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 Tuesday, September 09, 2014
Apple iPhone 5s Black
Amazon allows you to trade in your old iPhone for Amazon credit. It's definitely something to consider if you've got your eye on the new Apple iPhone 6.
Post Date: 9/9/2014 3:04:11 PM CT   Posted By: Sean
Lensbaby Sweet 50 Optic
Note: This announcement from last month flew under my radar. Better late than never! [Sean]
 
PORTLAND, Ore, – August 19, 2014 – Lensbaby, one of the world’s leading makers of creative-effects camera lenses, today announced the availability of the Sweet 50, a 50mm selective-focus optic compatible with the Lensbaby Optic Swap System for DSLR, mirrorless and motion picture cameras.
 
The Sweet 50 optic is a 50mm selective focus optic with a 12-blade adjustable aperture ranging from f/2.5 through f/22. Along with controlling depth of field, the aperture controls the size of the sweet spot of focus. The Sweet 50 is part of the Lensbaby Optic Swap System and is mounted to the DSLR, mirrorless or motion picture camera via the Composer Pro lens body.
 
Product specs:
 
  • Manual focus
  • Curved field of focus optic (creates a spot of focus surrounded by blur)
  • Two multi-coated glass elements in one group
  • Minimum focus distance: 15 inches
  • Maximum focus distance: Infinity
  • 46mm front threads
  • Compatible with Lensbaby Composer Pro, Muse, Control Freak and Scout lens bodies
Pricing and availability
 
The Sweet 50 will be available on September 16 at Lensbaby-authorized photo specialty stores worldwide. It will sell for $299.95 (MSRP) with the Composer Pro lens mount or $119.95 (MSRP) for the optic only.
 
B&H carries the Lensbaby Sweet 50 optic.
Category: Lensbaby News
Post Date: 9/9/2014 1:54:35 PM CT   Posted By: Sean
ZEISS Servo Unit for Compact Zoom Lenses
From ZEISS:
 
OBERKOCHEN/Germany, 09/09/2014 – This year during the IBC in Amsterdam (September 12-16, 2014) ZEISS will present another highlight for discerning cinematographers at its booth 11.F50: prototypes of a servo unit for the high-end ZEISS Compact Zoom CZ.2 cine lenses.
 
With the CZ.2 15-30/T2.9, CZ.2 28-80/T2.9 and CZ.2 70-200/T2.9, ZEISS has set new performance standards for cine zooms. Equipped with an exchangeable mount (IMS), the CZ.2 lenses can be used flexibly on virtually all current and future camera models. The full-frame cine zooms (36x24mm) are suitable for HDSLR cameras, as well as for professional HD video and cinema cameras. All lenses in the ZEISS Compact Zoom family already correspond to 4K production standards.
 
With the new modularly-built ZEISS Servo Unit which will be shown in Amsterdam, cinematographers can leverage all of these advantages for situations when there is no direct access to the lens, for example on a crane, on rails or a Russian Arm. The servo unit also supports the comfortable operation of the zoom when using a shoulder camera, thus allowing the ZEISS Compact Zooms to be used conveniently for reportages.
 
The ZEISS Servo Unit was specially designed for the three ZEISS Compact Zoom CZ.2 lenses and can be flexibly used with all three of them. The user-friendly surface of the cine zooms enables them to be operated manually and, if desired, with follow-focus systems or the new ZEISS Servo Unit attached. The main unit controls aperture and zoom through powerful electric motors. A sensitive rocker switch allows for smooth zooming as well as fast changes in the image crop. An integrated iris motor enables the automatic control of the aperture via the camera. A manual operation of the aperture is, of course, still possible.
 
The new ZEISS Servo Unit can be controlled directly on the hand grip, through broadcast demands, or via wireless lens control systems, as is often the case for cranes.
 
