We are pleased to announce the development of TRIPOD SOCKET TS-81 that is the optional lens foot which can be attached to the SIGMA 150-600mm F5-6.3 DG OS HSM | Sports.
It is compatible with the Arca Swiss quick release plate and the clamp. The deliberately designed length of its rail provides the flexibility to adjust the center of gravity making it balance perfectly, even while zooming or using accessories, such as a tele converter and battery pack. Consideration has been given to the portability and transportation of the lens when Tripod Socket TS-81 is attached. The lens hood can still be reversed and the lens stored in its original padded case, even with the Tripod Socket TS-81 attached. Incorporated into the Tripod Socket are safety stopper screws to prevent the lens from falling. There are 2 sizes of screw holes, 1/4 and 3/8, making it compatible with tripods other than Arca Swiss, too. When it is compared to the supplied tripod socket, it offers more space between the lens and device, and the change of grip has improved the usage as a handle for carrying.
Launch Date & Price: TBD
Note: The TS-81 Tripod Foot is not yet available for preorder. We will advise when it becomes available.
The Sigma Corporation is pleased to announce the Sigma 24mm F1.4 DG HSM | Art lens. SIGMA has a proven reputation for wide-angle lens design and manufacturing. Drawing on this experience and design know-how, refined through development of the SIGMA 35mm F1.4 DG HSM | Art and SIGMA 50mm F1.4 DG HSM | Art, we have successfully minimized sagittal coma flare, chromatic aberration, distortion and vignetting to achieve exceptional levels of optical performance with almost no aberration or distortion. The Sigma 24mm F1.4 DG HSM | Art lens is the latest “F1.4” to join the Sigma Art line series which is built with the highest optical performance in its class and perfect for a variety of subjects from cityscapes to a star-filled night sky. It is a new horizon for a large F1.4 maximum aperture wide-angle lens with rendering performance that is at a whole new level.
Available in SIGMA, Canon and Nikon AF mounts. Sony mount to be announced.
Estimated availability for Sigma and Canon mounts in March 2015, Nikon mount in April 2015.
I'm sure that "Price TBD" is at least part of the reason B&H and other retailers
are not currently accepting preorders. Watch the site's news page closely to be the first to know when the preorder line opens.
With a March initial delivery date, the wait shouldn't be long.
I've been using various third-party batteries alongside OEM (Original Equipment Manufacturer) ones in my DSLRs for years (first starting with the Rebel XTi). The price of third-party batteries make them attractive from a consumer's standpoint, but they often deliver lower performance compared to the OEM ones.
For example, third-party batteries don't last as long in my 5D Mark III and don't seem to be as efficient at holding a charge over time as their OEM counterparts. And there's an additional inconvenience factor when it comes to third-party batteries – as I noted in late 2013, Canon has redesigned their battery chargers to render them incompatible with third-party batteries. This means you must use a separate battery charger for charging third-party batteries. As a side note, redesigning the LC-E6 charger to be incompatible with third-party batteries led to some unintended consequences, as evidenced by a subsequent Canon product advisory.
Even knowing the drawbacks that came with third-party batteries, I continued to use them. Their price seemed fair for their mediocre performance. This weekend, a failure completely changed my perception of the value of third-party batteries.
I decided to film a friend's band, Three Penny Nickel, at a local watering hole on Saturday. Up until then, all of their videos had been captured via cell phone by a fan in the audience. I thought I could do better and set out to try.
I packed my 5D III into a backpack with a few lenses, my EOS M (with 22mm STM) and a Zoom H2n. I brought along my 7D Mark II with EF-S 24mm f/2.8 STM mounted on a Glidecam HD-4000. My plan was to set up two stationary cameras (the 5D III and EOS M) on opposite sides of the band while capturing stabilized, moving video with the 7D II. I knew that a three camera setup was ideal so that when crossing the view of one camera I could always rely on the other stationary camera if the moving video wasn't to my satisfaction. I checked the battery levels in the DSLRs and they were just fine. I replaced the mostly-drained OEM battery in the EOS M with a fully-charged third-party battery that had been sitting on my desk for a time. Seeing that the camera registered the third party battery as full, I didn't pack another battery (big mistake). Then I headed for the venue.
I arrived a little early in order to set up my equipment. I propped up the 5D Mark III on a railing with the Sigma 35mm f/1.4 DG HSM Art lens attached and pointed at the band. The field of view was just about perfect for capturing the three front band members.
