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 Wednesday, February 22, 2017
The snow line usually marks the elevation above which there is snow, often forming snow-capped mountains. On this morning, the snow line was below the mountain top.
 
I had just spent two hours in the tractor cab taking care of snow removal duties and was then able to concentrate on capturing some fresh snow images. My studio overlooks a valley and a small mountain ridge. The snow came with a strong wind from the opposite side of that ridge and above the ground line, the windswept trees remained bare while the lower elevation trees, protected by the mountain, were heavily snow-laden. The snow/no-snow line was strong and I was drawn to the contrast.
 
The mountain was roughly 1,500 yards (1,500m) away and I could see over a mile (1.6 km) of it in width. This meant that the primary interest for me was strongly horizontal. I could photograph using a wide angle focal length and crop the top and bottom off to get just the strong line of bare trees over the snow line, I could capture multiple frames at a longer focal length to later stitch into a panoramic image or I could go with a telephoto focal length and frame tightly. I chose the telephoto lens option and began isolating specific areas of mountain.
 
My lens choice was the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens and mounted it to the being-reviewed Canon EOS M5 via the EF-EOS M Adapter.
 
The storm was clearing and periodically, the sun was shining through breaks in the clouds. The areas of snow in the direct sunlight became especially bright and the partial illumination created additional interest within the already interesting scene. When available, the partially lit portions of the scene were my focus.
 
Often, photographing scenes this far away results in details being strongly affected by heat waves, but on this crisp, clear morning, the M5 behind the 100-400 L II delivered very sharp image quality, even at this distance. Notice that photographing subjects from very long distances always results in a compressed look with less perception of depth (trees farther away appear similarly-sized as closer trees). This attribute can be good or bad depending on the scene, how the composition comes together and the viewer's taste.
 
While the circular polarizer filter was not making a noticeable effect, I had it mounted in case blue sky opened up and I note its use for those questioning the exposure settings.
 
A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
 
Camera and Lens Settings
182mm  f/5.6  1/500s
ISO 100
6000 x 4000px
Post Date: 2/22/2017 8:00:00 AM CT   Posted By: Bryan
B&H has the Canon W-E1 Wi-Fi Adapter (review) in stock.
 
Some have [justifiably] complained that RAW transfers are relatively slow while using the W-E1 (especially if using a 5Ds/5Ds R), but I still think this is a very valuable device considering its low cost. I especailly enjoy creating focus stacks using the W-E1 and DSLR Controller app. [Sean]
 
Coffee Beans Focus Stack Using Canon W E1 Wi FI Adapter

Posted to: Canon News
Post Date: 2/22/2017 7:33:10 AM CT   Posted By: Sean
 Tuesday, February 21, 2017
February 21, 2017, Commack, NY - Tamron, a comprehensive manufacturer of optical equipment, has redesigned its corporate logo. The new logo will be progressively rolled out in the U.S. starting February 21, 2017.
 
The Story Behind The Change
 
In September 2015, to coincide with the revamp of its SP series of interchangeable camera lenses that represent the ultimate pursuit of high performance, Tamron embarked on a renewal of its product branding for the domestic and global markets. As part of these activities, Tamron developed a new logotype that would embody the brand in its products, and has since introduced the logo in new models on a sequential basis.
 
Now Tamron has made the decision to progressively roll out use of the logo as its new corporate logo.
 
Design of the New Logo
 
The existing logo has been in use for 39 years since its development in 1978. In the intervening years, Tamron has undergone significant expansion as an extremely unique company through its ability to engage in the integrated manufacture of lenses from development to production. During the same period, Tamron has extended the reach of its business activities in Japan and around the world.
 
The new "TAMRON" logo was designed to present a global perspective while inheriting qualities of the original design. Tamron has developed a fully upper-case logotype and incorporated greater legibility compared with the previous logo, allowing the company name to be identified in a clearer and more understandable way. Moreover, the meticulously designed logo embodies Tamron's recognizable presence as simple and powerful, with renowned reliability and technical prowess.
 
