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 Tuesday, August 23, 2016
B&H has the Tascam DR-100mkIII Linear PCM Recorder in stock with free shipping.
Product Highlights
  • On-Board A/B Stereo Microphone
  • Records up to 24-Bit/192 kHz
  • Records to SDXC Cards up to 128GB
  • 2 x XLR/TRS Combo Inputs
  • Backlit LCD Display
  • Clock Accuracy up to 1ppm
  • AKM AK4558 ADC with 109 dB S/N Ratio
  • Uses Rechargeable Li-Ion & AA Batteries
Note: You may also want to take a look at the Mark II version of this audio recorder which is currently discounted.
Posted to: Canon News,
Post Date: 8/23/2016 6:14:02 AM CT   Posted By: Sean
B&H has the Induro BHM1 Ball Head available for $89.95 with free expedited shipping. Regularly $175.00.
Product Highlights
  • Load Capacity: 44.1 lb
  • Arca-Type Compatible
  • QR Plate Included
  • Bubble Level
Posted to: Canon News,
Post Date: 8/23/2016 5:46:25 AM CT   Posted By: Sean
Hot Deal: For a limited time, use promo code CCPHOTOPLAN at B&H to get a 12-month subscription to the Adobe Creative Cloud Photography Plan for $89.99. Regularly $119.95.
Product Highlights
  • Subscription to Photoshop CC and Lightroom CC
  • Tools to Organize, Edit, Enhance & Share
  • Constant and Automatic Feature Updates
  • Up-to-Date Camera Support
  • Extensive Library of How-To Videos
  • Cloud-Based Storage for Multiple Devices
  • Sync to Photoshop Mix & Lightroom Mobile
  • For Mac and Windows Operating Systems
Posted to: Canon News,
Post Date: 8/23/2016 5:41:46 AM CT   Posted By: Sean
From LensRentals:
Let us help you capture your time off with a new piece of gear! Get $25 off any rental of $150 or more by placing your order to arrive between now and September 2nd! Just use code LABORDAY25 at checkout.
*Order must have arrival date between 8/23/16-9/02/16. Must use code LABORDAY25.
To support this site, navigate to the appropriate product review and click the Rent button.
Posted to: Canon News,
Post Date: 8/23/2016 5:35:04 AM CT   Posted By: Sean
 Monday, August 22, 2016
Getting both of these lenses is of course ideal (and very highly recommended), but what if your budget allows for only one? Which one should you get? On the surface, the Canon EF 70-200mm f/2.8L IS II USM Lens and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens are quite different in their specs, but with the addition of the Canon EF 2x III Extender creating a 140-400mm f/5.6 IS lens from the 70-200 whenever desired, these two options quickly become rather close in primary specs.
In making this decision, the first question to ask is: "How important is a wide aperture to you?" If you are shooting action in low light, especially indoors, the f/2.8 aperture is going to be very important. If you need the maximum background blur in the 70-200mm focal length range, the f/2.8 lens is the better choice. If you simply need the 70-100mm focal length range, the 70-200 is the right choice as the 100-400 can't do that.
While the focal length range should play strongly into the decision making process, the 2x extender evens out the playing field between these two lenses. One of the first concerns I have when adding an extender is the impact to image sharpness.
Overall, these lenses are both so sharp that image sharpness is not a significant differentiator over the native focal length range overlap. The 70-200 of course needs help from an extender to cover the 200-400mm comparable range. Adding a 1.4x extender to a great zoom lens will cause relatively minor impact to image sharpness, but a 2x extender generally produces a noticeable contrast and resolution impact and that is the case here. The 70-200 performs quite well with the 2x, but the difference in across-the-frame sharpness is noticeable with the 100-400 showing a moderately strong advantage in the 400mm comparison. AF performance/speed also takes a bit of a hit with this extender in place.
These two lenses are quite similar in size, weight and price ... until the 2x extender is added to the equation. The 2x adds 2" (50mm) to the length, 12 oz (340g) to the weight and roughly 20% to the cost.
