Canon, Nikon & Sony News and What's New (Excluding Deals) (Page 16) RSS Feed for Photography Deals Omitted Report News & Deals  ►

 Friday, March 10, 2017
With two excellent, similarly-priced general purpose zooms available for Canon users, both of which feature an f/4 maximum aperture, weather sealing, great AF performance and image stabilization, choosing between the EF 24-70mm f/4L IS USM and EF 24-105mm f/4L IS II USM can be a challenge.
The primary and significant advantage held by the 24-105 f/4L IS II is the extra 35mm of focal length range on the long end.
The 24-70 f/4L IS is a smaller and slightly lighter lens. It is 0.99" (25mm) shorter when retracted (actual measured length) and 1.25" (31.8mm) shorter with the hood installed. The 24-70 weighs 6.7 oz. (189.9g) less with hood installed (actual measured weight). Are these differences? Yes. Are they significant ones? Possibly.
For many, a more significant advantage of the 24-70 is its very impressive macro capability. A 0.70x maximum magnification from a non-prime-macro lens is eye-opening and significantly more impressive than the 24-105L II's 0.24x spec. However, it should be kept in mind that a 12mm extension tube can push the 24-105 to 0.60x maximum magnification. Disclaimer: I have not made an image quality comparison with the extension tube in play.
Image quality comparisons I have made show that:
The lenses are more similar than they are different in terms of sharpness. The 24-70 has less CA at 24mm, but more at 70mm. The two lenses have a similar amount of vignetting aside from at 24mm where the 24-105 has an advantage even stopped down. The 24-105 shows less flare effects while the 24-70 has less linear distortion.
Affecting image quality on a limited basis is the aperture blade count. The 24-70 has 9 blades vs. the 24-105 L's 10. This difference will primarily be noticed when point light sources are photographed at narrow apertures, with the odd blade numbered aperture creating 18-point sun stars vs the even's 10-point stars.
On the whole, I would not consider image quality to be a primary differentiating factor between these two lenses.
There is a minor difference in these lens' IS systems. The 24-70 features Canon's 4-stop Hybrid Image Stabilization, correcting both angular and shift movement in macro mode. The 24-105 L has 4-stop non-Hybrid Image Stabilization.
The Price
If price remains a deciding factor for you ... the Canon EF 24-70mm f/4L IS USM's retail price is slightly lower than the freshly released EF 24-105mm f/4L IS II USM's, though rebates will likely increase or decrease the price differential from time to time.
Get your Canon EF 24-70mm f/4L IS USM Lens or Canon EF 24-105mm f/4L IS II USM Lens from B&H.
Posted to: Canon News
Post Date: 3/10/2017 6:34:36 AM CT   Posted By: Sean

From the Adobe Photoshop Lightroom YouTube Channel:
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 3/10/2017 5:31:26 AM CT   Posted By: Sean
 Thursday, March 9, 2017

From the Harold Ross YouTube Channel:
This short video discusses one of the six lighting principles I teach during my light painting workshops. This principle is : The Angle of Reflection is Equal to the Angle of Incidence. The video demonstrates that changing the angle of the light is sometimes needed to achieve certain reflections.
You can find more of Herold Ross's tutorials here.
Post Date: 3/9/2017 7:59:39 AM CT   Posted By: Sean
If you are considering the purchase of the Canon EF 500mm f/4L IS II USM Lens or the Canon EF 600mm f/4L IS II USM Lens, you are likely a discerning photographer pursuing sports action or wildlife.
While there are other uses for these lenses, these are by far the most commonly photographed subjects with these focal lengths. While no one will consider these lenses inexpensive, no one will consider the image quality they deliver to be anything short of stellar and image quality is not a differentiator here. Those who know what they want, want these lenses. While having both of these big whites in the kit would be perfect, most of us cannot afford or justify the purchase of both. Thus, the question of "Which one?" arises.
The obvious (and only) difference in the names of these lenses is the focal length number. These lenses were announced at the same time, arrived on my doorstep on the same delivery, appear very similar and indeed share the same overall design concepts and construction materials. Those wanting as much reach as possible will of course want the 600mm option.
