The Solar Eclipse is Two Weeks Away, Are You Ready?

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The total solar eclipse is two short weeks away in North America, and is one of the most highly anticipated photographic experiences in nature.</p>
<p><a href="https://bhpho.to/2vxgMhV">B&H Photo has a great landing page</a> of gear and accessories that will help you safely enjoy photographing and viewing the solar eclipse.</p>
<p><strong>What is the Eclipse?

</strong>A total solar eclipse occurs when the moon passes directly between the Earth and the sun in its orbit. A shadow is cast on the surface of the Earth and day turns to night for several minutes when the sun, moon, and Earth are aligned.</p>
<p><strong>Where is the eclipse?

</strong>The 2017 North American Total Eclipse will transit from the Pacific Coast to the Atlantic, passing over Idaho, Wyoming, Nebraska, Kansas, Missouri, Illinois, Kentucky, Tennessee, North Carolina, Georgia, and South Carolina. The point of greatest total eclipse duration is southeast of St. Louis, Missouri, and the point of greatest totality is northwest of Nashville, Tennessee.</p>

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<p><strong>When is the Eclipse?

</strong><em>Aug 21, 17:16 UTC</em></p>
<p>The eclipse shadow makes landfall in Oregon and begins its supersonic transit across the country. The entire transit of the shadow across the United States will take 1hr 33m 16.8s.</p>
<p><strong>How to View Safely</strong>

If you want to view the eclipse directly, <a href="https://bhpho.to/2vew74s">you must wear certified eclipse viewing glasses</a>. Only during the few moments of totality is it OK to view the eclipse with the naked eye—when the sun is completely blocked by the moon. Even when 99% of the sun is blocked, you can still suffer burns to your retinas. DO NOT view the eclipse with the naked eye, or through an unfiltered lens.</p>
<p><strong><a href="https://bhpho.to/2vxgMhV">Solar Eclipse Goodies at B&H Photo</a></strong></p>
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Preorder: Yongnuo YN686EX-RT Lithium TTL Speedlite $165

HTML:
<a href="http://www.hkyongnuo.com/e-detaily.php?ID=396">Yongnuo has announced</a> a new flash for the Canon RT system. The <a href="https://bhpho.to/2veteAz">Yongnuo Speedlite YN686EX-RT</a> is equipped with a 2.5GHz transceiver which is compatible with Canon’s ST-E3-RT, 600EX-RT II, 430EX III-RT and some other Yongnuo flashes.</p>
<p>One of the nicest features of this new Yongnuo flash is that it’s powered by a 2000 mAh lithium-ion battery which is good for 750 full blasts of light on one charge. They claim the recycle time is also faster than using AA batteries.</p>
<p>All-in-all, it’s a pretty compelling package for $165.</p>
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<p class="fs16 OpenSans-600-normal upper product-highlights-header">PRODUCT HIGHLIGHTS</p>
<ul class="top-section-list" data-selenium="highlightList">
<li class="top-section-list-item">Canon-Compatible 2.4GHz Radio System</li>
<li class="top-section-list-item">Runs on Rechargeable Li-Ion Battery Pack</li>
<li class="top-section-list-item">Compatible with Canon E-TTL / E-TTL II</li>
<li class="top-section-list-item">Guide Number: 197′ at ISO 100 and 200mm</li>
<li class="top-section-list-item">Zoom Range: 20-200mm (14mm with Panel)</li>
<li class="top-section-list-item">Tilts from -7 to 90°</li>
<li class="top-section-list-item">Rotates Left & Right 180°</li>
<li class="top-section-list-item">Wireless Master/Slave TTL Functionality</li>
<li class="top-section-list-item">Recycle Time: 1.5 Seconds at Full Power</li>
<li class="top-section-list-item">High-Speed, 1st and 2nd Curtain Sync</li>
</ul>
<p><strong><a href="https://bhpho.to/2veteAz">Yongnuo YN686EX-RT Lithium TTL Speedlite $165 at B&H Photo</a></strong></p>

<p> </p>

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TDP: EOS 6D Mark II Image Quality and analysis

Brian has added the Noise test result
http://www.the-digital-picture.com/Reviews/Camera-Noise.aspx?Camera=1140

and his comments on the Noise performance on review page
http://www.the-digital-picture.com/Reviews/Canon-EOS-6D-Mark-II.aspx

