Tamron Announces the SP 70-200mm F/2.8 Di VC USD G2

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<em>All-new optical design delivers a dramatically faster autofocus speed and image stabilization performance of 5 stops</em></p>
<p><strong>SP 70-200mm F/2.8 Di VC USD G2 (Model A025)</strong></p>
<p><em>February 6, 2017, Commack, NY</em> – Tamron, a leading manufacturer of optics for diverse applications, announces the launch of SP 70-200mm F/2.8 Di VC USD G2 (Model A025), a new telephoto zoom lens product for full-frame and APS-C DSLR cameras. Model A025 was developed by substantially enhancing the features of its predecessor.</p>
<p>These include a thorough review of the optical, mechanical and electronic designs to increase autofocus speed and precision, reinforce VC (Vibration Compensation) functions and to shorten the MOD. New features include eBAND Coating, Moisture-Proof and Dust-Resistant Construction, Fluorine Coating and compatibility with teleconverters. The lens design features a metal-based barrel for improved handling and ease-of-use. The result of this dramatic evolution is Model A025, a high-speed telephoto lens that widens the scope of expression for photography in a broad range of genres, such as portraits, landscapes, sports and photojournalism. The lens is expected to be available in the U.S. in March at $1299.</p>

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<p><!--more--></p>
<p><strong>PRODUCT HIGHLIGHTS</strong></p>
<ol>
<li><strong>Outstanding resolution and contrast reproduction performance, beautiful <em>bokeh </em>and full compatibility with Tamron teleconverters</strong></li>
</ol>
<p>Based on the current model (A009), the optical design has been revised and improved. Both the resolution and contrast reproduction performance far exceed the present levels. <em>Bokeh</em> has been enhanced and expanded to deliver outstanding background effects across the entire zoom range. Use of a circular diaphragm with nine blades further improves <em>bokeh</em>. The optical design of the new A025 consists of 23 elements in 17 groups. Optimum deployment of XLD (eXtra Low Dispersion) and LD (Low Dispersion) glass elements thoroughly eliminate chromatic aberrations, which tend to become particularly prominent in high-speed telephoto lenses, across the entire zoom range, while ensuring uniform, high-level image quality even on the periphery of the image plane.</p>
<p>The new lens is also fully compatible with the TELECONVERTER 1.4x (Model TC-X14) and TELECONVERTER 2.0x (Model TC-X20)<sup class="green">1</sup>, which increase the focal length of the lens to 1.4 times and 2 times the original, respectively. Both teleconverters are carefully designed and constructed to provide outstanding high quality.</p>
<p>Changes in zoom range when used with SP 70-200 mm F/2.8 Di VC USD G2 (Model A025)</p>
<table class="contentTable">
<tbody>
<tr>
<td width="126"></td>
<td width="156">Mounted on full-frame DSLR camera</td>
<td width="170">Mounted on APS-C format DSLR camera</td>
</tr>
<tr>
<td width="126">Without tele converter</td>
<td width="156">70-200mm</td>
<td width="170">Approx. 109-310mm</td>
</tr>
<tr>
<td width="126">With 1.4x tele converter<span class="green"><sup>*2</sup></span></td>
<td width="156">98-280mm</td>
<td width="170">Approx. 152-434mm</td>
</tr>
<tr>
<td width="126">With 2.0x tele converter<span class="green"><sup>*2</sup></span></td>
<td width="156">140-400mm</td>
<td width="170">Approx. 217-620mm</td>
</tr>
</tbody>
</table>
<p>Changes in magnification ratio when used with SP 70-200mm F/2.8 Di VC USD G2 (Model A025)</p>
<table class="contentTable">
<tbody>
<tr>
<td width="126"></td>
<td width="156">Maximum Magnification Ratio</td>
</tr>
<tr>
<td width="126">Without tele converter</td>
<td width="156">1:6.1</td>
</tr>
<tr>
<td width="126">With 1.4x tele converter</td>
<td width="156">1:4</td>
</tr>
<tr>
<td width="126">With 2.0x tele converter</td>
<td width="156">1:3</td>
