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 Wednesday, May 21, 2014
DxO Logo
From DxO:
 
DxO Optics Pro v9.5 offers a new image transfer feature that lets users process their RAW photos from Lightroom. Used in tandem with the Adobe software, DxO Optics Pro has definitively become the ideal solution when it comes to image quality.
 
This upgrade also adds support for 4 new cameras and 165 new DxO Optics Modules. Also available is DxO ViewPoint v2.1.6, which benefits from the addition of new DxO Optics Modules.
 
The first workflow completely integrated with Lightroom
 
Up until now, exporting a RAW image from Lightroom to another software application required first converting it to JPEG or TIFF format, which can reduce image quality. DxO Optics Pro v9.5 offers the first non-destructive workflow that is completely integrated with Lightroom.
 
This very simple process lets users transfer their RAW images in one click from the Lightroom cataloguer to DxO Optics Pro, process them, and then return them to Lightroom in DNG format, which retains the qualities of a RAW file so as to facilitate additional processing.
 
The dual non-destructive flow gives users optimal flexibility right through to the final adjustments to their photos.
 
To learn more about the interaction between DxO Optics Pro and Lightroom, go to our dedicated web page.
 
The power of DxO processing accessible in just one click
 
Accessible directly from Lightroom, this workflow puts all of DxO’s image quality know-how into the hands of Adobe software users:

  • The quality of its RAW conversion based on prior calibration of each sensor;
  • The efficiency of its exclusive PRIME technology in eliminating noise, even under the most extreme shooting conditions;
  • The power and precision of its optical corrections which, based on the calibration of each camera/lens combination, eliminates distortion, chromatic aberrations, and vignetting, as well as restores image sharpness;
  • The intelligent exposure optimization of its DxO Smart Lighting feature, which among other things allows for perfect recovery of highlights.

DxO Optics Pro automatically adjusts all of these parameters to produce an optimized rendering during batch processing, thus saving users a significant amount of time.
 
Increased compatibility with XMP standard
 
With the aim of facilitating its workflow with Lightroom, DxO Optics Pro v9.5 offers greater compatibility with the XMP standard: star or color rankings stored in image metadata are now perfectly preserved during transfer.
 
More than 18,000 available Optics Modules
 
DxO Optics Pro supports most current camera models on the market. DxO Optics Pro v9.5 now handles RAW files from 5 additional cameras: the Canon PowerShot G1 X Mark II, the Nikon 1 V3, the Panasonic Lumix GH-4, and the Sony A6000.
 
Finally, 165 new camera/lens combinations have been added to the library, which today counts more than 18,000 available DxO Optics Modules.
 
DxO ViewPoint v2.1.6 now available
 
DxO ViewPoint v2.1.6 also benefits from the addition of new camera/lens combinations for automatic correction of distortion in JPEG and TIFF images.
 
Availability
 
Both DxO Optics Pro v9.5 and DxO ViewPoint v2.1.6 are now available at authorized photo resellers.
 
List of new DxO Optics Modules:
 
Canon | Nikon | Panasonic | Sony
 
B&H carries DxO Optics Pro 9 and DxO ViewPoint 2.

Category: DxO News
Post Date: 5/21/2014 8:37:59 AM CT   Posted By: Sean
Tamron 16-300mm f/3.5-6.3 Di II VC PZD MACRO Lens
Post Date: 5/21/2014 7:31:29 AM CT   Posted By: Sean
 Tuesday, May 20, 2014
Lexar Professional 64GB CompactFlash Memory Card 1066x UDMA 2-Pack
Post Date: 5/20/2014 2:33:51 PM CT   Posted By: Sean
An Orchestra of Light – Ode to the Strobist
By Sean Setters
 
A few days ago I wrote an article about the importance of self-portraits. Today, I'm going to tell you about a self-portrait years in the making...
 
I can still remember when my coworker, fellow photographer and friend James Evins first mentioned the Strobist blog to me in late 2007. He suggested that I start looking into off-camera flash and said that David Hobby's Strobist blog was the best resource to learn how.
 
