Canon and Sony News for Mar 2017 (Page 5)

Just posted: Zeiss 18mm f/2.8 Milvus Lens Review.

Just another great Milvus lens to tempt you with.

B&H has the Zeiss 18mm f/2.8 Milvus Lens in stock.

From Adobe:

Lightroom CC 2015.9

The goal of this release is to provide additional camera raw support, lens profile support and address bugs that were introduced in previous releases of Lightroom.

New Camera Support in Lightroom CC 2015.9

• Canon PowerShot G9 X Mark II
• Casio EX-ZR3200
• Fujifilm GFX 50S
• Fujifilm X100F
• Fujifilm X-A10
• Fujifilm X-T20
• Leica M10
• Olympus E-M1 Mark II
• Panasonic DC-FZ80
• Panasonic DC-GF9
• Panasonic DC-GH5
• Panasonic DMC-TZ82
• Phase One IQ3 100MP (“S” compression mode not supported)

New Lens Profile Support in Lightroom CC 2015.9

Customer reported issues resolved

• Upright error where the “Update” button was incorrectly enabled when Upright is unable to find a correction.
• Lens Profile Auto Matching was not working for Zeiss Batis 85mm lenses.
• Cursor movements on Point Curves were erratic
• Issue related to abnormal Lightroom exit when using Full Screen mode. The issue only occurred on Mac OS 10.12 (Sierra)
• Develop Module Locked after deleting images while using two displays
• Live Photos created on iPhoto caused the JPEG to be treated like an XMP sidecar file
• Instead of deleting currently selected photo, deletes face tag from previous viewed photo
• Images from Canon EOS G7X MK II sometimes had a green color cast
• Unable to change the image after deleting a rejected photo in develop module
• Export was taking longer than expected.
• Unable to import compressed raw files from Fujifilm XT-2 and X-Pro2
• iPhone video Capture Time is shifted upon Import
• Slideshow Export as JPG text overlay issue
• If using 2-byte characters for catalog path, unable to backup
• Problem with map module (Windows)
• Cannot access Auto Import Settings form File menu
• The zoom does not work properly after the update
• Lightroom 6.8: Memory Leak
• Keyboard shortcut X for rejecting an image in Library not available (French)
• Erroneous warning message on Catalog Backup
• Messing up file ordering with panoramas

Installation Instructions

Please select Help > Updates to use the update mechanism in the Creative Cloud app.

The Adobe Camera RAW 9.9 update adds the same camera and lens profile support listed in the Lightroom update described above.

Customer reported issues resolved

• Released a new set of Camera Matching Profiles for Canon 5D Mark IV – this set of profiles are more similar to past cameras of the same generation.
• Improved support for Canon 5D Mark IV dual pixel raw images. Please see this note for further details.
• Fixed issue related to memory corruption in the DNG Converter.
• Fixed bugs related to crashes and abnormal app exits.

Download: Adobe Camera RAW 9.9 – Windows | Macintosh

B&H carries Adobe Photography Plan subscriptions.

With Nikon restructuring and slashing jobs, you may be interested to know how Canon plans to grow the various segments of its overall business in the coming years.

With that in mind, they've just published a slideshow presentaton from their Corporate Strategy Conference 2017. Here's the link:

Canon Corporate Strategy 2017 Presentation Material (.PDF)

In a recent post, we answered the question Should You Turn Off "IS" When Using Action-Stopping Shutter Speeds? One of the questions generated by that post asked if image stabilization should be turned off or left enabled when shooting from a tripod. So, we went back to our very-knowledgeable Canon representative with this question. Again, the information below should not be considered official Canon guidelines, but it comes from a person who has substantial knowledge about Canon lenses and their IS systems.

First off, let's be clear -- any discussion about Image Stabilization on a tripod refers ONLY to a truly rock-solid tripod, on a totally firm surface without vibrations from passing traffic and so on. In many real-world situations, we're using tripods and other supports in conditions that really aren't totally solid. A good test, before discussing the question any further: the next time you're mounted on a tripod, turn your camera's Live View on, and magnify the LCD monitor image to its greatest setting. It's sometimes amazing how much shake and movement there really is, even on a tripod.

The point is pretty clear. In any situation where you're not truly rock-steady, whether you're mounted on a tripod, or certainly a monopod, using Image Stabilization normally makes a great deal of sense.

