite Color is (within the first two minutes) to how it actually works. There’s even a way to save all your layers at the end of the video that allows you to make your own “presets” and apply it to a series of images for consistency! Every feature is explained in this video.

The Best Features

The video goes over everything on how the color grading panel itself works and the features. There are a few key features which are my favorite that I see people really liking. Be sure to check out the video so these points make more sense.

1. Harmonize
We decided to keep harmonize a feature that picks the highlight color of the image, and then creates a triadic color scheme from that base color. You can then override the colors to your choosing. This tool was originally not going to be included but we decided to do so as a bonus. We also tried to have it so anyone could pick which color they wanted as the primary color but surprisingly the results weren’t as pleasing. Doing it in the way that it is structured in now gave a good recommendation as a starting point, and allows for complete flexibility for adjustment. Since the regions and layers are set up for you, you can modify it on your own. This became the most optimal layout for the feature based on how it starts off and a level of customization.

2. Flexibility of layers
Some people want to only randomize a certain set of adjustment layers rather than all five, so you can turn on only the ones you want. Also, it was important that we built in the ability to shuffle individual layers without altering the rest of the layer stack once it was generated. You can then tweak the settings of each layer as well.

3. Intensity
What made this panel possible was the functionality of intensities. Images with a lot more shadows require more subtle adjustments, so adding three levels of control from light to intense really helped keep the same balance across a wide range of images. The intense feature works better with brighter images with a lot more highlights, and the light setting works best with darker images like the one in the video.

4. Scripted by referencing actual high-end layer stacks
When we had first started out building the panel, it started out really bad! The colors were all over the place because reality didn’t match theory. Truly randomizing layers produced bad results. I had to sit down and dissect what made beautiful color toning so beautiful. So I took 100’s of my old PSD files and referenced what I had done for certain editorials in different lighting conditions. I saw patterns in how far or restrained my settings were for each adjustment layer. With that in mind, we scripted it so it was within those parameters in each intensity setting. Suddenly, the way it all interacted together was like magic and we finally found something we loved.

Editor’s Note: A version of this article first appeared on Pratik Naik’s blog.

Pratik Naik is a high-end retoucher specializing in commercial and editorial work. His work can be seen in magazines ranging from Marie Claire, Elle, Zink and more. Get his Infinite Color plug-in here. And explore his new course Ai for Photographers.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters courses below. Use the code RF25 at check out to redeem. This code cannot be used in combination with other sales.

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Arriving in late May, Sigma’s second generation version of its well-regarded 24-70mm F2.8 DG DN II/Art Lens features a number of improvements that will likely increase the popularity of the new model. Design and performance enhancements in the new Sigma Art lens comprise most of the upgrades to this standard zoom lens, increasing this already-versatile lens’ flexibility.

Physically, the lens is more compact and lighter than its predecessor. The lens barrel, for example, is slimmer thanks to a downsized zoom mechanism. Beyond that, buttons and switches have been integrated into the lens barrel itself.

As expected, the Sigma Art lens is splash- and dust-resistant. Keeping the front element clean and smudge-free is easy thanks to its water- and oil-resistant coating. The lens has also been designed to prevent or correct aberrations such as sagittal coma flare.

Other new features include a click/de-click and lockable aperture ring. Sigma has also added another AF-L button for convenient vertical shooting.

Autofocus is much faster than the 24-70mm original model. The performance improvement is due, in part, to the speed of Sigma’s HLA (high response linear actuator motor, which drives the AF directly).

The Sigma 24-70mm F2.8 DG DN II/Art lens will score points with wedding and portrait photographers for its overall versatility. But when close-up shots, like wedding details, are warranted, the new lens can focus as close as 6.7 inches (at the wide end).

Scheduled to ship at the end of May for $1,199, the Sigma 24-70mm F2.8 DG DN II/Art lens is available in L- and Sony E-mounts.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters course below. Use the code RF25 at check out to redeem. This code cannot be used in combination with other sales.

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Canon announced the development of a new full-frame mirrorless camera, the EOS R1. According to Canon, it’s designed to be the “flagship” model of the EOS R System which signals that the R1 will surpass its R-siblings in features and performance, as well as the solid build and durability pro’s demand.

Current technical information and specs are limited but Canon is emphasizing the R1’s performance thanks, in part, to the new DIGIC Accelerator processor. Combined with the current DIGIC X processor, deep learning technology and a new CMOS sensor, Canon promises high speed processing of “large volumes of data” along with faster, more accurate Auto Focus capabilities. For example, the R1’s subject tracking has been improved even when multiple subjects intersect a frame, a scenario common in sports photography. Also helpful for sports photographer is the AF Action Priority function to help choose and follow unpredictable action.

Canon hasn’t announced a launch date or anticipated ship date other than possibly in 2024. But keep a lookout to see the R1 in the wild this July during the Paris Summer Olympics. It’s no surprise that Canon teased us with a little R1 info right before one of this year’s biggest sporting event in the world.

As a thank you to our readers, we’re pleased to offer you a Rangefinder exclusive discount code to get 25% off The Portrait Masters course below. Use the code RF25 at check out to redeem. This code cannot be used in combination with other sales.

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Breaking new ground in their lens line-ups, Sigma and Tamron announced the development of Canon RF Mount lenses under a licensing agreement with Canon. This is great news for users looking for third-party RF Mount APS-C lenses.

Starting this July, with additional releases continuing this fall, Sigma plans to release a half-dozen RF Mount compatible options from its DC DN Contemporary series of lenses. With a combination of zoom and primes, the new lenses—most of which favor a slightly wide-angle field of view—offer a nice variety of focal ranges. All the lenses have been optimized to work on the RF Mount delivering high-speed AF, Continuous AF, in-camera stabilization and, where available, camera aberration correction.

