Help needed: Af settings on 5D Mark IV for surrounding birds in flight

Hi Guys!

I have purchased an 5D Mark IV (10-400mm L IS II and 500mm L IS II 4.0) and now trying to learn to use all the new features properly.
In the last days I tried to shoot a lot of birds that were flying in a swarm arround me (seagulls, ducks...) at an varying distance (2-50m). It was hard to get the AF working in this situation. I tried all AF cases using all AF settings (single point, large field, all AF points), but none was really working good.
The Af needs about one second to get stuck on the birds, but in most shots, the bird has passed.
Is there anything I can make better?

Thank you a lot
Daniela

Preorder Information for the New Sigma Lenses

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As well all know, Sigma announced a bevy of wonderful new Art and Contemporary series lenses this past week. The bad news is, pricing and preorders have not become available.</p>
<p>We’re told that pricing will not be released until the end of March, which means there will be no preorders until this time. However, we did have information from an authorized retailer that pricing was to be released this past week, so we’re not sure if anything has been truly finalized as of yet. If the end of March is the case, we’re hoping shipping will follow almost immediately.</p>
<p><strong>Announced Sigma lenses:</strong></p>
<ul>
<li>Sigma 14mm f/1.8 DG HSM Art</li>
<li>Sigma 24-70mm f/2.8 DG HSM OS Art</li>
<li>Sigma 135mm f/1.8 DG HSM Art</li>
<li>Sigma 100-400mm f/5-6.3 DG HSM OS Contemporary</li>
</ul>
<p><strong>Preorder surprises from Canon Rumors and select retailers</strong></p>
<p>We will also have a couple of surprises in store for people that are on this list. We cannot announce what they might be until pricing has been announced.</p>
<p>You can enter your email below to be notified as soon as preorders to become available for the all of the new Sigma lenses.</p>
</span>

Rokinon 14mm f2.8 vs Rokinon 14mm T3.1

I have been thinking about getting a new lens for night photos. I thought when these lens came out that they were the same glass but different builds like declicking ect.
But I have been looking into it lately and it looks like they are a different in the glass. On the Rokinon website they have picture of how the elements arranged.
Does anyone know how these lens compare?

The top picture is 14mm f2.8 and the bottom is 14mm t3.1

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Canon 1DX Mark II No Continuous Focus in Live View?

So I had an opportunity to use my 1DXII on an automotive shoot this week and I typically stick to the 5D4 because of the larger file size and smaller form factor. Well this was specifically an action sequence for the magazine cover and I felt action was the 1DX2's bread and butter. So I'm hanging out of the back of my car with this thing hanging from my neck and I decide to turn on Live-View and track the subject as I wanted to drop the camera lower and compose a shot where I could no longer look through the viewfinder - Dual-Pixel to the rescue! Wrong.

This is when I discovered that the 1DX Mark II DOES NOT allow for continuous focus during live view. It will track the subject, but the camera will not track the moving subject even if you hold down the AF-ON button or assign it to anything else..or change the frame rate, etc. I was really disappointed. This feature is something that exists on the 5D4 and 80D, but has been removed from my $6000 sports camera that I might want to track a subject in Live View...

So I'm making this post to see if anyone knows if I'm wrong and can tell me - "do this!" or if I'm right, knows why they would remove it from the camera. I was pretty excited to try this out and never really thought to even try it until that moment on the 1DX2...I've been using the feature a LOT with the 5D4 for overhead shots at weddings. Looks like the 1DX2 won't be the weapon of choice for those shots. :-(

Oh well...

Regardless, I got some spectacular shots and immediately ignored the issue and worked around it.

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Like Buttom for posts

We've installed a rating system for posts. This system lets administrators spot any abuse, which was the issue we had years ago with the SMF ratings.

At the bottom far right corner are two difficult to see buttons. A thumbs up like button and a thumbs down icon. They are difficult to see, so I'm looking for some easier to spot ones. You will see them if I'm successful.

Is Canon bringing out their cameras in the wrong order?

It seems that a lot of people here on the forum (my self included) feels as if canon has been, deliberately nerfing there own cameras recently.

I don´t know if it is the case or not, but i get where the feeling is coming from. When you are spending thousends of dollars on a new camera, you want to feel as though canon is giving you the best possible product they can, at a given time and price point. If not, you are likely to suffer from buyers remorse or you might not buy at all. Perhaps you have already invested a lot of money in to glass, so you are reluctant to switch brands and thus feel canon is forcing your hand. The end result is alienation.

I think the reason people get so exited about cameras like the Nikon D810 or the Sony A7r II is that those cameras feel like the pinnacle of what Nikon and sony could produce. They don't feel compromised.

Well to the point. I think a lot of this stems from, the order in witch canon puts out there products. Their high end cameras seem to be updated on a generational basis, rather then incrementally. It goes something like 1D, 5D, 6D, 7D each coming out roughly 6 mouthes apart. 5DsR and 1Dc being the exceptions to the rule, i think?

I would argue that canon is better off reversing the order, and here is why.

When canon puts out there highest end camera first, technology moves forward in the mean time, until the release of there next model on step down the camera latter. This narrows the technological gab between models.
An example of this, could be the 5d mark III sensor vs. the 6D sensor. Here the 6D sensor was in many ways better then the one found in the 5D mark III. This is somewhat at odds with the 5D sitting higher on the camera latter, and being about 50% more expensive.
Had the releas of the 2 cameras been reversed, the more expensive camera would have been the one with the best sensor. It would have been ahed R&D wise by something like 6 months.
One way to counter this discrepancy however is to nerf your lower end cameras. This way it becomes harder for your newer and cheeper cameras to compete with your older and more expensive cameras.

