MELVILLE, N.Y., October 18, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced that their service operation in Ridgefield Park, New Jersey has relocated to 125 Chubb Ave., Suite 100N, Lyndhurst, New Jersey. The new Professional Service & Support Center is geared toward industry professionals and photo enthusiasts and is designed to support the imaging community in the New York metropolitan area. This facility will be open Monday through Friday from 9:00 AM to 4:30 PM on a walk-in basis with no appointments needed.
At this new location, Canon will showcase many of its latest imaging products in the professional products showroom with a Canon technical expert on-site to demonstrate product features and answer questions. The state-of-the-art facility also offers repair and maintenance operations for Canon’s extensive lineup of professional Cinema and Broadcast lenses, EF series photography lenses, Cinema EOS and EOS Digital SLR cameras, and high-definition camcorders. Repair operations at the facility include six state-of-the-art lens and camera adjustment rooms, Canon’s most advanced adjustment and calibration equipment, spare parts inventory, and experienced repair staff.
“The new facility in Lyndhurst will provide an inviting location for Canon’s existing customers as well as new customers looking to learn more about our products,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “This move also continues the expansion and improvements of our 100 percent U.S.-based service and support network.” The Lyndhurst facility is one of three service facilities that Canon has made available to professional clients, joining the Canon Hollywood Professional Technology & Support Center, located in Hollywood, California, and the Chicago Professional Service & Support Center, located in Itasca, Illinois. These facilities provide local support to key markets and deliver an average repair process time of less than two days for CPS customers.
Additional camera and lens service facilities for both professional and consumer clients are located in Jamesburg, NJ, Costa Mesa, CA and Newport News, VA.
Ecologist and adventurer David Sutherland’s haunting photographs of natural landscapes are about to get a boost from his Nikon D-SLR. Here he talks about his relationship with pictures, and what the Nikon D5300 will mean for him and his work.
Follow David’s story as she discovers how the Nikon D5300 D-SLR camera can transform his images and take his photography to the next level – all as part of Nikon and Shortlist Magazine’s ‘I AM CREATIVE’ campaign http://specials.shortlist.com/nikon-shortlist/.
TOKYO, October 18, 2016—Canon Inc. announced today the successful development of the world’s first indium phosphide (InP) immersion grating. Strengthening its lineup of immersion gratings, which includes gratings made from germanium (Ge) and cadmium zinc telluride (CdZnTe), Canon is contributing to even greater progress in cosmological observation by expanding the range of observable infrared frequencies.
In order to retrieve information contained within light emitted from space, astronomical telescopes and man-made satellites are equipped with spectroscopes—devices that incrementally divide light by its different frequencies—that play a vital role in cosmological observation. Compared with typical reflective elements, immersion gratings enable spectrometers that are smaller in size and realize higher levels of performance. With the addition of an InP immersion grating to Canon’s lineup, spectrometers could be reduced to approximately 1/27th the volume of those equipped with typical reflective elements that cover the same frequencies. Overcoming restrictions on size and weight, which, until now, made it difficult to launch man-made satellites equipped with high-performance spectrometers, is expected to further expand the possibilities of cosmological observation. What’s more, the application of this grating to next-generation large ground-based telescopes, which face the problem of ever-increasing sizes, could lead to reductions in size without sacrificing performance.
With the addition of an InP immersion grating, Canon’s immersion grating lineup now covers light from near infrared to far infrared, enabling observation of almost the entire spectrum of infrared frequencies used in the field of astronomy (from 1 to 20 µm). Infrared light can be captured from much farther distances than visible light, making detection of matter in space possible on a molecular, and even atomic, level. As such, the new InP immersion grating could facilitate research into not only the origin of life and planets, but also the origin of the universe itself, contributing to even greater developments in space science.
While the benefits of fabricating immersion diffractive gratings were realized long ago, because the transmissive semiconductor materials suited to the infrared frequencies used in the field of astronomy (from 1 to 20 µm) are particularly brittle, achieving a surface of virtually perfect regularity with grooves measuring only a few nanometers proved difficult. Canon applied its own ultra-precision processing technology, cultivated through the manufacture of precision components, using only machining processes to successfully develop immersion gratings even with such brittle semiconductor materials. The resulting InP immersion grating realizes an arrangement of 990 steps at 47 µm intervals.
