As reported in my earlier post, the soon-to-be announced Canon PowerShot G9X Mark II camera's limited specs was leaked. It will come in Black and Silver colors. The change in size and shape is practically imperceptible from the Mark I model except the new camera is slightly heavier.
As usual, Canon is again releasing their newest processors on lower end models first, like the recently announced EOS-M5 and now the G9X Mark II. I suspect this is to test the new processor in a mass production run and make sure all the kinks are worked out in the real world before putting in on their high end DSLRs like the EOS-5 and EOS-1 models.
The Canon engineers are very busy toiling away in the labs. This latest patent sheds more light on how to control the adjustable curvature than in previous patents. I would expect Canon to come out with a new camera featuring a curved sensor some time in the next year or so.
Patent publication number 2016-213571 (Google Translated)
Release date 2016.12.15
Application date 2015.4.30
Curved state based on the measurement result of the bending state to control the
Measurement method is pressure sensor, laser light
Dragonfly Telephoto Array - University of Toronto Dunlap Institute of Astronomy
Back in 2014, I reported scientists from the University of Toronto’s Dunlap Institute for Astronomy and Astrophysics created an innovation project for studying the universe using an array of Canon EF 400mm f/2.8L IS lens. Back then, the array used 10 lenses. Now the new setup is using up to 48 lenses and they have graduated to the EF 400 f/2.8L IS II model.
Dragonfly is an innovative, multi-lens array designed for ultra-low surface brightness astronomy at visible wavelengths. Commissioned in 2013, the array is proving capable of detecting extremely faint, complex structure around galaxies. According to Cold Dark Matter (CDM) cosmology, structure in the Universe grows from the “bottom up”, with small galaxies merging to form larger ones. Evidence of such mergers can be seen in faint streams and filaments visible around the Milky Way Galaxy and the nearby M31 galaxy.
But the CDM model predicts that we should see more of this structure than is currently observed. However, images obtained using even the largest, most advanced telescopes today contain scattered light that may be hiding this faint structure.
Dragonfly is designed to reveal the faint structure by greatly reducing scattered light and internal reflections within its optics. It achieves this using ten, commercially available Canon EF 400mm f/2.8L IS lenses with unprecedented nano-fabricated coatings with sub-wavelength structure on optical glasses.
Also, Dragonfly images a galaxy through multiple lenses simultaneously—akin to a dragonfly’s compound eye—enabling further removal of unwanted light. The result is an image in which extremely faint galaxy structure is visible.
The array began imaging targets in 2013 from its home at the New Mexico Skies hosting facility. Images have shown Dragonfly is at least ten times more efficient than its nearest rival and will be able to detect faint structures predicted by current merger models.
Funding for the Dragonfly project is provided by DAA Prof. Roberto Abraham’s NSERC Discovery Grant, with initial funds provided by the Dunlap Institute and Yale University, and an NSERC equipment grant awarded in 2013.
Using this specially designed Dragonfly Telephoto Array, the scientists discovered a hitherto unknown Dark Galaxy. The new galaxy, Dragonfly 44, was named after the project.
"Dragonfly 44 is a dim galaxy, with one star for every hundred in our Milky Way. But it spans roughly as much space as the Milky Way. In addition, it’s heavy enough to rival our own galaxy in mass, according to results published in the Astrophysical Journal Letters at the end of August. That odd combination is crucial: Dragonfly 44 is so dark, so fluffy, and so heavy that some astronomers believe it will either force a revision of our theories of galaxy formation or help us understand the properties of dark matter, the mysterious stuff that interacts with normal matter via gravity and not much else. The discovery was made by astronomers Pieter van Dokkum of Yale University and Roberto Abraham of the University of Toronto. They did not use Canon sensors, tough. The lenses are mounted on SBIG STF-8300M CCD cameras. The array began imaging targets in 2013 from its home at the New Mexico Skies hosting facility."
Last month, I came back from my Polar bear photo tour in Hudson Bay, Canada. It was quite a successful trip even though the weather was 'mild' by sub Arctic standard and the bears were not able to find sea ice to hunt seals even in mid November. Came across sows with cubs, sub adult and full grown males with reasonably healthy looking weight, this time of the year.
You can follow my travels on Facebook , Twitter and see my works on MichaelDanielHo.com. For those who are into wildlife photography, Tamron and Sigma make some good long zoom lens at an affordable price, like the 150-600mm. I am not recommending these manufacturers but like the focal length of these design. Canon is expected to announce their Super Zoom - EF 200-600mm f/4.5-5.6 IS some time in 2017 as well.
There is a large, online camera retailer in New York City selling the Sigma 150-600mm f/5-6.3 lens (Contemporary model) for $839 with free expedited shipping. The offer is good for today, till midnight. Act fast if you want a good, consumer grade zoom lens for taking sports and wildlife photos.
You will not find a link to this retailer because I do not accept any advertisement or commissioned link on my Blog or website and do not solicit your email address for future spamming. I am completely unbiased in my reporting, have no conflict of interest and do not endorse any particular company. Find this company on Google yourself easily. You can see my equipment bag, upcoming wildlife photo tours and works on MichaelDanielHo.com
A possible new patent from Canon may be destined for the Powershot G1X Mark II camera. The Japanese blog Egami uncovered a new optical patent for a 12-60mm f/2-4 lens designed for 1.5″ sensors.
It will be another bumper year for Apple after a very successful 2016. Expect new iPhones, iPads, iMacs and MacBooks in the next few quarters.
The following products are expected in 2017 :
iPhone 8
This new phone will make its debut, powered by the all new A11 processor. The iPhone 8 is expected to have an OLED screen and all-glass edge-to-edge display, similar to Samsung's S7 Edge and Note 7 phones.