After a couple of months of digging through Hobby's Lighting 101 and monitoring the discussion threads on the Strobist Flickr Group, I bought my first off-camera flash gear – a Vivitar 285HV and a set of Cactus V2s triggers.
 
I became fascinated by the entire process of lighting. Where should the light(s) be positioned? Which modifier(s) should I use? What power level(s) should the flash(es) be set to? Should I gel the flash(es) for color correction or simply for the sake of creativity?
 
As the years flew by, I collected more lighting gear and refined the techniques I used to express my own photographic vision. Most of my lighting gear was purchased used on eBay to reduce the investment required to fill out my kit.
 
The popularity of David Hobby's blog led to the rise of an industry – lighting modifiers, inexpensive radio triggers and tools designed specifically for off-camera [shoe-mount] flash use. His impact on the industry is, in my opinion, immeasurable.
 
Almost three years ago I had an idea – to use all of my lighting equipment in a self-portrait dedicated to David Hobby, a man who had influenced my photography more than any other. It would also be a way to demonstrate to my local client base why my portraiture differed from those natural-light shooters around me. I plotted a rough lighting setup on my white board and left it there.
 
The lighting setup diagram stayed on my white board for almost a year before I had to erase it to use the space for something else. But the idea stuck. It was burned into the back of my mind. All I needed to do was find an appropriate location that I could use for several hours while completing the rather arduous setup and shooting. I planned on shooting the image in three sections (left, middle, right) because I didn't have enough light stands to hold every modifier I owned. I would then combine the exposures in post.
 
Almost two more years went by before I found a suitable location – the Backdoor Playhouse at Tennessee Technological University – and made the right connections to gain access to it. I was granted an entire evening with the venue.
 
When setting up for the shoot, I realized that the stage was smaller than I had anticipated. That meant I couldn't reasonably fit all the equipment that I actually owned on the stage. So I made a game-time decision to limit my lighting setup to the number of lights that I could trigger at one time. The ultimate limitation was the number of monolights and flashes that I brought – 7 monolights and 5 shoe-mount flashes. One of the shoe-mount flashes was used in the back to trigger various lights via optical slaves.
 
Below is a timelapse video of the whole shoot. I used a tripod mounted Canon EOS 7D + Sigma 35mm f/1.4 DG HSM Art set to capture images every 13 seconds. The 4-hour shoot is nicely condensed into 50 seconds.
 

 
Here's a list of the gear I used to create the image:
 
Lights

Support

Modifiers

Triggers and Receivers

All in all, I'm happy with how the image turned out. While I did leave some gear on the table (several umbrellas, gridded strip boxes, another beauty dish, etc), I think the image serves its purpose – to honor the man that inspired me light the world in front of my camera.
 
You can find the full-resolution image here.

Post Date: 5/20/2014 7:35:35 AM CT   Posted By: Sean
 Monday, May 19, 2014
Jonathan Huyer – Train in Snow
A fresh layer of snow adds a beautiful element to any landscape shot
 
By Jonathan Huyer
 
Winter – call me crazy – is my favourite time of year for photography. This is fortunate, because in my mountain home of Canmore, Canada, winter can last for half the year. The snow and ice make for terrific landscape shots, and the short winter days also mean that you can sleep in and still catch a nice sunrise shot. Wildlife photography is also readily available in the mountain parks, with the exception of the hibernating bears. But winter photography brings with it a host of challenges that don’t exist at all in the warmer months, and being properly prepared can make all the difference. This article is an attempt to summarize the things I’ve learned over the years, mostly by trial and error, that have allowed me to survive and even thrive in the harsh weather.
 
