c100 II and 80D or GH4 + lens suggestions

Hi all! I am 85% of the way ready to purchase a c100 II but wanted to make the best decision with regards to options and lenses. I don't own any Canon glass anymore and have the GH4 system which I will most likely sell to get a B-cam for my C100II.
I could also keep the GH4 as a b-cam to the C100 II. Is there any strong reasons to sell my GH4 for an 80D? My C100 II will be my A-cam for video and my GH4 or 80D will be my B-cam for video and main stills camera. I'd like to take stills to print large sizes for print. So I could theoretically keep my GH4 for stills and have a decent b-cam with 4K video but no DPAF. The 80D would give me the DPAF but not 4K video. Any thoughts on what to use as a b-cam and stills camera to print images?
As far as C100 II options
1. Body Only: $3999
2. Body & 24-105 4L: $4499
I'm not sure if it is better to start with just the body and get a different "kit" lens or get the body and 24-105 for 500 more which would save me 400-500 on the actual lens.
I think it seems best to have an all-around zoom lens and 1 or 2 lenses that are much sharper for up-close interviews etc since the C100 II could use a bit more help in the resolution department.

Sorry if that seemed stream of conscious.

Thanks in advance!

Canon Welcomes Stephanie Sinclair and Jeremy Cowart to Explorers of Light Program

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<em>More than 20 Year Program Debuts New Members at PhotoPlus Expo 2016</em></p>
<p><strong>MELVILLE, N.Y., October 19, 2016</strong> – Canon U.S.A., Inc., a leader in digital imaging, is proud to announce the addition of two new photographers to its renowned Explorers of Light program, Stephanie Sinclair and Jeremy Cowart. These new members add to the already impressive ranks of Canon’s program, expanding to align with a wide range of talented professionals that impact imaging culture and influence the way their audiences see the world. These new Explorers of Light will be on hand at the Canon Booth (#121) at PhotoPlus Expo 2016, October 20-22 at the Jacob Javits Convention Center in New York City. For a full schedule of events in the Canon booth, please visit <a href="http://www.usa.canon.com/photoplus2016" target="_blank"><b>usa.canon.com/photoplus2016</b></a>.</p>
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<p>Stephanie Sinclair is a New York-based photojournalist who has gained international acclaim for her attention to human rights issues. Through her photography and her Too Young to Wed foundation, she has shone a spotlight on issues such as child marriage, female circumcision, war and polygamy. “Throughout my career, I’ve used the power of images to tell stories that weren’t being told,” Sinclair remarked. “I’m honored to join Canon’s Explorers of Light program and eager to get more involved in speaking to the next generation of photographers to teach them how to do the same.”</p>
<p>Jeremy Cowart is an accomplished portrait photographer who has captured iconic images of some of the world’s biggest celebrities. In addition, his humanitarian work has taken him to places such as Rwanda and Haiti where he has created photo essays that helped tell the stories of those whose lives had been ravaged by war and tragedy. “I’ve always been passionate about teaching, because it is my belief that art can change the world,” said Cowart. “I’m so proud to join the Explorers of Light program and be part of such an amazing team of professional photographers who share my enthusiasm for spreading the joy of imagery.”</p>
<p>“For over 20 years, the Explorers of Light program has enabled Canon to align with amazing professional photographers that use the power of the image to educate and inspire, and Jeremy Cowart and Stephanie Sinclair will help us to do both in new and impactful ways,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.</p>
<p>Since the creation of the program in 1995, Canon’s Explorers of Light have been leaders in their respective fields, garnering awards and accolades for their work. These individuals work with Canon extensively as representatives, ambassadors, educators, and role models for aspiring creative artists. They participate in workshops, seminars, gallery showings and personal appearances throughout the United States.</p>
<p>For more information about the Explorers of Light program, visit: <a href="http://www.learn.usa.canon.com/explorers_of_light/eol_home.shtml" target="_blank"><b>http://www.learn.usa.canon.com/explorers_of_light/eol_home.shtml</b></a></p>
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Patent: Canon Continues to Work on Curved Sensor Technology

