Canon and Sony News for Jun 2015 (Page 2)

Not long ago, the Samsung UK website was one of the better sources for obtaining information regarding Samyang Lenses. Why? As the Samyang UK site was authored by English-speaking natives, it was much easier to read (the press releases were translated very well) compared to some of the other international Samyang sites.

Over the past year or so, the main Samyang Optics site has gotten much better for English-speaking individuals and has been redesigned with a great look. The main site has gotten so good, in fact, that it looks as if Samyang decided to go a different direction with their UK-oriented site.

Just think, if Samyang had made this change around April 1, no one would have thought I was being serious in reporting this change. But truthfully, I'm just not creative enough to have come up with this.

Ramen, anyone?

From the Canon Professional Network:

If you are a photographer under the age of 24 or in full-time photographic education, or have just graduated, you have until Tuesday 14 July 2015 to apply online for this year’s Ian Parry Scholarship. A £3,500 prize plus incredible career opportunities await you...

Photojournalist Ian Parry died, aged 24, while on assignment for The Sunday Times during the Romanian revolution in 1989. Aidan Sullivan, The Sunday Times’ picture editor at the time plus Ian’s friends and family, established the Scholarship to honour his memory and help young emerging photojournalists.

Says last year’s winner, Alejandro Cegarra from Venezuela: “Three years ago when I started my photography career in a Venezuelan newspaper, I never thought that I would be where I am today and I wouldn’t be where I am without the scholarship. It has been a unique opportunity in every way.”

“The Scholarship put my work on the map: assignments, editors, you meet photographers who you admire, and that makes you grow. It is like finally opening your eyes.”

Cegarra added: “Ian Parry’s brother told me ‘No matter what you do or who you are in the future, from now on you will always be part of the Parry family’ and since then I always try to honour those beautiful words and the Ian Parry legacy.”

The Scholarship’s founder and driving force, Aidan Sullivan, added: “It has been remarkable to look back over 25 years and see what the Ian Parry Scholarship has achieved, how it has managed to help so many photographers in the early stages of their careers and has become one of the most important, widely respected and renowned award for young photojournalists.”

“We have a long list of alumni who are now amongst the most influential photographers of their generation: Marcus Bleasdale, Jonas Bendiksen, Simon Roberts, Sebastien Liste and just last year Alejandro Cegarra was added to that list.”

“Alejandro visited Visa pour l’Image in Perpignan, France, last year and sat alongside our Patron Don McCullin at a press conference to mark the 25th anniversary of Ian’s death. Little did he know then that within just 12 months he would join Reportage by Getty Images and be on his way back to Perpignan with his own exhibition.”

“That is how important this award is and I am immensely proud of what we have achieved – and I know that Ian would too.”

How to enter
Entrants must submit examples of their work from their portfolio and a brief synopsis of a project they would undertake if they won. The prize consists of £3,500 towards their chosen assignment and £500 to those awarded Highly Commended and Commended.

The benefits of winning this prestigious prize are considerable. World Press Photo automatically accepts the winner onto its final list of nominees for the Joop Swart Masterclass, held in Amsterdam, The Netherlands. This is a significant prize for any photographer and along with the support of Getty Images, Canon Europe and The Sunday Times Magazine – which publishes all the finalist’s work – the scholarship provides an excellent launch into a professional career in photography.

For more information and how to apply go to the Ian Parry Scholarship website.

In this video, B&H provides some hands on insights regarding the Audio-Technica System 10 Wireless Mic System.

This looks very similar to the RodeLink Wireless Filmmaker Kit that was released earlier this year (though the AT System 10 came out first). I've been researching audio recording options over the past few months and I've been weighing the pros and cons of this type of setup. I'm not quite sure what I'll eventually end up with, but Audio-Technica System 10 is now high on the list of possibilities. [Sean]

B&H carries the Audio-Technica System 10 Wireless Mic System.

From Nikon Europe:

#Nikonpresents the work of urban explorer & photographer, David de Rueda. David had an ambition: to explore abandoned places across Europe and photograph them in a way that had never been done before. Nikon supported his goal and after 44 days of exploring 9 countries he came back with incredible photographs. Stay tuned for more!

B&H carries the Nikon D810 DSLR camera.

ISO noise test results have been added to the Canon EOS 5Ds and 5Ds R review pages.