</tr>
</tbody>
</table>
<p>Available focusing mode when used with SP 70-200mm F/2.8 Di VC USD G2 (Model A025)</p>
<table class="contentTable">
<tbody>
<tr>
<td width="126"></td>
<td width="156">When using viewfinder</td>
<td width="170">When using live view mode</td>
</tr>
<tr>
<td width="126">With 1.4x teleconverter</td>
<td width="156">AF Possible</td>
<td width="170">AF<sup class="green">*2</sup> Possible</td>
</tr>
<tr>
<td width="126">With 2.0x teleconverter</td>
<td width="156">AF Possible</td>
<td width="170">AF<span class="green"><sup>*3 </sup></span>Possible</td>
</tr>
</tbody>
</table>
<ol start="2">
<li><strong>Improved VC system provides highest Vibration Compensation ability in its class<sup class="green">3</sup> (5 stops using CIPA standard compliant) and offers three situation-specific VC modes</strong></li>
</ol>
<p>Utilizing Tamron’s original VC (Vibration Compensation) system, which uses a moving coil mechanism, further reinforcement of the drive system power and control performance has now achieved the highest VC level in its class, with an image stabilization performance of 5 stops according to the CIPA standard (using VC Mode 3).</p>
<p>Also, the VC system of Model A025 offers three VC modes, including one mode exclusively for panning. Photographers can freely choose between the different VC modes according to their shooting conditions. Even when telephoto shooting in low light, which tends to be severely affected by camera shake, photographers can now enjoy jitter-free handheld shooting with much greater flexibility.</p>
<ul>
<li><strong>VC MODE 1 </strong>is the standard mode that strikes a great balance between the stability of the viewfinder image and the stabilization effects.</li>
<li><strong>VC MODE 2</strong> is exclusively used for panning.</li>
<li><strong>VC MODE 3 </strong>prioritizes the stabilization of the captured images and forgoes the stabilization of the viewfinder image.</li>
</ul>
<p>With the optional accessory TAMRON TAP-in Console<strong><sup>TM</sup></strong>, you can customize the configuration of VC MODE 1. Choose the viewfinder view of either standard or image priority.</p>
<ol start="3">
<li><strong>Demonstratively improved autofocus speed and responsiveness</strong></li>
</ol>
<p>Model A025 is equipped with a USD (Ultrasonic Silent Drive) ring-type ultrasonic motor, whose outstanding responsiveness and control ensures accurate high-speed focusing. Incorporating two advanced, high-performance microcomputers and optimizing the algorithm has improved both the focusing speed and accuracy compared with SP 70-200mm (Model A009). Additionally, thanks to the Full-time Manual Focus override mechanism, photographers shooting with AF can instantaneously make fine focusing adjustments using MF without wasting time by switching the AF-MF mode back and forth.</p>
<ol start="4">
<li><strong>Focuses closer (shorter Minimum Object Distance, or MOD) for greater versatility</strong></li>
</ol>
<p>Improvements made to the focus cam and zoom cam inside the lens barrel have reduced the MOD from 50.7 inches in the older Model A009 to 37.4 inches for Model A025, which has a maximum magnification ratio of 1:6.1. The shorter MOD, coupled with the excellent optical performance of the SP 70-200mm (Model A025), allows photographers to further broaden their range of expression.</p>
<ol start="5">
<li><strong>Optimized and exclusively designed eBAND Coating</strong></li>
</ol>
<p>The new A025 features Tamron’s original eBAND (Extended Bandwidth & Angular-Dependency) Coating, a technology that combines a nano-structured layer with an extremely low refractive index with the conventional multiple-layer coatings. Optimized and exclusively designed for this new zoom, the eBAND Coating provides superior anti-reflection performance, effectively reducing any flare and ghosting. Even when taking backlit portraits, the new lens delivers flawless, crystal clear images.</p>
<ol start="6">