Renewal of the Corporate Website
 
To coincide with changes to the corporate logo, the corporate website has been redesigned to provide customers with the information they need in a more accessible way. The website employs a layout that is easy to view whether from a PC, smartphone or tablet device. Looking ahead, Tamron looks forward to disseminating appropriate information to its customers and stakeholders through the new corporate website.
 
B&H carries Tamron lenses.
Category: Tamron News
Post Date: 2/21/2017 8:27:02 AM CT   Posted By: Sean
From Sigma:
 
February 21, 2017 – Sigma Corporation today announced its brand new Global Vision Art and Contemporary lenses to be introduced at the 2017 CP+ Camera + Photo Imaging Show in Tokyo, Japan.
 
  • 14mm F1.8 DG HSM Art - World’s first F1.8, ultra-wide, full-frame prime lens designed for high resolution cameras; ideal for shooting architecture, astrophotography, documentary and landscapes.
  • 135mm F1.8 DG HSM Art – Formidable telephoto prime with high-speed aperture; ideal for shooting weddings, concerts, events and studio/location portraiture.
  • 24-70mm F2.8 DG HSM OS Art – Fast, constant-aperture zoom workhorse upgraded to the exacting standards of the high performance Sigma Art series.
  • 100-400mm F5-6.3 DG HSM OS Contemporary - Highly versatile, lightweight and compact super zoom touting strong IQ and image stabilization.
Sigma 14mm F1.8 DG HSM Art
 
Debuting the world’s first 1.8 wide-angle lens, the 14mm F1.8 Art incorporates the same groundbreaking aspherical element as Sigma’s critically acclaimed 12-24mm F4 Art. Boasting outstanding image quality from center to edge, the 14mm F1.8 Art features the largest glass mold (80mm) in the industry, offering photographers an ultra-wide prime with virtually no distortion, flare or ghosting. Three lens elements are made with FLD (“F” Low Dispersion) glass, which is equivalent to calcium fluorite in performance, and four SLD (Special Low Dispersion) glass elements, which reduce chromatic aberration. In addition to the great IQ from edge to edge, the new 14mm F1.8 offers a superfast and efficient AF system.
 
With a minimum focus distance of 10.6 inches at 14mm, photographers can compose incredible close-up shots with expansive backgrounds.
 
The all new Sigma 14mm F1.8 DG HSM Art lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm. Pricing and availability for the Sigma 14mm F1.8 Art lens will be announced later.
 
Sigma 135mm F1.8 DG HSM Art
 
Boasting outstanding sharpness and great IQ from edge to edge, the 135mm F1.8 Art lens enters the market as Sigma’s new premiere mid-range telephoto prime lens. Ideal for events such as concerts, indoor sports, conferences and press events, the 1.8 F-stop delivers greater “shallow depth of field” and isolation of subjects. The outstanding compression effect makes it equally as powerful for up-close and full-length portraits. Its new large hyper sonic motor (HSM) provides ample torque to the focus group for optimal speed while the acceleration sensor detects the position of the lens for compensation focus groups for factors including gravity, producing faster and more responsive AF. Equipped with a focus limiter, the 135mm F1.8 Art can be easily optimized for a variety of distances and situations.
 
The all-new Sigma 135mm F1.8 DG HSM Art lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm. Pricing and availability for the Sigma 135mm F1.8 Art lens will be announced later.
 
Sigma 24-70mm F2.8 DG HSM OS Art
 
Featuring a brand new OS and highly efficient and fast AF system, the revamped 24-70mm F2.8 Art embodies all the technical qualities and finesse that define the high-performance Sigma Global Vision Art series. Covering a wide range of shooting scenarios, the 24-70mm workhorse DNA includes three SLD (Special Low Dispersion) glass elements and four aspherical elements to reduce chromatic aberration. The 24-70mm F2.8 Art aspherical elements use Sigma’s groundbreaking thicker center glass design and highly precise polishing process, delivering stunning images and bokeh effects. The lens’ purpose-built structure boasts a new metal barrel for optimal durability with TSC composite internal moving components designed to resist thermal contraction and expansion.
 