Clothing
 
It’s fairly obvious that the most important item for successful winter photography is your choice of outerwear. The goal is to find clothing that protects you from the wind and cold, and yet also allows you to move around freely and operate the camera. I work on a layer system, and adjust according to the conditions of the day. Here is the complete kit:

  • Boots: NEOS overshoes (for temperatures above -15 C), or thermal lined winter boots for colder days. In areas where I will need extra traction (on ice, for example), I add traction spikes to the boots. I have found that Kahtoola Microspikes work very well for this.
  • Pants: Long underwear, lined blue jeans, waterproof shell pants, or insulated ski pants for colder days
  • Top: Merino wool layers (two or three), plus a big fleece hoodie
  • Jacket: Canada Goose Expedition Parka
  • Head: Wool toque (that’s a Canadian word, eh)
  • Hands: Thin windproof gloves inside big insulated overmitts
  • Face: For the coldest days, I add a face mask and ski goggles

On top of this, I always make use of chemical heat packs. They are easily the best solution for cold fingers, which is the greatest challenge in winter photography. I use four at a time and stuff them inside my thin gloves as well as the overmitts. If I’m only going to use them for a short period of time, then I will seal them in a zip top bag to stop the reaction and enable them to be reused later.
 
If you are standing outdoors in extreme wind or cold and need to use ski goggles, then your biggest difficulty will be keeping them free of fog and ice. I have heard that Smith goggles with a battery-powered fan are excellent at this, and I’m going to try them out next season.

Jonathan Huyer Self-Portrait

A self-portrait in my full winter kit, on the frozen tundra of northern Manitoba
 
Photography Gear

  • Tripod – In cold weather, simple tasks like setting up your tripod can become painstaking and arduous. A tripod with big locking knobs that you can tighten with your mitts on is a huge asset. When you set your tripod down in the snow, test it to be sure that it is stable. The snow may seem steady, but the tripod might still sink when you add the camera. If you are going to be on ice, you can often find spiked points for your tripod legs that can replace the standard rubber pads. I’m a big fan of using the centre hook on the tripod to attach a weighted object (I hang my camera bag from it). The stability improves dramatically with this trick. I’ve seen tripods blow over in winter gales… don’t let that happen to you.
  • Camera – It’s really quite amazing how well digital cameras work in cold temperatures. I have never had a mechanical problem with my SLRs, in temperatures down to -37 C. The battery will always be the weakest link in the system, and you will need to keep a close watch on the power meter. When it gets low, swap the battery for a warm one (I carry two spares inside my jacket). Once you’ve reheated the cold battery, it will regain most of its charge and will be good to use again. In very low temperatures, the LCD screen on the top of the camera will become sluggish and eventually fade out completely. Fortunately the rear display screen is immune to this issue, so you can use it to monitor and adjust your settings (Canon has the ‘Q’ button for this purpose). If you are taking aurora photos at night, use a headlamp with a red filter on it to help navigate your buttons. One of the best tricks I learned is to use a cable release, and stuff it inside my left mitt. That way I can operate the camera shutter with toasty warm fingers. Composing your shot can be very challenging if you are using the viewfinder. If you accidentally breathe on it, your beautiful scene will be replaced with a cloud of fog or ice. I carry some Q-tips in a plastic bag in case I have to deal with that problem.
  • Lenses – Perhaps the biggest challenge with lenses in cold weather is making use of filters. I love using polarizers and neutral density filters, but they are all fiddly and can never be manipulated with mitts on. My only solution is to use the thin gloves and work as quickly as possible. Practicing ahead of time is helpful. I carry a rocket blower in a pocket to remove any snow that might fall on the filters. A blower is also handy for getting rid of snow that might accumulate inside a lens hood.

Jonathan Huyer – Winter Sunrise

A winter sunrise shot, taken with a tilt-shift lens and a graduated neutral-density filter.
 
After the shoot
 
When packing up, I remove the lens and attach the caps to both the lens and camera body. Then I seal the camera in a zip-top bag before bringing it indoors. I leave the lenses and other gear inside my camera bag, and when I bring them indoors I am careful not to open the bag for several hours until it has warmed up to room temperature. This will avoid condensation or ice formation on your equipment. The camera will warm up faster in the separate plastic bag. Once it is at room temperature you can remove it from the plastic bag and open the compartments to access the memory card and battery. If you are in a hurry to access your memory card, then remove it from the camera outdoors before you put it in the plastic bag. But seal the card in a case, to warm it up separately and prevent condensation from affecting the contacts.
 
