Canon & Nikon News and What's New (Excluding Deals) RSS Feed for Photography Deals Omitted Report News & Deals  ►

 Friday, December 9, 2016
According to the Egami Blog, Canon has filed a patent for the design of an electronically curved sensor.
 
Canon Electronically Curved Sensor Patent

Patent Details
 
  • Patent Publication No. 2016-201425
  • Release date 2016.12.1
  • Application date 2015.4.8
  • Coupling the imaging element and the expansion / contraction section
  • As the stretchable portion expands, the amount of curvature of the imaging surface increases
  • The expansion and contraction section is electrically controlled
Posted to: Canon News
Post Date: 12/9/2016 6:15:16 AM CT   Posted By: Sean
From Nikon:
 
KeyMission 170 Firmware v.1.1
 
Changes from Firmware Version 1.0 to 1.1
 
  • Fixed an issue that in rare cases caused the camera to display a message stating that certain memory cards could not be used.
  • Fixed as issue that in rare cases caused the camera to stop responding when HDMI cables were connected or disconnected.
Download: KeyMission 170 Firmware v.1.1
 


KeyMission 360 Firmware v.1.1
 
Changes from Firmware Version 1.0 to 1.1
 
  • Added support for iOS 10. Users of iOS 10 will also need to upgrade the SnapBridge 360/170 app to the latest version, which supports iOS 10.
  • Improved connectivity when pairing with the SnapBridge 360/170 app.
  • Fixed an issue that resulted in spherical 360° images not displaying as spherical 360° images when uploaded to Facebook.
  • Files recorded using Loop recording are now divided into a maximum of 6 parts rather than 5.
Download: KeyMission 360 Firmware v.1.1
 
B&H carries Nikon Keymission action cams.
Posted to: Nikon News
Post Date: 12/9/2016 5:29:26 AM CT   Posted By: Sean
 Thursday, December 8, 2016
From Adobe:
 
Lightroom CC 2015.8
 
Introducing Reference View
 
Reference View is a new view mode available in the Develop Module that allows you to compare 2 different images in order to make them visually consistent. This is helpful when making a group of images from a single event look similar or setting the white balance appropriately in mixed lighting conditions.
 
To get started,
 
  1. Go to the Develop Module
  2. Click on Reference View. Its on the Toolbar, and you may need to show the Toolbar if hidden
  3. Drag and Drop your Reference Photo onto the left pane. You can change your Reference Photo by either dragging a different image onto the left pane or using the “Set as Reference Photo” context menu in the Library Module.
  4. Edit the active photo. Use the Reference Photo to guide your editing decisions.
Click here for more information on Reference View.
 
Performance Improvements
 
Lightroom CC (2015.8) / 6.8 includes ‘under-the-hood’ changes designed to improve the responsiveness of your Lightroom experience. You should notice improvements in image editing responsiveness when background tasks (such as Preview Generation) are running, moving files between folders, running catalog backups.
 
Fit/Fill Improvements
 
You can now zoom to fit and zoom to fill. Particularly when using ultra high-resolution (i.e. 4K and 5K) monitors, prior versions of Lightroom would not completely fill the Loupe window.
 
Additional Features
 
  • Ability to filter or create a Smart Collection for images that have Snapshots associated with them.
  • Export a Collection Set as a new catalog.
New Camera and Lens Profile Support in Lightroom CC (2015.8) / 6.8
 
See here.
 
