Get Everything Canon, Directly From Canon

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<p>A couple of commercials from Canon USA showing the importance of buying Canon branded accessories and not getting third party knockoffs. I tend to agree, except for the <a href="http://www.bhphotovideo.com/c/product/164271-REG/Canon_2477A002_Timer_Remote_Controller_TC_80N3.html/bi/2466/kbid/3296" target="_blank">TC-80N3</a>, just get a <a href="http://rover.ebay.com/rover/1/711-53200-19255-0/1?ff3=4&pub=5574981434&toolid=10001&campid=5337742695&customid=&mpre=http%3A%2F%2Fwww.ebay.com%2Fsch%2Fi.html%3F_from%3DR40%26_trksid%3Dp2050601.m570.l1313.TR0.TRC0.H0.XYongnuo%2BMC-36%2BC3.TRS0%26_nkw%3DYongnuo%2BMC-36%2BC3%26_sacat%3D0" target="_blank">cheaper version</a>.</p>
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Lee Filters Announces EF 11-24mm f/4L Support

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Lee Filters has announced support for Canon’s EF 11-24 mm f/4L with the <a href="http://www.leefilters.com/index.php/camera/system-sw150" target="_blank">SW150 Mark II filter system</a> adaptor ring.</p>
<p>From Lee Filters</p>
<blockquote><p>You’ve asked, we listened! Announcing the newest addition to our SW150 Filter System… The Canon 11-24mm Adaptor Ring for the Mark II!</p>
<p>*Please note that due to the physical size of this lens, and the extremely wide angle of view, the SW150 filter holder will vignette at the widest angles. To avoid this we recommend using a minimum focal length of 13.5mm when using the filter holder with two filter slots and 12.5mm when using the holder with one filter slot.</p></blockquote>
<p><strong>Canon EF 11-24mm f/4L USM $2999: <a href="http://adorama.evyy.net/c/60085/51926/1036?u=http://www.adorama.com/CA11244.html" target="_blank">Adorama</a> | <a href="http://www.bhphotovideo.com/c/product/1119028-REG/canon_9520b002_ef_11_24mm_f_4l_usm.html/bi/2466/kbid/3296" target="_blank">B&H Photo</a> | <a href="http://www.amazon.com/gp/product/B00T3ERXKE/ref=as_li_tl?ie=UTF8&camp=1789&creative=390957&creativeASIN=B00T3ERXKE&linkCode=as2&tag=canorumo-20&linkId=SKIW33AKPAGADHBN" target="_blank">Amazon</a></strong></p>

DXO tests the 50 f/1.8 STM

FYI if you hadn't seen.

http://www.dxomark.com/Reviews/Canon-EF-50mm-F1.8-STM-lens-review-Thrifty-fifty/Measurements-Very-good-optical-performance

You'll notice the test, like with all DXO lens reviews, was conducted on every body that Canon sells ...Except for the 5DS and 5DS R. (Which we know they own -- they've already published those reviews.)

Someone at DXO is trying super hard to avoid having a good budget lens leap to the top of their absurd ranking system just because we now have a 50 MP sensor. Method #1 was to withhold all new lens testing until an a7R II review could be rushed into place, and now Method #2 appears to be avoiding lens testing at all on the 5DS rigs. Classy!

#DXO #fairandbalanced

- A

Canon Developing High-Sensitivity Network Camera

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<strong>TOKYO, September 2, 2015</strong>—Canon Inc. announced today that the Company is developing a high-sensitivity network camera equipped with a fast high-magnification lens capable of long-range color image capture even at night, making possible the viewing of subjects that the naked eye would have trouble discerning.</p>
<p>Amid ever-increasing safety and security concerns, a growing need for advances in surveillance systems has fueled demand for high-performance network cameras capable of clearly recording visual data night and day for such applications as urban surveillance and the monitoring of important infrastructure facilities.</p>
<p>Canon is developing a compact high-sensitivity network camera that will make possible the clear viewing in color of distant subjects even under conditions that would prove challenging to the naked eye, such as at night with few ambient light sources. The camera’s imaging capabilities will make it ideally suited for such surveillance applications as crime prevention and the monitoring of natural disaster sites, enabling the viewing of scenes during either night or day.</p>
<p><!--more--></p>
<p>Drawing on a range of optical technologies Canon has cultivated over many years, the network camera being developed will feature a large-aperture ultra-telephoto zoom lens with a focal length of more than 600 mm (35 mm film equivalent) that achieves a bright F-value of 2.4 to allow large amounts of light to enter. The lens will incorporate aspherical and UD (Ultra Low Dispersion) lens elements that suppress the incidence of chromatic aberrations, which become more prevalent as a lens’s aperture size increases, while making possible a compact lens unit. The combination of the large-aperture lens with a high-sensitivity sensor and high-performance image processor will enable the color recognition of a subject’s face at a distance of 100 meters even in dark environments with a mere 0.08 lux of illumination, roughly equivalent to the illuminance of moonlight. By comparison, conventional nighttime surveillance to date has only been possible within a limited range with the aid of infrared illumination, or by using a night mode that only captures images in black and white.</p>
<p>Through the combination of an electric-drive pan/tilt function that control’s the camera’s orientation with the ultra-telephoto zoom lens, the network camera will be able to fulfill a wide range of surveillance requirements. In addition to the monitoring of natural disasters involving rivers or bays, for example, the camera will be well-suited for such applications as urban surveillance from the rooftops of buildings and for identifying automobile license plate numbers on roads, not only during the day, but also in settings in which nighttime surveillance is required.</p>
<p>Canon aims to commercialize the new network camera in 2016. Through the enhancement of the Company’s network camera lineup, Canon will respond to society’s ever-expanding monitoring and surveillance needs.</p>

