The Ben Franklin Bridge in Philadelphia, PA has been on my to-photograph list for a long time and earlier this year, I was technically able to check this attraction off of my list (I decided to keep it on the list for images from a different angle).
Having not been to this location before (aside from driving across the bridge), I needed some daylight time to scout for the evening's photos. I knew the basics of the area based on my research, but onsite finalization of the plan is usually needed. Even though very far from the bay and roughly 90mi (150km) from the Atlantic Ocean, this location on the Delaware River is tidal. I knew that there was a tide and that the tide would be going out during my shooting time (incoming tides require more concern). What I didn't know was the significance of the water level change. My scouting determined that locations close to the early evening water appeared best and I had lots of flowing water in the foreground for the image I envisioned.
As prime time approached, I watched the water level rapidly decrease a significant amount until my side of the river became nearly empty. There was nothing I could do about the situation and I was not about to attempt walking out into the quicksand-like muck. As photographers must always be ready to do, I embraced what I had to work with. The good news is that, as the water level dropped far enough, I had wet mud and pools of water that nicely reflected the bridge and city, creating a look that I may like even better than the image I had visualized.
On a good day, Philadelphia is an over-3-hour drive for me. The ideal time of the day to photograph the city lights with at least a little color in the sky is only a small fraction of that time duration. Life is busy and when it comes to good images, more is rarely worse than less. If you are a professional photographer, you count on your images for your income. If your primary income is not generated by photography, you probably cannot spend as must time in the field as you wish. To maximize your image volume relative to effort expended, perhaps close to a doubling effect, run two complete camera setups.
If you read my Canon EOS 80D review, you saw an image showing one angle of the Ben Franklin bridge. With a very short period of time to capture images and each image taking approximately a minute to capture (a 15-30-second exposure followed immediately by a same-length long exposure noise reduction process), having at least a second complete camera and tripod setup nearly doubled my images for this evening. While the 80D and Canon EF-S 18-135mm IS USM came out of the MindShift Gear BackLight 26L later in the evening, I mostly used the 5Ds R and EF 24-70mm f/2.8L II on a Gitzo GT3542LS with an Arca-Swiss Z1, set up close to the bridge.
I very frequently utilize a pair of cameras when shooting landscapes and cityscapes before sunrise, after sunset or even when working with strong neutral density filters under bright sunlight. The process is simple. I find a unique composition for each camera. Upon finishing one camera's setup and triggering the shutter release, I run to the other camera (well, I sort-of ran and stumbled over the big rocks in this case) and did the same. By the time I return to the first camera, it is usually finished or nearly finished with its processing. I quickly evaluate the image captured, make any adjustments I feel are warranted and repeat the process.
If running two camera setups not immediately within reach, safety for the gear must be considered. I wouldn't call the area below the Camden, NJ side of the Ben Franklin Bridge the safest I've been in. It was dark, there were no other people around and I kept a very close eye on the second camera setup, watching for anyone sketchy approaching. Having the cameras setup this far apart gave me very different perspectives of the bridge and city vs. simply different framing of the same perspective. The 5Ds R would permit strong cropping to achieve a similar framing adjustment, so I wanted something completely different from the second camera.
With so many images that I like captured that evening, I struggled to pick out one to share (part of the problem of having perfectionist tendencies). Three months later, I forced myself to pick one. This was it. Hope you like it and hope even more that you can increase the number of great images that you capture.
A larger version of this image is available on Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
TOKYO - Nikon Corporation announced delays in the release of new digital cameras and the effects of the 2016 Kumamoto earthquakes in a press release dated April 20, 2016. The following is an update on the release of the new COOLPIX A900 and B700 compact digital cameras (announced on February 23, 2016).
On April 20, we announced that release of the COOLPIX A900 and B700 would be delayed until July as more time was required for software adjustment. However, due to the effects of the 2016 Kumamoto earthquakes, release of these cameras is now scheduled for October 2016.
We sincerely apologize to our customers, business partners, and all those who have expressed interest in these models for the delays.
Get tips from photographers and folks in the industry to grow your fine art sales and get more eyeballs on your work! We’ve teamed up with WhiteWall photo lab to assemble inspiring interviews with photographers, gallery directors, and curators -- all with helpful ideas to consider when trying to increase your sales. Download your copy today!
We would like to announce the availability of new firmware and support for the applicable lenses regarding the phenomenon that exposure of the image may not be accurate, which was announced on May 27th, 2016. This happens when some SIGMA interchangeable lenses for CANON are used on Canon EOS-1DX Mark II.
If you own the following applicable products, please refer to the information below and update the lens firmware accordingly.
[Benefit of this firmware update] The lens firmware update corrects the phenomenon of some underexposure when the lenses listed below are used and either “Evaluative Metering” or “Center-weighted Average Metering” is selected in Metering Mode of the camera.
[Applicable products] SIGMA 20mm F1.4 DG HSM | Art – Canon mount SIGMA 35mm F1.4 DG HSM | Art – Canon mount SIGMA 85mm F1.4 EX DG HSM – Canon mount
For customers who own the applicable products listed above, the lens firmware update will be provided free of charge. Please contact your nearest authorized subsidiary/distributors of SIGMA.