He seems to be convinced that noise performance of 6D2 is very comparable to 5D4 although later has higher resolution

Vs 5D4 @6400
http://www.the-digital-picture.com/Reviews/Camera-Noise.aspx?Camera=1140&Test=0&ISO=6400&CameraComp=1074&TestComp=0&ISOComp=6400

and also 6d2 @6400 seems to be a bit better than 1Dx2 @12800
http://www.the-digital-picture.com/Reviews/Camera-Noise.aspx?Camera=1140&Test=0&ISO=6400&CameraComp=1041&TestComp=0&ISOComp=12800

Is This One of the New Tilt-Shift Lenses?

HTML:
We’ve been sent an image that is apparently one of the new tilt-shift lenses that Canon will be releasing soon. We do not have confirmation of the focal length of the three upcoming tilt-shift lenses, but we’re assuming the 45mm and 90mm version will be replaced and we’ll get a new focal length for the line.</p>
<p>The hood in this image does look different than what appears on the original TS-E 24mm f/3.5L, the version 2 and the TS-E 17mm f/4L.</p>
<div id="attachment_30673" style="width: 397px" class="wp-caption aligncenter"><img class="wp-image-30673 size-full" src="http://www.canonrumors.com/wp-content/uploads/2017/08/newtiltshift.jpg" alt="" width="387" height="253" srcset="http://www.canonrumors.com/wp-content/uploads/2017/08/newtiltshift.jpg 387w, http://www.canonrumors.com/wp-content/uploads/2017/08/newtiltshift-225x147.jpg 225w" sizes="(max-width: 387px) 100vw, 387px" /><p class="wp-caption-text">Is this a new Canon Tilt-Shift? (Original Size)</p>

</div>
<p>Below is what we were told about the lens in the image.</p>
<ul>
<li>Release Date: late August – September</li>
<li>Currently in the hands of selected photographers.</li>
<li>Lens design similar to the 24mm II</li>
<li>The hood is different from the TS-E 24mm f/3.5L II</li>
</ul>
<p>As with all pictures, there’s always a change at modifications being made to the image. However, we are unable to find a Canon TS-E lens with this shape of a lens hood. You can see a knob to the right of the hand, so this is definitely a tilt-shift lens.</p>
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Lugging a 500mm / Tripods in Orlando/Cape Canaveral

Hi, sorry if this is the wrong place for this query but could not find an appropiate subforum for this question...

I'll be going to the Orlando area mid-August and it coincides with the eclipe days and was wondering if they allow tripods/long lenses such as a 500 inside the Kennedy Space Center. It happens the visit coincides with the Eclipse so I'd like to use my 500mm and the tipod to shoot it while inside (I plan to take the full day pass there)

Also it'd be great if you can clarify whether there could be a problem to get inside any other Orlando's parks with that gear, such as Epcot or Animal Kingdom??

cheers,

1Dx compared to 1DX MK2 differences for concert photography?

I've been lucky to have an opportunity to shoot some concerts at a small local venue. After shooting with the 6D and 7Dmk2 I recently rented the 1DXmk2 for the last gig and was blown away with the performance (AF more than anything else). So much so, that I sold my 6D within next few days and purchased 1DX (shipping tomorrow).
My concern is that the older 1DX camera will not be as good as the new one (95% keeper rate). How much difference will the new AF make in the rapidly changing light and erratically moving subjects? My standard settings are 1/200 F2.8 and auto ISO which for 90% of the images translates to 6400.

