Canon Announces 70-300 f/4-5.6L IS

Canon EF 70-300 f/4-5.6L IS

London, 26th August 2010 – Canon today announces the latest addition to its renowned L-series of professional lenses, the EF 70-300mm f/4-5.6L IS USM, designed to answer growing demand for a high performance zoom lens which offers outstanding mobility and versatility. The EF 70-300mm f/4-5.6L IS USM offers a 4.3x telephoto zoom range of 70-300mm, with a variable aperture of f/4-5.6.

The compact (143mm) design also features the build quality that photographers have come to expect from Canon’s acclaimed L-series lenses. With its impressive focal range and travel-friendly size, the EF 70-300mm f/4-5.6L IS USM is ideally suited to professionals and advanced amateur photographers wishing to capture portraits, nature and action shots in superb detail.

Canon signature image quality

Thanks to two ultra-low dispersion (UD) elements and a floating lens group, the

EF 70-300mm f/4-5.6L IS USM captures stunning high-contrast, high-resolution images with low levels of chromatic aberration throughout the zoom range. The lens makes use of Canon’s Super Spectra coatings, reducing ghosting and flare to ensure the highest possible image quality and minimising the requirement for extensive post processing.

Canon’s advanced optical Image Stabilizer (IS) provides photographers with a four-stop IS advantage, enabling the capture of sharp images even when shooting at maximum zoom or in low light conditions, by allowing the use of slower shutter speeds than would usually be possible with handheld shooting.

An eight-blade circular aperture also offers excellent bokeh ideal for portraiture, producing a more pleasant background and creatively isolating the subject.

Autofocus (AF) is fast and quiet thanks to a ring-type USM AF motor, combined with the independent lens CPU and advanced AF algorithms to enable accurate, reliable focusing in all conditions. As with all Canon L series lenses, full time manual focus override is possible, allowing photographers to manually focus, even when the AF motor is engaged. With a minimum focusing distance of 1.2m (3.9ft) throughout the zoom range, photographers can achieve sharp results, even when close to the action.

L-series – robust performance in all conditions

Honouring the L-series heritage, the EF 70-300mm f/4-5.6L IS USM offers exceptional build quality, ideal for daily use by professionals and advanced amateurs. The lens includes environmental protection, allowing photographers to shoot in harsh conditions – even in the extremes of the desert or rainforest. Canon’s new Fluorine Coating also makes cleaning the lens easier, preventing smears or streaking.

Professional accessories

As part of the L-series range, the EF 70-300mm f/4-5.6L IS USM is supplied with a lens hood ET-73B and lens case LP1424 as standard. In addition, an optional, dedicated tripod mount C (WII) can be directly attached to the lens. This allows it to be stabilised easily and the camera switched quickly from vertical to horizontal and back, without having to reposition the camera body on the tripod, perfect for fast-paced action with a variety of subjects.

The new sensor beside a 35mm Full Frame Sensor

Canon succeeds in developing world’s largest CMOS image sensor, with ultra-high sensitivity

TOKYO, August 31, 2010-Canon Inc. announced today that it has successfully developed the world’s largest*1 CMOS image sensor, with a chip size measuring 202 x 205 mm. Because its expanded size enables greater light-gathering capability, the sensor is capable of capturing images in one one-hundredth the amount of light required by a professional-model digital SLR camera.

At 202 x 205 mm, the newly developed CMOS sensor is among the largest chips that can be produced from a 12-inch (300 mm) wafer, and is approximately 40 times the size of Canon’s largest commercial CMOS sensor.*2

In the past, enlarging the size of the sensor resulted in an increase in the amount of time required between the receiving and transmission of data signals, which posed a challenge to achieving high-speed readout. Canon, however, solved this problem through an innovative circuit design, making possible the realization of a massive video-compatible CMOS sensor. Additionally, by ensuring the cleanest of cleanroom environments during the production process, the sensor minimizes image imperfections and dust.

Because the increased size of the new CMOS sensor allows more light to be gathered, it enables shooting in low-light environments. The sensor makes possible the image capture in one one-hundredth the amount of light required by a 35 mm full-frame CMOS sensor, facilitating the shooting of 60 frame-per-second video with a mere 0.3 lux of illumination.

