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 Thursday, October 13, 2016
From the Canon Digital Learning Center:
Photographing siblings takes practice, patience and a bit of silliness. Once you know your way around your camera, you can focus on being playful and doing what you need to do to get your kids to play along, so you can get that shot of your little ones together that you’ve been hoping for.
See the entire article on the Canon Digital Learning Center.
Posted to: Canon News
Post Date: 10/13/2016 5:48:19 AM CT   Posted By: Sean
 Wednesday, October 12, 2016
Image quality results have been added to the Canon EF 16-35mm f/2.8L III USM Lens page.
The MTF charts predicted good things in regards to 16-35 L III image quality and I think you will find that expectation delivered.
First, let's compare apples to apples: Canon EF 16-35mm f/2.8L III vs. II lens comparison. The III simply blows the II out of the water and clearly remains the better lens even at f/5.6.
The Canon EF 16-35mm f/4L IS USM Lens has become renowned for its performance. Simply equaling the image quality of this lens would have been a big deal. Surpassing this lens' sharpness with a 1-stop wider aperture (clearly so at 16mm) was not what I expected.
How does the Canon 16-35mm f/2.8L III compare to the Tamron 15-30mm f/2.8 VC Lens? This comparison requires some visualization as the EOS 5Ds R did not exist when we tested the Tamron, but I see the Canon being the clear winner at the two focal length range extents.
B&H has the new Canon EF 16-35mm f/2.8L III USM Lens in stock.
This lens is also in stock at:
Adorama | Amazon (3rd parties) | Beach Camera | | Canon Store | eBay | WEX Photographic
Posted to: Canon News
Post Date: 10/12/2016 8:56:01 AM CT   Posted By: Bryan
by Sean Setters
If you show your photography to enough people, you're bound to hear the same exclamation more than once: "You must have a really nice camera!" While I know it's not intended to be an insult, I'm always offended by that seven-word sentence.
We are a photography gear news and reviews website. We know all too well that the quality of the gear you use in photography can certainly make a tangible difference in image making. A camera with a fast burst rate and an advanced AF system may mean the difference between capturing an optimally-timed, in-focus moment or something much less memorable. A high resolution DSLR paired with a pro grade lens can enable a photographer to produce beautifully detailed, high resolution prints that may not have appeared as striking if taken with a lower resolution camera and a lower grade consumer lens. But notice I said "can enable" in the previous sentence; I did not say "will enable." Those are the tools and should not be mistaken with the foresight and experience required to get the most out of them.
At the end of the day, a great image is created when a photographer uses whatever gear is at hand to make his or her creative vision come to life. If you were to hand a Canon EOS 1D X Mark II and an EF 24-70mm f/2.8L II USM to a novice photographer, they're simply not going to create compelling imagery on a consistent basis compared to a pro photographer. The experience gained over years of trying, failing and trying again allows for the seasoned photographer to get the most out of the gear and a given situation.
That's why I cringe every time someone says, "You must have a really nice camera!" That one short sentence negates a photographer's time, effort, energy and vision and instead gives all the credit to the tool. In short, the phrase devalues all of our work. It's like saying...
  • To a chef: "That was an excellent meal. You must have a really nice oven!"
  • To a sketch artist: "That is a very life-like drawing. You must have really nice pencils!"
  • To a music artist: "That was an amazing melody! You must have a really nice piano!"
  • To a sculptor: "That's an incredible sculpture. You must have really nice chisels!"
  • To a writer: "That's a beautiful story. You must have a really nice (laptop/typewriter/notepad)!"
  • And so on, and so on...
So the next time you hear, "You must have a really nice camera," please take 30 seconds to explain to the person what went into creating your image. Explain what lens and filters (if applicable) you used, why you chose your specific exposure settings and how your planning affected the resulting image. The brief explanation may help the viewer understand the biggest differentiating factor in your photography – you.
Does the phrase irk anyone else as much as it does me? Do you have a specific technique for dealing with it? Sound off in the comments.
Posted to: Canon News,
Post Date: 10/12/2016 7:27:59 AM CT   Posted By: Sean
 Tuesday, October 11, 2016
From the Canon Digital Learning Center:
Halloween is right around the corner, and what a great holiday for photographic inspiration: From cute kids in costumes to spooky haunted houses; eerie glowing jack-o’-lanterns to pastoral pumpkin patches – Halloween offers an endless variety of unique subjects.
Here are a few photographic tips to make the most of this Halloween.
Read the entire article on the Canon Digital Learning Center.