Milder days
 
If the temperature outdoors is mild (-10 C or warmer) then the camera will have no trouble being outdoors all day long. If you are photographing from one location (such as on a wildlife shoot), keep the camera outside until the end of the day. The battery should experience very little power loss at that temperature.
 
Photographing from a vehicle
 
When taking wildlife photos in the winter, it is often beneficial (and more comfortable) to stay inside the car. Your car is a portable blind, and animals are usually a lot more likely to stick around if you shoot from the window. However an unexpected issue can arise, due to warm air flowing out of the window when you open it. Your backgrounds will appear noticeably mottled, and your subject might also lose some sharpness from the refraction. The solution is to turn off your heater fan, and open all the windows when you are shooting. Yes this will make the inside of the car a lot colder, so be prepared by dressing appropriately and wearing thin gloves. Don’t forget to shut off your car engine as well. You’ll eliminate vibrations, and the silence will enhance the experience you are having with the wild animal.

Jonathan Huyer – Moose

Moose, photographed from my car.
 
Summary
 
Winter can be a fantastic time for photography, and being properly prepared can make it all the more enjoyable. As always with photography, practice helps immensely, so don’t hesitate to get out there and make the most of a cold-weather day.
 
You can check out http://www.huyerperspectives.com/ for many more images captured in cold weather!

Post Date: 5/19/2014 10:38:57 AM CT   Posted By: Sean
Nikon AF-S NIKKOR 55-300mm f/4.5-5.6G ED VR Lens
eBay (via BuyDig) has the Refurbished Nikon AF-S NIKKOR 55-300mm f/4.5-5.6G ED VR Lens available for $189.00 with free shipping. Compare at $396.95.
Posted to: Nikon News
Post Date: 5/19/2014 7:14:13 AM CT   Posted By: Sean
Rokinon 85mm f/1.4 Manual Lens
eBay (via BestPriceOptics) has the Rokinon 85mm f/1.4 Manual Lens for Canon/Nikon available for $249.00 with free shipping. Compare at $299.00.
Post Date: 5/19/2014 6:45:27 AM CT   Posted By: Sean
 Saturday, May 17, 2014
Sigma 150-500mm f/5-6.3 APO DG OS HSM Lens
eBay (via BuyDig) has the Sigma 150-500mm f/5-6.3 APO DG OS HSM Lens for Canon/Nikon available for $724.99 with free shipping. Compare at $899.00.
Post Date: 5/17/2014 11:00:37 PM CT   Posted By: Sean
Elinchrom ELC Pro-HD Flash Heads
From Elinchrom
 
Elinchrom Inspires With Two New High End Compact Flash Units
 
The ELC Pro HD Compacts 500 and 1000 are the world's most complete, feature rich compact studio flash units. The result of over 50 years experience at the forefront of studio lighting technology. Designed and assembled at Elinchrom’s HQ in Switzerland the ELC benefits from the highest Swiss specification.
 
Elinchrom President Chris Whittle says, ”We set out to make a unit that would not only change the way a photographer works but also the way that they think. We believe the ELC combines everything a photographer needs with everything a photographer wants, plus the consistency and reliability that you expect from Elinchrom.”
 
Recycling times are lightning fast (0.6s / 1.2s to full power, ELC 500w / ELC 1000w) while Swiss precision guarantees consistency of power output and colour temperature, shot after shot. Furthermore the super fast flash durations (up to 1/5000s / 1/5260s, t0.5, ELC 500 / ELC 1000) enable you to freeze motion like never before.
 