New Tethered Shooting Support in Lightroom CC (2015.8) / 6.8
 
  • Canon EOS 5D Mark IV
Customer reported issues resolved
 
  • Released a new set of Camera Matching Profiles for Canon 5D Mark IV.
  • Improved support for Canon 5D Mark IV dual pixel raw images. Please see this note for further details.
  • Lightroom would show an error dialog when attempting to open an image in Photoshop. Please note that this only occurred on Windows and only when selecting “Open in Photoshop” as a Post-Processing item in the Export dialog.
  • Fixed issues relating to the Point Curve as reported here and here
  • Fixed some memory leaks.
  • Library collection panel scrolled unexpectedly when you duplicate/rename/delete a collection set
  • Problem with watermark opacity in export slideshow
  • Will not export both portrait and landscape oriented pictures as a slideshow video in 720 or 1080
  • Slideshow not working, only getting black screen
  • Selected Published Folder or Collection is not deselected if a folder is selected
  • Background images in Slideshow sometimes appeared pixelated.
  • Allow image panning by holding down space bar and then swipe with two fingers when local correction tool (such as the Local Adjustment Brush or Radial Filter) is activated.
  • Resolved inconsistent preset sorting issue.
  • Resolved issues when importing from an Apple iPhone or iPad using USB.
  • Video files from Sony cameras were not being imported into Lightroom.
  • Opening photos in Photoshop from Lightroom using Edit In does not work correctly for some operations
  • Map and Web modules do not work correctly with 4K UHD monitor
  • Sort by capture time doesn’t always work on 2015.7 / 6.7
Installation Instructions
 
Please select Help > Updates to use the update mechanism in the Creative Cloud app.
 


Lightroom Mobile Updates
 
Lightroom for iPhones includes a new edit experience, a new info section, a new capture interface with a brand new professional mode, support for all of the latest cameras and lenses provided in today’s Adobe Camera Raw and Lightroom releases, as well as bug fixes and improvements. Lightroom for iPads adds in the new capture interface, camera and lens support, and bug fixes, and Lightroom for Android provides support for new cameras and lenses as well as bug fixes. To download Lightroom for iOS and Android, tap here.
 
The teams for both Lightroom for iPads as well as Lightroom for Android are also working on adding in the new edit and info experiences and we hope to release those updates soon.
 
Check out the new series of videos our very own Julieanne Kost has made covering Lightroom Mobile from end-to-end, including these new features, by clicking here.
 
In Lightroom for iPhones, you’ll find the following updates:
 
New Edit Interface
 
Lightroom mobile 2.6 represents a significant evolution of editing on mobile devices. We wanted to improve the ability to quickly find and access tools and ensure the fastest way to enhance and edit images on a phone. Our design team reached out to photographers of all skill levels to help us figure out how people edit with Lightroom mobile, what’s missing, and how we could make it even better. This update represents our first release taking advantage of this research.
 
Finally, we built ways of expanding the interface so that additional groups of functionality could be added in, like the often requested ability to add in titles, captions, and copyright from mobile devices. This new interface extensibility means we can continue to deliver on the features that photographers have been asking for, turning their mobile devices into more and more capable image processing devices.
 
New Capture Interface and Professional Mode
 
Version 2.6 also adds in a brand new capture interface (the same that Android users received earlier this year) that provides access to a new professional mode that provides control over all aspects of your camera’s exposure and focus. This new mode makes it easy to dial in exactly the exposure you need to capture the shot you want.
 
These updates are all available now, tap here to download.
 
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News,
Post Date: 12/8/2016 11:49:11 AM CT   Posted By: Sean
From Adobe:
 
Adobe Camera Raw 9.8
 
New Camera Support in Camera Raw 9.8
 
  • Canon EOS M5
  • Fujifilm X-A3
  • Google Pixel
  • Google Pixel XL
  • Hasselblad X1D
  • Leica TL
  • Nikon D5600
  • Olympus E-M1 Mark II (*)
  • Olympus PEN E-PL8
  • Panasonic LUMIX DMC-FZ2500 (DMC-FZ2000 and DMC-FZH1)
  • Pentax K-70
  • Samsung Galaxy S7
  • Samsung Galaxy S7 Edge
  • Sony Alpha a6500 (ILCE-6500)
  • Sony Alpha a99 II (ILCA-99M2)
  • Sony DSC-RX100 Mark V
(*) Denotes preliminary support.
 
