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<p>Long time Nikon shooter, author and Adobe professional Scott Kelby switched over to Canon about 6 months. Being that he’s a popular guy in the photography world, I assume he was being asked every 10 minutes why he switched.</p>
<p>The switch was made to a EOS-1D X and EOS 5D Mark III for the big reasons of ergonomics, menu system and skin tones.</p>
<p>Kelby sits down with Canon Explorer of Light Rick Sammon to discuss the switch to Canon.</p>
<p><iframe width="500" height="281" src="http://www.youtube.com/embed/Vz94bdlVVlc?feature=oembed" frameborder="0" allowfullscreen></iframe></p>
<p><strong>CR’s Take</strong>

I’m not sure how much Mr Kelby paid for the Canon gear he now has, but I hypothesize it was at a discount. :)</p>
<p>System switching is an odd thing to me, and always has been. Unless there’s a definitive feature or lens that one doesn’t have and the other does.</p>
<p>I have heard of Canon shooters moving to Nikon if they use Speedlites a lot, as Nikon’s ETTL does a better and more consistent job than Canon’s system does.  When I hear a Nikon user switching to Canon, it seems to usually be about video features. I also know of a couple of nature photographers that moved over to Canon around the time the new big white lenses made it to market. They found great value in the weight savings of Canon’s new super telephoto lenses.</p>
<p>Switching for ergonomics is a weird one to me. After a few months with a camera, you’re used to it and it becomes second nature. I personally fumble around with Nikon’s pro bodies, but that’s because I have been shooting Canon predominantly for a long time. Had I always shot Nikon, I’m sure the opposite would be true.</p>
<p>Spotted on: [<a href="http://www.photographybay.com/2014/01/20/scott-kelby-explains-his-switch-from-nikon-to-canon/" target="_blank">PB</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

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<p><a href="http://www.dustinabbott.net" target="_blank">Dustin Abbott</a> has sent us his in-depth review of <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron’s brand new 150-600 f/5-6.3 VC</a> super telephoto zoom lens. This lens is receiving a lot of press for it’s range and killer price of $1069 USD.</p>
<p>Most everyone that is reviewing lens has been giving it very good reviews. No, it’s not going to perform as well as <a href="http://www.bhphotovideo.com/c/product/973129-REG/canon_5176b002_ef_200_400mm_f_4l_is.html/bi/2466/kbid/3296" target="_blank">Canon’s 200-400 f/4L IS 1.4x</a>, but that lens costs about 10 times more!</p>
<p><strong>CR’s Take</strong>

I get asked a lot about what lens to buy, and one of the most asked is what super telephoto zoom to buy. Since the announcement and reviews  of the <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 f/5-6.3 VC</a>, I have had a hard time recommending Canon’s long-in-the-tooth 100-400 f/4-5.6L IS. This is a great starting point for anyone wondering if or how they’d use the super telephoto focal lengths. Some people may find they sit in the 300mm range, others may find they never leave 600mm. If you spent a year with this Tamron, you may then have a better idea as to whether or not investing in one of the big Canon L’s is the right decision for your situation and pocketbook.</p>
<p>I think it’s very interesting watching Sigma and Tamron release lenses that are priced extremely competitively and give wonderful bang-for-the-buck performance. Your move Canon….</p>
<p><strong>Says Dustin

</strong><em>“I simply don’t have the budget to purchase many of the super-teles that cover this focal range, and furthermore, I don’t shoot this style of photography often enough to justify the expense even if I did.  But this lens hits a sweet spot for me.  It’s price is low enough to not only be affordable but also a small enough investment that you won’t feel like you have wasted your money if you aren’t shooting long distance every day.  So if you can’t afford a “super-tele”, how about an “ultra-tele” (that’s what Tamron is calling this lens segment)?  The preorder price in the United States is only $1069.  It is about $180 more here in Canada, but this lens represents such a tremendous value that I have had a serious conversation with a friend in the industry about how it is even possible for Tamron to make a profit at this price.  I personally wonder if they are not selling this lens at a loss to drive brand recognition.  It’s that good.”<strong>