Unique for the ZEISS Servo Unit is that no tools are needed for assembly, which can save time in critical moments. With a snap-on mechanism, the main unit can be exchanged easily, fast and without tools between the three different ZEISS Compact Zoom CZ.2 lenses. For each lens, this is done with a sleeve and installation plate. In addition, the optional focus unit can be mounted on the main unit with little effort, and adjusts quickly to the respective lens during lens changes. Electricity to the servo unit can be supplied via a PL-mount with contacts (at the zero position), through the camera interface cable, or externally. For ZEISS Compact Zoom CZ.2 lenses already available on the market, the necessary modifications for the contacts on the PL-mount can be carried out by ZEISS Service.
 
“The new ZEISS Servo Unit for the Compact Zoom CZ.2 family consistently expands the creative uses of our cine zooms, which have a growing fan community among professional cinematographers, production companies and in the rental business,” said Helmut Lenhof, Product Manager with ZEISS Camera Lenses. “Flexibility and longevity were our guiding ideas when developing the Compact Zoom CZ.2 lenses and these principles are reflected in the patented interchangeable mount system (IMS) and the optical design for the full frame. The ZEISS Compact Zoom CZ.2 lenses are therefore growing in step with the requirements of their users. The new servo unit is a powerful component that lets cinematographers flexibly extend the use of their CZ.2 lenses, whether for professional film productions or on a hand camera for reportage, documentary, and live events.”
 
During the IBC 2014, ZEISS will again present its comprehensive product portfolio of lenses for movie productions and HD video: ZEISS Compact Zoom CZ.2, ARRI/ZEISS Master Anamorphic, ARRI/ZEISS Master Prime, ARRI/ZEISS Ultra Prime, ZEISS Compact Prime CP.2, and SLR lenses for HD video. Visitors to the booth will be able to test ZEISS lenses on a large variety of the latest camera models, as well as meet and talk to experts on site.
 
The official market launch for the new ZEISS Servo Unit is planned to coincide with the NAB 2015. The total price of the system, including the focusing element, is expected to lie between € 5.000 and € 6.000 or US$ 7,800 and (net price). Orders can be taken starting April 2015.
 
B&H carries ZEISS Compact Zoom lenses.
Category: Zeiss News
Post Date: 9/9/2014 10:08:53 AM CT   Posted By: Sean
Billy Hollis by the Tree Headshot
By Sean Setters
 
Last month I posted about my experience regarding shooting headshots for Kim Frick-Welker, a local actress and theater director. The gist of the post – trust your instincts and find a way to capture the images that are in your imagination (even if the client hasn't asked for them specifically).
 
The point became relevant once more as I was shooting headshots for Billy Hollis, software designer, at his home in Nashville this weekend. Billy told me that his last headshot was "...taken about five years – and fifteen pounds – ago" and he was ready for an update. He wanted a few different versions of his headshot for display on social media, conference bios and various marketing tools. The only shot he specifically asked for was the "...boring, traditional on-white headshot." Other than that, I could shoot whatever I thought was appropriate (indoors or outdoors).
 
We decided to start with outdoor shots as the sky was overcast which provided a good, soft ambient base to work with. I found a spot behind his tool shed that provided an interesting combination of elements – a tree trunk, some limbs and an old window surrounded by weathered bricks. I used Canon EOS 5D Mark III with an EF 70-200mm f/2.8L IS USM and a Canon 580EX diffused by a 24" Glow Pop Soft Box (camera right) to light the subject and a bare 580EX to light the background (camera left). His favorite from that series is shown at the top of this post.
 
Moving indoors, I created a white background setup by placing a Botero #037 Collapsible Black/White Background behind the subject (lit with three flashes). I used the same Glow softbox for the main light (camera right) and added a 580EX reflected into white umbrella for fill light (camera left). As I was firing my off-camera flashes with manual triggers, the first shot was simply a test shot to dial in the power of my lights; it was a throw-away. I'm usually pretty close on the first shot after setting up my lights. However, I had forgotten to change the aperture on my camera when moving to the indoor setup. With my camera set to f/3.5, my test shot was extremely over-exposed. I nearly deleted the picture right after seeing it, but I didn't.
 
