Former Lexar Executives Start New Company: Pledge to Focus on Developing and Marketing Products of Superior Performance, Quality and Reliability
SAN JOSE, Calif. – Feb 15, 2018 8:00 am EST — ProGrade Digital, a new company founded on a mission to provide the highest quality, professional grade memory cards and workflow solutions available, today announced a new line of products designed to uniquely fill the needs of today’s high-end DLSRs, camcorders and digital cinema cameras. Memory cards will be offered in a variety of formats and industry-leading capacities. The company will also design and market a selection of card readers, starting with a CFast & SD Dual Slot Workflow Reader that boasts a USB 3.1, Gen. 2 transfer protocol. ProGrade Digital’s new memory cards and card readers will become available in the month of February Amazon.com and B&H Photo and Video.
ProGrade Digital was founded by former executives from Lexar who held management or technical leadership positions at the company recognized as the pioneer in memory card development for digital photography. The team has more than 60 years of combined experience in the design, development and manufacture of memory cards gained while working for Lexar, SanDisk and other firms. Leveraging its experience and industry relationships, the team will focus exclusively on developing and marketing memory cards, card readers and software optimized for use within professional cinema and photography markets.
“Our goal is to be the professional’s source for top performing, professional grade memory cards and workflow solutions,” says Wes Brewer, founder and CEO of ProGrade Digital. “We will be committed to focusing our efforts on the digital imaging pro who is meticulous about his equipment and workflow—delivering the best service, plus best product quality and reliability.”
Key Features of ProGrade Digital Memory Products
Imaging experts who shoot RAW, RAW HD video, 4K, 8K, 3D and 360-degree video may rely on ProGrade Digital’s high-performance storage cards and workflow accessories.
Memory Card Key Features
Professional-level capacities for CFast 2.0 and SDXC UHS-II memory cards
Optimized controllers specifically designed for use in professional-grade cameras
Rigorous full-card testing with serialized tracking of key components and manufacturing
ta for the highest quality control
Component-level testing down to individual memory chips for optimal quality
Card Reader Key Features
Dual slot reader for CFast 2.0 and SDXC UHS-II card formats
USB 3.1 Gen. 2 transfer speed of up to 10Gb/second
Supports concurrent full-speed flow of data from cards in each slot
Portable and compact
Includes two 18” connection cables: one for Type A to Type C and one for Type C to
Magnetized reader bottom firmly connects reader to laptop (using included metal
128GB, 256GB, 512GB
$229.99, $349.99, $699.99
SDXC UHS-II, Class U3
64GB, 128GB, 256GB
$54.99, $94.99, $189.99
CFast & SD Dual Slot Workflow Reader
CFast 2.0, SDXC
USB 3.1 Gen. 2 Up to
ProGrade Digital memory cards are designed to provide the highest levels of performance, quality and reliability in high-end DSLRs, camcorders and digital cinema cameras from manufacturers such as Canon, Nikon, Sony and Blackmagic.
Portland, OR (February 15, 2018) - Lensbaby—makers of award-winning creative effects lenses, optics and accessories—announces the launch of an entirely new kind of creative effects lens, the Burnside 35.
The first ever wide angle adaptation of the Petzval lens design, this 35mm f/2.8 lens creates images with a large, bright central area of sharp focus and striking color rendition surrounded by variable, swirling bokeh and vignette. It also features an effect slider that operates as a second internal iris that changes the shape and amount of swirl in the bokeh; all while adding or removing vignette and center brightness.
Burnside’s 35mm focal length lets you capture a scene at a normal-wide perspective with a dimensionality that makes your subject jump off the page. This lens opens up a new world of creative possibilities for those shooting street photography, landscapes, environmental portraits and more.
“The Burnside 35 is one of the most versatile Lensbabies we’ve made,” said Lensbaby Chief Creative Officer and Co-Founder Craig Strong. “It gives you the ability to have a strong or subtle creative effect in a single lens, a lens you might just keep on your camera all day long.”