As the rule goes with today's technology, along with a higher density sensor comes increased noise levels. Design a sensor with a pixel density equal to that of current APS-C sensors and ... one should expect noise levels that are similar to those in APS-C DSLRs. Make no mistake, Canon has not marketed this camera for its clean low light/high ISO performance and that is reflected in the 5Ds' max ISO setting that is lower than what is found even in many current APS-C models. Canon initially indicated that the 5Ds' noise levels would be better than the 5D II and 7D II, but not as good as the 5D III.

My personal expectation was that, when compared at the pixel level, the 5Ds noise levels would be close to those of the not-long-prior released high end EOS 7D II APS-C DSLR and when the 50.6 MP image was scaled down to 5D III pixel dimensions, the 5Ds would have an advantage, producing noise levels similar to or better than the 5D Mark III.

As I was very anxious to see the 5Ds noise test results, this test was a near-first order of business when the cameras arrived and these test results can be found in the noise comparison tool. Note that the "Standard" results in these tests include no noise reduction. This is not a default setting, but these results show what the camera itself can do. The color blocks, having areas of solid color, make ISO noise very apparent. If you can't see a difference in noise when comparing the color blocks between cameras, you are not likely to see any difference in your images. If the difference is tiny, there are likely other camera features that will be more influential in your decision making process.

Getting an important comparison out of the way: the noise difference between the 5Ds and 5Ds R is indiscernible. Noise is not a decision factor for choosing between these two cameras.

A large number of photographers looking for the resolution offered by this camera will be capturing commercial, studio, portrait, landscape, still life, architecture and a great many other subjects that are most frequently captured at ISO 100 or 200 and those images will be very clean. A very small amount of noise can be seen at ISO 400. Noise levels basically double as full stop ISO range settings are traversed with noise becoming strong but tolerable at 3200. Though this camera's highest ISO setting is 12800 (H), the noise levels are such that ISO 12800 images can be usable for some purposes. That is something I haven't been able to say about the highest ISO settings of any DSLR in a very long time.

Some may be disappointed that the 5Ds only goes to 12800 while cameras such as the 7D II have much higher ISO settings available, but ... bragging right appears to be the only useful value for the 7D II's ISO 51200 setting (or ISO 25600 for that matter). I can't think of a use I have for an image with that much noise.

If you were one of the few that use APS-C ISO 25600 or ISO 51200, simply dial in another stop or two of brightness while post processing. The 5Ds ISO 12800 images can be brightened during post processing to achieve the same 7D II ISO 51200 equivalent with similar amounts of noise. See the "Simulated High ISO" result set in the noise comparison tool for these examples. Brighten 5Ds ISO 12800 images by three stops to get to the 5D Mark III max ISO 102400 equivalent. Then downsize the 5Ds results to the 5D III pixel dimensions and the results are similar (and equally unusable to me). I applaud Canon for designing a realistic max ISO setting into this camera.

After getting over the striking resolution difference between the 7D II and 5Ds, it is apparent that these two bodies have very similar amounts of noise at the pixel level with the 5Ds having a slight advantage at the highest settings. Downsize the 5Ds results to 7D II dimensions and the 5Ds has at least 1 stop of advantage.

When compared at native resolutions, 5Ds images are noisier than 5D III images. The differences, especially at higher ISO settings, are less than 1 stop. Down-sized to 5D III pixel dimension (using DPP, see "Standard Down-Sized to 5D III" in noise tool), 5Ds noise levels are essentially equal to full frame 5D III noise levels and even slightly better at the highest ISO settings. So, while Canon's is not promoting this camera for its low light capabilities, I see it as one of the best options available with output size being comparable.

Additional 5Ds and 5Ds R example sets available in the noise comparison tool include "JPG No NR" (JPG Capture, Standard Picture Style, No Noise Reduction), JPG STD NR (JPG Capture, Standard Picture Style, Standard Noise Reduction), RAW STD NR (RAW Capture, Standard Picture Style, Standard Noise Reduction) and MSNR (Multi-Shot Noise Reduction). All four of these sets utilize Canon's default USM sharpness settings that are too strong for my taste (though the increased default sharpness will make softer lenses appear sharp). Look for the bright borders to the black lines when comparing to the "Standard" results – the color blocks should not have halos around them. On the positive side, this sharpening appears better at higher ISO settings, with image details remaining sharp while noise is significantly removed.