Tamron Launches SP 35mm f/1.8 Di VC USD & SP 45mm f/1.8 Di VC USD

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<em>First to debut: two fast, fixed focal standard lenses packed with exceptional features that deliver ultimate performance</em></p>
<p>Both lenses are set to begin shipping at the end of September 2015.</p>
<ul>
<li>Tamron SP 35mm f/1.8 Di VC USD <a href="http://www.adorama.com/TM3518EOS.html&KBID=64393" target="_blank" rel="nofollow">Adorama </a>| <a href="http://www.bhphotovideo.com/c/product/1183045-REG/tamron_aff012c700_sp_35mm_f_1_8_di.html/bi/2466/kbid/3296" target="_blank" rel="nofollow">B&H Photo</a> | <a href="http://amzn.to/1PMU59p" target="_blank">Amazon</a> | <a href="http://tamron-new-sp.eu/#/35mm-F18" target="_blank">Sample Images</a></li>
<li>Tamron SP 45mm f/1.8 Di VC USD <a href="http://www.adorama.com/TM4518EOS.html&KBID=64393" target="_blank" rel="nofollow">Adorama </a>| <a href="http://www.bhphotovideo.com/c/product/1183050-REG/tamron_aff013c700_sp_45mm_f_1_8_di.html/bi/2466/kbid/3296/" target="_blank" rel="nofollow">B&H Photo</a> | <a href="http://amzn.to/1LWvXmY" target="_blank">Amazon</a> | <a href="http://tamron-new-sp.eu/#/45mm-F18" target="_blank">Sample Images

</a></li>
</ul>
<p><strong>September 2nd 2015, Saitama, Japan</strong> – Tamron Co., Ltd. (President & CEO: Morio Ono), a leading manufacturer of optics for diverse applications, announces launch of a new series of SP lenses that are optimized to make the most of the superior imaging performance delivered by the latest advancements in digital photography. Sporting a totally revamped external appearance, the new lenses provide the ultimate in functionality and operation. The first two lenses in the series are compatible with full-frame DSLR cameras and offer fast apertures and versatile, fixed focal lengths. The pair consists of the SP 35mm F1.8 Di VC USD (Model F012) and SP 45mm F1.8 Di VC USD (Model F013), and both can be used with APS-C format cameras as well.</p>
<p><!--more--></p>
<p><strong>Background of the SP Series Renovation</strong>

In 1979, Tamron unveiled the first SP Series lens, the 90mm F2.5 Macro, a legendary product that was designed to achieve the highest level of performance possible. Since then, a significant number of lenses designated SP have been introduced. During the ensuing 35 years, cameras and imaging devices have made dramatic advancements and diversification centered mostly around innovations in image sensor technology and sophisticated signal processors.</p>
<p>Constantly innovating, Tamron developed new lenses to stay abreast of the exciting technological evolution. Lenses launched after 2012, including SP 24-70mm F2.8 VC USD, SP 70-200mm F2.8 VC USD, SP 90mm F2.8 MACRO 1:1 VC USD, SP 15-30mm F2.8 VC USD and SP 150-600mm F5-6.3 VC USD, received rave reviews for their high performance and richly refined functionality to sustain sophisticated requirements of the latest DSLRs with high pixel counts.</p>
<p>To leap forward, Tamron has gone back to the root of optics to redefine all of the core attributes of lenses to be selected as photographers’ “ultimate partners.” The new series of SP lenses are developed seeking the highest level of performance, functionality and maneuverability, and a prestigious external appearance that reconfirms the high quality of the properties that are inside.</p>
<p><strong>Features of fast-aperture fixed focal lenses: 35mm and 45mm, the first of new SP Series</strong>

To develop these two standard fixed focal lenses, goals were established to provide exquisite characteristics certain to set them distinctively apart from ordinary, conventional models. This required a new approach.

All of the key performance criteria were redefined to achieve the ultimate in optical performance. VC (Vibration Compensation) was incorporated as an integral part of the opto-electronics design to expand shooting freedom. Priority was set to allow dramatically closer focusing capability to remove what would otherwise be a barrier to the subject. Yet with all this innovation, the overall mechanical package had to be kept within practical size limits with an elegantly sophisticated external design as a human interface.</p>
<p>Having optimized every prerequisite, remarkably versatile lenses have been developed that boast amazing performance from F1.8 wide open aperture. These lenses can be enjoyed by users of APS-C cameras as well as full-frame.</p>
<p><strong>1.  F1.8 fast-aperture, fixed focal lenses aimed at ultimate performance</strong>

Optimal use of the latest glass materials, coupled with Tamron’s world renowned optical design technology, thoroughly compensated for aberrations of all types to achieve higher resolving power, while fine textures of materials and details are reproduced with subtle tonal gradations. The F1.8 aperture delivers more light to the viewfinder—making it brighter for easier focusing – and more light to the sensor, allowing use even in very dim lighting conditions. In addition, the bokeh (background blur) effect obtained using the F1.8 fast aperture delivers impressively smooth and soft transition from the main subject to the background.</p>
<p><strong>2.  Dynamic close-focusing capability, unprecedented among standard lenses</strong>

Both models deliver astonishingly short MOD (Minimum Object Distance) not available from other 35mm or 45mm standard lenses. Photographers can get closer to the subject with ease, unleashing new photo opportunities with an expanded scope of freedom. Superb image capture is ensured throughout the entire range from the closest to normal shooting distances, thanks to Tamron’s proprietary Floating System built into both lenses.</p>
<p><strong>3.  VC (Vibration Compensation) system, a feature crucial for high-pixel-density cameras</strong>

Beneficial under all lighting conditions and especially useful in low light levels, the VC function provides noticeable advantages for handheld shooting by minimizing the adverse effects of camera shake. Cameras with high pixel densities, in particular, are sensitive to minute vibrations which cause unsharpness and degradation of image quality. VC works to ensure the maximum imaging performance even in dim lighting to allow photographers to enjoy the fast F1.8 maximum aperture to the fullest extent.</p>
<p><strong>4.  User-friendly product design with close attention to all details</strong>

Opening a new chapter in the SP legend, product design, opto-mechanical construction and engineering processes are totally integrated. Every single detail and operating function has been thoroughly reexamined, explored and matured to a form that has a friendly, human touch.</p>
<p><strong>External Design</strong></p>
<p><strong>(1)  Product design with maximum emphasis on the human interface in order to achieve the ultimate in functional beauty</strong>

While the lens is constructed with the absolutely most modern technologies inside, the exterior is articulated to offer the best possible comfort and confidence under a product design philosophy of “Human Touch.” Organically composed lines and patterns on the barrel produce subtle changes in its appearance by reflecting ambient light on the surface. Metal-based barrel materials provide a pleasant feeling of comfort, high quality and durability, fitting firmly in the hands of the photographer. Design of the front face of the lens is also taken into consideration so that it is not intimidating.</p>
<p><strong>(2)  Brand ring and SP emblem</strong>