Now whether canon is nerfing cameras or not, is hard to say. It would seem like a bad business plan to me. Your competing brands are not going to nerf there cameras, in order not to compete with you. Quite the opposite.
However canon is in such a dominating position on the camera market, that it might actually be a viable plan for them, if only in the short term.

Wether nerfing is going on or not. I would still argue that a reversed order of high end camera updates would be better for canon. It would mean, that the most expensive and high end camera would always be the camera with the newest tech. Thus widening the tech gab between models to better reflect the differences in price.

A reversal of order might be a hard maneuver to pull of now though :)

Spectacular Canon Cinema EOS C700 Production for SWISS Int. Airlines

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There are a few things in this world I wish I had the skills to accomplish, and this sort of cinematography is definitely one of them. After watching the production 10 or so times, I figured we’d share it.</p>
<p>The LAUSCHSICHT team sent us their latest project shot on Canon’s latest Cinema EOS camera, the C700. Along with the C700, a Canon Cinema EOS C300 Mark II (and a few GoPro’s) were used to make this spectacular air show production for SWISS Int. Airlines.</p>
<blockquote><p>The task was to capture the spectacular airshow by SWISS and Patrouille Suisse performed during the World Ski Championship 2017 in St. Moritz. The target audience was very clear too: People fascinated by such an airshow. Our approach: To focus on the beauty of such a show. Moments, instead of action.</p></blockquote>
<p class="uppercase">Be sure to go full screen while watching the production below.</p>
<div class="force-bottom"></div>
<p><iframe src="https://player.vimeo.com/video/205373258" width="728" height="409" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p class="uppercase"><strong>TEAM</strong></p>
<div class="force-bottom">
<p><strong>CLIENT</strong> SWISS Int. Airlines

<strong>CONCEPT </strong>LAUSCHSICHT<strong>

</strong><strong>DIRECTION </strong>Kevin Blanc

<strong>CAMERA</strong> Kevin Blanc / Marius Thut / Roman Lehmann

<strong>EDITING</strong> Marius Thut

<strong>GRADING</strong> Kevin Blanc

<strong>MUSIC</strong> Michael Ricar

<strong>PRODUCING</strong> Muriel Droz / Giorgia Binek</p>
</div>
<p>You can checkout the full production page <a href="http://www.lauschsicht.com/project/swiss-c-series-patrouille-suisse-airshow/">here</a>, as well as the behind the scenes impressions <a href="http://www.lauschsicht.com/c-series-patrouille-suisse-airshow-behind-the-scenes/">here</a>.</p>
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Inconsistencies in Lens Review Sites

The old hands know very well how much individual copies of lenses vary and that lens review sites can be unreliable. The unreliability comes from not doing measurements well or because they usually look at only one copy of a lens or both. The gold standard is Lensrentals who do very careful analyses of a large number of lenses using the best equipment manned by competent users. Nevertheless, people choose lenses based on those unreliable measurements. It's worth bringing this up for discussion, and I'll give two examples, based on lenses that many of us use and know well.

First collage, the Canon 100-400mm II. The profiles from two sites of good reputation are quite different. Photozone has the lens sharpest wide open from 200 to 400mm. On the other hand, ePhotozine at 400mm has a great dip in sharpness at 400mm at f/5.6 that leaps up at f/8.

Second collage, Canon 100-400mm II vs Sigma 150-600mm C at 400mm. The profiles from Lenstip has the Canon slightly sharper at 400mm at f/8 than at f/5.6, between the Photozone and ePhotozine results. It has the Sigma performing very poorly on going from 300mm to 450mm. Roger of Lensrentals has compared the average of many copies of each lens at 400mm, and there is very little to choose between them, on average, and points out that individual copies of the lens vary to the extent that either one may be better than the other.

My two copies of the 100-400mm II fit the Photozone pattern, sharpest wide open. And the my Sigma is very close to if not better than the Canons at 400mm.

The conclusion is that the most important comparison is that of your own individual lens and that the sites that just look at one copy of a lens can be taken only as a very rough guide.

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Lomography Introduces the Color Negative F²/400 35mm film

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<em>Lomography Color Negative F²/400 35mm</em></p>
<p>Go Against the Grain with a Rescued Film Rarity</p>
<ul>
<li><strong>Bringing Back a Long-Lost Film:</strong> Seven years ago, Lomography rescued the very last master roll of 400 ASA film from some renowned Italian filmmakers.</li>
<li><strong>Carefully Stored as a Master Roll:</strong> Ever the ones to experiment, Lomography transported F²/400 from Italy to Vienna, after having stored it in the Czech Republic under ideal conditions, as one big roll. The results are astounding!</li>
<li><strong>Refined Grain with an X-Pro Feel: </strong>F²/400 is Color Negative like you’ve never seen it before — it produces refined colors with a beautifully unique, X-Pro feel. What’s more, in certain shooting conditions F²/400 produces shots with subtle blue overtones.</li>
<li>#<strong>FilmIsNotDead: </strong>The frequent revival of discontinued films proves that analogue photography is here to stay.</li>
</ul>