However, since the launch of the first Canon Image Stabilized lens (the EF 75-300mm IS zoom lens, from 1995), Canon engineers have recommended switching IS off if and when you're mounted on a tripod. Again, this pre-supposes it's a truly rock-solid tripod.

Canon's optical Image Stabilization has definitely evolved since its launch in 1995, and there are now different versions for lightweight, less-expensive lenses (like the EF-S 18-55mm standard zoom for compact cameras) than the more advanced IS units we see in (for example) L-series super-telephoto lenses. Basically, current Canon EF and EF-S lenses can detect when there's a total absence of "shake" (in other words, solidly tripod mounted), and internally disable the Image Stabilization if it's left on. But in some lenses -- and it varies, depending on the IS design in the lens in question -- the moveable IS lens elements aren't locked and centered when the IS is disabled this way, and can sometimes be susceptible to slight movement during exposure. On such lenses, physically switching IS off with the switch on the lens allows the lens to lock and center these elements.

Again, there are variables -- too many to get into here, since it depends on which lens model, which version (in other words, how old is the lens in question), and so on. But the bottom line remains pretty simple. It's safer to just switch IS off if you know there will be a complete absence of camera and lens movement during exposure.

One other thing... Canon's optical Image Stabilization is designed as a tool to get sharper pictures at "normal" shutter speeds. While the slow-speed limits may vary slightly from one lens model to another, Image Stabilization is disabled if the system detects a shutter speed longer than roughly one full second. So for longer night-time exposures, expect to just turn IS off, because it won't have an effect in your final pictures.

Hope this helps clarify the questions about Canon's optical Image Stabilization when cameras are tripod mounted.

Shown in this post's image is a tripod that meets the rock-solid requirement. This is a Really Right Stuff Ground Level Tripod, now carried by B&H.

From Nikon:

D7200 Firmware Version 1.02

Changes from “C” Firmware Version 1.01 to 1.02

• The WT-7 wireless transmitter is now supported.
• Fixed the following issues:
• If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for Image size.
• Pictures would sometimes not be recorded.
• Optimal exposure would sometimes not be achieved in photos taken in live view using a lens with electromagnetically controlled aperture (type E and PC-E lenses).

Download: Nikon D7200 Firmware Version 1.02

Changes from “C” Firmware Version 1.11 to 1.12

• Fixed an issue that resulted in unreliable connections between the camera and the iOS 10.2 version of the SnapBridge app.

Download: Nikon D500 Firmware Version 1.12

Changes from “C” Firmware Version 1.10 to 1.11

• The WT-7 wireless transmitter is now supported.
• Fixed the following issues:
• If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for Image size.
• The option chosen for Custom Setting f5 (Customize command dials) > Change main/sub in CUSTOM SETTINGS MENU group f (Controls) would not be saved when Save settings was selected for Save/load settings in the SETUP MENU.
• Pictures would sometimes not be recorded.

Download: Nikon D750 Firmware Version 1.11

Changes from “C” Firmware Version 1.11 to 1.12

• The WT-7 wireless transmitter is now supported.
• Fixed the following issues:
• Multiple exposures were not recorded correctly.
• Incorrect histograms would be displayed for some images viewed in the RGB histogram display during playback.
• If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for JPEG/TIFF recording > Image size.
• Photos taken immediately after lenses were exchanged would not be recorded at the correct exposure.
• The protect icon did not display correctly.
• If On was selected for Auto distortion control, the camera would stop responding when the user attempted to take pictures with NEF (RAW) + JPEG fine selected for Image quality, Small selected for NEF (RAW) recording > Image size, and RAW primary - JPEG secondary selected for Secondary slot function.
• Shutter speeds for the electronic front-curtain shutter would sometimes be faster than 1/2000 s.
• Pictures would sometimes not be recorded.

Download: Nikon D810 Firmware Version 1.12

Changes from Firmware Version 1.0 to 1.1

• The D810, D810A, D750, and D7200 are now supported.
• HTTP server mode is now available in Turkish.
• Fixed an issue that prevented PASV mode connections to certain f

Download: Nikon WT-7 Firmware Version 1.1

From Adobe:

New Raw HDR Capture Mode

We’re excited to announce that Lightroom Mobile now has a new raw HDR capture mode that lets you achieve a dynamic range on your mobile device that was previously only possible shooting with an DSLR or mirrorless camera.