Realizing my mistake, I set my camera to f/6.3 and the next exposure was in the ballpark. But after reviewing the images the next day, I kept coming back to the horribly over-exposed test shot. Something about it captivated me. I sent it to Billy and he's now using it as his Twitter profile picture. New lesson learned – make sure and take a good look at your "throw-aways" before actually throwing them away.
 
Billy Hollis Headshot Over-Exposed
 
After about 20 minutes of shooting (trying various shirts and poses), Billy had the standard headshot on white that was a "must-have" request.
 
Billy Hollis Headshot on White
 
But while we were shooting the headshot on white, I started formulating another shot in my mind – a profile shot. So before packing up, I asked him if he would like to try one more setup. He readily agreed. I asked him to change into a black shirt while I made a few changes to the setup.
 
While he was changing, I turned off all of the background lights and flipped the Botero background around to its black side. I then took my mainlight and placed it on the left side just beside of (and slightly behind) where Billy was standing. I added a grid to the softbox and angled it away from the background to keep it from spilling onto the background. I remove the umbrella from my fill light, added a Honl Speed Grid and moved it to the right side to illuminate the back of Billy's head. The shots that followed were undoubtedly our favorites from the day.
 
Billy Hollis Profile on Black
 
So again, let me reiterate something that I mentioned in the Kim Frick-Welker headshot post:
"It may sound obvious, but here's something to keep in mind – anyone who hires you was likely impressed with the work you've already created. So if a shot really inspires you, it will likely inspire your client as well – so try to devote a few minutes to getting the shot you want to get, even if it's not a part of your agreed shot list."
It was true then, and it was true again this weekend. Trust your instincts and shoot for yourself. Never leave your best shots on the table. ;-)
Post Date: 9/9/2014 8:52:30 AM CT   Posted By: Sean
Adobe Creative Cloud Logo
From Adobe:
 
September 8, 2014 – San Jose, CA – Adobe plans to significantly update Adobe Creative Cloud video desktop apps and Adobe Anywhere for video. The new capabilities will build on Adobe’s integration across video workflows to enable professionals to create, collaborate and deliver productions across multiple screens. Adobe is previewing the upgrades at IBC 2014, Europe’s largest professional broadcast show. The company is also demonstrating the new solutions online at adobe.com/go/video.
 
Key updates include new media and project management tools in Adobe Premiere Pro CC; a refreshed user-interface across all Adobe video desktop apps; and more streamlined production workflows to allow video professionals to edit more efficiently.
 
Updates also will be added to Adobe Anywhere, the collaborative workflow platform that empowers users of Adobe professional video solutions—such as Adobe Premiere Pro CC and Adobe After Effects CC—to work together to shoot, log, edit, share and finish video productions. Enhanced support for Adobe After Effects CC will enable visual and motion graphic artists to collaborate more effectively so they can spend more time working creatively and less time searching for missing footage and collecting files. Additionally, new options in the Adobe Anywhere app for iPad will be added so users can review video footage faster.
 
“As the video and broadcast industries continue to rapidly evolve, so too does Adobe’s video technology. With Creative Cloud, we have accelerated the rate at which we deliver the features our customers need to create compelling new experiences and transform the video industry with high-quality productions,” said Bill Roberts , senior director of professional video product management, Adobe.
 
At IBC 2014, Adobe will showcase the new video technology that streamlines video workflows for video professionals, broadcasters and media companies. Key updates include: the acceleration of support for cutting-edge hardware and standards via Adobe Creative Cloud, enabling the company to respond quickly to new hardware and software standards; the extension of native file support, with the addition of AJA RAW; performance enhancements that include accelerated masking & tracking; and new GPU-optimized playback to deliver better performance when viewing high-resolution 4K and Ultra HD footage from Phantom Cine, Canon RAW and RED R3D files. In addition, a refreshed user-interface across all the video applications supports HiDPI displays for Mac Retina and Windows 8.1.
 
