Canon and Sony News for Sep 2017 (Page 2)

From Nikon:

Nikon COOLPIX W100 Firmware v.1.5

Changes from Firmware Version 1.4 to 1.5

• Improved an issue that interfered with pairing or resulted in unreliable connections when the camera was used with the Android edition of the SnapBridge app.

Download: Nikon COOLPIX W100 Firmware v.1.5

From the Vitec Group:

The Vitec Group plc ("Vitec" or the "Group"), the international provider of products and solutions to the Broadcast and Photographic markets, announces that on 22 September 2017 it acquired certain assets and liabilities, primarily comprising the JOBY and Lowepro brands, from the DayMen Group S.a.r.l. ("DayMen"), for a cash consideration of $10.3 million (£7.6 million), on a debt/cash free basis, with an expected total investment of $32.0 million (£23.7 million), including deal costs.

Vitec also announces that on 20 September 2017 it acquired RT Motion Systems Ltd ("RTMotion") for up to £3.4 million in cash, including deal costs. RTMotion provides wireless motor lens control systems for broadcast, cine and video cameras.

Stephen Bird, Group Chief Executive of Vitec, commented:

Vitec is the natural home for JOBY and Lowepro and we know the business well. This is an opportune time to buy these high profile, high quality brands: JOBY has been growing rapidly, reflecting its success in developing innovative new products for the camera accessories market, while Lowepro represents an opportunity to improve margins through cost reductions and integration with Manfrotto, along with the potential for additional benefits as its markets improve.

RTMotion is a high technology business which complements our existing activities and gives the Group additional high quality camera accessories for the expanding independent content creator market.

Both of these acquisitions are an excellent strategic and technological fit, have great prospects, and the two acquisitions together are expected to materially enhance earnings per share in 2018 and beyond.

This is an exciting time for Vitec as we continue to expand our range of innovative, new products for the fast growing image capture and sharing market, and I am delighted to welcome both teams to Vitec.

This acquisition is an excellent strategic fit with Vitec's existing core activities. It gives the Group greater access to the fast growing iPhoneography and vlogging consumer accessories market, and expands its presence in the US market by adding high quality, complementary, leading brands to enhance its Photographic Division.

JOBY and Lowepro products are designed and developed in Hong Kong and California respectively. In 2006, JOBY introduced the patented GorillaPod which has transformed the camera accessories market and, like Manfrotto, JOBY has a strong presence in Apple stores. Lowepro has been a market leader in bags designed to protect electronic and photographic devices since its inception in 1967.

In addition to leading brands, the acquisition brings product marketing resources located in California and expert engineering teams based in the Far East. Dedicated supply chain teams are located in Hong Kong and China where all products are manufactured by third parties and sold globally via independent distributors.

Vitec plans to integrate JOBY and Lowepro into its Photographic Division's existing organisational structure, under the leadership of Marco Pezzana, Photographic Divisional Chief Executive.

Strategic rationale for the acquisition:

This acquisition gives the Group:

• A leading global position in the new and fast growing iPhoneography and vlogging accessories markets, as well as the photographic bags market;
• Increased visibility in the US market to become a leading distributor of premium imaging accessories;
• The potential to continue to improve the core business in the consolidated Photographic Division by
• Leveraging the combined brand portfolio and distributor network
• Consolidating and augmenting procurement capabilities
• Enriching the technical capability of the expanded team;
• An expanded product development team and technical capabilities with access to new intellectual property facilitating Vitec's growth in the higher technology areas of iPhoneography and vlogging accessories with JOBY's GorillaPod;
• The opportunity to get closer to customers by consolidating the strategic relationships with Apple and online retailers such as Amazon, the leading consumer electronics retailers, B&H and other photo speciality retailers; and
• A platform to expand further in APAC and strengthen the Group's presence in China and Hong Kong through the JOBY and Lowepro supply chain teams who are based there.