Posted to: Canon News
Post Date: 10/11/2016 12:23:27 PM CT   Posted By: Sean
A pair of new 16-35 f/2.8L III lenses arrived yesterday and they are of course receiving our highest priority right now (image quality results coming very soon). First up are the standard product images now available on the Canon EF 16-35mm f/2.8L III USM Lens page.
As shown in the lead image, the 16-35 f/2.8L III, shown immediately to the right of the Canon EF 16-35mm f/2.8L II USM Lens, has obviously grown modestly larger than the II and has received noticeable aesthetic improvements. The next lens to the right, the Canon EF 16-35mm f/4L IS USM Lens, shows similar updates from the lens most-considered its predecessor, the Canon EF 17-40mm f/4L USM Lens. As shown in the image below, the oversized hoods of the older two lenses have been significantly reduced in size, a major improvement in my opinion.
Canon EF 16-35mm f/2.8L III USM Lens Compared to Similar Lenses with Hoods
Using the site's Lens Product Images Comparison Tool, the new 16-35 L III can be visually compared to most other current and recently discontinued lenses. I have preloaded that link with a comparison you may find interesting.
B&H has the new Canon EF 16-35mm f/2.8L III USM Lens in stock. Also in stock at: Adorama | WEX Photographic
Posted to: Canon News
Post Date: 10/11/2016 9:16:37 AM CT   Posted By: Bryan
A 24-70mm zoom is the quintessential general purpose lens for full frame camera users. The versatility afforded by the focal length range makes it well suited to a huge number of tasks including travel, lifestyle, documentary, architecture, wedding and event photography. Countless photojournalists have built careers on the pictures created with their 24-70mm lenses.
Largely because of the focal length range's popularity, just about every major manufacturer makes a version (or two) of the 24-70mm lens to satisfy customer demand. And most of the lenses we will be comparing today feature an f/2.8 constant maximum aperture which further adds to the lenses' versatility. Using an f/2.8 aperture will allow you to freeze motion in half as much light (at the same ISO setting) as an f/4 aperture. That's why a 24-70mm f/2.8 lens has been so popular with wedding photographers; when ambient light levels are low (as in a church or reception area), the wide f/2.8 aperture can be used to help stop motion at tolerably high ISO levels.
So which lens is right for you? Well, let's find out.
Canon EF 24-70mm f/2.8L II USM
The EF 24-70mm f/2.8L USM became the Canon general purpose when it was introduced in 2002. The lens quickly gained favor for its versatile focal length range (being 4mm wider than the 28-70L) and wide, constant f/2.8 aperture. A decade later, Canon introduced the EF 24-70mm f/2.8L II USM, a worthy successor to the ultra-popular 24-70mm lens it replaced with improvements to image sharpness, vignetting and AF speed. A disapointment to us was that Canon decided not to include image stabilization as one of the upgraded features, claiming that excellent image quality was paramount in this release.
The 24-70L II is impressively sharp in the center throughout its focal length range with very good contrast. Corner performance slightly trails the center until f/5.6 where even sharpness is obtained. With more elements than its predecessor, it doesn't fair quite as well in the flare department. The 24-70 L II exhibits typical distortion in its class, with moderate barrel distortion at the wide end that transitions to moderate pincushion at the long end.
Where the EF 24-70mm f/2.8L II USM really shines is in AF speed and consistency. Version "II" is significantly faster than its predecessor when used on Canon DSLRs featuring advanced AF systems (non 9-point Rebel-series AF systems). Fast and consistent AF is yet another reason why so many photographers depend on this lens. When you do your job right as a photographer, it takes care of you.
Like its predecessor, the 24-70L II features weather sealing with a front filter in place. This feature alone differentiates it from most (if not all) of the 24-70mm lenses produced by third-party manufacturers. Canon EF 24-70mm f/4L IS USM
When the Canon EF 24-70mm f/4L IS USM was announced about 9 months after the 24-70L II, quite frankly, we were left a bit bewildered. Why would Canon release a lens with a shorter focal length range than the popular EF 24-105mm f/4L IS USM and charge significantly more for it? At announcement time, the 24-70 f/4L IS's MSRP was $1,499.00. Since then, the lens' retail price has been lowered significantly putting its capabilities and performance into better perspective.