thanx,

pierre

Italy With the 40mm Lens

So it finally happened - 3 days in Cinque Terre, 3 in Florence, 1 in Milan and 1 in Lake Como/Como/Bellagio.
Agonized for months on what gear to bring slowly going from crop sensor to Canon 6D and then ending up bringing the 40mm lens only.
Further agonizing brought me to the Fuji X-T20, but got cold feet as I was about to make that happen, bought a CPL for my 40mm lens and called it a day. On a side note - it was really sunny at times and am thinking that maybe a 6-stop ND filter might maybe be a good thing for bright sun. Gonna have to figure that out.
On another side note, there was an AWESOME photographer on our Lake Como tour (the only of our tours with the rest being by the seat of our pants without knowing what we were doing) who had the Fuji X-T20 and made quite a case. At a certain point my family asked if I was traveling with him or with them. I really did learn a lot from him.
The lesson learned (which I already pretty much knew) was that when traveling with the total-non-photography family it's important to not be bogged down by gear. Not one lens change (other than some minor filter fumbling) and very little disruption in the family vacation flow. The only incident was when atop the Michelangelo park in Florence getting the sunset shot overlooking the city I need another 15 minutes and they had had enough. Got some good ones nonetheless, but concluded that shoot with "You're a bunch of ****** losers." and then went for a lovely dinner.
I think that possibly the ultimate might be a fixed lens 35mm compact or 35mm equiv. Still not ruling out the Fuji, but not until finances aren't an issue at all. If that day comes then maybe a great system would be the 14mm, 27mm and 56mm lenses (with the 27 the staple, the 14 for interiors and the 56 for creativity).
Without further ado here's the first of what'll likely be my Dirty Dozen. It's overlooking Vernazza which is the 2nd (traveling south) of the 5 Cinque Terre villages along the Italian Riviera -

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Canon 50 1.2 vs Sigma 50 art specifically for low light photos

I'm curious to know hoe people feel about the Canon vs Sigma 50 specifically in reference to low light photos. I currently have the privilege to own both, but I feel kind of silly having two similar lenses, and I feel like one should go. I had the Sigma for a long time, but specifically in low light, I always felt like maybe I was missing something in not having the Canon. It's about a half stop faster, and has the advantage of being a first party lens, which might make a difference when you're pushing the autofocus system to its limits in low light.

I used both for a while last night in low light, and I'm not sure if I can make a conclusive judgment. It seems like the Canon was just a little more apt to lock on to focus in challenging conditions, which would make sense with the wider aperture and what I assume to be better communication between the camera and lens. The Canon is definitely not as sharp as the Sigma, but honestly this was kind of welcome in low light. With the Sigma, I am always obsessing over whether or not the lens was able to nail focus in low light. With the Canon, the whole lens is not all that sharp, so I feel like there's a little more margin for error as far as what's considered "nailing" focus. But, maybe that's more of a personal issue/preference rather than something I can fault the Sigma for. I can't legitimately call it out for being too sharp.

So, anyway, I'm still on the fence.

Zeiss Milvus 35mm f/1.4 Review (+ 35L II comparo) | Dustin

Hi everyone, I spent about a month with the new Zeiss Milvus 35mm f/1.4 prior to its full release here in North America and did a lot of direct comparisons with the Canon 35L II, a lens I consider to be Canon's best non-tele prime.

Here is the coverage:

Text Review: http://bit.ly/milvus1435DA
Video Review: http://bit.ly/milvus1435YT
Resolution Examination: http://bit.ly/milvus35v35LII
Bokeh and Rendering Examination: http://bit.ly/milvusvcanon2

It’s a beautiful bit of glass, and I really enjoyed shooting with it, but, as per usual, it is big, heavy, expensive, and MF only.

How important are the caveats relative to new camera specs?

I'm the guy with lots of questions and a few observations but very little expertise! Better to be thought a fool than to open one's mouth and remove all doubt, is always in the back of my mind.

I've followed the 6D2 banter until recently "unselecting" the threads, and all the emphasis on DR kind of put me into the following mindset.

A blog by a well known bird photographer first got me really wondering about the quoting of specs of cameras and what the specs actually mean relative to real life. Here is the quote that was made relative to the shutter speeds of the 5D4 and 1DX2 (I am not interested in promoting negativity towards the individual so please don't go there):

"While both of the pro bodies, the EOS-1DX (12 fps)and the EOS-1DX II (14 fps), are a lot faster than the 5D IV (7 fps), do understand the following simplification: if you are working at 1/1000 sec with a camera that has a frame rate of up to 14 fps, you are missing 98.6% of the action poses in a given second. If you are working with a camera that has a frame rate of up to 7 fps, you are missing 99.3% of the action in a given second. This is not a great difference … (Note: the up to stems from the fact that the frame rates quoted in the specs are for One-shot or Manual focus. The frame rate drops considerably when you are working with AI Servo AF. And that drop itself varies and is related to some of your AF Menu choices."

My interest is in understanding exactly what is a fair assessment of the advantage of more fps relative to real life shooting situations. However, I'd like to take it beyond just that to the camera specs in general. Like number of AF points, as another example. Such specs are often used as clubs in CR debates (arguments).