This new HDR mode harnesses the power available in the latest mobile hardware on both Android and iOS. These updates, version 2.7 for iOS and version 2.3 for Android, were released today and make the HDR mode available for free.

The new HDR mode works by automatically scanning the scene to determine the correct exposure range and then capturing three DNG files which are then automatically aligned, merged, deghosted, and tonemapped in the app. You get a 16-bit floating point DNG, with all of the benefits of both an HDR and a raw photo, which is processed by the same algorithms with the same quality as the HDR technology built into Adobe Camera Raw and Lightroom.

Previously, capturing an image in HDR either meant using a DSLR or mirrorless camera, capturing multiple exposures, copying to your computer, and then merging in an application like Photoshop, Adobe Camera Raw, or Lightroom. Alternatively, you could capture an HDR JPEG on your phone, though those images normally used only two shots and often failed to capture the full range of tonality in difficult lighting scenarios. By capturing three raw shots and merging on the phone, you get a greatly increased dynamic range with the ability to edit and share right away. Creative Cloud members get the additional benefit of automatically syncing with their desktop, ensuring that the photo, plus all of the edits that were made to the photo, are backed up and available in the desktop version of Lightroom.

Our very own Russel Preston Brown has created a great tutorial for using this new HDR capture mode within Lightroom Mobile, check it out! below.

When we started working on HDR for Lightroom Mobile, we realized that adding desktop-caliber, pro-quality processing algorithms to mobile devices is no easy task. Our team was able to make some pretty amazing breakthroughs that eventually made it possible.

For iOS users, the HDR mode requires a device that can capture in DNG, such as an iPhone 6s, 6s Plus, 7, 7 Plus, iPhone SE, or iPad Pro 9.7?.

For Android users, at this point only the Samsung S7, S7 Edge, Google Pixel, and Pixel XL are supported. So that we’d adhere to our stringent quality and reliability requirements, our primary goal was to ensure the stability of the app while enabling the algorithms to provide the highest possible quality. Thanks to the processing and memory available on the Samsung S7 and Google Pixel devices, we were able to achieve the quality and capabilities required by these incredibly powerful algorithms. The team is working hard to support additional devices as quickly as possible.

Other features in these releases

In addition to the new raw HDR capture mode, iOS and Android users get the following new features:

iOS

• Export Original, enabling you to export the original files, including DNGs captured in the camera as well as raw files imported through Lightroom Mobile and Lightroom web (Lightroom Desktop does not upload originals to the server)
• Gestures to rate and review in the Rate & Review mode, greatly speeding up your review process
• New Force Touch and Notification Center widget, making it even easier and faster to launch Lightroom’s camera
• As well as a new option available in settings, Prevent From Sleep, which will keep the screen from locking as long as the phone is plugged into power, improved synchronization stability and speed, and general bug fixes, performance enhancements, and UI tweaks

Android

• For Android Creative Cloud members, the Radial and Linear Selection tools are now available
• As well as general bug fixes and speed improvements

Download Lightroom Mobile

B&H carries Adobe Photography Plan subscriptions.

Just posted: Sony FE 24-70mm f/2.8 GM Lens Review.

For those able to afford this lens, it is the first Sony lens to buy.

Please note that the image quality results currently shown (processed in Lightroom) will soon be replaced with Capture One-processed results. Lightroom forces Sony lens aberration correction (minimally correcting lateral CA) for lenses it has a profile for and lens corrections built into the processing hides lens flaws.

B&H has the Sony FE 24-70mm f/2.8 GM Lens in stock.

From the B&H YouTube Channel:

Lightroom provides a complete workflow solution that enables photographers to organize, optimize, and share their photographic images. In this informative and entertaining presentation, Tim Grey shares his tips for best practices for a workflow in Lightroom that will work best for your specific needs. You'll gain a better insight into how Lightroom works, get tips on how to best configure Lightroom, learn how to define your own optimal workflow, and much more.

B&H carries Adobe Photography Plan subscriptions.