But, sometimes a selected focal length can be too long. A too-narrow angle of view may make it too hard to quickly find a subject in the viewfinder, hard to keep a subject in the frame (especially if it is in-motion) and, if framed too tightly, important parts of a scene may be cropped from the frame. Because APS-C-format cameras have smaller imaging sensors and therefore use a smaller portion of the image circle provided by these lenses, they "see" an angle of view equivalent to a 1.6x longer lens on a full frame body. Thus, on an APS-C body, these lenses frame a scene similar to a 800mm and 960mm lens on a full frame body and at these angles of view, "too long" comes more frequently.
Similarly, a focal length can be too short. Too short is usually the result of not being able to get close enough to a subject. Reasons for this situation include physical barriers (a fence, a body of water), subjects that are not more closely approachable (wildlife tends to be uncomfortable with us nearby) and safety (dangerous wildlife, unsafe proximity to race cars). Too short usually results in an image being cropped with a lower resolution image remaining.
Another focal length related tip to consider is that, the longer the focal length, the longer the time span a moving subject is likely to remain in near-ideal framing. Without a zoom range available to quickly fine tune framing, prime lens-captured images often require cropping in post processing. However, the longer focal length lens has a narrower angle of view, which requires you to be farther from the subject for optimal framing and at that longer distance, an approaching or departing subject changes size in the frame at a slower rate. That means more images can be captured within the period of time with optimal framing. For the same reason, a larger physical area can be ideally-covered by the longer focal length – such as a larger portion of a soccer or football field. While the difference between 500mm and 600mm is not dramatic in this regard, the 600mm lens has an advantage.
Another benefit provided by a longer focal length is greater-enlarged background details, meaning that a longer focal length can create a stronger background blur. The 600mm lens can create a stronger separation of a subject from its background than the 500mm lens can. Most of us love an extremely blurred background and the longer focal length makes it easier to produce (though both of these lenses rank very highly for this purpose).
A longer focal length means a longer camera-to-subject distance and with more atmosphere placed between a lens and its subject, there is an increased likelihood that heat waves will cause image distortion. The longer working distance required by the longer focal length also provides more opportunity for obstructions, such as tree branches to get between the lens and, for example, a wildlife subject. The longer subject distance also delivers a slightly more-compressed perspective, creating a slightly different look to the subject (not necessary a benefit to either lens specifically).
Although focal length is typically my first priority for choosing a lens, it is not always the most important. In this lens comparison, there is a substantial size, weight and price differential that can sometimes be more important than the differences already discussed.
The site's lens specifications comparison tool has a detailed comparison between these lenses, but here is a quick look:
ModelSize w/o HoodWeight
Canon EF 500mm f/4L IS II USM Lens5.75 x 15.08" (146 x 383mm)112.6 oz (3190g)
Canon EF 600mm f/4L IS II USM Lens6.61 x 17.64" (168 x 448mm)138.4 oz (3920g)
Let's talk about weight first because weight matters. Neither of these lenses are light, but if lighter weight is important, the 500 gains in favor. One question to ask yourself regarding the weight difference is: How far will the lens be carried? If not going far beyond the parking lot, the weight difference may not be a highly relevant factor. If regularly hiking for several miles, the 500 might be a better choice, even if more reach may sometimes be needed (perhaps carry a Canon EF 1.4x III Extender). Another factor to consider is how strong you are. A large-framed powerlifter may have no problem carrying and handholding the 600 all day long, but a small-framed thin person will not likely find that task doable.
How old are you? How old do you want to become? How do you want to feel when you get that old? Safe to say is that all of us are getting older and also safe to say is that most of us reach a maximum strength point somewhere far prior to reaching the age we hope to survive until. And, how we feel at the end goal date is partially conditional on how we treat our bodies during the younger years. Just because you can handhold a 600mm f/4 lens for long periods of time now does not mean that you should do this and the strain placed on our bodies now may be long-lasting. If you are not able to use a lens support most of the time, the 500mm option is going to be the better option for most.