In the iPhone 7 and 7 Plus, Apple did away with the headphone jack in favor of wireless iPhone Airpods. The iPhone 8 is expected to do away with the Home button for the first time and comes with wireless charging and iris scanning. The new camera will have state-of-the-art sensors for low light performance and deliver improved image quality.
iPad Series
The eighth generation iPad and iPad Pro will make their appearance, replete with screen sizes ranging from 9.7 to 12.9 inches. They will be equipped with additional memories, more powerful processors, higher resolution screens and cameras, may even include 4K video capability in some model.
iMac and MacBooks
Apple will be updating its iMac desktop computer line after introducing new MacBook Pro laptops this year. New features will include more powerful processors, graphic chips and USB Type-C connectors.
Microsoft has been giving Apple quite a competition with its highly rated Surface Studio all-in-one PC. Apple plans to ally fears it may cede some of the desktop turf to other high end competitors.
Augmented Reality (AR) devices
In a recent interview, Tim Cook discussed Apple's interest in AR over competing Virtual Reality (VR) products, as evidenced by the AR game Pokémon Go on the latest Apple Watch.
"My own view is that Augmented Reality is the larger of the two, probably by far, because this gives the capability for both of us to sit and be very present talking to each other, but also have other things visually for both of us to see," Cook said. "Maybe it's something we're talking about, maybe it's someone else here that is not here, present, but could be made to appear to be present with us. So there's a lot of really cool things there."
MELVILLE, N.Y., December 27, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the launch of the new PIXMA G-series MegaTank Printers; PIXMA G1200 MegaTank Single Function Printer, PIXMA G2200 MegaTank All-In-One Printer, PIXMA MegaTank G3200 Wireless All-In-One Printer and PIXMA G4200 MegaTank Wireless All-In-One Printer. This new line of printers is ideal for high-print volume printing environments within home offices, dorm rooms or anywhere a user needs a low-maintenance printer with enhanced connectivity and convenient, high-quality printing.
Each of the PIXMA G-series MegaTank printers feature a front-facing, built-in refillable ink tank system that makes it easy for users to monitor ink levels and refill when needed. Paired with the ink bottle’s spill-resistant tops, the system is designed to provide seamless and clean usability at home and in the office. This new hybrid integrated system of replenishing ink is cost-effective and offers higher page yield than the prior generation of PIXMA printers. The black ink provides up to 6,000 pages per bottle and the total color ink combination provides up to 7,000 pages2. The PIXMA G-series printers’ easy-to-use refillable ink bottles offer substantial ink capacity with 135 ml in the black bottle and 70 ml in each color ink bottle. Another value-added feature for the new PIXMA G-series printers is the initial quick installation set-up timeframe (for ink installation only) which is approximately six minutes.
"Our PIXMA G-series printer models offer smart design inside and out,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Expanding the line of PIXMA printers with the added benefit of a built-in refillable ink tank system highlights Canon’s commitment to continuing to enhance the printing experience in businesses and in the home with genuine Canon print reliability.”
Convenient, Customized Printing
One of the key features of the PIXMA G-series MegaTank printers is their overall size and ability to save space. Rather than having bulky side-mounted refillable tanks, all of the printers feature an integrated front-facing refillable ink tank system, allowing users to check ink levels and to refill as needed. Furthermore, the PIXMA G2200 MegaTank All-In-One Printer provides users with the option to print and scan while the PIXMA G3200 and PIXMA G4200 printers have similar functionality, with the PIXMA G4200 model offering an LCD screen and fax option, making it even easier for users to get the most out of their printing experience. The PIXMA G4200 printer also features an automatic document feeder to easily copy and scan multiple documents without having to load them one page at a time.
Brighter, Borderless Photos…Faster
Utilizing new pigment and dye hybrid inks, the PIXMA G-series printers provide crisp and pronounced black text and vibrant colors for visually impactful printing. Each of the G-series models offers print speeds of up to 8.8 images per minute (ipm) in B/W and 5.0 ipm in color and can produce a borderless 4 x 6-inch photo in approximately 60 seconds. In addition, the printers offer a maximum color resolution of 4800 x 1200 dpi.
Smart, Enhanced Usability
With Wi-Fi1 capabilities, both the PIXMA G4200 and G3200 Wireless MegaTank All-In-One Printers can help users increase their productivity by allowing users to print from almost anywhere. By simply using a smartphone and the Canon PRINT app, users can easily access PIXMA Cloud Link to print photos and documents from popular online social platforms and services, such as Instagram, Facebook, Twitter, Flickr, Photobucket, Dropbox, Evernote, Google Drive and Microsoft OneDrive, as well as from Canon Creative Park. The PIXMA G4200 and G3200 printers also support Google Cloud Print, for printing from Gmail and Google Docs on a compatible mobile device, and from the Google Chrome browser for Mac, Windows, Linux and Chrome computers.
The PIXMA G-series printers are available today with the PIXMA G1200 MegaTank Single Function Printer available for $249.99, the PIXMA G2200 MegaTank All-In-One Printer available for $269.99, the PIXMA G3200 Wireless MegaTank All-In-One Printer available for $299.99 and the PIXMA G4200 Wireless MegaTank All-In-One Printer available for $399.99.
As noted in my earlier post before Christmas, Canon is expected to announce the following cameras just ahead of CES 2017 in Las Vegas on January 5, 2017.
The Japanese photography blog Egami discovered a new Canon patent for a 135mm f/2 lens design with two apodization filters.
The literal translation for Apodization is 'removing the foot'. In the jargon of optical engineers, it's purpose is to remove Airy disks caused by diffraction around an intensity peak, enhancing focus on the subject.
This is not a new optical invention. Canon has it on some EF lenses, so does other manufacturers like Fuji. It announced the XF 56mm f/1.2 APD in 2014. This is another improvement to Canon's previous patents.