The 24-70 f/4L IS's image sharpness is difficult to summarize in a single sentence or two. Therefore, I'm going to pull from Bryan's review for a detailed description:
With a wide open f/4 aperture: At 24mm, the Canon EF 24-70mm f/4L IS USM Lens is very sharp in the center with good sharpness extending to the periphery of the full frame image circle. This lens gets very slightly softer at 35mm and modestly softer yet (especially in the mid and peripheral image circle) at 50mm f/4 where the lens performs its worst. Sharpness improvement by 70mm brings the 24-70 f/4L IS back up to performance similar to that at 35mm.
You can expect about 2.5 stops of vignetting in the full frame corners at 24 and 70mm, with slightly less vignetting through the middle focal length range. The lens' Super Spectra coatings have increased contrast in flare-producing situations, but I wouldn't necessarily consider this lens to have an aesthetically pleasing flare characteristic.
Benefits of this lens over its f/2.8 big brother are reduced size/weight, image stabilization and reduced cost. Another huge benefit (one the 24-70 f/4L IS holds over the rest of the lenses in this comparison) is maximum magnification (MM). The 24-70 f/4L IS features an impressive 0.70x MM (compared to 0.21x for the 24-70L II) which means it can double as a macro lens in a pinch. The fact that the 24-70 f/4L IS can negate the need to carry a second lens in your pack for macro work is a unique and worthwhile benefit. At the time of this comparison, the 24-70mm f/4L IS is less than half the cost of its f/2.8 counterpart (MSRP).
The downside, of course, compared to the rest of the 24-70 competition is significant – an f/4 maximum aperture.
Tamron 24-70mm f/2.8 DI VC USD
The Tamron 24-70mm f/2.8 VC USD broke new ground in 2012, becoming the first stabilized 24-70mm lens. Four years later, it's still rather unique in the marketplace as only Nikon has [relatively recently] released a specification matching f/2.8 zoom with stabilization.
It took us a few tries, but we finally received a copy of the Tamron 24-70 VC which produced sharp results throughout the zoom range (look for the term "ISO 12233 resolution chart" in Bryan's full review for details on our experience with testing this lens). With a good copy in-hand, you can expect impressive center sharpness at the focal range extents and remarkable image quality throughout the zoom range (even out to the corners of the frame) at f/4.
You can expect anywhere from 2-3 stops vignetting on a full-frame camera, wide open, depending on the focal length. A little more than a stop of vignetting remains at f/11. Flare is decently controlled, but CA wil likely be visible at this lens' shortest and longest focal lengths. Distortion is both typical and average for a lens in this class.
This lens' biggest advantage over the rest of the lenses listed here, of course, is its vibration control system which is capable of up to 4-stops of camera shake compensation. The ability of this lens to capture sharp imagery of static subjects in low light is extremely beneficial. That the Tamron is significantly less expensive than the Canon 24-70mm f/2.8L II is another important advantage.
Unfortunately, this lens' biggest crutch is AF consistency. The copy we tested did not focus very consistently on One Shot AF and performed even worse in AI Servo. For some lens usage, AF consistency may not need to be consistently spot on. But for a lens that would otherwise be ideal for shooting once in a lifetime moments (like weddings), less than ideal AF consistency can be problematic. If interested in acquiring this lens, be sure to purchase from an authorized retailer with a no-hassle exchange policy just in case the lens does not meet your minimum requirements for AF consistency. Otherwise, utilizing Live View focusing can aid in increasing your hit rate of static subjects.
Sigma 24-70mm f/2.8 EX DG HSM
Announced at Photokina 2008, the Sigma 24-70mm f/2.8 EX DG HSM is by far the oldest (and least expensive) lens in this comparison with a maximum aperture of f/2.8. As Bryan mentions in his full review, it's extremely difficult to summarize this lens' performance in a couple of sentences. Unfortunately, it's a bit complicated.
To fully understand the image quality you should expect from this lens, read the Image Quality section in Bryan's full review. The good news is that results at f/5.6 are very good throughout the entire focal range. The bad news is that image quality at f/2.8 various from "very sharp" at 24mm to you-should-avoid-this-focal-length at 70mm, unless you prefer to specialize in artistic blur. And if you're buying a general purpose lens with an f/2.8 aperture, odds are you intended on using it wide open at least occasionally.
Flare is very well controlled (though with less contrast) at 70mm, but flare is certainly noticeable at the lens' wider focal lengths. The distortion this lens exhibits is very similar to the Canon EF 24-70mm f/2.8L II USM.
Like the Tamron, the Sigma's AF performance will likely be a significant differentiating factor for many. The copy we tested front focused at 24mm and focused inconsistently at 70mm. AI Servo performance was, "to be kind – poor." Again, Live View focusing may help increase your hit rate with this lens; however, thorough personal testing is needed to determine whether or not this lens meets your AF performance needs.