Financial aspects of the acquisition:

• DayMen reported unaudited results for the year to 31 March 2017 of $73.2 million (£56.3 million) revenue with operating profit* of $1.4 million (£1.1 million). EBITDA was $2.1 million (£1.6 million). Net assets were c. $11.0 million (c. £8.8 million) at 31 March 2017 and gross assets were c. $19.7 million (c. £15.8 million) at this date. Net assets acquired are expected to be c. $1.2 million (c. £0.9 million);
• Vitec has acquired certain assets and liabilities of the DayMen Group S.a.r.l. including subsidiary companies in Hong Kong and China for a cash consideration of $10.3 million (£7.6 million). This is subject to certain post-completion adjustments for changes in net assets;
• The one-off cash costs to implement the integration and deliver cost savings are expected to be approximately $7.0 million (£5.2 million), including deal costs, and will be incurred by the end of 2018. The P&L impact of integration costs will be taken above the line;
• As we transition from a third party distribution model to utilising Vitec-owned distribution there will be an expected $14.7 million (£10.9 million) investment in working capital;
• Pre-tax cost savings of at least $5.0 million (£3.7 million) per annum are expected to be realised by year ending 2018, and at least $7.0 million (£5.2 million) per annum by year ending 2019, through consolidating and simplifying the business, improving procurement and supply chain management, and leveraging Vitec's distribution platform;
• The acquisition is expected to enhance Vitec's adjusted earnings per share in FY 2018 and to be materially enhancing to Vitec's adjusted earnings per share in FY 2019. Excluding integration costs, we expect it to be neutral to adjusted earnings per share in 2017;
• ROCE is expected to be in excess of the Group's average by year ending 2018; and
• The consideration payable to DayMen will be funded from Vitec's available committed bank facilities. Proforma 30 June 2017 net debt to EBITDA would have been 0.9x following the disposal of Bexel and the acquisition of the JOBY and Lowepro brands.

Acquisition of RTMotion

The acquisition of RTMotion is in line with Vitec's strategy of offering innovative and highly technical solutions to the Group's established independent content creator ("ICC") customer base, and will facilitate Vitec's growth in the higher technology area of camera accessories.

RTMotion is an excellent strategic fit with Vitec's Broadcast Division's Creative Solutions Business Unit, complementing Teradek, Wooden Camera, SmallHD, Paralinx and Offhollywood, which also design and produce high quality products mainly for ICCs.

Based in the UK, RTMotion designs and assembles wireless motor lens control systems for video cameras, selling them primarily through direct distribution and a growing reseller network, mainly targeting the ICC market.

RTMotion will become part of Vitec's Creative Solutions Business Unit. There are significant growth opportunities to sell RTMotion's products through Vitec's global sales and distributor network, and the business will benefit from Vitec's marketing, manufacturing and supply chain capabilities.

Under the terms of the acquisition, the initial cash consideration is £2.6 million on a debt/cash free basis, including deal costs and £0.5 million held in escrow. Up to a further £0.8 million cash consideration will be payable dependent on the seller meeting integration and retention targets.

B&H carries JOBY and Lowepro products.

The Canon EF 135mm f/2L USM lens has been a staple in the manufacturer's lineup for more than 20 years. With the announcement of Sigma 135mm f/1.8 DG HSM Art lens in early 2017, consumers finally had a comparably spec'd alternative to Canon's popular 135mm wide-aperture prime. If you have been considering the addition of a wide-aperture telephoto prime lens to your Canon-based kit, you may be torn between the two options.

To help the decision making process along, we're going to see how these two designed-for-portraiture lenses stack up against one another to see which one might be the better choice for your needs.

Advantages of the Canon EF 135mm f/2L USM over the Sigma 135mm f/2 DG HSM Art:

• Smaller & lighter: 3.27 x 4.41” (83 x 112mm), 26.5 oz (750g) vs. 3.6 x 4.52” (91.4 x 114.9mm), 39.9 oz (1130g)
• More consistent AF system
• Compatible with 1.4x & 2x Extenders
• Lower price

Advantages of the Sigma 135mm f/2 DG HSM Art over the Canon EF 135mm f/2L USM:

• Wider max aperture (1/3-stop advantage): f/1.8 vs. f/2
• More aperture blades: 9 vs. 8
• More precise manual focusing: 147° of focus ring rotation vs. 120°
• Slightly larger maximum magnification: 0.20x vs. 0.19x
• AF fine tuning via USB dock

Who should opt for the Canon EF 135mm f/2L USM?