</strong></em></p>
<p><strong><a href="http://www.dustinabbott.net/2014/01/tamron-sp-150-600mm-f5-6-3-di-vc-usd-review/" target="_blank">Read the full review</a> | <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 f/5-6.3 VC at B&H Photo</a></strong></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

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Was there any doubt? :)</p>
<p><a href="https://www.facebook.com/setlife.magazine" target="_blank">Setlife Magazine</a> has posted a couple of graphics showing the technical specifications of cameras and lenses used in the making of the cinematography & best picture nominees.</p>
<p><a href="http://www.eoshd.com/content/11914/red-cameras-absent-oscar-cinematography-best-picture-nominees" target="_blank">EOSHD</a> points out a very interesting observation. There isn’t a single RED camera on the list. It’s almost a clean sweep by ARRI.</p>
<p>Although, Canon should be happy with the C300′s and C500′s that have shown up in a few films. I think it’s good news for Canon since Cinema EOS is still pretty infant, and as EOSHD points out, they’re under-specced compared to their competition.</p>
<p>Something to build on for Canon.</p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/01/oscars-2014-cinematography.jpg"><img class="alignnone size-medium wp-image-15568" alt="oscars-2014-cinematography" src="http://www.canonrumors.com/wp-content/uploads/2014/01/oscars-2014-cinematography-575x283.jpg" width="575" height="283" />

</a></p>
<p><a href="http://www.canonrumors.com/wp-content/uploads/2014/01/1545569_1435538563346548_805595201_n.jpg"><img class="alignnone size-medium wp-image-15569" alt="1545569_1435538563346548_805595201_n" src="http://www.canonrumors.com/wp-content/uploads/2014/01/1545569_1435538563346548_805595201_n-575x512.jpg" width="575" height="512" /></a></p>
<p><strong><a href="https://www.facebook.com/setlife.magazine" target="_blank">SetLife Magazine on Facebook</a> | <a href="http://www.eoshd.com/content/11914/red-cameras-absent-oscar-cinematography-best-picture-nominees" target="_blank">Read Full EOSHD Article</a></strong></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

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<p>A patent showing an EF-M 18-40  f/3.5-5.6 pancake has come to light. With this patent a bunch of other optical formulas also appear, such as an 18-55 pancake, 10-20, and a 9-18. We currently have an EF-M 11-22, which is probably rooted from the latter two optical formulas.</p>
<p>A zoom pancake would be a nice addition to the geographically fragmented and oddly marketed EOS M line.</p>
<ul>
<li><strong>Patent Publication No. 2014-6275</strong>
<ul>
<li><span>Publication date 2014.1.16</span></li>
<li><span>Filing date 2012.6.21</span></li>
</ul>
</li>
<li><strong>Example 7</strong>
<ul>
<li><span>Zoom ratio 3.00</span></li>
<li><span>Focal length f = 18.10-37.01-54.30mm</span></li>
<li><span>Fno. 4.20-6.20-8.20</span></li>
<li><span>Half angle ω = 36.92-20.17-14.06 °</span></li>
<li><span>Image height Y = 13.60mm</span></li>
<li><span>64.74-56.63-62.13mm lens length</span></li>
<li><span>BF 0.50mm</span></li>
</ul>
</li>
<li><strong>Canon patents</strong>
<ul>
<li><span>The possible vibration damping by the second lens group</span></li>
<li><span>Feeding whole, front focus, focusing, rear focusing, etc.</span></li>
</ul>
</li>
</ul>
<p>Source: [<a href="http://egami.blog.so-net.ne.jp/2014-01-20" target="_blank">EG</a>]</p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

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Roger and Aaron over at <a href="http://www.lensrentals.com" target="_blank">LensRentals.com</a> have completed their resolution testing of a host of supertelephoto zoom lenses. The Sigma 50-500 OS and Canon 100-400 were the two big competitors to the new <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 VC</a>.</p>
<p>The Tamron is the least expensive of the bunch and held up very well against others in its class. While it’s not clearly the best resolving lens. The price, focal range & performance will be a big winner for a lot of people.</p>
<p><strong>Summary from LensRentals.com