I set up the EOS M on the opposite railing and began adjusting the camera's settings. About 30 seconds after turning the camera on, the LCD went blank. Puzzled, I removed the battery and replaced it. Nothing. At the time I wasn't sure if the battery had simply failed or the camera had become inoperable for some reason. After returning home and replacing the third-party battery with a freshly-charged OEM one, identifying the culprit was easy. The camera powered right up as you'd expect with a freshly charged battery.
With only minutes before the band was to perform, it didn't matter if the camera had failed or the battery, the effect was the same (at least for the time being) – not having working battery (either primary or backup) meant that I only had two cameras available to me to complete filming. That fact proved quite limiting when cutting the video together the next day in Vegas Pro 13. An additional camera angle would have allowed for a more polished end result, especially considering the challenging shooting conditions.
It's true, I should have had a backup battery on hand for the event. However, considering all the drawbacks of third-party batteries – with overall reliability being one of them – I've decided to stick to OEM batteries going forward. And yes, anything can fail (even OEM products). But from my personal experience, I have much less to worry about from OEM products than I do from third-party ones. And that's especially true for batteries.
The D810A Provides New Features Specifically for Astrophotography, Nikon Also Announces Availability of D750 Filmmaker’s Kit
MELVILLE, NY – Today, Nikon Inc. announced the new D810A, a DSLR optimized for astrophotography and other scientific applications. By modifying the infrared cut filter for the hydrogen alpha wavelength, Nikon has created a camera that gives photographers the ability to capture the diffuse nebulae in the night sky and to create colorful, breathtaking celestial images. The D810A shares its architecture with the powerful and professional high-resolution Nikon D810 DSLR and includes other new features designed uniquely to help capture the cosmos, letting users achieve sharp and vibrant images of the universe.
“The Nikon D810A is engineered exclusively to meet the unique demands of professional and hobbyist astrophotographers,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “The camera’s distinctive feature set and powerful imaging capabilities make it an appealing option for those who are ready to discover the fantastic cosmic features that are hidden among the stars.”
I AM Star Struck: DSLR Optimized for Astrophotography The Nikon D810A provides hobbyists as well as professional stargazers with a powerful combination of impressive resolution and features specifically created for astrophotography and scientific applications. The infrared (IR) cut filter has been optimized to allow transmission of the hydrogen alpha spectral line, resulting in four times greater sensitivity of the 656nm wavelength. The resulting images capture the brilliant red hues of diffuse nebulae and constellations in striking detail and fidelity. While not recommended for general photography, the D810A is an excellent option for photographing the universe with either NIKKOR lenses or third-party adaptors for telescopes.
In addition to the optimized IR cut filter, the D810A adds other features that are useful for astrophotography applications. A new Long Exposure Manual Mode is implemented, giving users the ability to set shutter speeds from 4, 5, 8, 10, 15, 20, 30, 60, 120, 180, 240, 300, 600 or 900 seconds (15 minutes), as well as Bulb and Time settings. Building upon the D810’s excellent low-light capabilities, the ISO range has been optimized from 200 to 12,800 (Hi-2 51,200), for maximum sensitivity with the optimal signal to noise ratio.
The D810A also adds a new Virtual Exposure Preview Mode, which displays an estimated preview image and is available when shooting at shutter speeds longer than 30 seconds when in Live View. The brightened preview image represents a 30 second exposure, simplifying focusing and composition.
The Best of Both Worlds The Nikon D810A is based off of the Nikon D810 architecture and retains all of the features that make it a powerful tool for creating images. Users will be able to produce photos of the heavens in super high resolution thanks to the 36.3-megapixel CMOS sensor. The image sensor works in tandem with Nikon’s exclusive EXPEED 4 Image processing engine to deliver images with low noise and a dynamic range that is nothing short of stellar. The D810A also features an Electronic Front Curtain Shutter Mode, letting the electronic front curtain act as a shutter when in live view or first composing through the optical viewfinder in mirror-up mode. This feature minimizes vibrations to attain maximum sharpness when shooting subjects at very slow shutter speeds. The camera also features a durable magnesium alloy body that is sealed against dirt and moisture, giving users peace of mind when getting away from the city lights means a trek off of the beaten path.