The ELC is the first unit to incorporate an OLED screen that displays every control for the most professional user experience. As well as Elinchrom’s stop based power scale, you will now be able to see the power in Joules, flash durations and many other settings. A jog wheel provides easy navigation of the new menu.
 
New Shooting Modes
 
The ELC features three exciting new shooting modes that will literally change the way you create. Sequence Mode - Allows you to sequentially trigger up to 20 ELC’s, in bursts or as a continuous cycle, to utilise the high frame rate of your camera.
 
Delayed Mode - Provides the option of first or second curtain sync and everything in-between, plus predictive syncronisation within a short sequence.
 
Strobo Mode - Enables you to take a picture with stroboscopic effects within a single frame.
 
The new Elinchrom ELC 500 and 1000 Compact Flash units will be available soon with an MSRP of $1,049.99 and $1,449.99, respectively.
 
B&H has the Elinchrom ELC Pro HD Flash Heads available for preorder.
Category: Elinchrom News
Post Date: 5/17/2014 8:57:53 AM CT   Posted By: Sean
 Friday, May 16, 2014
CanvasPeople Logo
Looking for a Father's Day present? CanvasPeople is offering their gallery wrap canvas prints at 80% off + shipping.
 
Canvas Print Sale Prices

SizeStandard
Gallery Wrap
Thick
Gallery Wrap
8x10$10.00 -
11x11$13.80 -
11x14$14.00 $18.00
16x16$16.60 -
9x27$17.40 -
16x20$18.80 $22.80
18x24$21.00 $25.00
20x30$22.40 -
24x36-$27.80
20x48-$28.80

Post Date: 5/16/2014 2:12:57 PM CT   Posted By: Sean
Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR Lens
BuyDig.com has the Refurbished Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR Lens available for $749.00 with free shipping. Compare at $1,046.95 new.
Posted to: Nikon News
Post Date: 5/16/2014 12:38:21 PM CT   Posted By: Sean

 
Profoto recently announced its B1 Location Kit. Watch as Karolina Henke uses the Profoto B1 kit to photograph a fashion model on Fårö, a small but beautiful Baltic Sea island off Sweden's southeastern coast.
Post Date: 5/16/2014 8:32:26 AM CT   Posted By: Sean

 
From Nikon's YouTube Channel:
 
Capture the real 'Lion King' in action with photographer Chris McLennan at Botswana safari. Unleash the power of the D4 and D800E against Africa's robust wildlife, and capture even the faintest detail with the NIKKOR 300mm f/2.8 and 500mm f/4 lenses, plus the Nikon Creative Lighting System. Now with improved resolution, find out how Chris manages to capture a new side of Africa that was previously impossible.
 
Related Gear

Posted to: Nikon News
Post Date: 5/16/2014 8:16:53 AM CT   Posted By: Sean
Nikon AF-S NIKKOR 400mm f/2.8E FL ED VR Sample Image from Nikon Asia
Nikon Asia has posted sample images from the AF-S NIKKOR 400mm f/2.8E FL ED VR lens. From the looks of the sample photos, the lens looks to be a great performer. [Sean]
 
B&H has the Nikon AF-S NIKKOR 400mm f/2.8E FL ED VR Lens available for preorder.
Posted to: Nikon News
Post Date: 5/16/2014 7:47:47 AM CT   Posted By: Sean
Tokina AT-X 70-200mm f/4 PRO FX VCM-S Lens
Tokina announced a new stabilized telephoto zoom to the Japanese market – the AT-X 70-200mm f/4 PRO FX VCM-S for Nikon. The google translation for the announcement is a little clunky, but you can find it on Tokina Japan's website.
 