New media and project management features, including consolidate & transcode, search bins and multi-project workflows, will be added to offer more ease and flexibility at the project level, so Adobe Premiere Pro CC users can complete tasks more efficiently. And Adobe Media Encoder now includes “destination” publishing with preset options so users can render, deliver and share projects to multiple locations such as FTP sites and Creative Cloud folders. Extended match source support also now includes added support for the QuickTime and DNxHD formats.
 
Learn more about Creative Cloud on Adobe's Website.
Category: Adobe News
Post Date: 9/9/2014 7:01:10 AM CT   Posted By: Sean
 Monday, September 08, 2014

 
From the Adobe Photoshop YouTube Channel:
 
Learn how to blend multiple images with different depths of field with Photoshop Principal Product Manager Bryan O'Neil Hughes.
Post Date: 9/8/2014 2:14:20 PM CT   Posted By: Sean
Photoshelter Logo
From Photoshelter:
 
It's never too early to jumpstart your holiday sales!
 
What does September signal? Most think back-to-school, but here at PhotoShelter we know it's really about getting ready for your incoming holiday sales. It's never too early to start planning, so to help you get a jumpstart, we've compiled our favorite photo sales and marketing tips so you can generate more revenue and increase your profits before saying goodbye to 2014.
 
You'll find tips to:
 
  • Sell and market your prints to the right audience
  • Talk money and negotiate with clients
  • Market your work better with 10 examples of great photographer promos
  • Price your wedding and portrait photography
  • Sell your fine art photos, plus get insights from those succeeding with sales
  • And more!
And better yet? With a plan in place now, you’ll be in great shape during the holidays when consumers are looking to buy.
 
Get more tips and start selling today!
 
See Photoshelter's Selling and Marketing Tips
Post Date: 9/8/2014 12:11:44 PM CT   Posted By: Sean

 
From B&H
 
Lensbaby's new 5.8mm circular fisheye lens is a fully manual lens for Nikon or Canon mounts that works with full-frame or APS-C sensor sized sensors.
 
B&H carries the LensBaby 5.8mm f/3.5 Circular Fisheye.
Post Date: 9/8/2014 9:03:20 AM CT   Posted By: Sean
Zeiss Otus 85mm f/1.4 Lens
In addition to the press release, you can find more Zeiss Otus 85mm f/1.4 Lens information and lots of eye candy on the Zeiss Otus 85mm f/1.4 Lens Review placeholder page. Otus 85 images are also loaded into the product image comparison tool. I'll be sharing a full review of this amazing lens very soon.
 
B&H has the ZEISS Otus 85mm f/1.4 available for preorder.
Category: Zeiss News
Post Date: 9/8/2014 7:42:19 AM CT   Posted By: Bryan
ZEISS Otus 85mm f/1.4 Lens
From Zeiss:
 
ZEISS Otus 1.4/85 expands lens family with another focal length for the highest level of professional image quality
 
OBERKOCHEN/Germany, 08/09/2014 – Given its focal length and speed, at first glance the new ZEISS Otus 1.4/85 appears to be a traditional portrait lens. But a closer look reveals that this is a fast all-rounder for photographers who do not accept any limitations when it comes to detail – whether it is for general studio work, or fashion, advertising, product or architectural photography. In combination with modern DSLR cameras, this lens delivers unprecedented image quality – even with an open aperture. ZEISS will present this new world-class lens for the first time to the public at photokina in Cologne/Germany from September 16 to 21, 2014.
 
The ZEISS Otus 1.4/85 displays all of its advantages in the classic short telephoto range, i.e. portraits and people. Its focal length, longer than a normal lens, makes it possible to keep a decent distance from the subject. Photographers who like using a landscape not just as a background will find that the ZEISS Otus 1.4/85 is no ‘normal’ lens, but a surprisingly powerful companion for nature photography. The edges of the picture can be used for compositional purposes at all f-stops.
 