The EF 135mm f/2 USM has been a favorite among portrait photographers since its introduction. Its telephoto focal length combined with an f/2 max aperture makes backgrounds melt away giving more emphasis to your subject. In those ways, it's almost identical to the Sigma offering. However, from an AF perspective, Canon DSLRs tend to work optimally with Canon-designed lenses. While the Sigma 135 Art proved adequate (but not stellar) at consistently nailing focus in our tests, those shooting once-in-a-lifetime moments (weddings, editorial/documentary, etc.) will likely prefer the Canon option.

For those wanting to extend the lens's reach, the 135L is compatible with Canon's 1.4x and 2x Extenders with full AF being retained regardless of the body being used. The Sigma is not compatible with teleconverters.

If reduced size and weight are high priorities, the Canon's dimensions and weight will make it the preferred choice. Also, those with a limited budget will appreciate the Canon's significantly lower price tag.

Who should opt for the Sigma 135mm f/1.8 DG HSM Art?

With a 1/3-stop wider max aperture, a design that's 20 years newer and better wide-open image quality, there's very little not to like about Sigma's longest focal length Art lens (to date). As I mentioned above, AF consistency is not quite as good as the Canon alternative, but it will likely be sufficient for most photographers' needs.

Those shooting with a DSLR that does not feature Autofocus Microadjustment (like the Rebel-series and 77D) will certainly enjoy the Sigma 135 Art's ability to calibrate focus parameters via the Sigma USB dock, as they would need to send both their camera and lens to a Canon Service Center in order to similarly adjust a miscalibrated Canon lens.

Summary

While these lenses are more similar than they are different, the differences will be enough to tip the scales in one direction or the other based on a photographer's preferences, priorities and budget. Although a bit long in the tooth, the Canon 135 f/2L USM is still highly regarded by portrait specialists (and for good reason). However, the Sigma 135mm Art raised the bar in regards to wide-open image quality, and those wanting to add the latest and greatest to their kits will certainly benefit from Sigma's commitment to one-upping the competition with its Art-series releases.

More Information

• Canon EF 135mm f/2L USM Lens Review
• Sigma 135mm f/1.8 DG HSM Art Lens Review

From the tutvid YouTube Channel:

In this Photoshop tutorial, we will break down five different techniques that you can use to change the color of any object in Photoshop. We will look at the simple masked Hue/Sat adjustment layer, the Color and Hue blend modes, converting white (or black) to a color, targeting an individual color channel, and using the LAB mode readout to use Curves and change a color to exactly match what you want. By the end of this tutorial, you’ll have a whole bag of tricks that you will be able to use to change the color of anything while working with Photoshop.

B&H carries Adobe Photography Plan subscriptions.

Site visitor Mark sent an email earlier this week to alert us to a peculiar issue where Adobe Lightroom 6 displays and imports duplicate images when using a USB cable to import photos from the Canon EOS-1D X Mark II when two memory cards are installed in the camera with only one of them having RAW images recorded on it. One of the earliest references to the issue appears on the Adobe Photoshop Lightroom forums in a post made more than a year ago.

Unfortunately, according to Mark, the issue isn't limited to Lightroom 6; it apparently occurs with Apple Aperture 3.6 as well. That the issue appears on multiple software platforms may indicate that a firmware update from Canon will be necessary to correct the issue.

Has anyone else run into this duplicate file issue when importing RAW files with the Canon EOS-1D X Mark II? If so, besides taking one of the memory cards out of the camera, did you find a convenient workaround? Let us know in the comments below.

From AlexOnRAW:

Today Phase One released Capture One Pro 10.2. We are used to seeing a number of new features in such major updates, but Capture One 10.2 is developed to support the new Phase One IQ3 100MP Trichromatic Digital back and Phase One iXG camera. That doesn’t sound pretty exciting; however, there are few additional reasons not to skip the new release.

