With Alaska being such a massive state, it is only fitting that many of the Alaskan animals are also large. This huge bull moose looked very impressive walking down off of the mountain, initially with only its antlers rising above the trees.
Know what our bear guides were most afraid of? Moose. We spent days sitting among brown bears, some weighing well north of 1,000 lbs, with nothing more than minor issues, but a huge bull moose walking down off the mountain directly toward us definitely got the guide's attention. To reduce the drama, I should also say that part of the attention grab was because the sighting was so unusual in this location – this was the only land mammal other than brown bears that I saw in coastal Katmai National Park.
While moose were not my primary photography target at the time, I consider myself an opportunist and didn't hesitate to turn the camera from the bears when this bull showed up.
The moose was walking at a steady-but-leisurely pace and I could easily fill the camera buffer whenever I chose to, but that would have given me too many images that were similar to each other. Instead, I timed the frame captures with body positions that I thought would make a good composition with an eye also on the background. The body position I often chose had the far front leg in a forward position.
While I did not hold the shutter release down, I did shoot more images than I thought I needed. Aside from having insurance shots, I was trying to use a marginally long shutter speed, allowing a lower ISO setting to be used for less noise. Though a handful of my images were slightly blurred, the tactic proved to be a good one as I still ended up with many good images.
When the bull moose came to the edge of the high tidal stream bank, it proceeded to smoothly drop right over the edge. I caught that action nicely and might share it later, as soon as I get over being slightly bothered by the antler covering the eye. What I didn't correctly anticipate was the speed of the moose's decent and the base image for this shot, the one with the far lead leg in the air and sand flying, became cropped slightly too tightly on the bottom of the frame. Capturing some quick additional shots with different framing allowed me to create a panorama in post, correcting the tight crop and resulting in a 76-megapixel image.
With that much resolution available, cropping into the bull moose much more tightly remains an option, but I like seeing the environment the moose was in and especially like the fall-colored fireweed in the background.
What do you think? Should I have cropped this image tighter?
A larger version of this image is available on Flickr, Google+, 500px and Facebook. Also, if reading from a news feed reader, click through to see the framed image.
Manfrotto, world leader in the photography, imaging equipment and accessories industry, launches the new PIXI EVO, the brand new mini tripod to join the PIXI family. Enthusiast and hobbyist photographers who are deeply engaged in their passion and are looking for a lightweight portable solution will ?nd in this tripod an extremely versatile, sturdy support for larger lenses. PIXI EVO perfectly ?ts their needs thanks to a rich feature set that provides ?exibility of use, robustness and great variety of framing.
Flexibility of Use
PIXI EVO tripod boasts 2 different leg angles with a sliding selector, enabling users to shoot ground level images. Indeed another great innovation is its two-section legs, adjustable in 5 different steps adapting to non-level surface the footprint. Passionate photographers can now take their low light, landscape and architecture pictures with the maximum stability.
Variety of Framing and Robustness
With PIXI EVO photographers can set their inspiration free thanks to the alternative to shoot also in portrait mode, allowing the camera to tilt to 90° to capture incredible images, while ensuring great stability and precision for accurate pictures.
Moreover, PIXI EVO supports a wide range of devices up to 2.5Kg/5.5lbs. So, photographers can easily use longer and larger lenses for their shoots. However, it remains extremely lightweight thanks to its Adapto and aluminium construction and can be easily carried anywhere without ever feeling cumbersome.
PIXI EVO is yet another example of the careful attention Manfrotto pays to photographers’ needs, always looking to provide them with reliable, high-quality tools to support their passion.
Available in three colours: black, white and red-anthracite.
Pioneer of digital camera connectivity through its award-winning WiFi SD product line delivers first and only app for instant photo and video transfer from virtually any digital camera; photographers now have an integrated cloud photo-management solution for all their cameras.
Mountain View, Calif. – October 8, 2015 – Eyefi, the global leader in digital photo-management apps and services, just made it possible for photographers to choose a single app and cloud service to manage all the photos and videos they shoot on every single camera they own. Now that Eyefi supports the latest WiFi cameras from the leading manufacturers, there’s no need for photographers to use a mix of camera-specific apps to transfer photos to a computer. Instead, Eyefi’s smart apps automatically download photos from any device and push them to Eyefi Cloud, where they are consolidated and organized with all their other photos and videos — for viewing, editing and sharing.
“Eyefi is the only photo-management solution that works from the moment of capture, automatically transferring and organizing all photos into a unified and organized collection, regardless of which camera they originated,” said Matt DiMaria, Eyefi CEO. “For the first time, photographers now have a single app and cloud service that elegantly manages what they shoot on every camera they use. With Eyefi Cloud as their media hub, photographers can spend more time taking and enjoying photos, and zero time messing with cables and a patchwork quilt of desktop and mobile apps.”
Expanded WiFi camera connectivity for Canon, Casio and Nikon Original-resolution photos —and now, videos— shot with any of the 50+ WiFi cameras supported by Eyefi are instantly transferred from the camera to a smartphone, tablet or desktop, and then to Eyefi Cloud, Eyefi’s advanced photo-management solution. Eyefi Cloud automatically analyzes, tags, organizes and displays them alongside images captured with all the photographer’s other cameras, including DLSR cameras equipped with an award-winning Eyefi Mobi WiFi SD card, smartphones, and tablets.
Eyefi Cloud now supports video as well as images Until now, many photographers have had to manage their videos separately from their photos. With support for video now included, Eyefi Cloud makes it possible to see photos and videos on the same timeline, and create vivid stories that combine stills and motion. Videos are automatically synced and secured in the cloud, and made available for streaming to all connected smartphones, tablets and computers.
