For a limited time, B&H
has the Zoom H1 Ultra-Portable Digital Audio Recorder (Silver)
available for $69.99 with free expedited shipping. Regularly $99.99. Product Highlights
- X/Y Stereo Mic
- Records WAV and MP3 up to 24-bit/96kHz
- Records to microSD/SDHC
- 3.5mm I/O
- High-Speed USB 2.0 Connectivity
- Backlit LCD Display
- Built-In Speaker
- Uses 1 AA Battery
- Threaded Tripod Mount Socket
From Canon USA: MELVILLE, N.Y.
– Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the company will return as a Sustaining Sponsor to the 2016 Sundance Film Festival (January 21–31, 2016). In sponsorship with Sundance Institute, Canon will pay tribute to the best of independent film and offer exciting new programs dedicated to the filmmakers behind the camera.
Canon celebrates the creativity behind every film at the Festival and is pleased to share that at least 51 of the 247 films premiering as part of this year’s slate – over 20 percent – were shot using Canon equipment. Canon-shot projects screening at the Festival include the seven-hour true crime documentary O.J.: Made in America, Miles Ahead,
Liz Garbus’s Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper, The New Yorker Presents, Holy Hell, Norman Lear: Just Another Version of You
, and Bryce Dallas Howard’s short film solemates
“In sponsoring with the Sundance Film Festival, Canon and the filmmaking industry connect and grow together,” said Yuichi Ishizuka, president and COO, Canon U.S.A. “The Festival is an annual reminder that the tools we engineer are being used at the highest creative level all over the world, and the conversations we have with filmmakers here help shape the new products that we create for the industry.”
In 2016, Canon will again invite select Sundance Film Festival attendees for a hands-on exploration of the filmmaking process at the Canon Creative Studio (427 Main Street; open Saturday, January 23-Tuesday, January 26, from 11am-6pm). At this daily hub for cinematographers, directors, editors, producers, and crew, guests will explore how Canon supports all aspects of filmmaking -- from production design to image capture, through edit and workflow. The Canon Creative Studio will also serve as host to the invite-only Raise Your Glass with Canon cocktail party on Sunday, January 24, Canon’s fourth annual celebration toasting the filmmakers who push creative boundaries.
Inside the Canon Creative Studio, guests are invited to experience a touch-and-try display of the latest Canon gear, including the new EOS C300 Mark II Digital Cinema Camera, an EOS C500 Digital Cinema Camera mounted on Intuitive Aerial’s Aerigon professional cinema drone and a pitch-black demonstration of the ME20-FSH Multi-Purpose camera, Canon’s exciting new ultra low-light, four million ISO camera.
Each day, Canon Live Learning will offer hands-on workshops with Canon’s newest cinema camera, the Canon EOS C300 Mark II. Loren Simons, Canon senior product and sales trainer, will lead intimate groups on walking tours through scenic downtown Park City, exploring the camera’s high-sensitivity shooting capabilities, dual-pixel CMOS autofocus, and internal HD/2K/4K recording system.
To exhibit how Canon serves filmmakers through the post-production process, Canon is honored to partner with Adobe for a live 4K post-production demonstration led by filmmaker Jon Carr. Utilizing two of Canon’s DP-V3010 4K Reference Monitors, Carr will demonstrate his tricks of the trade for editing and coloring 4K footage shot with the EOS C300 Mark II camera in Adobe Premiere Pro CC software.