Adding to the Burnside 35’s versatility is the radical, new effect slider that can be used to add center brightness, in-camera vignette and adjust bokeh detail. You can toggle the gold-anodized effect slider on the barrel of the lens to create variable balance and harmony between center brightness, bokeh and vignette. The effect slider features a four-stop range of vignette and bokeh enhancement so you can dial in the exact look that appeals to you.
Burnside 35 joins Lensbaby’s lens lineup as an all-metal, non-tilting lens similar to their bestselling Velvet series. Made specifically for full frame and crop sensor cameras, this lens is compatible with Canon EF, Nikon F, Sony A, Pentax K, Micro 4/3, Sony E, Fuji X and Samsung NX.
Burnside 35 Product Specs:
Focal Length: 35mm
Aperture Range: f/2.8-16
6 blade internal aperture
8 blade secondary internal aperture for the effect slider
Minimum Focus Distance: 6 inches
Maximum Focus Distance: Infinity
62mm filter threads
Focus type: Manual
Size/ Weight: 13.2 oz (374.21g)
6 multi-coated glass elements, in 4 groups
The Burnside 35 is now available for purchase on lensbaby.com and select Lensbaby-authorized retailers for $499.95.
With this compact wide-angle lens, ZEISS is adding a new focal length of modest proportions to its ZEISS Loxia lens family.
OBERKOCHEN/Germany, 2018-02-14. – With the ZEISS Loxia 2.4/25 compact wide-angle lens, ZEISS is adding a new focal length to its lens family that will benefit both landscape and architectural photographers: "High resolution across the entire image as well as low distortion ensure the perfect result," says Product Manager Christophe Casenave. "The compact lens delivers great images thanks to the new optical design." The ZEISS Loxia 2.4/25 also features high-quality mechanical parts, and the durable metal housing makes this a reliable lens for photographers on the road.
The right companion for years to come
Small, robust and versatile: the lenses in the ZEISS Loxia family for mirrorless cameras in the Sony Alpha series are particularly well-suited for street and travel photographers who love being inconspicuous as they capture special moments in cities and in nature without carrying around a lot of equipment. The compact design of the ZEISS Loxia lenses has been specially developed for the mirrorless full-frame Sony E-mount cameras. Used in tandem, the lens and camera enable filmmakers and photographers to achieve a high-quality result, while the equipment's modest dimensions ensure users always have whatever they need with them. "This is a significant advantage for anyone who wants to blend into the background and is also on the road a lot," says Product Manager Casenave. The all-round talent from the ZEISS Loxia family is also great for filming.
Bringing creativity to life through precise, manual focusing
Traditional photography and cutting-edge technology all in one: with the ZEISS Loxia 2.4/25, photographers can let their artistic creativity run free. "A steady hand and the manual focusing means users achieve impressive results," says Casenave. The electronic interface for the ZEISS Loxia 2.4/25 transfers both lens data and focus movements to the Sony camera and then activates the focus peaking or the zoom function. Demanding photographers can achieve a wide range of creative possibilities thanks to precise, manual focusing, including a retro look and feel.
Precise and sophisticated – the ZEISS Loxia lens family featuring five focal lengths between 21 and 85 millimeters gives users a large number of creative possibilities when taking photographs or filming because of its technical refinement, linking traditional photography with modern technology.
A strong all-rounder for taking photographs and filming
The ZEISS Loxia family comprises five lenses with focal lengths between 21 and 85 millimeters. The lenses with manual focusing are all compact, durable and do not draw too much attention. With these lightweight companions, photographers and filmmakers have the necessary equipment and flexibility they need while on the road. The ZEISS Loxia lenses along with all the accessories have the same diameter and enable users to quickly and easily switch between different focal lengths during a shoot. The lenses offer the optimum foundation for capturing photographs and filming, both individually and as a set. These strong all-round talents excel at a wide range of uses.