The newly revamped Sigma 24-70mm F2.8 DG HSM OS Art lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm. Pricing and availability for the Sigma 24-70mm F2.8 Art lens will be announced later.
 
Sigma 100-400mm F5-6.3 DG HSM OS Contemporary
 
Boasting outstanding reach and performance value, the new 100-400mm F5-6.3 Contemporary telephoto zoom lens offers great IQ and usability with its lightweight, compact, dust- and splash-proof design. Equipped with the newly released Sigma OS and AF, the lens provides exceptional performance at lower shutter speeds. Highly versatile, the 100-400mm F5-6.3 Contemporary also features Sigma’s unique macro function (1:3.8 ratio) for perfecting close-ups and distance shots, and push/pull focal zooming for ease of use.
 
The all-new Sigma 100-400mm F5-6.3 DG HSM OS Contemporary lens supports Canon, Nikon and Sigma mounts and works with Sigma’s MC-11 Sony E-mount converter. The Nikon mounts feature the brand new electromagnetic diaphragm. Pricing and availability for the Sigma 100-400mm F5-6.3 Contemporary lens will be announced later.
Post Date: 2/21/2017 5:18:05 AM CT   Posted By: Sean
 Monday, February 20, 2017

 
From the DJI YouTube Channel:
 
Meet French aerial-wedding photographer Helene Havard, who works in Tahiti, French Polynesia. When Helene first arrived on the island, she quickly discovered a thriving yet highly competitive photography industry. In order to distinguish herself and her work to get noticed, she started to shoot from above. Watch how Helene reimagines the art of wedding photography with her own inimitable signature style.
 
B&H carries DJI drones.
Post Date: 2/20/2017 2:23:08 PM CT   Posted By: Sean
It appears Sigma is poised to announce several new lenses in the very near future. If the rumors turn out to be true (and by all indications, they are), then the following lenses are slated for announcement:
 
  • Sigma 24-70mm f/2.8 DG OS HSM Art Lens
  • Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary
  • Sigma 14mm f/1.8 DG HSM Art
  • Sigma 135mm f/1.8 DG HSM Art
So which of the lens(es) are you most excited to see hit the market and why? Let us know in the comments.
Post Date: 2/20/2017 6:26:26 AM CT   Posted By: Sean
 Sunday, February 19, 2017
The Crossing Place Trail in Middle Caicos leads along some spectacular coastline. "Trail", however, is a rather generous term for much of what is encountered here, especially west of Blowing Hole. Very sharp rocks (the ironshore formation limestone you see in the foreground in this image) and thick brush (with occasional very-deep holes beneath) take the place of anything resembling a trail.
 
The Turks and Caicos Islands have the world's 3rd largest reef system protecting it, but along this trail, the reef comes close to shore. This means that, on a normal day, waves hit the coast hard. And, on a windy day, things become rather spectacular along this section of the trail.
 
The winds on this day (like the entire 9 days of this trip) were sustained at just over 30 mph and gusts were reaching 50+ mph. The waves were crashing into the cliffs and blowing up in dramatic fashion, easily visible from the causeway over a mile away.
 
Upon arriving at this location, I determined that I could safely approach the cliff and I did so cautiously. I didn't take a rain cover for the camera or a rain coat for me on this trip, but ... after thinking about the situation for a while and watching my daughter figure out how to cover her camera with extra clothes and a hat for a lens flap, I couldn't resist the opportunity. The waves were too beautiful and mesmerizing to leave uncaptured.
 
What I had was the MindShift Gear BackLight 26L's rain cover and the plastic bags I always store in the backpack. The large garbage bag, with three holes torn into it, went over me (it was cool out and with the wind, I was cold) and a 2-gallon clear heavy plastic food storage bag nicely wrapped around the camera with the lens directed through the opening. I held the bag tightly around the lens hood and could see the viewfinder through the bag reasonably well – well enough. The front of the lens was not protected aside of the hood, but holding the camera downward under my body during times when spray was hitting (most of the time), kept it dry. I had a dry microfiber cloth readily available for cleaning the lens when my timing was not stellar.
 