For customers who own the SIGMA USB DOCK, and either the SIGMA 20mm F1.4 DG HSM | Art Canon or the SIGMA 35mm F1.4 DG HSM | Art Canon, please update the lens firmware using SIGMA Optimization Pro.
We appreciate your continued support for our company and products.
In today’s episode, we give you the gift of facial hair! Whether for fun or for professional retouching, creating hair can always come in handy.
Creating a custom brush: Step One
The first and possibly most important step is to make one single hair with the brush tool. This hair should be as perfect as possible and match the other hairs on the face, because it will become the custom brush. If you want to create stubble, simply make the brush a little smaller to resemble a single spot of stubble.
Create a white background around the hair by using the marquee tool. Then, after selecting the boxed hair, go to Edit - Define Brush Preset. After it is saved, you can open it in the brushes panel.
Creating a custom brush: Step Two
Spend time playing around in the brush menu! Many little adjustments add up to an amazingly realistic look. Make changes such as increasing the angle jitter, roundness jitter, scattering, opacity, spacing, etc.
A Hairier Face
When you are satisfied with your custom brush, it’s time to paint! All you have to do is paint on the face where you want the hair to be.
Remember: hair is not always the same color, so a good mixture of lights and darks is important when making realistic facial hair. Hold ALT/OPT and sample multiple colors as you go. You can also paint with white to create some highlights.
COPENHAGEN, June 23, 2016 – Phase One, creator of the world’s finest open-platform high-end camera systems and professional imaging software, today released Capture One Pro 9.2. Known for its outstanding tethered capture capability, high-quality raw conversion, and precision image editing tools, Capture One Pro is already considered by many to be the only image capture application for the serious professional photographer. The release of version 9.2 aims at a better culling workflow from selections and metadata sources to accelerate editing workflow to new levels.
New camera support includes:
Canon EOS M10
Canon G7x MkII
Powerful new workflow features include:
Access assets quickly and precisely: Select from file list, select by variant position and create album from selection form a large group of improvements under targeted selections;
New rate and cull workflow using “Select Set”: Select a number of images for viewer preview, then advance through the browser by the same number. Navigating within the selection to rate and cull makes editing and comparing fast and efficient;
Capture One 9.2’s new color management module for Tiffs gives users more accurate preview returned from retouching/round trip applications – making Tiff handling in Capture One better than ever before;
Phase One XF camera users can turbocharge focus stacking workflow with a multi-image round trip to the Helicon Focus application. Shoot, organize, group, process and stack -- all in a few clicks;
New Shortcut Engine: More functions can be shortcut than ever before! All cursors can now be shortcut, users can navigate the library collections (even when hidden) and shortcut support for the new 9.2 selection methods all help to make the workflow sing.
Pro photographers deserve a strong ally to vanquish workflow issues and give them the most reliable, efficient workflow and performance,” said James Johnson, Software Product manager, “Capture One Pro 9.2 is about workflow, not work!”
For more details on all the new and improved features in Capture One Pro 9.2, including new cameras and lenses supported, please go to: www.phaseone.com/ninetwo
Availability and Pricing
Capture One Pro 9 is available now for the Mac and Windows operating systems from Phase One authorized partners worldwide.
Further advance of Nikon D5 digital SLR camera performance through expanded functions
Tokyo - Nikon Corporation has released new firmware, C: Ver. 1.10, that expands the functions of its flagship Nikon FX-format digital SLR camera, the D5.
The D5 has been extremely well received on all fronts, winning such globally prestigious photo and imaging awards as the TIPA Awards 2016, and the Camera GP (Grand Prix) 2016 Readers Award (sponsored by Japan's Camera Journal Press Club), which is selected through voting by users.
Nikon has released new firmware for the D5, C: Ver. 1.10, that enhances D5 performance even further. The new firmware offers a major upgrade to the camera's shooting capabilities, delivering four key improvements. First, the maximum recording time of movies, including for 4K UHD movies, is extended, and three functions — Flicker reduction for still images, 9-point dynamic-area AF AF-area mode, and Electronic VR for movies — are added. In addition to these four major changes, some additional updates* have been applied to the new firmware.
Details regarding "additional updates" are provided on the firmware's free download page (Nikon Download Center).
The new firmware is available for download from June 23, 2016. It can be downloaded free of charge from the following URL.
1. Maximum movie recording time, including for 4K UHD movies, extended to 29 min. 59 s
Movies up to 29 minutes 59 seconds in length can now be recorded at all Movie quality and Frame size/frame rate settings. The new firmware increases the maximum recording time of even 4K UHD (3840x2160) movies from 3 minutes to 29 minutes 59 seconds. In addition, movies are recorded to up to eight separate files, each of which has a file size of up to 4 GB. Separate movie files can be combined to create a single movie using ViewNX-Movie Editor.
The maximum recording time for 4K UHD time-lapse movies is 3 minutes.