</strong><em>“My summary would be that the selection between a Tamron 150-600, Canon 100-400 IS, and Sigma 50-500 OS should be made on criteria other than MTF 50. There are some minor differences in resolution, but nothing that makes one clearly better than another. Price, weight, autofocus accuracy, effectiveness of vibration control, and a number of other factors (did I mention price?) are more important considerations when choosing among these lenses.</em></p>
<p><em>It’s pretty obvious that the Tamron has both 600mm range and the lowest price. These tests, and everything I see from photographers using the lens in the field, support that it’s of at least equal image quality. Some people will prefer the extra wide range of the Sigma, others the lighter weight of the Canon. But for a lot of people, the Tamron is going to be the best bang for the buck.”</em></p>
<p><strong><a href="http://www.lensrentals.com/blog/2014/01/tamron-150-600-telezoom-shootout" target="_blank">Read the full review</a> | <a href="http://www.bhphotovideo.com/c/product/1013956-REG/tamron_a011_c_sp_150_600mm_f_5_6_3_di.html/bi/2466/kbid/3296" target="_blank">Tamron 150-600 VC at B&H Photo</a></strong></p>
<p><em> thanks Steve</em></p>
<p><strong><span style="color: #ff0000;">c</span>r</strong></p>

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PARK CITY, UT, January 17, 2014 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the company will return as a Sustaining Sponsor to the 2014 Sundance Film Festival. The Festival-which is celebrating its 30th anniversary this year, marking three decades of fostering a vibrant independent film community-will be held in Park City, Salt Lake City, Sundance, and Ogden, Utah from January 16-26, 2014.</p>
<p>The Festival’s diverse roster includes nearly 200 films, of which approximately 20 percent were shot using Canon equipment. Blue Ruin, Song One, Memphis, This May Be The Last Time, Cesar’s Last Fast, Happy Valley, Last Days in Vietnam, Life Itself,WHITEY: United States of America v. James J. Bulger, Mitt, Alive Inside, and Ivory Tower are just a few of the Canon-shot films screening in 2014.</p>
<p><!--more-->“Over the last 30 years, Sundance Institute has built a festival that is unrivaled; it is inspiring to be surrounded by the mountains of Park City and the artists and community who are at the peak of their craft, pushing the boundaries of film and artistic expression,” said Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “At Canon, we are driven by delivering that same level of passion, innovation and commitment to our craft as the filmmakers and are excited to return as a Sustaining Sponsor.”</p>
<p>At the 2014 Sundance Film Festival, Canon will host a special slate of programming dedicated to the craft of filmmaking and the artists behind each and every film.</p>
<p>Canon will invite Festival attendees to relax and reboot with fellow cinematographers, directors, and producers at the Canon Craft Services daytime lounge (427 Main Street; open Saturday, January 18th-Monday, January 20th from 11am-5pm), the hub of Canon’s Festival activities.</p>
<p>The lounge will offer filmmakers the opportunity to touch-and-try the latest Canon gear, including the Cinema EOS C100, C300, and C500 cameras, cinema lenses, as well as DSLR cameras and professional products such as the XA25 high definition camcorder.</p>
<p>To inspire discussions about the latest storytelling techniques, technology, and trends, Canon will host craft conversations at its lounge, featuring panels of industry leaders and Festival filmmakers. Each panel will cover a different area of interest, ranging from documentary cinematography, to a focus on optics, to skeleton crew filmmaking. The craft conversation series will culminate in the Canon Spotlight: CNN Original Series screening and panel on Monday, January 20th at the Sundance New Frontier Microcinema (136 Heber Ave; 3pm).</p>
