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 Wednesday, November 9, 2016
From Adobe:
 
Two major updates for Lightroom are now available: Lightroom for Android 2.2 and new updates for Lightroom on the web.
 
Lightroom for Android 2.2 — Raw Technology Preview
 
Lightroom has always been about helping you get the most out of your images, and with Lightroom for Android 2.2, you can now import raw files directly into your Android device. The Raw Technology Preview makes it possible for you to connect your camera to your Android device and import photos directly from your camera. With this Technology Preview now available for Android (released for iOS in July of this year), you can capture, edit, and share raw photos, in full resolution, and have access to them wherever you are in the world.
 
Lightroom for Android now supports all of the same raw files that Lightroom for desktop as well as Adobe Camera Raw support, with the full list available here.
 
To transfer photos to your mobile device, you’ll need a USB On-The-Go adapter, sometimes just referred to an OTG cable. An OTG cable enables you to connect your mobile device directly to your camera and transfer your images with the PTP transfer mode. We recommend getting an OTG cable that matches the ports on both your camera as well as your Android device. For example, if your camera uses a Micro USB port and your Android device has a USB-C port, you’d want a Micro USB to USB-C OTG cable. These cables, and nearly every other imaginable combination of ports and connectors can easily be found online and are quite inexpensive.
 
After installing the Lightroom for Android 2.2, plug your camera into your Android device, and change to the PTP transfer mode in the Android Notification Center. Then, tap on the notification that indicates “Connected to USB PTP Camera. Tap to view files.”
 
You’ll be presented with an importer to select from the photos found on your camera to import into Lightroom on your Android device. Select the photos you want to import, the collection you want to import the photos into, and tap transfer. Lightroom will transfer the photos and notify you once all of the photos have been imported.
 
Adobe Lightroom for Android PTP Import Dialog

You get all of the benefits of raw, such as the ability to change the white balance, being able to recover blown out highlights, access to the full range of color information, as well as editing an uncompressed file, all using the exact same technology that powers Lightroom on your desktop. An added benefit is that the raw file that you’ve imported into Lightroom for Android will be synced with Lightroom on your other devices, such as Lightroom for desktop or Lightroom on the web, along with any of the edits, star ratings, or flags that you’ve added.
 
Lightroom for Android 2.2 is available now from the Google Play Store.
 
Lightroom on the Web — November Updates
 
  • Significant improvements to Shares
    New Shares created within Lightroom on the web have been made even more powerful. You can now add a header graphic, add sections within your Shares, and add text describing the sections. You can use this additional functionality to engage your audiences and tell richer photographic stories with Lightroom on the web.
     
  • Adobe Portfolio Enhancements
    Adobe Portfolio helps you showcase your creativity with your own professional online portfolio. We’ve made it possible for you to quickly and easily send your images from Lightroom on the web to Portfolio so that you can create and maintain a special place on the web to show off your photos. You can now create a new Project in Portfolio directly from within Lightroom on the web and copy your Lightroom photos into that new Project, saving time and making it even easier to maintain your online presence.
     
  • Download Original
    A highly requested feature is the ability to download your originals from within Lightroom on the web – and now you can. Any image for which the original is available in the cloud (such as images uploaded from Lightroom iOS or Android, or from Lightroom on the web) will now have an option available to download the original. The ability to download the original is only available for the owner of the account and will not be visible to viewers of the share.
As of today, all of these features are now available at lightroom.adobe.com.
 
B&H carries Adobe Photography Plan Subscriptions.
From GoPro:
 
Consumers Who Have Purchased Karma Can Return It for Immediate Refund
 
SAN MATEO, Calif., Nov. 8, 2016 -- GoPro Inc. today announced the recall of the approximately 2500 Karma drones purchased by consumers since October 23. The recall was announced after GoPro discovered that in a very small number of cases, Karma units lost power during operation. No related injuries or property damage have been reported.
 
Owners of Karma can return their units to GoPro, or their place of purchase, for a full refund. Replacement units are not being offered. GoPro plans to resume shipment of Karma as soon as the issue is resolved.
 
To participate in the recall, visit GoPro's webpage at: www.gopro.com/2016karmareturn
 
"Safety is our top priority," said GoPro Founder and CEO Nicholas Woodman. "A very small number of Karma owners have reported incidents of power failure during operation. We have moved quickly to recall all units of Karma and provide a full refund while we investigate the issue. We are working in close coordination with both the U.S. Consumer Product Safety Commission and Federal Aviation Administration. We are very sorry to have inconvenienced our customers and we are taking every step to make the return and refund process as easy as possible."
Category: GoPro News
Post Date: 11/9/2016 1:04:04 PM CT   Posted By: Sean
According to the Egami Blog, Canon has filed a patent for a display that can automatically switch between an optical viewfinder and an electronic one.
 