Price and availability
The ZEISS Loxia 2.4/25 will be available at the ZEISS Webshop and at dealers from March 2018. The price of the new ZEISS Loxia 2.4/25 is €1,299 (incl. German VAT) or $1,299 US (excl. local taxes). The lens hood is included. Filmmakers can look forward to a special offer on a set comprising all five ZEISS Loxia focal lengths ranging from 21 to 85 millimeters.
This time around, Jake traveled upstate to explore and hike the beautiful Hudson Valley with the new DJI Mavic Air, which offers improved image quality, new high frame rates, refined flight controls and advanced quick capture modes. So bundle up, and join Jake on a cold winter drone flying adventure!
If you have acquired a new Canon lens in the last year or so, please take a moment to look up its date of manufacture.
Then let us know if the answer appears to be correct for your lens.
Or, at least approximately so as a few months of difference in the age of a lens is usually completely irrelevant unless there is a service notice issued and in that case, specific serial number ranges are provided.
Like many other techniques in photography, creating effective composition is best done in-camera rather than during the editing process. That being said, there will be times where you may want to make minor adjustments or even completely change the composition in a shot. For those situations, the Crop Tool in Photoshop provides useful guides for some of the most common compositional techniques.
MELVILLE, N.Y., February 13, 2018 – As a testament to the company’s strong standing as a good corporate citizen and its proactive approach to corporate social responsibility initiatives, Canon U.S.A., Inc., a leader in digital imaging solutions, has been recognized as one of the 2018 World’s Most Ethical Companies by the Ethisphere Institute, a global leader in defining and advancing the standards of ethical business practices. This recognition is based on a variety of factors including: measuring and improving culture, leading with integrity and committing to transparency, diversity and inclusion. In 2018, 135 companies were recognized across 23 countries and 57 industries.
“I’d like to thank the Ethisphere Institute for this honor, which Canon takes great pride in,” said Kenneth Sharpe, Vice President, Corporate Audit, Ethics and Business Consultation, Canon U.S.A., Inc. “To be named as one of the World’s Most Ethical Companies is a true reflection of the values, culture and leadership that drive our organization. This distinction speaks to the integrity that is present throughout every level of our organization and represents the hard work and dedication of our cherished colleagues who work to meet this high standard every day.”
“While the discourse around the world changed profoundly in 2017, a stronger voice emerged. Global corporations operating with a common rule of law are now society’s strongest force to improve the human condition. This year we saw companies increasingly finding their voice. The World’s Most Ethical Companies, in particular, continued to show exemplary leadership,” said Timothy Erblich, Chief Executive Officer of Ethisphere. "I congratulate everyone at Canon U.S.A., Inc. for being recognized as one of the World's Most Ethical Companies."
The World's Most Ethical Companies assessment is based upon the Ethisphere Institute’s Ethics Quotient (EQ) framework, which offers a quantitative way to assess a company’s performance in an objective, consistent and standardized manner. The information collected provides a comprehensive sampling of definitive criteria of core competencies, rather than all aspects of corporate governance, risk, sustainability, compliance and ethics. Scores are generated in five key categories:
Ethics and compliance program (35%)
Corporate citizenship and responsibility (20%)
Culture of ethics (20%)
Leadership, innovation and reputation (10%)
Research by the Ethisphere Institute has found that, when indexed, companies listed among the “World’s Most Ethical” outperformed the U.S. Large Cap Index over five years by 10.72 percent and over three years by 4.88 percent. Ethisphere refers to this as the Ethics Premium.
Today we’re proud to release updates to the entire Lightroom CC ecosystem, including updates for Mac, Windows, Android, and iOS. We’ve optimized performance, added support for new cameras and lenses, and added some great new features for desktop and Android.
Our primary focus with this release was internal beauty, as we put a lot of effort into tuning and improving stability. In Lightroom CC on Mac and Windows, you’ll notice big improvements like moving to the next photo, grid scrolling, and exporting, while all apps have become a lot more stable. Download the latest updates via the Creative Cloud app and let us know what you think.