Unique creative possibilities can be achieved for pictures even with little ambient light. Today’s image sensors are extremely sensitive with little noise, which has significantly pushed the limits of what is possible even without artificial light. Fast lenses such as the ZEISS Otus 1.4/85 still offer enormous benefits compared with lenses that are two or three f-stops slower, especially when weak light meets fast-moving objects. Even when the light disappears completely, the ZEISS Otus 1.4/85 retains its excellent “vision”, just like the owl species from which this lens family gets its name. Lenses reveal correction deficits very clearly with night shots with lots of open light sources that dominate the image. Not so with the ZEISS Otus 1.4/85: in challenging lighting situations with low ambient light, the performance edge of this lens becomes obvious.
 
The ZEISS Otus family of lenses and its newest member have been specially designed to meet professional photographers’ most rigorous demands. Inner focusing, the dial window, and the dials’ clearly recognizable yellow labeling, familiar from professional cine lenses like ARRI/ZEISS Master Prime, are just a few of the features that are setting new standards.
 
Optically, the ZEISS Otus series stands out for its high image quality, even with an open aperture. Specifically, that means a neutral bokeh in the background, highly detailed images without any optical artifacts, consistently high resolution power across the entire image field, no color fringing or distortion, and an extremely high image contrast all the way into the edges. The imaging performance remains almost entirely consistent for all shooting distances. High apertures can be used even for close-ups right down to a working distance of 0.65 meters.
 
Particularly when used in combination with high-definition 35mm DSLR cameras, ZEISS Otus lenses achieve a medium-format quality never previously achieved. In other words: lower investments, more compact gear and imaging excellence.
 
A view inside the ZEISS Otus 1.4/85 reveals how such quality is realized: The lens consists of eleven lens elements in nine groups. One of the lens elements has an aspheric optical surface and six are made of special glass. The optical design is based on the Planar. Because the ZEISS Otus 1.4/85 is apochromatic, chromatic diagonal aberrations (longitudinal chromatic aberrations) are corrected with the help of lens elements made of special glass with anomalous partial dispersion. As a result, practically no perceptible color fringing appears on contrast-rich edges in front of and behind the focal plane. Bright-dark transitions in the image, and in particular highlights, are rendered free of color artifacts. In addition, the variable air spaces between certain lens groups (“floating elements design”) enable a consistently high imaging performance across the entire focusing range from 0.8 m to infinity.
 
All members of the ZEISS Otus family are characterized by the exceptional mechanical quality that sophisticated photographers are used to from ZEISS. As they were designed as manual focus lenses, it was possible to work with considerably narrower tolerances in the construction. Its smooth focus operation with the large angle of rotation allows for the finest variations when focusing. The freedom to focus – one of the most important creative elements in photography – has literally been put in the hands of the photographer as an artistic tool.
 
The extra-fine haptics and the precision of the focusing mechanism can only be achieved with a metal design. The robust all-metal barrel is also well equipped to deal with the rough daily work of a professional photographer, ensuring a long product life. In contrast to lenses containing a lot of plastic, which can become unbalanced over time, the metal ZEISS Otus lenses remain stable for many years. This ensures that the image quality remains consistently high. And for all photographers who in addition to the actual optics also rely on screw-on filters in their work, matching T* UV and POL filters with a diameter of 86 millimeters will be available from ZEISS for the ZEISS Otus 1.4/85.
 
In the fall of 2013, ZEISS presented the ZEISS Otus 1.4/55, the first representative of a high-end SLR lens series with manual focusing. This has since fulfilled its promise to be “the best standard lens on the market”. Both the trade press and users were impressed.
 
“When we launched the Otus 1.4/55, our customers immediately understood the benefits they can get from such a lens: using their high-end full-frame camera, they can shoot pictures with a quality and look they were previously only used to getting from expensive medium-format systems,” explains Christophe Casenave, Product Manager, ZEISS Camera Lenses. “With the Otus 1.4/85 we are now bringing out the second lens with this promise. Again with the Otus 1.4/85 we can say that this is a lens without any compromise on image quality. Contrast and resolution power are at the maximum level; there are no chromatic aberrations, even in the most challenging light situations; and there’s no distortion, ghosting or flare. And all of this at any aperture. When you use an Otus lens, you can focus on the composition of your images. You don’t need to spend any time thinking about whether the technology could possibly be a limiting factor.”
 
