The Ben Franklin Bridge in Philadelphia, PA has been on my to-photograph list for a long time and earlier this year, I was technically able to check this attraction off of my list (I decided to keep it on the list for images from a different angle).
Having not been to this location before (aside from driving across the bridge), I needed some daylight time to scout for the evening's photos. I knew the basics of the area based on my research, but onsite finalization of the plan is usually needed. Even though very far from the bay and roughly 90mi (150km) from the Atlantic Ocean, this location on the Delaware River is tidal. I knew that there was a tide and that the tide would be going out during my shooting time (incoming tides require more concern). What I didn't know was the significance of the water level change. My scouting determined that locations close to the early evening water appeared best and I had lots of flowing water in the foreground for the image I envisioned.
As prime time approached, I watched the water level rapidly decrease a significant amount until my side of the river became nearly empty. There was nothing I could do about the situation and I was not about to attempt walking out into the quicksand-like muck. As photographers must always be ready to do, I embraced what I had to work with. The good news is that, as the water level dropped far enough, I had wet mud and pools of water that nicely reflected the bridge and city, creating a look that I may like even better than the image I had visualized.
On a good day, Philadelphia is an over-3-hour drive for me. The ideal time of the day to photograph the city lights with at least a little color in the sky is only a small fraction of that time duration. Life is busy and when it comes to good images, more is rarely worse than less. If you are a professional photographer, you count on your images for your income. If your primary income is not generated by photography, you probably cannot spend as must time in the field as you wish. To maximize your image volume relative to effort expended, perhaps close to a doubling effect, run two complete camera setups.
If you read my Canon EOS 80D review, you saw an image showing one angle of the Ben Franklin bridge. With a very short period of time to capture images and each image taking approximately a minute to capture (a 15-30-second exposure followed immediately by a same-length long exposure noise reduction process), having at least a second complete camera and tripod setup nearly doubled my images for this evening. While the 80D and Canon EF-S 18-135mm IS USM came out of the MindShift Gear BackLight 26L later in the evening, I mostly used the 5Ds R and EF 24-70mm f/2.8L II on a Gitzo GT3542LS with an Arca-Swiss Z1, set up close to the bridge.
I very frequently utilize a pair of cameras when shooting landscapes and cityscapes before sunrise, after sunset or even when working with strong neutral density filters under bright sunlight. The process is simple. I find a unique composition for each camera. Upon finishing one camera's setup and triggering the shutter release, I run to the other camera (well, I sort-of ran and stumbled over the big rocks in this case) and did the same. By the time I return to the first camera, it is usually finished or nearly finished with its processing. I quickly evaluate the image captured, make any adjustments I feel are warranted and repeat the process.
If running two camera setups not immediately within reach, safety for the gear must be considered. I wouldn't call the area below the Camden, NJ side of the Ben Franklin Bridge the safest I've been in. It was dark, there were no other people around and I kept a very close eye on the second camera setup, watching for anyone sketchy approaching. Having the cameras setup this far apart gave me very different perspectives of the bridge and city vs. simply different framing of the same perspective. The 5Ds R would permit strong cropping to achieve a similar framing adjustment, so I wanted something completely different from the second camera.
With so many images that I like captured that evening, I struggled to pick out one to share (part of the problem of having perfectionist tendencies). Three months later, I forced myself to pick one. This was it. Hope you like it and hope even more that you can increase the number of great images that you capture.
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.
Canon Inc. Chief Executive Fujio Mitarai said on Friday he was "very dismayed" by Britain's shock decision to leave the European Union, saying the move hurt Japan's economic growth prospects.
"In Japan, while we can expect to see a temporary surge in the value of the yen, the U.K.'s decision could also bring a halt to the economic recovery that had been underway," Mitarai, head of the camera and printer maker, said in a statement.
"We look to the Japanese government to implement strong monetary measures."
Europe accounted for 28 percent of Canon's sales in 2015, although it does not provide details by country.