First of all, Capture One 10.2 delivers lots of bug fixes, that’s always nice! Plus there is quite a noticeable improvement to Styles tool, regardless of it not being mentioned in the official release notes. Now it works faster and smoother. You will also find support for new cameras (Canon 6D mkII, Nikon D850, yay!) and new lenses in Capture One 10.2.

Phase One iXG camera support

If you think that Phase One is a Capture One company, you have missed the lion’s share of their production that prepared a base for a such a fantastic RAW processing app.The point is that besides the software, Phase One are developing medium format cameras, digital backs and professional solutions for industrial and cultural heritage photography.

The new iXG camera was built for work in museums and archives, where the quality and accuracy of the image is everything. That’s why the processing in Capture One delivers such a stunning result; it was developed not by the software-only company, but with a strong hardware background as well.

New Cameras Support

• Phase One IQ3 100MP Trichromatic
• Phase One IQ3 100MP Achromatic
• Phase One iXG 100MP Achro
• Phase One iXG 50MP
• Phase One iXU-1000 Achro
• Phase One iXU-RS1000 Achro
• Canon 200D
• Canon 6D mkII
• Canon 77D
• Canon 77D support
• Canon 800D support
• Canon M6 support
• Leica M Monochrome
• Leica M10 (Preliminary)
• Leica M-P
• Nikon D7500
• Nikon D850
• Olympus TG-5

New Lens Support

• Canon EF 100-400mm f4.5-5.6L IS II USM
• Canon EF 16-35mm f/2.8L III USM
• Canon EF 24-105mm f4-5.6 IS STM
• Canon EF-S 15-85mm f/3.5-5.6 IS USM
• Canon EF-S 24mm f2.8 STM
• Leica Elmar-M 24mm f/3.8 ASPH
• Leica Summilux-M 21mm f1.4 ASPH
• Leica Summilux-M 24mm f/1.4 ASPH
• Leica Super-Elmar-M 18mm f3.8 ASPH
• Leica Super-Elmar-M 21mm f/3.4 ASPH
• Leica Tri-Elmar-M 16-18-21mm f/4 ASPH
• Panasonic Leica DG Summilux 12mm f/1.4 ASPH (H-X012)
• Panasonic Leica DG Vario-Elmarit 8-18mm f/2.8-4 ASPH (H-E08018)
• Panasonic LUMIX G Leica DG Nocticron 42.5mm f/1.2 ASPH Power OIS (H-NS043)
• Panasonic Lumix G Vario 100-300mm f/4-5.6 II POWER O.I.S. (H-FSA1003004A)
• Panasonic Lumix G Vario 45-200mm f/4-5.6 II POWER O.I.S. (H-FSA45200)
• Pentax DA 18-50mm f4-5.6 DC WR RE
• Sony E 18–200 mm F3.5–6.3 OSS LE (SEL18200LE)
• Sony FE 12-24mm f4 G (SEL1224G)
• Sony FE 16-35mm f2.8 GM (SEL1635GM)
• Sony Vario-Sonnar T DT 16–80 mm F3.5-4.5 ZA (SAL1680Z)

Bug fixes Capture One 10.2 Mac

• Fixed an issue where mounted Network shares caused performance issues
• Various crashes and hangs
• Various Localization errors
• Capturing tethered error due to “/” in capture naming
• ‘Including existing adjustments’ is broken while importing in a catalog
• Live View with CMOS IQ back behaves strangely between Fit and <100% • If filtering by a keyword then removing that keyword the filter remains active • Lens correction movement tool has no effect • Sub folder path does not work in 10.1 process tokens • Rotation adjustments are not saved in user styles • Event log viewer’s list view flows under the detail panel • Localization errors • Clicking a token in Naming Format gets a black line around it • Default workspace not saved after closing CO • Cursor tool shortcuts are lost when using a custom keyboard shortcut set and switching licenses • Catalog Import imports trashed pictures • Moving all variants to Trash, no warning • Catalog has “Empty Session Trash” in File menu • Duplicated styles do not reflect same adjustments • Saving a Style disables orange tick mark on applied Style • If Recipe text watermark contains /, upon relaunch the / is removed • Before/after slow with masks • Create album from rating does not work in localized versions • Import Counter starts at 2 • Processing a RAW to Tiff 16bit results in no thumbnail and black preview