While motion picture is at the heart of the Sundance Film Festival, Canon is rooted in supporting the art of still photography. The walls of the Canon Creative Studio will be adorned by a never-before-seen gallery of original images from leading cinematographer Polly Morgan (Holy Hell, The Intervention
), shot with a range of Canon EF lenses. Festival filmmakers will also have the opportunity to have their portrait taken by photographer Michael Ori on the Canon EOS 5DS R DSLR camera. Canon will send their guests home with an 8x10 copy of their portrait, printed in-house with the new Canon imagePROGRAF PRO-1000 Professional Inkjet Printer. Canon has partnered with No Film School to launch a new filmmaking podcast out of the Sundance Film Festival, debuting with 10 live episodes recorded on-site at the Canon Creative Studio. The podcast will feature lively interviews with top festival filmmakers including Roberto Schaefer, ASC, AIC (Miles Ahead, Quantum of Solace
), Wolfgang Held (Sophie and the Rising Sun, Years of Living Dangerously
), Nick Higgins (OJ: Made in America, The Crash Reel
), Martina Radwan (Trapped, The Eagle Huntress
), Richard Henkels (Author: The JT Leroy Story
), Bernardo Britto (Glove, Jacqueline (Argentina)
), and Bérénice Eveno (solemates, Verbatim: The Ferguson Case, The Free World
On Monday, January 25, in the New Frontier Gateway Microcinema, Canon will present a screening and panel in celebration of the 10 year anniversary of the Canon EOS 5D camera called “A Decade of DSLRs: Creative Minds Talk the Evolution of Hand-Held Filmmaking.
” Moderated by Ryan Koo (Founder, No Film School and author, The DSLR Cinematography Guide
), cinematographers Bryce Fortner (Too Legit, Portlandia
), Tom Hurwitz, ASC (Nothing Left Unsaid: Gloria Vanderbilt & Anderson Cooper
), and Joe Passarelli (Anomalisa
) will join photographer, director, and Canon Explorer of Light Lauren Greenfield (The Queen of Versailles) and Canon’s Senior Film and Television Advisor Tim Smith in discussing evolution of DSLR filmmaking, with an eye to the future.
Canon is also pleased to partner again with Indiewire, the leading news and networking site for the independent film and television industry, to deliver exclusive content and share up-to-date happenings from the Canon Creative Studio. Throughout the Festival, Indiewire will feature a series of interviews with Sundance cinematographers called “How I Shot That,” presented by Canon. To read the series, please visit
Indiewire will also feature an online gallery of a selection of Michael Ori’s photographs
taken in the Canon Creative Studio portrait studio.
For a full schedule of events for Canon's activities at the 2016 Sundance Film Festival and to request access to attend, please visit http://sff16.splashthat.com
This is a question that I've been asking myself since the Canon EF 24-70mm f/4L IS USM Lens
was introduced back in 2012. Since that time, I have second guessed my own decision multiple times, my vacillating illuminated by the fact that I've had and sold two different 24-105 L Lenses since then. Initially, the significantly higher price tag of the 24-70 f/4L IS made the recommendation decision considerably easier. Now that the list prices have completely equalized (though rebates potentially change the equation significantly), the merits of the lenses themselves become the bigger decision factors.
The first significant fact to understand is that these are both great lenses and for most, there is no wrong decision to be made here. Both lenses are well built including weather sealing, focus fast and accurately, have a great general purpose
focal length range and have IS. They share a very similar design including appearance and on many accounts, can be used interchangeably.
The primary and significant advantage held by the 24-105 f/4L IS is the extra 35mm of focal length range on the long end.
The 7-years-younger 24-70 f/4L IS is a modestly smaller and slightly lighter lens. It is 0.52" (13.3mm) shorter when retracted (actual measured length) and 0.68" (18.5mm) shorter with the hood installed. The 24-70 weighs 2.3 oz. (65g) less with hood installed (actual measured weight). Are these differences? Yes. Are they significant ones? Not so much.
A stronger advantage for the 24-70 is its very impressive macro capability. A 0.70x maximum magnification from a non-prime-macro lens is eye-opening and significantly more impressive than the 24-105's 0.23x spec. However, it should be kept in mind that a 12mm extension tube can push the 24-105 to 0.60x maximum magnification. Disclaimer: I have not made an image quality comparison with the extension tube in play.