Eyefi: the only integrated photo-management solution for photographers Eyefi has deep roots in the photography sector, where its award-winning Mobi Pro WiFi SD cards have led the market by providing cable-free transfer of images to a smartphone or tablet. Eyefi Cloud gives photographers a powerful platform to manage and safeguard all their photos and videos:
Wireless photo transfer from any digital camera or smartphone. Eyefi’s smartphone and tablet apps automatically transfer new images and videos captured using any device, including digital cameras equipped with an Eyefi Mobi card, smartphones and tablets, or the latest generation of WiFi-enabled digital cameras. With Eyefi, photographers never have to connect their cameras to their computers.
One unified and intelligently organized photo collection. Images from every device (even photos stored on a computer) are consolidated into one collection in the cloud, organized by date and time, and always available. Advanced image analysis automatically classifies and indexes photos by location, device, lens, aperture, speed or any of 10 categories and 80 sub-categories — making it easy to find, enjoy, edit or share images, no matter where you are.
Automatic backup to both the cloud and to any local device. The best of both worlds: combined cloud and desktop storage. Eyefi gives photographers complete control over how and where they store and archive their photos. Eyefi desktop apps can be configured to automatically archive locally (for example on network storage) any new image transferred to Eyefi Cloud from an Eyefi mobile app. Users control where their original images are stored: on the WiFi SD card in their camera, on their mobile device, in the cloud, and on their desktop — eliminating any possibility of an image being lost or damaged.
Every photo, accessible from any device. Eyefi Cloud optimizes presentation of high-resolution images for each device, ensuring fast display and minimizing local storage requirements. Images on smartphones and tablets are stored in a local, synchronized database that can be viewed even when the device is “airplane mode.” At last, the photographer’s entire photo collection is available for viewing, curating, editing and sharing—anytime, anywhere.
Resolution is never compromised. Eyefi transfers original-resolution photos and videos from the camera to the mobile device or desktop to the cloud keeping them safe and secure and always accessible for download at anytime.
Pricing and availability Eyefi WiFi camera connectivity is available for free to Eyefi Cloud customers. For a list of supported WiFi cameras, see Eyefi WiFi cameras. Eyefi Cloud memberships are $4.99/month for unlimited photos and up to 300 videos/month with a maximum length of 15 minutes per video. All Eyefi Mobi Pro cards include one year of Eyefi Cloud membership and are available starting at $69.99.
Katmai National Park in Alaska has long been on my destination bucket list and I recently had the privilege of crossing off that line item. Well, that crossing off does not sound quite right as the experience was great and I would jump at the chance to go again. This destination will probably remain on my places to go list forever.
Finding the defining image for this location became a huge challenge. The problem was a good one as the gear and techniques used worked very well, yielding a huge number of images with nearly 7,000 of those being dissimilar and keeper-grade. Finding the single best of that take ... is going to take a long time. I'll pick a handful that I especially like and will share those over the next few months (hopefully not years).
With the brown bear being symbolic to Katmai National Park, it just seemed right to select an in-your-face, nothing-but-brown-bear image as the lead for my Katmai photo series.
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Cosina Japan is listing the following (Nikon Mount) Zeiss lenses as discontinued:
Zeiss 18mm f/3.5 Distagon T* ZF
Zeiss 21mm f/2.8 Distagon T* ZF.2
Zeiss 25mm f/2.8 Distagon T* ZF
Zeiss 28mm f/2 Distagon T* ZF
Zeiss 35mm f/2 Distagon T* ZF, ZF.2
Zeiss 50mm f/1.4 Planar T* ZF
Zeiss 50mm f/2 Makro-Planar T* ZF, ZF.2
Zeiss 85mm f/1.4 Planar T* ZF
Zeiss 100mm f/2 Makro-Planar T* ZF, ZF.2
With the recent announcement of Zeiss's Milvus line of lenses, it's no surprise that some of their older lenses would be discontinued. However, if the source is accurate, a few of the discontinued lenses have not been incorporated into the Milvus lineup thus far.
Can we expect to see the 18, 25 and 28mm Milvus lenses in the not-so-distant future or are those particular focal lengths falling by the wayside?
"Canon's series of Speedlite flashguns range from the professional 600EX-RT and the recently introduced 430EX III-RT to compact units like the 320EX and 270EX II. Lighting expert Syl Arena advises on what to look for when selecting the best Speedlite for your needs..."
A new lens case compatible with SP 150-600mm F/5-6.3 Di VC USD (Model A011)
October 8, 2015, Saitama, Japan – Tamron Co., Ltd. (President & CEO: Morio Ono), a leading manufacturer of optics for a wide range of applications, announces the launch of a lens case compatible with SP 150-600mm F/5-6.3 Di VC USD (Model A011). The new lens case will be sold as a separate accessory.
Tripod mount ring (long type), an optional accessory for A011 (Model A011TL)
A newly-designed optional tripod mount ring for SP 150-600mm VC USD extends the base surface of the tripod mount to improve stability and versatility
In addition to the Model LA011 lens case, Tamron also announces the launch of a tripod mount ring (long type) for SP 150-600mm F/5-6.3 Di VC USD (Model A011).
Tamron has designed a new long-type tripod mount ring for its well-received SP 150-600mm VC USD. By comparison with the supplied tripod mount, the new long-type design provides an extended base surface. This extra space not only makes it possible to add a second screw hole for secure mounting, thereby enhancing stability and versatility, but also makes it easier for users to hold the base surface and carry it around. The new mount ring will be sold as a separate accessory.
Date of Launch: October 15, 2015* * Both products will be launched first in the Japanese market, with overseas launches to follow.
Note: The long tripod mount ring was originally announced in February but is now finally set to launch next month. [Sean]