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<hr />
<p><strong>Bringing Back a Long-Lost Film</strong></p>
<p>Lomography is all about being different — about ignoring the rules, trying something new, and going with the wackier option. In 2010, illustrious Italian manufacturers announced that they were going to stop producing film. But what initially appeared to be another victim of the digital age caught Lomography’s eye as a fantastic creative opportunity. Lomography jumped at it, snapping up the last ever master roll of 400 ASA film. Seven years later, having worked diligently to keep the fire of analogue photography burning, Lomography is excited to blow the dust off its one-of-a-kind hidden film gem and present it to you in 35mm format!</p>
<p><strong>Carefully Stored as a Master Roll</strong></p>
<p>By storing F²/400 as one big roll instead of slicing it up into 35mm strips, the quality of the film remained well protected. Stowed away in the Czech Republic for seven years, this film has developed a totally distinctive look.Lomography is thrilled to offer analogue photographers everywhere a once-in-a-lifetime chance to get their hands on a film unlike any other.Since it’s taken from the very last roll of 400 ASA, stock is very much limited! Snap up a 35mm roll from <a href="https://www.lomography.com/about/stores">Lomography Gallery Stores </a>worldwide for as little as 5.90 EUR/USD/GBP or make some great savings when buying packs of five or ten from the <a href="https://shop.lomography.com/lomography-film-f2-400-10-pack">Lomography Online Shop</a>.</p>
<p><strong>Refined Grain with an X-Pro Feel</strong></p>
<p>F²/400 is one-of-a-kind Color Negative. Having spent seven years aging like fine wine, F²/400 has retained all of its refined colors and beautifully unique tone. What’s more, it has developed hints of the characteristic X-Pro aesthetic and beautiful blueish tones in certain shooting conditions, making it unlike any other Color Negative film on the market. Your shots will be drenched in distinctive effects, making F²/400 the perfect film for experimenting and trying something new. Load up a variety of different cameras, switch between high and low ISO, and shoot in a range of conditions. Your images will stand out from the crowd!</p>
<p><strong>Technical Specifications</strong></p>
<p><strong>Film type:</strong> Color Negative

<strong>Format:</strong> 35mm

<strong>Develop:</strong> C-41

<strong>Sensitivity:</strong> 400 ISO</p>
<p><strong>Lomography’s Tip:</strong> Due to its age, the F²/400 enjoys getting more light than your standard 400 ISO film. For vibrant, X-pro like pictures and subtle, fine grain shoot the film in bright conditions.</p>
<p><strong>#FilmIsNotDead</strong></p>
<p>Kodak Ektachrome, FILM Ferrania, Bergger — the photography community is refusing to give up on analogue classics that suffered a momentary lapse in the face of a digital age. For years, Lomography has been at the forefront of this movement, leading the analogue photography community by releasing innovative new cameras, films and accessories every year. As the popular hashtag #filmisnotdead suggests, not only is analogue photography alive and well, but it’s here to stay. Long live the revival!</p>
<p><strong>Links for Editors</strong></p>
<p>Buy the Lomography Color Negative F²/400:</p>
<p>5 rolls — save 10%: <a href="https://shop.lomography.com/lomography-film-f2-400-5pack">https://shop.lomography.com/lomography-film-f2-400-5pack</a></p>
<p>10 rolls — save 15%: <a href="https://shop.lomography.com/lomography-film-f2-400-10-pack">https://shop.lomography.com/lomography-film-f2-400-10-pack</a></p>
<p>Check the full line of Lomography films: <a href="https://shop.lomography.com/en/films/lomography-film">https://shop.lomography.com/films/lomography-film</a></p>
<p>Do you prefer a hands-on shopping experience? Visit one of our stores:</p>
<p><a href="https://www.lomography.com/about/stores">https://www.lomography.com/about/stores</a></p>
<p>Develop your film in the LomoLab: <a href="https://www.lomography.com/magazine/309927-wherever-you-are-in-the-world-lomolab-it">https://www.lomography.com/magazine/309927-wherever-you-are-in-the-world-lomolab-it</a></p>
<p><strong>WHAT THE HELL IS LOMOGRAPHY?</strong></p>
<p><a href="http://www.lomography.com/about">www.lomography.com/about</a></p>
<p><strong>The Lomographic Society International </strong>is a globally-active organization dedicated to experimental and creative photography. Lomography stands for a freer and louder style of shooting — closer to life itself. Through the constantly expanding selection of innovative film cameras, instant cameras, Art Lenses, film & photographic accessories, Lomography promotes photography as a creative approach to communicate, absorb, and capture the world. <a href="https://www.lomography.com/about/stores">Lomography Gallery Stores and Embassy Stores</a> all over the world provide the full Lomography product range and a place for exhibitions, workshops, meet-ups and all Lomographic needs. <a href="https://www.lomography.com/">Lomography.com</a> is a thriving online community of creative individuals dedicated to experimenting with photography and pushing the boundaries of what’s possible. Through the enthusiastic engagement of Lomographic Society members, Lomography seeks to document the incredible planet around us in a never-ending archive of imagery — literally a global “Lomographic” portrait as seen through the eyes of countless individuals and cultures.</p>
<p><strong>WHO THE HELL ARE LOMOGRAPHERS?</strong></p>
<p>Lomographers can be anyone and everyone! All that matters is that you have a passion for photography — and a hunger for playing with the boundaries of what’s possible with this marvelous medium. Lomographers have wandering minds and ever-curious souls; a natural tendency to dance barefoot on rooftops, shoot from dusk ’til dawn, stay up until stupid o’clock to chase the sunrise. For Lomographers, the universe isn’t a place to be stared at and studied; it’s a maze to be explored and get lost in. Each day is a chance to stray off the beaten path, and find the still point of the turning world where great photography happens. The thirst to travel, create, experiment, make mistakes, share and experience this whole myriad of emotions is what keeps Lomographers restless on this little planet we call Earth.</p>
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What Will Canon Be Bringing to NAB 2017?