Thus, if the longer focal lengths are going to see significant use, the 100-400 L II has the overall advantage including smaller size, lighter weight, lower price, better AF performance and better image quality. Applications I commonly use the 100-400 L II for include wildlife, landscapes and big-field daytime outdoor sports photography.
When the wider aperture is needed and/or the 70-200mm focal length range is preferred, the 70-200mm f/2.8L IS II is my preference. This lens is an excellent choice for portraits, indoor events (including weddings), indoor sports, and many more similar uses. When longer-than-200mm focal lengths are needed only infrequently, adding the 2x to the 70-200mm lens can get the job done.
Again, the ideal Canon kit will have both of these lenses in it, but for those that must choose between the two, there is usually a best choice.
B&H has the 70-200mm f/2.8L IS II Lens ($100.00 instant rebate), 100-400mm f/4.5-5.6L IS II Lens ($200.00 instant rebate) and 2x III Extender in stock (with 4% rewards).
eBay (via Deals-All-Year – 99.9% Positive feedback) has the Canon EOS-1D X Mark II DSLR available for $5,499.99 with free shipping. Compare at $5,999.00.
Note: This is likely a grey market item and therefore technically ineligible for a Canon USA warranty. This auction does not include the 64GB CFast memory card and reader found in the currently available Premium Kit.
Posted to: Canon News
Post Date: 8/22/2016 9:08:30 AM CT   Posted By: Sean
From Datacolor:
Lawrenceville, NJ – August 16, 2016 – Datacolor, a global leader in color management solutions, today announced the release of Spyder5CAPTURE PRO, the next generation of its popular color calibration solutions for photographers, designers and imaging professionals. Spyder5CAPTURE PRO features all the essential products needed to manage color from image capture to post production, including SpyderLENSCAL, SpyderCHECKR, SpyderCUBE, and Spyder5ELITE.
  • SpyderLENSCAL allows users to calibrate camera and lens combinations, resulting in accurate auto-focus.
  • SpyderCHECKR and SpyderCUBE provide the user with reference tools to allow control of contrast, white balance and color when editing images.
  • Spyder5ELITE calibrates displays to an industry standard, ensuring that on-screen colors of images are accurate and match photo prints every time.
“We know how important color accuracy is for photographers, but we also know it can be time-consuming.” said Heath Barber, Imaging Market Manager, Datacolor. “Spyder5CAPTURE PRO reduces editing time by providing users with a fast and seamless workflow from capture to post-production by combining our leading color management tools in one convenient and cost-effective package.”
The new Spyder5CAPTURE PRO offers a bundled product savings of over 30 percent. For a limited time, Datacolor and participating photography resellers are offering Spyder5CAPTURE PRO at an introductory price of $269.99 if purchased by 9/30/2016. After 9/30/2016, Spyder5CAPTURE PRO will retail for $369.99.
B&H carries Datacolor Spyder5CAPTURE PRO.
Posted to: Canon News,
Category: Datacolor News
Post Date: 8/22/2016 5:25:06 AM CT   Posted By: Sean
Limited Time Deal: B&H has the Corel VideoStudio Pro Ultimate X8 available for $24.95 with free shipping. Regularly $99.95.
Product Highlights
  • 10 NewBlue and ProDAD Effects Plugins
  • Supports UHD 4K in XAVC S Codec
  • Balance Background and Foreground Audio
  • Built-In Screen Capture Tool
  • Includes Royalty Free Soundtracks
  • Media Management Library
  • Storyboard / Timeline Editing Modes
  • FastFlick 3-Step Easy Editing
  • Supports GPU Acceleration
  • Works with Windows XP and Later
Posted to: Canon News,
Post Date: 8/22/2016 5:13:46 AM CT   Posted By: Sean
 Friday, August 19, 2016
Adorama has the Pelican 1610 Watertight Hard Case with Dividers & Wheels available for $199.95 with free shipping. Regularly $249.95.