Tokina 24-70mm f/2.8 AT-X Pro FX Lens
Introduced last year, the Tokina 24-70mm f/2.8 AT-X Pro FX receives the honor of being the newest lens in this comparison. Unfortunately, we don't have enough first-hand experience with the lens to adequately describe its AF performance. However, we did run the lens through our standard lab tests which illuminated a few things.
The Tokina 24-70 f/2.8 is quite sharp in the center at 24mm and 70mm wide open, although we did notice a slight drop in center performance at 50mm. The lens transitions to relatively soft with less contrast in the corners at f/2.8. Sharpness in the corners improves through f/5.6 where the difference between the center and corners becomes negligible.
I would consider the Tokina's flare performance to be very typical for lenses in this class. The same could be said about the Tokina's distortion performance as well.
Tokina lenses typically feature a very solid construction. This lens follows that trend. It's not the largest lens among those in this comparison, but it is certainly the heaviest (see below).
We didn't field test the lens to assess the Tokina's AF performance, but... it's unlikely to match the performance and consistency of Canon's USM lenses. Be sure to thoroughly test the lens within the retailer's return/exchange period to ensure the lens meets your needs.
Size, Weight, Maximum Magnification and Filter Size
It's especially important to consider the size and weight of your general purpose lens which is, by merit, likely to stay on your camera for long periods of time. Small differences in size and weight can be noticeable when packing space is limited and the hours of handling your camera begin to add up.
Filter size may also be a differentiating factor for a good number of photographers. All but one of the lenses in this comparison feature an 82mm front filter thread. These filters tend to be less common (though their popularity is rising among newly released lenses) and more costly compared to more common 77mm filters.
LensMeasured SizeMeasured WeightMMFilter
Canon EF 24-70mm f/2.8L II USM3.45 x 4.72” (87.7 x 119.8mm)28.4oz (805g)0.21x82mm
Canon EF 24-70mm f/4L IS USM3.30 x 3.97” (83.7 x 100.8mm)21.2oz (600g)0.70x77mm
Tamron 24-70mm f/2.8 Di VC USD3.47 x 4.72” (88.1 x 120.0mm)28.9oz (820g)0.20x82mm
Sigma 24-70mm f/2.8 EX DG HSM3.48 x 4.03” (88.4 x 102.3mm)27.7oz (785g)0.19x82mm
Tokina 24-70mm f/2.8 AT-X Pro FX3.51 x 4.63” (89.2 x 117.6mm)36.0oz (1020g)0.21x82mm

So which lens is right for you? If you need an f/2.8 maximum aperture, the best-available AF performance and your budget allows for it, the Canon EF 24-70mm f/2.8L II USM is probably the right choice. If you can get by with an f/4 maximum aperture, the Canon EF 24-70mm f/4L IS USM offers great image quality, fast and accurate AF, image stabilization and a very handy 0.70x maximum magnification at a budget price. From there, the decision gets a bit murkier. I think each of the remaining lenses will appeal to different people based on their priorities with center/corner sharpness, image stabilization and price being the biggest differentiating factors.
Posted to: Canon News
Post Date: 10/11/2016 8:05:07 AM CT   Posted By: Sean
From Western Digital:
Irvine, CA - October 11, 2016 – Western Digital Corporation (“Western Digital”) (NASDAQ: WDC), today introduced modern and innovative redesigns of its My Passport, My Passport for Mac, and My Book hard drive lines, which have been highly recognized leading sellers for more than a decade. In partnership with fuseproject, an award-winning industrial design and branding firm, the reimagined products were built with the customer in mind. Developed to help make a connection between the device and user, the new drives also include password protection and hardware encryption so customers will love their hard drive as much as they cherish the content stored on it.
“As the storage landscape continues to rapidly evolve, and the bars for design and user-experience have increased, the team focused on the design and user experience to catapult My Passport and My Book to the next level,” said Jim Welsh, senior vice president, Content Solutions Business Unit, Western Digital. “Through the reimagined design language, we want to engage consumers in a conversation about how storage is core to their lives and how they feel more empowered by the real benefits of capturing, protecting and enjoying life’s precious memories.”
“The way we use data is changing; it’s becoming much more of a personal commodity, something we value,” says Yves Béhar, founder and Principal Designer at fuseproject. “Western Digital lies at the intersection of our physical life and the digital world, and we wanted to create a quality aesthetic that symbolizes this intersection.”