Patent Details (Google Translated)
Patent Publication No. 2016-218444
Published 2016.12.22
Submitted 2015.5.20
Focus distance 130.98
F-number 2.06
AOV 9.38
Like high 21.64
Overall length of the lens 159.05
BF 53.99
Good blurred image at all angles, even if there is a vignetting
Egami discovered another new Canon patent for PowerShot cameras. It is a 3.6-255mm f/2.8-7 lens with a built-in extender, effectively giving it a 35mm equivalent of about 2000mm @ f/10.
It should come with two new lenses, EF-M 15-45mm f/3.5-6.3 STM and EF-M 18-150mm f/3.5-6.3 IS STM. Keep checking back. More info to come as I get them.
Recently, Canon rumors on the Internet suggested the long awaited Canon EOS-6D Mark II camera may instead be replaced by a full frame mirrorless model. I can tell you with a good degree of certainty that will not be the case.
It has been a while since Apple last introduced new desktop Mac computers. Some are even questioning whether the company has decided to abandon the desktop in favor of the MacBook Pro line of laptops. Microsoft has been aggressively going after the stodgy desktop computer market by announcing their Surface Pro All-in-One PC.
Now in a leak of a memo from Apple's CEO, Tim Cook to its employees, he has reassured his staff the important of the desktop to Apple's strategy and to expect new announcements in the near future.
When the Canon EOS-1D C camera was announced back in April, 2012 and made available for sale in March 2013, the list price was $15,000. Now you can buy a new one for $3,899.
Nowadays, every camera manufacturer offers cameras with 4K video. Some are selling for just a few hundred dollars. Of course, not all cameras with 4K video or high Megapixels are created equal. To causal observers, they may not know the difference and wonder why one should pay thousands of dollars for a camera like the Canon EOS-1D X Mark II when a Point-n-Shoot model has more megapixels and cost a fraction of the price.
Canon announced their 8K camera development during the Canon EXPO in September 2015. This is their next big product announcement to differentiate itself from the competition. The EOS-1D C Mark II or something equivalent may be the camera to take up that mantle.
The upcoming movie, Guardian of the Galaxy, Volume 2 was shot with 8K cameras. Canon is bent on being the first company to offer state-of-the-art equipment to filmmakers and videographers to enter this new universe.
Adobe Photoshop is practically synonymous with digital photography. It was created in 1988 by software engineers Thomas and John Knoll. The original software's name was based on version numbers. In October 2002, Adobe introduced its new Creative Suite brand and susequently new versions of Photoshop carried the initials "CS" plus a number.
Starting June 2013, Adobe again came out with a new brand, called the Creative Cloud. Photoshop's licensing arrangement was changed to a software rental model and the "CS" suffixes was renamed as "CC". Below is an interesting, condensed video of the history of Photoshop.
My readers are familiar with my pick as the best camera for sports and wildlife photography on the market today. The Canon EOS-1D X Mark II full frame DSLR has the fastest burst rate (14 to 16 fps) of any camera. Now Canon engineers are working on further improving image quality at lower frame rates.
If you want to capture a super-slo-mo film of the nanosecond dynamics of a bullet impact, or see a football replay in fanatical detail and rich color, researchers are working on an image sensor for you. Last week at the IEEE International Electron Devices Meeting in San Francisco, two groups reported CMOS image sensors that rely on new ways of integrating pixels and memory cells to improve speed and image quality. Click on the following Video 1 and Video 2 from Tohoku University to see the illustration. Both groups are working on improving global-shutter image sensors. CMOS image sensors usually use what’s called a rolling shutter. Rolling shutter cameras scan across a scene—that is, each frame of the image only shows part of the scene. This makes them speedier but it can cause distortion, especially when filming a fast-moving target like a car or a bullet. Global shutters are better for filming speeding objects because they can snap the entire scene at once. CMOS sensors aren’t naturally suited to this, because the pixels are usually read out row by row. CCD image sensors, on the other hand, have a global shutter by definition, because all the pixels are read out at once, says Rihito Kuroda, an engineer at Tohoku University in Sendai, Japan. But they’re not ideal for high speed imaging, either. Due to their high voltage operation, CCDs heat up and use a lot of power when operating at high shutter speeds. To get beyond the row-by-row, rolling shutter operation of CMOS, chip designers assign each pixel its own memory cell or cells. That provides a global shutter but with sacrifices. In the case of ultrahigh speed imaging, the sensors are constrained by their memory capacity, says Kuroda. By focusing on the design of a custom memory bank, Kuroda’s group has developed a CMOS image sensor that can take one million frames per second for a relatively long recording time—480 microseconds at full resolution—compared to previous ultrahigh speed image sensors. Because storage is limited, it’s not possible to take a long, high speed, high resolution video—something must be sacrificed. Either the video has to be short, capturing only part of a high speed phenomenon in great detail, or it must have lower spatial or temporal resolution. So Kuroda’s group focused on boosting storage in the hope of improving all three constraints. Kuroda’s group made a partial test chip with 96 x 128-pixels. The image sensor is designed to be tiled to have a million or more pixels. Each pixel in the prototype has 480 memory cells dedicated to it. So the camera can take high resolution images for 480 frames. Other sensors have captured video at a higher frames per second rate but they’ve had to do it either for a shorter period of time or with poorer spatial resolution. The Tohoku group designed a dense analog memory bank based on vertical capacitors built inside deep trenches in the silicon chip. Because the capacitors hold a variable amount of charge, rather than a simple 0 or 1 as in DRAM, lowering the amount of current that leaks out is critical, says Kuroda. The deeper the trenches, they found, the greater the volume of each capacitor and the lower the leakage current. Increasing volume with trenches rather than by spreading out over the chip saved space and allowed for greater density of memory cells. This meant more memory cells per pixel, which allowed for longer recordings. It also freed up space to put more pixels on the chip, improving the camera’s resolution. Some of Kuroda’s earlier CMOS image sensor chips, which used planar rather than trenched capacitors, are already on the market in ultrahigh speed cameras (HPV X and X2 models) made by Shimadzu. He says the new million frame per second sensor will further improve products like them. To push things even further, Kuroda says the next step is to stack the pixel layer on top of the memory layer. This will bring each pixel closer to its memory cells, shortening the time it takes to record each frame and potentially speeding up the sensor even more. This sort of camera is useful for engineers who need to follow the fine details of how materials fail—for example how a carbon fiber splits—in order to make them more resilient. Physicists can use them too, for example, to study the dynamics of plasma formation. Separately, researchers from Canon’s device technology development headquarters in Kanagawa, Japan, reported memory-related improvements for high-definition image sensors that could be used to cover sporting events or in surveillance drones. While the Tohoku group is working on ultrahigh speed, the Canon group aims to improve the image quality of high-definition global shutter cameras operating at much lower frame rates of about 30 to 120 per second. The Canon photo below shows a picture of a stuffed white lama beside a globe, fruit, and some flowers shows the added detail from Canon's latest experimental CMOS image chip.Canon improved dynamic range by storing charge (called accumulation) four times from each frame [right] instead of once [left].