Canon OVF to EVF Switching Patent

Patent Details
 
  • Patent Publication No. 2016-173443
  • Published 2016.9.29
  • Filing date 2015.3.17
  • Provided with the OVF and EVF
  • Trackable AF
  • It switched to the EVF and deviates from the effective range of the AF sensor
Posted to: Canon News
Post Date: 11/9/2016 12:56:41 PM CT   Posted By: Sean
From Canon UK:
 
The software items that are experiencing compatibility issues with macOS 10.12 (Sierra) are listed below:
 
Software Version Issue Estimated Release of Updated Software
Map Utility1.7.2The USB connection with the GP-E2 is not functioning End of December 2016
Camera Window DC8.10.5a, 8.10.5b, 8.10.7Connection via USB or Wi-Fi is not functioning End of December 2016
EOS Utility 22.14.20aConnection via USB is not functioning End of January 2017
EOS Utility 33.5.0Connection via USB is not functioningEnd of December 2016
Posted to: Canon News
Post Date: 11/9/2016 12:09:25 PM CT   Posted By: Sean
by Sean Setters
 
While the Canon W-E1 Wi-Fi Adapter sounded intriguing upon its announcement, its apparent limitations left us a bit bewildered.
 
However, what if I told you that the Canon W-E1 Wi-Fi adapter (with a little help) is capable of a lot more? From my experience, the following features can be unlocked with the adapter:
 
  • Adjust almost any exposure related camera setting (including white balance)
  • Transfer any size file (including RAWs) to your mobile device
  • Focus Stacking (with variable flash delay)
  • Nearly unlimited exposure bracketing
  • Overlay gridlines or aspect ratio masks
  • And more...
In fact, I created the image seen below using the W-E1 to capture 28 incrementally focused images (compiled in Helicon Focus Lite and processed in Photoshop CC).
 
Swiss Army Knife Focus Stack Using Canon W-E1 Wi-Fi Adapter

The key phrase above is, of course, "with a little help." The Canon Camera Connect app is, to put it mildly, basic. Sometimes basic is just fine. But unfortunately, there's a huge omission in the Connect app's feature list, one which led to me shouting loudly last night while testing the app.
 
"The Canon Camera Connect app doesn't allow you to CHANGE THE WHITE BALANCE?!"
 
After spending roughly 15 minutes trying to figure out how to change the white balance within the Canon Camera Connect app without any luck, I was more than a little annoyed. This morning I called Canon's Technical Support to see if I was missing something. The technician I spoke to confirmed that adjusting this seemingly basic setting is not a feature of the app. And with the W-E1 card installed in the Canon EOS 7D Mark II, the camera does not allow local adjustments (meaning the buttons and LCD are unusable), so the white balance cannot be set from the camera when the Wi-Fi adapter is in use.
 
So how do you get the most out of the Canon W-E1 Wi-Fi adapter? For Android users, it's actually pretty easy – get the DSLR Controller app.
 
The reason why DSLR Controller works with the W-E1 is because the developer designed the app to work with Canon DSLRs featuring built-in Wi-Fi (once they became available). And since the W-E1 is using the same communication protocols, the app works just as it would if it were connected to a DSLR featuring built-in Wi-Fi.
 
I can't say for certain that the app will work for everyone, but I can tell you I was easily able to connect to the W-E1 installed in my EOS 7D Mark II in direct connection mode (smartphone or EOS Utility mode, both worked for me). Below is a screenshot of the app in action.
 
DSLR Controller Screenshot Connected to W-E1

Things to know:
 
  • While you can transfer RAW files to your mobile device, the transfer speed is relatively slow from my experience. Images are downloaded at the resolution in which they were captured (there's no RAW to JPEG conversion).
  • While there is an option to "Share" images in the app's Gallery view, none of the apps I tried to share images with (Gmail, Facebook Messenger, Dropbox, etc) actually worked. However, I was able to download JPEG images to my phone and share them normally. I also downloaded a RAW file to my phone and was able to upload it to Dropbox via a file browser app.
  • If you want to share images via your mobile device soon after capture, it may be best to record lower resolution JPEGs. Viewing smaller resolution JPEGs in the app's Gallery is much faster, transfers occur quickly, and the JPEGs can easily be shared immediately via the mobile device without straining data caps (if applicable).
  • Even though the app has been in development for quite some time, the developer only recently dropped the "beta" designation. You may experience the occasional glitch while using the app. In about 2 hours of testing, I lost camera connection once but was easily able to restore it.
  • Video recording (or viewing videos already on the memory card) is not supported.
There may be a similar iOS camera control app that allows for the same funcationality, but as I don't own an iOS device I'm unaware of those options.
 