Diffractive elements for use with high-dispersion infrared spectra ordinarily have an absolute diffraction efficiency of 50–60%. Canon’s InP immersion grating, however, achieves an absolute diffraction efficiency of approximately 75%. With its high-efficiency performance, enabling superior light capture even amid low light intensity, it will enable small telescopes to achieve high precision measurement, and large telescopes to measure infrared light from much farther distances in space.
Canon will host a presentation on its indium phosphide immersion grating at the International Conference on Space Optics 2016, to be held from October 18 to 21, 2016, in Barritz, France.
MindShift Gear’s New SidePath Outdoor Photography Backpack Offers Rear-panel Opening for Smaller Camera Gear
SANTA ROSA, CALIF – One of the greatest challenges outdoor photographers face is how to carry their smaller, and yet still sophisticated and expensive camera gear in a backpack of sufficient quality to endure the rigors of the wilds. To meet their needs, MindShift Gear has released the SidePath, a lightweight outdoor photography backpack that features superior materials and construction.
The Sidepath’s contoured back panel with lumbar support, air-channel, lightweight harness, and adjustable sternum strap provide all day comfort. The backpack is constructed with P600D and 420D nylon, high quality YKK zippers, 420D high-density nylon with re-enforced stress points for long-lasting durability and strength.
At one-and-a half-pounds, the SidePath is a great grab-and-go bag that can be used for landscape, travel, a day out, or anything in between. Rear panel access keeps gear secure and the harness clean. A roomy zippered compartment fits a 10” tablet and all the supplies needed for a one-day adventure.
ADDITIONAL FEATURES AND BENEFITS
Soft-sided design looks like a daypack and not a bulky camera bag
Integrated tripod/monopod/trekking pole mounting system on sides
Two oversized stretch water bottle pockets
Fits a DSLR, compact DSLR, and Mirrorless camera systems
Adjustable dividers enable multiple camera case configurations
Seam-sealed rain cover included for downpour conditions
High quality YKK zippers, 420D high-density nylon with reinforced stress points for long lasting durability and strength
Zippered interior pocket to organize small items
Highly breathable three-layer shoulder straps for all day comfort
Holds 1 large (un-gripped) Mirrorless body and 1-2 standard zoom lenses or primes
Holds 1 compact DSLR (Rebel, 3300 or 5300 series) and 1-2 lenses
Holds 1 DSLR (5DMIII or D750) with 1 standard zoom or 2 primes
Fits up to a 10” tablet
8 liters of capacity for personal gear
Maximum lens size: DSLR: 24-70mm f/2.8 attached to a D750 or 6D
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. The backpack also has high-quality YKK RC-zippers, 420D Velocity nylon, 600D poly, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
External Dimensions: 10.6” W x 19” H x 5.9” D (26 x 47 x 15 cm)
Camera Compartment: 9.1” W x 6.7” H x 5.5” D (24 x 15 x 14 cm)
Tablet Slot: 8.3” W x 9.8” H x 0.6” D (22 x 25 x 2 cm)
Total Volume: 14L
Weight: 1.6 lbs (0.7 kg) (includes rain cover)
MindShift Gear’s New TrailScape is Outdoor Photographers’ “Go To” Backpack
SANTA ROSA, CALIF – MindShift Gear’s new TrailScape backpack balances outdoor photographers’ desire to have access to their essential photo gear while maintaining a slim and compact profile. The TrailScape fits a complete camera system, including a 70-200mm f/2.8 attached with hood in the shooting position. With its multiple lash points, photographers can carry extra gear, such as a light jacket and lunch. And, its laptop and tablet slots allow them to use this as their “go to” backpack while in transit.
