Hot on the heels of the new Siros L battery powered studio monobloc, broncolor have also released two brand new lights shaping tools - the Edge Mask diffuser and Focus 110 umbrella.
Edge Masks Using the broncolor range of softboxes just became even more creative and flexible. The new Edge Mask helps turn the rectangular sizes of the softboxes in to a rim light, allowing for subjects to be photographed in-front of and against the softbox, with the light wrapping around the subject from behind. This is a popular technique previously only created by flagging off the softbox with a board, but the Edge Mask provides a professional, easy and uniform method for creating the effect. Simply attach the Edge Mask to your existing softbox as you would an external diffuser.
Focus 110 The new parabolic Focus 110 umbrella (110cm diameter) provides a quick an easy way of producing a focusable parabolic light effect. Simply pop it up and use the lamp heads umbrella holder to slide and focus the shaper.
Availability The new Edge Masks and Focus 110 are ready and available to ship now!
See what's deep inside the EF200-400mm F4L IS USM Extender 1.4x. Made up of hundreds of precise mechanical and optical parts, the EF200-400mm F4L IS USM Extender 1.4x is a super telephoto lens that opened up new possibilities for professionals on the front line of sports, nature and news photography.
Canon unveils the precise inner construction of this L lens that has not been visualized before. This video was filmed using stop motion animation method.
If you've seriously been considering underwater photography, this nearly 2-hour primer will be well worth watching.
From the B&H YouTube Channel:
Larry and Olga explain key techniques used in photographing many different kinds of subjects in the underwater environment. Not only reef fish; they cover shooting under piers, shipwrecks, and underwater caves. The two of them showed images created around the world. Everywhere from the warm blue waters of the Caribbean and Red Sea to the cold crystal clear green waters of the British Columbia and Alaska.
This introduction answers many questions about how to achieve great underwater shots. Super useful for those who are casual vacationers or seasoned scuba enthusiasts desiring to document their escapades beneath the sea.
Larry and Olga are well known experts and this is your chance to learn about housings, cameras, strobes, and all the gear needed to lay a foundation for underwater photography.
For videographers seeking reduced weight, increased capacity, more features, and ease of use, we are releasing seven incredibly strong soft-sided video cases. In addition to being lighter weight and having more features than traditional hard cases, Think Tank’s new video cases let videographers to hit the ground running by allowing them to leave their cameras fully assembled between shoots. No longer will they need to build-out their cameras while the client impatiently waits or the shot disappears.
The new video bags range in size. The largest, the Video Rig 24 rolling case, holds a fully assembled 24” video rig and features inset channel aluminum tubing for added strength and durability. The mid-sized bag, the Video Transport 20, holds a video camera body, four to six lenses (detached), shotgun mic, small monitor, 4K recorder, audio recorder, additional accessories, and up to a 17” laptop in a padded sleeve. The smallest, the Video Workhorse 19 shoulder bag, holds a professional camcorder or video cameras up to 19” and features striated aluminum and arched twinwall reinforced struts to create a collapse-proof lid.
Built tough, with the quality Think Tank is known for, these bags are the perfect blend of protection and functionality.The seven new bags in Think Tank’s video series are, from biggest to smallest in capacity:
Video Rig 24–Holds a fully or partially assembled video camera rig up to 24” (61cm), which could include camera body, lens, monitor, viewfinder, 4K recorder, audio recorder, rails, follow-focus, matte-box, shoulder mount, top handle, stabilizer handles, shotgun mic, and counter-weight. The case fits a Canon C-series, Sony FS700, FS5, FS7, F5 or F55, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini, Aja Cion, Arri Alexa, as well as many ENG cameras.
Video Rig 18–Fits a fully or partially assembled video camera rig up to 18” (45.7cm), which could include camera body, lens, monitor, viewfinder, 4K recorder, audio recorder, rails, follow-focus, matte-box, shoulder mount, top handle, stabilizer handles, shotgun mic, and counter-weight. The case fits a Canon C-series, Sony FS700, FS5, FS7, F5 or F55, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini, Aja Cion, as well as many ENG cameras.
Video Transport 20–Holds a video camera body, four to six lenses (detached), shotgun mic, small monitor, 4K recorder, audio recorder, additional accessories, and up to a 17” laptop in a padded sleeve. The roller bag fits a Canon C-series, Sony FS700, FS5, FS7, F55 or F56, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini.