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<p>A patent showing curved sensor development, this one deals with using a magnetic system to deform the sensor. The translation below isn’t the best, but it should give you an idea of the technology.</p>
<p>Patent Publication No. 2016-173496 (<a href="http://egami.blog.so-net.ne.jp/2016-10-19">Google Translated/Egami</a>)</p>
<ul>
<li>Published 2016.9.29</li>
<li>Filing date 2015.3.17</li>
<li>However, generally a dark current is generated by the image sensor, especially since the time of or during long exposure sensitivity is sometimes noise due to dark current are noticeable, various noise reduction process is performed. On the other hand, the imaging surface imaging element is curved in the imaging element curved dark current generated by the imaging device is known to be reduced by the tensile stress at the time of the.</li>
<li>Curving the imaging surface drive means</li>
<li>Driving means magnetic force</li>
<li>Curvature of dark current noise is reduced</li>
<li>Curvature priority to the correction of the curvature of field aberration</li>
</ul>
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Nikon Announces New 70-200mm f/2.8 VR & 19mm f/4 Tilt-Shift

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<em>Extraordinary Next-Generation AF-S NIKKOR 70-200mm f/2.8E FL ED VR Sets a New Standard for Pro Telephoto Workhorse Lenses, While New PC NIKKOR 19mm f/4E ED is Nikon’s Widest Ever Tilt-Shift NIKKOR Offering</em></p>
<p><strong>MELVILLE, NY (October 19, 2016 at 12:01 A.M. EDT) </strong>– Today, Nikon Inc. has announced two exciting FX-format additions to the storied NIKKOR lens lineup, designed to achieve amazing optical performance for the most demanding professional and enthusiast photographers. An evolution of one of Nikon’s most versatile and popular pro-zoom lenses, the newly redesigned AF-S NIKKOR 70-200mm f/2.8E FL ED VR sports an updated optical formula capable of amazing image quality, while optimized for high-speed shooting. Also introduced today is Nikon’s widest perspective control lens to date, the PC NIKKOR 19mm f/4E ED tilt-shift lens, which helps photographers effortlessly control perspective when capturing architecture, interiors, fine art, product photography and landscapes.</p>
<p>“Nikon continues to raise the bar of optical excellence, and our newest FX-format NIKKOR offerings provide experienced photographers with powerful tools to help ensure brilliantly sharp images, whether capturing a high-speed photo finish or creatively framing an architectural marvel,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “While the new AF-S NIKKOR 70-200mm f/2.8E FL ED VR builds upon the success of its predecessors to offer a true all-around NIKKOR optic, the PC NIKKOR 19mm f/4E ED will provide fantastic perspective control for a variety of challenging wide-angle applications.”</p>
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<p><strong>The Ultimate Workhorse Lens for Seasoned Photographers</strong></p>
<p>Long considered an essential lens in the bag of professional photographers, this updated AF-S NIKKOR 70-200mm f/2.8E FL ED VR sets a new benchmark for fast telephoto zoom lenses, taking image quality and handling to the next level. An indispensable and powerful tool for nearly any photographic scenario, the NIKKOR 70-200mm remains the professional’s choice with a wide f/2.8 constant aperture that is ideal for capturing sports, weddings, stunning portraits and more, even in low-light.</p>
<p>The next generation design of the lens helps ensure the very best in image quality, speed and low-light performance, while offering balance and handling that is nothing short of superb. Nikon’s new 70-200mm provides up to four stops<sup class="green">1</sup> of Vibration Reduction (VR) image stabilization, an improvement from its predecessor that helps users to eliminate blur and camera shake even when shooting handheld or in challenging light. During burst shooting, the lens takes advantage of an electromagnetic diaphragm for consistent auto-exposure control. Additionally, a Silent Wave Motor (SWM) enables ultra-fast and quiet AF operation with seamless manual focus override. Discerning photographers will also appreciate assignable function buttons on the lens barrel that offer customization, perfect for engaging pre-set autofocus or other focusing options.</p>
<p>A new optical formula consisting of six ED elements, one Fluorite element, a high refractive element and Nano Crystal Coat helps make for a lighter and more versatile lens, while reducing chromatic aberration and helping to all but eliminate distortion, ghosting and flare. Ready for even the most rugged of assignments, the magnesium alloy lens barrel features superior weather-sealing that achieves anti-dust and waterdrop-resistance, while Fluorine coating on both the front and rear glass facilitates easy cleaning. Whether shooting with a camera like the Nikon D5, D810, D750 or D500, capturing sports or weddings, the AF-S NIKKOR 70-200mm f/2.8E FL ED VR is a fantastic lens choice for experienced photographers.</p>