Potential applications for the new high-sensitivity CMOS sensor include the video recording of stars in the night sky and nocturnal animal behavior.

Through the further development of distinctive CMOS image sensors, Canon will break new ground in the world of new image expression, in the area of still images as well as video.

Official for ZE
OBERKOCHEN/Germany, 01.09.2010.

A woman is sitting at the bar of a dimly-lit cafe. Lost in thoughts, she doesn’t notice the glass of wine the bartender places before her. From a distance, a photographer tries to capture her mood. He brings her face, which is leaning toward her phone, into focus. Everything around her becomes a blur, and the lights in the background coalesce into a wild “dance” of diffuse shapes.

This shot will only work with a fast lens with short focal length and harmonious bokeh. Carl Zeiss introduces a new lens for just such images: the Distagon T* 1,4/35.

By introducing the Distagon T* 1,4/35, Carl Zeiss is complementing the Planar T*1,4/50 and T*1,4/85 lenses with a wide-angle lens that shares the same high speed. Crisp, sharp images work every time, whether at dusk or in the weak lighting conditions of a café, and without the need for a tripod. With its 35-mm, the Distagon T* 1,4/35 matches the classic and versatile standard focal lengths when used on cameras with APS-C sensor formats.

Due to the special bokeh effects in both the foreground and background areas, the Distagon T*1,4/35 opens up new creative possibilities, giving photographers more options to ‘play’ with focus. Thanks to its large focus ring, photographers can also create highly accurate, sharp pictures, even at maximum aperture opening. In addition, the optical construction of the lens guarantees high image quality across the entire image range. Furthermore, with one step less than the full aperture opening, the light fall-off toward the edges is just one f-stop.

With the ZEISS T*‘s anti-reflective coating, its sophisticated stray light reduction and the excellent flare control the new Distagon also takes pictures of bright light sources without artifacts. The Distagon T*1,4/35’s extremely long-lasting and robust all-metal precision mechanics, for which Carl Zeiss is known, make this lens perfect for use on-the-go and for photo reports.

The Distagon T* 1,4/35 will be available in first quarter of 2011 at a recommended retail price of €1385.71 (excluding VAT)*.

Canon TC 1.4 III

London, 26th August 2010 – Canon today unveils two lens extenders designed for its L-series range of new super-telephoto lenses. Designed for photojournalists, nature and sports photographers who need to get close to distant and challenging subjects, the Extender EF 1.4x III and Extender EF 2x III increase the focal length of a lens by a factor of 1.4x and 2x respectively while still delivering superb image quality. To ensure the best possible image quality in all shooting conditions, they also combine enhanced environmental protection, redesigned optics and improved data communication between lens and camera.

Canon professional image quality

Allowing professional photographers to shoot distant subjects without having to carry a number of heavy lenses with them, these new extenders ensure there is no compromise on image quality. The Extender EF 1.4x III features three lens groups of seven elements, and the Extender EF 2x III features three groups of nine elements, ensuring improved optical performance. All optical elements use Canon’s Super Spectra coating, reducing ghosting and flare to minimise post-processing requirements. A new Fluorine Coating on the front and rear elements makes marks, such as spots left by water or fingerprints, much easier to clean than standard coatings.

To facilitate the accurate transfer of imaging data between the lens and camera body, both models feature an integrated processor which ensures all focusing, metering and ID information is available – allowing the photographer to capture crisp, well-exposed images. When combined with the latest range of premium Canon L-series lenses, these extenders enable higher AF accuracy compared to previous generations, ensuring professionals achieve perfectly sharp shots, even when capturing moving subjects.

Canon TC 2.0 III

Redesigned for high performance

The Extender EF 1.4x III and Extender EF 2x III have been designed to complement the latest range of L-series lenses, matching their appearance and offering a visible differentiation from previous models. A carefully positioned lens release mechanism also makes it easy to mount the extenders quickly, reducing the time that the camera and lens are exposed to the environment. The extenders offer the exceptional build-quality expected from Canon’s professional products, and are resistant to both dust and water, allowing photographers to use them in extreme shooting conditions.