The February update includes other great features across the ecosystem:
Add copyright to imported images
The new Copyright preference (listed under Preferences -> General) enables you to automatically include your copyright on all photos added to Lightroom CC. All images added after you enable this preference will include your copyright.
Geometry tab — premium editing features
Now the most powerful tools for correcting perspective distortion are available on a mobile device. Use the Auto Upright tools to automatically identify how to correct your photo or use the incredibly precise Guided Upright tool to take complete control over your photo. Additional control provided with the Geometry sliders helps you take the correction even further.
Available now on Android devices and coming soon to iOS.
Add watermark on export
First introduced for mobile on iOS and now available on Android, you can use the Watermark feature to add a text-based watermark when you share or save your photos. You can find this feature under the Preferences > Sharing Options menu.
Search your Lightroom library with Google Assistant — premium feature
Our Adobe Sensei-based search algorithms are now accessible from your phone’s home screen. Open the Google Assistant and, for example, say, “Search mountains in Lightroom” to launch Lightroom and find matching photos. This feature requires an internet connection and Android Marshmallow or later.
Add photos to Lightroom from your favorite apps
A new “Add to Lr” option is now available within the share sheet of your favorite apps, enabling you to send photos from another app directly into your Lightroom library, making it easier than ever to get all of your photos into Lightroom.
New Camera Support in Lightroom CC and Camera RAW 10.2
Olympus PEN E-PL9
Panasonic LUMIX DC-GF10 (DC-GF90)
Panasonic LUMIX DC-GH5s
New Lens Support in Lightroom CC and Camera RAW 10.2
Canon EF 85mm f/1.4L IS USM
Leica NOCTILUX-M 75mm f/1.25 ASPH.
Leica THAMBAR-M 90mm f/2.2
Rokinon SP 14mm f/2.4
Rokinon SP 85mm f/1.2
Sony E 18-135mm F3.5-5.6 OSS
TAMRON 100-400mm F4.5-6.3 Di VC USD A035
TAMRON 100-400mm F4.5-6.3 Di VC USD A035 x1.4
TAMRON 100-400mm F4.5-6.3 Di VC USD A035 x2.0
Zeiss Milvus 1.4/25 ZE
Zeiss Milvus 1.4/25 ZF.2
Experience faster performance with CPU and memory optimizations
Experience faster Lightroom Classic performance on machines with 12 GB of RAM or more, when you import and export photos, move between photos in Loupe view, or create HDR images and panoramas.
Issues fixed in Lightroom Classic CC 7.2 (February 2018 release)
Info overlay disappears when moving between modules
Watermark omitted from embedded thumbnails of exported JPEGs
Palette Gear not working in Dutch, French, Italian, Korean, Traditional Chinese, Simplified Chinese, Japanese, Portuguese, and Spanish
If you're like me, you sometimes get the itch to photograph something, but your immediate surroundings leave you somewhat uninspired. Thankfully, the Multiple Exposures feature found in most mid-to-high level Canon cameras can help with that.
Canon Cameras that can shoot multiple exposures in-camera include:
EOS 1D X Mark II
EOS 1D X
EOS 5D Mark IV
EOS 5Ds / 5Ds R
EOS 5D Mark III
EOS 6D Mark II
EOS 7D Mark II
While most of the DSLRs above can be set to record the final multiple exposure image and the images used to create the final exposure, the EOS 70D, 80D, 6D and 6D Mark II only allow for saving the finished image (not the component images). This feature limitation can be important as you will not be able to create your own multiple exposure in post-processing using the component images.
While testing out some different lighting setups in my studio this weekend, I remembered that a dark silhouette-style portrait can create an ideal base for a multiple exposure image. However, I didn't want a complete silhouette, and instead opted to use two rim lights (studio strobes with gridded strip boxes) for the profile image so that the lit areas of my face and head would still be visible in the combined exposure. A single, bare 580EX Speedlite provided the lighting for the background.