New Lens Profile Support in Camera Raw 9.8
 
MountName
AppleMoment Macro Lens for iPhone6
AppleMoment Macro Lens for iPhone6 Plus
AppleMoment Superfish Lens for iPhone6
AppleMoment Superfish Lens for iPhone6 Plus
AppleMoment Tele Lens for iPhone6
AppleMoment Tele Lens for iPhone6 Plus
AppleMoment Wide Lens for iPhone6
AppleMoment Wide Lens for iPhone6 Plus
AppleMoment Macro Lens for iPhone6s (DNG + JPEG)
AppleMoment Macro Lens for iPhone6s Plus (DNG + JPEG)
AppleMoment Superfish Lens for iPhone6s (DNG + JPEG)
AppleMoment Superfish Lens for iPhone6s Plus (DNG + JPEG)
AppleMoment Tele Lens for iPhone6s (DNG + JPEG)
AppleMoment Tele Lens for iPhone6s Plus (DNG + JPEG)
AppleMoment Wide Lens for iPhone6s (DNG + JPEG)
AppleMoment Wide Lens for iPhone6s Plus (DNG + JPEG)
Canon EFSIGMA 12-24mm F4 DG HSM A016
Canon EFSIGMA 85mm F1.4 DG HSM A016
Canon EFSIGMA 500mm F4 DG OS HSM S016
Canon EFTAMRON SP 150-600mm F/5-6.3 Di VC USD G2 A022E
Canon EFTAMRON SP 150-600mm F/5-6.3 Di VC USD G2 A022E x1.4
Canon EFTAMRON SP 150-600mm F/5-6.3 Di VC USD G2 A022E x2.0
Canon EFZeiss Milvus 2.8/15 ZE
Canon EFZeiss Milvus 2.8/18 ZE
Canon EFZeiss Milvus 2/135 ZE
GooglePixel (DNG + JPEG)
GooglePixel XL (DNG + JPEG)
Go ProHERO5 Black (Linear FOV)
Go ProHERO5 Black (Medium FOV)
Go ProHERO5 Black (Narrow FOV)
Go ProHERO5 Black (Wide FOV) (raw + JPEG)
Leica MLeica SUMMARON-M 28mm f/5.6
Nikon FNikon AF-S NIKKOR 70-200mm f/2.8E FL ED
Nikon FSIGMA 12-24mm F4 DG HSM A016
Nikon FSIGMA 50-100mm F1.8 DC HSM A016
Nikon FSIGMA 85mm F1.4 DG HSM A016
Nikon FSIGMA 500mm F4 DG OS HSM S016
Nikon FTAMRON SP 150-600mm F5-6.3 Di VC USD G2 A022N
Nikon FTAMRON SP 150-600mm F5-6.3 Di VC USD G2 A022N x1.4
Nikon FTAMRON SP 150-600mm F5-6.3 Di VC USD G2 A022N x2.0
Nikon FZeiss Milvus 2.8/15 ZF.2
Nikon FZeiss Milvus 2.8/18 ZF.2
Nikon FZeiss Milvus 2/135 ZF.2
RicohRicoh GXR A16 24-85mm F3.5-5.5
SamsungSamsung Galaxy S7 Edge Rear Camera (DNG + JPEG)
SamsungSamsung Galaxy S7 Rear Camera (DNG + JPEG)
SigmaSIGMA 12-24mm F4 DG HSM A016
SigmaSIGMA 85mm F1.4 DG HSM A016
SigmaSIGMA 500mm F4 DG OS HSM S016

Customer reported issues resolved
 
  • Released a new set of Camera Matching Profiles for Canon 5D Mark IV – this set of profiles are more similar to past cameras of the same generation.
  • Improved support for Canon 5D Mark IV dual pixel raw images. Please see this note for further details.
  • Fixed issue related to memory corruption in the DNG Converter.
  • Fixed bugs related to crashes and abnormal app exits.
Installation Instructions
 
Camera Raw 9.8 – Please select Help>Updates to use the update mechanism in the Creative Cloud app.
 
Please note – If you have trouble updating to the latest Camera Raw update via the Creative Cloud application, please refer to this.
 
Adobe DNG Converter 9.8
 
Download: Windows | Macintosh
Posted to: Canon News,
Post Date: 12/8/2016 10:45:12 AM CT   Posted By: Sean
The obvious reason to use high speed burst mode to photograph wildlife is because wildlife moves and you want to capture the ideal body position and behavior. Use your fastest frame rate to capture the frame with the perfect body/angle/leg/wing positions against the best possible background. When the wildlife is in fast action, that motion is obvious and further discussion is probably not warranted. But, the motion can be more subtle – I'll call it "micro-motion" – and micro-position differences matter.
 