<li><strong>Moisture-Proof and Dust-Resistant Construction</strong></li>
</ol>
<p>Ideal for use in outdoor photography, the new 70-200mm telephoto zoom has moisture-resistant construction because special sealants that are dust-resistant and moisture-resistant are used at every joint and seam. The sealant material helps to prevent the intrusion of any dirt, dust or water droplets, compared to conventional Moisture-Resistant Construction.</p>
<ol start="7">
<li><strong>Fluorine Coating for greater protection</strong></li>
</ol>
<p>The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellant. The lens surface is easier to wipe clean and less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints.</p>
<ol start="8">
<li><strong>Electromagnetic diaphragm system now used also for Nikon-mount lenses</strong></li>
</ol>
<p>An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now available for Nikon-mount lenses<sup class="green">4</sup>. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by the motor through electronic pulse signals.</p>
<ol start="9">
<li><strong>Lightweight and easy-to-hold tripod mount is compatible with Arca-Swiss style quick release plates</strong></li>
</ol>
<p>A new textured grip and Arca-Swiss style tripod interface enhances both speed and utility. Because the tripod mount is made of lightweight magnesium, it is much easier to carry.</p>
<ol start="10">
<li><strong>Compatible with TAMRON TAP-in Console</strong><strong><sup>TM</sup></strong><strong>, an optional accessory product</strong></li>
</ol>
<p>The optional TAP-in Console provides a USB connection to a personal computer, enabling users to easily update the lens firmware as well as customize features, including fine adjustments to the AF and VC.</p>
<ol start="11">
<li><strong>Based on the rigorous quality standards worthy of the SP series, this new lens is manufactured with a thorough attention to details</strong></li>
</ol>
<p>For the SP series products in particular, Tamron has established rigorous design and quality standards. These standards apply to the optical design, mechanical design and the cosmetic appearance, as well as to such wide-ranging areas as the product’s robustness and improvements in the various individual functions. Tamron thoroughly reviews all of the design and manufacturing processes in order to offer products to customers with even-higher levels of precision and quality.</p>
<p>For the SP 70-200mm G2 (Model A025), the optical design was refreshed, mechanical parts were improved and a new exterior design was adopted. To maximize the optical performance intrinsic to this product, Tamron improved the accuracy of the component parts and increased the precision of the overall zooming mechanism.</p>
<p><span class="green">1. For more detailed information about teleconverters, please refer to the Tamron website.</span></p>
<p><span class="green">2. Subjects with low contrast and/or luminosity values can sometimes result in out-of-focus images.</span></p>
<p><span class="green">3. Among 70-200mm F/2.8 interchangeable lenses for full-frame DSLR cameras (as of January, 2017; Tamron)</span></p>
<p><span class="green">4. Available only with cameras compatible with the electromagnetic diaphragm (D3100, D3200, D3300, D3400, D5000, D5100, D5200, D5300, D5500, D5600, D7000, D7100, D7200, D300, D300s, D600, D610, D700, D750, D800, D800E, D810, D810A, D3x, D3s, D4, D4s, Df, D500, D5). (As of January, 2017; Tamron)</span></p>
<p><strong>Tamron SP 70-200mm f/2.8 Di VC USD G2 $1299: <a href="https://bhpho.to/2kkLnJ2">B&H Photo</a> | <a href="https://www.adorama.com/tm702002nk.html?kbid=64393">Adorama</a> | <a href="https://mpex.com/tamron-sp-70-200mm-f-2-8-di-vc-usd-g2-lens-canon.html?acc=3">MPEX*</a> (<em>Bonus <a href="https://mpex.com/tenba-dna-10-messenger-bag-graphite.html?acc=3">Tenba DNA 10</a> Messenger Bag</em>)</strong></p>
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Samyang Announce the XEEN 20mm T1.9 Cinema Lens