Canon EOS 60D

London, UK, 26th August 2010 – Canon today announces the latest addition to its world-famous EOS series of Digital SLR (DSLR) cameras – the new EOS 60D. Replacing the EOS 50D, the EOS 60D is designed for photographers who want to take their skills to the next level, offering high performance, a series of creative features, a Vari-angle LCD screen and enhanced ergonomics – empowering photography enthusiasts to capture outstanding stills and Full High Definition (HD) video for unique, creative results.

High speed, high resolution

With an 18 Megapixel APS-C sensor, the EOS 60D offers high levels of detail and a magnification of 1.6x the focal length of the lens to capture poster-size images in a variety of aspect ratios*1. Canon’s powerful DIGIC 4 technology rapidly processes image information captured from the CMOS sensor’s four-channel output, providing outstanding colour reproduction, as well as high-speed shooting at 5.3fps in bursts of 58 full-resolution JPEGs.

A standard ISO range of 100-6400 is extendable to 12800, providing smooth images with minimal noise in low light conditions. A 9-point, all cross-type autofocus (AF) system also provides swift and accurate focusing, with an extra-sensitive centre point for lenses faster than f/2.8, allowing photographers to artistically employ a shallow depth of field during portraiture or for more atmospheric shooting.

The EOS 60D features Canon’s iFCL metering system, first introduced with the acclaimed EOS 7D, with a 63-zone Dual-Layer sensor. Information on subject location is gathered from the Auto Focus system, and is combined with colour and luminance readings for consistent accurate exposures whatever the situation. The Integrated Speedlite transmitter also provides in-camera control of multiple EX flash units for more creative lighting.

Shoot from all angles

A new 7.7cm (3.0”) Vari-angle wide LCD monitor features a 3:2 aspect ratio and a 1,040k dot resolution, providing added flexibility and allowing photographers to view their images in incredible detail. The Vari-angle wide LCD helps frame shots from difficult angles, and can be positioned with Live View enabled to achieve the desired composition if shooting isn’t possible using the viewfinder. The ability to capture wildlife portraits, overhead shots or ground-level photography is instantly enhanced, and the surface of the screen features an anti-reflective, water-repellent coating to protect the screen allows easy viewing in bright light and from a variety of angles.

Empowering creativity

A new Basic + function makes it easy for photographers to add their own creative touch to images without worrying about changing settings. Photographers can add ambiance to a scene by shooting according to lighting and scene type, with Portrait, Landscape, Close-Up, Sport, Night Snapshot or Creative AUTO modes all available. Different effects can be achieved by shooting with Basic + enhancements such as Daylight, Cloudy or Sunset or pre-set Picture Styles including Vivid, Soft, Warm or Monochrome.

Designed to provide power for those who wish to extend their creative vision, the EOS 60D features a host of new functions that help capture better images and in-camera effects to add an extra dimension. The powerful DIGIC 4 processor supports in-camera RAW image processing, allowing photographers to edit settings such as brightness, contrast, white balance or correct distortion or chromatic aberration. The edited image can then be resaved as a JPEG, ready to be printed or uploaded to a PC or the web.

For photographers who want to add post-production effects to their images without the need for expensive software, the EOS 60D also features a range of new creative filters that can be applied in-camera. Filters including Grainy B/W, Soft Focus, Toy Camera Effect and Miniature Effect provide images with a different feel, allowing photographers to create a themed collection – using Grainy B/W to give images a reportage style, for example – or easily smooth skin tone in portraits with Soft Focus.

EOS Movies: Full HD video with complete control

Offering photographers the freedom to go beyond stills, the EOS 60D captures 1920x1080p HD video with a variety of user-selectable frame rates, including 30, 25 and 24fps, as well as 720p video at 60 and 50fps. Movie Crop mode is also available, recording with the central 640×480 pixel area of the sensor to create an effective magnification of approximately seven times the focal length of the lens.

Full manual control in Movie mode allows photographers to employ their own exposure and focus settings and take advantage of the effects achieved from Canon’s wide range of EF lenses. An external stereo microphone terminal and the ability to adjust sound recording level ensures the audio track recorded matches the visual quality of the video, capturing broadcast-quality sound.