I use the Neutral Picture Style in-camera with RAW capture because it applies a lower contrast tone curve to images, providing a better picture of the camera's available dynamic range on the histogram shown on the LCD. Neutral Picture Style results appear somewhat dull. There is a time for the use of the Neutral Picture Style in production, but I usually change my RAW images to the Standard PS immediately after importing them and then adjust sharpness to a lower level.

The three sets of with-noise reduction samples all utilize Canon's default "Standard" reduction level. The 5Ds offers three levels of in-camera noise reduction and unlimited levels are available in the various post processing options. The RAW vs. in-camera JPG noise reduction samples are not identical, but I don't see a compelling reason to use in-camera JPG noise reduction over having the ability to adjust noise reduction during post-processing. Noise reduction can noticeably eliminate noise, but the collateral damage is elimination of some subject details along with the noise. Sharpness can also be decreased. Ideal is to dial in the right amount of noise reduction for your particular image. I seldom use noise reduction in the lower ISO range.

The Multi-shot Noise Reduction (MSNR) is an additional in-camera option available in many of the latest EOS models including the 5Ds. MSNR merges information from multiple (four) exposures taken in a full-frame-rate burst into a reduced noise image. The concept makes a lot of sense. MSNR provides a remarkable one stop or more of noise reduction, but ... I still have not found a compelling use for this feature.

The downsides to Multi-Shot Noise Reduction include: MSNR is currently available only with JPG output (I would like to see this feature added to Canon's Digital Photo Pro software for RAW capture processing - perhaps as another HDR preset). Multi-Shot Noise Reduction is not so useful with moving subjects (or with a moving camera). Long exposure NR, Dust Delete Data, Multiple Exposure and HDR Mode must be set to off to enable MSNR. The 5Ds reverts back to Standard NR in Auto/Basic zone modes, during video recording, in Bulb mode and when the camera is powered off. Flash is not supported in MSNR mode. After the 4 shot burst is captured, the camera remains "busy" for a noticeable period of time while processing the merged image. So, while this feature is a nice idea, its limitations make it less useful in real-world applications. I am far more likely to use a low ISO setting with a longer exposure when shooting stationary subject from a tripod.

EOS 5Ds ISO settings are available in 1/3 stop settings from 100 through 6400 with extended L (50) and H (12800) settings also available.

Canon EOS 5Ds and 5Ds R Noise Performance Summary

In summary, the 5Ds and 5Ds R (equally) deliver very clean, smooth results at low ISO settings despite their incredible resolution. While these cameras are more similar to the latest APS-C models in their pixel-level high ISO noise, downsizing the ultra-high resolution images to match any other class-leading full frame, low noise-level camera shows the 5Ds to be at least an equal in performance. While the 5Ds may not take low light performance to a whole new level, low light performance is not sacrificed and this camera competes strongly with the best available in this regard.

June 23, 2015 – Manfrotto, world leader in the photography and imaging equipment and accessories industry, announces the launch of the new XPRO Ball Head. Designed for passionate, advanced hobbyist photographers and experienced professionals, the new XPRO Ball Head completes the XPRO Heads range that is dedicated to the new 190 and 055 tripods.

It ensures three features essential to photographers: extreme precision, thanks to its Triple Locking System; portability, with a hard-wearing magnesium body; simplicity and convenience, thanks to its 200PL and Top Lock camera plates.

PRECISION
Introducing a new sphere lock mechanism, and triple locking system, the XPRO Ball Head is a state of the art head in the Manfrotto ball heads range. The triple locking system guarantees the camera position stability and avoids drifting. It consists of three wedges which apply pressure to the sphere to lock it in position, as the ball lock lever is rotated. The new polymer rings mean that photographers can count on extreme accuracy, and together with the sphere’s PTFE treatment the head ensures smooth, accurate and less jerky camera movement. The innovative sprung system means that, should the lever butt against something during the locking movement, it is possible to pull the lever and rotate to avoid any interference and reposition so it is ready for use. Finally, the levelling bubble helps the user level compositions precisely reducing post-production work.

PORTABILITY
Its magnesium alloy body, together with the new hollow sphere, enables the XPRO Ball Head to guarantee high payload performance while maintaining an extremely light structure. It weighs a mere 0.5 kg (1.1 lbs), but can support up to 10kg (22 lbs) of payload.