As part of the reimagined design, the My Passport drives will come in six vivid colors – Black, Yellow, Red, White, Orange and Blue – while still providing reliable portable storage that perfectly complements an on-the-go lifestyle. The My Passport for Mac drive is available in a stylish Black color. The trusted desktop storage device, My Book, combines personal style with a massive amount of storage space, up to 8 TB, so users can keep their photos, videos, music, and documents. Each storage device comes with an automatic backup solution for a seamless, user-friendly process, as well as password protection to keep your precious data safe.
The new WD products include:
My Passport portable hard drives – trusted and loved portable storage, in a reimagined design, that fits in the palm of your hand
  • New attractive design with textured bottom
  • Password protection with 256-bit AES hardware encryption
  • Automatic backup with included WD Backup software
  • Up to 4TB capacity
My Passport for Mac drives – your MacBook computer’s best friend
  • New attractive design with textured bottom
  • Password protection with 256-bit AES hardware encryption
  • Formatted for Mac OS X and Time Machine ready for easy backup
  • Up to 4TB capacity
My Book desktop hard drive – trusted, high capacity backup for PC and Mac
  • Password protection with hardware encryption
  • Automatic backup with included WD Backup software
  • Up to 8TB capacity
Pricing and Availability
My Passport and My Passport for Mac portable hard drives are protected by a 2-year limited warranty and are available from and at select retailers and distributors around the world. My Passport drives have a Manufacturer’s Suggested Retail Price (MSRP) starting at $79.99 USD and the My Passport for Mac drive has a starting MSRP of $79.99 USD.
My Book desktop hard drives are protected by a 2-year limited warranty and are available from the WD store at and at select retailers and distributors. My Book drives have a Manufacturer’s Suggested Retail Price (MSRP) starting at $129.99 USD.
B&H carries WD My Passport and My Book drives.
Posted to: Canon News,
Post Date: 10/11/2016 7:41:31 AM CT   Posted By: Sean

From the Preston Kanak Vimeo Channel:
Finding ways to improve the way in which I work with my timelapse footage as well as ways to create unique looks is a huge passion of mine. Whether through refining the look and feel or total experimentation, this desire definitely keeps me on my toes. This video walks through three methods of smoothing out your timelapse footage while removing the staccato effect.
Posted to: Canon News,
Post Date: 10/11/2016 6:23:25 AM CT   Posted By: Sean
 Monday, October 10, 2016

From Photoshop Tutorials by PHLEARN YouTube Channel:
Want to work faster and more efficiently in Photoshop? We compiled a list of 6 Tips and Tricks that are sure to boost your Photoshop speed and efficiency! Photoshop Tips & Tricks Add More "Undo" States Photoshop will allow you to go "back in time" through "Undo - CTRL/CMD +Z" and "Step Backward - ALT/OPTN+CTRL/CMD+Z." Many people find they run out of "Undo States" and can't go back any further. You can increase the number of times you can "undo" in Photoshop's preferences.
Open Photoshop Preferences and navigate to "Performance." Here you will see "History States," this is the number of times you can "undo." Increase the slider until you feel comfortable. Keep in mind that with more History States, Photoshop will use more computer resources to store those states.
Quick Export – After editing your images in Photoshop, it is time to post them online. The easiest way to export images for online viewing is through "Quick Export." To change the Quick Export Settings, go to "Photoshop - Preferences - Export" and adjust the settings to your desired output. In most cases, you will want JPEG, for transparency use PNG, and for animations use GIF.
Increase Performance – The best way to boost Photoshop performance is to add RAM. You can also allow Photoshop to use more of the RAM on your computer by going to "Photoshop - Preferences - Performance." Here you will see the amount of available RAM and a slider to increase or decrease how much of that RAM Photoshop can use.
Try increasing the slider to 80%-90%. Keep in mind, if Photoshop is using most of the computer's available RAM, other programs will slow down. For intense editing sessions, close down all other programs and give Photoshop a ton of RAM! Use Scratch Disks Once Photoshop has used all the available RAM, it will store temporary information on a "Scratch Disk." a is a physical drive attached to your computer. You can choose to use the internal hard drive, but it is best to use a secondary drive without an operating system on it. For instance, if you have two internal hard drives, choose the one that doesn't run the Operating System.
You can also use external drives connected via USB or Thunderbolt. Hard drive speed and connection method will influence Photoshop performance. For best results, use USB 3.0 + or Thunderbolt 2.0 + and a Solid State External Hard Drive or a Raid Array External Hard Drive.