The ZEISS Otus 1.4/85 will be available worldwide with EF-mount (ZE) and F-mount (ZF.2) from mid-September 2014. The expected recommended retail price is €3,360.50 or US$ 4,490 (excl. VAT).
 
Official sample photos can be found on Zeiss's Flickr Photostream.
 
B&H has the ZEISS Otus 85mm f/1.4 available for preorder.
Category: Zeiss News
Post Date: 9/8/2014 6:46:54 AM CT   Posted By: Sean
 Friday, September 05, 2014
Lexar 128GB 633x microSDXC Memory Card and USB Card Reader
From Lexar:
 
New High-Capacity Card Delivers Read Transfer Speeds up to 633x (95MB per second) and Includes a USB 3.0 Reader
 
Milpitas, CA, September 5, 2014 – Lexar, a leading global brand of flash memory products, today announced the new 128GB Lexar High-Performance microSDXC UHS-I card with read transfer speeds up to 633x (95MB per second).* Designed for sports camcorders, tablets and smartphones, the Class 10 microSDXC card can capture up to 15 hours of HD video.**
 
“Whether it’s on a sports camera, aerial camera, tablet or smartphone, more video is being captured than ever before,” said Adam Kaufman, director of card product marketing, Lexar. “With the new Lexar 128GB microSDXC UHS-I card, users can continue to capture and store high-quality content, without having to worry about changing cards or running out of space.”
 
The 128GB Lexar High-Performance microSDXC UHS-I card (633x) comes with a USB 3.0 reader and allows for high-speed file transfer of photos and videos from the card to a PC or Mac. The reader is also backwards compatible with USB 2.0 ports and comes with a one-year limited warranty.
 
The new card is available for purchase in October 2014 with an MSRP of $119.99 and includes a limited lifetime warranty.
 
B&H carries Lexar high-performance microSD memory cards.
Category: Lexar News
Post Date: 9/5/2014 12:25:49 PM CT   Posted By: Sean

 
From the Canon USA YouTube Channel:
 
Did you ever want to know what it's like at the Canon Americas Headquarters in Melville, New York? In this exclusive video, take a tour of our showroom, lobby, courtyard and other great amenities that Canon USA HQ has to offer.
Posted to: Canon News
Post Date: 9/5/2014 8:10:34 AM CT   Posted By: Sean
Canon ST-E3-RT and ST-E2 Speedlite Transmitters
From the Canon Professional Network:
Canon’s wireless flash system means that you can fire two or more Speedlites together without any cables linking them.
 
Working with multiple Speedlites gives you creative control over your subject lighting. A main light can be used away from the camera, and other units can be used to provide backlighting or illuminate the background.
 
It has been possible to work with two or more flash units almost since the day they were invented. However, the problem has always been getting the exposure correct. Just synchronizing the flash outputs is not enough. You also need to control each output to give the correct amount of light for the subject.
 
Canon’s wireless flash does away with all this. You just set up the Speedlites and press the camera’s shutter release button. A series of pre-flashes are fired and the system automatically calculates the output required from each unit. It then fires all the units to give what should be a correctly exposed, well-balanced flash image.
 
The Canon wireless flash system is based on a master-slave relationship. The master unit is a flashgun, flash transmitter or built-in flash master fitted on or connected to the camera. The slave units are positioned on their own away from the camera. You can work with one master and one slave unit, or one master and between three and five slave groups. Each slave group can have one or more units. The system is very versatile, allowing almost unlimited control and creativity.
 
There are two types of wireless flash control within the Canon system. The newest and most versatile is the Radio Wireless system, introduced with the Speedlite 600EX-RT. The original system is an optical pulsed light system, found on previous Speedlite models.
Check out the entire Infobank article at the Canon Professional Network.
 