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<p><strong>February 6th, 2017, Seoul, South Korea</strong> – A global optics brand Samyang Optics (http://www.samyanglensglobal.com) announces a new XEEN 20mm T1.9 lens for professional video-cine. This lens brings the range of XEEN cinema lenses to eight and complements the existing lenses: 14mm, 16mm, 24mm, 35mm, 50mm, 85mm and 135mm. The new XEEN 20mm offers outstanding image quality from resolving power for 4K+ production for filming video and cinema.</p>
<p>XEEN is a specialized brand of professional video-cine lenses launched by Samyang Optics in 2015. The XEEN series are designed for the ultra-high definition video environment and feature outstanding optical performance for 4K and above. The lenses also feature X-Coating Technology and 11 aperture blades that help create beautiful and round bokeh to introduce emotional and natural expression.</p>
<p>The 24mm x 36mm negative size allows XEEN lenses to not only work with full frame cameras, but also Super 35, APS-C, APS-H and APS-P cameras. XEEN lenses are available in five different mounts – PL, EF, F, E, and MFT and two different focus scales – metric and imperial units. All focus and iris gear rings are identically positioned among eight lenses to speed up the lens changes.</p>
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Cameras at the Super Bowl.

While I expected more Canon cameras to be visible after the bowl ended, I was shocked to see only one Gold Ring (Nikon Lens). Red ring lenses by the dozen, Nikon produces excellent cameras, so why weren't their more? Was Canon there handing them out? I did not see Sony DSLR's, but I assume that there were a significant number of video cameras from Sony. Even there, they often use Canon 4K broadcast lenses.

Canon 600 f4L IS II with Multiple Extenders

The 58th Presidential Inauguration

Photographed from 1/2 mile of swearing in ceremony at 4th Street & Independence Avenue

Note: Not a usual configuration of my 600. This was a special project. Demonstrating the use of multiple extenders in series.

Weather conditions: cloudy, light drizzle, atmospheric heat convection waves

Photo 1: 35mm + Canon 6D
INAUGURATION%209.jpg


Photo 2: 600 f4L IS II + 2xIII + 2xII + 5D Mark IV
INAUGURATION%2010.jpg


Photo 3: Crop of photo 2
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Canon on 250MP APS-H Sensor Plans (again)

Vladimir Koifman's blog brought to my attention this brief, but very clear message from CANON where they plan to use their 250MP baby APS-H CMOS sensor.

Please note 5 fps of 1/120 part of the sensor's area is needed for FulllHD resolution.

As the first comment stated "How can any APS-H format lens possibly provide enough resolution for this sensor?"

My take - they go for the
"surveillance and industry implementation"
just because, there's no good enough image CPU, lenses and good computer tech for efficient exploitation of this tech for the photographers market to be offered.

Last time we've heard about this little monster was exactly one year ago.

Sony Worldwide Camera Sales Going Down

According to this article the latest reports Sony camera sales are down from 1.8 to 1.6 Million units. It’s really a big drop resulting approx 9.6% revenue decrease.

But the good news is sensors demand is up all time by 40% which is due to high demand of image sensors in smartphone units.

IMHO one reason could be the Sony Kumamoto Fab after April 2016 Earthquake

Sony also announces a realignment of its business segments. All image sensor R&D teams, including CineAlta sensors, are moved into Semiconductor group.

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Can canon release the c100 mk3 that needs to be released

What is to become of the c300 mk2 once the c100 mk3 is released. How will canon cripple the c100mk3 to keep their lineup in order? I was really looking forward to 4k in the c100 mk3 as I own a 1dx mk2 but Id like a 4k camera with a clean 4k hdmi out and no crop factor or the choice of a crop as well as 60fps. 30fps 4k is a no go. Will sony's a7r iii and a7s iii force canon to not cripple the c100 mk3 as long as they dont catch on fire or melt from 4k 60fps.

Further Confirmation of EOS 77D, EOS Rebel T7i & New Kit Lens for CP+

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We <a href="http://www.canonrumors.com/canon-eos-77d-coming-soon-cr2/">reported back in December</a> that we would be seeing an EOS 77D and EOS Rebel T7i announced ahead of either CES or CP+. We expect to see these two cameras announced in the coming week.</p>
<p>Below is further confirmation from NokiS___a.</p>
<p><strong>Canon EOS 77D </strong>(Replacement for T6s)</p>
<ul>
<li>Body · 18-55mm kit · 18-135mm IS USM kit</li>
<li>SKU: 1892C001</li>
<li>Product name in Japan is not confirmed</li>
</ul>
<p><strong>Canon EOS Rebel T7i </strong>(Replacement for T6i)</p>
<ul>
<li>Body · 18-55mm kit · 18-135mm IS STM kit</li>
<li>SKU: 1894C001</li>
<li>Product name in Japan is unconfirmed (Kiss X9i?)</li>
</ul>
<p><strong>Canon EF-S 18-55mm f/4-5.6 IS STM</strong></p>
<ul>
<li>SKU: 1620C001</li>
<li>Formal product name is unconfirmed (only focal length and F value and STM confirmed)</li>
</ul>
<p><strong>Canon BR-E1</strong></p>
<ul>
<li>SKU: 2140C001</li>
<li>Remote controller?</li>
</ul>
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WARNING - THE DISASTER THAT IS YONGNUO 600EX - (FIRST VERSION)

Last night I brought 2 flashes to a club, the trusty canon 580ex2 and my back up, the disaster that is the yn 600 ex. I was shooting people etc and someone waved their arm accidently and bashed into my 580 ex2, ripping the bottom half below the AF lights. , wires hanfing everywhere etc. I panicked but thought ok, i have my back up.