The video above demonstrates that being able to think on your feet – utilizing all of the availble tools at your disposal – can make all the difference in overcoming less than optimal photography conditions.

by Sean Setters

I thoroughly enjoy visiting new destinations and reveling in the photographic inspiration that the unfamiliar scene inevitably engenders. My yearning for exploration is often the result of being blind to the beauty of the all-to-familiar locations I've photographed before.

There is a way to help tame the bordem with often visited locations, though. Have you ever heard the phrase, "Absense makes the heart grow fonder?" I'm not altogether sure how true the concept is in relationship terms, but the phrase seems perfectly applicable to locations I've visited and photographed numorous times.

For instance, I've photographed this Spanish moss-covered Oak several times primarily because it is only a short walk from my home. However, I hadn't photographed it for quite some time when, a couple of days ago, I decided to take a walk with my IR-converted EOS 7D and EF-S 24mm f/2.8 STM lens.

I've photographed this tree under similar, cloudy circumstances with the very same gear and shared the results here before. While I preferred a tighter framing before, I found that the freshly-cut field aided in isolating the tree in the scene thereby allowing a looser framed image to have more impact. It was a minor difference, but one that made a definitive impact on my framing preference. One could also argue that having photographed the tree from a closer perspective meant that I was subconsciously looking for a reason to find/utilize a new perspective, and that would be a fair point. But seeing a familiar scene with fresh eyes helps to get one's creative juices flowing, and being familiar with a location means you're better able to seek out and capitalize on those minor differences that can have positive impacts on your already-photographed location imagery.

For the shot above, the exposure settings were f/2.8, 1/2000 second and ISO 100.

During post processing, I first inverted the red and blue color channels in and then desaturated the yellow hues to achieve the traditional IR white foliage look while maintaining the blue color captured by the Super Color IR sensor. Click on the image above for access to a higher resolution version.

As the promise of brand new foliage fills the warming seasonal air, now is the time to send your (older, seldom used?) camera in for an infrared conversion to take advantage of the IR photography opportunties that lie ahead.

Learn more about infrared photography and IR conversions in our Infrared Camera Conversion by LifePixel Review.

From Sigma:

SIGMA ELECTRONIC FLASH EF-630 F/CANON is scheduled to start the shipment in MARCH.

The SIGMA ELECTRONIC FLASH EF-630 is a multifunctional clip-on type flash, which offers a greater output of light with a guide number 63. Among the diverse features loaded on this flash is TTL exposure control as standard as well as high-speed sync, rear-curtain sync and wireless flash functions. The Auto zoom function which is designed to work with focal length 24-200mm, bounce-flash function, Wide Panel and Catch-light Panel of the EF-630 are perfect for various kinds of photography. The rear LCD offers an intuitive user interface for fast and easy operation. For instance, the new dot matrix liquid crystal display ensures improved visibility of setting status and menu function, and D-Pad and dial on the side of the flashgun make changing settings easier than ever.

Key Features:

Intuitive user interface for ease of use
The new dot matrix liquid crystal display is incorporated for this flash. Moreover, the D-Pad and dial on the side of the flashgun make changing settings, such as TTL auto exposure system, wireless flash, FP flash and rear-curtain sync, on the main screen and setup menu displayed on the LCD easier than ever. The flash is designed to disengage easily by one-click on the shoe lock lever. In addition, a flash sync terminal and notification beep sound when the flashgun is fully charged improves ease of use.

Guide Number 63 offering a greater output of light
The maximum guide number is 63 for a high light level (when the focal length is 200mm). It is possible to change the illumination angle from 24mm wide to 200mm telephoto. It also covers an angle of a 17mm when used with the built-in Wide Panel.

Three light distribution modes
The flash is designed to work in three light distribution modes. Normal emission mode has basic light distribution for general photography, and another mode prioritizes guide number to obtain an even larger output. Flat light distribution mode has a characteristic of uniform light distribution by reducing the fall off of peripheral light. It is possible to select the mode in accordance with the purpose.

Bounce-flash function with movable flash head
The flash head of the EF-630 can be tilted up by as much as 90°and can swivel both left and right by 180°. Bounce photography, where light is reflected off a white wall, ceiling or a reflector increases the range of photographic expression. The flash head can also be tilted down by 7°for close-up shots.