Size also matters, but when lenses get this big, the size differences don't seem to matter so much. Smaller is better, but neither is close to what I would consider small. You will likely find the biggest size difference to be in the volume of comments generated on the sidelines and the case size required by the lens. That said, I frequently carry the 600 with me on airplanes (in the USA), typically using the MindShift Gear FirstLight 40L and always as carry-on. With the 500, a modestly smaller case can be used or slightly more can be included in the same case.
The size difference between these lenses is apparent in the product comparison image accompanying this post. See the same comparison with the lens hoods on here (and also compare these lenses to other models).
The 500mm focal length is 83% as long as 600mm and the similarity factor for a majority of the above-discussed differences is about the same. One exception is the price factor, with that one dropping to just below the 80% mark. While neither lens is inexpensive, the 500 costs considerably less than the 600 and that factor alone will be the basis for this decision for some. That quality lenses typically hold their value well means that overall cost of ownership is not as bad as it first appears.
Most often, I recommend the 600mm lens for full frame bodies and the 500mm lens for APS-C bodies, though there are some exceptions.
If photographing big field sports such as soccer, the 600mm lens is my choice for a full frame camera and I would rather have the 500mm lens on an APS-C body.
Those photographing small birds will likely find the 600 preferable in front of any camera.
Those needing to handhold the lens with any frequency probably should select the 500mm option.
Canon EF 600mm f/4L IS II USM Lens Sample Picture
The Canon EF 600mm f/4L IS II USM Lens is one of the most important and most used lenses in my kit (primarily composed of full frame cameras). Many of my favorite images can be attributed to this lens, from irreplaceable memories of the kids playing soccer to captures of incredible wildlife in the mountains. The weight of this lens is a definite downside and I have more-than-once become worn out from carrying it, but ... the results are worth every bit of the effort.
To Learn More About These Lenses
Canon EF 500mm f/4L IS II USM Lens Review
Canon EF 600mm f/4L IS II USM Lens Review
Better Yet, Add One of These Lenses to Your Kit
Get the Canon EF 500mm f/4L IS II USM Lens at: B&H | Adorama | Amazon
Get the Canon EF 600mm f/4L IS II USM Lens at: B&H | Adorama | Amazon
Add One to Your Kit Temporarily
What are you doing this weekend? Spend some time getting to know and having fun with these big white lenses without the large price tag. Try renting! has the Canon EF 500mm f/4L IS II USM Lens and Canon EF 600mm f/4L IS II USM Lens ready to ship to your doorstep.
Post Date: 3/9/2017 7:30:00 AM CT   Posted By: Bryan
From B&H:
Women of Influence is an inspirational look at the talent, drive, and perseverance that forged some remarkable photographic and filmmaking careers.
Ten leading women explore their works, the stories of how each built careers, overcame challenges, and developed signature styles.
Two videos were released March 8 and more videos will be released each week through May 10. The two videos released yesterday can be seen below.
Women of Influence: Cristina Mittermeier
Women of Influence: Barbara Davidson
Category: B&H News
Post Date: 3/9/2017 5:51:10 AM CT   Posted By: Sean
 Wednesday, March 8, 2017

From the B&H YouTube Channel:
In 1962, the US government prevented US citizens from traveling to Cuba. In 2015 the US and Cuba started to normalize diplomatic relations. It is now easier for US citizens to travel to this island nation. This is good news for all photographers, including underwater image-makers. Jardines de la Reina (Gardens of the Queen), is an archipelago that has been an underwater national park since 1996.
Join Larry and Olga as they explore this rich underwater environment.
Post Date: 3/8/2017 8:00:59 AM CT   Posted By: Sean
Just posted: Zeiss 18mm f/2.8 Milvus Lens Review.
Just another great Milvus lens to tempt you with.
B&H has the Zeiss 18mm f/2.8 Milvus Lens in stock.
Post Date: 3/8/2017 7:33:35 AM CT   Posted By: Bryan
 Tuesday, March 7, 2017
From Adobe:
Lightroom CC 2015.9
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.