Stuck on the YN600 and away I went, for 5 minutes! After that the battery indicator started flashing batteries empty, so ok, i was shooting for 2 hours, even though they were fully charged, i stuck in a fresh pair. After 5-10 minutes, she died. I had to switch it on and back on again and I could only do that a few times before she REALLTY died. Jesus could raise Lazarus, but asking him to resurrect a YN600 might be asking too much.

So, i had to find a way of fixing my broken 580ex2. Luckily I had a mini screwdriver set and began to try and reassemble the bottom half back to the top. The washers were missing so I had the 4 scrrews. I re attatched the white panel back into the slot, managed to temporarily get the 4 screws back in and voila, she worked, but on and off, but it was something to get me through the night.

I am resolutely pissed off at Yongnup right now. I can't afford a canon 600 flash, but the other question I need to ask is,

Is there another alternative to the Canon 600 that has a powerful AF assist light to work in low light situations?

Thanks.

Cover glass for 5D4 touch-screen?

Dear Friends: I sometimes bang around my gear a bit harder than I would like, and it has been my custom always to keep a high-quality multilayer cover-glass affixed to the rear LCD -- a cover-glass of the Giotto or Vello sort, though not always those brands. This has worked out extremely well.
Does anyone have reliable experience and/or authoritative literature on such covers for the touch-screen 5D4?
Thank you for your time and advice.

What were your first Canons? Analog and or digital?

After seeing a picture of Neuro's first camera on the M6 thread, I started thinking about what were my first cameras, well, Canon to make it relevant for this site.

My parents had a Kodak Starmatic which I played with and possibly took apart which probably led to them owning an Instamatic thereafter with flash cubes.

I always wanted an AE-1 as a teenager but instead got a Vivitar 220 SL. Followed by my only Nikon, the EM. Then there was a long period during school where I didn't own anything and shot with school medium formats cameras until I got my first Canon...a Powershot Ixus/Elph S100 in 2000 followed by the ubiquitous 300D in 2003.

Funny, I had digital Canons before owning any film Canons. (EOS 3 and 5, Elan 7 & Elan 7e)

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Yes, this happened: I became a FF snob

I have very much enjoyed my M5, tooling around with it in the past couple of weeks. I think it's 80 percent there, and has already supplanted my 7D2 on many photo missions.

But in analyzing the results from it, I've been disappointed with the low light performance and grain. I finally figured out what happened: I've been using the 5D4 for a few months, and I've gotten used to the full frame image quality (and the 5D4's in particular), and now a crop sensor that is every bit as good and then some as my 7D2 is looking ragged. It's quite unfair to the M5, I realize in retrospect. I'm seriously considering selling the 7 series to start a fund for a 5D4 backup body. I have the 1.4x TC III glued to the 5D4, so the crop factor isn't much of a big deal.

The very good f/8 autofocusing made the world turn upside down, allowing the negation of the crop advantage of the 7D2, especially coupled with the significantly higher number of pixels. The only thing I miss now is the 10 frames per second.

I used to think I needed a full frame body and also a crop body for distance-limited photography, such as wildlife. Now I think I need the full frame and another full frame attached to a teleconverter.

Sigma Art lenses vs. Canon firmware update

Hello everybody.
We all know that new Sigma Art lenses being incredible pieces of engineering art just don't work on Canon's body as they should. As far as I know Nikon cameras don't have such a problem.
Does anybody know if it's made particularly to annoy Sigma and force customers to buy genuine Canon lenses or Sigma just doesn't know any Canon's technologies to make their lenses fit properly?