Wireless TTL Flash Function
The wireless TTL flash function will adjust the desired flash exposure automatically by flash light even if the EF-630 is detached from the camera. Remote control operation is possible between the camera and flash. When multiple flash units are used, the camera calculates the correct exposure automatically.

Slave Flash Function
Slave Flash can be used with all camera models and it allows the flash to be fired away from the camera by the master unit though it is not possible to set flash exposure automatically. The Designated Slave function for EF-630 allows the photographer to use two or more EF-630 flash units simultaneously. It is possible to designate flashguns by using different channel settings. In the Normal Slave mode, it is also possible to use the camera's built-in flash or another flash unit as the Master.

FP Flash function for high shutter speeds
Cameras with flash focal plane shutters cannot perform flash photography at shutter speeds faster than the fixed synchronization speed as it is usually limited to coincide with the fully open shutter. The FP flash function makes flash photography possible at shutter speeds greater than the fixed synchronization speed. When the lens diaphragm is set to larger apertures to limit depth of field in synchronized daytime shooting, high shutter speeds can be used to balance the daylight and the flashlight at any shutter speed.

Rear-curtain Sync flash function for natural representation of motion
When photographing a moving subject, the Rear-curtain Sync mode allows the flash to be triggered immediately before the rear-curtain of the shutter closes. Unlike Front-curtain Sync, this mode records blurred trails behind a moving subject rather than in front for a more natural expression of motion.

Multiple Flash Photography
In a single frame it is possible to capture the frozen-in-motion image of a subject by a series of light bursts.

AF assist light for accurate auto-focus in low light conditions
Accurate AF may not be possible in dark conditions. However, the AF assist light of the EF-630 allows effective AF between approximately 0.7m and 10m.

Manual flash power level control
The flash power level of the EF-630 can be set manually from 1/1 to 1/128 in 1/3 EV increments to meet the photographer’s needs.

Modeling Flash function to check for shadow
The EF-630 also offers a modeling flash function, enabling the user to check for reflections and shadows before taking a photograph.

Custom Mode Function
The Custom Mode Function is available to register two settings with the photographer’s preference. It is easy to set it with D-Pad and dial on the side of the flashgun.

Notification beep sound
When the notification beep sound is turned on by the switch at the front of the flash, it is possible to check the status of flash such as whether it is fully charged, exposure is ok, as well as error alert only by the sound without looking at the LCD display.

Auto Power-Off function prevents power waste
To conserve battery life, the EF-630 will automatically turn off after a certain period of time of inactivity.

Catch Light Panel
This flash is equipped with a built-in catch light panel, which can highlight the eyes of the subject when the bounce flash mode is activated.

Synchronic Terminal
The EF-630 is equipped with a Synchronization Terminal to connect a camera with the commercially available synchronization cable.

Regular firmware updates
Photographers can update the firmware via the newly developed optional FLASH USB DOCK FD-11(Sold separately). The firmware can be updated by attaching the EF-630 to the FD-11 and then connecting the FD-11, via a USB cable, to a personal computer on which the exclusive software SIGMA Optimization Pro has been installed.

Power source : Four AA Alkaline or AA NiCd or Ni-MH (Nickel Metal Hydride) batteries
Guide Number : 63 (200/fit) ISO100/m (with the zoom head at 200mm)
Illumination angle : Automatically set in accordance with the focal length of the lens, in a range from 24mm to 200mm. Also covers the angle of a 17mm lens when used with the built-in Wide Panel.
Bounce angle (Up) : 0, 60, 75, 90 degrees
Bounce angle (Right) : 0, 60, 75, 90, 120, 150, 180 degrees
Bounce angle (Left) : 0, 60, 75, 90, 120, 150, 180 degrees
Bounce angle (Down) : 0, 7 degrees
Dimensions (W X H X D) : 79.4mm×148.4mm×121.5mm / 3.1in. X 5.8in. X 4.8 in.
Weight : 490g/17.3oz. (without battery)
Corresponding cameras : SIGMA, CANON, NIKON
Barcode:SIGMA 0085126 932923, CANON 0085126 932909, NIKON 0085126 932916

This accessory is used to dock EF-630 and update its firmware in the exclusive SIGMA Optimization Pro software. The dock is connected to a personal computer via a USB cable.

