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 Monday, November 23, 2015
Just as many retailers depend on the Christmas holiday shopping season for their necessary support, we depend on your support during the Christmas holiday shopping season to keep this site going (and to keep it free to all). Our support page details the various ways that you can help keep us going, but the primary way we receive the necessary operating revenue is through your purchases. At no extra cost to you, starting your shopping using any links on the site provides the significant percentage of what is needed to keep us going. Note that support comes from the purchase of anything, not just camera gear. And while the Christmas shopping boost is as important for us as it is for retailers, making this site your first stop when shopping year round is even better.
 
The first reminder I want to share is that, just because you see a sale advertisement this Christmas season, including those mentioning "Black Friday" or "Cyber Monday", doesn't mean that the price being advertised is a great one. Many of the items printed large or displayed large on a web page are at the same "sale" price as they have been for quite some time and are available for the same price (or less) at other retailers. For example, ads for Canon cameras and lenses often utilize an existing rebate to promote a "special" and B&H probably has the same or better price.
 
My second reminder, primarily for those of us in the USA, is that, even though start of the Christmas shopping season is ever-earlier, the Thanksgiving holiday is yet to come. Do not skip anticipation and celebration of this great holiday. Plan now for a special time of giving thanks with family and friends. You and those around you will all benefit from this celebration and the state of heart that giving thanks brings with it.
 
I'll get us started by saying, thanks for your continued support! It is greatly appreciated. Without you, this resource would not exist.
Posted to: Canon News,
Post Date: 11/23/2015 8:17:55 AM CT   Posted By: Bryan
A couple of years ago I finally converted all my Manfrotto RC2 Quick Release plates and clamps to the Arca-Swiss standard. Looking back, I don't know why I waited so long.
 
Arca-style plates and clamps lock down your gear so well that they've become the industry standard in camera support. And thanks to the system's popularity, you can buy Arca-style plates and clamps from a myriad of manufacturers, meaning there's a brand to fit nearly every budget. As there aren't a lot of technologically demanding aspects of the plate and clamp system, I oftentimes buy well-reviewed (and significantly less expensive) plates and clamps from the cheaper brands like Sunwayfoto and Desmond. Generally speaking, I've been very happy with these price conscious brands.
 
Unfortunately, there's a small catch. Even though the Arca system is indeed an industry standard, there still seems to be some variation in the widths of plates among the wide range of manufacturers. If you're using a typical quick release clamp that is tightened with a knob, the slight variation in plate widths is no problem and you can use any plate with utter disregard for the brand name. But if you're using a clamp with a lever release, things can get a big trickier.
 
A lever release is designed to clamp down with a sufficient amount of tension at a very specific width. Even though the clamp can typically be adjusted to different widths, the adjustment usually requires the use of a hex key. If you're using several plates from a range of manufacturers, the adjustments necessary would be less than convenient when switching between cameras. This is the exact problem I experienced with a recent QR plate purchase.
 
Backstory
 
I own a Glidecam HD-4000 that I use for video production. As I wanted to use the gimbal stabilizer with more than one DSLR, I decided to use an Arca-style clamp on the top to make switching out cameras faster and easier. Finding just the right QR clamp proved challenging as I needed one whose clamping mechanism did not extend beyond the bottom of the base of the clamp. That requirement ruled out all of the knob style clamps I came across. The one product I found that worked was the Desmond DLVC-50 Lever Clamp (seen above). Its tensioning lever does not extend past the base of the clamp meaning that it can sit flat on top of the Glidecam. Its "skeleton" design saves weight and the hole in its lever makes it easy to tighten and release even with the camera in place. I adjusted the clamp with the included Allen wrench so that it provides the optimal tension when used with my Kirk L-brackets and the setup worked well – but not perfectly.
 
I'm a huge battery grip fan and both my cameras have L-brackets designed for use with the battery grip. And while using a battery grip with the Glidecam works, it's trickier getting everything balanced when the weight of your camera and lens sits that much higher off the stabilizer's base. Therefore, I bought a universal QR plate for the times I wanted to use the Glidecam with a battery grip-free camera. Unfortunately, the plate proved very slightly narrower than the Arca-style plates on the Kirk L-brackets, meaning that the plate would slide back and forth in the clamp when tightened.
 