With my base image captured and specified in the Multiple Exposure menu options, I switched my camera to Av mode (leaving the camera set to f/5.6 and ISO 320), walked out my studio door and searched for subject/composition that might work well for the multiple exposure. At first, the trunk of a large tree that borders the backyard caught my attention. This was the result:
After seeing the combined result on my screen, I thought the bark overlay was interesting, but I wasn't completely satisfied. Looking upward, I found another possible subject – my neighbor's tree. I shot three different compositions using the tree, with my favorite appearing atop this post.
* The option to save source images may not be available on some cameras.
Create a silhouette image to use as the base layer. Note that the brighter areas of the each image will be what comes through prominently in the final image. An underexposed profile/silhouette set against a bright sky (or pure white background) tends to work well for a base layer.
Turn on Live View. Use the LCD's preview to help you align the next shot. Note that you may need to use negative exposure compensation (for both the base and second image) to keep from overexposing the final image.
Preview your results. If you don't like the final image, simply go back into the Multiple Exposure options and designate your original base image to be used for your next attempt.
Take this opportunity to think about what kinds of subjects could be silhouetted in your multiple exposure image, capture it, and then brainstorm what kinds of subjects may work well as an overlay (or simply walk out our door and go for a walk as I did). You might even change focal lengths and apertures between your base and overlay images to create interesting effects. With a little bit of practice, and the help of the preview on your camera's LCD monitor, you'll be able to create interesting multiple exposures in no time!
To support the needs of virtual reality creators engaged in multi-camera videography, SIGMA is offering the new Front Conversion Service for the 14-24mm F2.8 DG HSM | Art lens . With this service, SIGMA converts the petal-type hood of the lens to an exclusive round component that lacks a light-blocking function. The new front helps prevent the lens from interfering with other lenses or from casting a visible shadow during multi-camera work. This is a for-fee service performed exclusively by SIGMA. Use of the service has no impact on the validity of the product warranty.
Cost, service time and warranty depends on each country and territory.
I can't help but think that very few people will be removing their Sigma 14-24mm f/2.8 DG HSM Art's hoods, but the option is available for those doing "multi-camera work."
Can you think of any other reasons why you would want to leave such a large front element unprotected? Also, can you spot another notable difference in the lenses pictured above, aside from the missing lens hood? My guess is that at least one of these pictures was taken earlier in production, when the final design hadn't been fully estabilished. [Sean]
Canon 5D Mark IV's sensor has a somewhat unusual pixel arrangement: each pixel is composed of two subpixels. If Dual Pixel RAW mode is enabled in the camera, the resulting CR2 file contains two images, or two frames: one composite, made from reading both subpixels, summed; and the other is made out of one set of subpixels.
The intended use of this arrangement is to enable some extra editing after the shot: because of the parallax between the subpixels, Canon Digital Photo Professional software allows one to perform microadjustment of focus, bokeh shift, and ghosting reduction.
However, there is one more possible use for a dual-pixel raw, which is not covered by the manufacturer: the second frame, the one that is made out of one set of subpixels, collects half of the light that the composite frame does, as if it was exposed one stop lower compared to the composite frame.
In essence, in Dual Pixel Raw mode, the camera records into one file some equivalent of two shots, bracketed by (approximately) 1 EV.
The DPRSplit application allows one to:
Extract the second (1 EV down) frame or both frames from Dual Pixel RAW CR2 files;
And save the extracted frames as DNG files.
Resulting DNG files can then be opened and processed in (practically) any raw converter featuring DNG support.
Windows *: Windows 7 – Windows 10, 64-bit
Mac OX: Mac OS X/macOS 10.6-10.13, 64-bit processor (so, all Intel Macs, except for some models from 2005-06 with Core Solo and Core Duo processors)
The Cathedral Parish of St Patrick is one of my favorite churches and I previously shared an image of its ceiling captured at 12mm.