Specifications

Focal length70-200 mm
Angle of view34.45 ° ~ 12.42 ° (35mm full format)
BrightnessF4
Lens constitution19 pieces of 14 group
Minimum focusing distance1.0 m
Maximum magnification macro1:3.57
Filter Size67mm
Size82mm (maximum diameter) X167.5 mm (total length)
Weight980 g
Supported FormatsTo 24x36mm (35mm full format)
Corresponding mountNikon DSLR (full-size solid-state image sensor)
JAN Code: 4961607 216 569

Thoughts – I'm assuming Tokina will eventually come out with a Canon version of this lens. The price quoted for the Nikon version in the Japanese market is 150,000 yen, or roughly $1,480.00 USD. At that price, it would exceed the MSRP of the similarly spec'd Canon EF 70-200mm f/4 L IS USM. The specs indicate Tokina will be built like a tank (as most Tokinas are), with a much heavier weight in comparison (980g vs 760g). [Sean]

Posted to: Nikon News
Category: Tokina News
Post Date: 5/16/2014 7:20:13 AM CT   Posted By: Sean
 Thursday, May 15, 2014

 
From B&H's YouTube Channel:
 
Noted architectural and interiors photographer, Thomas H. Kieren, will show and discuss some of his project images from a variety of work that he has completed. This will include a combination of artistic and operational factors that drive the success of a photography project that he incorporates into his work for clients.
 
Thomas H. Kieren Photography
Post Date: 5/15/2014 3:04:47 PM CT   Posted By: Sean
Sean Setters as Walter White Self-Portrait
I was lucky to have existed in a time that allowed me to purchase a DSLR camera long before I ever purchased a smartphone. But saying that, the time of your birth or the circumstances leading to the evolution of your own photographic journey shouldn't prohibit yourself from making a decision right now – to henceforth capture images of yourself that are more meaningful and productive.
 
Nearly all of us have done it. We've extended our arms a little higher than our head and snapped a quick shot of our faces just to prove where we were at a moment in time. Or maybe we snapped it just to show we were happy. There's nothing technically wrong with the now-traditional selfie. Except maybe that it's lazy. And the lighting is all-too-often terrible. And the image quality is typically lacking.
 
"Selfies" have been around in one form or another for hundreds of years. Even before the invention of the camera, artists carved their own likeness in stone, created charcoal renderings or painted themselves. In contrast to today, self-portraits from generations past took many hours (sometimes days or weeks) to complete. But why did artists devote so much time to creating their own self-portrait? Are all creative types just that vain? (I don't think so.)
 
Fast forward to today and the effort that goes into making a typical selfie is shamefully minimal.
 
Why Should You Create More Self-Portraits?
 
Devoting time to taking self-portraits has many benefits. First, taking a self-portrait allows you to test out new techniques or refine existing techniques so that you're better prepared to handle future situations. Most of my self-portraits were taken while I was testing a new camera, lens, or light modifier. After playing around with the new gear, I had a pretty good idea of how the gear would perform when used in a for-profit portrait session.

Sean Setters RoundFlash Self-Portrait

And here's an obvious benefit that is often overlooked – when it comes to testing gear, you're always available to be your own subject. Your subject won't likely get bored or annoyed if things don't go according to plan (especially if the photographer takes an unusually long period of time getting familiar with the new gear).

Sean Setters Living Room Self-Portrait

Need a profile photo for your website? Or business card? Create the image that you're most happy with. Don't rely on someone else's vision to perfectly represent who you are as an artist.

Sean Setters Mustang GT Self-Portrait

In case it's not overwhelmingly obvious, I don't usually like to smile in my self-portraits. I like the "intense" look and can usually pull it off fairly well. The funny thing is that I'm really very friendly, approachable and – dare I say it – possibly even a goof ball. But taking my own self-portrait allows me to be whoever I want to be (even if only in pictures). However, I found out the "intense" look isn't very good for online dating profiles. Smiling picture, check.

Sean Setters Smiling Self-Portrait

Self-portraits can also be inspiring. After taking a self-portrait one day, I thought it might look interesting as a magazine cover. So after a little bit of Photoshop work, I created something fun that I really enjoyed. That image led me to create several more tongue-in-cheek magazine covers in the series.
 
After flipping through the fake magazine covers found on my Facebook page, a client asked me to create one for him. So not only had I honed specific photography and Photoshop skills while creating the personal project (which snowballed from a single self-portrait), but doing so led to business I would not have had otherwise.