<p><strong>Seamlessly Control Perspective with the New Super-Wide PC NIKKOR Lens</strong></p>
<p>Also new from Nikon is the latest perspective control lens (designated PC) in the NIKKOR lens lineup, the PC NIKKOR 19mm f/4E ED, a tilt-shift offering that will help photographers master perspective and depth-of-field. For storytellers who yearn to capture optically-challenging subjects like cityscapes and architecture, interiors or unique landscapes, this lens offers 97° of coverage – the widest focal length of any PC lens in the NIKKOR family. Tilt the lens to sharpen focus throughout a scene or create a miniature effect, or shift<sup class="green">2</sup> to adjust perspective in-camera, create panoramas or eliminate converging lines. For the first time with a NIKKOR PC lens, the direction of tilt operation can be made parallel or perpendicular to shift, offering users nearly unprecedented ability to control perspective, focus and depth-of-field, without having to lock and unlock to make adjustments.</p>
<p>Sporting a super-wide 19mm focal length, the lens provides a unique perspective ideal for shooting horizontal or vertical panoramas, or even filmmaking. With this ultra-wide angle in mind, the latest FX-format NIKKOR offering was crafted with three ED and two aspherical elements that help combat distortion and glare, while virtually eliminating chromatic aberration and coma, even at the widest aperture settings. The lens also features core NIKKOR technologies such as Nano Crystal Coat to combat ghosting and flare, an electromagnetic diaphragm for fast auto-exposure control, as well as a Fluorine coat that helps resist dirt, water spots and smudges. Ready for a variety of challenging ultra-wide applications, the PC NIKKOR 19mm f/4E ED is a powerful tool for discerning photographers looking for full creative and perspective control. It joins three other Gold Ring Series PC lenses in Nikon’s line-up; the PC-E NIKKOR 24mm F3.5D ED, PC-E Micro NIKKOR 45mm f/2.8D ED and the PC-E Micro NIKKOR 85mm f/2.8D.</p>
<p><strong>Price and Availability</strong></p>
<p>Both the AF-S NIKKOR 70-200mm f/2.8E FL ED VR and PC NIKKOR 19mm f/4E ED will be available starting in November 2016 for suggested retail prices (SRP) of $2,799.95<sup class="green">*</sup> and $3,399.95<sup class="green">*</sup>, respectively. For more information on these new Nikon products and pricing for optional accessories, please visit <a href="http://www.nikonusa.com/">www.nikonusa.com</a>.</p>
<p><span class="green"><em>1</em> <em>Based on CIPA Standard. This value is achieved when FX-format compatible lenses are attached to a FX-format digital SLR camera and zoom lenses are set at the maximum telephoto position. </em> </span></p>
<p><span class="green">2 <em>Depending on combination of shift and rotation, operation may be restricted by mechanical interference between the lens and camera when used with certain Nikon cameras.</em></span></p>
<ul>
<li><span class="green"><em>Models that can be used without any limitation: D5, D4 series, D3 series, D810 Series, D500</em></span></li>
<li><span class="green"><em>Models that can be used with some limitations: Df, D800 series, D750, D610, D600, D300 series, D7200, D7100, D5500, D5300, D5200, D5100, D5000, D3400, D3300, D3200, D3100</em></span></li>
<li><span class="green"><em>Models that are not compatible with PC NIKKOR 19mm f/4E ED</em>: D2 series, D1 series, D200, D100, D90, D80, D70 series, D3000, D60, D50, D40 series, film cameras, Nikon 1 series with FT-1</span></li>
</ul>
<p><span class="green"><em>*SRP (Suggested Retail Price) listed only as a suggestion. Actual prices are set by dealers and are subject to change at any time.</em></span></p>
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Canon 1Dx vs 5D IV - Pure Image Quality question

Hello guys. If you disregard the price, FPS and built quality and all the bells and whistles like WIFI and DPAF and video. Which one of these cameras would you choose on PURE image quality, especially in the ISO 1600-6400 ranges. I've seen the unprocessed raw comparisons on DPreview en TDP but they don't really show how nice the noise cleans up or how much detail and color is preserved or can be added. I would like to know how these image files compare after some basic post processing. Or when the processed images are normalized to say comparable resolutions. I am not talking about (base ISO) DR, so let's keep that topic out of this. But more on how malleable the files are in a decently exposed image and a standardized output resolution. Do you guys have any experience regarding this?

What are your most used lens?

For fun, I thought I'd list my lens usage in Lightroom and I was surprised to see the results.