To prevent this, I could of course adjust the clamp so that it was properly calibrated for the new plate. However, I wanted to leave the clamp's adjustment as-is just in case I wanted to use it with a DSLR with the battery grip attached (for times when extra battery power trumps ease of stabilization). I considered returning the plate and getting one from another manufacturer in the hopes that the new plate would fit better. But then I had an idea...
 
The Fix
 
Gaffer tape.
 
Or in this case, technically speaking, spike tape (a narrow width gaffer tape). I cut the gaffer tape so that it would fit along the lower half of the groove where the QR clamp should come into contact with the plate. Two small strips (one on each side) was all it took to provide the perfect amount of friction between the plate and the clamp. If I had needed an even smaller adjustment, could have used gaffer's tape only on one side of the plate.
 
Will this solution work forever? Probably not. With enough use, the tape would likely wear down enough to warrant replacement. However, my guess is that because the tape is consistently being squished against the plate via the clamp, it'll stay in place relatively well. It should only experience wear during the mounting and unmounting of the camera, thereby leading to a relatively long lifespan for the fix.
 
In the end, a $12.50 plate and a few cents of spike tape worked just as well for my needs as buying a comparable Kirk-branded, $50.00 plate. Gaffer's tape never ceases to amaze me when it comes to its usefulness in photography.
Posted to: Canon News,
Post Date: 11/23/2015 8:45:40 AM CT   Posted By: Sean
 Friday, November 20, 2015
The other day, I looked over a large, steep, grassy clearing on our property. I quickly noticed a round orange object approximately 400' below. The bright color caught my attention, the round shape caused me the think it was a pumpkin and I later hiked down to confirm my guess.
 
What I found was a medium-large pumpkin with deep bear teeth marks in it. Upon my return to the house, the girls informed me that the pumpkin was from our deck. The bear had carried the pumpkin away and likely, at some point, put it down, only to have it roll hundreds of feet down the hill. While the bear story is one for our memories, the fact that orange stands out so much is the lesson for today.
 
Orange is a fall color and a primary source of that orange comes in the form of pumpkins. It is quite likely that one will show up at your house in the fall and if not, a neighbor likely has one that you could borrow. Or, take the family to the farm or market, photograph your people there and then bring home some color to work with. At home, spend some more time getting creative with your color source, increasing the color orange in your portfolio.
 
Then, print your own fall decoration for next year, perhaps in the form of a metal print (love these).
 
This simple image was captured in the shade of our front porch. I explored various angles on the subject, trying to consume the entire frame with it. This angle seemed to work nicely.
 
After you have your orange, explore the yellows and other colors available in the other fall favorite, gourds!
 
Camera and Lens Settings
35mm  f/1.4  1/500s
ISO 100
8688 x 5792px
Posted to: Canon News,
Post Date: 11/20/2015 7:55:00 AM CT   Posted By: Bryan
 Thursday, November 19, 2015
Image quality results have been added to the Zeiss Milvus 85mm f/1.4 Lens page.
 
Unlike many of the new Zeiss Milvus lenses, this model has a new optical design. The difference between the Zeiss Milvus 85mm f/1.4 and the previous version of this lens is dramatic! Nicely done, Zeiss!
 
Here are some more comparisons that you might be interested in:
 
Zeiss Milvus 85mm f/1.4 vs. Canon EF 85mm f/1.2L II Lens
Zeiss Milvus 85mm f/1.4 vs. Sigma 85mm f/1.4 Lens
Zeiss Milvus 85mm f/1.4 vs. Samyang 85mm f/1.4 Lens
 
Another comparison that warrants discussion is the Zeiss Milvus 85mm f/1.4 vs. Zeiss Otus 85mm f/1.4 lens. The Otus retains the lead in center of the frame performance, but ... the Milvus is sharper in the corners. Adding support to these results is the MTF comparison between these lenses. This performance combined with a price tag that is far less than half of the Otus is going drive popularity of this Milvus lens model.
 