Proper Color Settings – Photoshop offers many options when it comes to Color Space. Some of these Color Spaces are larger than others, allowing you to use more colors when editing. In most cases, you will want to edit with the most colors available. Our suggested Color Space is ProPhoto RGB, which is the largest available color space.
To change Photoshop's working Color Space, go to "Edit - Color Settings," and in the "Working Spaces" RGB Dropdown, choose ProPhotoRGB. Be sure to check the boxes in "Color Management Policies" for "Profile Mismatches - Ask When Opening, Ask When Pasting" and "Missing Profiles - Ask when Opening." Learn Keyboard Shortcuts Most of Photoshop's tools and features can be accessed via Keyboard Shortcuts, and learning these shortcuts can dramatically speed up your editing process. A great way to learn Keyboard Shortcuts is to print them from Photoshop! Go to "Edit - Keyboard Shortcuts," here you can view the existing keyboard shortcuts and even customize your own.
To print out a list of existing shortcuts, click on the "Summarize" button to save a .HTM file. Open this file in any web browser and print it as a quick-reference guide to keyboard shortcuts in Photoshop!
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News,
Post Date: 10/10/2016 6:51:01 PM CT   Posted By: Sean

From the B&H YouTube Channel:
With today’s amazing photographic gear that includes camera bodies with surreal autofocus that can routinely produce superb image files in the right hands and fast, sharp lenses (including and especially the amazing super-telephotos) creating images of various birds, animals, flowers, and landscapes, is pretty much child’s play. Anyone can do it. In this program, Arthur Morris, internationally noted bird photographer and educator, will teach you to take your images to the next level. You will learn to identify good situations, to create pleasing backgrounds, to photograph action and behavior, to choose the best perspective, to read and use the light, when and how to create pleasing blurs, and to consistently create dramatic, evocative images with contest-winning potential.
This program is well-illustrated with several hundred of Artie’s spectacular images, many published around the world above his most fitting credit line: BIRDS AS ART.
Arthur Morris's Site
Posted to: Canon News,
Post Date: 10/10/2016 1:07:01 PM CT   Posted By: Sean
Adorama has the Canon EF 70-200mm f/2.8L IS II USM Lens (Open Box) available for $1,699.95 with free shipping. Compare at $1,949.00 new after $150.00 instant savings.
Posted to: Canon News
Post Date: 10/10/2016 11:03:01 AM CT   Posted By: Sean
Image quality results from the Canon EOS 5Ds R have been added to the Tamron 150-600mm f/5-6.3 Di VC USD G2 Lens Review page.
I was more than a little surprised to see such a big-hit lens being replaced less than 3 years after it was introduced, but I was traveling when the G2 version lens was first announced and didn't have time to figure out why the replacement was coming. I quickly put the lens on the to-test list and would have to figure out the "Why?" question later. Well, "later" is now.
The new lens arrived and as usual, photographing it was my first priority, while it was still in pristine, dust-free condition. The new exterior design, being very modern in appearance, is very pleasing both to the eye and to the touch, but my first surprise was how extremely tight the zoom ring was. Midway through the photo session, I by-accident discovered the push/pull zoom ring lock feature (mentioned in the press release of course). Pulling back on the zoom ring made a huge, positive difference. I think I'm going to like this feature.
While my anticipation for the updated design was strong, I was most anxious to see the image quality results from this lens. While the Tamron 150-600mm f/5-6.3 Di VC USD G2 Lens' MTF charts appear nearly identical to the original Tamron 150-600 VC's charts, these lenses do not share an identical optical design. The biggest clue to this difference is the lenses/groups count of 21/13 vs. 20/13 in the older lens along with the improved minimum focus distance. Of course, what matters most is real world performance and that is what we are looking at today.
The ultra-high resolution EOS 5Ds R was not available when the original 150-600 hit the streets, but I wanted the 150-600 VC G2 results from the highest resolution camera, so one needs to use some visualization skills to compare the Tamron 150-600mm f/5-6.3 Di VC USD G2 Lens with its predecessor. My initial thought was that the older lens performed slightly better, but comparing again with fresh eyes shows the two lenses being nearly identical as hinted to by their MTF charts. I do see a slight G2 advantage in the 600mm comparison, easily the weakest focal length for the original lens.
Simply being compatible with extenders is a G2 advantage. I have to admit not being very optimistic about the extender feature for this lens, even though they are (at least for now) dedicated models. My low expectations were in part due to the soft performance of the original lens at 600mm, the focal length that extenders would most often be needed at. And, I have to admit being modestly impressed with the 840mm results. Although the max aperture is a narrow f/9, resulting image degradation is slightly below my expectations.