It seems to me that most specs have caveats and often these are very important but likewise often overlooked.

So I started looking for reviews that do measurements relative to spec comparisons and came upon this site:

http://www.imaging-resource.com/PRODS/sony-a9/sony-a9A6.HTM

I was comparing what is given as shutter lag between the Sony A9 and Canon cameras (the 6D2 is not there yet) and wondering how that particular characteristic shows up in real life shooting, and is it important. So far I don't think I've heard it ever mentioned when a camera is being derided.

This should be enough to provide a feel for what it is that I'd like to provoke some discussion on and thereby learn how to be more discretionary in viewing manufacturer's specs. I've mentioned a few specific examples but am more interested a broader discussion. What specs are most important and how important are the caveats associated with them?

Another example just popped into my head: the 6D2 focuses at F8 but the caveats are very significant!

Hope I won't be the only one having an interest in this thread. ;)

Jack

Sigma Updates Firmware on the 100-400mm f/5-6.3 OS Contemporary

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Sigma has updated the firmware on the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for Canon.</p>
<p><strong>From Sigma:

</strong>We would like to announce that a firmware update for the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON and SIGMA MOUNT CONVERTER MC-11 EF-E is now available.</p>
<p>This firmware update corrects the phenomenon that the OS mechanism does not operate properly when attached to the SIGMA MOUNT CONVERTER MC-11 EF-E.</p>
<p>For customers who own the SIGMA USB DOCK, please update the <a href="https://www.sigma-global.com/en/download/lenses/sigma-optimization-pro/">firmware via SIGMA Optimization Pro</a>. For those who own the SIGMA MOUNT CONVERTER MC-11 EF-E, please update the firmware via SIGMA Optimization Pro* by connecting it to a computer using a supplied USB Cable.</p>

<p>* <em>Before updating the MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.4.1 or later for Windows, and ver. 1.4.0 or later for Macintosh from the following download page.</em></p>
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<p><strong>Applicable product</strong></p>
<ul>
<li>SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON</li>
</ul>
<p><strong>Benefit of this firmware update</strong></p>
<ul>
<li>It has corrected the phenomenon that the OS mechanism does not operate properly when attached to the SIGMA MOUNT CONVERTER MC-11 EF-E.</li>
</ul>
<p><strong>Applicable product</strong></p>
<ul>
<li>SIGMA MOUNT CONVERTER MC-11 EF-E</li>
</ul>
<p><strong>Benefit of this firmware update</strong></p>
<ul>
<li>It has become compatible with the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON (ver. 1.02).</li>
</ul>
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White dot on 70-200 IS II

First of all, good evening.

Im currently owning a Canon 70-200 F4 IS (with a Canon 6D) and i'm looking to step up. And looking for the 70-200 IS II this one appeared. The only detail is this white dot on the edge of the frontal element, ¿Is this going to affect my image quality? The lens is currently u$s1600 ($29500) and i'm going to make a u$s1467 offer ($27000).

Is it really worth the upgrade over the 70-200 F4 IS?
Thank you very much for your time!

LINK:
https://articulo.mercadolibre.com.ar/MLA-676796274-canon-ef-70-200mm-f-28-is-usm-ii-sin-parasol-_JM

what do you want to see 7D Mark III

My wish list includes

- Better AF, on part or better than 1Dx M2. Find the 7D M2 does not AF as well as the 1Dx M2 (could be operator error).
- F8 AF on all or at least many points
- Two body options. Body with detached grip (like current) and body w/ integrated grip (similar to the 1Dx M2)
- 10-12 FPS
- I guess 4K video though shoot video < 1% of the time.
- 24 MP
- Low light/High ISO better than current 7D M2 [note: corrected from overly optimistic goal of 1Dx M2] by 1-2 stops
- Cfast and CF card though I suspect we will get Cfast and SD - though with an integrated grip CFast and CF would be possible
- MLU similar to 5DS (option to wait between 0.5 - 2 seconds and then expose sensor)

In this list the only unlikely items are integrated grip (current form factor will remain with an optional grip) and hence no CFast and CF card combination

Anyone else care to share their "realistic" thoughts on what you hope to see in the 7D M3.

Headed to Belize -- gear advice / locations appreciated

Off to Belize soon. Very short trip (just a couple days), will be in the San Pedro area for most of it.