B&H has the Canon W-E1 Wi-Fi Adapter available for preorder. The Google Play Store has DSLR Controller ($7.99) available for download.
Post Date: 11/9/2016 9:26:18 AM CT   Posted By: Sean
Wildlife photographers can spend many days or weeks working with the same subject at the same location and, due to ever-changing behaviors of their subjects, they can continuously capture unique images. Sports photographers have unique action at every game/meet/match/race/etc. at the same field/track/event location. Street photographer are always finding new entertainment at the same locations. Wedding, event and portrait photographers have a steady stream of new subjects coming through the same locations. But you, landscape (and cityscape) photographer, usually find the same subjects in the same positions each time you go back. However, you still have reasons for going back.
 
Basically, you most often go back in hopes that something might be different this time.
 
Perhaps you didn't get it right the first time. You didn't provide adequate depth of field or didn't focus to the right distance to keep everything in the image sharp. Or, perhaps you want to use a wider aperture lens to better define the primary subject. Perhaps the focal choice was not ideal and part of the scene was cropped too tightly. Maybe you were too close or too far away and didn't get the ideal perspective. You want to move up/down, left/right or closer/farther to get it right the next time.
 
You now have better skills. Closely aligned with getting it right this time are your improved photography skills. You are now better at reading a scene and better able to select the composition, perhaps including a foreground element or better aligning the background within the foreground framing.
 
You go back to work on your creativity. The more bored you become with photographing a scene, the more likely you are going to find a creative new way to photograph it.
 
You go back because you have better gear. While we sometimes think that camera and lens technology is not moving forward fast enough, what is available today is far better than what was available not long ago. Taking your new camera(s) and lens(es) to a past-visited favorite location is an easy recipe for bettering your portfolio. Your higher resolution, lower noise camera and sharper lens will create results that look better, especially at high resolution. Taking a circular polarizer filter, a neutral density filter, etc. that you did not originally have can make a huge difference in your repeat visit results.
 
You go back in hopes for better weather conditions. You hope for better skies, a better sunrise, a better sunset, better clouds, more/less fog, less (or possibly more) wind, warmer light, etc. Everyone loves a fiery sunrise or sunset and those don't happen every day – you might need to go back repeatedly to find these. Fog? Some locations have it with some regularity, but many others have it only occasionally.
 
You go back because the timing is different or better. You may have better water flow, creating better waterfalls that give images a completely different look, one well worth the effort of a revisit. The seasons of the year provide a very different look to many locations. Spring brings bright green foliage and (usually) good water flow. Summer brings darker foliage and warmer weather (required for the snow to melt enough to access some areas). Late summer and fall brings amazing color to the trees in many areas. Winter brings snow, completely redecorating the landscape.
 
The timing of the visit also dictates the position of the celestial bodies. Go back when the sun, moon and/or stars (the milky way) are better aligned. Perhaps the sun shines between two mountain peaks at a certain time of the year. Perhaps you want to go back when the milky way is best aligned over a scene. The same applies to the moon with a specific desired phase and position.
 
Perhaps the scene has indeed changed and is no longer physically the same. While there are not usually macro changes occurring to landscape without a significant environmental disaster (such as a tornado, hurricane, fire, etc.), micro changes frequently happen. Trees fall, erosion occurs, sediment moves in streams during strong flows and fields have a different crop in rotation. If the scene is significantly altered, new images will be more current than those taken before the alteration. Before and after photos may be valued in this case.
 
Sometimes, you go back just because things can happen. Wildlife showing up can add a prize-winning element to any image.
 
If you are considering going back, the location is probably amazing and somewhere you love to be. That alone is a great reason to go back as just being there is awesome. There is no reason why the same location cannot be enjoyed time and time again. If you like the location that much, perhaps you want to share it with a friend or friends.
 
You go back because the location is a known entity. You know that it is repeatedly good for a quality image – an image worth sharing is sure to come out of the effort.
 