The 300-1200mm focal length range created by the 2x extender is very impressive. The image quality at 1200mm is not so impressive. Nor is the f/13 maximum aperture and the dark viewfinder that it brings.
Comparing the Tamron 150-600mm VC G2 Lens to the Canon 100-400mm L IS II Lens is interesting. Compare the Canon-with-1.4x to the Tamron also (remember to select the same apertures).
B&H has the Tamron 150-600mm f/5-6.3 Di VC USD G2 Lens in stock.
Posted to: Canon News,
Post Date: 10/10/2016 9:47:16 AM CT   Posted By: Bryan
From Canon Australia:
Australia is as diverse a country as it is vast. Across its breadth, we enjoy a huge variety of landscapes, city scapes and architecture, cultures and communities, sports and passions that make where we live special.
In the spirit of No One Sees It Like You, Canon wants to help all Australian’s capture and share their local community as they see it – that’s the real Australia.
Launching on 10 October 2016, Snap Australia is a four week program through the network of 108 individual News Community Media and their associated websites and social media channels. Each week, you will have the opportunity to shoot practice briefs in the lead up to the big day on 16 November.
Helping you take photos that show Australia in its best light, the Canon Collective Ambassadors in each state will give you simple tips and inspiration through editorials in your local newspaper and online in short videos.
“Snap Australia is a great opportunity to grab your camera and show your community in its best light to the rest of Australia and the world,” says Steve Loughran, General Manager of the Canon Collective. “We’re looking forward to helping people with simple pointers to take shots that bring out the stories, characters, beauty and passions that make up a community. And because everyone sees things differently, we’ll see loads of unique perspectives come through which is really exciting.” Keep an eye out for us in your News Community Media newspaper – online or in print – and to get involved just visit
Where is Snap Australia taking place?
The Snap Australia program is a News Community Media program comprising the five community publishing divisions in Sydney/Central Coast, Brisbane, Melbourne, Adelaide and Perth.
How do I get involved?
Keep an eye out for the weekly brief in your News Community Media newspaper or visit
Who are the Canon Collective?
The Canon Collective provide people with a range of unique experiences to learn and practice photographic skills together, regardless of age or skill. Why not come and join us?
  • Enjoy unique photography experiences
  • Meet passionate people
  • Try the latest Canon gear
Take a look at the Canon Collective site and select your location for photography events near you.
Posted to: Canon News
Post Date: 10/10/2016 5:22:50 AM CT   Posted By: Sean
B&H has the CyberPower SX625G 8-Outlet Surge Protector and Battery Backup UPS (120V) available for $34.95 with free shipping on orders over $49.00. Regularly $64.95.
Product Highlights
  • Output: 375W / 625VA
  • Input: 120V
  • 4 x Surge-Protected Outlets
  • 4 x Battery-Powered/Surge-Protected
  • 8 x NEMA 5-15R Outlets
  • Recharge Time: 8 Hours
  • Audible Alarms and LED Indicators
  • 890 Joule Surge Suppression
  • 5' Power Cord with Right-Angled Plug
  • PowerPanel Personal Edition Included
Posted to: Canon News,
Post Date: 10/10/2016 5:03:07 AM CT   Posted By: Sean
 Sunday, October 9, 2016
The Canon Store has reduced a huge array of refurbished DSLR cameras, lenses and Speedlite flashes by 10% or more.
This appears to be one of the Canon Store's better sales with a lot of gear eligible for discounts. Inventory probably won't last very long.
Update: Canon refurb. EOS M3 and EF-M lens deals have been added.