The Nikon D810A is compatible with a wide range of high quality NIKKOR lenses and accessories, including wireless infrared remotes, cable releases and the new WR-1 wireless remote system. Additionally, Nikon’s Capture NX-D software is available as a free download, and it will feature a new option for Astro Noise Reduction for use with D810A image files.
Nikon D750 Filmmaker’s Kit For users who are looking to take advantage of the Nikon D750’s advanced video capabilities, Nikon is now offering a Filmmaker’s Kit that includes everything needed to get started in the world of cinema. The kit contains three NIKKOR lenses in popular focal lengths, including the AF-S NIKKOR 35mm f/1.8G ED lens, the AF-S NIKKOR 85mm f/1.8G lens and the AF-S NIKKOR 50mm f/1.8G lens; all which provide stunning HD clarity and excellent depth of field control for filmmakers. The kit also contains two additional EN-EL15 batteries, an ME-1 Stereo Microphone, one Atomos Ninja-2 External Recorder, and Tiffen 67mm and 58mm Variable Neutral Density Filters (8-Stops) for superior control of light. In addition, the Nikon D750 Filmmaker’s Kit features custom foam inserts, which are ideally sized for use in a hard case for transporting equipment to your next video production.
Price and Availability The Nikon D810A will be available in late May 2015 and pricing will be announced at a later date. The Nikon D750 Filmmaker’s Kit will be available in late February for a suggested retail price (SRP) of $3,999.95.
Sigma has just announced a lens that closely resembles another highly successful model in their lineup, the
Sigma 35mm f/1.4 DG HSM Art Lens.
If these two lenses share similar image quality, the 24 Art is a certain hit.
Sigma Corporation of America Introduces New 24mm F1.4 DG HSM Art Lens at CP+ Imaging Show
Latest Global Vision Art lens offers highest-quality optical performance in its class
YOKOHAMA, Japan — February 10, 2015 – Sigma Corporation of America, a leading researcher, developer, manufacturer and service provider of some of the world's most impressive
lines of lenses, cameras and flashes, today announced the new Sigma 24mm F1.4 DG HSM Art lens,
the ninth Global Vision lens to join the company’s iconic Art line-up.
The announcement comes at the start of the CP+ Camera and Photo Imaging Show 2015, which begins on Feb. 12 in Yokohama, Japan.
The much anticipated 24mm F1.4 Art wide angle lens is designed for full-frame DSLRs, and when used on digital cameras with an APS-C size image sensor,
it effectively becomes a 38mm.
The lens is ideal for capturing a variety of photography subjects, including cityscapes, mountain ranges, astrophotography and weddings and is great for videography work as well.
The 24mm also excels at indoor photography in low illumination thanks to the combination of exceptional focal plane sharpness, and gorgeous bokeh rendered by nine rounded aperture blades.
The lens achieves a maximum magnification of 1:5.3 with a minimum focusing distance of 9.8 inches.
The 24mm incorporates both "F" Low Dispersion (FLD) glass and Special Low Dispersion (SLD) glass in a design of 15 elements in 11 groups to minimize chromatic aberration
of magnification especially in the edge of the image field.
Moreover, the optimized power layout includes aspherical elements that are positioned in the rear of the lens for improved wide open performance.
This helps to ensure minimal distortion through the correction of axial chromatic aberration and sagittal coma flare.
The new lens element design also delivers excellent peripheral brightness.
“The Sigma Art lenses are recognized by photographers for world-class performance, and the new 24mm F1.4 DG HSM will be a significant contribution to our selection of fast aperture prime lenses which is quickly becoming a strong force in the industry” said Mark Amir-Hamzeh, president of Sigma Corporation of America. “Sigma is redefining the expectations of fast-aperture full-frame prime lens performance, especially wide-open, and the results the 24mm F1.4 will deliver will be up to the exacting standards set by the 35mm F1.4 DG HSM and 50mm F1.4 DG HSM .”
Other updates to this lens include a new full-time manual focusing mechanism that switches to manual focusing, simply by rotating the focus ring, even when AF is being used, first introduced on the 50mm Art. This allows the photographer to make focus adjustments quickly and easily. As with all new lenses under the Global Vision categories, every 24mm will be tested using Sigma’s own MTF measuring system, “A1,” in the company’s factory in Japan.
The 24mm F1.4 is compatible with Sigma’s USB dock, allowing photographers to update the lens’ firmware and change focus parameters as well as manual focus over-ride using Sigma's Optimization Pro software. It is also compatible with Sigma’s Mount Conversion Service. The lens will be available in Canon, Nikon and Sigma mounts, and timing, pricing and availability will be announced at a later date.