B&H has the Zeiss Milvus 85mm f/1.4 Lens in Nikon mount in stock with the Canon mount version available for preorder.
Posted to: Canon News,
Post Date: 11/19/2015 9:28:18 AM CT   Posted By: Bryan
The answer to the "When opportunities arise around the house, which lens do you grab?" question for me is often whichever lens(es) I happen to be evaluating at the time. Some lenses are more easily pressed into general purpose use than others, largely due the focal length(s). Fortunately, 35mm focal length-containing lenses have been very popular lately and that focal length is great for general purpose use.
 
Especially great was when I was putting the Canon EF 35mm f/1.4L II USM Lens through its evaluation. Not only does this lens have the right focal length, but it also has a wide aperture, ideal for those around-the-house needs and often ready to capture high quality images without any additional lighting needed. That this lens has such great image quality at that f/1.4 max aperture is especially great.
 
On this day, Brittany came home tired and took a moment to relax with the dog that is of course tired and relaxing most of the time. My currently-mounted lens was the 35 L II and it allowed me to snap a few cute pictures using only ambient window light.
 
What is your favorite around-the-house lens?
 
Camera and Lens Settings
35mm  f/1.4  1/100s
ISO 100
8688 x 5792px
Posted to: Canon News,
Post Date: 11/19/2015 9:01:15 AM CT   Posted By: Bryan
Originally announced in September of this year, the EOS C300 lens mount conversion service is now available in France, Germany, Italy, Sweden and the UK.
 
From the Canon Professional Network:
Owners and purchasers of the Canon EOS C300 Mark II can now benefit from a new lens mount service option which offers the capability to change the 4K Digital Cinema Camera’s original EF mount to EF Mount with Cinema Lock or to a PL mount and back again.
 
The Lens Mount Replacement service can be booked in at the Canon Regional Competence Centres (RCC) in France, Germany, Italy, Sweden or the UK. Alternatively, the PL lens mount and SHIM kit are also available for direct sale.
 
Canon has also revealed that from early 2016 a PL mount version of the C300 Mark II will be available to purchase in all EMEA territories. Up until now the camera has only been available in an EF mount but by January 2016 customers can choose whether to purchase an EF mount or a PL mount version. The upcoming PL mount version of the camera will provide support for all of Canon’s PL mount Cinema lenses and other industry-standard PL lenses (Cooke/i not supported), thus allowing for even greater shooting possibilities.
For more information on the Lens Mount Conversion Service, see the entire article on the Canon Professional Network.
Posted to: Canon News
Post Date: 11/19/2015 7:52:29 AM CT   Posted By: Sean
From the Canon Professional Network
Wildlife photographer and Canon Explorer Marina Cano discusses her career with CPN Editor David Corfield, revealing how music, cameras and a new pair of binoculars have helped her get closer to the natural world...
 
If it weren’t for a flute, Marina Cano wouldn’t be the wildlife photographer she is today. It’s been an unusual journey for the Spanish lenswoman, but she is grateful for her past life as a professional flutist and says it is her love of music that has brought her closer to nature. “I was a teacher of music for more than 15 years – it’s my other passion,” Marina reveals. “I feel that music helps me with my aesthetic vision.”
 
“My work is about a celebration of the natural world,” she continues. “I think I have a special aesthetic sense and this comes to me naturally. The city in which I live, Santander, is incredibly beautiful and the land around me is beautiful too. So my life is steeped in all this beauty and I try to recreate it in my photography.”
 
“There is a really strong sense of design in my work. I can’t simply document a subject. I have to try and do something artistic, either by finding some drama with the subject or waiting for the light.”
 
Marina continues: “My father was a keen amateur photographer and when I was about 17 years old I started taking pictures with his old camera, just taking pictures of everything really; but a few years later I discovered wildlife photography and instantly I was in love.”
Read the entire article and see Marina Cano's excellent wildlife imagery at the Canon Professional Network.
 