Canon improved dynamic range by storing charge (called accumulation) four times from each frame [left] instead of once [right]. The result was a higher dynamic range. Like the Tohoku University chip, the Canon sensor closely integrates analog memory with sensors. In the Canon chip, each pixel in the 4046 by 2496 array has its own built in charge-based memory cell. They’ve used an engineering trick to improve the image quality by effectively increasing the exposure time within each frame. Typically, the image sensor dumps its bucket of electrons into the memory cell once per frame. This transfer is called an accumulation. The Canon pixels can do as many as four accumulations per frame, emptying their charges into the associated memory cell four times. This improves the saturation and dynamic range of the images relative to previous global shutter CMOS devices operating around the same frame rates. At 30 frames per second, the sensor maintains a dynamic range of 92 dB.
Canon is having a lot of bundle kit promotions and sales this time of the year. For example, a refurbished EOS-1D X with one year factory warranty for $3,899. A new EOS-1D C for $3,899.
There is also highly-rated company selling the Canon EF 70-200mm f/2.8L IS II or the Canon EF 100-400mm f/4.5-5.6L IS II lens bundle for $1,649 after mail in rebates. The regular price for thess kit is $2,347. These are two of my favorite short to medium zoom lens and they accompany me every time I go on a wildlife photography shoot.
Canon PIXMA PRO-100 Professional Photo Inkjet Printer
Canon SG-201 Photo Paper Plus Semi-Gloss, 13x19", 50 Sheets
Pro Optic 77mm Digital Essentials Filter Kit
Pro Optic Complete Optics Care and Cleaning Kit
You will not find a link to this merchant because I do not accept any advertisement or commissioned link on my Blog or website and do not solicit your email address for future spamming. I am completely unbiased in my reporting, have no conflict of interest and do not endorse any particular company. Find this listing on Google yourself easily. You can see my equipment bag, upcoming wildlife photo tours and works on MichaelDanielHo.com
Canon is having a lot of bundle kit promotions and sales this time of the year. For example, a refurbished EOS-1D X with one year factory warranty for $3,899. A new EOS-1D C for $3,899.
There is also highly-rated company selling the Canon EF 70-200mm f/2.8L IS II or the Canon EF 100-400mm f/4.5-5.6L IS II lens bundle for $1,649 after mail in rebates. The regular price for thess kit is $2,347. These are two of my favorite short to medium zoom lens and they accompany me every time I go on a wildlife photography shoot.
Canon PIXMA PRO-100 Professional Photo Inkjet Printer
Canon SG-201 Photo Paper Plus Semi-Gloss, 13x19", 50 Sheets
Pro Optic 77mm Digital Essentials Filter Kit
Pro Optic Complete Optics Care and Cleaning Kit
You will not find a link to this merchant because I do not accept any advertisement or commissioned link on my Blog or website and do not solicit your email address for future spamming. I am completely unbiased in my reporting, have no conflict of interest and do not endorse any particular company. Find this listing on Google yourself easily. You can see my equipment bag, upcoming wildlife photo tours and works on MichaelDanielHo.com
Generate resolution data and color data, synthesize resolution data and color data, upconvert, process with mosaic processing (Bayer conversion), demosaic order
Below is the Google translation of the article from Japanese. You can review the new Canon US Patent by clicking on the link below.
Apparatus, system, and signal processing method for image pickup using resolution data and color data
"The color array adopted by major manufacturers such as Nikon, Canon, Sony, Panasonic, Olympus, Ricoh, Pentax, etc. is basically Bayer. Using a special color array image pickup device as is, Fujifilm it will have X-Trans CMOS of. The X-Trans array increased the proportion of G pixels and increased the resolution efficiency. Resolution efficiency of 100% of the imaging element is Foveon It is. By the way, I feel somewhat uncomfortable in the medium introducing sd Quattro as about 40 million pixels and sd Quattro H as about 50 million pixels. Each output Jpeg seems to be about 20 million pixels and about 25 million pixels, but since Foveon's resolution efficiency is twice that of Bayer, it is such a notation. There are also many other 3MOS and RGBE arrays, clear bid CMOS sensor and so on. Canon of the patent application is of RGBW12 sequence consisting of a total of 16 pixels of 4 pixels and 12 W pixel of RGGB imaging element is. It seems that the proportion of W (G) pixels per unit area is larger than Bayer and X-Trans, and high brightness resolution seems to be obtained. X-Trans and Canon of the patent application will be to the low color resolution than Bayer, but the human eye is so high reaction to the luminance resolution than the color, it would not be a big problem. Foveon (Merrill generation) is a 100% resolution efficiency of both brightness and color resolution, but it does not have good high sensitivity performance. Canon patent application appears to only have a special array of existing CMOS sensor, high sensitivity performance is also a good idea. Pictures finally obtained are affected not only by the color arrangement but also by lens performance and image processing. Special image pickup device because the camera using some may feel a bit uncomfortable blurring, image processing is where I hope to improve as long as the cause. Canon seems patent application is supposed to complex image processing, it is what you want to expect a high degree of perfection picture."