Ordering the Sigma 24 Art Lens
Hopefully the fulfillment process for this lens is more expediant than we are currently experiencing with the 150-600 Sports and 24-105 Art lenses.
While many lenses are introduced to relatively low demand, my expectation is that this is not one of them.
Shown in the image accompanying this post is the near-top-left and the near-top-right crop from one of the test images. The top left crop is obviously very significantly sharper than the top right, which is the crop that shows in the site's image quality tests. A similar difference can be seen over the entire focal length range of this lens.
The bad news of course is that such an issue is showing in a lens this nice (and this new). That is very disappointing. However, I expect that Sigma will be able to resolve the problem and that leads to the good news: that top left crop from a 150mm wide open aperture is looking really nice. I remain optimistic that this is a really nice lens overall, with image quality to match the high grade look and feel of this lens.
We'll test another copy of this lens as soon as we can get our hands on one.
"Landscape photographer and Canon Explorer David Noton recently had the chance to use the new EF11-24mm f/4L USM lens. He reveals to CPN Editor David Corfield his thoughts on the world’s widest rectilinear zoom..."
Image Composite Editor (ICE) is an advanced panoramic image stitcher created by the Microsoft Research Computational Photography Group. Given a set of overlapping photographs of a scene shot from a single camera location, the app creates a high-resolution panorama that seamlessly combines the original images. ICE can also create a panorama from a panning video, including stop-motion action overlaid on the background. Finished panoramas can be shared with friends and viewed in 3D by uploading them to the Photosynth web site. Panoramas can also be saved in a wide variety of image formats, including JPEG, TIFF, and Photoshop’s PSD/PSB format, as well as the multiresolution tiled format used by HD View and Deep Zoom.
The Canon EOS 5Ds review page is loaded with detailed information about this new, extreme DSLR.
Check it out and be sure to share this page with your friends.
I've seen a LOT of camera announcements, but few have excited me as much as this one.
I'm very anxious to get my hands on the 5Ds and 5Ds R.
Special thanks goes out to Chuck Westfall of Canon USA for his time spent explaining the new cameras and lens.
Note that, although the product pages are live, B&H
is NOT accepting Canon EOS 5Ds or
Canon EOS 5Ds R
preorders at this time.
Watch the site's news page/feed and/or sign up for the site's email newsletter (see signup box at top right of all site pages) for first notice of preorders being accepted.
CANON U.S.A. INTRODUCES THE WORLD’S HIGHEST RESOLUTION* FULL-FRAME DSLR CAMERAS: EOS 5DS AND EOS 5DS R
Featuring Canon’s Newly Designed 50.6 Megapixel Full-frame CMOS Sensor and Dual DIGIC 6 Image Processors, New DSLRs Deliver Ultra-high Resolution Images and Enhanced Features
MELVILLE, N.Y., February 5, 2015 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to introduce the Canon EOS 5DSi and Canon EOS 5DS Ri Digital SLR cameras featuring
the world’s highest resolution* among 35mm format DSLRs.
Providing photographers with uncompromising image quality, these new EOS models incorporate a newly designed Canon 50.6 megapixel full-frame CMOS image sensor and Dual DIGIC 6 Image Processors for superb image quality
and processing speed.
Perfect for commercial, studio, portrait, landscape and architectural photography, or anyone looking for an affordable alternative to medium format,
the ultra-high resolution of these new models allow for large-format printing and extensive cropping capability while maintaining fantastic image quality.
Maximizing the potential of the new 50.6 megapixel sensor – for the first time in an EOS camera the low-pass filter effect in the EOS 5DS R model is cancelled.
The cancellation of the low-pass filter helps deliver sharp images, squeezing the most out of every pixel.
Both models provide attractive options for medium format shooters especially when coupled with a wide array of over 70 creative Canon EF lenses to choose from.
“Canon is always looking to deliver the absolute best in image quality and push our technology to the limits.
These cameras deliver on that pledge, providing photographers with two new incredible tools that will enable them to make the most out of every shoot,”
said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.
“As photography becomes more specialized and more images are captured than ever before, the burden is on the photography equipment to keep up with the demands of today’s artistic talents.
These new camera models will provide many photographers with new options to deliver their vision to clients, fans, and the world.”