One of the most frequent subtle wildlife motion issues I encounter is blinking and birds especially cause me grief in this regard. The bird may appear completely motionless, allowing you to take your time to set up for and capture the perfect shot. The image looks great on the LCD, but when you get home and load the images, you realize that the nictitating membrane is covering half of the eye (this is not technically "blinking", but the problem is similar). While this issue can sometimes be remedied in post processing, correction is challenging and time consuming even on the easiest repairs. If 5 or 10 images of the same scene had been captured in rapid succession, the odds are very good that at least one of them would have had a clear eye.
 
Another issue I find problematic is animals chewing their cud. Even when I'm aware that this is happening, it can be quite challenging to capture a single frame without the animal's fast-moving lower jaw in a strange and usually detracting position. Ear position is a similar issue. Certain ear positions are often preferred and since these features are often moving, a burst can help capture the optimal positions.
 
Sometimes it only takes a subtle movement to make a big difference in the desired catchlight in the subject's eye. One of the frames captured in a burst may have this key difference, giving that particular image the extra sparkle needed for greatness.
 
Did you ever have an image degraded by something passing through the frame? This is often a photobombing insect or bird that shows up at just the wrong time. While these can sometimes be removed in post processing, that is not always the case and even if removal is possible, the process may prove time consuming. Grasses blow in light wind, passing into out of ideal positions. Leaves on trees do the same. A frame burst may contain an image void of the undesired objects.
 
Speaking of the blowing, most wildlife photography takes place outdoors and there are many factors out here trying to reduce your image sharpness, including wind. Not every frame may be sharp, but an increased number of images brings an increased chance that sharp images are in the mix.
 
On occasion, I find that I need to merge two or more images from a burst to get the ideal subject framing. Especially when using a long telephoto lens not locked down on a tripod, I often get a modest variety of subject framing in a burst set. While the differences may not be big, I sometimes find it optimal to add a side of one frame to another image to provide the ideal framing or to expand the frame. This is an especially good option to use if the focal length is too long and the scene is being cropped too tightly.
 
Even when not moving fast, wildlife is often moving. Capturing just the right point in time can make a big difference in wildlife imagery and using the camera's burst mode may be all that is necessary to bump your image quality up a notch.
 
In this regard, a camera with a faster frame rate has an advantage over those with a slower rate. The Canon EOS 5D Mark IV used for this capture has a faster frame rate than any 5-Series predecessor, but the Canon EOS-1D X Mark II and Canon EOS 7D Mark II make the 5D IV seem slow.
 
Using a high frame rate-capable camera in high speed burst mode greatly increases the volume of photos captured. Be ready for this and be heavy handed when selecting down the keepers. It is OK to delete good images (and far better to have too many good images than missing the optimal one). You probably can't use them all – keep only the best.
 
Humor has a value in wildlife imagery and a high speed burst rate is advantageous for capturing humor. I photographed this pronghorn having a sit-down dinner (it was eating the green plant in front of it) in Grand Teton National Park in very heavy wind. This wind was so strong that I was having trouble keeping the animal in the 600mm frame. Yes, I had the hood on the lens, increasing the wind load, but it was raining lightly and rain was hitting the front lens element even with this giant hood in place. By using burst mode, I came away with a very satisfying set of sharp, well-framed keepers from this encounter, including this humorous one.
 
I can still hear him saying "Is that a Canon EF 600mm f/4L IS II Lens?!"
 
A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
 
Camera and Lens Settings
600mm  f/4.0  1/1600s
ISO 1600
5847 x 3898px
Posted to: Canon News,
Post Date: 12/8/2016 9:00:00 AM CT   Posted By: Bryan
 Wednesday, December 7, 2016
From Photoshelter:
 
The 2017 Photographer’s Guide to Photo Contests
 
We’ve partnered with the World Photography Organization for The 2017 Photographer’s Guide to Photo Contests, one of our biggest guides of the year. Inside, get a rundown of 42 photo contests worldwide. We give each a verdict based on entry fees, promised exposure and prizes, submission rights, and direct feedback from past winners. Let this guide help you determine which contests are your best bet.
 
Download the Free Guide
Posted to: Canon News,
Post Date: 12/7/2016 10:49:58 AM CT   Posted By: Sean
Just posted: Sigma 12-24mm f/4 DG HSM Art Lens Review
 
This is a very fun-to-use lens.
 