A brand ring that’s tinted “Luminous Gold” adorns the lens just above the lens mount. On one side of the lens barrel there is an SP emblem in the same luxurious color.</p>
<p><strong>(3)  Design of distance and aperture scales</strong>

The window over the distance scale has been enlarged by 20% to maximize visibility and legibility. Font style of the characters and numbers has been newly developed to enhance the legibility as a critical element of the overall product design.</p>
<p><strong>(4)  Switches with optimized geometric shape and tactile feedback</strong>

The geometric shape and sliding torque of the AFMF change-over and VC On/Off switches have been configured and engineered to deliver the utmost comfort with secured operational feedback.</p>
<p><strong>(5)  Lens hood and caps</strong>

To complete the lens product design, accessories such as the lens hood and caps for front and rear have been totally redesigned as well. Attaching and removing the lens hood has been fine-tuned by optimizing the connection interface to render both secure seating and durability.</p>
<p><strong>Product Highlights</strong></p>
<p><strong>SP 35mm F1.8 Di VC USD (Model F012)</strong></p>
<p>35mm Standard Wide-Angle Lens with VC and World’s First 0.2m (7.9”)

Minimum Object Distance for Full-Frame DSLR Cameras</p>
<p><strong>Overview</strong></p>
<ul>
<li>Natural perspective and field-of-view for instinctive image capture.</li>
<li>Provides the ideal balance of performance and functionality to deliver unexpected opportunities for creative imaging.</li>
<li>A fast, primary standard lens for those who prefer wide-angle shooting.</li>
<li>Provides an equivalent focal length of 54mm on APS-C cameras.</li>
</ul>
<p><strong>Key Features</strong></p>
<p><strong>1.  Even when used wide open at F1.8 aperture, provides outstanding image quality with maximum aberration compensation, thanks to optimal use of sophisticated glass materials and highly advanced optical design</strong>

SP 35mm F1.8 Di VC USD (Model F012) is a 10-element, 9-group construction, utilizing two molded glass aspherical elements, one LD (Low Dispersion) and one XLD (eXtra Low Dispersion) element.</p>
<p>Two of the aspherical elements effectively correct the field curvature to ensure planarity of the image plane, while efficiently compensating for spherical and comatic aberrations to achieve superb uniformity across the field with high-fidelity point spread reproducibility. Outstanding resolution is rendered from corner to corner and the sagittal comatic flare (a type of aberration that a point image at corners induces a comet tail-like blur), which tends to become prominently noticeable in night scenes, is corrected.</p>
<p>The LD and the higher grade XLD glass elements optimally compensate for chromatic aberrations, which tend to become particularly prominent in fast-aperture lenses in general, and deliver crystal clear images without any residual color fringe.</p>
<p><strong>2.  35mm focal length with fast F1.8 maximum aperture and integral VC (Vibration Compensation) for full-frame DSLR cameras</strong>

The desirable maximum aperture of F1.8 was chosen as part of the very challenging design goals which included achieving superb optical performance, minimizing the closest shooting distance and integrating VC functionality while packaging those key attributes in a reasonably-sized barrel construction for better practical handling. Repeated performance simulations were conducted throughout the entire design phase to assure achieving the essential, fundamental property of a fast-aperture lens in full-frame format, namely the harmony between excellent resolving power and beautifully-tuned background blur (bokeh).</p>
<p>The VC feature has become virtually indispensable in the era of high-pixel-density cameras. Freedom in handheld shooting at dusk or in a dimly lit room is dramatically expanded by cancelling the camera shake that often occurs under such low light conditions due to slower shutter speeds. Minute vibrations that plague cameras with high pixel count can be well muted to make the most of the performance of the camera and lens outfit.</p>
<p><strong>3.  MOD (Minimum Object Distance) of 0.2m (7.9”), the best-in-class close-focusing capability<span class="green">*</span></strong>

MOD measures just 0.2m (7.9”), yielding a magnification ratio of 1:2.5, the shortest close focusing capability among fast-aperture fixed focal lenses in full-frame format<span class="green">*</span>. Since the lens allows for shooting at distances extremely close to the subject (similar to a macro), close-up pictures with spectacular background blur effect (bokeh) can be obtained with the aperture wide open, thereby expanding the scope of photo opportunities. Tamron’s proprietary Floating System, which places a group of elements at the optimal location as the focusing group travels relative to shooting distances, ensures the best imaging performance at any range. From the closest to a normal shooting distance range, image quality is excellent.</p>
<p><span class="green">* Rated top among current 35mm fixed focal length interchangeable AF lenses for full-frame DSLR cameras excluding macro lenses (as of July 2015; Tamron).</span></p>
<p><strong>4.  Optimal relative illumination means no dark corners</strong>

Some fast-aperture lenses “vignette” or have darkened corners due to uneven light distribution. However, even at the full open aperture, the overall illumination level across the entire field is well balanced and optimized. Because there is a sufficient amount of corner illumination, photographers can enjoy making full use of the wide open aperture.</p>
<p><strong>5.  eBAND Coating deployed to thoroughly suppress ghosting and flare</strong>

eBAND (Extended Bandwidth & Angular-Dependency) and BBAR (Broad-Band Anti-Reflection) coatings, both providing outstanding anti-reflection effect, are applied to critical element surfaces for maximum light transmission. Internal reflections from element surfaces which cause ghosting and flare are reduced to an absolute minimum. Flawless, crystal clear images can be obtained. eBAND Coating, a hybrid nano-structured layer with extremely low refractive index coupled with multi-layered anti-reflection coating technology, efficiently minimizes reflection of extremely angulated incident light—something that cannot be achieved by conventional anti-reflection coatings alone.</p>
<p><strong>6.  High-speed AF with USD (Ultrasonic Silent Drive)</strong>

Fast, quiet AF is achieved by employing a USD ring-type ultrasonic motor which enables remarkably precise focusing drive with high torque and responsiveness. Because the rotational torque of the USD is generated by waves of ultrasonic vibrations, inherent operating noise is extremely low and practically imperceptible. In addition, Full-time Manual Focus override is available at any point during the autofocus operation for deliberately shifting focus without switching the AF-MF mode back and forth.</p>
<p><strong>7.  Fluorine coating on the front element repels water and fingerprints</strong>