It has come to our attention that there are instances of counterfeit EF 50mm f/1.8 II lenses for digital SLR cameras being brought into Canon service centers for repair. These counterfeit products have neither been designed nor manufactured by Canon, yet they fraudulently display the Canon logo and other Canon trademarks, and, as illegal products, they infringe on Canon Inc.’s trademark rights. Canon has taken a strong stance in eradicating these counterfeit products which infringe on the intellectual property rights of our company.
While the exterior of the counterfeit EF 50mm f/1.8 II lens elaborately imitates the exterior of the genuine lens, the parts and electric circuits used inside the counterfeit lens are different from the those used inside the genuine lens. As such, these counterfeit products do not satisfy the safety standards of various countries and the safety/quality standards of Canon. Please note that Canon cannot be held liable for any malfunction, phenomena, damage or injury that occurs due to the use of these counterfeit products, so please exercise caution when making your purchase.
We truly appreciate your continued patronage of Canon products.
Exterior differences
See below for the differences between genuine and counterfeit products that have been confirmed as of now and that can be identified by customers.
Please review the location of the Company Name on the mount with the lens cap removed as indicated in the image below.
Support
If you have not already done so, please register your Canon Product. 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.
Thank you,
Customer Support Operations
Canon U.S.A., Inc
Contact Information for Inquiries
Canon Customer Support Center
Phone:1-855-46-CANON
Monday-Friday from 8:00am – Midnight EST
Email:carecenter@cits.canon.com
MELVILLE, N.Y., December 15, 2016 – Proof that good things do come in small packages, Canon U.S.A., Inc., a leader in digital imaging solutions, announced today four new PIXMA TS-series Wireless1 Inkjet All-In-One (AIO) printers. The PIXMA TS5020, PIXMA TS6020, PIXMA TS8020 and PIXMA TS9020 Wireless Inkjet All-In-One Printers are more compact than their predecessors, but pack a big, high-quality punch for users. Perfect for tech savvy gadget lovers, creative crafters, passionate image makers, family projects and household printing needs; these small, sleek and sophisticated printers can fit in with any home décor.
“Canon U.S.A. is excited to bring a new series of PIXMA printers into families’ lives, helping to make their day to day more productive than ever” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “By decreasing the size, but increasing efficiencies and delivering crisp and clear results, we’ve made the printers in this series must-haves for every home.”
While these printers preserve what is valued from the previous series of PIXMA All-In-One printers, the new models are easy-to-use and cost-effective delivering print reliability and high-quality images. Additional new and exciting features make these printers :
The new user interface (UI) includes a large, simplistic touch LCD screen making it easy to read and select functions such as copy, scan or print.
PIXMA TS9020 Wireless Inkjet All-In-One Printer – 5 inch screen with touch panel and on-screen buttons
PIXMA TS8020 Wireless Inkjet All-In-One Printer – 4.3 inch screen with touch panel and on-screen buttons
PIXMA TS6020 Wireless Inkjet All-In-One Printer – 3 inch screen with touch panel and off-screen buttons
PIXMA TS5020 Wireless Inkjet All-In-One Printer – 3 inch screen with off-screen directional pad and start/stop buttons
The size of each new PIXMA model has been minimized, making the printer easy to store and take up less space on a desk.
Each new PIXMA model in this series will be ready to print six seconds after it is turned on and the command is sent over from your laptop, smartphone or tablet. This is half the time than on select previous models.
Wireless printing means you don’t have to plug in to print. Each printer in this series features cloud printing capabilities through a compatible smartphone or tablet device, so PIXMA owners can print using the Canon PIXMA Cloud Link from virtually anywhere to link with various cloud services they use to print photos and documents. Further adding to the overall wireless capabilities of the PIXMA line of printers is Google Cloud Print, which allows users to send Gmail messages, file attachments and select Google Docs to the printer from any compatible devices.
After scanning a document or photo, the PIXMA TS9020, TS8020, TS6020, and TS5020 printers will show a reminder on the LCD screen to take the document with you to avoid misplacing important information.
The PIXMA TS9020 and TS8020 models are also able to print directly through NFC via Android devices further adding to the overall ease of use of these machines.
Helps foster your creativity!
Through the LCD screen, the PIXMA TS9020 printer allows users to enhance their images with creative filters including options such as Monochrome, Antique, Sepia and Cinema Style. The PIXMA TS5020 Wireless Inkjet All-In-One Printer, PIXMA TS6020 Wireless Inkjet All-In-One Printer and PIXMA TS8020 Wireless Inkjet All-In-One Printer can utilize the same creative filters through the free Easy Photo Print+ web based software.
Through PIXMA Cloud Link on the Canon PRINT app and the LCD screen on select models, Canon users can de-stress with a creative release by printing from over one hundred and twenty coloring pages available.
All of the printers are compatible with the new 5 inch by 5 inch paper option available today which is ideal for square prints and printing images from Instagram.
Along with the coloring pages available through PIXMA Cloud Link on the Canon PRINT app3, all Canon PIXMA wireless inkjet printers come with My Image Garden software. My Image Garden offers a variety of features designed to inspire and enhance creativity while empowering the sharing of images.