While I liked that one a lot, I wanted to see what the same scene looked like captured at 11mm.
Can a 1mm difference in focal length make a significant difference in an image?
While a 1mm difference is meaningless at 400mm, it is substantial at extreme wide angles and the difference between 11mm and 12mm is very noticeable.
Of course, wider is not always better and sometimes 12mm is a better choice than 11mm.
If you must decide between these two focal lengths, keep in mind that an 11mm image can be cropped to 12mm framing.
Cropping of course results in reduced resolution, but going the other direction requires panorama capture and that becomes especially complicated when mixed with an HDR technique as was required by this image.
While it seems that going into a church and photographing straight up would be easy, this image was very challenging to capture.
Getting the camera alignment (nearly) perfect was the big part of the challenge.
The camera had to be perfectly centered in the scene, directed straight upward and aligned square with the architecture.
Any misalignment meant that certain aspects in the scene would not match throughout the image, such as the bottom of the arches being equally aligned with the designs painted on the ceiling.
A slight misalignment makes it appear that you didn't do your job correctly.
Intentionally framing the scene so that it is not close to square saves a lot of effort.
Challenges are fun, but those not wanting to make that effort should consider the latter.
If you don't have the very-fun 11mm focal length covered in your kit, the Irix 11mm f/4 Firefly Lens is an inexpensive option that performs very well.
Take advantage of an Irix Firefly $50 instant savings promotion (or save $125 on the Blackstone version) at B&H |
Amazon | Adorama.
A larger version of this image is available on Flickr.
There's no denying that Canon's L-grade lenses are a dominant force in the photography industry. Just scan the sidelines of any major sports event and you'll see Canon's trademark white-toned L-series lenses documenting every play.
For a look back at the history of L-series lenses, Canon Europe has a special site which documents several L-series acheivements in design and manufacturing, many of them world's firsts.
Here are a few of the lenses and achievements highlighted on the site.
1982: FD 14mm f/2.8L – Ultra wide-angle generated by original design tool
Ultra wide-angle lenses require complex designs and sophisticated manufacturing techniques. The FD 14mm f/2.8L was developed using an in-house design tool with an aspheric lens element to eliminate distortion, and produce the widest rectilinear prime lens in the FD range.
1989: EF 50mm f/1.0L USM – Standard lens boasting the world's largest aperture
Fast prime lenses are not a modern invention! In 1989, this lens offered the world's widest aperture for a 35mm single lens reflex camera. It was achieved using a sophisticated optical design that included two ground aspherical lenses and four high-refractive index glass lenses to produce high contrast and low lens flare even wide open at f/1.0. A floating lens construction was used to ensure image quality even at short focus distances, and the USM (UltraSonic Motor) autofocus motor offered high-speed, silent autofocus with full-time manual override.
1993: EF 35-350mm f/3.5-5.6L USM – World's first 10x zoom
This was the first 10x zoom lens for an interchangeable lens SLR and proved a powerful and versatile lens for sports photography, where speed and manoeuvrability are paramount. Designed with a six-group configuration, this lens used the fifth group for zooming, and achieved both a high zoom ratio and a compact design. Two UD (Ultra-low Dispersion) lenses provided good correction of chromatic aberration, high resolution and high contrast, and it came with an easily adjusted tripod foot.