Fluorine coating technology, developed for use in industrial optics applications, has been adapted to photographic lenses. The water and oil repellant coating applied to the front element surface allows instant removal of dirt or smudges with ease. The coating also provides a reasonable level of durability, and will sustain its effectiveness for years.</p>
<p><strong>8.  Moisture-resistant construction for shooting outdoors under adverse weather conditions</strong>

Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and provide moisture-resistant construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.</p>
<p><strong>9.  Circular aperture for enhanced bokeh</strong>

The 9-blade diaphragm retains a nearly circular opening even when stopped down by two stops. Marvelously tuned blur in the subject background can be obtained without generating undesirable shapes of aperture patterns.</p>
<p><strong>10.  Compatibility with Adobe and Silkypix software</strong>

Supplied with SILKYPIX Developer Studio 4.0, advanced editing software that features correction menus for various aberrations (lateral color, distortion, relative illumination) based on the optical design data of this specific lens. Shooting RAW image files enables creation of more stringent and high-fidelity image quality.</p>
<p><strong>SPECIFICATIONS</strong></p>
<p>Model: F012

Focal Length: 35mm

Maximum Aperture: F1.8

Angle of View (diagonal): 63°26′ (for full-frame format): 43°29′ (for APS-C format)

Optical Construction : 10 elements in 9 groups

Minimum Object Distance: 0.2m (7.9 in)

Maximum Magnification Ratio: 1:2.5

Filter Size : 67mm

Maximum Diameter : 80.4mm

Length<span class="green">*</span>: for Canon 80.8mm (3.2 in): for Nikon 78.3mm (3.1 in)

Weight: for Canon 480g (16.9 oz): for Nikon 450g (15.9 oz)

Aperture Blades: 9 (circular diaphragm<span class="green">**</span>)

Minimum Aperture: F16

Standard Accessories: Flower-shaped lens hood, Lens caps

Compatible Mounts: Canon, Nikon, Sony<span class="green">***</span></p>
<p><span class="green">Specifications, appearance, functionality, etc. are subject to change without prior notice.</span>

<span class="green">* Length is the distance from the front tip of the lens to the lens mount face.</span>

<span class="green">** The circular diaphragm stays almost perfectly circular up to two stops down from maximum aperture.</span>

<span class="green">*** The Sony mount model does not include VC, since the bodies of Sony DSLR cameras include built-in image stabilization functionality.</span></p>
<h3>SP 45mm F1.8 Di VC USD (Model F013)</h3>
<p>First High-Speed 45mm Fixed Focal Standard Lens in Full-Frame Format with VC, Offers Unique Perspective with Significantly Shorter Minimum Focusing Distance</p>
<p><strong><Overview></strong>

* A New Standard among all standard lenses.

* Slight wide-angle delivers a new photographic perspective.

* Responsive to your intuitive and inspirational motives.

* Provides an equivalent focal length of 70mm on APS-C cameras.</p>
<p><strong><Key Features></strong>

<strong>1.  Even when used wide open at F1.8 aperture, provides outstanding image quality with maximum aberration compensation, thanks to optimal use of sophisticated glass materials and highly advanced optical design</strong>

SP 45mm F1.8 Di VC USD (Model F013) is a 10-element, 8-group construction, utilizing two molded glass aspherical elements and one LD (Low Dispersion) element.</p>
<p>Two of the aspherical elements effectively correct the field curvature to ensure planarity of the image plane, while efficiently compensating for spherical and comatic aberrations to achieve superb uniformity across the field with high-fidelity point spread reproducibility. Outstanding resolution is rendered from corner to corner and the sagittal comatic flare (a type of aberration that a point image at corners induces a comet tail-like blur), which tends to become prominently noticeable in night scenes, is thoroughly corrected.</p>
<p>The LD glass element optimally compensates for chromatic aberrations, which tend to become particularly prominent in fast-aperture lenses in general, and delivers crystal clear images without any residual color fringe.</p>
<p><strong>2.  World’s first<span class="green">*</span> full-frame 45mm focal length with fast F1.8 maximum aperture and integral VC (Vibration Compensation)</strong>

The aperture is optimized to F1.8 to create the most practical lens offering superior imaging performance, a shorter minimum focus distance and image stabilization mechanism. Countless simulations during the design phase ensured the high resolution expected of a full-frame, high-speed lens coupled with spectacular background blur.</p>
<p>It is also the world’s first<span class="green">*</span> full-frame, fixed focal length standard lens to be equipped with VC. Freedom in handheld shooting has been dramatically improved by reducing camera shake that tends to occur when using shooting in low light such as at dusk and in dark rooms. Also, the full potential of the high performance of the lens is realized by reducing minute vibrations that lower image quality conspicuous in high resolution cameras.</p>
<p><span class="green">* As of July 2015; Tamron.</span></p>
<p><strong>3.  MOD (Minimum Object Distance) of 0.29m (11.4”), the best-in-class close focusing capability<span class="green">**</span></strong>

MOD measures 0.29m (11.4”), yielding a magnification ratio of 1:3.4, the best-in-the-class close focusing capability among fast-aperture fixed focal lenses in full-frame format<span class="green">**</span>. The freedom of shooting at a closer distance to the subject expands photographic possibilities. Tamron’s proprietary Floating System, which places a group of elements at the optimal location as the focusing group travels relative to shooting distances, ensures the best imaging performance at any range. From the closest to a normal shooting distance range, excellent image quality is obtained.</p>
<p><span class="green">** Rated top among current 45mm and 50mm fixed focal length interchangeable AF lenses for full-frame DSLR cameras excluding macro lenses (as of July 2015; Tamron).</span></p>
<p><strong>4.  Optimal relative illumination means no dark corners</strong>

Some fast-aperture lenses “vignette” or have darkened corners due to uneven light distribution.