I took a 2 year listing and saw a similar result.
If I look at my wedding usage, my 85L is my most used lens with my 35L coming in a close 2nd and my 16-35IIL hitting 3rd.
But if I excluded my wedding shoots out of the list....my 400mm f2.8 LIS is my most used lens....that REALLY surprised me. 2nd place was my 16-35IIL followed closely by my 70-200 f2.8 LIS II.

Let's play....how about yours?

Canon 1DX Mark 2 + EF 200mm f/2.0 Power/On Issue.

Just a quick post to say I found an issue with the 1DX Mark2 and EF 200mm f/2.0.

1DX2 is running the latest firmware (1.1.2), this issue has nothing to do with the 200/2's IS - 5D3 problem, and my lens is not one that was effected.

Seems that when the camera is powered down and the 200/2 is mounted it fails to power up when switched back on.

The only way to restore it is to pull the battery, then all is normal, out of 10 attempts its normally fails 8/9 times.

CPS have replicated the problem with their 1DX2 and 200/2 and have forwarded it to Canon, I hope they sort it soon!

Canon U.S.A. Introduces Three New Premium Fine Art Papers Ideal for Professional Photographers

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<em>Key Features Include Rich Color Reproduction, Longevity and Detailed Expression of Gradation</em></p>
<p><strong>MELVILLE, N.Y., October 18, 2016</strong> – Photographers have a wide range of paper options when printing their work and choosing the right paper to match the work is key to professional and amateur photographers alike. Canon U.S.A., Inc., a leader in digital imaging solutions, continues to show their commitment to the professional printing market by announcing today three new Premium Fine Art papers — Premium Fine Art Smooth, Premium Fine Art Bright White and Premium Polished Rag. Designed to produce, rich-color reproduction, and detailed expression of gradation, these new papers will help photographers take their images to the next level and create works of art.</p>
<p>“Canon continues to be committed to our professional printing audience and these new papers are a great example of providing the tools needed to create great artwork,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Having a wide range of versatile media support for our printers allows users to choose the best paper to create their masterpiece.”</p>
<p><!--more--></p>
<p>Premium Fine Art Smooth paper is designed to produce a deep, rich black by allowing the pigment to reside close to the surface of the paper. This line of paper separates the ink-receiving layers into a color-reproduction layer and an absorbing layer allowing more pigment to remain on the surface of the paper for a dramatically improved color reproduction. Premium Fine Art Smooth uses 100% cotton for the base and it does not contain lignin, a causative substance that can result in yellow discoloration. This is an acid-free paper suitable for archival prints and image longevity. Additionally, when using the newly optimized LUCIA PRO ink, users will realize deeper black density, detail gradation of shadow and increased image longevity. The new Premium Fine Art Smooth adopts “natural” for tone of color, and “smooth” for texture of paper surface. The combination of the thickness of the paper and the soft, tender texture of cotton achieves a luxurious feeling final product. This 310 gsm paper is available in cut sheet sizes as well as 17, 24, 36 and 44-inch roll sizes.</p>
<p>Premium Fine Art Bright White is a high-quality, 100% cotton, acid-free inkjet paper with a bright white tone that provides more visual contrast. The very smooth and silky surface lends itself to high-color consistency and gamut making it ideal for profound photographic prints and fine art reproductions. This 305 gsm media is available in 24, 36, 44 and 60-inch roll sizes.</p>
<p>Premium Polished Rag is a semi-glossy, acid-free, bright white, 100% cotton-based paper designed to meet the needs of photographers or artists using digital photographic output and computer-generated artwork. These museum-quality papers provide excellent image sharpness and superb color gradation. They provide high-color consistency and gamut while being free of optical brighteners. This 305 gsm media paper is available in 24, 36 and 44 and 60-inch roll sizes.</p>
<p>These Canon Premium Fine Art papers are now available to order. For more information: <a href="http://www.usa.canon.com/"><b>http://www.usa.canon.com/</b></a></p>
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Canon U.S.A. Launches New Professional Service & Support Center in Lyndhurst, New Jersey