New Camera Support in Lightroom CC 2015.9
  • Canon PowerShot G9 X Mark II
  • Casio EX-ZR3200
  • Fujifilm GFX 50S
  • Fujifilm X100F
  • Fujifilm X-A10
  • Fujifilm X-T20
  • Leica M10
  • Olympus E-M1 Mark II
  • Panasonic DC-FZ80
  • Panasonic DC-GF9
  • Panasonic DC-GH5
  • Panasonic DMC-TZ82
  • Phase One IQ3 100MP (“S” compression mode not supported)
New Lens Profile Support in Lightroom CC 2015.9
AppleMoment Macro Lens for iPhone 7 (DNG + JPEG)
AppleMoment Macro Lens for iPhone 7 Plus (DNG + JPEG)
AppleMoment Superfish Lens for iPhone 7 (DNG + JPEG)
AppleMoment Superfish Lens for iPhone 7 Plus (DNG + JPEG)
AppleMoment Tele Lens for iPhone 7 (DNG + JPEG)
AppleMoment Tele Lens for iPhone 7 Plus (DNG + JPEG)
AppleMoment Wide Lens for iPhone 7 (DNG + JPEG)
AppleMoment Wide Lens for iPhone 7 Plus (DNG + JPEG)
Canon EFCanon EF 16-35mm f/2.8L III USM
Canon EFCanon EF 24-105mm f/4L IS II USM
Canon EFCanon EF 70-300mm f/4-5.6 IS II USM
Canon EFTAMRON 10-24mm F/3.5-4.5 Di II VC HLD B023E
Canon EFTAMRON SP 70-200mm F/2.8 Di VC USD G2 A025E
Canon EFTAMRON SP 70-200mm F/2.8 Di VC USD G2 A025E +1.4x III
Canon EFTAMRON SP 70-200mm F/2.8 Di VC USD G2 A025E +2x III
Canon EF-MCanon EF-M 18-150mm f/3.5-6.3 IS STM
Canon EF-MCanon EF-M 28mm f/3.5 MACRO IS STM
DJIDJI Mavic Pro FC220 (DNG + JPEG)
Fujifilm XFujifilm X100F
Nikon FTAMRON 10-24mm F/3.5-4.5 Di II VC HLD B023N
Nikon FTAMRON SP 70-200mm F/2.8 Di VC USD G2 A025N
Nikon FTAMRON SP 70-200mm F/2.8 Di VC USD G2 A025N x1.4
Nikon FTAMRON SP 70-200mm F/2.8 Di VC USD G2 A025N x2.0
Nikon FVoigtlander SL II – S 58mm f/1.4 Nokton
Sony ESony E PZ 18-110mm F4 G OSS
Sony FERokinon/Samyang AF 14mm F2.8 FE
Sony FEVoigtlander ULTRA WIDE-HELIAR 12mm F5.6 III
Sony FEZeiss Loxia 2.4/85

Customer reported issues resolved
  • Upright error where the “Update” button was incorrectly enabled when Upright is unable to find a correction.
  • Lens Profile Auto Matching was not working for Zeiss Batis 85mm lenses.
  • Cursor movements on Point Curves were erratic
  • Issue related to abnormal Lightroom exit when using Full Screen mode. The issue only occurred on Mac OS 10.12 (Sierra)
  • Develop Module Locked after deleting images while using two displays
  • Live Photos created on iPhoto caused the JPEG to be treated like an XMP sidecar file
  • Instead of deleting currently selected photo, deletes face tag from previous viewed photo
  • Images from Canon EOS G7X MK II sometimes had a green color cast
  • Unable to change the image after deleting a rejected photo in develop module
  • Export was taking longer than expected.
  • Unable to import compressed raw files from Fujifilm XT-2 and X-Pro2
  • iPhone video Capture Time is shifted upon Import
  • Slideshow Export as JPG text overlay issue
  • If using 2-byte characters for catalog path, unable to backup
  • Problem with map module (Windows)
  • Cannot access Auto Import Settings form File menu
  • The zoom does not work properly after the update
  • Lightroom 6.8: Memory Leak
  • Keyboard shortcut X for rejecting an image in Library not available (French)
  • Erroneous warning message on Catalog Backup
  • Messing up file ordering with panoramas
Installation Instructions
Please select Help > Updates to use the update mechanism in the Creative Cloud app.