B&H has the Sigma 12-24mm f/4 DG HSM Art Lens in stock.
Posted to: Canon News,
Post Date: 12/7/2016 9:10:32 AM CT   Posted By: Bryan
As promised yesterday, image quality results from the Canon EOS-1Ds Mark III and Canon EOS 7D Mark II have been added to the Sigma 85mm f/1.4 DG HSM Art Lens Review page. This addition makes many more direct comparisons available. I'll get you started.
 
Sigma's previous 85mm f/1.4 was a good performer, but the Art model takes the Sigma 85mm f/1.4 lens comparison.
 
Zeiss also has a pair of excellent 85mm lenses. In the Sigma 85mm f/1.4 Art Lens vs. Zeiss Milvus 85mm f/1.4 lens comparison, the Sigma has the advantage. Even the venerable Zeiss Otus 85mm f/1.4 is strongly challenged by the Sigma 85mm f/1.4 Art Lens.
 
At a 2/3 stop wider aperture, the Sigma 85mm f/1.4 Art Lens is sharper than the Tamron 85mm f/1.8 VC lens. The Sigma of course gives up image stabilization in this comparison.
 
Put one of these lenses in your kit: B&H has this lens in stock (Nikon) and "coming soon" (Canon mount available for preorder).
 
Adorama only has the Sigma mount lens in stock, but at this moment is offering a free Sigma Dock with preorders.
Posted to: Canon News,
Post Date: 12/7/2016 8:00:25 AM CT   Posted By: Bryan
According to the Egami Blog, Canon has filed the optical formula patent for a EF 600mm f/4 DO IS USM.
 
This would be an awesome addition to Canon's super telephoto lens lineup. I think professional sports and wildlife photographers will be lining up for this lens. [Sean]
 
Canon EF 600mm f 4 DO IS USM Design Patent

Patent Details (Google Translated)
 
  • Patent Publication No. 2016-200685
  • Published 2016.12.1
  • Filing Date 2015.4.9
  • Focus distance 585.00
  • F-number 4.12
  • Angle of View (degrees) 2.12
  • Like high 21.64
  • Overall length of the lens 335.32
  • BF 66.92
Posted to: Canon News
Post Date: 12/7/2016 6:18:48 AM CT   Posted By: Sean
 Tuesday, December 6, 2016
You are going to like this: Image quality results from the Canon EOS 5Ds R have been added to the Sigma 85mm f/1.4 DG HSM Art Lens Review page.
 
I'm guessing that you are impressed with what you see, but the Sigma 85mm f/1.4 Art Lens vs. Canon EF 85mm f/1.2L II Lens comparison should fully convince you.
 
Results from the Canon EOS-1Ds Mark III and Canon EOS 7D Mark II are coming and will make many additional comparisons possible. But, this lens is certainly looking impressive from an image quality perspective!
 
Make the Sigma 85mm f/1.4 DG HSM Art Lens your Christmas present! B&H has this lens in stock (Nikon) and "coming soon" (Canon mount available for preorder).
 
Adorama only has the Sigma mount lens in stock, but at this moment is offering a free Sigma Dock with preorders.
Posted to: Canon News,
Post Date: 12/6/2016 9:18:27 AM CT   Posted By: Bryan
Did I ever tell you that the Canon EF 200-400 f/4L IS Lens is really sharp? My daughter and I had one evening and one morning to photograph deer in Shenandoah National Park. The evening presented us with primarily darkness including dense fog and light rain (and wind), but the morning proved much nicer.
 
This decent-sized 7pt buck tending a doe amidst the short red saplings in Big Meadows was a grand find on this morning. We worked around the deer to get the morning sun at our backs and, as best as we could, stayed within ideal photo range of it for over an hour. The buck was very attentive to the doe and gave us some nice behavior images. In this image, the buck had been cleaning its back (see the ruffled fur?) and stopped to look at the doe.
 