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All indications are telling us that this is going to be a quiet year for Canon at NAB 2017 this April in Las Vegas, Nevada.</p>
<p><strong>C series cameras?</strong></p>
<p>We don’t expect to see a new C series camera announced ahead of NAB, though we do expect to see some kind of replacement for the C100 Mark II in 2017. One suggestion we’ve received is that it won’t be called a “C100 Mark III”. We do think it’s logical that we’ll see a “baby C300 Mark II”.</p>
<p><strong>Cinema lenses?</strong></p>
<p>We’re told to expect at least one new lens for NAB. We’ve seen <a href="http://www.canonrumors.com/patent-cinema-eos-37-5-100mm-t3-3-anamorphic-lens/">patents in the past for the an anamorphic lens</a> and the new Cinema EOS C700 supports those types of lenses. The other possibility is a prime lens longer than 135mm.</p>
<p><strong>New DSLR?</strong></p>
<p>We do not expect to see a DSLR announced for NAB.</p>
<p><strong>Other technology?</strong></p>
<p>We’ll likely see more 8K demonstrations from Canon such as camera prototypes, displays, workflows and those sorts of things.</p>
<p><strong>What about a ME20F-SH Mark II?</strong></p>
<p>We can’t imagine they’ve sold too many of these ISO 4,560,000 boxes to warrant a Mark II version quite yet, but you never know.</p>
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EF 50 1.2 L - rather buy older or newer copy of this lens?

Short shout for advice.
Currently looking for a used copy of the 50 1.2 (buying in Germany).
On Ebay a re various good looking copies available.
Prices are slightly below 1000 e.
Copy age varies between 1987 to 2012.
Optically they look all equally good with genuine pictures.
Rather buy older or newer?
Thanks for feedback and have great days where ever you are.

Where is the Canon EOS 6D Mark II?

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This is a question we receive multiple times every single day, so I’d figure we’d give an update, even though nothing has really changed.</p>
<p>We expect to see the EOS 6D Mark II announced in the late spring/early summer of this year, with availability in the summer. For the moment, pricing has not yet been set, currency fluctuations may prevent knowing that until much closer to the announcement.</p>
<p>As far as specifications go, very little is known for sure. However, we think by looking at the recent EOS 77D announcement, we can make some good predictions as to what we’re likely to see from Canon’s entry level full frame camera.</p>
<p><strong>Canon EOS 6D Mark II Predicted Specifications</strong></p>
<ul>
<li>24-28mp full frame CMOS</li>
<li>45 AF points (all cross-type)</li>
<li>Dual Pixel AF</li>
<li>DIGIC 7</li>
<li>Built-in Wi-Fi®, NFC and Bluetooth® technology</li>
<li>Built-in GPS</li>
<li>Vari-Angle touchscreen LCD</li>
<li>6 FPS Shooting</li>
<li>HDR Movie & Time Lapse Movie</li>
<li>Some form of 4K video</li>
<li>Movie electronic image stabilization</li>
<li>Dual SD card slots</li>
<li>100% coverage optical viewfinder with some new features</li>
</ul>
<p>As we all know, Canon very rarely goes way outside of the with new products, as their cameras aren’t just about one specific feature. It’s generally how all of the features come together to make a great shooting experience for the photographer.</p>
<p>We would love to see this camera come in at under the $2000 USD mark.</p>
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Canon EOS M5 Creaking Sound in Grip

I thought I would start this as a new topic so others that have this problem are able to find it more readily. As others have pointed out, a camera that costs this much should not creak when handled. It would never be noticed except in a quiet room but I really didn't like it.

My camera did not have any creak for over 30 days. I suspect that the problem will possibly occur in the M6 also but since that body is a bit smaller, it may not.

My initial solution posted in the M5 review thread was a post-it note insert. I then tried an acetate sheet which wasn't quite as noticeable but still had more residual creak than I liked. This is my latest and last fix and it works on my camera pretty well. I can push around and hear a slight creak but have to work at it. When I pick it up in a normal fashion I don't hear anything. The thin strip by the grip area seemed to work.

The dimensions I used are in shown in picture 1. Picture 2 shows the 10mm x 20mm portion inserted by the battery box and the thin portion yet to be fully placed. Picture 3 shows how the thin strip fits at the grip area. A tiny bit was still sticking up so I carefully trimmed it with a razor sharp knife blade so the battery compartment lid did not bind up...be careful about that. Sending it to Canon Service to open the battery compartment would not be a good thing.

I hope this helps others!

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Firing Godox/Streaklight with Canon optically.

Okay guys. I have a Flashpoint Streaklight 360ws flash. It works optically or through RF.

I also have 7 Canon 600EX-RT. They work optically or through RF.

I cannot afford another Streaklight right now (I'd sell two Canons to gain another Streaklight ($300) if I could. That said, I would like to fire the Streaklight (in a 7' umbrella) using RF and trigger the Canons (gang of 6 in a 7' umbrella) optically with the Streaklight.

Since I have never used the optical functions I am wondering how good the line of sight has to be. Do the Canons just look for a flash of light to trigger? Can the umbrellas be diffused and set at a wide 20 degree angle from each other?

I could just pull them out and see, but I haven't the room to set up two 7' umbrellas indoors and it is very windy outside today.

Besides that, I know there are experts here that can tell me the ins and outs of firing optically.

Thanks for your help and ideas.

