"National Geographic has confirmed that 9 percent of their 2,000 employees (approximately 180 people) are being laid off, less than two months after the National Geographic Society announced that 21st Century Fox had acquired a controlling stake in the magazine and other media assets for $725 million. There is no word yet on how many people in National Geographic’s photography department have been affected. One photo editor for the magazine, Sherry L. Brukbacher, confirmed on Twitter that she was among the “many” let go today. In addition to the staffers being laid off, the company is offering buyouts to an unknown number of longtime employees."
Manfrotto, the world leader in photography, imaging equipment and accessories industry, announces Lastolite By Manfrotto, a Co-Branding project that will involve Lastolite’s entire range of products. This co-branding will promote the cross selling between the products and will lead to a better shopping experience for customers thanks to the new packaging with a renewed look and feel. Lastolite by Manfrotto products will have the Manfrotto quality guarantee.
The First Two New Products Under the New Rebranding
Lastolite by Manfrotto starts this co-branding process with the launch of two new products, perfect for portrait photography: EZYBOX SPEED-LITE 2 and the PERSPECTIVE BACKGROUNDS.
Lastolite Ezybox Speed-Lite 2
Fulfilling the daily needs of hobbyists and professional photographers, the Ezybox Speed-Lite 2 is an improved version of the existing Ezybox Speed-Lite. The New Ezybox Speed-Lite 2, light and easy to use, is suitable for on and off camera use. With removable internal and external diffusers, it represents the best small and compact solution (22x22cm) for the photographer who needs peerless softness of light.
A new silicon strap and ratchet knob enables to adjust the strap tension according to the flashgun, ensuring a secure fit. Ezybox Speed-Lite 2 is easy to set-up and collapse, and to store away thanks to the new folding mechanism. The product is packed in a color carton box with images that illustrate the product’s use.
Lastolite Perspective Backgrounds
The top selling Lastolite by Manfrotto collapsible background range, is now implemented by 3 NEW PERSPECTIVE BACKGROUNDS - Stone Steps/Winter Trees, Stone Archway/Grecian Steps and Evening Street/Ivy Archway, making the range the best portable solution for set up’s in studio or outdoor’s portrait photography. New inspirational options: one background with a double side, providing a double source of inspiration for your scene portraits.
The Perspective Backgrounds can be attached directly to the Magnetic Background Support System, designed for collapsible backgrounds and are easy to store thanks to its practical blue bag.
B&H has the following gear available for preorder:
TOKYO, November 2, 2015—Canon Inc. announced today that the Company's EF11-24mm f/4L USM ultra-wide-angle interchangeable zoom lens and EOS M3 digital compact-system camera were recognized for design excellence by the Hong Kong Design Centre, winning the Design for Asia Bronze Award and Merit Recognition Award, respectively.
The Bronze Award-winning EF11-24mm f/4L USM boasts an impressive minimum focal length of 11 mm to achieve the world's widest angle of view. Thanks to the optimal placement of four aspherical elements, including a ground aspherical element, the lens corrects for aberrations that often occur with wide-angle lenses to make possible superior image-quality performance from edge to edge. The EF11-24mm f/4L USM offers such noteworthy design characteristics as a foremost element featuring proportions that make it instantly identifiable as an ultra-wide-angle lens, superior usability that has been optimized for shooting, and a refined surface finish.
The EOS M3, winner of the Merit Recognition Award, combines an approximately 24.2-megapixel APS-C-size CMOS sensor with the Company's latest image processor, DIGIC 6, to deliver high-resolution, high-quality imaging performance. Realizing exceptional operability, the compact-system camera incorporates four dedicated function dials—Mode, Exposure Compensation, Front and Control dials—facilitating intuitive manual operations similar to those offered by EOS-series digital SLR cameras.
Encouraged by this latest industry recognition, Canon will continue striving to create products that combine the highest levels of performance and design excellence.
Image sharpness, while extremely good, is not alone going to drive many upgrades from the Zeiss 100mm f/2 Macro Lens because ... it was already great. However, image sharpness is not going to impede anyone considering the purchase of this new Milvus lens as it is also a great one.
