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 Thursday, September 1, 2016
The 600mm focal length may not be the best for creating a sense of presence for the viewer, but ... it certainly helped me to distance myself from this bear's presence. And, I think the bear did a nice job of creating a presence all by himself.
The bear has apparently experienced trauma in its life as it is missing the bottom of its right front leg and one of his canine teeth is broken. Although such an accident would be enough to make any bear angry, I really don't know for sure if this one was angry or not. But, saying that it is angry sounds more dramatic and people seem to like drama these days. And, almost universally, animals lay their ears back when angry, helping to justify the thought.
The EOS-1D X Mark II has been very reliably focusing on the bears' eyes (bear noses often get in the way of this) even in bad weather conditions and this camera and lens combination easily erased the distant background, making the bear the unmistakable subject.
A larger version of this image is available on SmugMug, Flickr, Google+, Facebook, 500px and Instagram. If reading from a news feed reader, click through to see the framed image.
Camera and Lens Settings
600mm  f/4.0  1/640s
ISO 1250
3648 x 5472px
Posted to: Canon News,
Post Date: 9/1/2016 9:31:35 AM CT   Posted By: Bryan
The world's best photographers use Profoto and we are pleased to officially announce our very own Instagram page; Profoto USA. We want to celebrate light and show off the amazing images our Profoto users, including you, put out on social media.
Tag your posts with #ProfotoUSA and show us those amazing images and behind the scenes shots of Profoto gear in use and you could be featured on our Instagram page.
B&H carries Profoto gear including the very popular B1 Off-camera flashes and Air Remotes.
Posted to: Canon News,
Category: Profoto News
Post Date: 9/1/2016 8:30:38 AM CT   Posted By: Sean
Not long ago I detailed how you can use photomosaics to add value to your wedding services and attract more clients. Today we'll be looking at another technique – multiple exposures – which can serve the same purpose.
In the film days, a multiple exposure was created by neglecting to advance the film between successive exposures. Years ago, many of them were created by accident. However, the advent of auto-advancing film cameras reduced accidental multiple exposures dramatically, though most higher-end film SLRs still allowed for multiple exposures to be recorded on the same piece of film (when desired).
Fast forward to today and several of Canon's higher-level DSLRs feature the ability to record multiple exposures in-camera. Those bodies are:
  • EOS 1D X Mark II
  • EOS 1D X
  • EOS 5D Mark IV
  • EOS 5Ds / 5Ds R
  • EOS 5D Mark III
  • EOS 6D
  • EOS 7D Mark II
  • EOS 80D
  • EOS 70D
While most of the DSLRs above can be set to record the final multiple exposure image and the images used to create the final exposure, the EOS 70D, 80D and 6D only allow for saving the finished image (not the component images). This feature limitation can be important. More on that later.
Why target wedding clients?
With the prevalence of economically-priced DSLRs, ample online education and the fact that weddings are a fairly consistent market opportunity, wedding photography is a crowded market these days. Your competency, personal style and unique creativity can help set you apart from the pack. And that's where multiple exposures come into play.
When it comes to wedding pictures, many shots are not just common, but expected:
  • Bride and groom getting ready
  • The wedding dress/shoes
  • Ring and bouquet macros
  • Wedding parties (groomsmen/bridesmaids)
  • Bride walking down the aisle
  • The kiss
  • Bride and groom together
  • Family group pictures
  • First dance
  • Cake cutting
  • Bouquet toss
  • etc, etc, etc...
The list above just barely scratches the surface, but the prevalence of what's expected (and the fulfillment of those expectations) can lead to a lot of wedding pictures looking similar. And while any photographer can certainly differentiate his or her work based on those shots listed, adding something like a multiple exposure (which may likely be a combination of any of the two images above) can easily gain recognition for one's photography services and increase client satisfaction. Considering the small amount of time it takes to create a multiple exposure image, it's definitely worth the effort.
And the good news is that you don't actually need a camera with the multiple exposure feature to create an exposure blended image; you can do it in Photoshop. However, having the feature in-camera can allow you to determine just how good your images will look when combined into a single image. And with the Live View preview option, proper framing of the two images is significantly easier.
Case in point – I shot a wedding in July and intended to capture an in-camera multiple exposure the day of the wedding. However, as the day dragged on I completely forgot about capturing the multiple exposure. I didn't realize the omission until the clients had already received their wedding images.
With the RAW images still on hand, I tried to see if I could find two images that might blend together well. It took me about 5 minutes of searching, but I settled on two images – one of the bride's dress and another of the couple's first dance. To be perfectly frank, neither image on its own would be considered exceptional. In fact, the wedding dress shot was a throwaway as I had much better shots of it against a dark curtain (I removed the image from the Lightroom catalogue before batch processing/converting the wedding images but never deleted it).
In Photoshop, I used the dress picture as the base layer and placed the first dance picture above it set to a "Lighten" blending mode. I also used Brightness/Contrast clipping masks on both layers to adjust how the images blended together. The final result is shown above.
Am I completely happy with the image? Not really. I think I could have done better if I had purposefully attempted the multiple exposure the day of the wedding. However, my satisfaction with the final image is rather irrelevant from a client satisfaction perspective. When I showed the new bride the multiple exposure image, she seemed extremely happy with it. She later posted the picture on Facebook with a glowing review of my wedding photography services.
If considering adding multiple exposures to your wedding services, here are a few tips:
Set the camera as follows:
Multiple exposureOn:Func/ctrl
Multi expose ctrlAdditive
No. of exposures2
Save source imgsAll images
Continue Mult-exp1-shot only

* The option to save source images may not be available on some cameras.
  1. Create a silhouette image to use as the base layer. Note that the brighter areas of the each image will be what comes through prominently in the final image. An underexposed profile/silhouette set against a bright sky tends to work well for a base layer.
  2. Turn on Live View. Use the LCD's preview to help you align the next shot. Note that you may need to use negative exposure compensation (for both the base and second image) to keep from overexposing the final image.
  3. Preview your results. If you don't like the final image, simply go back into the Multiple Exposure options and designate your original base image to be used for your next attempt.
The best way to become proficient at creating multiple exposures is to practice. Last week I was practicing some multiple exposures and created the following self-portrait.
Multiple Exposure Self-Portrait Spanish Moss 2016

Here's where saving the source images can be really beneficial even when creating an in-camera multiple exposure. Try as I might, I couldn't get the right framing and depth of field that I wanted in-camera. However, I was able to pick out two of my attempts (one base image and one Spanish moss image) and craft the final multiple exposure in Photoshop. The second layer required enlarging (in relation to the base image) to achieve the look I was going for.
So the next time you're about to shoot a wedding, try a multiple exposure. Your clients will likely enjoy your unique style in capturing their wedding.
Posted to: Canon News,
Post Date: 9/1/2016 8:21:00 AM CT   Posted By: Sean
From Canon USA:
XLR Microphone Input Provides Audio Support in Addition to High-Quality 4K UHD Video Capture
MELVILLE, N.Y., September 1, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the XC15 4K Video Camcorder, a 4K UHD digital video camcorder for professional use that achieves high-image quality with a lightweight, compact body.
The new Canon XC15, which builds on the XC10 4K UHD digital video camcorder announced in April 2015, enables shooting with an external microphone through an XLR input and features the selection of visual-expression "Look" modes, including modes that allow it to match the look of other Canon professional cameras, making it ideal for use as a "B"-camera as well as for media and video-content productions.
The Canon XC15 ships with the MA-400 microphone adapter that, when attached, enables shooting with XLR-input microphones used in a wide range of media and content-creation applications. As a result, the camcorder supports the production of content that combines both high-image quality and high-sound quality with reduced noise. The MA-400 is also compatible with the EOS C300 Mark II camera.
Thanks to its high-sensitivity one-inch CMOS sensor and DIGIC DV 5 image processing platform with high calculation-processing power, the new XC15 is capable of capturing high-image quality and low-noise 4K UHD video. Additionally, the camcorder features a compact, lightweight body design, measuring approximately 5.0 x 4.1 x 4.8 inches (WxHxD) and weighs approximately 2.1 pounds while also sporting a 10x optical zoom lens1, which facilitates shooting in confined spaces and environments that demand mobility.
The Canon XC15 4K UHD professional video camcorder is scheduled to be available in September 2016 for a list price of $3,000.00.
B&H will carry the Canon XC15 4K UHD.
Posted to: Canon News
Post Date: 9/1/2016 6:58:45 AM CT   Posted By: Sean
From Canon USA:
Ideal for Major 4K Cinema, Television, and On-Demand Streaming Productions
MELVILLE, N.Y., September 1, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today the next step in the evolution of the Cinema EOS family of professional cinematography products with the new EOS C700, EOS C700 PL and EOS C700 GS PL cinema cameras.
Featuring a completely new, customizable, modular design, the EOS C700 meets the demands of today’s productions – from feature films to documentaries to episodic dramas. The EOS C700 and EOS C700 PL cameras feature a Super 35mm 4.5K sensor with wide dynamic range, and can be ideal for productions requiring 4K UHD TV or 4K DCI cinema deliverables. The EOS C700 GS PL features a Super 35mm 4K sensor with a global shutter to enable the distortion-free capture of subjects moving at high speeds. In addition to supporting the earlier XF-AVC recording format, the cameras also support Apple ProRes.
Recognizing that customers today demand flexibility and the ability to respond to the changing needs of productions, the EOS C700 allows users to convert between EF mount and PL mounts, and between a standard CMOS image sensor and a global shutter CMOS image sensor at Canon service facilities. The EF lens mount provides compatibility with Canon’s diverse lineup of over 70 interchangeable EF lenses as well as enabling use of Canon’s Dual Pixel CMOS AF technology. While the EOS C700 PL and EOS C700 GS PL allow use of industry-standard PL lenses and compatibility with Cooke /i metadata communication technology.
For those wanting to shoot and deliver High Dynamic Range (HDR) content, the EOS C700 and EOS C700 PL are ideal – providing 15 stops of latitude, Canon’s proprietary Log Gammas (Canon Log3, Canon Log2 and Canon Log) and renowned color science. Additionally, these cameras seamlessly integrate with Canon’s professional 4K displays (DP-V2420, DP-V2410 or DP-V1770) for on-set color management and review that conforms to SMPTE ST 2084 standards of HDR display.
To complement these powerful new acquisition tools, Canon has turned to its trusted partner Codex to provide a fully-integrated (no cables) recording and workflow option. The combination of the EOS C700 camera with the optional Codex CDX-36150 recorder allows for high-speed 4.5K RAW recording at up to 100FPS, 4K RAW at up to 120FPS, 4K ProRes at up to 60FPS, 2K ProRes at up to 240FPS and XF-AVC at up to 60FPS.
Canon’s new EOS C700, EOS C700 PL and EOS C700 GS PL are the first Cinema EOS cameras to support anamorphic shooting by utilizing a “de-squeeze” function for monitoring, making possible the creation of images with the 2.39:1 aspect ratio typical of cinema productions. Furthermore, enabling Full HD high-frame-rate recording at a maximum of 240 fps (crop), the camera enables smooth playback, even when slowed down, for great emotional visual expression.
Along with the announcement of these cameras, Canon is also introducing optional accessories OLED 1920x1080 Electronic View Finder EVF-V70, Remote Operation Unit OU-700, Shoulder Support Unit SU-15, Shoulder Style Grip Unit SG-1 and B4 mount adapters MO-4E/MO-4P.
The EOS C700 and EOS C700 PL are currently expected to go on sale in December 2016, while the EOS C700 GS PL is currently expected to go on sale in January 2017. The EOS C700 and EOS C700 PL will have a list of $35,000.00 each and the EOS C700 GS PL will have a list price of $38,000.00
Check out this article on the CDLC to find out more on the C700.
B&H has the Canon EOS C700 Cinema Camera available for preorder.
Posted to: Canon News
Post Date: 9/1/2016 5:57:05 AM CT   Posted By: Sean
From Tamron:
New generation "G2" lens boasts faster AF speed and enhanced VC
SP 150-600mm Di VC USD G2 (Model A022)
September 1, 2016, Commack, New York - Tamron, a leading manufacturer of optics for diverse applications, announces the launch of the SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022). This second generation "G2" lens builds upon the success of the SP 150-600mm F/5-6.3 Di VC USD (Model A011), which launched in December 2013 and continues to successfully meet photographers' needs in the ultra-telephoto category. The new G2 version was developed to provide superior optical performance with today's high resolution DSLRs and to add improvements to several features including speed and accuracy of AF and VC (Vibration Compensation). Also, several new features have been added: FLEX ZOOM LOCK mechanism, Fluorine Coating and optional teleconverters. The new lens delivers outstanding performance and a luxurious, upscale appearance, including a metal lens barrel.
Delivery of the new lens in Canon and Nikon mounts will start on September 23 in the Japanese market and soon thereafter in the U.S. market (Sony A-mount to be delivered at a later date) at a price of $1,399.00.
Optical design refreshed to achieve even higher performance
Three LD (Low Dispersion) lens elements completely eliminate axial and transverse chromatic aberrations. The design also features an upgraded optical construction (21 elements in 13 groups) and leverages improvements in manufacturing technology. As a result, the lens delivers high resolution, improved sharpness and overall better performance.
Tamron's sophisticated eBAND Coating for eliminating ghosting and flare
eBAND (Extended Bandwidth & Angular-Dependency) Coating is a nano-structured layer deployed on the lens element surface. In addition to regular anti-reflection coatings, eBAND Coating offers higher light transmission and significant improvement in anti-reflection characteristics, especially against angulated incident rays. Combined with BBAR (Broad-Band Anti-Reflection) coatings, flare and ghosting are reduced to imperceptible levels.
MOD reduced to provide optimum tele-macro photography
Tamron's advanced manufacturing technology has made it possible to reduce the MOD (Minimum Object Distance) to 86.6 in (2.2m), compared to 106.3 in (2.7m) for Model A011, and has allowed for the wonders of tele-macro photography with its 1:3.9 Maximum Magnification Ratio.
AF speed is faster and much more responsive with moving subjects
The Model A022 is equipped with a USD (Ultrasonic Silent Drive) ring-type motor that delivers excellent responsiveness and control. AF speed is significantly improved from the current model, and it enables accurate high-speed focus even when capturing moving subjects. When shooting with AF, the Full-time Manual Focus override allows you to instantly make fine-focusing adjustments manually, without having to switch between modes.
VC performance is now 4.5 stops and offers 3 modes optimized for different situations
The VC (Vibration Compensation) effectiveness is equivalent to 4.5 stops, based on image stabilization performance levels established by CIPA (Camera & Imaging Products Association) when using VC MODE 3. Model A022 now has three types of VC modes, and it is possible to choose the optimum VC mode according to the situation for taking a photograph, such as when panning.
  • VC MODE 1 is the standard mode that strikes a great balance between the stability of the viewfinder image and the stabilization effects.
  • VC MODE 2 is exclusively used for panning.
  • VC MODE 3 prioritizes the stabilization of the captured images and forgoes the stabilization of the viewfinder image.
A new VC Mode can be programmed with the optional TAMRON TAP-in Console. You can overwrite VC Mode 1 with a new VC Mode that allows stabilization to be engaged constantly for videography purposes. In this mode, the LCD screen is used.
New FLEX ZOOM LOCK mechanism enables locking of the zoom ring at any position
The FLEX ZOOM LOCK mechanism quickly locks or unlocks the zoom at any position simply by sliding the zoom ring. Photographers can shoot from any angle without the zoom extending unintentionally. Additionally, the lens features the conventional Zoom Lock switch to prevent unwanted barrel extension during transportation.
Fluorine Coating and Moisture-Resistant Construction for a more user-friendly lens
The front surface of the lens element is coated with a protective fluorine compound that is water- and oil-repellent. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture and fingerprints. For greater protection when shooting outdoors, leak-proof seals throughout the lens barrel help protect your equipment.
Electromagnetic diaphragm system now used for Nikon-mount lenses
An electromagnetic diaphragm system, which has been a standard feature for Canon-mount lenses, is now employed in Nikon-mount lenses. More precise diaphragm and aperture control is possible because the diaphragm blades are driven and controlled by a motor through electronic pulse signals.
Lightweight and easy-to-hold tripod mount is compatible with an Arca-Swiss style quick release plate
A new textured grip and Arca-Swiss style tripod interface enhances both speed and utility. And because the tripod mount is made of lightweight magnesium, it is much easier to carry.
Compatible with TAMRON TAP-in ConsoleTM, an optional accessory product
The optional TAP-in Console provides a USB connection to your personal computer, enabling you to easily update your lens's firmware as well as customize features including fine adjustments to the AF and VC.
Teleconverters exclusively for the Tamron lens now developed
Two exclusive teleconverters, which perfectly match the optics of the new SP 150-600mm G2 (Model A022), offer 1.4x and 2x magnification, and provide a maximum zoom range up to 1200mm. These new teleconverters extend focal length of the master lens, making it possible to take pictures in farther ultra-telephoto ranges.
Based on the rigorous quality standards worthy of the SP series, this new lens is manufactured with thorough attention to details
For the SP series products in particular, Tamron has established rigorous design and quality standards. These standards apply to the optical design, mechanical design and the cosmetic appearance, as well as to such wide-ranging areas as the product's robustness and improvements in various individual functions. Tamron thoroughly reviews of all of the design and manufacturing processes in order to offer products to customers with ever-higher precision and quality levels.
For the SP 150-600mm G2 (Model A022), the optical design was refreshed, mechanical parts were improved and a new exterior design was adopted. To maximize the optical performance intrinsic to this product, Tamron improved the accuracy of component parts and increased the precision of the overall zooming mechanism.
Design Concept
The new design adopted for the four SP series lenses already on the market is essentially the fusion of engineering and style, the pursuit of functional beauty and craftsmanship achieved by giving meticulous attention to minute details. Using metal as the exterior material creates a high-grade design based on the concept that emphasizes "Human Touch" characteristics, and significantly improves user-friendliness. The SP models feature a novel design for the switches, easy-to-read characters, an enlarged window over the distance scale and the adoption of organic forms easy for the photographer's fingers to hold onto.
This design philosophy-the pursuit of functional beauty with a "Human Touch"-is applied even to the most minute details of the new SP 150-600mm G2 (Model A022) ultra-telephoto zoom. By using metal for the exterior material and adding new functions such as the FLEX ZOOM LOCK mechanism, the Model A022 achieves a size and weight that makes comfortable handheld shooting possible, with a slim and stylish appearance design to top it all off.
Posted to: Canon News,
Post Date: 9/1/2016 5:33:18 AM CT   Posted By: Sean
 Wednesday, August 31, 2016
From Canon:
TOKYO, August 31, 2016—Canon Inc. today announced that it has developed a new CMOS sensor equipped with a global shutter function that, because it exposes all of the sensor's pixels at the same time, enables the capture of distortion-free images even when shooting fast-moving objects. Employing a new signal-readout drive system and new pixel structure that significantly expands the full well capacity and reduces noise, the sensor contributes to high-image-quality video capture by making possible the realization of a wide dynamic range.
Distortion-free image capture when shooting fast-moving objects
Standard CMOS sensors make use of the rolling shutter method, which sequentially exposes the pixels one row at a time. Because rolling shutters can create slight discrepancies in signal-readout timing depending on the location of the pixel, images of fast-moving objects may appear distorted and flash photography may result in the occurrence of the flash band phenomenon, in which the upper and lower portions of images display different levels of brightness. Because Canon's newly developed CMOS sensor employs a global shutter, when shooting such fast-moving objects as a rotating propeller or a speeding train, subjects are able to retain their proper form to create distortion-free images. Enabling the confirmation of object shapes with a high degree of accuracy, the sensor offers potential benefits in industrial applications, including as a sensor for use in inspection cameras.
Wide dynamic range realized through new proprietary drive method and pixel structure
When the newly developed CMOS sensor converts light into electrical signals and stores the signal charge in memory, the new drive system achieves a significant expansion in full well capacity. Also, because it employs a structure that efficiently captures light and each pixel incorporates an optimized internal configuration, the sensor makes possible increased sensitivity with reduced noise. The expanded full well capacity, realized through the sensor’s new drive system, and substantial reduction in noise, enabled by the new pixel structure, combine to deliver a wide dynamic range, facilitating the capture of high-image-quality, high-definition footage even when shooting scenes containing large variances in brightness.
Canon will explore various industrial and measurement applications for the newly developed CMOS sensor and consider deploying it in the field of video production for cinema production applications, TV dramas, commercials and more.
Posted to: Canon News
Post Date: 8/31/2016 9:50:59 AM CT   Posted By: Sean
Image quality results from the Canon EOS 5Ds R and Canon EOS 7D Mark II have been added to the Canon EF 75-300mm f/4-5.6 III Lens page.
This lens lives at the bottom of Canon's telephoto zoom lens lineup. It is available in refurbished condition for less than the cost of a good filter. But, it was next in line to go in front of the highest resolution DSLR available. Check out how it fared.
B&H has the Canon EF 75-300mm f/4-5.6 III Lens in stock. This lens is also available in a USM version. Why does the USM version cost $10 less?
Posted to: Canon News
Post Date: 8/31/2016 9:40:51 AM CT   Posted By: Bryan
The weather on much of this day in Banff National Park ranged from poor to terrible (including wind and strong thunderstorms). I knew that, if the rain at least mostly stopped, this was the perfect time to visit Johnston Canyon. The ground would be wet and colors would appear very saturated with a circular polarizer filter cutting reflections. The lighting would be void of hard shadows and ... would (somewhat) reach into this cave.
Johnston Canyon is typically packed during the short summer tourist season, but a late-in-the-day arrival timed just after a heavy thunderstorm (waited in the SUV for it to pass) meant that the trail was nearly void of people. Also, few people venture down the steep, slippery (at least when wet) slope to this cave and very unique land formation at the bottom of the canyon. A downside of the late day start meant that I had to run most of the trail, stopping only long enough to grab the occasional photo.
My initial plan (if I could find the cave in the first place) was to include the top of the interesting chunk of land in the frame, but that view included a bit of sky in the background. I went ahead and captured that set of images, but was undecided about the extreme difference in brightness the sky created. To eliminate the sky from the frame, I moved back/up into the large but shallow cave until the top of the cave blocked the sky.
As I find so often to be the case, the Canon EOS 5Ds R and the Canon EF 16-35mm f/4L IS USM Lens were the perfect combination for this landscape situation.
A larger version of this image is available on SmugMug, Flickr, Google+, Facebook, 500px and Instagram. If reading from a news feed reader, click through to see the framed image.
Posted to: Canon News,
Post Date: 8/31/2016 9:12:14 AM CT   Posted By: Bryan
From Nikon:
Nikon D500 Firmware v.1.10
Changes from “C” Firmware Version 1.02 to 1.10:
  • Added support for the iOS version of SnapBridge.
  • Changed some help text.
  • Fixed the following issues:
    • Images would not display correctly if playback zoom was used during image review.
    • The focus point display would not light if the shutter-release button was pressed halfway after the standby timer had expired.
    • The camera would stop responding if a command dial was used in the CUSTOM SETTING MENU > f Controls > f1 Custom control assignment > Movie record button + menu.
    • If an option other than Off was selected for Active D-Lighting in the PHOTO SHOOTING MENU, pictures taken with an optional flash unit in auto aperture (AA), non-TTL auto (A), or distance-priority manual (GN) flash mode would be underexposed.
Download Nikon D500 Firmware v.1.10

Nikon D3400 Firmware v.1.10
Changes from “C” Firmware Version 1.00 to 1.10:
  • Added support for the iOS version of SnapBridge.
Download: Nikon D3400 Firmware v.1.10
B&H carries the Nikon D500 and has the D3400 DSLR available for preorder.
Posted to: Nikon News
Post Date: 8/31/2016 5:22:22 AM CT   Posted By: Sean
 Tuesday, August 30, 2016
Want a blast from the past? The Boston Public Library has uploaded thousands of old photos and postcards to its Flickr photostream with albums featuring:
  • Accidents: Aviation
  • Accidents: Miscellaneous
  • Accidents: Train & Trolley
  • Aerial Photographs
  • Animals: Farm & Domestic
  • Aviation: Charles Lindbergh
  • Alabama Postcards
  • Alaska Postcards
  • Arizona Postcards
  • Arkansas Postcards
Those are just some of the interesting albums I found before getting to the albums starting with "b." Have fun killing an afternoon perusing the seemingly endless supply of interesting images.
Posted to: Canon News,
Post Date: 8/30/2016 10:25:35 AM CT   Posted By: Sean
From Sigma:
Thank you for purchasing and using our products.
We would like to inform you of the lens firmware updates which incorporate a new algorithm to improve AF performance even further. Although we announced on April 14th, 2016 that release of the firmware updates is planned around June to August, the development has been delayed and the actual release will start from October onward.
For customers waiting for the availability of the lens firmware updates, we apologize for the inconvenience. We appreciate your understanding and will continue the development with our utmost efforts.
Release of the firmware updates will be announced as they become available.
Products that we are developing its firmware
SIGMA 24-105mm F4 DG OS HSM | Art Sigma / Canon
SIGMA 120-300mm F2.8 DG OS HSM | Sports Sigma / Canon
SIGMA 150-600mm F5-6.3 DG OS HSM | Sports Sigma / Canon
SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary Sigma / Canon
SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary Sigma / Canon
SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary Sigma / Canon
SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary Sigma / Canon

B&H carries Sigma lenses.
Posted to: Canon News
Category: Sigma News
Post Date: 8/30/2016 9:29:02 AM CT   Posted By: Sean
The Canon EF 16-35mm f/2.8L III USM Lens and Canon EF 24-105mm f/4L IS II USM Lens pages have been updated. Updates include MTF chart comparisons (very interesting) and side-by-side new vs. old lens product images.
Important: Using this site's links to place your preorders provides the support we need to keep this site maintained. Thanks for that!
Posted to: Canon News
Post Date: 8/30/2016 8:56:12 AM CT   Posted By: Bryan
My pre-trip research placed Peyto Lake, along the Icefields Parkway in Banff National Park, high on my to-photograph list. With a strong glacial flour flow in the summer, this lake takes on an amazing turquoise color, with Caldron Peak and Mt Patterson providing exclamation marks behind it.
To get the high sun position required to light up the lake color, a late morning or early afternoon-timed shoot was determined to be best. Of course, summer is the peak tourist season for this location and tourists come here in droves (and buses) ... and this time of day seems to be best for many non-photographers as well.
Combine this common timing with a relatively small viewing area at Bow Summit and, even though a hike is required, the place was packed. Upon working my way to the front corner of the platform, I took some photos but soon determined that somewhere below deck would work better. Even down there was challenging with people sometimes walking up and sitting right in front of the camera. Patience paid off when a thunderstorm rolled in and created some great drama in the sky and contrast on the lake. No, even the approaching thunderstorm did not chase the crowds away, but patience and my position worked out for the capture of an image that I was happy with. Then, I ran back to the safety of the SUV.
The Canon EOS 5Ds R and the Canon EF 16-35mm f/4L IS USM Lens were the perfect combination for this location. The Gitzo GT1542T Traveler 6x Carbon Fiber Tripod (now GT1545T) and Acratech GP-s Ball Head were my choice for their light weight, small size and rigid support. As usual for middle-of-the-day landscape photography, I was using a circular polarizer filter for this capture.
A larger version of this image is available on Flickr, SmugMug, Google+, Facebook, 500px and Instagram. If reading from a news feed reader, click through to see the framed image.
Posted to: Canon News,
Post Date: 8/30/2016 8:22:27 AM CT   Posted By: Bryan

From the Joe McNally YouTube Channel:
Big Lights, Big City! A behind-the-scenes video (shot with Nikon’s D5) about creating a photo portfolio for a beautiful young dancer who just arrived in NYC. Follow Joe as he uses two new additions in Nikon’s line up, the D500 camera and the SB-5000 Speedlight, as he photographs this dynamic subject around town, in the studio and on stage.
B&H carries the following gear used for the video:
Posted to: Nikon News
Post Date: 8/30/2016 5:44:55 AM CT   Posted By: Sean
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