Built to Maximize Sharpness
In addition to the 50.6 megapixel full-frame image sensor and Dual DIGIC 6 Image Processors, both cameras include a 61-Point High Density Reticular AF array including up to 41 cross-type AF points and
EOS iTR AF for high precision autofocus.
They also include the EOS Scene Detection system featuring a 150,000-pixel RGB+IR 252-zone metering sensor that provides enhanced precision and performance.
In support of such a high-resolution imaging sensor, the EOS 5DS and EOS 5DS R cameras were designed to minimize camera shake and significantly improve stability via a reinforced chassis,
baseplate and tripod lug to improve rigidity.
Canon also re-designed the mirror vibration control system to help reduce mirror bounce and camera shake.
To help maximize stability and minimize vibrations, Canon added a new Arbitrary Release Time Lag Setting in Mirror Lock mode in both models.
In addition to the standard setting (press the shutter button once to lock the mirror, then again to release the shutter),
the EOS 5DS and EOS 5DS R cameras offer new setting intervals of 1/8, 1/4, 1/2, one and two seconds, releasing the shutter after the selected preset delay,
allowing potential camera vibration to dissipate before shutter release.
A new Picture Style called “Fine Detail” has been added to enhance the sharpness of JPEGs and EOS Movies with three new settings: Strength, Fineness and Threshold.
With such abundant resolution on each sensor, both models also provide two cropped shooting modes, while still delivering high-resolution images 30.5 megapixels for the 1.3x mode and 19.6 megapixels for the 1.6x mode.
The available crop options are visible as a mask or an outline in the viewfinder; so shooters can know exactly where to frame their subject.
Capturing the Action
Like the EOS 7D Mark II, the EOS 5DS and EOS 5DS R cameras feature an advanced AE system that can detect and compensate for flickering light sources such as sodium vapor lamps that are often used in gymnasiums and natatoriums.
When enabled, this anti-flicker system automatically adjusts shutter release timing to help reduce disparities in exposure and color especially during continuous shooting.
And new Auto White Balance settings include Ambience Priority and White Priority (for use when shooting under tungsten lighting).
Photographers and cinematographers will appreciate improved custom controls including a built-in intervalometer and bulb timer to enable the capture of time-lapse images and long-exposure images.
These features are ideal for recording fireworks, star trails, sunrises and more.
Both models feature Intelligent Viewfinder II providing approximately 100 percent field of view, while adding the ability to display cropped shooting frames and superimpose a customizable selection of camera settings
and data such as dual-mode electronic level display and grid, as well as exposure, white balance, metering, drive, image quality and AF modes.
A new Customizable Quick Control Screen, another first for EOS cameras, allows photographers to quickly change frequently used camera settings and functions.
The EOS 5DS and EOS 5DS R cameras continue the EOS Movie tradition with the ability to shoot in 1080p Full HD up to 30p or 720p HD video up to 60p.
A creative Time Lapse Movie function, a first for EOS cameras, takes a continuous series of still photographs and automatically combines them in camera into a Full HD movie file.
Interval adjustments can be set from one second to 99 hours, 59 minutes and 59 seconds.
The number of shots possible range from 2 to 3,600 with a maximum of two minutes and 30 seconds of playback time.
In addition, high-speed continuous shooting up to five-frames-per-second (fps) at full 50 megapixel resolution allows users to capture fast action.
The EOS 5DS and EOS 5DS R cameras feature dual card slots for CF and SD memory cards, including Ultra High Speed (UHS-1) SD cards.
Built to last, the cameras also feature a shutter durability rating up to 150,000 cycles, the same as the EOS 5D Mark III.
The EOS 5DS and EOS 5DS R Digital SLR cameras are scheduled to be available through authorized Canon dealers in June 2015 for estimated retail prices of $3,699.00 and $3,899.00 for the body only, respectively.
* Among 35mm-format Digital SLR cameras as of February 5, 2015 according to published competitive information.
i These devices have not been authorized as required by the rules of the Federal Communications Commission.
These devices are not, and may not be offered for sale or lease, or sold or leased, until authorization is obtained.
Note that, although the product pages are live, B&H
is NOT accepting Canon EOS 5Ds or
Canon EOS 5Ds R
preorders at this time.
Watch the site's news page/feed and/or sign up for the site's email newsletter (see signup box at top right of all site pages) for first notice of preorders being accepted.