I used the Canon EF 200-400mm f/4L IS Lens for this image. While my preference for wildlife photography is the look that the EF 600mm f/4L IS II Lens provides, the 200-400mm focal length range has proven more useful to me in this park, primarily because of the need to work in front of obstructions. Fortunately, image sharpness is something this zoom lens does not sacrifice. Take a look at this 100% crop from the ultra-high resolution EOS 5Ds R:
 
Canon EF 200-400mm f/4L IS USM Lens Crop Sample
 
This image was captured at 400mm with a wide open f/4 aperture (to create as much background blur as possible). The RAW image was processed in DPP 4 using the Standard Picture Style with sharpness reduced to only "1". While the camera is extremely sharp, its resolution is unforgiving to lens quality. The 200-400 L is definitely 5Ds R-ready. It is simply a very impressive lens.
 
A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
 
Camera and Lens Settings
400mm  f/4.0  1/800s
ISO 100
8688 x 5792px
Posted to: Canon News,
Post Date: 12/6/2016 8:18:39 AM CT   Posted By: Bryan
From Datacolor:
 
Lawrenceville, NJ – Datacolor, a global leader in color management solutions, today announced the release of Spyder5+, the next generation software expertly designed to build upon its popular color calibration tools for photographers, designers, videographers and imaging professionals.
 
“Spyder5 is already an amazing tool for getting the best color out of your display. With the Spyder5+ upgrade, Datacolor has added several really nice features that are an absolute no-brainer for the price,” said David Cardinal, professional photographer and Datacolor Friend with Vision. “I’ve been using the new capabilities and am really pleased with how much time they’ve saved me, as well as the additional productivity they’ve provided.”
 
The software upgrade is now available for all existing and new Spyder5 customers, with the option to purchase Spyder5PRO+ or Spyder5ELITE+. Spyder5+ adds unique features to the Spyder5 calibration tools by enhancing users’ digital color workflow, including:
 
  • Automatic Room Light Switching ensures users’ monitor profile changes as the room light conditions shift, with no user interaction required
  • 1-Click Calibration streamlines a user’s workflow with a single click to start the calibration without having to re-select saved settings
  • Profile Management Tool gives users the ability to edit, remove, rename, locate, and activate each display profile for ultimate control and flexibility
Users who purchase the Spyder5ELITE+ upgrade will have access to all of the above features, in addition to:
 
  • Spyder SoftProof improves “Screen-to-Output” matching with a new workflow to simulate how photos will look on any printer or device – including home printers, online or retail printers, and certain mobile/tablet devices
  • Enhanced StudioMatch verifies precise monitor matching and takes the guess work out of making all connected displays look the same – including a new visual verification step that assists you by fine tuning your results
“We’re very excited to add this upgrade to our Spyder5 product line. This new software offers unique tools to ensure color management across all devices, so our customers can remain confident in their decision to choose Datacolor for their color calibration needs,” said Stefan Zrenner, Director Global Sales & Marketing Imaging, Datacolor. “With a competitive set of features, Spyder5+ is the perfect tool for creatives that rely on consistency in their work.”
 
New and existing Spyder5 customers wishing to purchase the Spyder5+ software add-on can find out more and buy via the Datacolor website. Upon software purchase, customers will receive a software serial number and a step-by-step guide for easy download.
 
For more information, please visit:
 
B&H carries Datacolor Spyder5 Display Calibration products.
Posted to: Canon News,
Category: Datacolor News
Post Date: 12/6/2016 6:00:38 AM CT   Posted By: Sean
From Canon USA:
 
Canon U.S.A. Releases Survey Results Confirming Consumer Perceptions of Faster Service Times and Higher Tech Support Satisfaction Over Major Competitor
 
MELVILLE, N.Y., December 5, 2016 – Canon U.S.A., a leader in digital imaging solutions, announced today the findings from a nationwide third-party blind survey that compared customer perceptions concerning the speed of service and quality of tech support offered by Canon and Nikon. The survey was conducted among photographers (primarily professional, semi-professional, and advanced amateur) in November 2016 and found that customers perceive Canon’s service times to be faster than Nikon’s and that customer satisfaction with tech support is higher for Canon than it is for Nikon.
 
“Our customers need service they can count on,” said Yuichi Ishizuka, President and COO, Canon U.S.A., Inc. “We are very proud of our achievements in delivering world-class service and support. By making customer service an integral part of our business model, we are positioned to meet and exceed the changing needs and expectations of our customers.”
 