Want even more details about Canon Speedlites? Check out Bryan's Speedlite flash reviews.
Posted to: Canon News
Post Date: 9/5/2014 7:46:14 AM CT   Posted By: Sean
Post Date: 9/5/2014 7:27:52 AM CT   Posted By: Sean
 Thursday, September 04, 2014
Canon EOS C500 Cinema Camera
From Canon:
 
Free Canon firmware upgrades for Cinema EOS System cameras deliver improved basic performance, including support for ITU-R BT.2020 color space
 
Tokyo, September 4, 2014 - Canon Inc. and Canon Marketing Japan Inc. announced today in Japan that the company will make available in November 2014 free firmware upgrades for four Cinema EOS System cameras, as well as Cinema RAW Development 1.3, an updated version of Canon’s Cinema RAW Development software, for the EOS C500 and EOS C500 PL digital cinema cameras.
 
Canon’s Cinema EOS System lineup of digital cinematography cameras and lenses has earned the praises of a wide range of professionals working in Hollywood and elsewhere within the motion picture production industry. The new firmware upgrades, which will deliver enhanced basic performance to effectively respond to the advanced needs of various users, are being offered for the EOS C500, EOS C500 PL, EOS C300 and EOS C300 PL cameras while the updated development software for 4K Cinema RAW footage targets the EOS C500 and EOS C500 PL models.©
 
Support for ITU-R BT.2020 next-generation broadcast standard color space (For EOS C500 and EOS C500 PL)
 
Offering compliance with the ITU-R BT.2020 color space employed in the 4K TV broadcasting tests carried out earlier this year in Japan, the firmware upgrade for the EOS C500 and EOS C500 PL facilitates the capture of high-resolution video supporting the color space employed in the next-generation broadcast standard. When used in combination2 with Canon’s DP-V3010 professional-use 4K display (released in January 2014), the system effectively responds to input and output needs within the realms of next-generation motion-picture production and broadcasting.
 
Enhanced Cinema RAW Development functionality (For EOS C500 and EOS C500 PL)
 
The upgraded Cinema RAW Development software features the addition of 3D-LUT for converting from Cinema Gamut/DCI-P3+ to such highly versatile color space standards as ITU-R BT.709 and DCI-P3, enabling efficient video editing while maintaining low-chroma color reproduction and high-chroma color gradation. Additionally, support for EDLs (edit decision lists)3 enables only necessary time code-designated segments to be converted to the DPX and ProRes formats suitable for editing, effectively doing away with the need to process unnecessary files. Also, when using a PC equipped with Intel Iris Pro graphics, Cinema RAW Development 1.3 makes possible faster development of 4K Cinema RAW data.4
 
Improved operability when setting color temperature of white balance (For EOS C500, EOS C500 PL, EOS C300 and EOS C300 PL)
 
The new firmware upgrades contribute to improved operability by allowing users to easily set color temperature values using the camera’s FUNC button.
 
Canon plans to exhibit products supporting the ITU-R BT.2020 color space at the company’s booth during the IBC2014 broadcast technology tradeshow, to be held in the Netherlands from September 12 to 16.
 
B&H carries Canon Cinema Cameras.
Posted to: Canon News
Post Date: 9/4/2014 7:16:25 AM CT   Posted By: Sean
WD My Passport Wireless External Hard Drive
From Western Digital:
 
My Passport Wireless External Hard Drive Expands Storage for all Devices With No Need for Wires or Internet
 
RVINE, Calif. – Sept. 3, 2014 – WD, a Western Digital (NASDAQ: WDC) company and a world leader in connected storage solutions, today unveiled My Passport Wireless, an easy to use Wi-Fi enabled storage drive that allows consumers to save, access and share stored content wirelessly with any smartphone, tablet, computer or other device. For the frequent business traveler to the family on a road trip or creative professional working in the field, the My Passport Wireless drive is a simple way to connect all computing and mobile devices to content without any wires or Internet connection. Additionally, when users need to transfer large amounts of data, the My Passport Wireless drive provides the option of using a high speed USB 3.0 connection.
 