However, even at the full open aperture, the overall illumination level across the entire field is well balanced and optimized. Because there is a sufficient amount of corner illumination, photographers can enjoy making full use of the wide open aperture.</p>
<p><strong>5.  eBAND Coating deployed to thoroughly suppress ghosting and flare</strong>

eBAND (Extended Bandwidth & Angular-Dependency) and BBAR (Broad-Band Anti-Reflection) coatings, both providing outstanding anti-reflection effect, are applied to critical element surfaces for maximum light transmission. Internal reflections from element surfaces which cause ghosting and flare are reduced to an absolute minimum. Flawless, crystal clear images can be obtained. eBAND Coating, a hybrid nano-structured layer with extremely low refractive index coupled with multi-layered anti-reflection coating technology, efficiently minimizes reflection of extremely angulated incident light—something that cannot be achieved by conventional anti-reflection coatings alone.</p>
<p><strong>6.  High-speed AF with USD (Ultrasonic Silent Drive)</strong>

Fast, quiet AF is achieved by employing a USD ring-type ultrasonic motor which enables remarkably precise focusing drive with high torque and responsiveness. Because the rotational torque of the USD is generated by waves of ultrasonic vibrations, inherent operating noise is extremely low and practically imperceptible. In addition, Full-time Manual Focus override is available at any point during the autofocus operation for deliberately shifting focus without switching the AF-MF mode back and forth.</p>
<p><strong>7.  Fluorine coating on the front element repels water and fingerprints</strong>

Fluorine coating technology, developed for use in industrial optics applications, has been adapted to photographic lenses. The water and oil repellant coating applied to the front element surface allows instant removal of dirt or smudges with ease. The coating also provides a reasonable level of durability, and will sustain its effectiveness for years.</p>
<p><strong>8.  Moisture-resistant construction for shooting outdoors under adverse weather conditions</strong>

Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and provide moisture-resistant construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.</p>
<p><strong>9.  Circular aperture for enhanced bokeh</strong>

The 9-blade diaphragm retains a nearly circular opening even when stopped down by two stops. Marvelously tuned blur in the subject background can be obtained without generating undesirable shapes of aperture patterns.</p>
<p><strong>10.  Compatibility with Adobe and Silkypix software</strong>

Supplied with SILKYPIX Developer Studio 4.0, advanced editing software that features correction menus for various aberrations (lateral color, distortion, relative illumination) based on the optical design data of this specific lens. Shooting RAW image files enables creation of more stringent and high-fidelity image quality</p>
<p><strong>SPECIFICATIONS</strong></p>
<p>Model: F013

Focal Length: 45mm

Maximum Aperture: F1.8

Angle of View (diagonal): 51°21′ (for full-frame format) : 34°28′ (for APS-C format)

Optical Construction : 10 elements in 8 groups

Minimum Object Distance: 0.29m (11.4 in)

Maximum Magnification Ratio: 1:3.4

Filter Size: 67mm

Maximum Diameter: 80.4mm

Length<span class="green">*</span>: for Canon 91.7mm (3.6 in): for Nikon 89.2mm (3.5 in)

Weight: for Canon 540g (19 oz): for Nikon 520g (18.3 oz)

Aperture Blades: 9 (circular diaphragm<span class="green">**</span>)

Minimum Aperture: F16

Standard Accessories: Flower-shaped lens hood, Lens caps

Compatible Mounts: Canon, Nikon, Sony<span class="green">***</span></p>

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New Tamron Prime Lenses on Sale in October (From DP Review)

Just saw this over morning coffee...

http://www.dpreview.com/articles/0524469310/tamron-relaunches-sp-series-with-35mm-f1-8-di-vc-usd-and-sp-45mm-f1-8-di-vc-usd?utm_campaign=generic&utm_source=notification&utm_medium=email&ref=notification&ref_=pe_1674010_132618830

No backward zoom ring to deal with...I wonder if the focus ring is backwards also???

Greg

Canon and Getty Images Reveal Iconic Photographs That Have Shaped the Last Decade

HTML:
<strong>London, UK, 1 September 2015</strong> – Canon Europe and Getty Images today reveal a series of iconic images which, shot by some of the world’s leading photographers, represent defining moments from the past decade and bring to light the power of photography and the role it plays in helping to affect change around the world.</p>
<p>Known for enabling people to tell the stories that need to be told, the Canon EOS 5D series celebrates its 10th anniversary with an initiative that showcases 10 amazing images that tell some of these stories. From exposing the use of chemical weapons by the Syrian army, to uncovering illegal logging of rare and endangered trees in Madagascar, the EOS 5D has been the camera of choice for many professional photographers over the past decade and has captured some of the world’s most significant and important moments.</p>
<p><!--more--></p>
<p>To view all the images and the amazing stories behind them, visit Canon’s Showcase within the Come and See website. The images will also be available to view as part of a special anniversary exhibition within Canon’s space during the professional week at Visa pour l’Image 2015, the annual festival of photojournalism held in Perpignan, France, from August 31 to September 6 2015.</p>
<p><strong>Canon invites you to share your iconic images</strong>

To further celebrate 10 years of profound imagery, Canon Europe is also launching a pan-European competition that will offer participants the chance to win limited edition EOS 5D anniversary prizes.</p>
<p>All photographers, from amateurs to professionals, both smartphone and camera users, are invited to share an image that they feel represents a story of change. Winners will be selected by a panel of award winning judges, including Canon Ambassador Brent Stirton and Getty Images photographer Toby Smith.</p>
<p>The Canon Iconic Images competition will run in eighteen European countries (UK, France, Germany, Spain, Netherlands, Belgium, Austria, Norway, Denmark, Finland, Sweden, Switzerland, Portugal, Hungary, Poland, Slovakia, Czech Republic and Russia) from September 1 until October 2 2015.</p>
<p>For more information please visit the ‘Iconic Images’ competition page within the Gallery section of Canon’s ‘Come and See’ website.</p>
<p>“Since the launch of the original EOS 5D in 2005, the series has grown to become one of the most popular camera ranges of all time. 10 years on and now with four iterations under our belts, we’re showcasing today at Visa pour l’image how the EOS 5D series has enabled photographers around the world to tell some of the most important stories throughout the past decade,” said Kieran Magee, Director, Professional Imaging Group, Canon Europe. “We’re incredibly proud of what has been achieved over the past 10 years and want to invite everyone, both amateur and professional photographers, to share their own iconic stories and join us in celebrating the power of photography.”</p>
<p>The 10 iconic Getty Images photographs are:</p>
<p><strong>1. John Moore, EOS 5D Mk I; Arlington, USA – May 27, 2007</strong>