SIMPLICITY & CONVENIENCE
To match various needs, the XPRO Ball Head comes in two plate versions, each with a specific plate. The 200PL is the most common Manfrotto plate: its compact size and lightweight aluminium construction allow it to stay constantly attached under the camera – ideal for advanced hobbyists who are looking for a practical, easy to use product. The Top Lock is an innovative solution for experienced professionals, who need to feel totally secure even when using heavy and expensive high-end camera gear. The XPRO Ball Head is available in two versions that are distinguishable by the coloured finish on their magnesium body: the black version comes with the 200PL, while the grey version comes with the safe and rapid Top Lock System, the MSQ6PL (Arca-Swiss compatible) plate. The new XPRO Ball Head’s design follows the iconic new styling that unites Manfrotto’s entire offering for advanced hobbyists and professionals – while boasting groundbreaking technology, further proof of Manfrotto’s commitment to research and development.

PRICE AND AVAILABILITY
The Manfrotto XPRO Ball Heads are available now from authorized resellers. The Manfrotto MHXPRO-BHQ2 XPRO Ball Head with 200PL Quick-Release System retails for an MSRP of $149.88 while the MHXPRO-BHQ6 XPRO Ball Head with Top Lock Quick-Release System retails for an MSRP of $199.88.

B&H carries the Manfrotto MHXPRO-BHQ2 XPRO Ball Heads.

From Kenko Tokina USA:

JUNE 23, 2015 – Kenko Tokina USA, Inc. is excited to announce the new Tokina AT-X 24-70mm F/2.8 PRO FX lens designed for use with Canon and Nikon full-frame sensor DSLR cameras.

Tokina’s latest addition to its family gives full-frame photographers a 24mm wide-angle to 70mm moderate telephoto lens with a fast F/2.8 aperture at an affordable price.

The new groundbreaking proprietary optical design uses three precision molded all-glass aspherical lens elements to achieve excellent contrast, sharpness, and corrects for spherical aberrations. One of these elements is very special and difficult to manufacture. G09, is made from Super-Low Dispersion (SD) glass and is a large sized aspherical element.

These lens elements also yield even illumination across the whole image sensor.

The Tokina 24-70MM lens also uses three SD (super-low Dispersion, “FK01” and FK03”) glass elements in the rear groups to control chromatic aberrations.

All these specialized lens elements work in consort to yield maximum resolution to match the 50-megapixel DSLR cameras entering the market.

The fast constant F/2.8 aperture makes viewing and auto focusing possible in very low light situations while keeping some flexibility for setting the shutter speed.

In addition to excellent optics, the lens incorporates a fast moving SDM (Silent Drive-Module) motor to greatly reduce AF noise making it one of Tokina’s quickest and quietest auto-focusing lenses to date.

Tokina’s exclusive One-touch Focus Clutch Mechanism allows the photographer to switch between AF and MF simply by snapping the focus ring forward for AF and back toward the lens mount for manual focusing. The lens is also designed to stand up to the rigors of daily use by photographers in a wide variety of shooting conditions and environments.

Specifications:

From Canon USA:

Colorful Balloons Create Vivid Imagery in Bright New Mexico Sky that Inspire Visitors to Capture Dreamlike Moments with Canon See Impossible

MELVILLE, N.Y., JUNE 23, 2015 – Filling Albuquerque's skies for a picture perfect moment, Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce that it is the Presenting Sponsor for the Albuquerque International Balloon Fiesta, a world-renowned attraction and destination from Oct. 3-11, 2015 in Albuquerque, New Mexico. As part of the sponsorship, Canon will present the Opening Day Mass Ascension that highlights the launch of 550 colorful hot air and gas balloons. The Company will also present the spectacular Night Magic Glow, where balloons light up the night sky on the second Saturday of the Balloon Fiesta. To mark the beginning of this significant three-year sponsorship, a Canon See Impossible balloon will fly through the sky.

"We are thrilled to have Canon come onboard as the Presenting Sponsor. We look forward to this partnership creating exciting opportunities for our guests and community," said Balloon Fiesta board president, Mike Rice.

As the Official Imaging Company of the Balloon Fiesta, Canon will host hands-on activities to allow attendees to experience the wide array of its photographic and printing products, and will provide educational experiences to help attendees see impossible and capture photos and videos like never before. Additionally, Canon is collaborating with the Albuquerque International Balloon Fiesta to present the Cindy Petrehn Memorial Photo Contest, where attendees can share and submit their favorite photographs of the luminous event.