When a wave was timed to hit while there was little or no sea spray in the air, I would quickly move the camera into position and shoot an image (or burst of images) as the wave crashed and violently blew upward. I was learning the Sony a7R II camera's capabilities, but ... this scenario proved challenging and my sharp image percentage was not as strong as I had hoped. Still, I made some nice images.
 
With the quick-shooting tactic, getting the camera perfectly level (or even close to that) proved challenging (it proves challenging to me on a good day) and this shot was a bit tilted. The horizon over an ocean makes any tilt obvious and this one needed repaired. However, simply rotating the image was going to result in more of the scene being cropped out that I was happy with. I could have used a wider focal length to shoot with (the Sony a7R II has plenty of resolution), but ... I was already using that tactic. This wave was simply bigger than I had anticipated.
 
How did I fix the tilt? I used the Lasso Tool in Photoshop to select and area above and below the horizon where the non-splashing water is meeting sky (on the right side of the frame), being careful to draw through areas lacking details. I then copied the selection (CTRL-C) and pasted it into a new layer (CTRL-V). I pressed CTRL-T (Free Transform) and rotated the copied waterline until it was level. Using a layer mask with a soft brush, I hid the borders of the copied layer and smoothed out anything that appeared out of place in the result. The image was effectively leveled and I didn't have to crop off any of the splash.
 
Being in the wave zone of a rough sea is not safe and in addition to watching for photogenic waves approaching, I was constantly watching for trouble. Twice I successfully ran to drier ground when monster waves hit directly in front of me, but twice I had very large waves splash completely over me, sending buckets of water pouring from myself and the bags (enough to make a water cooler dumped over a winning football coach appear like a Dixie cup). The described bag technique, while not optimum, kept the gear (and most of my shirt) dry and allowed me to capture some fun pics.
 
Big waves are fascinating – I could spend hours watching them.
 
A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
 
Camera and Lens Settings
31mm  f/9.0  1/200s
ISO 200
7952 x 5304px
Post Date: 2/19/2017 7:00:00 AM CT   Posted By: Bryan
It appears Sigma is set to announce four new Global Vision lenses at the upcoming CP+ Camera & Photo Imaging Show 2017 (Feb 23-26). Two of those lenses – the 135mm f/1.8 DG HSM Art and 100-400mm f/5-6.3 DG OS HSM Contemporary – have already shown up on Sigma's website under the News section (the links to the actual press releases do not work).
 
Sigma News on SigmaPhoto

The other two lenses rumored to be part of the 4-lens announcement are the 24-70mm f/2.8 DG OS HSM Art and 14mm f/1.8 DG HSM Art. If the rumors prove to be true, this will be one of the most exciting round of Sigma Global Vision lens announcements to date.
 Friday, February 17, 2017
Canon USA has uploaded a sample movie as well as several videos highlighting the various features of the EOS M6.
 

 
Warning: If you plan on several of the videos below, you may want to turn the sound down. Each short video features the same soundtrack, and it may seem annoyingly repetitive after listening to it multiple times.
 
Videos Highlighting EOS M6 Features
 
Canon Japan has also published its official sample images for the EOS M6.
 
Preorders:
 
Canon EOS M6 – B&H | Adorama | Amazon | Canon USA | Wex (UK)
 
Canon EVC-DC2 Electronic Viewfinder – B&H | Adorama | Amazon | Canon Store | Wex (UK)
Posted to: Canon News
Post Date: 2/17/2017 10:06:05 AM CT   Posted By: Sean
 Thursday, February 16, 2017
If you're considering picking up what can aptly be described as Canon's beefed-up Rebel with the versatile EF-S 18-135mm f/3.5-5.6 IS USM lens, there's an important piece of information that you should know before adding the EOS 77D kit to your cart – the higher-end EOS 80D kit with the exact same lens is the same price with its current $300.00 instant rebate in effect.
 