John’s image of a woman weeping at the foot of her husband’s grave depicts a personal moment of change against a backdrop of simultaneously changing attitudes towards the deployment of troops in conflicts overseas such as Iraq and Afghanistan. Published within many of the world’s leading media titles, his image touched the heart of millions and showed the devastating consequences at home of war.</p>
<p><strong>2. Alvaro Ybarra Zavala, EOS 5D Mk I; Colombia – November 29, 2007</strong>

Taken whilst on assignment to document the Colombian civil war, Alvaro’s image of two female guerrilla soldiers caught the attention and imagination of the mainstream media, highlighting the long suffering plight of the Columbian people and bringing the reality of this largely forgotten 50-year conflict to the general public.</p>
<p><strong>3. Veronique de Viguerie, EOS 5D Mk I; Hobyo, Somalia – October 27, 2008</strong>

When Veronique de Viguerie and her journalist colleague travelled to Somalia to meet with one of the pirate chiefs it was still an unknown story outside of the region. The resulting report was ground-breaking and was published as the first landmark feature on the subject, just as it was about to enter headlines globally.</p>
<p><strong>4. Toby Smith, EOS 5D Mk II; Masoala National Park, Madagascar – August 21, 2009</strong>

Toby’s body of work on illegal logging of endangered species of trees in Madagascar became part of the first prosecution on US soil of international traders using endangered species of timber.</p>
<p><strong>5. Ed Ou, EOS 5D Mk II; Mogadishu, Somalia – April 24, 2010</strong>

Ed’s heart-breaking photos of young children armed with powerful weapons were published internationally and later shown in the US Senate which went on to see the US government and UN Security Council apply renewed pressure on the Somali transitional government to stop using child soldiers.</p>
<p><strong>6. Marco Di Lauro, EOS 5D Mk II; Gadabedji, Niger – June 27, 2010</strong>

Marco Di Lauro partnered with UNICEF UK to document the serious food crisis gripping the West African nation of Niger. His surreal, striking photograph captured the attention of the public by offering something new, a different side to a widely reported issue. The impact of the work helped raise several million dollars in a few months to help the Nigerian people.</p>
<p><strong>7. Jonathan Torgovnik, EOS 5D Mk II; Port-au-Prince, Haiti – January 10, 2011</strong>

Port-au-Prince was one of the most severely damaged places in Haiti during the devastating earthquake in 2010. Published internationally, Jonathan’s image raised refreshed awareness about the extraordinarily poor conditions that people were still living in one year on.</p>
<p><strong>8. Brent Stirton, EOS 5D Mk II; Ol Pejeta Conservancy, Kenya – July 13, 2011</strong>

Permanently guarded by four armed sentries, Brent’s image of one of the last northern white rhinos in the world was captured as part of a wider investigation in to the use of animals in black market medicines. Highlighting the fragility of the rhino’s existence, as the world’s most endangered species, the image reached an audience of millions globally.</p>
<p><strong>9. Laurent Van der Stockt, EOS 5D Mk II; Jobar, Damascus, Syria – 13 April, 2013</strong>

The series of images, video footage and soil samples which Laurent and a fellow journalist took, were published globally and used by French, British and American administrations as evidence of the use of chemical weapons by the Syrian army. This lead to pressure by world leaders to stop the use of chemical weapons in this conflict.</p>
<p><strong>10. Dan Kitwood, EOS 5D Mk III; Kos, Greece – June 4, 2015</strong>

Dan’s image of four Pakistani migrant men arriving on the beach of the Greek Island of Kos from Turkey captures one of the most important stories to have come out of 2015 so far. His work has been published internationally in many influential media outlets, helping to raise awareness of the issue around the world.</p>
<p>You can view all the images at the <a href="http://www.canon-europe.com/get-inspired/come-and-see/showcase/canon-eos-5d-10th-anniversary/" target="_blank">Canon Showcase</a>.</p>

The one thing Apple understands is photography

Read an interesting article at petapixel with the title above.

http://petapixel.com/2015/08/31/the-one-thing-apple-understands-is-photography/

As a long time Mac user I have also been a long time Aperture user - yes the photography App Apple downgraded with Photo's. So was interested in the sentiment of the article, which is actually very good and gives an interesting strategic view of the frustrating (to me) decision they made.

I probably like many forum members, produce photobooks, as a means of sharing images with friends an family. The image attached is the from and back cover of my last tour book from China. One cover image was shot on a ESO 5D mark 3 the other on an iPhone 5S. The workflow to produce the images is similar except of course I had to increase the size to print 10 by 13 landscape at 300 dpi from the 8MP iPhone image. (On One - perfect resize)

To me this is rapidly becoming the challenge to the traditional DSLR market, if I can shoot like this on a camera phone, share them, with friends and family across the world, and then publish surprisingly good A4 prints, why do I need the bulk of my kit. The back page shows how I travel, not that frequently with the camera slung on the tripod, but you get a sense of size and weight I travel with.

Yes I have GAS, yes I bought a 50mP beast, which is fantastic for a niche I really enjoy, but for more candid captures on the journey maybe a camera phone is becoming credible and could become my go to choice. So the RX100 probably bites the dust, today I wont stop taking a dslr but I do wish I could easily share sunrise photo's with friends in China via We chat (social Media) whilst using the niche features I am invested in - the filters, tripod and manual shutter releases for longer exposures working hard to get the best image I can in Camera. My UK friends will still be in bed.

How much longer will dlsr's remain above embracing integration with mobile phones, the social media world and the apps that make so many things easier to find, do or calculate. I think I need qualify that I don't shoot selfies. period.

The Manfrotto Digital Director seems, at a premium, to do most of this, but why can't Canon produce something which bridges the gap before Apple, et al, finish of killing the photography market to the point of extinction. I don't believe I am the only person hoping that this gets resolved before the dlsr camera market becomes an even more expensive niche.

Attachments

Intermittent Button Function on 1DX

My 1DX gets plenty of use in and around sand and saltwater so likely due for a cleaning anyway.