Video Transport 18–Fits a video camera body, three to five lenses (detached), shotgun mic, small monitor, 4K recorder, audio recorder, additional accessories, and up to a 15” laptop in a padded sleeve. The roller bag holds a Canon C-series, Sony FS700, FS5, FS7, F55 or F56, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini.
Video Workhorse 25–Holds professional camcorders or video camera rigs up to 25” (63.5cm) long and 9.1” (23cm) tall, which could include a camera body, lens, monitor, viewfinder, 4K recorder, audio recorder, medium LED lightpanel, shotgun mic, lavaliere mics, rails, follow-focus, matte-box, shoulder mount, top handle, and cables. The shoulder bag holds a Canon C-series, Sony FS700, FS5, FS7, F5 or F55, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini, or a DSLR/Mirrorless rig such as the Sony a7sII, Panasonic GH4, or Canon 5DMIII.
Video Workhorse 21–Fits a professional camcorder or video camera rig up to 21” (53.3cm) long and 8.7” (22cm) tall, which could include a camera body, lens, monitor, viewfinder, 4K recorder, audio recorder, medium LED lightpanel, shotgunmic, lavaliere mics, rails, follow-focus, matte-box, shoulder mount, top handle, and cables. The shoulder bag holds a Canon C-series, Sony FS700, FS5, FS7, F5 or F55, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini, or a DSLR/Mirrorless rig such as the Sony a7sII, Panasonic GH4, or Canon 5DMIII.
Video Workhorse 19–Holds a professional camcorder or video camera rig up to 19” (48.3cm) long and 7.5” (19cm) tall and accessories, which could include a camera body, lens, monitor, viewfinder, 4K recorder, audio recorder, medium LED lightpanel, shotgun mic, lavaliere mics, rails, follow-focus, matte-box, shoulder mount, top handle, and cables. The shoulder bag fits a Panasonic PX270, X1000 or DVX-200, Canon C-series, Sony FS700, FS5, FS7, F5 or F55, Red Epic/Scarlet, Black Magic Cinema Camera, Ursa or Ursa Mini, or a DSLR/Mirrorless rig such as the Sony a7sII, Panasonic GH4, or Canon 5DMIII.
The Little Red Lighthouse, officially named Jeffrey's Hook Light, is a small (40'/12.2m) lighthouse located under the eastern span of the George Washington Bridge (AKA the Great Gray Bridge) in Fort Washington Park, Washington Heights, New York City. The official name of this lighthouse was surpassed by the name given it by Hildegarde Swift and Lynd Ward in their famous 1942 book The Little Red Lighthouse and the Great Gray Bridge. This book was one of my wife's childhood favorites, so ... it was fitting for me to have this location on my photo bucket list and circumstances worked out for me to cross off this line item.
Typically, big city landmarks are readily accessible and easy to visit. While the first applies to this one, for a non-local without a bicycle, the second ... not so much. The problem is the lack of local parking and the significant roads and railroad tracks separating Fort Washington Park and the Hudson River Greenway from the rest of the city in this area.
There are two entrances into Fort Washington Park. I chose the more-northern 181st St option over the southern 158th St entrance as it appeared logistically better. Parking at one of the closest parking garages, Alliance Parking Services (for GPS, use 649-699 W 184th St, New York, NY 10033) resulted in a just-over 1 mile (1.6km) hike to the lighthouse. The landscape in Manhattan and many other parts of New York City is mostly flat, but Washington "Heights" wasn't given its name without reason. While not a mountain by most people's definition, the ascent and descent into the park, over and under the roads and tracks, is noticeable under the weight of a heavy pack.
This gave me two complete camera setups with plenty of focal length overlap in the range I expected to need the most. The redundancy was first and foremost to allow me to take twice as many photos during the short time period within blue hour that I was most-targeting. This shoot consumed most of a day (I arrived home at 2:30 AM) and with the small extra effort of taking a second camera setup, I was getting nearly twice as many photos when the exposure durations hit 30 seconds (with an additional 30-second-long exposure noise reduction) during prime time. I would start one image capture and go attend the second camera setup, located far enough away for a different composition, but close enough that I had a close watch on it from a security standpoint.
Backup in case of failure was the other reason for the second complete camera setup. I was investing heavily enough (time and other costs) in this trip to warrant a backup.
The Little Red Lighthouse shoot went as planned. Arriving late in the afternoon, I climbed around the rocks for an hour or so, trying to decide what compositions would be best for prime time. I ate, rested and went to work as the sun set behind the GWB.