Normally, such a short trip out of the US, I'd bring a very skinny kit: 5D3 + either my 28 IS or 35 IS and that'd be it. But we're literally on the beach (eastern side of Ambergris Caye) so I'm tempted to gear up, bring the Gitzo, L plate, grads, a few lenses, all that.

Looking for locations/gear advice. If it helps frame up your advice:

  • As usual, I'm not traveling alone and my fellow travelers aren't photographers, so other than some solo sunrise/sunset tripod work, it will be stick-and-move / keep up with the team sort of travel/street/candid/vaca shooting.

  • We'll certainly get in the water but I have no intention to bring my camera when I do (unless it's something very dry like a boat ride, water taxi, etc.).

  • I'm down with informal/drive-by macro work if it's easy to get to.

  • We won't be headed to the mainland, we won't get into the rainforests, to Xunantunich, do any birding, etc. so you can skip that advice.

  • I'm a bit of a foodie. If you know of any tasty spots -- something different/memorable/unique -- wow me.

Given all that, what locations / gear might you recommend? I'm decently equipped for 16-200mm on FF with the 2x T/C if need be.

- A

45% of Leica's Camera Division is up for Sale

HTML:
<p><em>GoFundMe anyone?</em></p>
<p>According to a report from Reuters, Blackstone is in talks to sell a 45% stake in Leica’s camera division. Who might be looking to buy in, other than me? (I’m a few hundred million euro short) Zeiss, some private equity firms and a few Asia based companies.</p>
<p><strong>From Reuters:</strong></p>
<blockquote>
<p data-reactid="56">Zeiss is potentially interested in Leica Camera, but would only agree to a deal if it was able to secure a majority stake, the sources said.</p>
<p data-reactid="57">Potential buyers include other family investors, they said, adding that Asian optics groups and private equity funds had also shown interest.</p>

<p data-reactid="58">Last year, Chinese investor CDH expressed interest in buying Blackstone’s stake in Leica, but no deal materialized, one of the people said.</p>
<p data-reactid="59">China’s Huawei, founded by a former Chinese army engineer, has licensed Leica camera technology for use in some of its smartphones. Huawei is the world’s third largest smartphone maker. <a href="https://www.reuters.com/article/us-blackstone-leica-camera-sale-idUSKBN1AI22V?lr=lr">Read the full story</a></p>
</blockquote>
<p data-reactid="59">With the recent chatter about Leica and other companies like RED getting into smartphones, I could definitely see one of the smartphone hardware makers stepping up.</p>
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Off Brand: RED Hydrogen Prototype Hands-On

HTML:

<iframe width="728" height="409" src="https://www.youtube.com/embed/tQzqFbwWPSk" frameborder="0" allowfullscreen></iframe>
Last month, RED showed off a render of a new smartphone they are working on. It’s an Android based, holographic, modular pocket cinema camera/smartphone.</p>
<p>One of the interesting features of this smartphone, is its ability to turn 2D footage into 3D on the 5.5″ holographic display. While we get to see Marques’ reaction to the feature, we don’t actually get to see it in action at this time.</p>

<p>The smartphone will also be modular, as you’ll be able to add accessories and lenses to “super charge” its abilities. The design looks to be very rugged, though we don’t know if it’ll be water resistant or not. We also don’t know any of the planned specifications of the phones hardware. Pricing is said to be $1200 USD and RED is aiming to begin shipping this in Q1 of 2018.</p>
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Three New Tilt-Shift Lenses on the Way [CR2]

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We <a href="[url=http://www.canonrumors.com/canon-ef-85mm-f1-4l-is-three-more-lenses-coming-at-the-end-of-august-cr2/]http://www.canonrumors.com/canon-ef-85mm-f1-4l-is-three-more-lenses-coming-at-the-end-of-august-cr2/[/url]">reported in mid July</a> that Canon would be announcing a series of three lenses, though we weren’t sure what “series” meant. Now we’re told that the three new lenses would be tilt-shift lenses and will be announced at the end of August 2017.</p>
<p>While we’re now very confident that three new tilt-shift lenses are coming, we’re a little less confident about their announcement time. As it sits today, we think they’re coming at the end of August alongside the EF 85mm f/1.4L IS and the EOS M10 replacement (EOS M20?).</p>