That said my camera today started to not allow me to use the buttons under the LCD or above (playback, erase, menu, info) but only after taking one shot then using any of them.

Essentially if I turn it off or pull the batter it resets and I get one button usage until I fire the shutter again.

Anyone had this issue?

I have CPS and live 45mins to an hour from the NJ Canon repair center so I'll likely be making a drive this week.

Is CANON EF LENS or CANON LENS EF?

I thought Canon may change the nomenclature of its upcoming prime lenses when saw the new 50mm f/1.8. The lens is marked as “CANON EF LENS 50mm 1:1.8 STM” while the old EF50mm f/1.8 II ”CANON LENS EF 50mm 1:1.8 II”.

The brand new 35mm F1.4L II called back to “CANON LENS EF”.

Any ideas?

Personally I like the “CANON EF LENS” especially on the L lenses launched during 2002-2008.

CANON EF LENS 24mm 1:1.4 L ø77mm
(CANON LENS EF 24mm 1:1.4 L II USM)

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Canon Developing 4K High Brightness Compact Projector

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<p>TOKYO, September 1, 2015—Canon Inc. announced today that it is developing an LCOS projector capable of displaying 5,000 lumen video and still images at a resolution of 4,096 x 2,400 pixels, a level of definition that surpasses the 4,096 x 2,160 pixel-resolution of 4K digital cinema.</p>
<p>Tracing its beginnings to the movie industry, 4K-resolution content has been gaining traction in the broadcasting industry. Amid ongoing advances in image quality and definition made possible by the introduction of a growing number of 4K production tools, Canon is leveraging its proprietary optical technologies to make its entry into the 4K projector market in 2016.</p>
<p><!--more--></p>
<p>In addition to growing demand for high-resolution, high-quality imaging performance, there is an increased need for projectors that enable projection from close-range installation locations and offer compatibility with a variety of installation environments to facilitate use in such settings as museums with limited available space, driving and flight simulators, and on the design scene. In response to these needs, Canon is developing the 4K projector as a new model within its Power Projector (REALiS and XEED in other regions) series that not only achieves high brightness and high resolution, but also has a compact and lightweight body to accommodate a range of installation environments.</p>
<p>Equipped with a high-definition 4,096 x 2,400 pixel LCOS panel, the Canon 4K projector under development will support the projection of high-definition content that exceeds the resolution offered by 4K digital cinema. While increases in brightness performance for projectors commonly require larger lamps and cooling systems, resulting in increases in projector body size, Canon’s proprietary AISYS optical system delivers bright 5,000 lumens performance while making possible significant reductions in body size and weight. Additionally, the projector will feature a newly developed 4K wide zoom lens capable of projecting large images from a short throw distance, as well as an optical focusing function that enables the projection of images on curved-surface screens.</p>
<p>Through the further enhancement of its Power Projector series lineup, Canon will strive to respond to the diverse needs of users.</p>

Tilting & Shifting

So I picked up a 2nd hand TS-E 24mm mkii for about $1200! It was used twice by the previous owner who felt it wasn't for him and I went ahead and pulled the trigger! :D

I am so very excited, as it was always a dream lens of mine.

What I'd like to ask of those who own TS-E lenses, aside from perspective correction for buildings etc, do you guys use these lenses creatively? I will use this for cityscapes and interiors but also want to delve into some creative photography with it.

Any advise or stories you guys want to share with me?

It'll arrive tomorrow! ;D

Review: Sigma 24-35mm f/2 DG HSM Art

HTML:
The Sigma 24-35mm f/2 Art series lens is the first f/2 zoom for DSLRs, and it has certainly sparked a lot of debate about it’s usability with such a short zoom range. I think the lens is basically 3 faster primes in one lens, 24mm, 28mm and 35mm. For the people that need this range of focal lengths, this lens could be a game changer. For the rest of us? maybe not. However, it’s nice to see a lens manufacturer push into new territory.</p>
<p>Bryan over at The-Digital-Picture has completed his review of the lens and came away very impressed.</p>
<div>
<div>
<blockquote><p>Do wide angle focal lengths work for some of your applications? Need apertures wider than f/2.8 to stop action in low light, to allow handholding in low light and to create a stronger, subject-isolating background blur? Need a range of focal lengths available at your fingertips without a lens change? The Sigma 24-35mm f/2 DG HSM Art Lens could become a most-frequently-used member of your kit. <a href="http://www.the-digital-picture.com/Reviews/Sigma-24-35mm-f-2-DG-HSM-Art-Lens.aspx" target="_blank">Read the full review</a></p></blockquote>
</div>
</div>
<div></div>
<div><strong>Sigma 24-35mm f/2 DG HSM Art $999: <a href="http://adorama.evyy.net/c/60085/51926/1036u=http://www.adorama.com/SG2435EOS.html" target="_blank">Adorama</a> | <a href="http://www.bhphotovideo.com/c/product/1162798-REG/sigma_24_35mm_f_2_dg_hsm.html/BI/2466/KBID/3296/DFF/d10-v21-t1-x657240" target="_blank">B&H Photo</a> | <a href="http://amzn.to/1N6CjQT" target="_blank">Amazon</a></strong></div>

UV Filters, Do They Really Protect You?

HTML:
<iframe src="https://www.youtube.com/embed/P0CLPTd6Bds" width="728" height="409" frameborder="0" allowfullscreen="allowfullscreen"></iframe></p>
<p><strong>From Steve Perry</strong></p>
<p>So, do you need a UV filter for your camera or not? In this video, I put UV filters to the test.</p>
<p>We find out if UV filters REALLY protect your lens with a series of smash tests (yes, I bust of a bunch of lenses and filters) – with some REALLY surprising results!</p>
<p>We’ll also examine…</p>
<ul>
<li>If it’s necessary to use them to filter out UV haze with a digital camera.</li>
<li>If UV filters hurt image quality.</li>
<li>When you should ALWAYS remove them.</li>
<li>If they really are cheap insurance.</li>
<li>And so much more…</li>
</ul>
<p>This is one video every photographer needs to see! Forget theories and anecdotal evidence. Watch this video and see EVERYTHING about UV filters put to the test (plus hey, it’s fun to watch lenses get smashed)! You may be in for a few surprises!</p>

  • Poll Poll
EOS SL2; discussion about possible EVF & pellicle mirror

Which one would you prefer? (...and please comment why)

  • SL2 with electronic VF & fixed pellicle mirror

    Votes: 3 33.3%
  • SL2 with optical VF & standard reflex mirror

    Votes: 6 66.7%
  • I don't mind!