In Stock & Discounted Refurb. Gear
Refurbished ItemOrig. PriceSavingsSale Price
Canon EOS 5DS R Body3,119.20120.202,999.00
Canon EOS 5Ds Body2,959.20160.202,799.00
Canon EOS 7D Mark II + EF-S 18-135 IS STM1,719.20320.201,399.00
Canon EOS 7D Mark II1,439.20240.201,199.00
Canon EOS 6D Body1,359.20210.201,149.00
Canon EOS 70D + EF-S 18-135 IS STM1,239.20359.21879.99
Canon EOS Rebel T6s + EF-S 18-135 IS STM & 55-250 IS STM1,199.19320.00879.19
Canon EOS 70D + EF-S 18-55 IS STM1,079.20349.21729.99
Canon EOS Rebel T6i + EF-S 18-55 IS STM & 55-250 IS STM959.98350.00609.98
Canon EOS Rebel T6s + EF-S 18-135 IS STM959.20159.21799.99
Canon EOS 70D Body959.20259.21699.99
Canon EOS Rebel T5i + EF-S 18-135 IS STM799.99170.00629.99
Canon EOS Rebel SL1 + 18-55 IS STM, 75-300 III719.98350.00369.98
Canon EOS Rebel T5i + EF-S 18-55 IS STM639.99160.00479.99
Canon EOS M3 + EF-M 18-55 IS STM639.9991.00548.99
Canon EOS Rebel T5 + EF-S 18-55 IS II & 75-300 III USM627.98318.00309.98
Canon EOS Rebel T5 + 18-55 IS II & 75-300 III599.98300.00299.98
Canon EOS Rebel SL1 + EF-S 18-55 IS STM559.99230.00329.99
Canon EOS M3543.9965.00478.99
Canon EOS Rebel T5 + EF-S 18-55 IS II439.99180.00259.99
Canon EF-S 10-18mm f/4.5-5.6 IS STM239.9924.00215.99
Canon EF-S 10-22mm f/3.5-4.5 USM519.9952.00467.99
Canon EF-S 15-85mm f/3.5-5.6 IS USM639.9964.00575.99
Canon EF 16-35mm f/2.8L II USM1,279.20127.921,151.28
Canon EF 17-40 f/4L USM639.9970.00569.99
Canon EF-S 18-135mm f/3.5-5.6 IS STM439.9944.00395.99
Canon EF-S 18-135mm f/3.5-5.6 IS399.9940.00359.99
Canon EF-S 18-200mm f/3.5-5.6 IS559.9956.00503.99
Canon EF 24-70mm f/2.8L II USM1,519.20151.921,367.28
Canon EF 24-70mm f/4L IS USM719.9972.00647.99
Canon EF 24-105mm f/4L IS USM799.99150.00649.99
Canon EF 28-135mm f/3.5-5.6 IS USM383.9938.40345.59
Canon EF-M 55-200mm f/4.5-6.3 IS STM279.9928.00251.99
Canon EF-S 55-250mm f/4-5.6 IS II199.9920.00179.99
Canon EF-S 55-250mm f/3.5-5.6 IS STM239.99110.00129.99
Canon EF 70-200mm f/2.8L USM1,079.20107.92971.28
Canon EF 70-200mm f/4L IS USM959.2095.92863.28
Canon EF 70-200mm f/4L USM519.9952.00467.99
Canon EF 70-300mm f/4.5-5.6 DO IS USM1,119.20111.921,007.28
Canon EF 70-300mm f/4-5.6L IS USM1,079.20107.92971.28
Canon EF 70-300mm f/4-5.6 IS USM519.99200.00319.99
Canon EF 100-400mm f/4.5-5.6L IS USM1,359.20135.921,223.28
Canon TS-E 17mm f/4L1,719.20171.921,547.28
Canon EF 20mm f/2.8 USM431.9943.20388.79
Canon EF-M 22mm f/2 STM199.9920.00179.99
Canon EF 24mm f/2.8 IS USM479.9948.00431.99
Canon EF-S 24mm f/2.8 STM119.9920.0099.99
Canon EF 28mm f/1.8 USM407.9940.80367.19
Canon EF 28mm f/2.8 IS USM439.9944.00395.99
Canon EF 35mm f/2 IS USM479.9948.00431.99
Canon EF 50mm f/1.2L USM1,159.20115.921,043.28
Canon EF 50mm f/1.4 USM319.99100.00219.99
Canon EF 50mm f/1.8 STM100.7911.0089.79
Canon EF 50mm f/1.8 II100.7910.0890.71
Canon EF-S 60mm f/2.8 Macro USM375.9937.60338.39
Canon EF 85mm f/1.2L II USM1,599.20159.921,439.28
Canon EF 85mm f/1.8 USM335.9976.00259.99
Canon EF 100mm f/2 USM399.9940.00359.99
Canon EF 100mm f/2.8L Macro IS USM719.9972.00647.99
Canon EF 100mm f/2.8 Macro USM479.9948.00431.99
Canon EF 400mm f/5.6L USM999.2099.92899.28
Canon Speedlite 600EX-RT439.9960.00379.99
Canon Speedlite 270EX II135.9956.0079.99
Posted to: Canon News
Post Date: 10/9/2016 7:55:33 AM CT   Posted By: Sean
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