"As one of the most photographed events in the world, being the presenting sponsor of the Albuquerque International Balloon Fiesta is a natural fit for us," said Eliott Peck, senior vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., Inc. "Our sponsorship is a testament to our commitment to the local Albuquerque community and our customers. Through this initiative, we want to inspire hundreds of thousands of attendees to showcase their creativity and learn how the right tools can help preserve memorable moments for years to come."

Want to watch the the balloons soar above Albuquerque? Expedia can help you get your travel plans in order.

From Venus Optics:

The first 1:1 Macro lens with a 110° angle of view. It offers an impactful and unprecendented macro photography experience.

Anhui China, Jun 12, 2015 – Venus Optics, the Chinese camera lenses manufacturer who had launched the world’s first 2:1 Macro Lens in last Sept, has just released the world’s widest Macro lens for full frame cameras, Laowa 15mm f/4 Wide-Angled 1:1 Macro Lens.

The new Laowa 15mm f/4 1:1 Macro lens is the first lens in the market which posseses a ultra wide angle of view and 1:1 Macro ability. This allows photographers from around the world to start experiencing the rather undeveloped field of ‘Wide Angle Macro Photography’ without using an extension tube. Macro Lenses currently in the market tends to have a mid to long focal length and it limits users to take very close-up shots on the insect or flowers, without showing much of the background details like its habitat or environment.

The new Laowa 15mm f/4 1:1 Macro lens features an ultra wide angle of view of 110 degrees with 1:1 maximum magnification. Photographers can focus very close to the subject and let the foreground dominates in the photo but at the same time, have the background telling viewers about where and how the subject lives. You picture will immdiately become very informative and intriguing.

The lens can also serve as an excellent ultra-wide angle lenses with infinity focus for cameras with full frame sensors. A shift mechanism is added at the rear end of the lens with a maximum adjustment of +/- 6mm, which is extremely useful for landscape/architecture photography for distortion correction.

The lens houses with 12 elements in 9 groups with 3 pieces of High Refractive elements and 1 piece of Extra-low dispersion elements to deliver crystal sharpness both in the center and the edge. Barrel Distortion was also carefully controlled. 14 pieces of aperture blades form a close-to-circular aperture, capable of creating creamy shallow depth of view. The enclosure of the lens is made of metal to strengthen its durability. Canon EF, Nikon F, Sony Alpha, Sony FE and Pentax K mounts are available.

Product Specifications

Because the new Canon EOS 5Ds and 5Ds R have such extreme resolution, image quality test results from these cameras show only a small subset of the test chart details compared to even the highest resolution camera previously included in this tool. I lamented about the loss of details yesterday and promised to work on a solution. My first pass at this solution is now live.

For any results captured with the 5Ds or 5Ds R cameras, an additional three crops are presented below the original three. This strategy allows the new cameras to be integrated into the existing tool while preserving the integrity of the previously existing results. The new crops include the numbers from the chart that are just outside of the original center, mid-frame and corner crops.

You can test drive the enhancement here. Feedback and better ideas are welcomed!

From the Joe McNally YouTube Channel:

Nikon Ambassador, Photographer Joe McNally, revisits Dubai again to dangle on ropes off the side of the amazing Burj Khalifa (The World’s Tallest Building). This time it’s a descent from floor 112 with fearless window washers. For McNally’s story and a wonderful array of photos, check out his blog.

B&H carries the Nikon D810 DSLR Camera (which currently qualifies for a $300.00 instant rebate).

by Sean Setters

Let's face it – photo gear is expensive. Most gear purchases require a significant amount of planning, saving and consideration before pressing the "Add to Cart" button. However, there are a few pieces of gear that are, in my opinion, worth much more than you pay for them.

Here are five inexpensive (less than $20.00) tools that no photographer should be without:

1. Giottos Rocket Blaster Dust-Removal Tool ($8.95 - $11.95) – If you own a DSLR and ever change your lens (that includes most of us), this tool is indespensible in keeping your sensor clean. For stubborn stuck-on dust and debris, you'll need to peform a more expensive wet cleaning, but the Rocket Blaster is the best (and cheapest) first line of defense against dust spots showing up in your images. It's also a great tool for cleaning the exterior of cameras and lenses which can lessen the time involved in post-processing product shots (and why Bryan uses this tool substantially more than I do).