The PIXMA TS5020 Wireless Inkjet All-In-One Printer is $99.99 MSRP and the PIXMA TS6020 Wireless Inkjet All-In-One Printer is $149.99 MSRP. Both are available in black, white and gray. The PIXMA TS8020 Wireless Inkjet All-In-One Printer is $179.99 MSRP and is available in black, white, red, and brown and the PIXMA TS9020 Wireless Inkjet All-In-One Printer is $199.99 MSRP and is offered in two-tone red/black and white/black.
Recently, Canadian photojournalist Ed Ou was stopped at the US border on his way to cover the Standing Rock protests in North Dakota and had his equipment searched.
Over 150 filmmakers and photojournalists signed an open letter requesting Canon, Nikon, Sony, Fuji, and Olympus to build encryption features into digital cameras and the photos they manufacture. Encryption technologies are common in hard drives, laptops and smartphones, but remains mostly non existent in the photography industry.
I would point out many laoptops, computers, smartphones are legally searched and illegally hacked everyday now anyway. Encrypted cameras and camcorders may join that list in the future.
“We […] are writing to urge your company to build encryption features into your still photo and video camera products,” the letter states. “These features, which are currently missing from all commercial cameras on the market, are needed to protect our safety and security, as well as that of our sources and subjects worldwide.”
“Without encryption capabilities, photographs and footage that we take can be examined and searched by the police, military, and border agents in countries where we operate and travel, and the consequences can be dire,” the letter states. “Because the contents of their cameras are not and cannot be encrypted, there is no way to protect any of the footage once it has been taken. This puts ourselves, our sources, and our work at risk.”
Freedom Of The Press Foundation hints any major camera company offering encryption on their equipment may gain a competitive advantage over other competitors.
You can read the entire letter from Freedom Of The Press Foundation below :
Today, Freedom of the Press Foundation is publishing an open letter to the world’s leading camera manufacturers—including Nikon, Sony, Canon, Olympus, and Fuji—urging them to build encryption into their still photo and video cameras to help protect the filmmakers and photojournalists who use them. The letter is signed by over 150 documentary filmmakers and photojournalists from around the world, including fifteen Academy Award nominees and winners, such as Laura Poitras, Alex Gibney, Joshua Oppenheimer, and many more. You can read the full text below. Documentary filmmakers and photojournalists work in some of the most dangerous parts of the world, often risking their lives to get footage of newsworthy events to the public. They face a variety of threats from border security guards, local police, intelligence agents, terrorists, and criminals when attempting to safely return their footage so that it can be edited and published. These threats are particularly heightened any time a bad actor can seize or steal their camera, and they are left unprotected by the lack of security features that would shield their footage from prying eyes. The magnitude of this problem is hard to overstate: Filmmakers and photojournalists have their cameras and footage seized at a rate that is literally too high to count. The Committee to Protect Journalists, a leading organization that documents many such incidents, told us: "Confiscating the cameras of photojournalists is a blatant attempt to silence and intimidate them, yet such attacks are so common that we could not realistically track all these incidents. The unfortunate truth is that photojournalists are regularly targeted and threatened as they seek to document and bear witness, but there is little they can do to protect their equipment and their photos." (emphasis added) Camera manufacturers are behind the times compared to other technology companies. All iPhones and many Android phones come with encryption built into their devices. Communications services like Apple’s iMessage and FaceTime, plus Facebook’s WhatsApp, encrypt texts messages and calls by default. And major operating systems on PCs and Macs give users the ability to encrypt the hard drives on their computers. Yet footage stored on the professional cameras most commonly used today are still left dangerously vulnerable. Finding the right way to do provide encryption in their products will take some research and development from these camera manufacturers, and we welcome having a conversation with Nikon, Sony, Canon and others about how to best move forward on this important initiative. However, we are hopeful they will publicly respond with a commitment to building encryption into their products to protect many of their most vulnerable customers. We’d like to thank Field of Vision, the International Documentary Association, National Press Photographers Assocation, and Sundance’s Documentary Films Program, who we partnered with on this project and who all helped organize this effort. The letter below is addressed to Canon, and nearly identical letters have been sent to Sony, Nikon, Fuji, and Olympus. Dear Canon, We, the undersigned documentary filmmakers and photojournalists, are writing to urge your company to build encryption features into your still photo and video camera products. These features, which are currently missing from all commercial cameras on the market, are needed to protect our safety and security, as well as that of our sources and subjects worldwide. Without encryption capabilities, photographs and footage that we take can be examined and searched by the police, military, and border agents in countries where we operate and travel, and the consequences can be dire. We work in some of the most dangerous parts of the world, often attempting to uncover wrongdoing in the interests of justice. On countless occasions, filmmakers and photojournalists have seen their footage seized by authoritarian governments or criminals all over the world. Because the contents of their