Adobe Camera RAW 9.9
The Adobe Camera RAW 9.9 update adds the same camera and lens profile support listed in the Lightroom update described above.
Customer reported issues resolved
  • Released a new set of Camera Matching Profiles for Canon 5D Mark IV – this set of profiles are more similar to past cameras of the same generation.
  • Improved support for Canon 5D Mark IV dual pixel raw images. Please see this note for further details.
  • Fixed issue related to memory corruption in the DNG Converter.
  • Fixed bugs related to crashes and abnormal app exits.
Download: Adobe Camera RAW 9.9 – Windows | Macintosh
B&H carries Adobe Photography Plan subscriptions.
Post Date: 3/7/2017 3:27:48 PM CT   Posted By: Sean
With Nikon restructuring and slashing jobs, you may be interested to know how Canon plans to grow the various segments of its overall business in the coming years.
With that in mind, they've just published a slideshow presentaton from their Corporate Strategy Conference 2017. Here's the link:
Canon Corporate Strategy 2017 Presentation Material (.PDF)
Posted to: Canon News
Post Date: 3/7/2017 1:35:25 PM CT   Posted By: Sean
In a recent post, we answered the question Should You Turn Off "IS" When Using Action-Stopping Shutter Speeds? One of the questions generated by that post asked if image stabilization should be turned off or left enabled when shooting from a tripod. So, we went back to our very-knowledgeable Canon representative with this question. Again, the information below should not be considered official Canon guidelines, but it comes from a person who has substantial knowledge about Canon lenses and their IS systems.
First off, let's be clear -- any discussion about Image Stabilization on a tripod refers ONLY to a truly rock-solid tripod, on a totally firm surface without vibrations from passing traffic and so on. In many real-world situations, we're using tripods and other supports in conditions that really aren't totally solid. A good test, before discussing the question any further: the next time you're mounted on a tripod, turn your camera's Live View on, and magnify the LCD monitor image to its greatest setting. It's sometimes amazing how much shake and movement there really is, even on a tripod.
The point is pretty clear. In any situation where you're not truly rock-steady, whether you're mounted on a tripod, or certainly a monopod, using Image Stabilization normally makes a great deal of sense.
However, since the launch of the first Canon Image Stabilized lens (the EF 75-300mm IS zoom lens, from 1995), Canon engineers have recommended switching IS off if and when you're mounted on a tripod. Again, this pre-supposes it's a truly rock-solid tripod.
Canon's optical Image Stabilization has definitely evolved since its launch in 1995, and there are now different versions for lightweight, less-expensive lenses (like the EF-S 18-55mm standard zoom for compact cameras) than the more advanced IS units we see in (for example) L-series super-telephoto lenses. Basically, current Canon EF and EF-S lenses can detect when there's a total absence of "shake" (in other words, solidly tripod mounted), and internally disable the Image Stabilization if it's left on. But in some lenses -- and it varies, depending on the IS design in the lens in question -- the moveable IS lens elements aren't locked and centered when the IS is disabled this way, and can sometimes be susceptible to slight movement during exposure. On such lenses, physically switching IS off with the switch on the lens allows the lens to lock and center these elements.
Again, there are variables -- too many to get into here, since it depends on which lens model, which version (in other words, how old is the lens in question), and so on. But the bottom line remains pretty simple. It's safer to just switch IS off if you know there will be a complete absence of camera and lens movement during exposure.
One other thing... Canon's optical Image Stabilization is designed as a tool to get sharper pictures at "normal" shutter speeds. While the slow-speed limits may vary slightly from one lens model to another, Image Stabilization is disabled if the system detects a shutter speed longer than roughly one full second. So for longer night-time exposures, expect to just turn IS off, because it won't have an effect in your final pictures.
Hope this helps clarify the questions about Canon's optical Image Stabilization when cameras are tripod mounted.
We hope that your knowledge of image stabilization is now one stop greater!
Shown in this post's image is a tripod that meets the rock-solid requirement. This is a Really Right Stuff Ground Level Tripod, now carried by B&H.