For those who want to share images with friends and family, an integrated HDMI port is compatible with Consumer Electronics Control (HDMI-CEC), allowing video and images to be viewed on any compatible HD-ready TV and controlled via the TV remote.

Designed for flexibility

The EOS 60D features a completely redesigned body, combining an ergonomically enhanced, curved shape with a new button layout to make it quick and comfortable for photographers to change settings. Frequently used camera controls are grouped together for easy access, while the Quick Control Dial, Multi-controller and SET button have all been merged into one Multi Control Dial, enabling photographers to operate menus and enter settings quickly using their thumb. The mode dial also features a lock button, preventing unintentional changes to settings mid-shoot.

A dedicated Quick Control access button allows photographers to instantly reach the most common shooting settings and playback controls. Customising the functions of a number of buttons is also possible, allowing photographers to tailor the camera to suit their individual needs. To help achieve landscapes with perfectly level horizons, a horizontal Electronic Level can be displayed in the viewfinder or in Live View to assist composition and remove any potential need for post-production correction.

The EOS 60D is one of the latest Canon models to support high-capacity SDXC memory cards, providing up to 2TB of available space, allowing photographers to keep shooting HD video and full resolution RAW and JPEG stills without changing cards. For better management of larger image libraries on the camera, EOS 60D photographers can add a rating of 1 to 5 to their favourite images, allowing them to be easily located and viewed on-screen. Once transferred from the camera to a PC, the tags can also be viewed using a number of image editing and management programs, including Canon’s DPP software.

Share the moment

For photographers who want to transfer content wirelessly, the EOS 60D includes Eye-Fi connected functions*2. The EOS 60D features a dedicated Eye-Fi section in the User Interface allowing WiFi functionality to be turned off when not required to save battery life

EOS 60D features at a glance:

• 18 MP APS-C CMOS sensor
• Advanced creative features with Basic +
• Vari-angle 7.7cm (3.0”) 3:2 ratio LCD
• Full HD movies with manual control
• DIGIC 4
• ISO 100-6400, H:12800
• 5.3fps shooting for up to 58 JPEGs
• 9-point cross type AF System
• iFCL metering with 63-zone Dual-layer Sensor
• Integrated Speedlite transmitter
• In-camera RAW processing

* August 25, 2010
* Canon Lenses
* Follow on our forum

Canon EF 8-15 f/4L Fisheye

CANON fish eye lens

London, UK, 26 August 2010 – Canon today unveils the world’s first fisheye zoom lens offering both circular and full frame images, thanks to an extreme wide-angle focal range of 8-15mm. Replacing the EF 15mm f/2.8 fisheye, the new EF 8-15mm f/4L Fisheye USM is the latest addition to Canon’s L-series range of professional lenses, providing outstanding image quality, constant aperture throughout the zoom range and a robust design for reliable shooting in challenging weather conditions.

When paired with Canon’s full-frame DSLR bodies, such as the EOS 5D Mark II or the EOS -1Ds Mark III, professional photographers can choose to capture circular or full-frame fisheye images, allowing them to view a scene in a completely new and unique way. This new level of choice provides enhanced creative flexibility when shooting scenes such as the night sky, where the full 180º horizontal and vertical fields of view (FOV) allow every detail to be captured with incredible clarity in one single image.

When used with EOS bodies featuring APS-C or APS-H sensors, the EF 8-15mm f/4L Fisheye USM produces a more traditional, full frame fisheye view. A zoom-lock mechanism on the lens body allows the range to be limited to the focal length that ensures the best possible full-frame view without unsightly vignetting around the edge. ‘C’ and ‘H’ markings can be found next to the zoom operation ring, indicating the wide-angle zoom position where vignette-free shooting is possible with either sensor, allowing photographers to achieve optimum results with any EOS body.

Advanced optics for professional imaging

The EF 8-15mm f/4L Fisheye USM showcases over 70 years of Canon’s optical engineering heritage, boasting 14 lens elements in 11 different groups, including one aspherical and one Ultra-low Dispersion (UD) element to correct chromatic aberration and produce high-quality, high-contrast shots with excellent colour reproduction.