(Reporting by Ritsuko Ando; Editing by Clarence Fernandez)
TOKYO - Nikon Corporation announced delays in the release of new digital cameras and the effects of the 2016 Kumamoto earthquakes in a press release dated April 20, 2016. The following is an update on the release of the new COOLPIX A900 and B700 compact digital cameras (announced on February 23, 2016).
On April 20, we announced that release of the COOLPIX A900 and B700 would be delayed until July as more time was required for software adjustment. However, due to the effects of the 2016 Kumamoto earthquakes, release of these cameras is now scheduled for October 2016.
We sincerely apologize to our customers, business partners, and all those who have expressed interest in these models for the delays.
Get tips from photographers and folks in the industry to grow your fine art sales and get more eyeballs on your work! We’ve teamed up with WhiteWall photo lab to assemble inspiring interviews with photographers, gallery directors, and curators -- all with helpful ideas to consider when trying to increase your sales. Download your copy today!
We would like to announce the update in the lens firmware of the SIGMA 20mm F1.4 DG HSM | Art Canon and SIGMA 24-35mm F2 DG HSM | Art Canon on the SIGMA Optimization Pro.
The latest firmware update makes it fully functional with the Canon Digital Cinema Camera EOS C300 Mark II.
For those customers who own the following products, please update the firmware of the lens via the SIGMA Optimization Pro.
[Applicable products] SIGMA 20mm F1.4 DG HSM | Art– Canon mount SIGMA 24-35mm F2 DG HSM | Art– Canon mount
[Benefit of this firmware update]
It becomes fully functional with the Canon Digital Cinema Camera EOS C300 Mark II.
For SIGMA 20mm F1.4 DG HSM | Art Canon, this lens firmware update also corrects the phenomenon that the images show some underexposure when "Evaluative Metering" or "Center-weighted Average Metering" is selected on Canon EOS-1D X Mark II.
Please be sure to update SIGMA Optimization Pro to the latest version before upgrading the lens's firmware.
We would like to announce the availability of new firmware and support for the applicable lenses regarding the phenomenon that exposure of the image may not be accurate, which was announced on May 27th, 2016. This happens when some SIGMA interchangeable lenses for CANON are used on Canon EOS 1DX Mark II.
If you own the following applicable products, please refer to the information below and update the lens firmware accordingly.
[Benefit of this firmware update] The lens firmware update corrects the phenomenon of some underexposure when the lenses listed below are used and either “Evaluative Metering” or “Center-weighted Average Metering” is selected in Metering Mode of the camera.
[Applicable products] SIGMA 20mm F1.4 DG HSM | Art – Canon mount SIGMA 35mm F1.4 DG HSM | Art – Canon mount SIGMA 85mm F1.4 EX DG HSM – Canon mount
For customers who own the applicable products listed above, the lens firmware update will be provided free of charge. Please contact your nearest authorized subsidiary/distributors of SIGMA.
For customers who own the SIGMA USB DOCK, and either the SIGMA 20mm F1.4 DG HSM | Art Canon or the SIGMA 35mm F1.4 DG HSM | Art Canon, please update the lens firmware using SIGMA Optimization Pro.
We appreciate your continued support for our company and products.
In today’s episode, we give you the gift of facial hair! Whether for fun or for professional retouching, creating hair can always come in handy.
Creating a custom brush: Step One
The first and possibly most important step is to make one single hair with the brush tool. This hair should be as perfect as possible and match the other hairs on the face, because it will become the custom brush. If you want to create stubble, simply make the brush a little smaller to resemble a single spot of stubble.
Create a white background around the hair by using the marquee tool. Then, after selecting the boxed hair, go to Edit - Define Brush Preset. After it is saved, you can open it in the brushes panel.
Creating a custom brush: Step Two
Spend time playing around in the brush menu! Many little adjustments add up to an amazingly realistic look. Make changes such as increasing the angle jitter, roundness jitter, scattering, opacity, spacing, etc.
A Hairier Face
When you are satisfied with your custom brush, it’s time to paint! All you have to do is paint on the face where you want the hair to be.
Remember: hair is not always the same color, so a good mixture of lights and darks is important when making realistic facial hair. Hold ALT/OPT and sample multiple colors as you go. You can also paint with white to create some highlights.