1997: EF 300mm f/4L IS USM – First L lens with image stabiliser
Handheld telephoto photography is always a risky business for sports and wildlife photographers because of the potential for camera shake, but when Canon introduced its IS (Image Stabilisation) system for the first time on a professional lens, it offered effective shake compensation of two stops. This made handheld photography possible in situations where a tripod might otherwise have been needed, and offered photographers much more mobility. The IS unit offered two modes: Mode 1 for stationary subjects and Mode 2 for panning/tracking shots. Chromatic aberration was suppressed with two UD lenses and the lens was developed for high resolution and contrast
2009: EF 100mm f/2.8L Macro IS USM – World's first Hybrid IS
Macro photography poses special problems for image stabilisation systems because it introduces a second type of potential camera movement parallel to the camera position. The solution was the EF 100mm f/2.8L Macro IS, and the first use of a new Hybrid IS system, designed to compensate for this ‘shift’ blur. In addition to a regular angular shake sensor, this lens introduced an additional acceleration sensor for movement parallel to the image plane. Data generated by the two sensors was used to drive the optical correction unit using specially-developed algorithms, and brought improved shake correction for macro photography.
2013: EF 200-400mm f/4L IS USM Extender 1.4x – First super-telephoto lens with a built-in extender
Teleconverters, – often known as 'extenders' – are widely used by sports and wildlife photographers to extend the reach of telephoto lenses. The gain in focal length is offset by a loss in maximum aperture, so they work best with a lens that has a wide maximum aperture to start with. The EF 200-400mm f/4L is the first super-telephoto to take this to its logical extreme and have a 1.4x converter built in. This extends its focal range to 280-560mm with a maximum aperture of f/5.6. Not only that, it can also be used with a regular EF 1.4x III extender to produce a further reach advantage up to 780mm, with an aperture of f/8 – still within the autofocus limits of cameras like the EOS-1D X II.
2015: EF 11-24mm f/4L USM – World's widest angle ultra-wide zoom
One of Canon's most spectacular ultra wide-angle lenses, the EF 11-24mm f/4L USM boasts the widest angle of view of any rectilinear (non-fisheye) lens, including primes. It makes use of some of Canon's key imaging and manufacturing technologies – including a ground aspherical lens, UD and super-UD lenses for chromatic aberration suppression, and both SWC and ASC anti-reflection lens coatings.
Others in the industry are at risk if they don’t know that various freelance crew members qualify as employees, not independent contractors—at least in California and New York. Employers in those states—including photographers and producers—must withhold taxes from the wages of employees, provide workers’ comp and unemployment insurance, and in California at least, pay employees immediately at the end of a job.
“It’s a huge can of worms,” says a freelance ad agency art buyer who asked for anonymity to protect relationships with her clients. “[M]any New York agencies and most editorial entities are refusing to reimburse any cost associated with payroll.” Those costs can increase crew expenses on a shoot by 20 to 30 percent.
The statutory penalty under California law for “willfully” misclassifying an employee as an independent contractor is now a minimum of $5,000 per infraction. And the statutory penalty for failing to pay an employee in California at the end of a job—including a still photo shoot—is the employee’s day rate times the number of days the paycheck is delayed, up to a maximum of 30 days.
Wipe the drool. This is not an inexpensive lens, but it is delivering extremely high image quality.
Note that results with extenders are included, showing that this lens can be used with those.
The with-extender results show that great image quality remains available and extenders add significantly to the versatility of this lens.
Also note that shifted results are included. To accommodate the tilt and shift movements, the lens must produce an image circle larger than the designed-for sensor format requires.
As the lens is shifted (and/or tilted), the periphery of this larger image circle comes into use.
Thus, the shifted results have meaning and in this case, the shifted-"12mm" results show a very slight degradation in the corner.
On February 6, 2018 we revised the availability of future Firmware from late February to a late March 2018 release.
We would like to inform you that release of firmware to enhance functions of the EOS 5D Mark IV, which was originally scheduled for November 29 at the same timing as the firmware updates for six other models (EOS-1D X Mark II: Ver.1.1.4; EOS-1D X: Ver.2.1.0; EOS 5D Mark III: Ver.1.3.5; EOS 5DS: Ver.1.1.2; EOS 5DS R: Ver.1.1.2; EOS 6D Ver. 1.1.8), has been postponed until late March 2018 for reasons related to firmware preparation. We would like to offer our sincere apologies to users of this product who have been inconvenienced.