You go back for practice. If the location is relatively close to home, visiting the location to practice skills and technique prior to a big photo trip is a great idea. Unlike riding a bike, more like distance running, photography requires practice to stay in top shape. It also affords the opportunity to test the camera gear that will accompany you on the trip.
 
Again, a primary reason to go back is that something might be different this time and the reason that different is desirable is for, minimally, variation and, ideally, for bettering. Photographers are constantly striving to better what we have already done, to raise the bar, to take another step forward in our passion/profession.
 
The previous time I visited Oxbow Bend, Grand Teton National Park, was convenient, but not so well-timed for photography. It was mid-summer (not bad in itself). The sun was high and the leaves were green. The sky was forest fire-hazy. While my cameras and lenses were the best-available at the time, they were not as good as those I'm using today. I was happy with my results at the time, but they do not hold nearly as much value to me from a photographical perspective now.
 
Recently, I was blessed with a revisit to this very photogenic location. And, the results from my revisit were much higher grade in many accounts. Though I'm missing the moose that was in my first set of images (it was so small in the frame that I didn't know it was even there until reviewing the images back at home), but my late summer (photographer's fall in this location), early morning timing for the second visit to Oxbow Bend combined with my now-current camera gear and 9-year-upgraded skillset turned in much better results this time around. I'm sharing one of my favorites with you today.
 
A larger version of this image is available on SmugMug, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
Post Date: 11/9/2016 8:00:00 AM CT   Posted By: Bryan
Image quality, vignetting, flare and distortion test results along with specs and measurements have been added to the Nikon 105mm f/1.4E ED AF-S Lens page.
 
Nice Lens.
 
B&H has the Nikon 105mm f/1.4E ED AF-S Lens in stock.
Posted to: Nikon News
Post Date: 11/9/2016 7:30:00 AM CT   Posted By: Bryan
 Tuesday, November 8, 2016
Nikon has posted their second quarter financial results for the financial year ending March 2017. As we've already mentioned, Nikon will be restructuring their semiconductor and digital camera businesses and intends on cutting 1,000 jobs in the process.
 
Posted to: Nikon News
Post Date: 11/8/2016 8:49:29 AM CT   Posted By: Sean
Yesterday we published a quote from the Nikkei Asian Review which stated that Nikon planned to cut 1,000 jobs from its shrinking semiconductor and digital camera businesses, choosing instead to focus on growing markets. Other articles I found seemed to support Nikon's financial troubles.
 
However, Nikon later published a press release which seemed to discredit the Nikkei Asian Review story (thanks AKH). Here's the full text of that release:
November 8, 2016 – There were media reports such as in The Nikkei this morning regarding Nikon's restructuring plan centering on headcount reduction during several years. Nikon has made no announcement in this regards.
 
Although Nikon is constantly studying various management options including headcount rationalization for strengthening company’s profitability mainly of Semiconductor Lithography and Imaging Products Businesses, nothing has been decided at this time.
 
Should any facts pertaining to this matter are decided, Nikon will immediately make an announcement.
If that's where the story had ended, we would all simply assume that The Nikkei Asian Review had been incorrect because of a grievous miscommunication. But in a bewildering move, Nikon then published a Notice of Restructuring (thanks Alaska) which confirmed the cutting of 1,000 jobs. Here's the relevant quote from that notice:
November 8, 2016
...
Based on the above initiatives to rationalize headcount, Nikon will be announcing a voluntary retirement program of approximately 1,000 employees. Eligible applicants and detailed conditions will be announced once officially finalized.
With contradictory official documents being published within hours on the very same day, we are left scratching our heads. What is going on with Nikon's public relations and communications divisions?
Category: Nikon News
Post Date: 11/8/2016 6:37:21 AM CT   Posted By: Sean
You have 20 minutes to capture a complete set of homecoming pictures. And, there is a complication. Actually, three of them. A palomino horse, a blue roan (black) horse and a dog are to be included in most of the photos. And, one of the horses "needs" to be bridal-less for a segment of the shoot.
 
It was a crazy day (I know, that is not unusual), but high on one daughter's priority list was getting pictures of herself dressed up for homecoming. Having been through this scenario before, I knew what to expect. Primarily, there would be no time remaining for those pictures. I also knew about the desire to include the animals, but the specifics had not yet been communicated to me (even though I had asked).
 
Oh, I forgot to mention – it was lightly raining and with horses involved, the shoot was of course outdoors. Looking on the bright side, the heavy cloud cover made lighting easy with no harsh shadows and a reasonable level of dynamic range in the scene which included a black dress along with the black horse. Also positive is that with animals in the picture, the subject always seems to find it easier to smile naturally.
 