As trees are usually much taller than us, it is common is for us to look upward at leaves or minimally view them from a side perspective. Also typical is for the leaves to be facing, at least to some degree, upward and for the light to be reaching the leaves most strongly from above. While photographing glowing backlit leaves from underneath is commonly recommended (and a good tactic), the top of leaves generally have the strongest color with that color facing the light. Thus, capturing the best leaf color in the best light often means photographing the top of leaves.
Because most leaves (on trees at least) are higher than us, moving in close to the tree can diminish the amount of color seen. Moving farther away, unless that distance means a lower elevation, can provide a more colorful view of a tree by simply lowering the angle of view. Better is to get a higher vantage point. This means going up on a hill, up on a deck, up in a building (shooting from an open window for example), up on a ladder, etc.
A photo accessory that I've long considered acquiring, one that would help greatly in this regard, is a Bucket Truck. I know, you think I'm kidding, right? Not so. I think having such a truck would be a competitive advantage and I am always seeing locations where I could make use of one.
I don't know if that idea will ever come to fruition for me, but more popular is the use of drones. While the rules and regulations book for use of these devices is still being written, drones can get to many locations that would previously have required a bucket truck, crane or helicopter. Getting above the leaves is no problem for a drone.
If moving up means moving back, a longer focal length lens may be desired to keep the same framing and that the perspective will change should not be overlooked.
I was evaluating the Tamron 35mm f/1.8 Di VC USD Lens and while looking down the steep hill from our house, a beech tree with various shades of yellow and salmon-colored leaves caught my eye. At 35mm, the tree was tiny in the frame, so I went down to it. The closer I got, the less I was noticing the color patterns that initially caught my attention and the more I was looking across the side of the leaves, leaving the bare woods showing through the color. While still beautiful, this was not the image I had envisioned from the top of the hill.
I took some photos that I liked at 35mm, but then went back to the house to mount the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens. With the narrower angle of view, I could easily fill the frame with color and the downward view on the leaves left few holes into the background.
The next time you are looking at beautiful fall foliage, consider moving to a position that affords a downward view to maximize the color available to you.
Reduces editing time, improves color balance and control, eases matching of multiple cameras
GRAND RAPIDS, Mich., October 22, 2015 - X-Rite Incorporated, a global leader in color science and technology, and its subsidiary Pantone LLC, today announced that it is launching two new products in its popular ColorChecker series. ColorChecker Video and ColorChecker Passport Video targets reduce video editing time, improve color balance control, make it easier to match multiple cameras and simplify editing for mixed lighting conditions.
“These two new products are the natural extension of the ColorChecker family that has been used for years by photo and imaging professionals and enthusiasts alike.”, said Chris Winczewski, X-Rite’s Vice President of Product Marketing, “Whether filmmakers do their own color grading or engage a colorist, whether they shoot or direct, they’ll find our new products invaluable tools that easily integrate into their daily work process. This is the first time a color target solution has been available to the burgeoning video market that is functional and affordable for anyone involved with producing or editing video. When using ColorChecker Video or ColorChecker Passport Video, the production workflow is faster, more consistent and more balanced, and users can more quickly get to an ideal color balance for developing their creative look.”
40-Year Heritage The ColorChecker brand from X-Rite has enjoyed a positive reputation in the photo market for nearly 40 years. Now, the ColorChecker targets for video bring that unique color science to the world of video, delivering versatility on set and improved productivity in editing. Professionals and hobbyists using Adobe Premiere, Apple Final Cut Pro, DaVinci Resolve, Avid and other video editing software will be able to take advantage of ColorChecker targets specifically tuned for video production.
The Details The new X-Rite ColorChecker Video targets are available in two forms to deliverconsistent, predictable and repeatable results, frame to frame and camera tocamera.
ColorChecker Passport Video delivers all-in-one pocket-sized convenience in a rugged hard case with four different targets:
A color reference for evaluating specific chromatic colors aligned with video production, including skin tones, gray balance and highlights and shadows.
White balance for creating a consistent neutral white point, eliminating the need to correct each frame later.
3-step grayscale target that includes white highlight, 40 IRE midtone gray and saturated black references.
A focus target that facilitates center and edge focus.
ColorChecker Video’s larger format is great for camera checks, and for wider shots, both in studio and on location. It includes:
Two series of grayscale patches: 7 smaller patches for even gray balance with extra steps close to the highlight and shadow regions, and 4 larger gray level rectangles, including a high gloss black, that are easily recognized by the camera,
A range of skin tone patches from light to dark along the outer edge for easy alignment.
A series of saturated and desaturated chromatic colors allowing for appropriate color and saturation adjustments.
A full size white balance target on the reverse side.
“Achieving proper exposure in video can be challenging,” Winczewski adds. “ColorChecker Video targets help you quickly dial in an exposure that will give your editor or colorist an easier time matching cameras or lighting conditions in post-production. And since all cameras, even of the same make and model, can have variations in the way they reproduce color, ColorChecker Video targets allow you to evaluate how your camera will capture color in any given scene so you can adjust accordingly. We are very excited to be able to make this capability available to the broader video market.”
Color Finale Plug-In for Final Cut Color Grading Central’s Color Finale plug-in for Apple Final Cut Pro X will be supporting ColorChecker Video targets in the fourth quarter of 2015. “Color Finale offers a brand-new set of industry standard grading tools for Final Cut Pro X,” said Denver Riddle, President of Color Grading Central. “We are totally thrilled to integrate the ColorChecker Video targets into Final Cut Pro X through Color Finale because of what it will mean for the filmmaker. Simply placing the ColorChecker in the beginning of shots and then using the Color Finale plugin takes all the guesswork out of primary color correction. This means less time spent fidgeting with corrections and more time focused on creating looks and beautiful images that enhance the story. With Color Finale and the ColorChecker Video targets you can feel confident that you’re getting ‘true as shot’ coloraccurate images that springboard your creativity.”
Here's a quick, cheap way to create a ghost effect, in-camera, without any VFX! Also known as "Pepper's Ghost", this effect has been around for ages, and is still used today. Disneyland's "Haunted Mansion" and the Hogwarts Express at Universal Studios both use this effect, and a modified version is still used in modern tele-prompters.
A dark, low-light scene with 2 light sources
Large pane of glass (or plexiglass) held up by a stand or clamps
Black blankets or fabric to hang behind your ghost
Professional photographers are obsessed over the details, but we wanted to find out how obsessed. We invited three people to analyze the same print and used eye-tracking technology to trace every eye movement they made. In the end, it was clear, a photographer's obsession is unmatched. Luckily, there's a printer that's equally obsessed - the Canon imagePROGRAF PRO-1000.
An External recording control option has been added to the HDMI item in the SETUP MENU. If the camera is connected via HDMI to a third-party recorder that supports the Atomos Open Protocol (the Atomos SHOGUN, NINJA2, or NINJA BLADE), selecting On allows camera controls to be used to start and stop recording. More information is available in a supplementary manual. Note: Choose an option other than 576p (progressive) or 480p (progressive) for HDMI > Output resolution in the SETUP MENU.
Fixed the following issues:
Incorrect distances were shown in the camera playback info display for photographs taken with an optional flash unit in distance-priority manual (GN) mode.
The brightness of the live view photography display would not change when a command dial was rotated to adjust exposure compensation with On (Auto reset) selected for b Metering/exposure > b4 Easy exposure compensation > Easy exposure compensation in the CUSTOM SETTING MENU.
Although the preview button would stop the lens down to maximum aperture when assigned the Preview role, the maximum aperture indicator would not appear in the monitor.
In rare cases, the shutter would not be released when the user attempted to take photographs in movie live view.
About 4 seconds of static could be heard on audio recorded with external HDMI recorders during movie live view.
The shutter speed, aperture, and ISO sensitivity displayed in the monitor during movie live view would differ from values in the final movie file.
Volume could sometimes not be adjusted if movies were played with indicators hidden during full-frame playback (None (image only)).
Exposure compensation would fail to produce the desired results if a negative value was selected when NEF (RAW) images were processed using the NEF (RAW) processing option in the RETOUCH MENU.
Images would in rare cases fail to record correctly with HDR (high dynamic range) selected in the SHOOTING MENU.
If On was selected for Exposure smoothing during interval timer photography, every frame after the first would be overexposed.
File numbers were not assigned in the proper sequence.
In some languages, characters or parts of characters would be missing from the SETUP MENU > Location data > Position display.
In some languages, characters or parts of characters would be missing from the SETUP MENU > AF fine-tune > List saved values display.