<p>We’re not sure of the focal length of these three new tilt-shift lenses, but as soon as we find out, we’ll let you know. The TS-E 45mm f/2.8 and TS-E 90mm f/2.8 were both announced in April 1991, so they are obvious candidates for replacement (though not confirmed as of yet). What will the third one be? I’d love to see a tilt-shift macro, but I have no reason to believe at this time that one is coming.</p>
<p><em>More to come…</em></p>
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Canon EOS Rebel T7 (1400D) Hits Certification Agency

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What appears to be a Canon EOS Rebel T7 (1400D) has appeared for certification.</p>
<p><strong>DS 126701 </strong>(<a href="http://www.nokiS___a-camera.com/2017/08/eos-kiss-x80.html">From NokiS___a</a>)</p>

<ul>
<li><a href="https://nccmember.ncc.gov.tw/Application/FUN/FUN016_JPG.aspx?fileid=Dtf%2fxN4SKWE%3d" target="_blank" rel="noopener">Taiwan NCC</a> (pdf) · <a href="https://fccid.io/AZD230/Test-Report/03-FCC-SAR-Report-1-3493713" target="_blank" rel="noopener">America FCC</a></li>
<li>Digital camera</li>
<li>Wi-Fi installed</li>
<li>Made in Taiwan</li>
<li>Size (Measured value of sample machine): W 129.0 mm × H 101.6 mm × D 77.1 mm</li>
<li>Fixed liquid crystal</li>
</ul>
<p>We haven’t heard anything about such a camera, however these entry level Rebel’s don’t really bring a lot of excitement in these parts.</p>
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5DSR II?

A while back there was mention of a faster than normal replacement for the 5DSR. Is there any new info out there? Is it likely the "high end mirrorless" body will be the replacement? I am still trying to hold out on upgrading my 6D (60k shots and some hiccups recently) since the 5DIV and 6DII aren't super compelling.

HELP REPAIRING CANON 580 EX II BASE

I recently did an event and someone was dancing and ripped the whole of my 580 off the camera, leaving the base stuck to the hot shoe. I have al 4 screws but missing 2 washers. The problem is when i screw the screws, the base just comes out from the rest of the flash becayse the top of the screws made the 4 holes in the base bigger. I've enclosed 2 pix.

Question is, is there any screws witt the same width but longer and with bigger head, so that the base can't break away off the flash again?

Thanks.

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Canon’s ME20F-SH Multi-Purpose Camera Enables Viewers to ‘See in the Dark’ on National Geographic’s

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<em>Canon Camera Technology Allows Television Audiences to Enjoy a Live-Broadcast First: Wildlife in Full Color at Night</em></p>
<p><strong>MELVILLE, N.Y., August 2, 2017</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to congratulate the team behind the National Geographic’s live television special “Earth Live”. The two-hour broadcast featured a live-production first, by using Canon’s ME20F-SH Multi-Purpose Camera along with a variety of Canon lenses, including the CINE-SERVO 50-1000mm T5.0-8.9 EF to show television viewers live images of illusive nocturnal wildlife from around the world at night, in color, without using artificial lighting. Hosted by award-winning actress Jane Lynch and award-winning television personality Phil Keoghan, the unprecedented two-hour event gave viewers an unfiltered, real-time broadcast feed to see Earth’s wildlife in various natural habitats with the use of 51 cameras shooting simultaneously in 25 different locations across six continents. The show premiered on National Geographic, Nat Geo WILD and Nat Geo MUNDO on Sunday, July 9, and aired in 171 countries and 45 languages.</p>
<p>Working closely with National Geographic, executive producer Al Berman’s idea for “Earth Live” involved several locations that were in total darkness during the live production and those dark locations would either require lights that would disturb wildlife, or the use of infrared or thermal cameras, which didn’t suit Berman’s idea. It wasn’t until 2015 when Canon debuted the ME20F-SH Multi-Purpose Camera that Berman saw the opportunity to broadcast undisturbed nocturnal wildlife in color. The announcement of this revolutionary four million ISO, full-frame sensor camera that can shoot full-color video in extreme low-light conditions, immediately caught the attention of Berman, who approached Canon U.S.A. with his idea. The Company’s technical support team worked closely with Berman and his crew to provide and test equipment to help bring this concept to life.</p>
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<p>“The Canon ME20F-SH camera made it possible to do the show, and we were awed by the footage this camera was able to capture in challenging low-light environments,” said Berman. “Through Canon’s ongoing, hands-on support, viewers were able to see Earth’s greatest wildlife and further deepen their understanding of the world.”</p>

