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 Tuesday, February 9, 2016
According to the Egami Blog, Canon has filed a patent for an EF-S 18-100mm f/3.5-5.6 IS STM optical design.
 
Description of Patent
 
Patent Publication No. 2016-1224
 
  • Published 2016.1.7
  • Filing date 2014.6.11
  • Focal length 18.59 47.22 94.99
  • F-number 3.60 4.92 5.88
  • Half angle of view (degrees) 36.31 16.14 8.18
  • Image height 13.66 13.66 13.66
  • The total lens length 137.78 158.04 178.30
  • BF 35.39 52.79 64.61
Posted to: Canon News
Post Date: 2/9/2016 5:45:06 AM CT   Posted By: Sean
 Monday, February 8, 2016
B&H has the Zeiss Otus 28mm f/1.4 ZE for Canon in stock with free expedited shipping.
Posted to: Canon News
Post Date: 2/8/2016 11:06:35 AM CT   Posted By: Sean
I find rockslides photographically entertaining and the lichen-covered granite rocks found on the south side base of Deboullie Mountain (Deboullie Public Reserved Land, North Maine Woods, T15, R9, Maine) make this rockslide especially so.
 
The composition of this image was not very complicated. I zoomed out to 10mm and moved in close to a set of rocks with one having a particularly strong amount of lichen growing on it. I chose the camera elevation to keep the top point of that most-prominent rock within the water background, avoiding additional line intersections and adding to the horizontal layers effect in the upper portion of the frame. I then adjusted the camera distance to fully frame the closest rocks and avoid strong lines of contrast leaving the frame.
 
Since the sky was clear and blue in color, I didn't need a lot in it in the frame for this particular image. I chose to keep enough sky to yield a clean top border and to add a full layer of blue color over and contrasting with the distant evergreens.
 
This photo was captured handheld. I used the in-viewfinder electronic level to keep the image properly leveled and captured two frames. One frame was focused closer than the other and the two were manually focus stacked during post processing. Alternatively, a narrower aperture could have been used, but with the clean separation of foreground and background, I chose to use a sharper aperture (f/8 shows less diffraction softening than f/11 or f/16) and the focus stacking technique.
 
This capture was timed with early evening, resulting in the best possible light quality just prior to the rocks went into full shade. While I frequently use a circular polarizer filter when photographing landscapes, I chose not to in this case. Because the sun was at a relatively low angle to my side and because I was using a wide angle focal length, the sky would have showed strong uneven darkening if this filter was used.
 
A Canon EOS Rebel camera and EF-S 10-18mm IS STM Lens make a great lightweight combination for hiking.
 
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.
 
Camera and Lens Settings
10mm  f/8.0  1/160s
ISO 100
5400 x 3600px
Posted to: Canon News,
Post Date: 2/8/2016 10:03:55 AM CT   Posted By: Bryan
PetaPixel has published an interview that it recently conducted with none other but the founder, owner and author of The-Digital-Picture.com – Bryan Carnathan.
 
Learn about Bryan's background, the site's genesis and much more in the PetaPixel interview.
Posted to: Canon News,
Post Date: 2/8/2016 8:54:09 AM CT   Posted By: Sean
From Adobe:
 
We are excited to announce that over 100,000 native 4K video assets have been added to our ever-growing content collection on Adobe Stock. The collection already includes over one million video assets and over 45 million images and graphics.
 
4K is increasingly becoming the new standard for video production, and demand for higher resolution content, sometimes referred to as UHD, is growing quickly. For precision post-production work, 4K provides significantly more image detail than HD, giving you options you wouldn’t have at lower resolutions. 4K gives you the room to crop, reframe, pan, or add camera moves and effects to your footage, even if your final output will be in HD or 2K resolution.
 
Adobe Stock 4K content is native, meaning that it was shot in 4K or, in the case of computer-generated media, rendered in 4K, which offers more precise edges when creating mattes or for other compositing tasks.
 
Adobe Stock video content is available for licensing on stock.adobe.com and can also be searched and purchased directly from the Creative Cloud Libraries panel in Premiere Pro CC and After Effects CC and from there dragged directly into an open project. Whether you need video clips for corporate or commercial use in videos, commercials, television shows or websites, Adobe Stock will have the video content you need.
 
These new 4K assets are available today for $199.99. While standard license terms apply, there is no limitation to the number of impressions. (HD versions of the 4K clips are available for $79.99).
 
We can’t wait to see what you make with Adobe Stock.
 