The binoculars Marina Cano uses for wildlife photography can be found here.
Posted to: Canon News,
Post Date: 11/19/2015 7:11:10 AM CT   Posted By: Sean

 
From Triggertrap:
 
  • Dozens of photographers gathered in five cities across the globe to capture a single day in their city
  • The resulting timelapse video is an incredible look at the hustle and bustle of life in a 21st century city
  • Over 65,000 individual frames were captured across the five events
This autumn, Triggertrap–creators of the world’s most intuitive timelapse tools–brought together photographers from all backgrounds in London, New York, San Francisco, Milan, and Cape Town for a series of one day timelapse events, to create an ambitious crowdsourced timelapse study of these five cities.
 
LapseWorld invited photographers to capture a series of timelapse clips from their own unique perspective on the cities they call their own. The photographers captured over 65,000 frames between them, amounting to almost an hour of video footage. These clips were assembled to form LapseWorld - a three-minute film highlighting the hustle and bustle, atmosphere, diversity, and pace of the five featured cities. Each city is also featured in its own separate timelapse movie, highlighting what makes that city unique within its country and continent.
 
Working alongside EyeEm in San Francisco, Apromastore in Milan, OmegaBrandess in New York, and Sunshine Co in Cape Town, LapseWorld provided a unique opportunity for Triggertrap to host five individual events almost simultaneously, bringing together photographers of all skill levels and backgrounds to create a collaborative timelapse project.
 
With guidance from Triggertrap’s tutorial videos, inspiration from Triggertrap Spotlight photographers, and Triggertrap’s affordable and intuitive kit, anyone can learn to create beautiful videos charting change across minutes, hours, days, and even months. Anyone who feels inspired by LapseWorld and would like to get involved with timelapsing–and maybe event feature on Triggertrap’s future crowdsourced international timelapse videos–should follow Triggertrap on Twitter, Facebook and Instagram, and, of course, take a look at triggertrap.com!
Posted to: Canon News,
Post Date: 11/19/2015 5:26:19 AM CT   Posted By: Sean
 Wednesday, November 18, 2015
From the Canon Professional Network:
"What makes a good food photo?
 
Showcasing the dish’s best traits is essential to any successful food image. Its colors and textures are the key details that make you want to take a bite, so you want to have them all clearly in focus.
 
Food photography trends change as often as fashion trends and the more you can familiarize yourself with what industry leaders are doing, the more successful your images will be. Take a look at the websites and feeds from companies like Williams-Sonoma, Martha Stewart, Food & Wine, Donna Hay (Australia), Bon Appetite, Sur La Table, etc. and see what color schemes are of the moment. Is it the light bright or is it moody and based in shadow? Is the food messy and broken up, strewn about the plate, or is it tidy, tight and neat? Does the food have a homemade appeal or does it look highly constructed by a professional chef? Is the look attainable or aspirational? Are the props simple or highly stylized? Is the food the focus or is the scene and story that the props create more significant? As you continue to pour though these publications and ask yourself these questions, your eye will become stronger and your own imagery will improve."
Read the entire article on the Canon Professional Network.
Posted to: Canon News
Post Date: 11/18/2015 8:25:46 AM CT   Posted By: Sean
Nikon has announced that it is working on the next iteration of its top-of-the-line DSLR. No details – including specs, a release date or MSRP – were provided in the release.
 
Wouldn't everyone assume Nikon is working on the next version of its highest-end DSLR? I'm still trying to figure out why they thought this information was ripe for dissemination. :-/ [Sean]
 
From Nikon:
 
TOKYO - Nikon Corporation is pleased to announce that it is developing the Nikon D5 digital SLR camera, which represents the next generation of professional Nikon FX-format models.
 
The new Wireless Transmitter WT-6 and Speedlight SB-5000, which will be positioned at the top of Nikon's Speedlight lineup, are also being developed.
 
Through the combination of this next-generation professional camera offering an even higher level of performance, these advanced accessories and the rich lineup of existing NIKKOR lenses, Nikon is pursuing further possibilities for imaging expression.
 