Ghosting and flare caused by strong light sources can be a particular challenge when shooting at such a wide angle, and, in order to counteract these artefacts, all lens elements have been covered with Canon’s Super Spectra Coating. The inner surface of the front element also features Canon’s SubWavelength Structure Coating (SWC), which uses tiny cone-like structures, shorter than the wavelength of visible light on the surface of the lens element, to gradually slow light down until it is at the same speed as it travels through glass, removing the risk of flare occurring before the light reaches the sensor.

To maintain optimum image quality, the front and rear lens elements also feature a Fluorine Coating which actively repels water, dust and dirt, making it easier to clean the lens and leaving it unobstructed by particles.

Fast, accurate focusing and low light performance

The ultra-wide angle zoom of the EF 8-15mm f/4L Fisheye USM offers a fresh take on sporting action or architecture shots, while the constant f/4.0 aperture allows faster shutter speeds to be employed for natural-looking images in low light.

A ring-type ultrasonic motor (USM), provides quick and accurate focusing when shooting and enables a full-time manual focus functionality allowing photographers to adjust the focus of any shot, even when the AF system is activated, for even greater control over image capture and improved creative flexibility.

Built for professional performance

The EF 8-15mm f/4L Fisheye USM features a high-grade physical design that reflects its elite performance. High resistance to both dust and water enables it to be used in a range of challenging situations, and, when used with a professional EOS body, it allows continued shooting in the harshest weather conditions. The external design also features the new exterior texture, for a high quality look and feel indicative of all new L-series models.

High quality accessories

The EF 8-15mm f/4L Fisheye USM is supplied with a dedicated lens cap, lens pouch and a felt-lined lens hood EW-77 for use when using the zoom at the 15mm setting, preventing lens flare.

Pack & Fly: Travel tips

Written on Thursday 29.07.2010 14:23 PM By: Red Bull Illume

Freesports photographers travel – a lot. Try to get in contact with one and he or she is more often than not on the move to some new city or remote location. For a photographer then, deciding on what equipment to pack for a shoot and get it all safely through the airport and onto the plane is stressful. Stricter security and tighter baggage controls as well as local customs regulations make packing a shooter’s bag a complicated decision.

To find out some practical advice, Red Bull Illume asked Red Bull Photofiles photographer and motocross expert Garth Milan for his travel tips.

What preparations should a photographer make before flying?
Make sure you have your correct itinerary with you, and that everything lines up on it. Don’t forget the five essentials: camera bag, ID, wallet, cell phone, and keys. You might need your passport and visa too, depending on where you’re traveling.

Also, make a list of all the camera equipment you need for that job. Include every little detail, all the way down to batteries and gaffer tape, and make sure anything rechargeable leaves the house with a full charge, including your cell phone.

Try to get a feel for the job and trip before you leave so that you can make your best educated guess on what you’ll need, versus what is just wasted space and won’t get used. There is no point in dragging 50 pounds worth of lighting equipment around an airport, then carry it on the side of a mountain all day, and never use it.

But at the same time, if you think you’ll need that light and it’s part of the shoot you envision, then by all means it’s worth lugging around. Just be realistic; if you’re going to shoot portraits and lifestyle along with a couple of skateboard action shots, you probably don’t need to bring the 600 along.

How strict are the airlines on bringing camera equipment?
The airlines, within reason, are pretty good about allowing us to bring camera equipment on board. As long as you follow the rules about how big your carry on is etc., it’s really not too bad.

How do you economize with baggage weight?
I don’t! I try my best to keep the weight down, but my pack is always ridiculously heavy. I think that is just part of being an action sports photographer. Though I can always make the most out of just a single lens or camera if I have to. At the same time, I’m the type that feels if I don’t bring it, I’ll most likely need it so I normally just go ahead and bring anything I can think of for that particular shoot – just in case I need it.

What essential camera equipment would you bring?
For most jobs, I try to bring two camera bodies: one to shoot with; and another one that just sits as a backup in case something happens to the primary body. As for lenses, I try to just bring what will fit in one large, barely carry-on-able backpack.