As the sun set, the balance of sky brightness to the light hitting the lighthouse transitioned from silhouette to nearly the opposite. By shooting continuously during this time, I could select my favorite look later. A darker background is always an option, but a brighter sky is not available again until another day (without some post processing techniques).
For this image, I opted for the 11-24L lens set to 11mm to provide a dramatic perspective that included the entire river span of the bridge. To see a sample result captured from the other camera, with a lens choice made for a reason, one that you may not have considered (not focal length or sharpness), check out the pic I creatively titled The Little Red Lighthouse.
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.
Upper Saddle River, N.J. (May 23, 2016) – Manfrotto, a leading global innovator and manufacturer of premium photo, video and lighting support products and accessories, announces the launch of three new tripod bags: two versions which are 75cm long, padded and unpadded, and a smaller unpadded version which is 60cm long.
With the addition of these three latest models, the tripod bags range perfectly matches several Manfrotto photo tripods, including the latest 190Go! and 290 collections.
The asymmetric tapered shape allows photographers to store a tripod with the head attached. Tripod legs fit comfortably in the narrower end and extra space is allowed for the larger volume of the head at the wider end. Getting a tripod in and out of these bags is easy and quick due to the zipper which extends down to the full length of the bag, even where the head is stored. Each version features a strap for comfortable carrying on a shoulder.
The 75cm version is also available in the full-padded option. Thanks to the padding on the entire length of the bag, maximum protection of the tripod is guaranteed. The thermoform padding on the top also protects the tripod with head mounted.
Each bag is made with the highest quality materials: ballistic nylon that prevents the bag from tearing and abrasion, and an external coating that makes it protective and water-repellent.
While an f/2.8 max aperture for a prime lens may not grab your attention, this lens' image quality might. The 28 f/2.8 IS is regularly a decent value and the $100.00 instant reward makes it a great value.
The Canon USA YouTube Channel has released even more videos featuring its renowned Explorers of Light. Considering that there are currently 39 Explorers of Light, I think we can expect even more of these videos in the not-so-distant future. [Sean]
One of the most impressive shots from the article involves Vojtech using strobes placed in each plane flying in a mirror formation. The strobes are positioned to light the plane which is flying about 15 feet away (above/below). [Sean]
May 20, 2016 – TOKYO – Nikon Corporation is pleased to announce that its D5 digital SLR camera is the recipient of the Camera GP (Grand Prix) 2016 Readers Award. The Camera Grand Prix is held by the Camera Journal Press Club (C.J.P.C. / Japan).
The Readers Award is presented to the camera that is selected through voting by users. Out of the nine times the Readers Award has been presented, Nikon digital SLR cameras have been the recipients of the award a total of seven times, proving that Nikon cameras are extremely popular with, and appreciated by, a great number of camera users.
Earlier this year, the D5 was also the recipient of the TIPA Awards 2016 Best DSLR Professional/Action awards, sponsored by the Technical Image Press Association (TIPA).
Reasons the D5 was selected: A selection of comments from users
The D5 exhibits the absolute performance and presence of a flagship model. I am especially impressed with its unparalleled performance at high sensitivities, which greatly expands the possibilities for imaging expression.
I really like the fact that it is a still camera that offers a level of advancement never before seen with all major functions, including AF, AE, and high-sensitivity characteristics, and that it clearly expresses the direction cameras and technology will take in the future.
With features such as support for standard sensitivities as high as ISO 102400, advanced AF, and a touch screen monitor, this model seems indicative of what we can expect of flagship models in the future. In addition, the availability of two versions of the camera, one supporting XQD cards and one CompactFlash cards, clearly shows that Nikon took both existing and new users into consideration with development.
The excellence of this camera is something of which Japan can be extremely proud.
D5 primary features
A new-generation, 153-point AF system capable of capturing the intended subject under a wide variety of conditions
High-speed continuous shooting at up to approximately 12 fps with a viewfinder display that keeps the view through the lens incredibly stable for clear visibility
Consistently superior image quality, even with shooting at high sensitivities
Equipped with a 4K UHD (3840 x 2160) movie recording function that videographers will find very useful
Functions and performance that respond to a variety of on-site demands and achieve a fast workflow
Yesterday, the Canon USA YouTube Channel released several videos introducing select members of their Explorers of Light program. Considering that there are currently 39 Explorers of Light, I can't help but wonder if each will be featured in a similar video in the not-so-distant future. [Sean]