* Details including release date and suggested retail price for this product have not yet been determined.
Posted to: Nikon News
Post Date: 11/18/2015 7:18:40 AM CT   Posted By: Sean
From Canon:
 
TOKYO, November 18, 2015—Canon Inc. announced today the achievement of a new camera-manufacturing milestone as combined production of the Company's film and digital EOS-series interchangeable-lens cameras surpassed the 80-million mark on November 10, 2015. The 80-millionth EOS camera produced was an EOS 5DS R, which boasts the world's highest pixel count in its class.
 
Production of Canon EOS SLR cameras began in 1987 at Canon Inc.'s Fukushima Plant (now Fukushima Canon Inc.), later moving to such production bases as Oita Canon Inc. and Canon Inc., Taiwan. Production rapidly increased following the spread of digital SLR cameras in the early 2000s and the Company is now commemorating a new milestone: the production of its 80-millionth EOS camera.
 
EOS, which stands for “Electro Optical System,” is also the name of the Greek goddess of the dawn. Introduced in March 1987 as a new generation of AF SLR cameras, EOS cameras were the world's first to incorporate an electronic mount system enabling complete electronic control not only between the lens and body, but throughout the entire camera system.
 
Canon manufactures all key components employed in the EOS series, enabling the Company to achieve an even more robust product lineup by selecting the optimal sensor for each model. Drawing from this strength, Canon has helped to pioneer a new age for cameras by launching such innovative products as the compact, lightweight EOS Kiss (EOS Rebel XS or EOS 500 in other regions), which succeeded in expanding its user base, and the EOS 5D series, which celebrates its 10-year anniversary this year.
 
As a result, the Company has successfully maintained the No. 1 share worldwide within the interchangeable-lens digital camera market for the 12-year period from 2003 to 2014. Furthermore, thanks to the strong backing of users over the years, Canon's EF interchangeable lenses, launched alongside the EOS SLR camera system, celebrated a new manufacturing milestone in June 2015 with the production of the 110-millionth EF-series interchangeable lens for EOS cameras, setting a new world record for the most interchangeable lenses produced.
 
Canon will continue to refine its diverse imaging technologies based on its core optical technologies, striving to produce exceptional and reliable lenses and cameras that cater to the varying needs of photographers—from first-time users to advanced amateurs and professionals—while contributing to expanding the culture of photographic and video imaging.
 
B&H carries Canon EOS cameras including the EOS 5Ds R.
Posted to: Canon News
Post Date: 11/18/2015 5:17:08 AM CT   Posted By: Sean
 Tuesday, November 17, 2015
From Adobe:
 
Camera Raw 9.3 is now available through the update mechanism in Photoshop CC and the Creative Cloud application.
 
As mentioned in an update to our camera support policy here, Camera Raw 9.3 is only available in Photoshop CC or later. Customers using older versions of Photoshop can utilize the DNG Converter for continued camera support.
 
New Camera Support in Camera Raw 9.3
 
  • Canon EOS M10
  • Canon PowerShot G5 X
  • Canon PowerShot G9 X
  • Fujifilm X-T1 IR
  • Leica SL (Typ 601)
  • Sony RX1R II (DSC-RX1RM2)
New Lens Profile Support in Camera Raw 9.3
 