And the second question, if you don't mind :)
What would you recommend in case of using Sigma Art lenses after all: to use older Canon firmware (altogether with the newest ones in Sigma lenses) or vice versa, the newest ones? Or it doesn't make sense at all and every firmware had, is having and will have these autofocus issues?
Sorry if this question had already been asked, but I couldn't find such a topic here.
Many thanks :)

1DX2 ref manual AF points

I was just doing a little bit of research for an upcoming trip and deciding which lens,TC and body combinations I would use and to do so referred to the camera manual on AF performance. I came up with some interesting facts which lead me to think that the manuals( which I downloaded from Canon' website) are inaccurate.
The manual suggests a 70-200f2.8 Mk2 mounted on a 7D2 would produce 45 cross-type and another 20 standard AF points.
The much more recent 1DX2 would have only 21 cross-type and 40 standard AF points. That was a surprise to me given the performance of the 1DX2.
I then looked at the performance of the 100-400 Mk2 with a 1.4TC added. According to the 7D2 manual you would have one centre point cross-type and 4 surrounding standard points. Look through the viewfinder (with the lens attached) at the illuminated points and indeed that is all you can get however, according to the 1DX2 manual you should get 1 centre cross-type and 8 standard others.In actual fact you can push the AF point around all 61 available ones so the manual is inaccurate.
Canon are certainly under selling the performance of the 100-400Mk2 on a 1DX2 and in fact I wonder if the information in the 1DX2 manual is just copied from the 1DX with no reference to the improved performance with all lens and TC combinations.
Other areas of the manual are updated but I wonder if there are more gaping errors, particularly ones that might influence future purchases of lenses in particularly.
I am reading it right am I not?

UPDATED: More Tamron 70-200mm f/2.8 VC G2 & 10-24mm f/3.5-4.5 VC Information

HTML:
<em><strong>UPDATE: We’re told these new lenses will be officially announced on February 7, 2017.</strong></em></p>
<p>More information about the upcoming Tamron SP 70-200mm f/2.8 Di VC USD G2 & Tamron 10-24mm f/3.5-4.5 Di II VC HLD lenses has leaked out.</p>
<p>Here’s hoping these won’t be for just the Japanese market too!</p>
<p><strong>Tamron SP 70-200mm f/2.8 Di VC USD G2</strong></p>
<ul>
<li>Model A 025</li>
<li>Mount: For Canon · For Nikon</li>
<li>Suggested retail price: 175,000 yen + tax</li>
</ul>
<p><strong>Tamron 10-24mm f/3.5-4.5 Di II VC HLD</strong></p>
<ul>
<li>Model B 023</li>
<li>First installed with new motor HLD (High / Low Torque Modulated Drive Motor).</li>
<li>Equipped with a camera shake correction mechanism VC. Approximately 4 steps for the camera shake correction effect.</li>
<li>Antifouling coat and simple drip-proof construction are adopted.</li>
<li>TAP-in Console compatible.</li>
<li>Lens construction: 11 groups 16 pieces (LD lens 1, XLD lens 1, glass mold aspheric lens 1, composite aspherical lens 1 sheet)</li>
<li>Shortest shooting distance: 0.24 m</li>
<li>Maximum shooting magnification: 1: 5.3</li>
<li>Filter diameter: 77 mm</li>
<li>Maximum diameter × length: 83.6 mm × 84.6 mm</li>
<li>Weight: 440 g</li>
<li>Mount: For Canon · For Nikon</li>
<li>Suggested retail price: 70,000 yen + tax</li>
<li>Mass retailer price: 62,100 yen (tax included)</li>
</ul>

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Canon EOS M6 Coming This Month.

HTML:
We <a href="http://www.canonrumors.com/new-eos-m-camera-coming-in-february-cr3/">reported back in December</a> that Canon would be announcing a new EOS M camera in February ahead of CP+, and it appears that new camera will be the EOS M6 according to NokiS___a.</p>
<p>We also reported at the same time that the EF-M 18-55 STM would be discontinued, and it looks like that is going to be the case as this new camera will be kitted with the EF-M 15-45 and EF-M 18-150.</p>
<p><strong>Canon EOS M6 </strong>(Google Translated)</p>
<ul>
<li>Color: Black / Silver</li>
<li>Available in body only, EF-M 15-45mm lens kit, EF-M 18 – 150mm lens kit – Double zoom lens kit</li>
<li>SKU: 1724C001 (Black), 1725C001 (Silver)</li>
<li>Three-digit number of the back of the ※ C will change in the country of sale and kit.</li>
</ul>
<p><strong>Canon EVF-DC 2 </strong>(Google Translated)</p>
<ul>
<li>Color: Black / Silver</li>
<li>SKU: 1727C001 (black), 1882C001 (silver)</li>
</ul>
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Tamron Announces SP 70-300mm F/4-5.6 Di VC USD for Japan Only