    Votes: 0 0.0%

Hi! Y'know there were rumors about the SL2 being officially revealed in August or September 2015, so this month could be our hot spot!

Since Canon has patents for implementing EVF and pellicle mirrors in a DSLR type body (which could be a possibility for the SL2), my question is; how can I clean the image sensor of such a camera? Since there's a fixed mirror unit, I cannot reach the sensor with cleaning swabs or the like. Is there some mechanic that allows me to do that (except Canon's integrated ultrasonic cleaning)?

Next question is about the light that travels through the system. There's one more barrier for the light to pass through (in comparison to conventional DLSRs)... and that's the semi-transparent mirror. So does say [1sec f2 ISO100] give me the same exposure result as any other conventional DLSR with the same setting, or will it actually be a bit darker due to the pellicle mirror? If not, I think the electronics have to compensate for the slight loss of light (in order to get the same result), which amplifies image noise...

One more thing is, that EVFs can heat up the sensor over time, which leads to even more image noise (and it's a burden for the battery).

As a long time user of cameras with optical VFs, I'm pretty sceptical about this fixed mirror & EVF tech. As always, there are advantages and disadvantages...

Sony Xperia Z5

It has been quite some time since I used a Sony mobile, switching to Samsung after I got fed up with the proprietary cables Sony used to use to charge the phone.

Now that has changed, and while I really like the new Samsung Edge phones, they are very expensive.

This new phone from Sony, while unlikely to be cheap, does have some very interesting specs and if it is not too expensive, could well be my next phone.

On top of the 4K screen (which yields over 800 pixels per inch), the device also packs a 23-megapixel camera with a 0.03 second autofocus and 5X digital zoom, confirming a previous leak.

It should also have improved low light performance over the previous Xperia flagship and you will be able to choose the resolution in the Superior Auto mode between 8 megapixels (16:9), 20 megapixels (16:9), and 23 megapixels (4:3).

http://www.engadget.com/2015/08/31/sony-xperia-z5-premium-leak/

It is quite amazing what they are packing into such small spaces.

Thoughts?

Purchasing Refurbished Amazon

So im looking to purchase another 6d for my wife... now i was looking on amazon and wondering if anyone can tell me which seller has a great reputation. if anyone has experience of purchasing factory refurbished cameras from amazon sellers it would be much help. take a look at a few of the sellers on amazon site under 6d refurbished. im currently looking at two sellers abr trading, and baez inc. since they claim the camera are factory refurbished with 1 year warranty they seem legit. I will appreciate any help or suggestions.

7D II love

The story: After I bought a 5DIII and made the jump to full frame, I held on to my 7D, thinking I would use it as a backup. Never happened. I really loved the 7D when I was using it, but I just found that the 5DIII was more suitable for almost everything.

Then the 7DII came out and I started to have a GAS attack, alternately trying to find a way to justify getting one and then talking myself out of it.

Well, the local Best Buy had an "open box" special on one. I checked it out. Great price, great condition, interest-free for six months on the card so I could use their money for free. Went back and forth, but decided to give it a go.

That night, I had to shoot a women's volleyball game. Took the 7DII along, thinking I'd try it out, but mainly use the 5DIII. The 5DIII never left the bag.

I'm a little rusty on sports shooting, as that's not what I normally shoot for clients, and I wasn't all that comfortable with the focus settings (although not that much different than the 5DIII). Like most school gyms, the light was less than ideal. Cranked it up to 6,400. (Would have never done that with the 7D I). Set it on high speed shooting and got to work.

The images were more than usable. I could even crop them to compensate for my being out of practice. Yeah, there's some noise but it's like Tri-X grain, which I don't mind and with a little careful work in Photoshop I can minimize it.

Shot an outdoor soccer match a few days later using the 7D. I'm really loving this camera. It's definitely going to be my sports camera from now on.

No big point here, other than to say this camera is pretty incredible and I think it bodes well for what the future holds in the next generation of the 5D.

MotoGP from Silverstone

First time shooting this event, really good fun... I was envious of the hundreds of 600mm lens' floating about in the speccy areas, my scabby old sigma TC couldn't keep up :(

Here's a very small selection, all shot spectator side with a 5D3 400mm f5.6 and occasionally with a 1.4x

P.S still don't know anything about bikes

1. A Blue and Yellow One...
Scott Reading - Honda by Jonny Henchman, on Flickr

2. An Orange One
Marc Marquez - Honda by Jonny Henchman, on Flickr

3. A Red One
Sam Lowes - Speed Up Racing by Jonny Henchman, on Flickr

4. A Blurry One
Alex Marquez - EG 0,0 Marc VDS by Jonny Henchman, on Flickr

5. A Starey One
Cal Crutchlow - Honda by Jonny Henchman, on Flickr

6. A Contrasty One
Valentino Rossi - Yamaha by Jonny Henchman, on Flickr

7. A Fast One
Jorge Lorenzo - Yamaha by Jonny Henchman, on Flickr

8. A Funny One
Neutral MotoGP Fans by Jonny Henchman, on Flickr


Thanks for looking.. I'll probably post a few more in my Flickr album over the next few days... you can see it here

As always feel free to unleash a harsh critique :D

Give EF-S the L treatment?

There are some great EF-S lenses out there, like the 17-55, 10-22 and so on.

But there are some concessions with EF-S lenses though:
• Cheaper build quality (cheaper plastics, buttons, knobs etc)
• Lens hoods & cases are optional extras
• Variable apertures
• Lack of weather sealing
• Lens coatings

I believe it's a given that the biggest reason for these concessions is cost, as the APS-C market is a gateway to DSLRs and not Canon's premium system. Certainly costing cannot be set aside but here's a theoretical poser to the forum:

Would you pay an extra say, 20% for an EF-S lens if they brought L series build quality, weather sealing etc? If this theoretical 20% price increase was levied, what features would you want?

This post is a flight of fancy, yet I'm very interested in hearing what people would want done differently with EF-S lenses.

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