Sigma Announces the 100-400mm F5-6.3 DG OS HSM Contemporary Lens

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SIGMA 100-400mm F5-6.3 DG OS HSM</p>
<p>Introducing the light bazooka-a new approach to the ultra-telephoto zoom</p>
<ol>
<li>Top performance with the specification and functionality of a more expensive unit</li>
<li>Compact packaging with uncompromising image quality</li>
<li>Push/pull zoom mechanism incorporated</li>
<li>Telephoto plus macro functionality</li>
<li>Other features</li>
</ol>
<p><strong>A compact body and top performance in one complete package</strong></p>
<p>An ultra-telephoto lens with an optical stabilizer (OS) system has several advantages. The OS allows the photographer to take photographs in unstable circumstances. The narrow angle of view makes it possible to dramatically compress perspective and flexible handling of the background. The photographer can thereby make the subject appear to jump out of the image, with the area in focus impressively sharp and clear. Nevertheless, ultra-telephoto lenses have traditionally had some disadvantages as well. As the nickname “bazooka” implies, they have tended to be big, heavy, and therefore burdensome to carry around. With the goal of creating an ultra-telephoto lens that is far more accessible, SIGMA incorporated all of its latest technologies into SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary. With its outstanding combination of optical performance and compactness, this is an ultra-telephoto lens that is a joy to carry and use. While keeping the robust functionality and exceptional image quality of an ultra-telephoto zoom lens intact, SIGMA has achieved amazingly compact packaging enclosing 400mm optics. Introducing the new and greatly enhanced “light bazooka” ultra-telephoto zoom lens.</p>
<p><!--more--></p>
<p>SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary offers the compact size, lightweight, and high cost performance of a 70-300mm lens while delivering 400mm telephoto performance. This approach results in a tempting new ultra-telephoto choice for photographers. Offering a combination of stunning image quality and outstanding functionality, this lens satisfies the needs of pros and amateurs alike.</p>
<p>【Key features】</p>
<ol>
<li>Top performance with the specification and functionality of a more expensive unit</li>
</ol>
<p>Since its release, the SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary has won photographers over with its strong fundamental performance and exceptional image quality. The new lens retains all of this performance in a compact 400mm ultra-telephoto zoom package with a filter size of just ⌀67mm and weight of just 1,160g. Yet it also comes with the full range of features and functions expected of an ultra-telephoto zoom: optical stabilizer (OS), hypersonic motor (HSM) with updated algorithm for fast autofocus, focus limiter, and more. In addition, this uncompromising specification becomes customizable with the available SIGMA USB Dock accessory.</p>
<ol start="2">
<li>Compact packaging with uncompromising image quality</li>
</ol>
<p>In designing this lens, SIGMA strived to push both compactness and image quality to the limit. Four SLD (Special Low Dispersion) glass lens elements and an optimized power distribution help minimize optical aberrations. Moreover, by taking special care to minimize transverse chromatic aberration, which cannot be corrected via aperture control, SIGMA has ensured outstanding image quality throughout the zoom range.</p>
<ol start="3">
<li>Push/pull zoom mechanism incorporated</li>
</ol>
<p>For quick control of the angle of view, the zoom ring incorporates a push/pull mechanism in addition to the regular twist mechanism. The exclusive lens hood has also been designed to accommodate push/pull zooming and overall lens maneuverability. By making it possible to adjust the angle of view instantly, this lens gives photographers an even better chance of getting that crucial shot.</p>
<ol start="4">
<li>Telephoto plus macro functionality</li>
</ol>
<p>With a minimum shooting distance of 160cm and a maximum magnification ratio of 1:3.8, this lens can shoot either from a distance or up close.</p>
<ol start="5">
<li>Other features</li>
</ol>
<ul>
<li>Dust- and splash-proof mount</li>
</ul>
<p>Since the area of the lens most vulnerable to dust and other foreign bodies is the mount, rubber sealing helps provide peace of mind.</p>
<ul>
<li>All-new optical stabilizer (OS) unit with exclusive algorithm</li>
</ul>
<p>Featuring a newly developed gyroscopic sensor and a new and exclusive algorithm, the all-new OS unit provides a powerful stabilization effect. An acceleration sensor detects camera shake in any direction—horizontal, vertical, or diagonal. This technology allows the OS to stabilize the image very effectively, regardless of whether the camera is being held in horizontal or vertical orientation.</p>
<ul>
<li>Nikon electromagnetic diaphragm mechanism included</li>
</ul>
<p>The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.</p>
<p>Note: Functionality may be limited on some camera bodies.</p>
<ul>
<li>Rounded diaphragm</li>
</ul>
<ul>
<li>Designed to minimize flare and ghosting</li>
</ul>
<ul>
<li>Compatible with the newly developed tele converters</li>
</ul>
<ul>
<li>Fast AF with full-time manual override</li>
</ul>
<p>Note: The operation of full-time MF may vary based on mount type</p>
<ul>
<li>Compatible with Mount Converter MC-11</li>
</ul>
<ul>
<li>Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)</li>
</ul>
<ul>
<li>Available Mount Conversion Service (Allows use with another camera body)</li>
</ul>
<ul>
<li>High-precision, durable brass bayonet mount</li>
</ul>
<ul>
<li>Evaluation with SIGMA’s own MTF measuring system “A1”</li>
</ul>
<ul>
<li>Made in Japan (With outstanding craftsmanship)</li>
</ul>
<ul>
<li>The lens barrel is engraved with the year of release</li>
</ul>
<span id="pty_trigger"></span>