MountName
Canon EFCanon EF 35mm f/1.4L II USM
Canon EFCanon EF 300mm f/2.8L IS II USM
Canon EFCanon EF 300mm f/2.8L IS II USM +1.4x
Canon EFCanon EF 300mm f/2.8L IS II USM +2.0x
Canon EFCanon EF 400mm f/2.8L IS II USM
Canon EFCanon EF 400mm f/2.8L IS II USM +1.4x
Canon EFCanon EF 400mm f/2.8L IS II USM +2.0x
Canon EFCanon EF 400mm f/4 DO IS II USM +1.4x
Canon EFCanon EF 400mm f/4 DO IS II USM +2.0x
Canon EFCanon EF 400mm f/5.6L USM
Canon EFCanon EF 400mm f/5.6L USM +1.4x
Canon EFCanon EF 400mm f/5.6L USM +2.0x
Canon EFCanon EF 500mm f/4L IS II USM
Canon EFCanon EF 500mm f/4L IS II USM +1.4x
Canon EFCanon EF 500mm f/4L IS II USM +2.0x
Canon EFCanon MP-E 65mm f/2.8 1-5x Macro Photo
Canon EFSIGMA 20mm F1.4 DG HSM A015
Canon EFZeiss Milvus 1.4/50 ZE
Canon EFZeiss Milvus 1.4/85 ZE
Canon EFZeiss Milvus 2/35 ZE
Canon EFZeiss Milvus 2/50M ZE
Canon EFZeiss Milvus 2/100M ZE
Canon EFZeiss Milvus 2.8/21 ZE
Canon EFZeiss Otus 1.4/28 ZE
Canon EF-MCanon EF-M 15-45mm f/3.5-6.3 IS STM
Nikon FNikon AF NIKKOR 24-85mm f/2.8-4D IF
Nikon FSIGMA 20mm F1.4 DG HSM A015
Nikon FZeiss Milvus 1.4/50 ZF.2
Nikon FZeiss Milvus 1.4/85 ZF.2
Nikon FZeiss Milvus 2/35 ZF.2
Nikon FZeiss Milvus 2/50M ZF.2
Nikon FZeiss Milvus 2/100M ZF.2
Nikon FZeiss Milvus 2.8/21 ZF.2
Nikon FZeiss Otus 1.4/28 ZF.2

*Only Canon and Nikon mount lenses are displayed here. For the full list, check out the post on the Adobe Blog.
 
Fixed Bugs:
 
  • Improved quality of spot healing. Specifically, the improvement in image quality occurs in how the patched content is blended into its surroundings.
  • Fixed bug with panorama merge that could cause blend artifacts. This bug usually manifested as a highly darkened area and highly brightened area separated by a straight line (not necessarily associated with image content).
  • Fixed bug that caused variable-exposure panorama merges to appear over exposed.
  • Fixed bug that caused panorama and HDR merges shot with some Leica cameras to appear black.
  • Fixed a crash in the Merge preview dialog when switching from Perspective to another projection mode.
  • Fixed option/alt-key visualization for Basic panel sliders in GPU mode.
  • Fixed lens profile automatic matching logic for SIGMA 17-50mm F2.8 EX DC HSM (Pentax K mount).
  • Improved distortion and vignette corrections for Canon EF 16-35mm F4L IS USM.
  • Improved speed of Dehaze feature. Specifically, minimize the delay that occurs when turning on Dehaze for the first time on a given image.
Download Links
 
Camera Raw 9 – Please select Help>Updates to use the update mechanism in the Creative Cloud app.
 
Direct download links: Mac | Win
 
Please note – If you have trouble updating to the latest ACR update via the Creative Cloud application, please refer to the following plugin installation:
http://helpx.adobe.com/x-productkb/multi/camera-raw-plug-in-installer.html
 
DNG Converter 9.3: Mac | Win
Posted to: Canon News,
Post Date: 11/17/2015 3:17:53 PM CT   Posted By: Sean
From the Adobe Blog:
 
Lightroom CC 2015.3 / 6.3 now available
 
Lightroom CC 2015.3 and Lightroom 6.3 are now available on Adobe.com. The goal of this release is to provide additional camera raw support, lens profile support and address bugs that were introduced in previous releases of Lightroom. This release also restores the Import experience available prior to Lightroom 6.2.
 
Thank you for all your feedback and passion for Lightroom.
 
New Camera Support in Lightroom CC 2015.3 / 6.3
 
  • Canon EOS M10
  • Canon PowerShot G5 X
  • Canon PowerShot G9 X
  • Fujifilm X-T1 IR
  • Leica SL (Typ 601)
  • Sony RX1R II (DSC-RX1RM2)
New Tethered Camera Support in Lightroom CC 2015.3 / 6.3
 
  • Canon EOS 5DS
  • Canon EOS 5DS R
  • Canon EOS T6i / 750D
  • Canon EOS T6s / 760D
New Lens Profile Support in Lightroom CC 2015.3 / 6.3*
 