I'm guessing the lines will make Black Friday look tame.
CANON U.S.A. ANNOUNCES NEW EF 11-24mm f/4L USM ULTRA WIDE-ANGLE ZOOM LENS
New Optical Array Delivers Images with Tremendous Depth and Linear Perspective
MELVILLE, N.Y., February 5, 2015 – Canon U.S.A., a leader in digital imaging solutions, is proud to introduce the superb new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens designed to deliver high quality,
minimally distorted images throughout the entire zoom range.
Featuring the widest angle of view (126°05' diagonal) ever achieved for a rectilinear full-frame Digital SLR lens*, and a minimum focusing distance of 11 inches (at 24mm),
this new lens is ideal for professionals who want the ultimate in creative image expression with sharp, crisp detail whether shooting entire buildings from a close position,
entire stadium shots from a high-vantage point, large group photos at a scenic wedding or even astrophotography.
Cinematographers will be equally as impressed with the lens’ ability to retain straight lines.
Fully compatible with all EOS cameras, but particularly effective with full-frame cameras such as the new Canon EOS 5DS and EOS 5DS R Digital SLR cameras also announced today,
this new L-series lens features newly developed optics comprised of 16 elements in 11 groups with a three group zoom system and rear focus.
The new optical design utilizes four aspherical lens elements to help minimize distortion from the center of the image to the periphery, across the entire zoom range.
This new optical array provides straight lines with minimal curve throughout the zoom range, ideal for architectural, event, and forensic photography.
The lens also features one Super UD element and one UD lens element to help significantly reduce chromatic aberration and deliver sharp images with high resolution.
Canon’s advanced lens coating technologies are also liberally employed to help minimize ghosting and flare, while simultaneously enhancing accurate color balance and maximum light transmission efficiency.
“Canon is very proud of its optical heritage.
The creation of this new lens continues our tradition of providing photographers with unique image-making solutions that are not only thoughtfully designed but precisely engineered and manufactured,”
said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc.
“The new Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens features newly developed optics and an unprecedented combination of Canon optical technologies.
We are very eager to see the beautiful images that photographers will create using this new lens with Canon EOS DSLR and Cinema EOS cameras.”
The new Canon EF 11-24mm f/4L USM lens’ impressive 11mm starting focal length and 9-blade circular aperture help deliver beautiful, high-quality, detailed images.
The new lens accurately reproduces straight lines in the subject with minimal distortion, ideal for architectural and landscape photographers looking to create images with tremendous depth and strong perspective.
Wide-angle lenses are especially prone to flare and ghosting.
To help reduce these effects, the new Canon EF 11-24mm f/4L USM lens features Canon’s proprietary Sub-Wavelength Structure Coating (SWC) and Air Sphere Coating (ASC).
SWC is applied to the rear surface of the first and second aspheric lens elements, while ASC is used on the front of the fourth element.
The SWC coatings are particularly effective for combatting flare and ghosting caused by light rays entering the lens at a large angle of incidence,
while the ASC coating helps mitigate the same problems for light rays entering the center of the lens.
The new lens also employs Canon’s Super Spectra Coating (SSC) to enhance light transmission while at the same time optimizing color reproduction accuracy.
The Canon EF 11-24mm f/4L USM lens features a meticulously designed inner focusing system and zoom ring, as well as a built-in petal type lens hood with light-shielding grooves.
Along with a high-speed CPU and optimized AF algorithms, this lens enables fast and accurate autofocusing, while its full-time manual focus feature allows manual focus adjustment even in AF mode.
As with all L-series lenses, this durable new lens is highly resistant to dust and water -- ideal for outdoor photography even when conditions are harsh.
In addition, a fluorine coating on the front and rear surfaces of the lens helps reduce smears and fingerprints and makes the lens easier to clean.
Pricing and Availability
The Canon EF 11-24mm f/4L USM ultra wide-angle zoom lens joins the robust line up of Canon f/4L USM zoom lenses including 16-35mm, 17-40mm, 24-70mm, 24-105mm, 70-200mm, and 200-400mm + 1.4X Extender models.
It is scheduled to be available in late February 2015 for an estimated retail price of $2,999.00.
For more information please visit: http://www.usa.canon.com/cusa/professional/products/lenses/ef_lens_lineup/lens_uw_pro
* As of January 2015 according to published competitive information.