<p>Below is the full schedule of events for Canon’s activities at the Sundance Film Festival. All events take place at Canon Craft Services (427 Main Street) unless otherwise noted.</p>
<div>Saturday, January 18th</div>
<table width="540" border="0" cellspacing="15" cellpadding="5">
<tbody>
<tr>
<td width="90">11am-5pm</td>
<td>
<div>Canon Craft Services</div>
<div>A daily hub with lively craft conversations, a touch-and-try display of Canon equipment, a place to meet, relax, and reboot with industry colleagues, and coffee and snacks for filmmakers to enjoy.</div>
</td>
</tr>
<tr>
<td width="90">1pm</td>
<td>
<div>Craft Conversation | Optics In Focus</div>
<div>David Klein, ASC (Clerks) and James Laxton (Camp X-Ray,Tusk) have two things in common: a director named Kevin Smith and an affinity for Canon Cinema glass. The DPs talk about their optics must-haves and their experience with Canon Cine Zooms – Klein on Homeland and True Blood and Laxton on Smith’s latest Tusk.</div>
</td>
</tr>
<tr>
<td width="90">3pm</td>
<td>
<div>Craft Conversation | Small Crew, Big Movie: Shooting Guerilla-Style with Blue Ruin’s Jeremy Saulnier</div>
<div>Moderated by Dana Harris, Editor-in-Chief of Indiewire</div>
<div>Writer, director, and cinematographer of festival favorite Blue Ruin breaks down his journey from corporate video shooter to auteur filmmaker. Get the inside scoop from Jeremy about shooting with a skeleton crew – he makes no bones about why the Cinema EOS C300 camera was the right tool for him.</div>
</td>
</tr>
<tr>
<td width="90">5pm-6pm</td>
<td>
<div>Media Cocktail Hour</div>
<div>Photographers, videographers, crewmembers, journalists, and other members of the media are invited in to escape the cold, mingle, and get refreshed at the lounge.</div>
</td>
</tr>
</tbody>
</table>
<div>Sunday, January 19th</div>
<table width="540" border="0" cellspacing="15" cellpadding="5">
<tbody>
<tr>
<td width="90">11am-5pm</td>
<td>
<div>Canon Craft Services</div>
<div>A daily hub with lively craft conversations, a touch-and-try display of Canon equipment, a place to meet, relax, and reboot with industry colleagues, and coffee and snacks for filmmakers to enjoy.</div>
</td>
</tr>
<tr>
<td width="90">1pm</td>
<td>
<div>Craft Conversation | Truth Be Told: Documentary Filmmaking with the C300</div>
<div>Moderated by David Leitner, Contributing Editor of Filmmaker Magazine and DP of Tree Man</div>
<div>Hear from Jim Chressanthis, ASC (Cesar’s Last Fast), Dana Kupper (Life Itself), and Nick Higgins (The Lion’s Mouth Opens and 2013′s breakout The Crash Reel) about why the Cinema EOS C300 camera is their tool of choice for documentary work.</div>
</td>
</tr>
<tr>
<td width="90">3pm</td>
<td>
<div>Craft Conversation | Song One‘s John Guleserian on Crossing the Bridge from DSLR to Cinema-Style Filmmaking</div>
<div>Moderated by Neil Matsumoto, Editor of HDVideoPro</div>
<div>It’s hard to imagine Guleserian’s first Sundance feature was just three years ago, with Grand Jury Prize-winning tour de force Like Crazy, shot on the EOS 7D camera. The three-time Sundance alum–back again with Song One–breaks down the transition from Canon DSLR camera to cinema-style filmmaking and his experience with the Cinema EOS C300 camera, C500 camera, and everything in between.</div>
</td>
</tr>
<tr>
<td width="90">5pm-8pm</td>
<td>Canon Craft Cocktails Canon’s second-annual celebration toasts the cinematographers of the 2014 Sundance Film Festival.</td>
</tr>
</tbody>
</table>
<div>Monday, January 20th</div>
<table width="540" border="0" cellspacing="15" cellpadding="5">
<tbody>
<tr>
<td width="90">11am-5pm</td>
<td>
<div>Canon Craft Services</div>
