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 Wednesday, July 1, 2015
Prolost Logo
Adobe's new Dehaze feature announced with the release of Photoshop CC 2015 and Lightroom CC 2015 will not be available to Lightroom 6 users. However, those Lightroom 6 users are not out of luck.
 
Prolost is offering a free Dehaze plugin for Lightroom 6.1.
 
From Prolost:
Dehaze for Lightroom 6.1
 
A series of presets that give you intuitive, visual access to the new Dehaze control added in Lightroom 2015.1, without requiring a Creative Cloud subscription.
Download
Prolost Dehaze plugin for Lightroom 6.1
Post Date: 7/1/2015 11:52:19 AM CT   Posted By: Sean
Canon's Ultimate EOS 5Ds and 5Ds R General Purpose Lenses
Finding the ultimate general purpose lens for the new EOS 5Ds R cameras entering my kit was a high priority for me. With image quality results from the EOS 5Ds R now available in the Canon EF 24-105mm f/4L IS USM Lens Review, the three primary Canon lens choices are available for comparison.
 
The Ultimate 5Ds General Purpose Lens Candidates
 
Canon EF 24-70mm f/2.8L II USM Lens
Canon EF 24-70mm f/4L IS USM Lens
Canon EF 24-105mm f/4L IS USM Lens
 
The Comparisons
 
To be honest, I thought the 24-70mm f/2.8L II would be easy to declare the winner and optically, it is the best of this list. However, the two f/4 lenses perform better in front of 50.6 megapixels than I expected.
 
The f/2.8L II is slightly sharper over then entire focal length range at f/2.8 than either of the f/4 lenses are at f/4. At the equal f/4 comparison, the f/2.8L II is noticeably sharper and is still sharper at f/5.6. At f/8, the differences are slight and at f/11, diffraction essentially evens the playing field. Choosing an image sharpness winner between the two f/4 lenses is a challenge, but more noticeable is the 24-105's higher CA and distortion levels.
 
The f/2.8 lens has a 1 stop wider aperture, giving it the ability to stop action in 1/2 as much light as the other two lenses and the ability to create a stronger background blur. The 24-70mm f/4L IS rules the maximum Magnification (MM) spec with a 0.70x rating vs. the competition's 0.23x and 0.21x specs. The two f/4 lenses have image stabilization, allowing them to be used handheld in far lower light levels than the f/2.8 lens (as long as the subject is not in motion). The 24-105 L has the benefit of reaching to 105mm on the long end.
 
The f/2.8L II is slightly larger than the 24-105mm f/4L IS, which is slightly larger than the 24-70mm f/4L IS. The f/2.8L II has a modestly more substantial lead in the weight category, weighing in 5 oz (142g) more than the 24-105mm f/4L and 7 oz (198g) heavier than the 24-70mm f/4L. These lenses are similarly well-built.
 
Small differences between these lenses include the 2012-introduced 24-70mm models having 9 blade apertures vs. the 2005-introduced 24-105mm's 8 and the f/2.8 lens having an 82mm filter thread size (vs. 77mm). A not-so-small difference is the f/2.8L II's price relative to the f/4L IS models.
 
The Conclusions
 
All of these lenses are easily good enough for use in front of a 5Ds. The decision differences for many will come down to price, aperture and overall versatility.
 
If your investment in the 5Ds has left you monetarily strained, a good value may be your highest priority. In that case, the 10 year old 24-105mm f/4L IS, purchased in white box or refurbished condition would be a great choice. Canon omitted the 24-105 L from its EOS 5Ds Lens Recommendations List, but ... I think this model is very worthy of consideration.
 
If you need to stop action in low light or want to create the strongest background blur, you need an f/2.8 aperture and the choice is easy. While the 24-70mm f/2.8L II will impact your wallet the greatest and will leave you without IS, this is the most amazing lens choice optically.
 
For overall versatility, I'll give the nod to the 24-70mm f/4L IS. The smallest and lightest lens of the group, the 24-70mm f/4L IS offers great image quality along with the best-performing image stabilization system and a macro-lens-like close-focusing capability. While more expensive than the white box or refurbished 24-105 f/4L IS, the 24-70 f/4L IS has the same regular price as the 24-105 L and is also a good value.
 
The Ultimate 5Ds General Purpose Lens
 
While it would be easy to justify a decision for any of these three lenses, I'm going to declare the EF 24-70mm f/2.8L II Lens to be the ultimate EOS 5Ds general purpose lens. Canon apparently agrees with this choice as this is the lens shown mounted in the Canon-supplied EOS 5Ds product images. However, I will not be selling my 24-70 f/4L IS lens anytime soon.
 
Learn More about the Lenses
 
Canon EF 24-70mm f/2.8L II USM Lens Review
Canon EF 24-70mm f/4L IS USM Lens Review
Canon EF 24-105mm f/4L IS USM Lens Review
 
In Stock at B&H:
 
Canon EF 24-70mm f/2.8L II USM Lens
Canon EF 24-70mm f/4L IS USM Lens
Canon EF 24-105mm f/4L IS USM Lens
Posted to: Canon News
Post Date: 7/1/2015 9:39:28 AM CT   Posted By: Bryan

Nikon has just released a couple of insightful videos where lens designers are asked various questions about NIKKOR lenses and lens design.
 