None of the subjects remained completely still at any point, meaning that my timing, framing, focus distance, etc. was always being challenged. In the end, I "borrowed" 10 minutes from the next-scheduled homecoming event and came away with an adequate number of keeper-grade photos. And, I thought that I would share one of them with you today.
 
For low light outdoor portraits with a variety of subject framing required, the Canon EF 70-200mm f/2.8L IS II USM Lens was my choice. It was a rather easy choice for me to make. It has only good portrait focal lengths in it and a nice range of them. The wide max aperture was ready for the low light levels and that this wide aperture was available over the entire focal length range, meant that I could lock in an exposure and, as long as the light levels did not change, all images would have identical brightness. While a right-on exposure was my intent, any adjustments needed could be globally applied for very fast post processing. The wide aperture combined with the telephoto focal length range created a nice background blur, making the subjects stand out in the scene. Being weather sealed made the light rain a non-issue. The Canon EOS 5Ds R behind this lens allowed me to shoot with framing slightly loose if I needed to, with cropped images still having very high resolution remaining.
 
As the animals were not overly cooperative, I tried to work with the positions that were available at any given time. Of course, the handler's position was partially dictated by the animal's position and ... there was a constant challenge to keep the subjects in attractive and complementary positions while keeping the background aligned in a pleasing manner. We didn't quite get the left hand position right, but all things considered, it was good enough.
 
Notice the low-to-the-ground camera position? There had been a long drought and the grass was thin with lots of brown spots showing. By shooting from low to the ground, the grass appeared thicker with a better-colored foreground being the result. As I was shooting downhill slightly, the low camera position was also complementary to the subjects.
 
After we finished, Brittany's hair was flat (due to the light rain), over two inches of her heels were covered in mud (shoes sunk into the grass) and the dress was dirty (the horse gets the blame for this one), but ... she made it to the big event and the photos I sent her later that evening made her day. So, all was good in the end.
 
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
95mm  f/2.8  1/200s
ISO 400
7643 x 5095px
Post Date: 11/8/2016 8:00:00 AM CT   Posted By: Bryan
From Nikon:
 
Changes from “C” Firmware Version 1.10 to 1.11
 
  • Fixed an issue that prevented the touch-shutter option releasing the shutter when autofocus was used during live view with an SB-800 flash unit attached.
  • Changed the items checked when image sensor cleaning was performed using the SETUP MENU > Clean image sensor > Clean now option. We recommend that you use this option to perform image sensor cleaning after the update is complete.
Download: Nikon D500 Firmware v.1.11
 
B&H carries the Nikon D500.
Posted to: Nikon News
Post Date: 11/8/2016 7:10:08 AM CT   Posted By: Sean
 Monday, November 7, 2016
From Nikkei Asian Review:
TOKYO -- Nikon plans to eliminate about 1,000 jobs in Japan, or 10% of its domestic workforce, as the company shifts resources away from once core businesses to medical devices and other growth areas.
 
The cuts over the next two to three years will mostly affect Nikon's money-losing semiconductor equipment operations and its shrinking digital camera business.
 
Nikon likely will offer early retirement to workers at facilities including its Kumagaya plant in Saitama Prefecture, northwest of Tokyo, which makes semiconductor lithography systems. Severance payments and other restructuring costs are expected to total hundreds of millions of dollars over two to three years.
 
Nikon is seen missing its forecast of a 64% jump in net profit to 30 billion yen ($287 million) for the fiscal year ending in March. Its net profit has fallen from a peak of 75.4 billion yen in fiscal 2007 to 18.2 billion yen last year.
Read the entire article on the Nikkei Asian Review.
 
Other Resources
 
via Nikon Rumors
Posted to: Nikon News
Category: Nikon News
Post Date: 11/7/2016 2:46:58 PM CT   Posted By: Sean
Post Date: 11/7/2016 8:27:47 AM CT   Posted By: Bryan

 
From the Adobe Photoshop Lightroom YouTube Channel:
 
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 11/7/2016 6:47:34 AM CT   Posted By: Sean
The Sigma 18-35mm T2 and 50-100mm T2 Cine lenses, designed for the exacting standards of 6K and 8K cinematographers, are scheduled for availability next month. The lenses will be produced in EF, E and PL mounts, but only the EF and E mounts will be available initially.
 
Unfortunately, pricing information has yet to be released.
Category: Sigma News
Post Date: 11/7/2016 5:57:44 AM CT   Posted By: Sean
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