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<strong>MELVILLE, N.Y., October 18, 2016</strong> – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced that their service operation in Ridgefield Park, New Jersey has relocated to 125 Chubb Ave., Suite 100N, Lyndhurst, New Jersey. The new Professional Service & Support Center is geared toward industry professionals and photo enthusiasts and is designed to support the imaging community in the New York metropolitan area. This facility will be open Monday through Friday from 9:00 AM to 4:30 PM on a walk-in basis with no appointments needed.</p>
<p>At this new location, Canon will showcase many of its latest imaging products in the professional products showroom with a Canon technical expert on-site to demonstrate product features and answer questions. The state-of-the-art facility also offers repair and maintenance operations for Canon’s extensive lineup of professional Cinema and Broadcast lenses, EF series photography lenses, Cinema EOS and EOS Digital SLR cameras, and high-definition camcorders. Repair operations at the facility include six state-of-the-art lens and camera adjustment rooms, Canon’s most advanced adjustment and calibration equipment, spare parts inventory, and experienced repair staff.</p>
<p>“The new facility in Lyndhurst will provide an inviting location for Canon’s existing customers as well as new customers looking to learn more about our products,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “This move also continues the expansion and improvements of our 100 percent U.S.-based service and support network.”</p>
<p>The Lyndhurst facility is one of three service facilities that Canon has made available to professional clients, joining the Canon Hollywood Professional Technology & Support Center, located in Hollywood, California, and the Chicago Professional Service & Support Center, located in Itasca, Illinois. These facilities provide local support to key markets and deliver an average repair process time of less than two days for CPS customers.</p>
<p>Additional camera and lens service facilities for both professional and consumer clients are located in Jamesburg, NJ, Costa Mesa, CA and Newport News, VA.</p>
<p>For an exciting video tour highlighting the features of the new facility, please visit: <a href="http://www.pro.usa.canon.com/lyndhurst">www.pro.usa.canon.com/lyndhurst</a></p>
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Canon Successfully Develops World’s First Indium Phosphide Immersion Grating