Sigma Announces the 135mm DG HSM Art Series Lens

HTML:
SIGMA 135mm F1.8 DG HSM with F1.8 brightness, this telephoto lens for full-frame cameras further strengthens the Art line’s prime options</p>
<ol>
<li>The ultimate 135mm telephoto designed to prioritize optical performance</li>
<li>Fast and nimble autofocus photography</li>
<li>Sixth 35mm full-frame prime lens to join the Art line</li>
<li>Other features</li>
</ol>
<p><strong>Introducing the ultimate 135mm telephoto featuring top-level performance</strong></p>
<p>135mm telephoto lenses are often categorized as the foundational telephoto, the first one to add to a lens collection. This focal length delivers a strong perspective compression effect, while the large diameter with F1.8 brightness provides a dramatic bokeh effect. By minimizing axial chromatic aberration, the SIGMA 135mm F1.8 DG HSM | Art makes this bokeh effect not only impressive but also beautiful while delivering superb contrast and sharp image quality in every shot. It offers the outstanding resolution required for 50MP or higher ultra-high-megapixel DSLRs. By incorporating its latest innovations in design and optical glass and rethinking every aspect of the lens, SIGMA has ensured outstanding image quality all the way to the edges, establishing the new standard in 135mm telephoto lenses.</p>
<p><!--more--></p>
<p>With resolution so crystal-clear that individual hairs can be discerned in a portrait, this large-diameter lens also delivers a beautiful bokeh effect, giving photographers everything they need. It is ideal for close-ups and full-body shots, with subjects standing out against a pleasantly blurred background. In addition to standard portraits, including bridal shots, this lens is a top performer for live events, with its super-fast autofocus capturing subjects with ease.</p>
<p>【Key features】</p>
<ol>
<li>The ultimate 135mm telephoto designed to prioritize optical performance</li>
</ol>
<ul>
<li>Image quality optimal for ultra-high-megapixel DSLRs</li>
</ul>
<p>To deliver the ultra-high resolution that brings the best out of 50MP or higher ultra-high-megapixel DSLRs, the focus mechanism features SIGMA’s floating system. No matter what the distance from the subject, this lens offers top performance from the center to the edges of the image. By minimizing distortion as well, the lens delivers impeccable image quality—no need for digital adjustment during image processing.</p>
<ul>
<li>Ideal for portraits requiring a dramatic bokeh effect</li>
</ul>
<p>The 135mm focal length delivers a stunning compression effect: even fairly close to the subject, the telephoto ring allows the photographer to establish a variety of dramatic perspectives. The compression effect truly shines in both close-ups and full-length portraits, making composition easy. Moreover, the large diameter with F1.8 brightness makes possible a body shot with an impressive bokeh background. In sum, this lens puts a full menu of compositional options at the photographer’s fingertips.</p>
<ol start="2">
<li>Fast and nimble autofocus photography</li>
</ol>
<p>The large hypersonic motor (HSM) offers two benefits. It delivers ample torque to the focusing group for outstanding speed, ensuring exceptionally stable performance even at lower speeds. The acceleration sensor detects the orientation of the lens, allowing the autofocus system to respond to varying loads on the focusing group due to gravity. Along with the optimized AF algorithm, these features deliver fast autofocus photography. In addition, the focus limiter makes AF highly responsive to distance from the subject for even more nimble performance.</p>
<ol start="3">
<li>Sixth 35mm full-frame prime lens to join the Art line</li>
</ol>
<p>Launched in 2012, the SIGMA 35mm F1.4 DG HSM | Art was the first lens in the Art line. Since then, SIGMA has developed a wide variety of lenses for the line, and the SIGMA 135mm F1.8 DG HSM|Art is the sixth prime lens in the line to offer 35mm full-frame coverage. Now even stronger, the Art line sets the new standard for prime lenses in the ultra-high-megapixel era.</p>
<ol start="4">
<li>Other features</li>
</ol>
<ul>
<li>Fast AF with full-time manual override</li>
</ul>
<p>Note: The operation of full-time MF may vary based on mount type</p>
<ul>
<li>Compatible with Mount Converter MC-11</li>
</ul>
<ul>
<li>Mount with dust- and splash-proof construction</li>
</ul>
<ul>
<li>Nikon electromagnetic diaphragm mechanism included</li>
</ul>
<ul>
<li>Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)</li>
</ul>
<ul>
<li>Available Mount Conversion Service (Allows use with another camera body)</li>
</ul>
<ul>
<li>Rounded diaphragm</li>
</ul>
<ul>
<li>Designed to minimize flare and ghosting</li>
</ul>
<ul>
<li>High-precision, durable brass bayonet mount</li>
</ul>
<ul>
<li>Evaluation with SIGMA’s own MTF measuring system “A1”</li>
</ul>
<ul>
<li>Made in Japan (With outstanding craftsmanship)</li>
</ul>
<ul>
<li>The lens barrel is engraved with the year of release</li>
</ul>
<span id="pty_trigger"></span>