Bug fixes Capture One 10.2 Windows

• Various crashes and hangs
• Path Loss when Moving sessions / Moving a session makes images appear on-line
• Lens correction movement tool has no effect
• If filtering by a keyword then removing that keyword the filter remains active
• Customized Workspace tools not remembered on first save
• Watermark cursor tool does not work initially
• Dragging & dropping a single style into CO does not work
• Slow performance when applying a style with a lot of adjustments
• The video links in the help menu don’t point to the right URLs
• Unable to empty catalog trash if files are not available / Empty trash fails
• Mask displaying while drawing a gradient even though “Never display mask” set
• Saving an User Style collapses all style folders
• Input and output values not updating correctly in Curves window
• Save Workspace does not save multiple identical tools in the same tool tab

B&H carries Phase One Capture One Pro 10.

From Canon USA:

MELVILLE, N.Y., September 21, 2017 – Canon Inc. announced today the development of the Free Viewpoint Video System, a new visual solution that incorporates the optical and sensor technologies cultivated by the Company over many years. Using this technology, Canon aims to provide a high-value-added imaging solution for a wide range of applications including sporting events.

Various types of video production are employed at sporting events to convey a passion for sports and the thrill of competition. With the development of its Free Viewpoint Video System—which creates a realistic, immersive experience that gives the user a sense that they are really there—Canon has achieved a video experience that can be viewed from various angles and viewpoints, expanding the boundaries of visual expression and contributing to the development of video culture.

The system comprises several high-resolution cameras set up around the stadium, which are connected to a network and controlled via software to simultaneously capture the game from multiple viewpoints. Afterward, image processing technology renders the videos as high-resolution 3-D spatial data where users can freely move a virtual camera around the 3-D space, resulting in video that can be viewed from various different angles and viewpoints.

The Free Viewpoint Video System offers a completely new, totally immersive visual experience that enables viewers to operate a virtual camera in 3-D space to move freely around the stadium and even experience the simulated physical sensation of being among players on the field during a game. Along with providing a new way to enjoy sporting events, Canon plans to explore such potential applications for this system as training teams and athletes.

Canon will showcase the Free Viewpoint Video System at the Canon booth during Inter BEE 2017, held from November 15 to 17 at the Makuhari Messe in Chiba, Japan.

From Canon USA:

Canon Will Continue to Engage and Educate Visitors at One of the World’s Most Photographed Events Through 2020

MELVILLE, N.Y., September 21, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce a renewal of its partnership with world-renowned event, the Albuquerque International Balloon Fiesta, taking its role as presenting sponsor of the event through 2020. This renewed sponsorship marks Canon’s commitment to the Albuquerque community, an area where Canon calls home to one of the two U.S. support centers that service the Company’s customers. To mark this momentous three-year sponsorship renewal, Canon has and will continue to sponsor the opening Mass Ascension and closing Night Magic™ Glow events.

"It’s been a true honor to serve as the presenting sponsor of the Albuquerque International Balloon Fiesta since 2015,” said Eliott Peck, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A., Inc. "It is a place to let your imagination run wild and is truly awe-inspiring as colorful balloons fill the sky – making it the ideal setting for photographers and videographers to capture spectacular images.”

As one of the most photographed events in the world, the balloon fiesta offers many photo opportunities to create memories of a lifetime. This year’s 46th annual event will take place Oct. 7-15, 2017 in Albuquerque, New Mexico, featuring over 500 hot air and gas balloons, of which the Fiesta anticipates almost 100 of those to be special shaped balloons.

"We are thrilled to continue our partnership with Canon as the Fiesta’s Presenting Sponsor for the next three years,” said Balloon Fiesta board president, Mike Rice. “This event is a crux of the Albuquerque community and Canon’s support over the years has helped our guests create lasting memories.”

With this renewal, Canon will continue to host hands-on activities, allowing attendees to try its wide array of products to bring their experience to life. Attendees will have the opportunity to borrow the latest Canon equipment* from the Main Street booth where they can also sign up for photo walks and use Canon’s interactive photo booth. Canon imaging experts will also be on site to provide educational experiences to help attendees capture once-in-a- lifetime photos and videos.

With the announcement of the Canon EF 85mm f/1.4L IS USM, many of those previously considering purchase of the EF 85mm f/1.2L II USM may be now wondering which of Canon's L-series 85s is right for them. As such, we are going to take a look at how these lenses differ to hopefully make the decision making process a little easier.

Advantages of the Canon EF 85mm f/1.4L IS USM over the EF 85mm f/1.2L II USM

• Better manual focusing experience: traditional MF vs. focus-by-wire
• More aperture blades: 9 vs. 8
• Image stabilization: 4-stops vs. none
• Weather sealed vs. not weather sealed
• Slightly higher max magnification: 0.12x vs. 0.11x
• Lighter: 33.5 oz vs. 36.2
• Slightly smaller diameter: 3.49" (88.6mm) vs. 3.6" (91.4mm)
• More common filter size: 77mm vs. 72
• Internal focusing vs. extends during focusing
• Lower cost

Advantages of the Canon EF 85mm f/1.2L II USM over the EF 85mm f/1.4L IS USM:

• Wider max aperture: f/1.2 vs. f/1.4
• Shorter length: 3.31” (84.1mm) vs. 4.15" (105.4mm)

Who should opt for the Canon EF 85mm f/1.2L II USM

If you need the absolute widest aperture in your 85mm lens, either for action-stopping purposes or for maximizing separation between your subject and your background, then the EF 85mm f/1.2L II USM will ultimately be the best choice.

Who should opt for the Canon EF 85mm f/1.4L IS USM

In two words – "everyone else."

The benefits of the EF 85mm f/1.4L IS USM over the 85 f/1.2L II are both numerous and substantial. First and foremost, the lens' 4-stop IS system will enable you to shoot static subjects in significantly lower light while maintaining tolerable ISO levels. This is a huge benefit that should not be underestimated.

Next, the traditional manual focusing design will be welcomed by nearly every photographer who ever handled the 85mm f/1.2L II USM (or the EF 50mm f/1.2L USM, for that matter). The traditional design promises to be a much more responsive, akin to what we've come to expect from most L-series lenses.

The 85 f/1.4L IS's weather sealing further increases its versatility over the f/1.2 model. While we always advise taking precautions when inclement weather is expected, the 85L IS's weather sealing enables you to keep shooting without interruption in moderately wet or dusty conditions.

The EF 85mm f/1.4L IS USM's lower cost will certainly be a universally-appreciated feature, as will the benefits of an extra aperture blade in creating a smooth background blur.

Summary

Unless you absolutely need or want an f/1.2 maximum aperture, the Canon EF 85mm f/1.4L IS USM will likely prove the best investment for most photographers because of its overall greater versatility and lower price.

More Information

• Canon EF 85mm f/1.4L IS USM Lens Expectations
• Canon EF 85mm f/1.2L II USM Review

Macphun, creators of Aurora HDR 2018, are offering preorder customers a discount ahead of the software's September 28 release date.

Pricing

• Current users of Aurora HDR may upgrade at a special pre-order price of $49 ($59 MSRP)
• New users can purchase Aurora HDR 2018 at a special pre-order price of $89 ($99 MSRP)
• A collection of bonuses will also be included with every purchase.

Preorder Bonuses

• Trey Ratcliff Deep Dive video (HDR Training by Trey Ratcliff)
• Travel Photography Tutorials by Matt Granger (2 hours of tips, tricks and techniques to capture the best travel photos)
• Source Brackets (5 sets of HDR brackets)
• 3-month Zenfolio Pro website, including a complementary design consultation. $60 value.