Post Date: 3/7/2017 8:35:55 AM CT   Posted By: Bryan
From Nikon:
D7200 Firmware Version 1.02
Changes from “C” Firmware Version 1.01 to 1.02
  • The WT-7 wireless transmitter is now supported.
  • Fixed the following issues:
    • If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for Image size.
    • Pictures would sometimes not be recorded.
    • Optimal exposure would sometimes not be achieved in photos taken in live view using a lens with electromagnetically controlled aperture (type E and PC-E lenses).
Download: Nikon D7200 Firmware Version 1.02

D500 Firmware Version 1.12
Changes from “C” Firmware Version 1.11 to 1.12
  • Fixed an issue that resulted in unreliable connections between the camera and the iOS 10.2 version of the SnapBridge app.
Download: Nikon D500 Firmware Version 1.12

D750 Firmware Version 1.11
Changes from “C” Firmware Version 1.10 to 1.11
  • The WT-7 wireless transmitter is now supported.
  • Fixed the following issues:
    • If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for Image size.
    • The option chosen for Custom Setting f5 (Customize command dials) > Change main/sub in CUSTOM SETTINGS MENU group f (Controls) would not be saved when Save settings was selected for Save/load settings in the SETUP MENU.
    • Pictures would sometimes not be recorded.
Download: Nikon D750 Firmware Version 1.11

D810 Firmware Version 1.12
Changes from “C” Firmware Version 1.11 to 1.12
  • The WT-7 wireless transmitter is now supported.
  • Fixed the following issues:
    • Multiple exposures were not recorded correctly.
    • Incorrect histograms would be displayed for some images viewed in the RGB histogram display during playback.
    • If On was selected for Auto distortion control, distortion would appear at the edges of photos taken with NEF (RAW) + JPEG fine selected for Image quality and Medium selected for JPEG/TIFF recording > Image size.
    • Photos taken immediately after lenses were exchanged would not be recorded at the correct exposure.
    • The protect icon did not display correctly.
    • If On was selected for Auto distortion control, the camera would stop responding when the user attempted to take pictures with NEF (RAW) + JPEG fine selected for Image quality, Small selected for NEF (RAW) recording > Image size, and RAW primary - JPEG secondary selected for Secondary slot function.
    • Shutter speeds for the electronic front-curtain shutter would sometimes be faster than 1/2000 s.
    • Pictures would sometimes not be recorded.
Download: Nikon D810 Firmware Version 1.12

WT-7 Firmware Version 1.1
Changes from Firmware Version 1.0 to 1.1
  • The D810, D810A, D750, and D7200 are now supported.
  • HTTP server mode is now available in Turkish.
  • Fixed an issue that prevented PASV mode connections to certain f
Download: Nikon WT-7 Firmware Version 1.1
Posted to: Nikon News
Post Date: 3/7/2017 5:19:12 AM CT   Posted By: Sean
 Monday, March 6, 2017
From Adobe:
New Raw HDR Capture Mode
We’re excited to announce that Lightroom Mobile now has a new raw HDR capture mode that lets you achieve a dynamic range on your mobile device that was previously only possible shooting with an DSLR or mirrorless camera.
This new HDR mode harnesses the power available in the latest mobile hardware on both Android and iOS. These updates, version 2.7 for iOS and version 2.3 for Android, were released today and make the HDR mode available for free.
The new HDR mode works by automatically scanning the scene to determine the correct exposure range and then capturing three DNG files which are then automatically aligned, merged, deghosted, and tonemapped in the app. You get a 16-bit floating point DNG, with all of the benefits of both an HDR and a raw photo, which is processed by the same algorithms with the same quality as the HDR technology built into Adobe Camera Raw and Lightroom.
Previously, capturing an image in HDR either meant using a DSLR or mirrorless camera, capturing multiple exposures, copying to your computer, and then merging in an application like Photoshop, Adobe Camera Raw, or Lightroom. Alternatively, you could capture an HDR JPEG on your phone, though those images normally used only two shots and often failed to capture the full range of tonality in difficult lighting scenarios. By capturing three raw shots and merging on the phone, you get a greatly increased dynamic range with the ability to edit and share right away. Creative Cloud members get the additional benefit of automatically syncing with their desktop, ensuring that the photo, plus all of the edits that were made to the photo, are backed up and available in the desktop version of Lightroom.