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<strong>February 3, 2017, Saitama, Japan</strong> – Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the launch of a new telephoto zoom lens product, the SP 70-300mm F/4-5.6 Di VC USD (Model A030) (hereinafter called “Model A030”), for 35mm full-frame DSLR cameras. Model A030 was developed by substantially enhancing the features of the popular SP 70-300mm F/4-5.6 Di VC USD (Model A005) (hereinafter called “Model A005”), which has enjoyed high acclaim since its launch in 2010 as a telephoto zoom lens with outstanding performance. With the external design completely revamped, a Fluorine Coating with outstanding durability is applied to the front element surface of the lens. Improvements have also been achieved in AF speed and responsiveness and VC (Vibration Compensation) functions. Model A030 will be sold only in the Japanese market.</p>
<p><!--more--></p>
<p><strong>Product Highlights</strong></p>
<ol>
<li><strong>Improvements in AF speed and responsiveness</strong>

Improvements in the control circuit and AF algorithm of the previous Model A005 have enhanced both focusing speed and accuracy, which enables a moment to be captured without letting the photo opportunity slip away, and which makes the A030 a suitable lens for photographing fast-moving subjects.</li>
<li><strong>Improved VC functions</strong>

Improving Tamron’s unique VC (Vibration Compensation) functions has improved the responsiveness of the VC lens elements, and Model A030 achieves a higher image stabilization performance level of 4.0 stops according to the Camera & Imaging Products Association (CIPA) standard.</li>
<li><strong>External design renovated</strong>

The zoom ring and focus ring using linear-based grid patterns and the brand ring in tungsten silver create an external design with a high-grade feel.</li>
<li><strong>Equipped with Fluorine Coating to improve user-friendliness for the lens</strong>

The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellant. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints.</li>
</ol>
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Review: Sigma 85mm f/1.4 Art Receives Highest DXOMark Score Ever

HTML:
DXOMark has completed their review of the Sigma 85mm f/1.4 Art series lens, and apparently they like it!</p>
<p><strong>From DXOMark:</strong></p>
<blockquote><p>With its Art series, Sigma has done much to improve its standing as a high-end lens maker. Until only recently, Canon and Nikon were on safe ground with their high-speed primes, but makers such as Sigma and Tamron (and Zeiss) are beginning to make inroads. While all the full-frame Art series lenses are excellent performers optically, the latest model in the range is also its best. It also happens to be the most expensive to date, but the $1,199 asking price seems reasonable. That it outperforms the Zeiss Milvus and outrageously expensive Otus equivalents probably says enough for most people — and that’s even before discussing the merits of autofocus versus manual on high-speed lenses like this. <a href="https://www.dxomark.com/Reviews/Sigma-85mm-F1.4-Art-lens-review-New-benchmark">Read the full review</a></p></blockquote>
<p>That’s definitely some amazing praise bestowed on the new king from Sigma. I love the Tamron 85mm f/1.8 VC, but this may have piqued my interest in trying out this Sigma 85mm lens.</p>
<p><strong><a href="https://bhpho.to/2ky91Cj">Sigma 85mm f/1.4 DG Art at B&H Photo</a></strong></p>
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DxO has tested the Sigma 85 Art. Nikon only (LOL).

I'm wondering why no 5dsr results? Do they afraid to give Canon a higher "score" because the lens probably resolves way too much?
https://www.dxomark.com/Lenses/Sigma/Sigma-85mm-F14-DG-HSM-A-Nikon-mounted-on-Nikon-D800E__814

Also not sure how do they calculate the CA. It's much more noticeable than the Otus 85 which is measured to have a higher level than the Sigma (3nm vs 2nm).

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