While the software will retail for $99.00 after Sept. 28, the total value of the software and bonuses when preordering is $249.00, making the $89.00 preorder price an especially good deal.

Preorder Aurora HDR 2018

Image quality test results from the Canon EOS-1Ds Mark III have been added to the Canon EF 16-35mm f/2.8L III USM Lens Review.

We've tested about five copies of this lens and somehow didn't get any of them tested on the 1Ds Mark III. These results are especially useful for backward compatibility when making comparisons with older lenses in the image comparison tool.

This is an amazing lens – I personally bought one.

Get your Canon EF 16-35mm f/2.8L III USM Lens at B&H | Amazon | Adorama | WEX.

Just posted: Sony FE 70-200mm f/2.8 GM OSS Lens Review.

This is the Sony go-to lens for a large range of needs.

The Sony FE 70-200mm f/2.8 GM OSS Lens is in stock at B&H | Amazon | Adorama | WEX.

We mentioned yesterday that B&H had several camera plates for the Canon EOS 6D Mark II available for purchase (although most are on backorder at the moment). However, I forgot to mention a clever design feature of the Kirk L-bracket which allows full functionality of the 6D II's vari-angle LCD screen.

The L-bracket's side port features a pivoting mechanism which enables the side plate to swing out of the way of the LCD (shown in the video above).

B&H has the Kirk L-Bracket for Canon 6D Mark II available for purchase with expected availability in 7-14 days. Note that if you plan on using the BG-E21 battery grip with your 6D Mark II, you'll need to purchase the Really Right Stuff BG-E21 Base and L-Plate Component. In the RRS design, the L-plate can be removed entirely for full access to the LCD.

From Adobe:

Strong Cash Flow and Earnings Highlight Third Quarter Results

SAN JOSE, Calif.--Adobe (Nasdaq:ADBE) today reported financial results for its third quarter fiscal year 2017 ended Sept. 1, 2017.

Financial Highlights

• Adobe achieved record quarterly revenue of $1.84 billion in its third quarter of fiscal year 2017, which represents 26 percent year-over-year revenue growth.
• Diluted earnings per share was $0.84 on a GAAP-basis, and $1.10 on a non-GAAP basis.
• Digital Media segment revenue was $1.27 billion, with Creative revenue growing to $1.06 billion.
• Digital Media Annualized Recurring Revenue (“ARR”) grew to $4.87 billion exiting the quarter, a quarter-over-quarter increase of $308 million.
• Adobe Experience Cloud achieved revenue of $508 million, which represents 26 percent year-over-year growth.
• Operating income grew 48 percent and net income grew 55 percent year-over-year on a GAAP-basis; operating income grew 43 percent and net income grew 46 percent year-over-year on a non-GAAP basis.
• Cash flow from operations was $704 million, and deferred revenue grew to approximately $2.20 billion.
• The company repurchased approximately 2.1 million shares during the quarter, returning $298 million of cash to stockholders.

A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.

Executive Quotes

“Adobe delivered another record quarter with stellar year-over-year revenue growth of 26 percent,” said Shantanu Narayen, president and CEO, Adobe. “The imperative to deliver intelligent, intuitive and effective customer experiences is key to the C-suite agenda of digital transformation, and Adobe’s cloud offerings are critical to that business mandate.”

“Our results in Q3 once again reflect the leverage of our financial model, with record revenue driven by our cloud-based subscription offerings, strong earnings and cash flow from operations," said Mark Garrett, executive vice president and CFO, Adobe.

B&H carries Adobe Photography Plan subscriptions.

From the Adorama YouTube Channel:

Daniel Rueda and Anna Devís are both visionary photographers, currently living in Valencia Spain. These two photographers both have a unique style that features story telling, precision, humor, creativity and an amazing aesthetic.

Both Daniel and Anna are inspired by architecture, clean lines, and shapes. Mostly, the two just love to have fun while they are working.

See more Through The Lens: Season 4 videos here.