I believe there's an error in the second video (1:00 mark) where the "#5 Favorite Lenses" title is used instead of a more appropriate one ("Favorite Lenses" is already covered in the first video).
 
However, the information following "#5 Favorite Lenses" is very poignant as the designer compares the design process to climbing a mountain.
Posted to: Nikon News
Post Date: 7/1/2015 9:24:05 AM CT   Posted By: Sean
DxO Logo
From DxO:
 
Also available, DxO FilmPack v5.1.4 and DxO ViewPoint v2.5.6 are now fully compatible with Adobe Photoshop CC 2015
 
Paris – July 1, 2015 – DxO, one of the world leaders in digital imaging technology, announces the immediate availability of DxO OpticsPro v10.4.2, DxO FilmPack v5.1.4, and DxO ViewPoint v2.5.6 for Mac and Windows. These three updates allow these DxO solutions to support the Canon EOS 5DS and 5DS R cameras, and to allow DxO FilmPack 5 and DxO ViewPoint 2 to integrate perfectly with the 2015 edition of Adobe Photoshop CC.
 
Enhanced Canon EOS 5DS and 5DS R images
Renowned for its unequaled management of highlights, outstanding color rendering, and the spectacular results of its ultra-high-quality PRIME denoising feature, DxO OpticsPro 10 now supports RAW files from Canon EOS 5DS and 5DS R cameras. Digital noise is removed; details and color saturation are preserved, particularly in dark areas; and textures are preserved, even when shot at the highest sensitivities — perfect tools for these two extremely high-resolution cameras from Canon, which offer a wide range of sensitivities and high accuracy.
 
25,000 available DxO Optics Modules for unrivaled optical corrections
DxO OpticsPro v10.4.2 also adds 789 new camera/lens combinations to its DxO Optics Modules library, thus offering support to lenses from Canon, Samsung, Sigma, Sony, Tamron, Tokina, Voigtlander and Zeiss for numerous Canon, Nikon, Panasonic, Samsung and Sony cameras.
 
Developed in the laboratory using an exclusive calibration process, DxO Optics Modules contain all of the information about the characteristics of each camera and lens. This database, the most unique in the world, allows DxO OpticsPro to automatically correct distortion, vignetting, chromatic aberrations, and lens softness with an unparalleled level of quality.
 
Compatible with the 2015 edition of Adobe Photoshop CC
Praised by professionals for the high fidelity of its analog renderings, DxO FilmPack allows users to reproduce the characteristics of the films that made photo history. Its ultra-simple interface allows users to apply numerous original renderings, filters, tonings, and visual effects — all of which can be combined in an infinite number of ways — all while preserving the image quality, thanks to DxO FilmPack’s RAW format support.
 
DxO ViewPoint fixes even the most complex perspective problems and easily restores the natural shapes of subjects located on the edges of images. Benefitting from all of DxO’s optical calibration know-how, it corrects barrel, pincushion, and fisheye distortion.
 
DxO FilmPack and DxO ViewPoint can be used both as standalone applications as well as plugins for Photoshop, Elements, Lightroom, Aperture, and DxO OpticsPro. As either a standalone application or as a plugin for DxO OpticsPro, they allow users to directly process TIFF, JPEG, or RAW images. As plugins, they offer an extremely flexible workflow with Adobe and Apple solutions.
 
Prices and availability
DxO OpticsPro v10.4.2, DxO FilmPack v5.1.4, and DxO ViewPoint v2.5.6 are immediately available at photo resellers.
 
Photographers who acquired a DxO OpticsPro 9 license on or after September 1, 2014, are entitled to a free upgrade to version 10. Photographers who purchased a DxO FilmPack 4 license on or after September 1, 2014, are entitled to a free upgrade to version 5. All owners of DxO ViewPoint who acquired a license on or after August 1, 2013, are entitled to a free upgrade.
 
B&H carries DxO Optics Pro 10, DxO FilmPack 5 and DxO Viewpoint 2.
Category: DxO News
Post Date: 7/1/2015 9:02:00 AM CT   Posted By: Sean
Canon Professional Network Logo
From the Canon Professional Network:
"Fireworks are one of the most inspiring and photogenic, yet challenging subjects, to capture. And unfortunately, this is one of those shooting situations where fully automatic exposure and focusing may not help. However, with these tricks up your sleeve, a few accessories and a willingness to experiment, you'll capture amazing fireworks photos this Fourth of July!"
Check out the full CPN Article for all the helpful tips.
 
Note: I'll add one more tip to the list – Combine multiple exposures in post-processing using the "Lighten" blending mode.
Posted to: Canon News
Post Date: 7/1/2015 7:07:51 AM CT   Posted By: Sean
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