MountName
Canon EFCanon EF 35mm f/1.4L II USM
Canon EFCanon EF 300mm f/2.8L IS II USM
Canon EFCanon EF 300mm f/2.8L IS II USM +1.4x
Canon EFCanon EF 300mm f/2.8L IS II USM +2.0x
Canon EFCanon EF 400mm f/2.8L IS II USM
Canon EFCanon EF 400mm f/2.8L IS II USM +1.4x
Canon EFCanon EF 400mm f/2.8L IS II USM +2.0x
Canon EFCanon EF 400mm f/4 DO IS II USM +1.4x
Canon EFCanon EF 400mm f/4 DO IS II USM +2.0x
Canon EFCanon EF 400mm f/5.6L USM
Canon EFCanon EF 400mm f/5.6L USM +1.4x
Canon EFCanon EF 400mm f/5.6L USM +2.0x
Canon EFCanon EF 500mm f/4L IS II USM
Canon EFCanon EF 500mm f/4L IS II USM +1.4x
Canon EFCanon EF 500mm f/4L IS II USM +2.0x
Canon EFCanon MP-E 65mm f/2.8 1-5x Macro Photo
Canon EFSIGMA 20mm F1.4 DG HSM A015
Canon EFZeiss Milvus 1.4/50 ZE
Canon EFZeiss Milvus 1.4/85 ZE
Canon EFZeiss Milvus 2/35 ZE
Canon EFZeiss Milvus 2/50M ZE
Canon EFZeiss Milvus 2/100M ZE
Canon EFZeiss Milvus 2.8/21 ZE
Canon EFZeiss Otus 1.4/28 ZE
Canon EF-MCanon EF-M 15-45mm f/3.5-6.3 IS STM
Nikon FNikon AF NIKKOR 24-85mm f/2.8-4D IF
Nikon FSIGMA 20mm F1.4 DG HSM A015
Nikon FZeiss Milvus 1.4/50 ZF.2
Nikon FZeiss Milvus 1.4/85 ZF.2
Nikon FZeiss Milvus 2/35 ZF.2
Nikon FZeiss Milvus 2/50M ZF.2
Nikon FZeiss Milvus 2/100M ZF.2
Nikon FZeiss Milvus 2.8/21 ZF.2
Nikon FZeiss Otus 1.4/28 ZF.2

*Only Canon and Nikon mount lenses are displayed here. For the full list, check out the post on the Adobe Blog.
 
Fixed Bugs:
 
  • Fixed several instability, functionality and performance issues introduced in Lightroom CC 2015.2.x/6.2.x.
  • Fixed a bug that caused edits made and saved in Photoshop or 3rd party plug-ins to not appear in the Develop module.
  • Fixed a bug related to user default for Chromatic Aberration Correction no longer honored after new Import option was removed.
  • Fixed several bugs related to Panorama Merge.
  • Fixed a bug so that Rotated photos will correctly show as rotated when in Full Screen view.
  • Fixed a bug that caused a performance slowdown when creating Standard sized previews on high resolution monitors.
  • Fixed a bug that caused image previews to be incorrectly displayed as completely black after import if “Auto Tone” is on in preferences.
  • Fixed a bug that caused crash when using the Radial or Graduated Filter.
  • Fixed a bug that caused Palette, a 3rd party hardware device, to stop working with Lightroom.
  • Fixed a bug that caused the Map module to appear pixelated and photos to be dropped in the wrong place when using hi-dpi monitors on Windows.
  • Fixed a bug related to Full Screen that prevented you from exiting Full Screen view while using the Spot Healing Tool.
  • Fixed a bug that caused the Flickr Publish Service to improperly publish multi-word keywords.
Installation Instructions
 
Please select Help > Updates to use the update mechanism in the Creative Cloud app.
 
For customers that started using Lightroom in 6.2, please click here for an orientation to Import.
 
Direct Download: Windows | Mac
 
The Creative Cloud Photography Plan (Photoshop CC & Lightroom CC) is an excellent value at only $9.99/mo.
Posted to: Canon News,
Category: Adobe News
Post Date: 11/17/2015 3:09:16 PM CT   Posted By: Sean
From Photoshelter:
 
An in-depth look at over 35 photo contests worldwide!
 