Adobe Stock assets are accessible via the Creative Cloud Libraries panel in Photoshop CC, Illustrator CC, InDesign CC, Premiere Pro CC, After Effects CC, and Dreamweaver CC.
Posted to: Canon News,
Category: Adobe News
Post Date: 2/8/2016 5:24:13 AM CT   Posted By: Sean
 Saturday, February 6, 2016
Roger has posted a very objective, well thought out article on lens quality and manufacturing tolerances. It's definitely worth a read if you have a few minutes to spare.
"After we published a number of posts about copy-to-copy variation, people were quick to say that this company or that needs to 'just' improve quality control. I totally agree but realize most people don’t have a clue what ‘improving quality control’ would really look like. I think they have some vague idea of hiring a guy named Joe to sit at the end of the assembly line, check all the lenses, and reject all the bad ones. Optical quality control for lenses is way, way more complicated than that."
Check out the LensRentals Blog for more info.
Posted to: Canon News,
Post Date: 2/6/2016 9:38:12 AM CT   Posted By: Sean
 Friday, February 5, 2016
From Samyang Optics:
 
A global optics brand, Samyang Optics, has announced the release of 2 new lenses: XEEN 14mm T3.1 and 35mm T1.5. These two lenses, along with the existing 24mm T1.5, 50mm T1.5 and 85mm T1.5 lenses, create a perfect balanced five-lens-set for filming video and cinema with the outstanding image quality from resolving power for 4K+ production.
 
XEEN is a specialized brand in professional video-cine lens launched by Samyang Optics in 2015. The XEEN lenses are designed with Samyang Optics' know-how and have outstanding optical performance for 4K+ with the X-Coating Technology, ensuring maximum image quality to create a cinematic look.
 
The 24mm x 36mm negative size allows XEEN to not only work with full frame cameras, but also with Super 35, APS-C and APS-H cameras. The lenses are available in five different mounts - PL, EF, F, E, and MFT and two different focus scales - metric and imperial units. Also, the aluminum metal housing is known for its reliability in various shooting conditions.
 
Most of XEEN lenses come in a bright T1.5 aperture. The lenses deliver high quality footage with clear contrast and impressive colors, even under less-than-optimal lighting conditions. The large aperture also creates a pleasing bokeh effect for a cinematic look.
 
“Thanks to the rise of multi-channel networks, the demands for video creation is internationally surging and the expectation of video quality is also increasing,” stated by a XEEN official. He continuously said, “to satisfy the international needs, we have completed the first perfection of XEEN lenses with five lenses which deliver a high-quality cinematic image.” As an answer to the future product plan, he carefully disclosed that two more XEEN lenses will be announced in the second half of the year.
 
Created to deliver infinite possibilities, XEEN 14mm and 35mm lenses will be globally available in early March. The recommended retail price of each lens is USD $2,495.00.
 
B&H carries Samyang/Rokinon XEEN lenses.
Posted to: Canon News,
Post Date: 2/5/2016 7:38:26 AM CT   Posted By: Sean
It's Friday, so let's have a little fun this morning. I captured a single exposure of this plastic, Christmas-themed jar last night.
 
The question is – can you figure out what technique and / or tools I used for lighting the jar?
 
Note: The only editing I did in Photoshop was add the watermark and apply a small Brightness/Contrast adjustment.
 
Submit your answer in the comments. I'll let you know if you're right. [Sean]
 
The Reveal
 
Site visitor Nancy just emailed us the correct answer (she said she forgot her Disqus password so was unable to comment).
"Possibly cross-polarized (polarizing filter on lighting, polarizing filter on lens, set at right angles to each other to eliminate the facing-forward reflections).
Clue - rainbow stress marks on the plastic."
Indeed, she is right. I first opened up a blank / white document in Photoshop giving me a large blank white background via the laptop's WLED screen. The clear plastic jar was placed on a black laminate board on top of my laptop's keyboard (I used a couple of books to raise the height a bit).
 
As the WLED is a polarized light source (no filter required for it), I was able to use a polarizing filter on the 24-105 f/4L to block all light coming directly from the screen. However, the light passing through the plastic gets diffused (and changes directions, rendering it unpolarized), so the light passing through it is visible.
 
Here's a picture using the same exact exposure settings with the CPOL turned so as not to block the light coming from the screen (you can see my framing actually caught the left edge of the screen):
 
Glowing Christmas Jar TDP Not Polarized

Once the polarizer was rotated to block the laptop's WLED light, the shot atop this post was the result. Here was the simple setup:
 
Glowing Christmas Jar TDP Setup

Thanks to everyone who participated! I enjoyed reading the responses and I think there were some great ideas presented.
Posted to: Canon News,
Category: Brain Teaser
Post Date: 2/5/2016 6:45:51 AM CT   Posted By: Sean
From Canon Australia:
 
Friday, 5 February 2016
 
Dear Professional Photographer,
 
For the past 13 years, Canon Australia has been the major sponsor of the AIPP (Australian Institute of Professional Photography) awards. Through this sponsorship, we have worked with the AIPP and in consultation with photographers to shape a program that benefits entrants and promotes the industry.
 
Importantly, we have been determined to see as much of our sponsorship dollars as possible used to support the entrants and winners directly. Over recent years, though, this has been an increasing challenge as a result of the investment decisions and changing priorities of the AIPP administration.
 
These differences of opinion between us have limited our ability to provide the help that ‘professional’ photographers were telling us they needed through the Major Sponsorship.
 