SIGMA Announces the 24-70mm F2.8 DG OS HSM

HTML:
SIGMA 24-70mm F2.8 DG OS HSM Top-Level Performance Optimized for the Era of Ultra-High-Megapixel Cameras</p>
<ol>
<li>The large-diameter standard zoom ideal for today’s ultra-high-megapixel digital cameras</li>
<li>OS functionality and newly designed HSM for success on any shoot</li>
<li>Lens barrel designed for high rigidity</li>
<li>Other features</li>
</ol>
<p><strong>The definitive large-diameter standard zoom lens for any shoot</strong></p>
<p>What photographers demand from the 24-70mm F2.8 specification is much more than outstanding image quality. They want all the features that make this a go-to lens for a wide range of photographic opportunities, including optical design ideal for the latest ultra-high-megapixel digital cameras, hypersonic motor (HSM) for high-speed autofocus, optical stabilizer (OS) with powerful stabilization effect, dust- and splash-proof mount with rubber sealing, and a metal barrel for a stable, rigid feel. This all-new 24-70mm F2.8 lens from SIGMA delivers the performance and functionality that help pros succeed in news, nature, and many other fields of photography.</p>
<p><!--more--></p>
<p>【Key features】</p>
<ol>
<li>The large-diameter standard zoom ideal for today’s ultra-high-megapixel digital cameras</li>
</ol>
<ul>
<li>Outstanding optical performance</li>
</ul>
<p>Three SLD (Special Low Dispersion) glass lens elements and four aspherical lens elements help minimize optical aberrations. To ensure outstanding image quality from the center to the edges of the photograph, the optical system minimizes coma, which causes points of light to streak, and transverse chromatic aberration, which cannot be corrected via aperture control, The optical system also minimizes distortion, which can be particularly evident in wide-angle shots, resulting in excellent optical performance throughout the zoom range.</p>
<ul>
<li>A 24-70mm F2.8 lens that meets the high standards of the Art line</li>
</ul>
<p>SIGMA has continuously pioneered 24-70mm F2.8 lenses that are a step ahead of the times. The first model of this specification, SIGMA 24-70mm F2.8 EX DG ASPHERICAL DF, launched in 2001. Representing the fourth generation of the family, the new SIGMA 24-70mm F2.8 DG OS HSM | Art accomplishes a challenging feat in optical design: incorporating optical stabilizer functionality in a large-diameter standard zoom. By leveraging all of its design and manufacturing expertise, SIGMA has ensured that this new lens fulfills the uncompromising requirements of the Art line for image and build quality.</p>
<ul>
<li>Bokeh that is a cut above</li>
</ul>
<p>At wide-open aperture, this lens offers outstanding photographic expression. The area in focus is extremely sharp, while the background exhibits a beautiful bokeh effect with only slight spherical aberration. Since large-diameter zoom lenses are often used at wide-open aperture, SIGMA has paid close attention to the shape of the bokeh, aiming for perfect circularity.</p>
<ul>
<li>Incorporating advanced aspherical lens processing technology</li>
</ul>
<p>Aspherical lenses necessitate refined expertise in the design and manufacturing of advanced, high-performance lenses. SIGMA’s first products to feature this technology were the SIGMA 12-24mm F4 DG HSM | Art and SIGMA 14mm F1.8 DG HSM | Art, which both incorporated a large ⌀80mm aspherical lens as their front lens element. Building on the success of these predecessors, the SIGMA 24-70mm F2.8 DG HSM | Art incorporates an aspherical lens element that helps achieve extremely high resolution. This element is much thicker at the center than the edges, and forming its unusual shape is a feat of manufacturing technology. Moreover, SIGMA processes the surface of this aspherical lens element with ultra-precise tolerances that are measured in hundredths of a micrometer. This extremely fine surface allows the SIGMA 24-70mm F2.8 DG HSM | Art to deliver a very natural and smooth bokeh effect, without the visible concentric rings that afflict typical aspherical lens elements.</p>
<ol start="2">
<li>OS functionality and newly designed HSM for success on any shoot</li>
</ol>
<p>Designed for advanced utility in a wide variety of situations, the optical stabilizer (OS) offers a powerful stabilization effect. The newly designed large hypersonic motor (HSM) offers 1.3 times the torque of its predecessor and exceptionally stable performance even at lower speeds.</p>
<p>* Based on CIPA’s guideline. Measuring at telephoto end, when it is attached to the camera with 35mm image sensor.</p>
<ol start="3">
<li>Lens barrel designed for high rigidity</li>
</ol>
<p>Since large-diameter standard zoom lenses tend to serve as a go-to lens and see frequent use, the SIGMA 24-70mm F2.8 DG HSM | Art is designed to stand up to the challenging shooting environments that pros encounter. To this end, the lens barrel contains a large amount of metal, while the external moving parts feature thermally stable composite (TSC), which is resistant to thermal expansion and contraction. This structure contributes not only to the outstanding optical performance of the lens but also to its high rigidity and confidence-inspiring build quality.</p>
<ol start="4">
<li>Other features</li>
</ol>
<ul>
<li>Mount with dust- and splash-proof design</li>
</ul>
<p>Since the area of the lens most vulnerable to dust and other foreign bodies is the mount, rubber sealing helps provide peace of mind. In addition, the front lens element features a water- and oil-repellent coating that helps the lens perform well in the rain, near water, and in other challenging conditions.</p>
<ul>
<li>Nikon electromagnetic diaphragm mechanism included</li>
</ul>
<p>The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism that allows it to receive the appropriate signals from the camera body. This feature ensures precision diaphragm control and stable Auto Exposure (AE) performance during continuous shooting.</p>
<p>Note: Functionality may be limited on some camera bodies.</p>
<ul>
<li>Fast AF with full-time manual focus</li>
</ul>
<ul>
<li>Compatible with Mount Converter MC-11</li>
</ul>
<ul>
<li>Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)</li>
</ul>
<ul>
<li>Available Mount Conversion Service (Allows use with another camera body)</li>
</ul>
<ul>
<li>Rounded diaphragm</li>
</ul>
<ul>
<li>Designed to minimize flare and ghosting</li>
</ul>
<ul>
<li>High-precision, durable brass bayonet mount</li>
</ul>
<ul>
<li>Evaluation with SIGMA’s own MTF measuring system “A1”</li>
</ul>
<ul>
<li>Made in Japan (With outstanding craftsmanship)</li>
</ul>
<ul>
<li>The lens barrel is engraved with the year of release</li>
</ul>
<span id="pty_trigger"></span>