Image quality comparisons I have made show that:
At 24mm with a wide open aperture, the 24-70 f/4L IS bests the 24-105 L IS in sharpness by a modest amount. The 24-105 L delivers a sharper image at 50mm f/4, but at 70mm the 24-70 f/4L is back up to near equality with the 24-105 L. These two lenses perform more similarly at f/5.6 and at f/8 their results are nearly identical. The difference is negligible at f/11.
The 24-70 has less distortion, especially at 24mm. It also has noticeably less CA at the wide end, but more at 70mm. The 24-70 f/4L IS has less vignetting at the wide end at f/4, but more at the long end. By f/5.6, the two lenses are close in this regard.
Affecting image quality on a limited basis is the aperture blade count. The 24-70 has 9 blades vs. the 24-105 L's 8. This difference will primarily be noticed when point light sources are photographed at narrow apertures, with the odd blade numbered aperture creating 18-point sun stars vs the even's 8-point stars.
Another difference between these lenses is Canon's 4-stop Hybrid Image Stabilization featured in the 24-70, correcting both angular and shift movement in macro mode. The 24-105 L has 3-stop non-Hybrid Image Stabilization. Theoretically, the 24-70 can be handheld in 1/2 as much light as the 24-105 can be handheld in. The Price
If price remains a deciding factor for you ... even though the list prices are equal, there remains at times a considerable difference, thanks to a rebate and a reward differential.
As of this post date, B&H
has the Canon EF 24-70mm f/4L IS Lens
in stock with a $150.00 instant rebate with a 10% B&H reward. Also in stock is the Canon EF 24-105mm f/4L IS Lens
with a 4% reward. Check today's prices as these will, at some point, surely change.
Willing to buy a white box and/or gray (same lens not imported by Canon USA) version? On eBay
, the Canon EF 24-105mm f/4L IS Lens
can currently be found for as little as $595 – an incredible value. Not too far behind is the Canon EF 24-70mm f/4L IS Lens
in white box condition currently priced at starting at $675.00 on eBay
. These prices change, so check these links to get the latest.
Buying these lenses in refurbished by Canon condition is another great option. Expect Canon refurbished lenses to be in like-new condition and they usually (verify) have a same-as-new warranty. Check refurbished inventories at B&H
. My Own Decision
After going back and forth, and back and forth, and carrying both lenses some of the time, I've personally settled on the 24-70mm f/4L IS as my primary walkaround, travel and general purpose lens. I usually have a telephoto zoom with me, reducing the value of the 24-105's focal length advantage. That leaves all of the other advantages to outweigh the 24-105's primary advantage. I've used the 24-70 f/4L IS in the 4 corners of the 50 USA states and many locations within. It has served me very well and has now permanently replaced my 24-105 f/4L IS. Reviews Canon EF 24-70mm f/4L IS USM LensCanon EF 24-105mm f/4L IS USM Lens
The success and popularity of Profoto's B1 Off-Camera Flashes
has led to the devlopment of similarly spec'd competitors.