The result of extensive discussion and proposals is that Canon will no longer be the Major Sponsor of the AIPP APPAs in 2016. Still determined to maximise the potential of the APPAs for professional photographers, we have requested a category sponsorship to allow us a more flexible structure to contribute. We await confirmation from the AIPP.
 
Staying true to our aim
 
This decision does not detract from our mission, but empowers us to do more to support the profession of photography and, specifically, the photographers that comprise it. To that end, we are preparing to announce ‘pro community’ events and enablement grants to help professional photographers, directly.
 
We want you to be the first to know and will be contacting you closer to the time with more details. In the meantime, please send us any questions and suggestions through to the following address: pro@canon.com.au
 
Thank you for your support and I look forward to being in touch.
 
Regards,
 
Jason McLean signature

Jason McLean Director – Consumer Imaging Canon Australia
Posted to: Canon News
Post Date: 2/5/2016 5:43:43 AM CT   Posted By: Sean
According to the Egami Blog, Sigma has filed a patent for a 20mm f/1.8 optical design earmarked for their Contemporary lineup.
 
If / when this lens is released, it will likely be the first prime lens in Sigma's Contemporary series of lenses.
 
Description of Patent
 
Patent Publication No. 2016-12034
 
  • Published 2016.1.21
  • Filing date 2014.6.30
  • Focal length 20.70 21.01
  • F-number 1.84 1.95
  • Full angle of view 2? 93.42 90.34
  • The image height Y 21.63 21.63
  • Overall length of the lens 139.73 139.73
Posted to: Canon News,
Post Date: 2/5/2016 5:23:58 AM CT   Posted By: Sean
 Thursday, February 4, 2016
The Canon Professional Network has several well-illustrated pages highlighting various features found in the newly announced 1D X Mark II. The information covers:
 
There are some interesting facts found on these pages. For instance, the 1D X II does not support 4K HDMI output and, even though the body is backwards compatible with the LP-E4N battery pack, the 14 fps burst rate (with AF/AE) is only possible when using the new Canon LP-E19 battery.
 
EOS 1D X Mark II Preorders: B&H | Amazon | Adorama | Wex Photographic | DigitalRev
Posted to: Canon News
Post Date: 2/4/2016 2:04:27 PM CT   Posted By: Sean

 
From the Adobe Photoshop Lightroom YouTube Channel:
 
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
 
Note: The sound is extremely low on this video, so low that it may be hard to hear for some.
 
With that in mind, here's the tip – you can use the CAPS LOCK key to cause Lightroom to auto advance to the next image after rating. [Sean]
 
The Creative Cloud Photography Plan (Photoshop CC & Lightroom CC) is an excellent value at only $9.99/month.
Posted to: Canon News,
Post Date: 2/4/2016 1:13:42 PM CT   Posted By: Sean

 
From the Federal Aviation Administration:
 
The Federal Aviation Administration is launching a new public service announcement to let people know the airspace around Levi’s Stadium is a No Drone Zone during the Super Bowl.
 
Temporary Flight Restrictions will prohibit certain aircraft operations, including unmanned aircraft operations, within a 32-mile radius of the stadium in Santa Clara, Calif. on game day. The restrictions will be in effect from 2 p.m. to 11:59 p.m. on Sunday, Feb. 7.
 
The FAA produced a 20-second video that tells people to bring their lucky jerseys, face paint and team spirit to the game–but leave their drones at home because the stadium is a No Drone Zone. The agency is promoting the video on Twitter, Facebook, YouTube and the FAA website.
 
“With so many drones being sold for recreational use, we want to do everything we can to get the word out that the game is a No Drone Zone,” said FAA Administrator Michael Huerta. “We’re working closely with our safety and security partners to spread this message as widely as possible.”
 
The FAA is committed to working closely with its unmanned industry partners to educate people about how to fly safely. Two of our key initiatives are the unmanned aircraft registration requirement and the Know Before You Fly campaign.
Posted to: Canon News,
Post Date: 2/4/2016 12:46:49 PM CT   Posted By: Sean
Originally slated to hit retail shelves next month, the Nikon D500's ship date has been delayed until late April.
 
In a press release posted this morning, Nikon Japan stated that it could not produce a sufficient number of cameras (and other accessories) to fill demand for the originally scheduled April release date.
 
Products Delayed
 
  • D500
  • D500 16-80 VR lens kit
  • Wireless Transmitter WT-7
  • Multi-Power Battery Pack MB-D17
  • Semi-Soft Case CF-DC8
  • Strap AN-DC17
  • USB cable for the terminal cover UF-7
  • Stereo mini-plug cable for the terminal cover UF-8
B&H has the Nikon D500 available for preorder.
Posted to: Nikon News
Post Date: 2/4/2016 6:46:35 AM CT   Posted By: Sean
Posted to: Nikon News
Post Date: 2/4/2016 5:44:02 AM CT   Posted By: Sean
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