<div>A daily hub with lively craft conversations, a touch-and-try display of Canon equipment, a place to meet, relax, and reboot with industry colleagues, and coffee and snacks for filmmakers to enjoy.</div>
</td>
</tr>
<tr>
<td width="90">1pm</td>
<td>
<div>Craft Conversation | Depth of Field: The Canon Cinema EOS C100 Camera</div>
<div>Ben Kasulke (Laggies, Rat Pack Rat) dissects how he used the Cinema EOS C100 camera on an upcoming low-budget indie, while director/cinematographer Sterlin Harjo (This May Be The Last Time) and four-time Sundance alum Ondi Timoner (A Total Disruption) weigh in on the camera’s documentary and web series features.</div>
</td>
</tr>
<tr>
<td width="90">3pm</td>
<td>
<div>Canon Spotlight: CNN Original Series</div>
<div>Location: New Frontier Microcinema (136 Heber Ave)</div>
<div>CNN, the long-standing authority for television news, made a splash in 2013 with their unconventional, personal, and powerful original series. Join the filmmakers behind Morgan Spurlock’s award-winning Inside Man, Alex Gibney’s Death Row Stories, and Robert Redford and BCTV’s Chicagolandfor a discussion about the lengths they go to capture their compelling stories and why they rely on Canon. The 90-minute spotlight and screening will offer a behind-the-scenes look into these CNN shows.</div>
</td>
</tr>
<tr>
<td width="90">5pm-6pm</td>
<td>
<div>Canon Closing Cocktail Hour</div>
<div>Festival attendees are invited back to Canon Craft Services after the Spotlight screening and panel to demo Canon gear.</div>
</td>
</tr>
</tbody>
</table>
<p>The daily one hour show Live@Sundance, which will provide the most comprehensive overview of Sundance Film Festival 2014 for the online community, will be shot exclusively on Canon Cinema EOS cameras, with support from YouTube, Weber Shandwick, HP, and Adobe Creative Cloud. This show will be streaming to<a href="http://youtube.com/SFF" target="_blank">YouTube.com/SFF</a> at 11am MT from YouTube’s venue on Main Street</p>
<p>To find out more about Canon at the 2014 Sundance Film Festival, please visit our<a href="http://cinemaeos.usa.canon.com/news.php" target="_blank">Cinema EOS website</a> or follow us on <a href="https://www.facebook.com/CanonUSA" target="_blank">Facebook</a>, <a href="https://twitter.com/CanonUSAimaging" target="_blank">Twitter</a>, and <a href="http://vimeo.com/canonpro" target="_blank">Vimeo</a>. During the Festival, join the conversation with #Canon #Sundance.</p>
<div>About Canon U.S.A., Inc.</div>
<p>Canon U.S.A., Inc., is a leading provider of consumer, business-to-business, and industrial digital imaging solutions. With approximately $40 billion in global revenue, its parent company, Canon Inc. (NYSE:CAJ), ranks third overall in U.S. patents registered in 2013† and is one of Fortune Magazine’s World’s Most Admired Companies in 2013. In 2013, Canon U.S.A. has received the PCMag.com Readers’ Choice Award for Service and Reliability in the digital camera and printer categories for the tenth consecutive year, and for camcorders for the past three years. Canon U.S.A. is committed to the highest level of customer satisfaction and loyalty, providing 100 percent U.S.-based consumer service and support for all of the products it distributes. Canon U.S.A. is dedicated to its Kyosei philosophy of social and environmental responsibility. To keep apprised of the latest news from Canon U.S.A., sign up for the Company’s RSS news feed by visiting <a href="http://www.usa.canon.com/rss" target="_self">[url=http://www.usa.canon.com/rss]www.usa.canon.com/rss[/url]</a> and follow us on Twitter <a href="https://twitter.com/CanonUSA" target="_blank">@CanonUSA</a>.</p>
<p>For media inquiries, please contact <a href="mailto: [email protected]">[email protected]</a>.</p>