"As we celebrate its 10th anniversary, the success of WD's My Passport line of portable hard drives is unprecedented," explains Jim Welsh, executive vice president, WD Content Solutions Business and worldwide sales. "Our new My Passport Wireless drive continues the evolution, resolving a common problem for today's mobile consumer; too many devices with limited storage and no way to offload their content and free up space on-the-go. Now, consumers will have one drive to easily store content from all their devices and enjoy that content anywhere they go."
 
The My Passport Wireless drive broadcasts its own wireless network that allows up to eight devices to connect at the same time and access any content stored on the drive. Available in 500GB, 1TB or 2TB models, users now have the ability to store and access up to hundreds of hours of movies and music, as well photos and other digital files, from their smartphones and tablets that are typically limited by minimal storage capacity.
 
The portable wireless drive features Wireless N with MIMO technology for enhanced wireless performance so that users can access and transfer files quickly, as well as stream up to four HD videos simultaneously. The built-in rechargeable battery provides up to six hours of continuous streaming and up to 20 hours of standby power making the drive a perfect travel companion.
 
With the My Passport Wireless drive users have anywhere, anytime access to their favorite digital content by using WD's award winning WD My Cloud mobile app for iOS or Android mobile devices. The WD My Cloud mobile app easily connects to a My Passport Wireless drive for simple product setup, and once setup the mobile app provides intuitive navigation, sharing and playback of the drive's content. The WD My Cloud app also helps unify all of a users' content under a single app and user interface, by allowing access to content on the My Passport Wireless drive, the WD My Cloud family of personal cloud storage, and on major public cloud services such as Dropbox, OneDrive and Google Drive from just one app.
 
In additional to mobile devices such as smartphones and tablets, the portable wireless storage drive is an ideal companion for cameras with its integrated SD card slot. Whether shooting large commercial photography and video production or just taking photos and videos of the family while on vacation, the My Passport Wireless drive will never let you miss a moment because your memory cards are full. The built-in SD card slot lets users copy their content from the SD card to the My Passport Wireless drive to make room for more memorable moments. Additionally, with integrated FTP, the drive connects to compatible wireless cameras so that users can automatically transfer photos from their cameras to the drive as they are taking them.
 
Price and Availability
The My Passport Wireless drive is currently available for advance order online at the wdstore.com and will be available at select U.S. retailers later in September. MSRP is $129.99 USD for 500GB, $179.99 USD for 1 TB and $219.99 for 2 TB. The WD My Cloud mobile app currently is available for download for free from the App Store and Google Play.
 
B&H has the WD My Passport Wireless External Hard Drives available for preorder.
Post Date: 9/4/2014 6:42:17 AM CT   Posted By: Sean
 Wednesday, September 03, 2014
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From Photoshelter:
 
In follow up to our recent guide, Breaking into Fashion Photography, we're delighted to partner up with BREED once again for our next webinar with esteemed fashion photographer Melissa Rodwell, and a newcomer to the scene, the talented Dana Pennington. Tune in as they dish out advice for veterans and those looking to break into the fashion photo industry alike.
 
In this webinar you’ll learn about:
 
  • Marketing tactics fashion photogs can take to attract the attention of photo editors
  • The social media platforms that are worth your time
  • Whether you should still have a printed portfolio
  • What job opportunities exist outside of major fashion publications
  • The best way to approach modeling agencies for test shoots
  • And much more!
BREED will also be giving away a special free 1-year subscription to their premium content to a lucky listener, as well as a special offer to those who tune into the webinar.
 
Register Now!
Post Date: 9/3/2014 2:39:35 PM CT   Posted By: Sean
Sigma 50mm f/1.4 DG HSM Art Lens
B&H has just received a limited supply of the Sigma 50mm f/1.4 DG HSM Art Lenes for Canon.
 
This lens is a fantastic performer (review). If it is at the top of your wish list, don't hesitate to add it to your cart. [Sean]
Posted to: Canon News
Post Date: 9/3/2014 1:26:21 PM CT   Posted By: Sean
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