In most cases, my typical setup that I travel with is: 15mm fisheye, 16-35mm, 28-70mm, 70-200mm, and 300mm. This way, I pretty much have my focal lengths covered. Although I love shooting with prime lenses, considering how much crap I always have to bring, I am forced to stick with zooms for practicality’s sake. I also bring a speedlight, or two, an accessory battery pack for the flash, a couple of flash diffusers, some pocketwizards, a polarizer filter, and plenty of memory cards.

Would you ever rent equipment on location?
Yes, I rent on location here and there, and it usually works out great. I mostly rent lighting. And considering the costs of checking extra bags on most airlines nowadays, you nearly break even, and your precious equipment never has to leave home! Once you are happy with a certain place’s service, file their contact away so you can remember them for next time you’re in that particular city. Also, never assume you’ll find a good, pro-quality rental house. Do your research online ahead of time, and make reservations to make sure you don’t get burned and pay too much.

Any other practical tips for traveling?
Be careful with light stands, monopods and tripods. Some security controllers consider it as a separate carry-on, and some don’t. I once made it all the way through an extremely long security line, only to find out right at the end that I had to go check in my light stand, which was barely worth the extra baggage fee the airline then slapped me with. Now, I just pack them in my checked luggage to be safe if I have the room to spare.

What’s the worst travel-disaster story you’ve heard or experienced?
A friend of mine carried his photo backpack with him as usual onto the airplane. Since the overhead spaces on the flight were all full, the flight attendant made him check his bag right there at the gate. When he arrived at his destination and claimed his pack, it was there, minus his camera bodies and lenses! Naturally, he complained immediately, but the airline never reimbursed him for the stolen gear. It was basically their word against his. And who do you think is going to win? After hearing that story, I would rather wait for the next flight then check carry-on bags at the gate.

The Noctilux-M 50mm f/0.95 has made great strides over its well-known predecessor, the Noctilux-M 50mm f/1.  It was able to create 11% more light gathering capacity without lowering the peak central resolution.  Perhaps 11% doesn’t sound like much to you, but when you’re talking about an 11% improvement upon an already-amazing f/1.0 aperture it becomes quite substantial.

The Noctilux-M f/0.95 is born to shoot at absurdly large apertures of f/1.4 and brighter.  Don’t buy the Noctilux for normal use; choose it instead because it can allow you to make pictures other lenses, no matter the camera behind them, could never achieve.  Together with the M8′s excellent high-ISO abilities you can do things like capture an image of someone’s face only lit by a tiny candle or cigarette’s ember.  If you can see it, you can shoot it.

Add a neutral density filter and try shooting at f/0.95 in bright daylight; imagine beach snaps where backgrounds are completely unrecognized washes of sky/water blue and sandy white blobs.  It is almost like the feeling of a dream.  With the Noctilux’s unique capacity, you could capture a full-length picture of your friend in Times Square and perhaps not even be able to tell that they were in that immediately-recognized setting.

The Noctilux has a floating rear lens group, which aims to provide higher performance at closer focus ranges.  Leica’s also decreased vignetting with the Noctilux-even at f/0.95 with the M8 you’ll only have 1.5 stops of light loss in the image corners.  Coding on the rear lens barrel will communicate to the M8/8.2 the particulars of the lens.

• World’s brightest lens for digital SLR cameras

• Produces the most extremely diffuse, soft backgrounds

• 11% Greater light-gathering capacity than its predecessor (Noctilux-M 50mm f/1)

• Improved peak resolution over that of the Noctilux-M 50mm f/1

• “Floating” 2-element rear lens group retains consistent performance at closer shooting distances

• Just ~1% of maximum distortion (barrel type); nearly undetectable

• Dedicated collapsing hood

• Accepts E60 filters

• Lens mount’s rear has 6-bit code allowing digital M-series cameras to identify lens and its characteristics

• Classic depth-of-field scale at rear of lens barrel

From OnOne software

• Remotely fire your Canon EOS or Nikon DSLR from your iPhone, iPod touch, or iPad
• Remotely control the camera settings like shutter-speed, aperture, white-balance and more
• View images shot on the camera from your iPhone, iPod touch or iPad
• Look through your camera’s viewfinder remotely

Here is a link where to get this app:

http://www.ononesoftware.com/detail.php?prodLine_id=38