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<strong>TOKYO, October 18, 2016</strong>—Canon Inc. announced today the successful development of the world’s first<sup>*</sup> indium phosphide (InP) immersion grating.<sup>†</sup> Strengthening its lineup of immersion gratings, which includes gratings made from germanium (Ge) and cadmium zinc telluride (CdZnTe), Canon is contributing to even greater progress in cosmological observation by expanding the range of observable infrared frequencies.</p>
<p>In order to retrieve information contained within light emitted from space, astronomical telescopes and man-made satellites are equipped with spectroscopes—devices that incrementally divide light by its different frequencies—that play a vital role in cosmological observation. Compared with typical reflective elements, immersion gratings enable spectrometers that are smaller in size and realize higher levels of performance. With the addition of an InP immersion grating to Canon’s lineup, spectrometers could be reduced to approximately 1/27th the volume of those equipped with typical reflective elements that cover the same frequencies. Overcoming restrictions on size and weight, which, until now, made it difficult to launch man-made satellites equipped with high-performance spectrometers, is expected to further expand the possibilities of cosmological observation. What’s more, the application of this grating to next-generation large ground-based telescopes, which face the problem of ever-increasing sizes, could lead to reductions in size without sacrificing performance.</p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2016/10/20161018_01e.jpg"><img class="aligncenter size-medium wp-image-27131" src="http://www.canonrumors.com/wp-content/uploads/2016/10/20161018_01e-728x239.jpg" alt="20161018_01e" width="728" height="239" srcset="http://www.canonrumors.com/wp-content/uploads/2016/10/20161018_01e-728x239.jpg 728w, http://www.canonrumors.com/wp-content/uploads/2016/10/20161018_01e-768x253.jpg 768w, http://www.canonrumors.com/wp-content/uploads/2016/10/20161018_01e-610x201.jpg 610w, http://www.canonrumors.com/wp-content/uploads/2016/10/20161018_01e.jpg 973w" sizes="(max-width: 728px) 100vw, 728px" /></a></p>
<p>With the addition of an InP immersion grating, Canon’s immersion grating lineup now covers light from near infrared to far infrared, enabling observation of almost the entire spectrum of infrared frequencies used in the field of astronomy (from 1 to 20 μm<sup>‡</sup>). Infrared light can be captured from much farther distances than visible light, making detection of matter in space possible on a molecular, and even atomic, level. As such, the new InP immersion grating could facilitate research into not only the origin of life and planets, but also the origin of the universe itself, contributing to even greater developments in space science.</p>
<p><!--more--></p>
<p>While the benefits of fabricating immersion diffractive gratings were realized long ago, because the transmissive semiconductor materials suited to the infrared frequencies used in the field of astronomy (from 1 to 20 μm) are particularly brittle, achieving a surface of virtually perfect regularity with grooves measuring only a few nanometers<sup>§</sup>proved difficult. Canon applied its own ultra-precision processing technology, cultivated through the manufacture of precision components, using only machining processes to successfully develop immersion gratings even with such brittle semiconductor materials. The resulting InP immersion grating realizes an arrangement of 990 steps at 47 μm intervals.</p>
<p>Diffractive elements for use with high-dispersion infrared spectra ordinarily have an absolute diffraction efficiency<sup>¶</sup>of 50–60%. Canon’s InP immersion grating, however, achieves an absolute diffraction efficiency of approximately 75%. With its high-efficiency performance, enabling superior light capture even amid low light intensity, it will enable small telescopes to achieve high precision measurement, and large telescopes to measure infrared light from much farther distances in space.</p>
<p>Canon will host a presentation on its indium phosphide immersion grating at the International Conference on Space Optics 2016, to be held from October 18 to 21, 2016, in Barritz, France.</p>
<table class="nobdr notice mgnb30">
<tbody>
<tr class="padb10">
<td class="center">*</td>
<td>Among immersion gratings made from indium phosphate. According to a Canon survey.</td>
</tr>
<tr>
<td>†</td>
<td>Indium phosphide immersion grating refers to a spectrographic optical element capable of covering the indium phosphide transmissive frequency range of the infrared spectrum between approximately 1.5 and 8 μm. Compared with conventional reflective diffractive gratings, immersion gratings make possible higher dispersion relative to the refractive index (approx. 3.2 for InP).</td>
</tr>
<tr>
<td>‡</td>
<td>1 μm (micrometer) is one-millionth of a meter (or one-thousandth of a millimeter).</td>
</tr>
<tr>
<td>§</td>
<td>1 nm (nanometer) is one-billionth of a meter (or one-thousandth of a micrometer).</td>
</tr>
<tr>
<td>¶</td>
<td>Absolute diffraction efficiency is the ratio of the diffracted light intensity to the incident light intensity, specifically, at the precise point of the strongest diffracted light intensity. In the case of Canon’s InP immersion grating, the theoretical absolute diffraction efficiency limit is said to be 85%.</td>
</tr>
</tbody>
</table>
<h3>Setting sights on medical and communication applications</h3>
<p>Going forward, Canon intends to develop an immersion grating from materials suitable for frequencies close to visible light (0.8–1.2 μm), and with the successful development of its InP immersion grating, the Company is one step closer to achieving that goal. By developing a lineup of immersion gratings using a variety of different materials, users can choose the optimal grating based on the frequency range it will be used with to make possible a wide range of applications in the field of infrared spectroscopy. Canon anticipates applications in the fields of medicine, communication and, of course, astronomy.</p>
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Latest in the Grey Market Wars

Several sites are reporting the latest news regarding the ongoing anti-grey market efforts. Fuji has apparently joined the fight and Canon has reached a settlement with one grey market seller that sounds like it could mean an end to their selling grey market bodies.

I've noticed lately that sites like Canon Price Watch have been offering products with USA/Canada warranties as "street price" specials for less than grey market and have also noticed that authorized dealers have been using "open box" sales to get around MAP pricing, to match or undercut grey market prices.

I've thought all along that the real strategy here was to force the grey market retailers to settle. It will be interesting to see if some of the larger grey market dealers end up joining the authorized dealer network. Alternatively, they may buy from authorized dealers at a discount and sell US/Canada warranty products as an unauthorized dealer. (CPW has a good explanation http://www.canonpricewatch.com/blog/authorized-unauthorized-dealers-and-grey-market-explained/#usmodel .)

Read some of the recent stories.

http://photorumors.com/2016/10/14/fuji-files-a-lawsuit-against-grey-market-sellers-at-the-same-time-canon-dismissed-their-case-against-grey-market-seller-get-it-digital/

http://www.worldipreview.com/news/fujifilm-takes-aim-at-importers-in-grey-goods-action-12394

http://www.photographybay.com/2016/10/10/canon-usa-v-get-it-digital-case-dismissed/ (This headline is deceptive. Read the full story. It was "dismissed" because they reached a settlement and Canon withdrew the suit.

http://www.thephoblographer.com/2016/10/13/fujifilm-goes-grey-market-importers-retailers/#.WAWQMclj14-

Sigma 85mm f/1.4 Art -- early high-level review

Here's a Sigma 85 Art (somewhat superficial) review at Petapixel:
http://petapixel.com/2016/10/17/review-sigmas-85mm-f1-4-art-lens-exceeds-expectations/

No AF reliability/consistency testing was presented, unfortunately.

Dustin Abbott, if you are reading this, please please please do us all a favor and develop some kind of repeatable-over-time-with-other-lenses AF hit rate study for your lens reviews. Sigma's IQ has been consistently terrific the last few years, but the #1 reason why folks sell/return these Art lenses is never mentioned in reviews!

- A

The Birth of Greenhouse 4K UltraHD "New Forest Fruit" (5D Magic Lantern RAW)


Hello,

Did you ever wondered how strawberries comes to our grocery stores? I had opportunity to visit construction side of almost 3 hectares greenhouse. There have been many difficulties on the way of our hard working team, but everybody who took a part to complete this project should be proud of them self. Construction started 2015 and it was complete at the end of the year. At 2016 it started to operate on full power.

Gear used: Canon 5D mark III + Magic Lantern tools + RAW Video, Canon ef 16-35mm f/4 IS.

Press of the photo to watch or link bellow:
https://youtu.be/s6ScCC-Qi9s

Thank you for watching and you comments.

Kind regards,
Denisas P.

Fishing...

Fishing on the Coquihalla River near Hope, British Columbia. I don't think these are sports anglers. There was a conservation department truck parked nearby, so I imagine these are conservation officers involved in a study (perhaps fish species and populations, just guessing).

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Mobile flash system

Hi Guys!

I visited an portrait shooting course an I would like to do more of this.
The trainer showed us some lightning systems, which were all outstanding.
But in my house, I do not have an separate big room to built up such a system.

Now I am looking to buy an mobile one, as for beginning, it will be enough for me.
What I own: Eos 6D for better image quality as my 7D Mark II and some flashes: EX 550 and Nissin D688 II. And an ring flash from canon.

So I was adviced to get an three head system. Two with soft boxes and one for spot or background lighting.

My questions to you experienced users:
Should I buy an third flash? Which one to get? An cheaper one?
And how to control them? My old Yongnuo RF-602/C set (transmitter/receiver that is mounted under the flash) or an new Cactus set? Or another set from Yongnuo?

And which softboxes to buy? One, where an tripod holds the flash and the softbox, or one where the softbox is mounted on the flash itself?

Maybe someone finds time to answer my rookie questions.
Thank you a lot
Daniela

Canon EF 135mm f/2L II On the Way? [CR1]

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<p>Every so often we hear things about Canon’s longer prime lenses, but nothing ever comes to fruition. There is an expectation we’re going to see new 50mm and 85mm lenses in the next year or so, though we haven’t heard anything we’d consider definitive.</p>
<p>We’re told that an EF 135mm f/2L II prototype currently exists internally at Canon, but hasn’t yet been given to photographers for field testing.</p>
<p>Development of an “L” lens can take years and we don’t doubt that this lens is on the upgrade cycle. However, we’re not sure it’s coming in the <em>near</em> future.</p>
<p><em>More to come…</em></p>
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5D4 Sensor Defect Discovered

Well Michael the Maven made a post (http://www.canonrumors.com/forum/index.php?topic=30990.0) that got me to do my own testing so see if it was an isolated occurrence, or something that impacted my 5D4 as well. Turns out, YES...my 5D4 sensors experiences the same phenomena that could actually impact real-world results. Also worth noting is just how poorly my camera recovers shadows at ISO 100 versus ISO 50.

The details on what generated this phenomena: I underexposed by 5 stops and then recovered the RAW file 5 stops and pushed the shadows 100% to intensify the ability to see the problem. I then repeated 4 stops under and pushed them the same 5 stops and 100% shadows. The pattern appears to streak across the frame as if the results of the reading on the left side of the image impact the remaining photo-sites horizontally from it.

Obviously I never underexpose an image my as much as 5 stops, and the problem doesn't seem to appear when you're 3-stops under...but let's be real! This shouldn't happen at all PERIOD. I think I may be exchanging my 5D4 after I call Canon next week and see what they have to say about it. This could very well be a defect.

Image 1: 5D3 on the left and 5D4 on the right: ISO 50, 5-stops under, pushed 5-stops and 100% shadows
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Image 2: 5D3 on the left and 5D4 on the right: ISO 100, 5-stops under, pushed 5-stops and 100% shadows
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Image 3: 5D4 ISO 50 on the left and ISO 100 on the right: 5-stops under, pushed 5-stops and 100% shadows
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Image 4: 5D4 ISO 50 on the left and ISO 100 on the right: 4-stops under, pushed 5-stops and 100% shadows
mqdTSOQrcVR11DkTP5-jpdLYhJmBar6cph-zbLngno_tgbALbMe3EPoLTE7bsnpq_-LMvLs-ORjZdeDi49K6x9MU1aahREimkRWcVwiYJi_TGZB2_Nck7lZGLCYMiCf3fguz4ef4SmMvc0yYn3RbW7-Lx2O4jhSz1rbvEqk0nHU6aMts-CUJv3JWSqTguAGIwUQgP4zMLvxtix37vS867TmbNWes5CrIp_Le-pYeq37UCCaagCd3eHcglFOP6n0ak9HzL01THEhzi9QJgmvr0Dziw76sNY-VM3QNrPKXqEF7gIL3AZZASISblLBh4XxGtg9-k4lH_IVihLHmeGupwNEd8N6PKsuM3hTKVmhoLU1pOJ91MRhVvuGX4f3vAaXza11PWmuKr8ZXk9iCmqKtk5adZT6a4PlX5lZr60p_8IxkOSsEPjMXJYgplL99iVMI0wCkzsCvZT0ot3gvjd2bnVvDsXyNPJ2KE5vMvmBatiC2RxsZSsUV5NjV5Z5YurjzcLDEeEBP0d6kXrq5E9-_rvO2Uwzul8re0pWO6YqcUK6Ooencw7NILfWWugUpLpLxP8_MBtQyEv4L81fGu6oX1IVou1WXV3v4S6QYYOgzOF0gUI7Syw=w3263-h1835-no


Image 5: Zoomed in to show detail on Image 3.
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Image 6: Zoomed in to show detail on Image 4.
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Just wanted to share my results here and I'll add more information after I speak to Canon.

Post photos on CR?

I'm just curious about all the photos posted on CR.

We have regular discussions about protecting our images from theft online - so, I'm curious about the photos that get posted here, some amazing shots. And I wonder why you guys that post these don't worry about someone copying and using it all over the web? And, some will steal it, claim it, and sell it - maybe numerous times.

It's probably unlikely these thieves will get caught. Personally, I've seen a few of my sports images on other websites, so I know it happens. Usually, a legit site will acknowledge the take down, and either pay or remove it. But, I'd hardy guess I see all ... as I just got lucky a few times and happen to see it ...

I'd guess we all have at least some protection on our websites - at least keep the honest thieves honest ... and I know protection can be defeated.

Don't get me wrong, this venue is great, and I truly enjoy the images some of you post - but it puzzles me about the copy protection.

Disappointment 6D

Dear friends
I bought a few days ago the EOS 6D taking advantage of a very affordable price, about 1200euro (see old post A QUESTION FOR SUPEREXPERT) and I am quite satisfied.
I just have a problem: the HDR of 6D is practically non-existent, much less effective than the HDR of my EOS 7DMKII.
I tried with different light conditions using “automatic” first, but also +1/+2 and +3 but without appreciable results: the high lights are quite good but the shadows are very dark.
The machine clicks regularly but not getting nothing comparable to what I get with the 7DMK2.
Having bought the 6D for the landscapes, it seems to me a small failure !!! :-[
I got a little better result working file 0-exposed with "lights-shadows" of PS.
Will I use everytime the tripod and shoot in manual exposing -1 1 and +1 (or more) to obtain decent results, then using the HDR feature of PS?
Also to you the same thing happened?

1° file 0 exposed
2° file HDR +/-2
3° file 0 exposed and PS "light/shadow"

Attachments

  • Exposed 0.jpg
    Exposed 0.jpg
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  • Exposed HDR + - 2.jpg
    Exposed HDR + - 2.jpg
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  • Exposed 0 light-shadow PS.jpg
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Lens Cap and Hood Problems

Hey guys!
I'm an engineering student and currently working on design flaws of existing lens caps and hood. I'd like to ask if there is or are anything in particular that you don't like about existing lens caps and hoods, and would like to see improved on?

Please let me know your thoughts! :) whether it'd be losing it constantly, not knowing where to store it, wasting time to take them off/putting on etc.

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