2. Filter Wrench ($4.95 - $8.95) – Have you ever stacked filters on your lens? If so, you may already know how valuable this cheap tool can be. I often stack filters – ND + ND, CPOL + ND – and inevitably, they become stuck together. The problem is especailly bad when using a circular polarizer becaues the area you have to grip is significantly smaller than with other filters. In this case, a filter wrench can save you from the time consuming and frustrating headache induced by trying to separate stuck filters.

3. Super Clamp ($19.95) – The possible list of uses for this handy little tool would likely equal the text found in a small novel. While this particular tool isn't terribly useful on its own, it expands what's capable when used with other tools (many of which you may may already own). For example, I've used them to put shoe-mount flashes in hard to reach places (using an umbrella swivel). I've used them to help secure a battery pack to a lightstand (using a hook adapter accessory). I've even used them as a camera platform when shooting in urban environments or as an easy way to mount a remote camera as seen in the image above (using a quick release clamp attached to the top). For what it's worth, I like version with the T-handle best (it's easier to pack as it takes up less room). And by the way, don't carelessly throw away the wedge insert (like I did with my first super clamp); it's used to allow the clamp to be easily and safely mounted to flat surfaces.

4. Microfiber Cloth ($1.59 - $8.95) – I have approximately a dozen of these stuffed into various camera bags and drawers but I'd never complain about having more of them. They are the best tool for keeping your front element/front filter clean. As such, they should never be out of arm's reach.

5. Gaffer Tape (starting at $1.95) – The beauty of this tape is how well it holds in place and how easily it can be removed without leaving a sticky residue. If the list of uses for a super clamp could fill a small novel, the list of uses for gaffer tape could likely fill the pages of War and Peace. I could not begin to describe all the ways I've used gaffer tape. If you don't currently have a roll in your gear bag, get one now; you won't regret it.

With a 5Ds and a pair of 5Ds R bodies in house, you can guess what my current priorities are. First up:

Resolution chart test results have been added to the Canon EOS 5Ds and 5Ds R review pages.

The first thing that you will notice is how large the test chart details are in the 100% crops. These cameras deliver simply incredible resolution. Here is a 5Ds R vs. 5D Mark III comparison. A huge list of other cameras can be selected for this test lens, the Canon EF 200mm f/2L IS USM Lens. I suggest using an f/4 or f/5.6 aperture for comparison purposes (for highest lens resolution without effects of diffraction)

The second thing you might notice is that some of the chart details, including the numbers, do not fit into the 5Ds/5Ds R crops shown in the image quality tool. I miss these details and am working on options to include them for these bodies. Your ideas are welcomed.

The first link included on this post shows a comparison between the 5Ds and 5Ds R. Both are impressively sharp even at the very low sharpness setting ("1") used for these crops. The 5Ds R is slightly sharper than the 5Ds, but with the sharp horizontal nearly-parallel lines, the 5Ds R shows slightly more moiré. I have been finding it challenging to find 5Ds R moiré, but a small amount does show on this chart image.

Much more to come.

B&H has the Canon EOS 5Ds in stock and the 5Ds R available for preorder.

Roger Cicala over at LensRentals has been busy testing out the new Canon 5Ds and now [I'm typing this with a slight cringe], tearing one apart.

From the LensRentals Blog:

"When Lensrentals.com first got the first Canon 5Ds and 5D sr cameras in stock, Aaron and I immediately started screaming that we wanted to take one apart. It turns out we received enough 5Ds cameras to let us have a day with one to do just that. Of course, we don't expect to find out anything amazing and revealing. We expect it will look pretty much like the Canon 5DIII and 7DII on the inside. But hey, you never know. Plus we'll be repairing these soon enough, so we might as well find our way around now.

If you want to do some comparisons yourself, you can compare this to our Canon 5D III teardownand Canon 7D II teardown. Or if you'd rather follow along from home with your own 5Ds go grab your screwdrivers and let's get started!"

B&H has the Canon EOS 5Ds in stock with free next day delivery.

Canon has posted three promo videos for the G3 X. If you're not into reading press releases, the video above and directly below will give you a good overview of the camera's features.

Want to see what you can do with the G3 X's video features? Check out this sample video shot entirely on the G3 X below.

B&H has the Canon PowerShot G3 X available for preorder.