Just for good measure, here are a few points of comparison:
 
Canon EOS 77D vs. 80D:
 
  • DIGIC 7 vs. DIGIC 6
  • ISO 100-25600 (H1: 51200) vs. ISO 100-16000 (H1: 25600)
  • 6fps vs. 7fps, 27 frames RAW vs. 25, unlimited frames JPEG Extra Fine L vs. 110
  • 1/4000 sec vs. 1/8000 sec shutter speed
  • Pentamirror (95%, 0.82x) vs. larger Pentaprism (100%, 0.95x) viewfinder
  • Spring-driven mirror vs. motor-driven mirror
  • X-Sync: 1/200 sec. vs. 1/250 sec.
  • Battery life is approx. 600 vs. 960 (AE 50%, FE 50%), though 80D battery is a bit larger
  • Battery indicator shows 4 levels vs. 6 levels plus a percentage capacity reported
  • 15 Custom Functions vs. 26 Custom Functions including AF parameter settings
  • 77D has more creative modes on the mode dial while 80D has a pair of "C" (Custom) modes
  • 77D has Special Scene Group Photo
  • 77D has a Wi-Fi button & built-in Bluetooth
  • 80D has AF Microadjustment
  • 80D has silent shooting drive modes
  • 80D has M-RAW and S-RAW
  • 80D has many more buttons on top
  • 80D has headphone out port
Posted to: Canon News
Post Date: 2/16/2017 7:56:43 AM CT   Posted By: Sean
Image quality results from the Canon EOS 5Ds R, Canon EOS-1Ds Mark III and Canon EOS 7D Mark II have been added to the Zeiss 18mm f/2.8 Milvus Lens Review.
 
While the beauty of this lens is immediately recognizable, the image quality it delivers is looking very nice as well. Here are some comparisons:
 
Zeiss 18mm f/2.8 Milvus vs. Zeiss 15mm f/2.8 Classic (15mm Milvus has the same optical formula)
Zeiss 18mm f/2.8 Milvus vs. Zeiss 18mm f/3.5 Classic
Zeiss 18mm f/2.8 Milvus vs. Zeiss 21mm f/2.8 Milvus
Zeiss 18mm f/2.8 Milvus vs. Canon 16-35mm f/2.8L III USM Lens
 
B&H has the Zeiss 18mm f/2.8 Milvus Lens in stock.
Post Date: 2/16/2017 8:00:00 AM CT   Posted By: Bryan
Canon Japan has posted official sample photos taken with the EOS Rebel T7i and 77D DSLR cameras.
 
You can find preorder links for the Canon EOS Rebel T7i & 77D here.
Posted to: Canon News
Post Date: 2/16/2017 6:05:16 AM CT   Posted By: Sean
 Wednesday, February 15, 2017
The Canon Digital Learning Center has added several articles on the newly announced EOS 77D and Rebel T7i DSLR cameras as well as an EOS M-series overview.
 
CDLC Articles
 
You can find preorder links for the relevant gear here.
Posted to: Canon News
Post Date: 2/15/2017 1:35:14 PM CT   Posted By: Sean

 
So what's the difference between Canon's Dual Pixel CMOS AF and Hybrid CMOS AF III from a video AF performance perspective? Watch the video above to find out.
 
Dual Pixel CMOS AF is a great feature found in Canon's newly announced EOS Rebel T7i, 77D and EOS M6.
Posted to: Canon News
Post Date: 2/15/2017 10:46:20 AM CT   Posted By: Sean
From Canon USA:
 
Firmware Version 1.1.3 incorporates the following improvements to enhance functions.
 
  • Corrects a phenomenon in which the drive mode icon is not correctly displayed when using custom shooting modes (C1/C2/C3).
  • Changes the maximum number of "Release cycles" displayed from 1,000,000 cycles to 9,999,000 cycles. This value can be checked under the "Camera system information" menu.
  • Improves the reliability of communication via USB cable when using the Lens Data Registration function within EOS Utility 3 software.
Download: Canon EOS-1D X Mark II Firmware Version 1.1.3
Posted to: Canon News
Post Date: 2/15/2017 7:27:37 AM CT   Posted By: Sean
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