SIGMA Announces the 14mm F1.8 DG HSM Art Series Lens

HTML:
<strong>A true high-speed lens that delivers a new dimension of visual experience</strong></p>
<p><span class="green">*Among interchangeable lens for digital SLRs as of February 2017</span></p>
<ol>
<li>14mm ultra-wide angle of view and F1.8 brightness deliver a new dimension of visual experience</li>
<li>Seventh 35mm full-frame prime lens to join the Art line</li>
<li>Other features</li>
</ol>
<p><strong>A true high-speed lens that delivers a new dimension of visual experience</strong></p>
<p>In taking photographs of starry skies or other celestial scenes at night, or of the seashore with a wide perspective, a large-diameter lens is a strong ally, since it allows the capture of a moving subject by adjusting shutter speed without relying on ISO sensitivity. With its full-frame 35mm coverage, 14mm focal length for an ultra-wide angle of view, F2 barrier-breaking F1.8, the SIGMA 14mm F1.8 DG HSM | Art is the true high-speed ultra-wide-angle lens for which so many photographers have been waiting. Although some zoom lenses are available that can cover 14mm, the large diameter delivering F1.8 brightness is a singular advantage. Going beyond fast shutter speed, this lens can capture a swarm of fireflies with crystal clarity, a beautiful bokeh effect, and outstanding control of light streaking.</p>
<p><!--more--></p>
<p>【Key features】</p>
<ol>
<li>14mm ultra-wide angle of view and F1.8 brightness deliver a new dimension of visual experience</li>
</ol>
<p>By leveraging its extreme angle of view and the dramatic perspective this creates, an ultra-wide-angle lens can get up close and personal with a subject while at the same time taking in a vast background—an example of photography going beyond normal human vision.</p>
<p>SIGMA 14mm F1.8 DG HSM | Art combines the extremely deep depth of field that comes from an ultra-wide angle of view with the extremely shallow depth of field that comes from F1.8 brightness. The result is a sharply captured subject set against a vast background dramatically blurred with a beautiful bokeh effect. It is a highly impressive mode of photographic expression that until now simply has not existed.</p>
<ul>
<li>Minimized chromatic aberrations</li>
</ul>
<p>Three FLD (“F” Low Dispersion) glass elements and four SLD (Super Low Dispersion) glass elements help minimize transverse chromatic aberration, which tends to be noticeable in shots taken with ultra-wide-angle lenses. The result is outstanding image quality from the center of the image to the edges.</p>
<ul>
<li>Featuring a large-diameter aspherical lens element</li>
</ul>
<p>The SIGMA 12-24mmF4 DG HSM | Art was the first SIGMA lens to feature a large ⌀80mm aspherical lens element. Building on the expertise derived from this success, the new lens features a large ⌀80mm precision-molded glass aspherical lens as its front element. This technology has made possible the 14mm F1.8 specification—the first of its kind.</p>
<ul>
<li>Minimized distortion</li>
</ul>
<p>Serving as the front lens element, the large ⌀80mm precision-molded glass aspherical lens effectively minimizes distortion. Offering excellent peripheral brightness, this lens delivers outstanding image quality from the center to the edges.</p>
<ul>
<li>Distinctive bokeh effect</li>
</ul>
<p>Even at the 14mm ultra-wide-angle of view, F1.8 brightness makes possible a very shallow depth of field with the subject standing out dramatically against a bokeh background. It’s the unique mode of expression that only a large-diameter lens can deliver.</p>
<ol start="2">
<li>Seventh 35mm full-frame prime lens to join the Art line</li>
</ol>
<p>Launched in 2012, the SIGMA 35mm F1.4 DG HSM | Art was the first lens in the Art line. Since then, SIGMA has developed a wide variety of lenses for the line, and the SIGMA 14mm F1.8 DG HSM | Art is the seventh prime lens in the line to offer 35mm full-frame coverage. Now even stronger, the Art line sets the new standard for prime lenses in the ultra-high-megapixel era.</p>
<ol start="3">
<li>Other features</li>
</ol>
<ul>
<li>Fast AF with full-time manual override</li>
</ul>
<p>Note: The operation of full-time MF may vary based on mount type</p>
<ul>
<li>Compatible with Mount Converter MC-11</li>
</ul>
<ul>
<li>Available SIGMA USB DOCK (Makes customization and flexible adjustment possible)</li>
</ul>
<ul>
<li>Available Mount Conversion Service (Allows use with another camera body)</li>
</ul>
<ul>
<li>Rounded diaphragm</li>
</ul>
<ul>
<li>Designed to minimize flare and ghosting</li>
</ul>
<ul>
<li>High-precision, durable brass bayonet mount</li>
</ul>
<ul>
<li>Evaluation with SIGMA’s own MTF measuring system “A1”</li>
</ul>
<ul>
<li>Made in Japan (With outstanding craftsmanship)</li>
</ul>
<ul>
<li>The lens barrel is engraved with the year of release</li>
</ul>
<span id="pty_trigger"></span>

Big discounts on Zeiss 135mm f/2 and 15mm f/2.8

Just noticed that these 2 lenses are marked down substantially, not sure if they are going out of production because of the new Milvus lenses or what, but both are killer lenses so I figured I'd let the forum know.

15mm is on sale for $1999 ($2950 normally) https://www.bhphotovideo.com/c/product/850101-REG/Zeiss_1964831_Distagon_T_15mm_f_2_8.html

135mm is $1499 ($2122 normally): https://www.bhphotovideo.com/c/product/909189-REG/Zeiss_1999_675_135mm_f_2_0_Apo_Sonnar_ZE.html

German Review of the 24-105 II

For all those interested: traumflieger.de published their (german) review of the 24-105L II

http://www.traumflieger.de/reports/Objektiv-Tests/Canon-Objektive-am-Vollformat/Canon-EF-24-105mm-4L-IS-USM-II-im-Test::1264.html

Conclusion: IQ is about the same between both MKI and II, with a slight edge to the MKI !! on higher res sensors (tested on 5D III, IV and 5Ds).
Microcontrast is better on II.
No difference in AF between both versions.
Better build of MKII, better coatings.

-Sebastian

Old kit with a surprise.

One of my techs brought this nice old Vivitar kit in for a look. There were some wings loose in there and I think it is a moth.

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