In the firmware to enhance functions of the EOS 5D Mark IV, we are planning to incorporate the following enhancements:
Support will be added for chromatic aberration correction, peripheral illumination correction, distortion correction, and Digital Lens Optimizer when using Digital Photo Professional to process RAW images captured with the following TS-E lenses: TS-E 17mm f/4L, TS-E 24mm f/3.5L II, TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO.
Support will be added to fix a phenomenon* in which standard exposure may not be obtained, or an irregular exposure may result, when Silent LV (Live View) shooting with the following TS-E lenses: TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO.
Support for Exif 2.31 will be added.
*This phenomenon occurs when tilt or shift is applied on a TS-E lens (TS-E 50mm f/2.8L MACRO, TS-E 90mm f/2.8L MACRO, or TS-E 135mm f/4L MACRO) during LV shooting when Silent LV shooting is set (set to Mode 1 or Mode 2 on the menu). For this reason, until the firmware update, when performing viewfinder shooting or LV shooting, please shoot with the Silent LV shooting set to [Disable].
If you have not already done so, please register the EOS 5D Mark IV. By registering, we will be able to notify you via email about future announcements.
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
Customer Support Operations
Canon U.S.A., Inc
The SIGMA Corporation is pleased to announce the development of a new ultimate ultra-wide-angle zoom lens, SIGMA 14-24mm F2.8 DG HSM | Art.
Now SIGMA is introducing the 14-24mm F2.8 DG HSM | Art as the ultimate ultra-wide-angle zoom. While minimizing distortion, this lens offers outstanding F2.8 brightness throughout the zoom range and delivers top-level image quality at every focal length and every shooting distance. For these reasons, it is the definitive wide-aperture ultra-wide-angle zoom lens.
Outstanding Art line image quality
Compatible with Canon Lens Aberration Correction
Dust- and splash-proof structure
17 elements in 11 groups
Angle of view
114.2° - 84.1°
Number of diaphragm blades
9 (Rounded diaphragm)
Minimum focusing distance
26cm* / 10.2 in.*
Maximum magnification ratio
Dimensions (diameter x length)
96.4mm × 135.1mm / 3.8in. x 5.3in.
1,150g / 40.6oz.
* At 24mm end of the zoom range
Corresponding AF Mounts
SIGMA / NIKON / CANON
The Nikon mount version of this lens includes an electromagnetic diaphragm mechanism. Functionality may be limited on some camera bodies.
Release date and price: TBD Accessories: Case, Cover Lens Cap (LC964-01)
Canon to Assist NBC Olympics in Providing Viewers with Outstanding HDTV Picture Quality and Long-Zoom Image Detail
MELVILLE, N.Y., February 8, 2018 – NBC Olympics, a division of the NBC Sports Group, has selected Canon U.S.A., Inc., a leader in digital imaging solutions, to provide a wide variety of HDTV Field, Portable and Studio lenses for its broadcast of the XXIII Olympic Winter Games, which take place in PyeongChang, South Korea, from February 8 - February 25. The announcement was made today by Chip Adams, VP of Venue Engineering, NBC Olympics, and Yuichi Ishizuka, President and COO of Canon U.S.A., Inc.
Over 70 Canon broadcast lenses will be used, including the DIGISUPER 95 TELE long-zoom field lens featuring a focal length of 1178mm (2356mm with 2x Extender); the DIGISUPER 27 studio lens providing crisp HD imagery in a studio environment; the HJ14ex4.3B wide-angle HD lens capturing a panoramic 96.3 degrees angle-of-view; and the HJ24ex7.5B HDTV field telephoto zoom lens, providing a remarkable 7.5-180mm zoom range in a compact, portable body.
“A Winter Olympics production can be tough on equipment and especially lenses,” said Adams. “Canon lenses have always proven themselves in difficult conditions. The images, equipment and the support we get from Canon are always exceptional.”
“We are honored to once again be chosen as the broadcast lens provider for NBC” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc.