From Nikon: Nikon 1 V3 Firmware v.1.10 Changes from “C” Version Firmware 1.00
Camera Control Pro 2 Version 2.22.0 is now supported, allowing the following operations to be performed:
Download: Nikon 1 V3 Firmware v.1.10
- The settings for connected cameras can be adjusted from Camera Control Pro 2.
- The Camera Control Pro 2 live view window can now be used for still photography and movie recording as well as to select the AF-area and adjust camera settings.
- Camera Control Pro 2 now supports best moment capture.
UT-1 Communication Unit Firmware Version 2.4 Changes from Firmware Version 2.3
Cameras That Can Be Used to Update UT-1 Firmware
- The D810A is now supported.
UT-1 firmware updates can be performed with the following cameras:
- The D810, D810A, D750, D7200, and D7100
- D800 and D800E firmware versions “A” 1.10/“B” 1.10 or later.
Note: Other cameras can not be used, but updates can be performed for you by a Nikon-authorized service representative. Download: UT-1 Communication Unit Firmware Version 2.4
has posted a two-part developer's interview
with the team that designed the EOS 5Ds / 5Ds R cameras. There is a lot of technical information in the articles, but I'm finding the material to be quite fascinating so far (I'm about midway through them right now). [Sean] Canon 5Ds / 5Ds R Developer's Interview Articles [Part 1] Achieving “Speed”, “Comfort” and “Quality” Questions Answered:
[Part 2] Technology Behind the “Ultra-High Resolution” Questions Answered:
- First of all, can you tell us more about the development concept of the EOS 5DS and EOS 5DS R?
- Can you describe more on the aim and intention on the naming of the models?
- So now there are five models in the full-frame EOS lineup. Please tell us how the new models are positioned and the division of roles among them.
- What are the target subjects respectively for the EOS 5DS and EOS 5 DS R?
- Can I also use these two models for handheld shots and snapshots?
- What about the internal structure of the EOS 5DS and EOS 5DS R? Are they identical except for the availability of a low-pass filter cancellation feature?
- The price for the EOS 5DS R is slightly higher. Why is this so?
- When choosing a lens, what are the points that users need to bear in mind?
- In what ways are the features and performance enhanced by the use of dual DIGIC 6 image processors?
- Is there any reason behind the common number “5” for the 50-megapixel resolution and the continuous shooting speed of 5 fps? Was it intentional?
- Can you tell me more about the enhancements made on the new image sensor, including how you were able to achieve a resolution of about 50 megapixels?
- The pixel count is more than double that of the EOS 5D Mark III. What were the technological breakthroughs that made this possible?
- Wouldn’t it be possible to increase the speed if parallel processing were performed by multiple digital front-end processing circuits?
- Is 16-channel readout drastically different from that by eight channels?
- How different is the depictive power compared to the class of cameras with about 20 megapixels?
- Can you explain how the low-pass filter cancellation feature cancels the low-pass filter effect?
- Besides the restoration process being carried out by low-pass filter 2, is the structure of the EOS 5DS R the same as other models?
- Why is it possible to restore the extraordinary ray?
- What were the enhancements made to the AF system in response to the larger pixel count?
- What was the reason for not changing the AF sensor? Was it because the performance of the system on the EOS 5D Mark III was good enough?
- The maximum resolution of about 50 megapixels and the continuous shooting speed of about 5 fps are simply remarkable. Are there any efforts that are worth special mention?
- What changes were made to the existing firmware following the upgrade of the pixel count to about 50 megapixels?
- How is the mirror vibration control system different from the existing ones?
- Am I right to say that both the existing and new vibration control systems make use of cams, but differ fundamentally in the way the cams are used?
- Wouldn’t it consume a lot of battery power if the mirror is driven only by the motor?
- Generally, it is said that camera shake becomes more prominent with a higher pixel count. Is it possible to eliminate all shake-related issues simply by raising the shutter speed?
- Is there an easy-to-understand way to determine the shutter speed based on the focal length?
- What are the advantages of the new user-selectable shutter release time lag setting?
- What efforts were devoted to the body structure and material when addressing camera shake?
- I realised that a new “Fine Detail” Picture Style has been added when I looked at the features in greater detail. How is it different from the existing Picture Style effects?
- Can you provide a simple explanation for the entry-level users on the [Fineness], [Strength], and [Threshold] parameters in the sharpness setting?
- Can you tell us how we can make good use of the Crop Shooting feature?
- What does the Customizable Quick Control feature do?
- Compared to the EOS 5D Mark III, what advancements were made to the movie feature?
- What is the biggest reason for inheriting the design of the EOS 5D Mark III?
has the Canon EOS 5Ds /5Ds R
available for preorder.
Vignetting, flare and distortion test results along with specs, measurements and standard product images have been added to the Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary Lens review
Note that product images for this lens are included both large and small lens comparison tools with some images being cropped in the small lens format. Here is an example comparing the Sigma Sports, Sigma Contemporary and Tamron 150-600mm Lens
in the small lens tool. These three lenses are also very interesting to compare in the other tools. B&H
has the Sigma 150-600mm OS Contemporary Lens
in Canon mount in stock with Nikon and Sigma mount version available for preorder.
I live in a fenced-in property which is situated squarely in the middle of a medium-sized town. I have often used the fence that borders my driveway as a background for various portraits. It's clean, simple, and works well especially when it falls just out of focus.
As the winter months transition into spring, however, sections of the fence would become covered in vines. In previous years, I did everything I could to avoid using those sections of fence for my portraits. I considered them a hindrance for tarnishing my clean-looking background during the warm and inviting seasons perfect for portraiture.
But as I walked to my mailbox last week, it finally hit me. "Why don't I use the vines for a tightly framed portrait? Hmm..."
I must have past that particular section of the fence 500 times over the past three years, but it never occurred to me to actually feature
the vines in a portrait. A few days later Amanda and I decided to give it a go.
I set up a tripod mounted 7D Mark II
with my favorite portrait lens, the EF 85mm f/1.2L II USM
. So why would I use the 7D Mark II in place of my primary body, the 5D Mark III
? For this particular portrait, there was little appreciable difference between the two bodies. I didn't need the full-frame performance gains at high ISOs (I shot this using ISO 100) and I didn't need the shallow DOF advantage either as I would be using a relatively narrow aperture (f/7.1) to keep the details of the background recognizable.
Considering the f/7.1 aperture, you might wonder why I chose the EF 85mm f/1.2L II. As I said, it's my favorite portrait lens. The fixed 85mm focal length is a flattering focal length for portraits and the lens is especially sharp when stopped down (although, depending on the subject, extreme sharpness may not necessarily be a beneficial quality when it comes to portrait lenses).
For the main light I used a monolight diffused by a Mola Demi beauty dish fitted with a HoneyGrids Universal Grid
. The background light was provided by a Canon 580EX Speedlite flash fitted with an Opteka OSG18 1/8-Inch Universal Honeycomb Grid
. Using the grid on the main light and positioning it so that it pointed downward limited the amount of light that spilled on the background allowing me to easily control the luminosity of the background with the Speedlite. The grid on the Speedlite kept its light from striking the subject and concentrated its output in a more focused area on the background.
This is what the setup and fence looked like:
I believe similar results could have been achieved with lower cost lights and modifiers (a speedlight with a gridded softbox, possibly?).
When post-processing the final image, I actually reduced the luminosity of the background preferring the leaves to be a little darker than what I captured in-camera. I also used a selective color mask to make the shadows appear cooler/more bluish in tone. I was going for a Renaissance painting look for the portrait, and the edits helped push the image in that direction (in my opinion).
The takeaway from this shoot is aptly summed up by the title. With spring in full swing, beautiful backgrounds are popping up everywhere. Take a minute to scan your surroundings – even in your own yard – to see if there's something you've been overlooking just like me. :-)