<p>The incredible ISO capability of the ME20F-SH allowed for viewers to virtually see in the dark and watch—in full color—live wildlife lit only by the moon. Dubbed the “Canon Moon Cam” by cinematographers during the live production, filmmakers were awed by the footage they were able to capture and broadcast in color around the world.</p>
<p>“Using Canon’s ME20F-SH allowed viewers to see these marvelous creatures in their natural environment, opening a portal into this beautiful unknown world,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “We feel honored that National Geographic and Mr. Berman called on Canon to be a part of such a pioneering and magnificent piece of work, allowing the world to see what has never been seen before. This kind of innovation is the bedrock of our company, and we look forward to more opportunities to show the power of imaging.”</p>
<p>“Earth Live was an ambitious television special that allowed us to go beyond what we thought was possible” said Tim Pastore, president, original programming & production, National Geographic. “The footage and images deeply resonated with our audience, and we couldn’t be happier that Canon was a part of the incredible moment for our network and in television history.”</p>
<p>The broadcast featured live feeds from nine Canon ME20F-SH cameras positioned in the parts of the world that were in nighttime during the live broadcast. Additional Canon equipment used by the National Geographic Channel for the television special included the CN-E30-300mm T2.95-3.7 L SP Cinema Zoom Lens and the CINE-SERVO 17-120mm T.2.95-3.9 PL.</p>
<p>“Earth Live” is produced by Bunim-Murray Productions, Berman Productions and Plimsoll Productions for National Geographic. Al Berman, Gil Goldschein, Andrew Jackson, Martha Holmes and James Smith are executive producers. For National Geographic, Michael J. Miller is the executive producer; Kevin Tao Mohs is vice president, production and development; and Tim Pastore is president of original programming and production.</p>
<p>For additional information on Earth Live and to view the full show, visit <a href="http://channel.nationalgeographic.com/earth-live/">natgeotv.com/EarthLive</a>.</p>
<p>For more information about Canon EOS cameras and lenses, please visit the Canon U.S.A. website at <a href="https://www.usa.canon.com/internet/portal/us/home" target="blank"><b>usa.canon.com</b></a>.</p>
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Review: Canon EF-S 35mm f/2.8 Macro IS STM

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The-Digital-Picture has posted their in-depth review of the brand new Canon EF-S 35mm f/2.8 Macro IS STM lens. This lens was announced back in April and started shipping in June.</p>
<p>I’ll admit I don’t shoot a lot of APS-C cameras from Canon, but I will be picking this lens up for my EOS Rebel SL2 once it has arrived into my eager hands.</p>
<p><strong>From The-Digital-Picture:</strong></p>
<blockquote><p>It is not hard to find room in the bag for the addition of the Canon EF-S 35mm f/2.8 Macro IS STM Lens and especially with the built-in macro ring light and image stabilization, the 35 macro has a very high convenience-to-use factor. With its 1x/1:1 macro capability and great general purpose focal length, subjects abound for this lens. One of the best features of this lens is the wallet impact at checkout – light. Light also aptly describes the lens itself. The image quality delivered by this lens is quite good and it is not hard to justify the addition of this lens to the kit. <a href="http://www.the-digital-picture.com/Reviews/Canon-EF-S-35mm-f-2.8-Macro-IS-STM-Lens.aspx">Read the full review</a></p></blockquote>
<p>Canon EF-S 35mm f/2.8 Macro IS STM $349: <strong><a href="https://bhpho.to/2ndtUoR">B&H Photo</a></strong> | <a href="http://amzn.to/2nGb3y9">Amazon</a> | <a href="https://mpex.com/canon-ef-s-35mm-2-8-macro-is-stm.html?acc=3">MPEX</a> | <a href="http://tidd.ly/fec1abac">Park Cameras</a> (UK) | <a href="http://www.pntrac.com/t/TUJGRU1GTEJGRk5HSklCRkhMRklH?url=https%3A%2F%2Fwww.henrys.com%2F97413-CANON-EF-S-35MM-F2-8-MACRO-IS-STM-LENS.aspx">Henry’s</a> (Canada)</p>
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