2. Flicker reduction for still images added for more stable exposure under lighting that flickers
When shooting under fluorescent and some other types of artificial lighting, flickering may cause uneven exposure in parts of images and/or variations in exposure and color reproduction characteristics between individual images captured continuously or in quick succession. We have equipped the new firmware with a Flicker reduction function for still images*1 that reduces these effects. When Flicker reduction is enabled, the camera detects peak brightness as light flickers and automatically times shutter release with these peaks in brightness for stable exposure and color reproduction characteristics. This function is effective when continuous shooting is used for indoor sporting events or similar situations captured at fast shutter speeds*2
*1 Still images captured during viewfinder photography (not available with mirror up mode). *2 The continuous shooting rate may decrease.
3. 9-point dynamic-area AF AF-area mode added for focusing on a limited portion of a moving subject
With dynamic-area AF, the camera focuses based on information from surrounding focus points* if the subject briefly leaves the focus point selected by the photographer. The D5 originally supported 25-point, 72-point and 153-point dynamic-area AF. A 9-point dynamic-area AF option has been added with the new firmware. This new option is effective for focusing on a more specific portion of a moving subject.
* In dynamic-area AF with 9, 25 or 72 points, the number of focus points actually used may be fewer than 9, 25 or 72, depending on the selected primary focus point.
4. Electronic vibration reduction function, effective with hand-held recording, added (for HD and full-HD*1 movie recording)
The new firmware has been equipped with an Electronic VR function that reduces the effects of camera shake with hand-held recording of movies in the FX- or DX-based movie formats (image areas)*2. The effects of camera shake in three directions — vertical (up and down), horizontal (left and right), and rotational (around the center of the lens) — are reduced. This function is effective when recording movies in places or situations in which use of a tripod is prohibited or inconvenient, or when there simply isn't time to set one up. In addition, electronic VR can be used in combination with the optical vibration reduction (VR) built into a NIKKOR lens for more effective reduction of the effects of camera shake.
*1 Not available with 1920 x 1080 crop settings. *2 The angle of view will be reduced slightly.
The effects of electronic VR are also reflected when photos are captured during movie recording (Live frame grab). When Electronic VR is enabled, the maximum sensitivity allowed is ISO 102400, even if ISO sensitivity is set to Hi 0.3 or higher.
The camera can now record movies up to 29 minutes and 59 seconds long. Movies are recorded across up to 8 files, each up to 4 GB size, which can be joined together using the ViewNX-Movie Editor option in ViewNX-i version 1.2.0 or later. *
An Electronic VR option has been added to the MOVIE SHOOTING MENU. Note that electronic vibration reduction is not available at frame sizes of 3840×2160 or 1920×1080 crop, and that the angle of view is slightly reduced when electronic vibration reduction is in effect. *
A Flicker reduction option has been added to the PHOTO SHOOTING MENU. *
Dynamic-area AF (9 points) has been added to the AF-area mode options available during viewfinder photography. *
The chief changes to viewfinder photography autofocus are:
Improved camera response when the button assigned Auto-area AF using Custom Setting f1 (Custom control assignment) > AF-area mode or AF-area mode + AF-ON is pressed to temporarily select auto-area AF.
Improved tracking when Wide is selected for Custom Setting a5 (3D-tracking watch area) and 3D-tracking is selected for AF-area mode.
The following changes have been made to the shooting display in the web browser when Silent photography is selected in HTTP server mode:
An “SL” (“silent”) icon has been added to the release mode button.
The “number of shots remaining” display for continuous release modes now shows the time remaining.
Exposure compensation can now be adjusted by up to ±3.
The file name (extension “.NDF”) is now displayed in HTTP server mode when Image Dust Off data are displayed in a web browser either full frame or in the image viewer.
The web browser displays for computers, iPads, and Android OS now identify white balance presets 1 through 6 by number when preset manual white balance is selected in HTTP server mode.
If movie recording is started while the camera is focusing in movie live view, the camera will now stop focusing before beginning recording.
Fixed the following issues:
The camera would sometimes record the date of recording incorrectly during leap years and the like.
The Save/load settings option in the SETUP MENU would only load up to 10 of the up to 20 items that could be stored in “My Menu”.
The camera would display the encryption key for Direct (access point) connections when searching for wireless networks using Search for wireless network with Direct (access point) selected in the SETUP MENU > Network connection wizard.
The device would sometimes be unable to connect to the D5 when Connect and exit wizard was chosen with Direct (access point) selected in the SETUP MENU > Network connection wizard.
The OS X edition of the Wireless Transmitter Utility would not function as expected when used to edit or add profiles for a camera connected via USB if Password protection was enabled for wireless or Ethernet LANs in the Network > Network settings menu.
The camera would sometimes not correctly display pictures created using the Trim option in the RETOUCH MENU.
If playback zoom was activated while the memory card access lamp was lit, the picture would sometimes not display correctly or the camera would zoom in on a point other than the active focus point if:
RAW Slot 1 - JPEG Slot 2 was selected for Role played by card in Slot 2 in the PHOTO SHOOTING MENU,
On was selected for Image review in the PLAYBACK MENU,
Memory cards were inserted in Slots both 1 and 2, and
The NEF (RAW) and JPEG images were different sizes
* Details can be found in an updated edition of the camera manual.