Barcode: SIGMA 0085126 801564, CANON 0085126 801540, NIKON 0085126 801557
Release date: SIGMA: Available, CANON:March, 2017, NIKON: TBD

B&H has the Sigma Electronic Flash EF-630 and FD-11 Flash USB Dock available for preorder.

It has been a while since we took a look at the oldest Canon lens list and I was wondering what that list was looking like today. Since I was wondering, I thought perhaps some of you might also want to see the list. So, here it is:

Lens Model		Year
1	Canon EF 50mm f/2.5 Macro Lens	1987
2	Canon EF 100mm f/2 USM Lens	1991
3	Canon TS-E 45mm f/2.8 Tilt-Shift Lens	1991
4	Canon TS-E 90mm f/2.8 Tilt-Shift Lens	1991
5	Canon EF 20mm f/2.8 USM Lens	1992
6	Canon EF 85mm f/1.8 USM Lens	1992
7	Canon EF 50mm f/1.4 USM Lens	1993
8	Canon EF 400mm f/5.6L USM Lens	1993
9	Canon EF 70-200mm f/2.8L USM Lens	1995
10	Canon EF 28mm f/1.8 USM Lens	1995
11	Canon EF 180mm f/3.5L USM Macro Lens	1996
12	Canon EF 135mm f/2L USM Lens	1996
13	Canon EF 200mm f/2.8L II USM Lens	1996
14	Canon EF 300mm f/4L IS USM Lens	1997
15	Canon EF 28-135mm f/3.5-5.6 IS USM Lens	1998

At 30 years of age, the 50mm macro is older than many in this audience! However, I'm guessing that there is another lens in this list that you would more-prefer to see an update of.

We don’t have any specific inside information on what’s coming down Canon’s development pipeline, but I'm guessing the prospect of an updated EF 50mm f/1.4, 85mm f/1.8, or 135mm f/2 might seem especially enticing to you. Or, perhaps adding IS to the 400mm f/5.6L or 180mm f/3.5L Macro (or any of the other non-IS lenses) sounds appealing to you.

Which lens updates would you most like to see hit the market in the not-so-distant future?

Which of these lenses no longer has a purpose and should simply be discontinued without a replacement?

From the B&H YouTube Channel:

For much of the history of photography, practitioners were limited to black and white. But digital cameras allow you to choose on a frame-by-frame basis whether you are creating a color or black and white image; in fact, this choice is often best made in post-production.

In this presentation, acclaimed photographer Harold Davis addresses how to pre-visualize black and white in a color world, how to find subjects that work well monochromatically, how to tell a story or "write" a poem with black and white, and the best-practices workflow for black and white conversion. Along the way, Harold presents his black and white work, shows creative approaches such as digital solarization and LAB inversions, and discusses black and white printmaking.

Note: One point that Harold Davis makes about black and white photography mirrors my sentiments on infrared photography. He mentions that landscape photographers typically shoot during the golden and blue hours to capture their best imagery. However, black & white photography benefits from strong shadows, opening up the rest of the day for creative and unique image opportunities. Infrared photography is benefitted by the flip side of the coin (strong sunlight), but with the same result of increased opportunities for great images. [Sean]

From the iamNikon Blog:

When it comes to action, photography and taking risks, Marcel Lämmerhirt is your man. Discuss anything related to these areas and it’s hard not to notice the anticipation and enthusiasm building in Marcel. With a particular passion for speed, Marcel has photographed everyone from snowboarders to professional cliff divers, and journeyed everywhere from the Swiss glaciers to Tokyo, seeking his perfect shot.

So, in November 2015, it is no surprise that we approached Marcel to see what he could do with the Nikon D500. It didn’t take long for him to come up with an idea: to photograph Alvaro Dal Farra freestyle motocross athletes in the DaBoot Superpark, Lentiai, Italy. It was to be one of the most challenging and exhilarating shoots he’s experienced so far. In this guest blog, he revisits this experience, sharing the unexpected challenges he & his crew came across and how they overcame them.

Note: While this blog post contains many well-crafted extreme sports images, be sure to check out the shot created by mounting the Nikon D500 and NIKKOR AF DX Fisheye 10.5mm f/2/8G ED to the motorbike's handlebars (it's insanely good). [Sean]

B&H carries the Nikon D500 DSLR camera.