“At MindShift, we are focused on meeting the needs of outdoor enthusiasts who are often carrying sophisticated and expensive electronics deep into the wild. What they seek are protection and comfort,” said Doug Murdoch, MindShift Gear’s CEO and Lead Designer. “The TrailScape’s removable webbing waistbelt helps stabilize the bag while active and its contoured back panel with lumbar support and robust harness provide for all day comfort.”
Tripod/monopod/hiking pole mounting system on sides
Two large water bottle pockets with cinch cord
Seamless rain cover included for downpour conditions
Side compression straps for additional lash points
Adjustable dividers to customize the interior for DSLR or Mirrorless kit
Interior zippered pockets for batteries, cards, filters and other accessories
Easy-grip zipper pulls for wet or cold conditions
Organizer pockets for pens, flashlight and business cards
Holds 1 standard-size DSLR and 4-6 standard zoom lenses
Holds 2 large mirrorless body and 5-7 lenses plus a flash
Maximum lens size: 300mm f/2.8
Nikon D810 with 70-200mm f/2.8 attached to a body and the hood in the shooting position and 2-3 additional lenses
Canon 5DMIII with 24-70mm f/2.8 attached and 4-6 additional lenses
Sony a7mII with 70-200mm f/4 attached and 5-6 additional lenses
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus a polyurethane coating on the underside of the fabric. The backpack also features the highest-quality abrasion-resistant YKK RC zippers, 420D velocity nylon, 600D poly, 320G DuraStretch mesh, 350G airmesh, nylon webbing, and 3-ply bonded nylon thread.
Interior: P200D lining, high-density nylex with stiffened backing, hexa-mesh pockets, high-density closed-cell foam, PE board reinforcement, and 3-ply bonded nylon thread.
Exterior: 9.8” W x 18.1” H x 7.1” D (25 × 46 × 18 cm)
Interior: 9.4” W x 17.3” H x 4.8” D (24 × 44 × 12 cm)
Laptop: 8.9” W x 14.2” H x 1.2” D (22.7 × 36 × 3 cm)
Tablet: 8.5” W x 9.8” H x 0.8” D (21.5 × 25 × 2 cm)
National Geographic contributing photographer and biologist Christian Ziegler often works in a world of miniature. His photographic techniques used to capture the intricacies of life in the rain forests of Panama have won him awards and recognition but he does it all, as he explains to CPN Editor David Corfield, to give the world beneath his feet a bigger voice...
They say a photo is worth a thousand words. An image by Annie Leibovitz? Legendary. #ThatsContinental.
This is a behind-the-scenes look at the process of renowned photographer Annie Leibovitz as she shoots the 2017 Lincoln Continental. Get the full story and view Annie's photographs at http://lncnmo.co/ThatsContinental
The EOS 5D Mark IV can do many things well, but in the hands of portrait photographer Lorenzo Agius it performed to another level, with its blend of speed, quality and flexibility enabling genuinely new ways of working.
It's a relatively well known fact that some lenses work better with IR photography than others. The most common lens issue – hot spots – are bright, visible circles in the image (sort of like flare) typically caused by various lens and barrel coatings which reflect IR light in undesired ways.
A few Canon and Nikon lenses which are prone to hot spot include (according to Life Pixel):
Canon EF 50mm f/1.4 USM
Canon EF 16-35mm f/2.8L USM
Canon EF 16-35mm f/2.8L II USM
Canon EF 20-35mm f/2.8 USM
Canon EF 28-70mm f/2.8 USM
Canon EF 24-70mm f/2.8 II USM
Nikon AF-S NIKKOR 24-70mm f/2.8G ED
Nikon AF-S DX NIKKOR 35mm f/1.8G
Nikon AF-S NIKKOR 24-85mm f/3.5-4.5G ED VR
But I recently ran across another issue when it came to utilizing two different lenses under identical lighting conditions; the images looked completely different (angle of view differences aside). A white balance target taken with one lens didn't seem to work well with the other lens. And even when I took a second white balance target image with the second lens, I could never get the image to look the same as the first image. Hmm...
Bear in mind, I have the Super Color IR conversion which allows you to captures yellow and blue hues in IR imagery. Obtaining the correct white balance in a Super Color IR image is critical for isolating the various wavelengths for proper post processing. At least, I've found it's critical when shooting landscapes. Typically speaking, I take a picture of a pure (or nearly pure) white target in the same light that is illuminating the landscape. With a custom white balance selected in post processing, foliage becomes yellow and the sky remains blue after switching the red and blue color channels.
I called the helpful people at LifePixel to inquire about white balance variations and other differences between lenses. The technician I spoke to believed that various lens coatings might make a significant difference in the quantity (and possibly quality) of IR light that makes it to the sensor.
Intrigued, I decided to conduct a little experiment. I chose five different lenses (two zooms and three primes) which all feature 24mm focal lengths and shot the exact same scene on a cloud free day. The lenses were:
In post processing, I white balanced each lens' scene with an identically sampled color patch (pure white) on its corresponding ColorChecker target image. The red and blue color channels were swapped and an identical Hue/Saturation adjustment layer was added with Yellow Saturation set to -100 and Lightness to +100.
Here were the final results:
In the images above, the Canon EF-S 24mm f/2.8 STM produces the results I want to see when capturing IR photography. In other words, there is a very clear distinction between the color hues that are recorded. Notice how muddy most of the other results look by comparison. The only lens that comes close is the Canon EF 24-105mm f/4L IS USM.
Are lens coatings solely to blame for the varying results? I'm not sure. The lenses vary widely in their design, introduction year and [likely] coatings. But one thing is certain; a couple of them look better than the others, and one stands out above them all.
Now I'm curious to know if more simply designed lenses and lenses with minimal (or no) coatings may provide results similar to the Canon EF-S 24mm f/2.8 STM, even though the 24mm STM is advertised as featuring coatings to reduce ghosting and flare. For my next test, I'll disregard focal length differences and choose lenses which I hope will mimic the 24mm STM's results.
Get hands-on with Sigma’s brand new 85mm F1.4 Art, 12-24mm F4 Art, 500mm F4 Sport, Cine lens line and sd Quattro camera lineup, learn tips and techniques from Sigma Pros, and stop by booth 537 for a chance to win big!
New York, NY – October 14, 2016 – Sigma Corporation of America, a leading DSLR lens, camera, flash and accessory manufacturer, has announced its participation in the 2016 PDN PhotoPlus International Conference + Expo (PPE), held at the Javits Convention Center in New York City from October 20-22, 2016. In addition to presentations by its esteemed group of Sigma Pro photographers, Sigma will display the brand-new 85mm F1.4 DG HSM Art, 12-24mm F4 DG HSM Art and 500mm F4 DG OS HSM Sport Global Vision lenses and its new line of Cine lenses at booth 537.
Adding to this year’s excitement, Sigma will also have one giveaway each day for attendees who visit the booth. Attendees can enter the daily drawing for a chance to win a 24-35mm Art lens, 50mm Art lens or a Sigma sd Quattro with a 30mm F1.4 Art lens, a total value of more than $2500.00!
Brand New High-Performance Sigma Global Vision Lenses Unveiled at Photokina 2016, the highly anticipated Sigma 85mm F1.4 Art, 12-24mm F4 Art and 500mm F4 Sport Global Vision lenses will headline the Sigma photo exhibit.
Sigma 85mm F1.4 DG HSM Art – the ultimate portrait lens. The new Sigma 85mm F1.4 Art lens is engineered to support the highest resolution sensors on the market with an exceptional degree of sharpness. The high-performance optical system is purpose-built by Sigma R&D to produce the attractive bokeh effect sought after by discerning photographers.
Sigma 12-24mm F4 DG HSM Art – an ultra-wide angle zoom for the era of high resolution digital cameras. Boasting the renowned Global Vision image quality from center to edge, the new Sigma 12-24mm F4 features the largest aspherical glass in the industry, offering photographers an ultra-wide angle zoom with virtually no distortion, flare or ghosting.
Sigma 500mm F4 DG OS HSM Sport Lens – the pro fast-aperture prime super telephoto. The flagship Sigma super telephoto 500mm F4 Sport lens incorporates the very latest in Sigma optical technology and innovation. Designed for the professional sports and wildlife shooter, the ultra-durable lens features magnesium alloy components, a carbon fiber hood and a water- and oil-resistant front element, and is dust and splash proof. In addition to the enhanced weather sealing, the 500mm F4 features a drop-in rear filter slot for polarizers, UV and other critical filters.
In addition to the new lenses announced at Photokina, Sigma will have the sd Quattro H, its second camera in the Quattro DSLR line up, on hand. Sigma’s highly unique APS-H mirrorless camera features the Foveon sensor and is renowned for its incredible image quality and color fidelity; producing imagery comparable to that of a 51MP DSLR with a Bayer-pattern sensor.
A Leap Forward for FilmmakersSigma will also be showcasing for the first time in the United States its new lineup of Cine lenses. A bold step forward into the world of cinematography, the new Sigma Cine lineup features eight high-performance lenses purpose-built for the latest, high-resolution digital cinema cameras. Supporting 6k and 8k productions, the new Sigma Cine lenses leverage the outstanding optical design of the company’s world-renowned Global Vision still photography lenses. Engineered with a completely new mechanical lens body, the new Cine lenses are designed to meet the needs of modern-day cinema production with the core optical quality DNA that has defined the Sigma benchmark of imaging excellence.
The Cine High Speed Zoom Line - 18-35mm T2 and 50-100mm T2 The high speed zoom line offers the constant aperture of T2 throughout the zoom range with superior optical performance that is capable of high-resolution 6K-8K shooting. Delivering the highest image quality in its class, the High Speed Zoom is ergonomically compact and designed for E, EF and PL camera system mounts.
The Cine FF Zoom Line - 18-35mm T2.2 FF Compatible with a full-frame image sensor, the FF Zoom’s outstanding optical performance also supports 6K-8K shooting. Because so few lenses cater to the requirements of the latest digital cinema cameras’ image sensors, this line provides a rare option for cinematographers. The FF Zoom is designed for E and EF camera system mounts.
The Cine FF High Speed Prime Line - 20mm T1.5 FF, the 24mm T1.5 FF, 35mm T1.5 FF, the 50mm T1.5 FF and the 85mm T1.5 FF The Cine High Speed Prime lineup features lenses ranging from 20mm to 85mm, with all five touting an aperture of T1.5. Highly compact and compatible with full-frame sensors, these lenses offer superior resolution. They bring a consistent level of light to the production, offering greater consistency to any film’s color, contrast and overall look before it enters post-production. The FF High Speed Prime line is designed for E, EF and PL camera system mounts.
Sigma Pros and Experts Headline the Sigma Theatre Sigma Pros and experts will once again take center stage on the Sigma PPE Theater. Fan favorites Roman Kurywczak, Brian Linhoff, Andy Marcus, Jen Rozenbaum and Jim Schmelzer will share their latest tips and techniques in the following presentation topics: Paradigm Shift in the World of Bird Photography, Fast Glass for Night Photography, Destination Weddings, How to Empower with Boudoir, Design your own Portrait, Maximum Impact and Creative Flair as well as a special presentation on the new Sigma Cine lenses. For more information including presentation descriptions, please visit: https://blog.sigmaphoto.com/2016/sigma-at-photoplusexpo-2016/.
Sigma Giveaways at PPE 2016 PPE 2016 attendees who visit Sigma at booth 537 will have a chance to enter and win one of Sigma’s daily gear giveaways: 24-35mm Art lens, 50mm Art lens or a Sigma sd Quattro with a 30mm F1.4 Art lens.
One of my favorite aspects of photography is being transported back in time, with memories of sights, sounds, smells and dormant emotions flooding back (even if ever so briefly). It's why couples treasure their wedding pictures. It's why we take so many pictures of our children. It's why pictures of lost loved ones adorn our walls. A cherished picture is simply a physical manifestation of a memory, but one which provides a catalyst for reflection and appreciation for our own experiences in life [Sean].