First came the Phottix Indra360 and Indra500 TTL Monolights
, but now Interfit has joined the game with their new S1 500Ws HSS TTL Battery-Powered Monolight
and S1 TTL Remote
, both of which are now in stock at B&H
. Interfit S1 Features Complete Package
500Ws monolight with High-Speed Sync, TTL for Canon and Nikon, IGBT technology, lithium-ion battery, and multi-voltage AC power pack in one complete package S1 TTL Remote
The S1's TTL remotes give the users direct control over any S1 light in any shooting mode from the camera position. This camera-mounted transmitter is available for both Canon and Nikon cameras and supports E-TTL II and i-TTL protocol. Having three individual groups gives users the freedom to control lights individually to create dynamic lighting ratios with a working range of up to 300' (100 m) Power Suppy
Each Interfit S1 comes standard with both battery and AC-power sources. The interchangeable 4500mAh Li-ion battery provides up to 350 full power flashes in Manual and TTL modes and over 400 full-power flashes in High-Speed Sync mode. This wire-free power source gives photographers the freedom and mobility to venture out from the studio and rapidly set up and reposition lights on location. For traditional studio work, the S1 also ships with an AC power pack (adapter). This multi-voltage (100-240V) adapter can be used anywhere in the world and lets photographers continue to shoot while their battery is charging Shooting Modes
The S1 has three different shooting modes, each to serve a different purpose and shooting style. Interfit's S1 Remote for Canon or Nikon enables photographers to take advantage of their camera's TTL system just like they would with a speedlight. This automated light output uses the S1's entire 7-stop power range (500W - 7.8Ws), is automatically calculated in 1/10th stop increments, and allows for +/- 3 stops of exposure compensation Manual Mode and High-Speed Sync
For those that prefer to have complete control of their light and have time for fine-tuned adjustments, the S1 can be used in the traditional manual mode. Manual shooting mode also utilizes the entire 7-stop power range, controllable in 1/10th stop increments. While in manual mode, users can access the S1's High Speed Sync mode, reaching shutter speeds up to 1/8000th of a second. High-Speed Sync mode utilizes the top 4 stops in the power range (500Ws - 62.5Ws) and is manually adjustable in 1/3-stop increments IGBT
Utilizing IGBT technology, the S1 is able to offer short flash durations while maintaining color accuracy throughout the power range. Flash duration ranges from 1/1000 at full power, down to 1/9000 at minimum power. While shortening the flash duration, Interfit was also able to improve color accuracy, giving the S1 a consistent 5700K (+/-100k) color temperature throughout the entire power range
From the Canon Professional Network
"Colin McMaster is one of the world’s best when it comes to rally photography. The fast-paced motorsport that covers the globe throws up more than its fair share of great images – and great challenges – as he explains to CPN Editor David Corfield...
Colin McMaster lives life by the clock. The sport of rallying – itself governed by hours, minutes and seconds – extends far beyond the lens for him. Rallying is his livelihood and much of his downtime is given over to his passion: photography."
Read the entire article on the Canon Professional Network
. Colin McMaster's Rallying Kitbag Cameras:
- 2x EOS-1D X
- 1x EOS-1D Mark II (for remote work)
- EF 8-15mm f/4L Fisheye USM
- EF 11-24mm f/4L USM
- EF 14mm f/2.8L II USM
- EF 16-35mm f/2.8L II USM
- EF 24mm f/1.4L II USM
- EF 24-70mm f/2.8L II USM
- EF 50mm f/1.0L USM
- EF 70-200mm f/2.8L IS II USM
- EF 70-200mm f/4L IS USM
- EF 70-300mm f/4-5.6L IS USM
- EF 100-400mm f/4.5-5.6L IS II USM
- 3x Speedlite 600EX-RT flashguns
- Speedlite Transmitter ST-E3-RT
- PocketWizard remotes
- Manfrotto tripods
- MacBook Pro laptop (loaded with Adobe Lightroom)
Through Valentine's Day, use coupon code LOVE15
at LensRentals to save 15%
on your rental arriving by February 15. Details
- Must use code LOVE15 at checkout
- Applies to orders with arrival dates between 1/21/16-2/15/16
To support this site, navigate to the appropriate product review
and click the
For a limited time, B&H
has the Shure PG48-XLR Cardioid Dynamic Vocal Microphone
available for $22.99 with free shipping. Regularly $39.99. Product Highlights
- Dynamic Element
- Tuned for Vocals
- For Spoken Word and Karaoke
- Cardioid Polar Pattern
- Good Off-Axis Rejection
- Less Susceptible to Feedback
- High SPL Handling
- On/Off Switch for Stage Control
- Integrated Pop Filter
- XLR to XLR Cable (15' / 4.57m)
- 5/8" to 3/8" Threaded Adapter
- Carrying Pouch
- Microphone Clip
- Limited 1-Year Warranty
This mic is the XLR-to-XLR version. The XLR-to-1/4"
version is also reduced.