cameras are not and cannot be encrypted, there is no way to protect any of the footage once it has been taken. This puts ourselves, our sources, and our work at risk. Many technology companies have in recent years embraced encryption technology, often including it in their products and enabling it by default. Indeed, encryption has, in some sectors, become an industry-best practice. Apple’s iPhones encrypt all data stored on them by default, as do many phones running Google’s Android operating system; text messages and voice calls made with WhatsApp, iMessage, FaceTime, and Signal are all protected using end-to-end encryption technology; and laptops and desktop computers running modern versions of Microsoft Windows and macOS encrypt all data stored by default too. However, we face a critical gap between the moment we shoot our footage and the first opportunity to get that footage onto more secure devices. As filmmakers and photojournalists who value our own safety and the safety of our sources and subjects, we would seek out and buy cameras that come with built-in encryption. Adding these data security features to your product line would give your company a significant competitive advantage over other camera manufacturers, none of whom currently offer this feature. Beyond the commercial motivation for adding encryption features, we know your company has commendably committed to corporate social responsibility. Building encryption into your products is not just about helping the filmmakers and photojournalists who buy them, but about making the world a better place. As filmmakers and photojournalists, we use our lenses to hold powerful people to account — and ultimately to change society for the better. Encryption features will allow us to continue to tell the most important stories, from some of the most dangerous places in the world. You can help us reach that goal by starting to work towards building encryption into your camera products. Thank you for your consideration. Signed, Over 150 Filmmakers, Photographers, and Media Workers Around the World Abbas, Photographer, Magnum Photos Lynsey Addario, Photojournalist, Freelance Avi S. Adelman, Photojournalist/Editor, TheRightToPhotographInPublic.com Cecilia Aldarondo, Assistant Professor of Film, Skidmore College Chase Alexander, Filmmaker, Freelance Ra'anan Alexandrowicz, Filmmaker, Independent Alejandro Álvarez Cadilla, Director/Cinematographer, Independent Anthony Arnove, Producer, Independent Craig Atkinson, Documentary Filmmaker / Director, Vanish Films Barbara Attie, Documentary Filmmaker, Attie & Goldwater Productions Julia Bacha, Creative Director, Just Vision Joslyn Barnes, Filmmaker, Louverture Films Amy Benson, Filmmaker, Independent, Nonfiction Media Amy Berg, Filmmaker, Independent Pietra Brettkelly, Documentary Director/Producer, Independent Emad Burnat, Filmmaker/Director/Producer, Independent Bruni Burres, Senior Consultant/DFP, Sundance Rebecca Cammisa, Director, Documentress Films Gloria Carrión Fonseca, Documentary Filmmaker, Independent Peggy Case, Producer, Independent Carlos Cazalis, Documentary Photographer, Freelance Leyland Cecco, Photojournalist/Filmmaker, Independent Jessica Chermayeff, Producer/Director, Independent Michael Christopher Brown, Photographer, Magnum Photos Brenda Coughlin, Producer, Praxis Films Eric Daniel Metzgar, Filmmaker, Independent Amlan Datta, Documentary Filmmaker, Independent Guy Davidi, Filmmaker/Director/Producer, Independent Jessica Devaney, Producer, Independent Romona S. Diaz, Documentary Filmmaker, CineDiaz, Inc. Peter Dicamp, Photographer/Co-founder, Everyday Africa and The Everyday Projects Anita Doron, Filmmaker/TED Fellow, Independent Sara Dosa, Producer/Director, Signpost Pictures Andrew Droz Palermo, Director/Cinematographer, Independent Sandi DuBowski, Director, Films That Change The World Negin Farsad, Filmmaker/Comedian, Independent Kristen Feeley, Labs and Artist Support Director , Sundance DFP David Felix Sutcliffe, Nonfiction Filmmaker, Independent Field of Vision Clayton Filipowicz, Videographer, Independent Patrick Forbes, Director of Documentaries, Oxford Film Jošt Franko, Photographer, Freelance Morgan J. Freeman, Filmmaker/Founder, 11th Street Productions Pedro G. García, Documentary Editor, Independent Christy Garland, Director, MurmurMedia Megan Gelstein, Senior Program Director, Catapult Film Fund Howard Gertler, Producer, Independent Alex Gibney, Filmmaker, Jigsaw Productions Jim Goldberg, Photographer, Magnum Photos Linda Goldstein Knowlton, Director and Producer, Directors Guild of America Fred Grace, Producer, Fat Rat Films Christopher Gregory, Photographer, Freelance Mark Grieco, Documentary Filmmaker/Director/Photographer, Independent David Gross, Photojournalist, ZUMA Press, Freelance Katey Grusovin, Producer/Director/Writer, Independent Irene Gutiérrez, Executive Producer/Director/Filmmaker, Independent Dean Hamer, Director, Qwaves Films Johanna Hamilton, Filmmaker, Maximum Pictures Kiana Hayeri, Photojournalist, Freelance NC Heikin, Director, Independent Matthew Heineman, Filmmaker/Director/Producer, Independent Seth Herald, Photojournalist, ZUMA Press Lena Herzog, Photographer and Filmmaker Werner Herzog, Filmmaker Tom Hurwitz, Director/Producer, American Society of Cinematographers Cristina Ibarra, Filmmaker, Independent International Documentary Association Alina Ioana Vasillu, Journalist, Constanţa noastră (Romania) Mai Iskander, Director/Cinematographer, Iskander Films Niam Itani, Producer, Placeless Films Tabitha Jackson, Director, Sundance DFP Kirsten Johnson, Filmmaker/Cinematographer, Independent Judy Karp, Sound Recordist, Independent Deborah Kaufman, Filmmaker, Snitow-Kaufman Productions Mark Kendall, Follow Your Nose Films Sonia Kennebeck, Filmmaker, Independent Gelareh Kiazand, Videographer/Documentary Filmmaker, Independent Simon Kilmurry, Executive Director, International Documentary Association Geoff King, Photojournalist, Independent Alison Klayman, Filmmaker, Independent Vivian Kleiman, Documentary Filmmaker, Independent Brian Knappenberger, Writer/Director, Luminant Media Matthew Lawrence, Photographer, Independent