Product Highlights
  • Watertight, crushproof, and dust proof
  • Floats in salt water with 200 lbs (90.7 kg) load
  • Easy open Double Throw latches
  • Open cell core with solid wall design - strong, light weight
  • O-ring seal
  • Automatic Pressure Equalization Valve
  • Fold down handles
  • Stainless steel hardware and padlock protectors
  • This version includes Padded Divider Set
  • Personalized nameplate service available
  • Unconditional Lifetime Guarantee of Excellence
  • Retractable extension handle
  • Strong polyurethane wheels with stainless steel bearings
Posted to: Canon News,
Post Date: 8/19/2016 2:50:12 PM CT   Posted By: Sean
One relatively common question we get is, "Should I get the Canon EF 100mm f/2.8L Macro IS USM or EF 100mm f/2.8 Macro USM lens? Is the 100L worth the extra cost?" And those are certainly good questions. Of course there are comparable third party options to consider, but for the purposes of this post we'll be looking at the two 100mm Canon models typically considered.
Both lenses feature the same focal length, the same maximum aperture, offer 1:1 macro focusing capability and feature very similar image quality. While the 100L barely edges out the non-L in sharpness at wider apertures and the non-L is better with flare, I wouldn't consider image quality to be a differentiating factor between the two lenses. However, there are a couple of key differences between the lenses that aid in differentiation.
Probably the biggest advantage of the EF 100mm f/2.8L Macro IS USM is its Hybrid Image Stabilization. Hybrid IS corrects for both angular and shift movements and allows for roughly 2-stops of correction at 1:1 focusing distances and up to 4-stops of correction at longer focusing distances. If you plan on using your macro lens handheld in the field, the L-series lens – with its HIS, great build quality and weather sealing – will be your best choice. The value of image stabilization for handheld macros cannot be understated; it's hugely beneficial. And considering that the 100L is only about 50% more than its non-L counterpart (in the US, without rebates), many photographers will find the pro-grade lens's benefits worth the investment. Being one of Canon's least expensive L-series lenses means that this lens is often a photographer's first introduction into Canon's premium lens lineup.
For those who prefer using a tripod when photographing macro subjects, and who do not need weather-sealing, the EF 100mm f/2.8 Macro USM provides L-series image quality at a more wallet-friendly price. I [Sean] personally opted for purchasing the EF 100mm f/2.8 Macro USM for my own personal use and I have rarely regretted it. However, I rarely shoot macros handheld. Instead, I typically prefer to capture macros under very controlled circumstances employing a solid support system [tripod] and strobes (whether indoors or outdoors). Under those studio or studio-like conditions, the benefits of the 100L are mitigated if not entirely moot.
In summary, if you plan on shooting macros handheld and/or need weather sealing, get the EF 100mm f/2.8L Macro IS USM. Otherwise, save some money and enjoy similar IQ with the EF 100mm f/2.8 Macro USM.
B&H carries the Canon EF 100mm f/2.8L Macro IS USM and EF 100mm f/2.8 Macro USM lenses.
Posted to: Canon News
Post Date: 8/19/2016 8:28:39 AM CT   Posted By: Sean

From the B&H YouTube Channel:
Speedliting expert Syl Arena was one of the first photographers to test the new Canon 430EX III-RT and he came away impressed. In his presentation, Syl shares his insights and tips about the Canon 430EX III-RT and how he creates amazing shots with Canon Speedlites.
Note: The video above is the event's highlight reel. You can find the full video here.
Want more info? Check out Bryan's full review of the Canon Speedlite 430EX III-RT.
B&H carries the Canon Speedlite 430EX III-RT.
Posted to: Canon News,
Post Date: 8/19/2016 8:07:39 AM CT   Posted By: Sean
Posted to: Canon News
Post Date: 8/19/2016 8:02:04 AM CT   Posted By: Bryan

From Canon Australia:
LEAP is all about taking your creativity and photography further, and the only way to do that is to keep capturing images that are unlike anything you’ve shot before.