The first lens, available in July, is the Sigma. 18-50mm f/2.8 with a 35mm equivalent focal range (based on Canon’s 1.6x crop) of 27-75mm. Beginning this fall, Sigma will also release the following lenses (remember to apply a 1.6x crop for 35mm-equivalent):

• 10-18mm f/2.8
• 16mm f/1.4
• 23mm f/1.4
• 30mm f/1.4
• 56mm f/1.4

At the same time, Tamron announced the development of the first of its Canon RF Mount lenses, a fast, wide-angle 11-20mm f/28 Di III-A RXD, a lens already available for Sony E-mount. The latter acronym stands for Rapid-eXtra-silent stepping Drive, a quiet stepping motor that will appeal to videographers and anyone shooting where silence is required. Compact and lightweight, the lens’ 35mm-equivalent focal range of 17.6-32mm provides a wide-angle field of view even with Canon’s 1.6x APS-C crop factor.

The Tamron lens is slated to ship sometime this year.

Pricing was not available for Sigma or Tamron lenses.

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The latest retro-style mirrorless from Fujifilm, the compact X100VI, generated a real buzz throughout the photo community as soon as it was announced. Its predecessor, the X100V, was extremely popular and initial reactions to the new model seem to indicate that the new model’s popularity will likely exceed that of the previous iteration.

Physically similar to the four-year old model, the gen VI version, with its 35mm (35mm-equivalent) F2 fixed lens, is nicely compact measuring 5.03 x 2.94 x 2.17 inches and weighing 18.37 ounces. You’ll still find Fuji’s retro-style dials atop the camera body that are part of the camera’s appeal.

The new model has been updated with a 40 megapixel BSI (backside illuminated) sensor and a 4-stop ND filter. Importantly, Fujifilm has added 5-axis in-body image stabilization with a 6-stop range of compensation. It’s also the first X100 series camera to offer 6.2K/30p video, including tracking AF.

Subject recognition has been improved with a wide variety of tracking capabilities including animals, birds, vehicles (trains, planes, automobiles). Of course, the camera is equipped with human and eye-detection tracking as well.

Not surprisingly, the X100VI offers a full range of film simulation modes and adds a few additional options, such as Reala Ace, Eterna Bleach Bypass and Nostalgic Neg, with a total of 14.

The X100VI utilizes Adobe’s Frame.io, a feature that allows users to shoot directly to the cloud-based system, making images accessible to others in real time. This can come in handy for sending images via Wi-Fi to a colleague for editing without having to wait to return to the studio to process photos. Naturally, the camera also works in conjunction with an app and iPhone.

You’ll also experience faster processing times and shutter speeds from 15 minutes-1/4,000 seconds and 11fps continuous shooting with the mechanical shutter. The X100VI’s electronic shutter provides shutter speeds from 15 minutes-180,000 seconds with continuous shutter speeds of up to 20fps (albeit with a 1.29x crop).

This little camera is perfect for street shooting but will also come in handy for documentary style capture for weddings and events. It’s small, inconspicuous (and not intimidating) and nimble enough for spontaneous shots.

Shipping now, the Fujifilm X100VI sells for $1,599. For more information go to: Fujifilm-x.com

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Two New Primes from Sigma are here: a unique Fisheye Art Lens and a lightweight Sports Lens.

Sigma 15mm F1.4 DG DN Diagonal Fisheye Art Lens

A fisheye lens might not be on your list of “must haves,” but Sigma’s new 15mm F1.4 DG DN Diagonal Fisheye Art Lens may pique the interest of astrophotographers as well as landscape and architectural pros. Unique among lenses, this 15mm piece of glass is the world’s first F1.4 diagonal fisheye lens for full-frame mirrorless cameras. Not only is this Sigma lens fast, but it’s exceptionally sharp across its 180-degree field of view. And, importantly, unlike circular fisheye lenses, this one covers the entire imaging sensor for the ultimate in wide-angle images.

Like the Sigma 14mm F1.4 Art Lens, this new model excels for astrophotography. Both lenses offer a number of features to enhance astrophotography capabilities including sagittal coma flare correction that allows for excellent reproduction of bright points of light like stars.

In addition to an AFL button, the 15mm F1.4 is equipped with an MFL switch that locks manual focus by disabling the MF ring. Sheet filters can be placed in the special filter holder at the rear of the lens, and when not in use, stored in the lens cap. The lens also is designed to accommodate a heat strip, preventing the strip from slipping to the edge of the lens barrel and vignetting the shot. Its aperture ring can be “de-clicked” for smooth and quiet video capture. Bundled with a removable Arca-Swiss compatible tripod collar, the lens—which weighs a hefty 48 ounces and measures 4.1 x 6.3 inches—is well balanced when mounted on a tripod.

This dust-and-splash resistant lens will be available in L-Mount and Sony E-Mount in March for $1999.

Sigma 500mm F5.6 DG DN OS Sports Lens

At the other end of the spectrum is Sigma’s new 500mm F5.6 DG DN OS Sports Lens. Thanks to its innovative design and construction, this super telephoto lens can be handheld and measures only 4.2 x 9.2 inches and weighs 48.3 ounces (with its tripod foot).

The lens is equipped with features that provide custom options to meet any photographer’s preferences. For example, you’ll find a focus limiter switch to assist in precise autofocus and a trio of assignable AFL buttons. Its aperture ring can be “de-clicked” for silent and smoother video capture; an aperture ring lock switch is also available. Not surprisingly, the lens is splash-and-dust resistant.

Available in L-Mount and Sony E-Mount and is slated to ship mid-March for $2,999.

For more information on both lenses, go to: www.sigmaphoto.com.

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