Adi Lavy, Documentary & New Media Director, Israeli Documentary Filmmakers Forum Rob Lemkin, Filmmaker, Old Street Films Elisa Levine, Director, Out of Frame Films James Longley, Filmmaker, Daylight Factory Avram Ludwig, Producer Asa Mader, Filmmaker Anne Makepeace, Director/Producer, Makepeace Productions Jeff Malmberg, Documentary Filmmaker, Independent Margarita L Martinez, Documentary Filmmaker, Independent Eric Matthies, Documentary Producer and Director, Independent Daniel McCabe, Director/Cinematographer/Photographer, Independent Susan Meiselas, Photographer, Magnum Photos Arturo Mendicuti Barroeta, Filmmaker, Caribou Films Flannery Miller, Producer/Documentary Filmmaker, Independent Gabriel Miller, Director/DP, Kindred Media Ioana Moldoveanu, Editor-in-Chief, VICE Romania Jake Naughton, Photojournalist, Independent Khaliah Neal, Producer, Independent Minette Nelson, Co-founder, The Filmmaker Fund Bao Nguyen, Director/Cinematographer, Independent Mona Nicoara, Documentary Filmmaker, Independent Orwa Nyrabia, filmmaker, No Nation Films Ed Ou, Photojournalist, Getty Images Trevor Paglen, Photojournalist, Independent Heloísa Passos, Cinematographer/Filmmaker, Independent Sierra Pettengill, Documentary Filmmaker, Independent Esther Podemski, Documentary Filmmaker, Independent Laura Poitras, Filmmaker, Field of Vision PJ Raval, Filmmaker/Cinematographer, Independent Jeff Reichert, Director/Producer, Independent Geoffrey Richman, Documentary Film Editor Jed Riffe, Producer/Director/Writer/Transmedia Storyteller, Jed Riffe Films + Electronic Media Marcia Rock, Director, News & Documentary, NYU Arthur L. Carter Journalism Institute Richard Rowley, Executive Producer, Divided Films Bernardo Ruiz, Documentary Filmmaker, Quiet Pictures Ashley Sabin, Filmmaker, Carnivalesque Films Holen Sabrina Kahn, Filmmaker, Independent David Sampliner, Documentary Filmmaker, Independent Carlos Sandoval, Filmmaker, Camino Bluff Productions, Inc. Garret Savage, Filmmaker, Independent Justin Schein, Producer/Director/DP, Shadowbox Films Inc. Andréa Schmidt, Journalist / Filmmaker, Independent Nancy Schwartzman, Documentary Filmmaker App-Founder, Independent Martha Shane, Director and Producer, Independent Chuck Shultz, Documentarian, BluePrint Productions Marc Silver, Director / DP / Creative Director, Independent Douglas Sloan, Director, Icontent Films Kathryn Smith Pyle, Filmmaker, Independent Alan Snitow, Filmmaker, Snitow-Kaufman Productions James Spione, Documentary Filmmaker, Independent Scott Squire, Filmmaker, Independent, Nonfiction Media Christopher St. John, Producer, Charlotte Street Films Brett Story, Director and Filmmaker, Independent Aiden J. Sullivan, Founder and CEO, Verbatim Photo Agency Jon-Michael Sullivan, Photojournalist, Independent Johnny Symons, Documentary Filmmaker, Independent/Persistent Visions Saeed Taji Farouky, Documentary Filmmaker, Independent Rahdi Taylor, Film Fund Director, Sundance Jennifer Taylor, Producer and Director, Specific Pictures Mircea Toma, President, ActiveWatch Joel Van Haren, Director of Photography, Freelance Rosadel Varela, Producer, Independent John Vink, Photographer, Magnum Photos Sweta Vohra, Television Producer, Al Jazeera International Orlando von Einsiedel, Director, Grain Media Anat Vovnoboy, Documentary Director, Independent Matthew Weigand, Photojournalist, Independent Ryan White, Filmmaker, Tripod Media Alex Winter, Director, Independent Pamela Yates, Creative Director, Skylight Amy Ziering, Documentary Filmmaker, Chain Camera Pictures Malika Zouhali-Worral, Director and Editor, Independent
Canon has a nice selection of tilt shift lens in EF mount in both 'L' and non 'L' version. If you are into architectural or landscape photography, you may already have one in your equipment bag. Take a look at the Canon videos below if you are not familiar with this type of lens.
Just a few weeks ago, Apple revealed the all new MacBook Pro featuring a breakthrough new interface that replaces the traditional row of function keys with a Retina-quality Multi-Touch display called the Touch Bar. We’ve been working hard to build custom support for the Touch Bar, and I’m pleased to announce that, as promised, it is available in today’s update to Photoshop.
I’ve had a chance to use the Touch Bar a bit and I find it exciting for two reasons. First, the Touch Bar is useful for surfacing a contextual “next step”. This is helpful both for a beginner who might not know how to navigate Photoshop, and for an experienced user in giving them speedier access to the desired next action. Second, the Touch Bar is useful for accessing controls in a new way, especially controls that were sometimes clumsy with a keyboard and mouse.
In designing the interaction with the Touch Bar, we imagined three distinct categories of functions that would be useful to our customers: Layer Properties, Brushes, and (true to Photoshop’s ethos) your customizable Favorites.
Adobe Photoshop CC MacBook Pro Touch Bar Support
Inside the Layer Properties section, you can quickly access common actions like place a Smart Object, clip Layers, and open Select & Mask. Controls for changing the blend mode and scrubbing through the history are especially nice to use on the Touch Bar Retina display because of a visual preview of the result.
The Brushes section gives you quick access to brush color, size, hardness, opacity and flow. Each of these commands has a movable slider to pick just the right value.
The Favorites sections allows you to configure your own set of favorite actions. This includes any combination of actions from the previous sections, or other commands like Full screen mode, Flip Horizontal/Vertical, and launching the macOS share menu.
It’s an exciting time in computing, bringing all new ways to interact with your content and control your device. The Photoshop team is constantly evaluating new technologies and thinking of ways to make our customers more productive. As we continue to evolve our support for the Touch Bar and other alternative input methods, we would love to hear your feedback. Please let us know your feedback and suggestions here.