Key Survey Findings
 
  • Ultra-Fast Service: 76.9 percent of Canon customers who have had a service experience in the last 18 months indicated that the speed of their service was either ultra-fast or fast compared to 64.7 percent for Nikon.
  • Support Matters: 90.4 percent of Canon customers indicated that they were completely satisfied or satisfied with the technical support they received, as compared to 73.7 percent of Nikon's customers.
Canon has made significant investments in service and support programs and operations, starting with the opening of their first call center in Chesapeake, VA in 1995. The Company prides itself on providing 100 percent in-house U.S. technical support. When it comes to call center operations, keeping all tech support calls in-house allows the Company to tightly control the quality and depth of the tech support provided. Canon maintains full control of its customers’ repair transactions, unlike other industry players that may rely on local third-party service providers to augment their service processing. This is a key differentiator for Canon and is one of the factors that allows the brand to control quick turn-around times and quality service.
 
About the Ultra-Fast Canon Service & Support Team
 
  • Support Across the Country: Canon’s Service & Support Network spans from the East to the West Coast (reaching as far as Honolulu, HI) with 10 locations totaling more than 300,000 square feet of space devoted to serving customers. Canon has two call center locations – in Virginia and New Mexico – which boast an average wait time of only 78 seconds to talk to a live tech support representative. There are also three locations in key metropolitan areas that specifically cater to professional customers, in addition to four factory service locations that serve all customers. Canon also has a Customer Care Center, which offers a service drop-off point at its corporate headquarters located in Melville, NY. In the spring of 2017, the Canon Hollywood Professional Technology & Support Center will relocate to Burbank, CA. In this new location, Canon service and support will be enhanced even further to assist the growing number of professional filmmakers and broadcast production clients in Southern California.
  • It’s More Than Just Support: The Canon Experience Center located in Costa Mesa, CA, not only offers service, but is also home to Live Learning workshops and seminars that provide opportunities to learn the latest photography, video, and printing techniques. Additionally, both the Costa Mesa and Lyndhurst, NJ, locations house product showrooms where customers can explore the latest Canon products.
  • 100 Percent U.S.-Based Team: Canon provides 100 percent U.S.-based tech support that is completely in-house staffed with over 600 “all Canon” employees. Canon’s combined nationwide service and support network is comprised of over 1,100 expert service and support team members who maintain full control of service quality and speed of repair transactions.
In addition to announcing the results of this survey, Canon has also launched a new digital advertising campaign that highlights the Company’s knowledgeable tech support staff and efficient service times that average 2.82 days (1.59 days for Canon Professional Services (CPS) Platinum members)1.
 
About the Survey
 
A blind survey was conducted between the dates of November 17-22, 2016, resulting in over 2,300 responses from photographers, primarily professional, semi-professional and advanced amateurs. The methodology and results were validated by a third-party expert, Dr. William Bleuel, Ph.D.
Posted to: Canon News
Category: Canon USA News
Post Date: 12/6/2016 5:46:36 AM CT   Posted By: Sean
From Nikon:
 
Changes from Version 1.0.1 to 1.0.2
 
  • Fixed an issue that resulted in the application not displaying correctly at some monitor resolutions.
  • Fixed an issue that resulted in previews of selected images not being displayed at startup when the KeyMission 360/170 Utility was launched from ViewNX-i.
Download: Nikon KeyMission 360/170 Utility 1.0.2
 
B&H carries Nikon KeyMission cameras.
Posted to: Nikon News
Post Date: 12/6/2016 5:20:15 AM CT   Posted By: Sean
 Monday, December 5, 2016

 
From the TIME YouTube Channel:
 
On the day the Yankees retired Babe Ruth’s number, Nat Fein’s instinct to shoot him in 1948 from behind paid homage not only to the baseball legend but to the House that Ruth Built.
 
See TIME's exploration of 100 photographs that shaped the human experience (updated daily).
Posted to: Canon News,
Post Date: 12/5/2016 12:06:30 PM CT   Posted By: Sean
    1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25    
Canon News, Nikon News Archives
2016   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2015   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2014   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2013   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2012   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2011   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2010   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2009   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2008   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2007   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2006   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2005   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
Feedback
Help  |  © 2003-2016 The Digital Picture, LLC  |  Bryan CarnathanPowered By Christ!