For the third year running, we’re excited to release The 2016 Photographer’s Guide to Photo Contests.
 
We’ve partnered up with the World Photography Organisation to give you a fresh look at more than 35 photo contests worldwide. Get insights on which contests we recommend, a rundown of fees, promised exposure and prizes, plus feedback from past winners.
 
Get details on photo contests, including:
 
  • Red Bull Illume Image Quest
  • World Press Photo Contest
  • PDN Photo Annual
  • Feature Shoot Emerging Photography Awards
  • National Geographic Traveler Photo Contest
  • Astronomy Photographer of the Year
  • Aperture Portfolio Prize
  • Plus many more!
Also read two exclusive interviews with photographers who won the prestigious Sony World Photography Awards.
 
Get the Free Guide
Posted to: Canon News,
Post Date: 11/17/2015 11:47:04 AM CT   Posted By: Sean
Did I ever find the 600mm angle of view too narrow when photographing bears in Coastal Katmai National Park? Sure, that's why I had the 100-400mm L IS II lens mounted on a second body and ready for immediate use. When I saw action moving closer, I would quickly switch cameras and continue shooting. The gap between 600mm and 400mm usually meant that I could begin using the 100-400 maxed at the 400mm end with plenty of time before I needed to begin zooming out.
 
But, I didn't always make the right choice. Sometimes, something unexpected happened. When the 600mm choice was wrong, sudden movement taking the bear out of ideal framing was usually the reason. Or, something happened at the border of the frame, such as another bear coming into view. The result was that I have some frames that are cropped too tightly in camera and this was one.
 
Really, I would never have guessed that a salmon was going to leap out of the water this high while in such a small stream (quite a feat actually) and that the leap would be this far ahead of the bear, but ... the unexpected is certain to happen on occasion.
 
The too-long focal length problem is not limited to the 600mm focal length. Even full-frame-mounted 100mm was slightly too long for some enormous brown bears that approached very closely (well under 20').
 
The big question is: "What do you do when your focal length is too long?"
 
It is far more common to be focal length limited on the long end and recovery in that situation is simple: crop. Though cropping reduces overall image resolution, it is usually better than having an important part of the scene missing.
 
The solution to being focal length limited on the wide end: shoot a panorama. If you ever find your lens framing a photo framed too tightly, shoot multiple images and merge them into a panorama later.
 
Planned or Unplanned
 
Here is the key for wildlife and other action photography: the panorama technique is not limited to very intentionally captured still life/landscape images. Even if you have a subject in motion and can't recreate the original subject pose, a panorama can sometimes be created. A frame with a cut-off in motion subject can be hard to recover, but adding border space to a fully contained subject is often easy.
 
As immediately as possible after the capture of a frame needing more border, switch the lens to manual focus and the camera to the last-used exposure settings while retaining the selected focal length (easy with a prime lens). If the focus distance and/or focal length changed after the primary photo was captured, do your best to reset them. Then photograph enough additional images to cover the framing that was missing in the original image. Back at the computer, merge the images together in Photoshop or your favorite image editor.
 
Fortunately in the case of my Katmai National Park brown bear and leaping salmon, I was able to take another frame from the burst and merge the two together. While Brooks Falls is known for salmon leaping toward bears standing at the top of a falls, capturing salmon leaping away from pursuing brown bears was one of my biggest goals in coastal Katmai National Park. When I saw this capture meeting my goal, I knew that the extra time required to piece a panorama together was going to be worth taking.
 
Apply this technique to your own photo subjects. Did you photograph your kid kicking the winning goal in the soccer match but not leave enough border on one or more sides of the frame? Another frame in the capture sequence may hold that missing border. If not or if you are not sure, capture a couple of additional identical-settings frames to work with later. It may even be possible to go back at a later time or date to recreate the missing portion of the frame (with similar lighting strongly desired).
 
A larger version of this image is available on Flickr, Google+ and Facebook. Also, if reading from a news feed reader, click through to see the framed image. If you find these tips useful, please share them in your circle of friends!
Posted to: Canon News,
Post Date: 11/17/2015 10:28:32 AM CT   Posted By: Bryan
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