Our very own Russel Preston Brown has created a great tutorial for using this new HDR capture mode within Lightroom Mobile, check it out! below.

HDR Processing & Supported Devices
When we started working on HDR for Lightroom Mobile, we realized that adding desktop-caliber, pro-quality processing algorithms to mobile devices is no easy task. Our team was able to make some pretty amazing breakthroughs that eventually made it possible.
For iOS users, the HDR mode requires a device that can capture in DNG, such as an iPhone 6s, 6s Plus, 7, 7 Plus, iPhone SE, or iPad Pro 9.7?.
For Android users, at this point only the Samsung S7, S7 Edge, Google Pixel, and Pixel XL are supported. So that we’d adhere to our stringent quality and reliability requirements, our primary goal was to ensure the stability of the app while enabling the algorithms to provide the highest possible quality. Thanks to the processing and memory available on the Samsung S7 and Google Pixel devices, we were able to achieve the quality and capabilities required by these incredibly powerful algorithms. The team is working hard to support additional devices as quickly as possible.
Other features in these releases
In addition to the new raw HDR capture mode, iOS and Android users get the following new features:
  • Export Original, enabling you to export the original files, including DNGs captured in the camera as well as raw files imported through Lightroom Mobile and Lightroom web (Lightroom Desktop does not upload originals to the server)
  • Gestures to rate and review in the Rate & Review mode, greatly speeding up your review process
  • New Force Touch and Notification Center widget, making it even easier and faster to launch Lightroom’s camera
  • As well as a new option available in settings, Prevent From Sleep, which will keep the screen from locking as long as the phone is plugged into power, improved synchronization stability and speed, and general bug fixes, performance enhancements, and UI tweaks
  • For Android Creative Cloud members, the Radial and Linear Selection tools are now available
  • As well as general bug fixes and speed improvements
Download Lightroom Mobile
B&H carries Adobe Photography Plan subscriptions.
Post Date: 3/6/2017 1:38:46 PM CT   Posted By: Sean
Just posted: Sony FE 24-70mm f/2.8 GM Lens Review.
For those able to afford this lens, it is the first Sony lens to buy.
Please note that the image quality results currently shown (processed in Lightroom) will soon be replaced with Capture One-processed results. Lightroom forces Sony lens aberration correction (minimally correcting lateral CA) for lenses it has a profile for and lens corrections built into the processing hides lens flaws.
B&H has the Sony FE 24-70mm f/2.8 GM Lens in stock.
Posted to: Sony News
Post Date: 3/6/2017 7:44:49 AM CT   Posted By: Bryan
 Saturday, March 4, 2017
This happy-looking wood duck drake was swimming in the Wissahickon Creek just outside of Philadelphia.
A key to good swimming duck photos is to get as low to the water as possible. Then, use a long focal length and a more-distant duck to get the camera angle even closer to level.
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.
Post Date: 3/4/2017 8:28:54 AM CT   Posted By: Bryan
 Friday, March 3, 2017

From the B&H YouTube Channel:
Lightroom provides a complete workflow solution that enables photographers to organize, optimize, and share their photographic images. In this informative and entertaining presentation, Tim Grey shares his tips for best practices for a workflow in Lightroom that will work best for your specific needs. You'll gain a better insight into how Lightroom works, get tips on how to best configure Lightroom, learn how to define your own optimal workflow, and much more.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 3/3/2017 2:58:30 PM CT   Posted By: Sean
    1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 |    
Canon News, Nikon News Archives
2017   Jan   Feb   Mar   Apr   May
2016   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2015   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2014   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2013   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2012   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2011   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2010   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2009   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2008   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2007   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2006   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
2005   Jan   Feb   Mar   Apr   May   Jun   Jul   Aug   Sep   Oct   Nov   Dec
Help  |  © 2017 The Digital Picture, LLC  |  Bryan CarnathanPowered By Christ!