Sean Setters Suburban Rapper Self-Portrait

I'm not saying that there's never an appropriate time for a cell phone snapshot. But as photographers, we should take pride in the images we post for people to see. Instead of just capturing where we were at a moment in time, we should take the opportunity to hone our craft through self-portraiture so that we're even better prepared for tackling all of the photographic challenges that we might otherwise be ill-prepared for.
 
Self-Portrait Tips

  • Decide on your motivation for the self-portrait – are you shooting for fun, experience or to create an image to fill a specific role? Set a goal of capturing something worthwhile with your effort no matter what your motivation is.
  • Find a way to push the limits of your own creativity. Get inspired by looking at other photographers' self-portraits.
  • Use a tripod and a wireless remote (Canon RC-6 | Vello FreeWave Plus). A tethered solution with an external monitor/display can really help with framing your shot, as can a wireless tethering solution when used with a tablet (CamRanger | DSLR Controller).
  • Try to make sure that sufficient light is hitting your eyes (or at the very least, one eye) as the eyes are usually what people are most drawn to when looking at a portrait.
  • Be patient and have fun. If you don't find the process enjoyable, you're not likely to do it again.

If you're reading this, you've obviously made a relatively serious investment in (and commitment to) photography. Get the most out of that investment by creating images of yourself that you can enjoy sharing as much as creating.

Post Date: 5/15/2014 9:18:02 AM CT   Posted By: Sean
Pocketwizard PowerMC2 Receiver
From Pocketwizard:
 
South Burlington, VT - May 14, 2014 - We have identified a potentially hazardous issue with the PocketWizard PowerMC2 receiver when used in combination with the Paul C. Buff Einstein E640 flash units, especially the CE/433 MHz version sold in Europe. You may have received a previous message from Paul C. Buff, Inc. regarding this issue.
 
In rare circumstances, if the PowerMC2 is connected to the Einstein flash and the Einstein flash is connected to a power outlet, exposed metal components like the USB port or antenna spring on the PowerMC2 can become electrified, posing a potentially serious shock hazard. If the PowerMC2’s antenna cover is broken, removed, or in any way damaged, DISCONTINUE USE IMMEDIATELY and contact PocketWizard.
 
Customers in the United States may continue to safely use the Einstein flash and PowerMC2 with the power cord supplied by Paul C. Buff and a properly wired USA-style three-pronged power outlet (NEMA 5) or with the Vagabond battery pack. If a properly wired NEMA 5 power outlet is unavailable in your location, ALWAYS UNPLUG THE FLASH PRIOR TO HANDLING THE POWERMC2.
 
1-877-393-004 The issue has been corrected for all PowerMC2 units sold by PocketWizard’s authorized distributor in the USA after February 15, 2014. Customers owning affected units are advised to immediately contact PocketWizard Technical Support toll free 1-877-393-00451-877-393-0045 or via our inquiry page to arrange for the return of affected units for free servicing to reduce the risk of electrical shock. We urge you to contact us regardless of the condition of your PowerMC2. We greatly apologize for this inconvenience.
 
Affected units:
 
All units with the CE logo on the back, or any serial number beginning M2Cxxxxxxx are affected and correctable.

Pocketwizard Power MC Safety Notice 1

Units with the FCC logo on the back and with a serial number M2U192000 or lower are affected and correctable.

Pocketwizard Power MC Safety Notice 2

Corrected units:

Pocketwizard Power MC Safety Notice 3

Units sold by PocketWizard’s authorized distributor in the USA after February 15th, 2014, or have serial number M2U194000 and higher, already have corrective safety features and warnings installed. Identifying features are “www.pwpatents.com” on the serial number sticker, and a yellow warning label.
 
Thank you,
 
Patrick Clow
Technical Support Manager

Post Date: 5/15/2014 7:27:39 AM CT   Posted By: Sean
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