So for the month of September, we’re going to give you as much inspiration as you can handle. With a new brief every day, the last thing you’ll need to ask is “what should I shoot”? #taketheleap
Learn more at:
Posted to: Canon News,
Post Date: 8/19/2016 7:30:30 AM CT   Posted By: Sean

From the Adobe Photoshop Lightroom YouTube Channel:
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News,
Post Date: 8/19/2016 4:42:30 AM CT   Posted By: Sean
 Thursday, August 18, 2016
I have long admired images of Lake Moraine in The Valley of the Ten Peaks, Banff National Park (Alberta, Canada), especially those taken from the Rockpile. While huge numbers of great images have been captured here, none of them were captured by me. That is, none until recently.
The Rockpile (ascended via the Rockpile Trail) is a foreground-rich location overlooking an amazing turquoise glacier-fed lake that, when the wind is not blowing, reflects the close, steep, craggy, with-character mountains beyond it. I was blessed to spend 3 very early mornings at this location (and would return in a heartbeat). One quickly forgets the 3:00-4:15 AM alarms (followed by 11:30 PM bedtimes) when reviewing Moraine Lake images.
For this composition, I moved in close to a carefully-selected large rock. This rock, with plenty of leading lines, appears to fit into the edge of the mountain reflections like a puzzle piece, with even the notches appearing to align with reflected peaks. With the large mountain weighing heavily on the top left of the image, the large foreground rock is positioned proportionally higher on the right to, along with the shaded trees, aid in the overall image balance. Required for this perspective, and not visible in this image, are the tripod feet (and me) precariously positioned on the top edge of several different rocks.
With the mountain peaks being directly hit with sunlight and the dark evergreens being in deep shade, the dynamic range in this scene was extreme. Thus, I was shooting bracketed exposures. A camera's built-in HDR feature is a good way to capture bracketed exposures, but ... I didn't want the in-camera-generated JPG image and didn't want to wait for that composited image to be created.
My favorite method of shooting bracketed exposures is via the camera's AEB (Auto Exposure Bracketing) feature. Simply select the number of bracketed images desired and the desired exposure difference between them. Each image captured in succession, up to the selected number of bracketed frames, will have a different exposure (ideally for landscapes, the shutter speed is varied), insuring that all parts of the scene are adequately exposed in at least one of the frames.
To speed up the capture, select and use the camera's high frame rate (burst) mode. When the sun is rising, speed matters for HDR captures (this is a manual HDR image). The line between sun and shade moves quickly and ... that line becomes hard to composite if time lapses between captures. With AEB selected, a high speed burst will stop after the selected number of AEB frames.
I usually have MLU (Mirror Lockup) enabled when photographing landscapes, avoiding any possible vibration caused by the mirror raising. However, using MLU adds a short, but undesired, delay between the frames captured in an AEB burst. There is a better way: Live View is another method of achieving MLU. By using a remote release with Live View and high frame rate (burst) mode selected, one press of the remote shutter release (pressing and locking the release button down for long exposure brackets) captures the set number of frames in very fast succession (without the mirror moving).
Depending on the Lake Moraine scene and scenario, I was shooting 5 or 7 frames varied by 2/3 or 1 stop. From most sets, I deleted all except 3 or 4 images with the exposure variations needed remaining available. This image was created from three exposures.
Due to packing restrictions, I nearly left the Canon EF 11-24mm f/4L USM Lens at home. Upon arriving at Moraine Lake, I was SOOO thankful that I had it with me. Aside from using the Canon EF 16-35mm f/4L IS USM Lens on a second camera and tripod setup some of the time, the 11-24 was the only lens I needed at this location. And, it performed extremely well as did the Canon EOS 5Ds R camera I used behind it.
A larger version of this image is available on Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image. If you find these tips useful, please share them in your circle of friends!
Posted to: Canon News,
Post Date: 8/18/2016 9:12:43 AM CT   Posted By: Bryan
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