Shooting abandoned places can lead to surprising results. You'd never guess David's shot 'The Mothership' is actually Linnahall: a former concert hall in Tallinn, Estonia. Check out what he has to say about it and take a closer look at the shot here http://bit.ly/1LFfGB9
From the photographer, David de Rueda:
"Linnahall is a former concert hall in Tallinn, Estonia. With a two minute exposure, I could reveal the architecture of the place, which otherwise sat in darkness. The central framing gives the photograph its power, drawing the eye right to the centre. To me, it almost looks like a spaceship."
How to claim Once you have purchased your new Nikon product/s, you will need to follow the simple claim process below. To enable us to complete your claim, we will need to see supporting documentation. This can be in the form of a hard copy or a digital copy with an online claim.
Please follow the steps below to make a claim.
Please read the terms and conditions and ensure that you have understood them fully before applying to make a claim.
Find your Nikon Europe Service Warranty document for all products. This will either have already filled in Nikon UK Ltd or Nikon Europe BV (Please see image below).
Fill in your name and address details on the Nikon Europe Service Warranty document for all products (if applicable).
Make a photocopy or a digital copy of the Warranty documents for all products claimed for, and retain the originals for your records. This could be in the form of a scan or photograph.
Please make a digital copy or a photocopy of your receipt/invoice ensuring that the date of purchase is clearly visible. This could be in the form of a scan or photograph. These documents will need to be uploaded during the claim process or sent via post. NB: Original receipts/invoices should not be sent in with your application as Nikon will not return the original documentation.
Complete the online claim form by clicking on the "Claim Now" button or by following other cues to claim throughout the site.
Once completed either upload your digital copies of your invoice and warranty documents, or print the copy of the confirmation and send with the documents above to Nikon Battery Grip Promotion 2015, PO Box 246, Alton, GU34 9BL. If you require a hard copy of the claim form please ring +44 (0)1420 525 506.
Please also note the following:
A maximum of one claim can me made per person on each model included in the promotion.
For online purchases an order confirmation is not sufficient for a claim.
If you experience any problems and/or are unable to complete the online claim form, please ring our Claim Line on +44 (0)1420 525 506.
Canon officially began celebrating the EOS 5D's 10th anniversary earlier this year and now they've published an introspective video narrated by members of their camera design team.
The EOS 5D launched in 2005 and was immediately successful because, up until then, full-frame sensors were limited to elite, expensive pro-grade bodies (Canon 1-series). With each successive iteration, Canon has introduced key advancements that kept the camera line relevant for its target markets (high resolution, video recording, advanced AF, etc).
It's interesting to look back and see how the 5D line has grown and matured into what it is today. The original 5D was a relatively stripped down camera with a full-frame sensor, somewhat akin to an EOS 6D today – capable of producing great images, but without many of the features that pros require.
Today, the 5D series sits squarely between the market it used to serve and the highest end, 1-series market (both in price and features) with a notable exception – resolution – where the 5D bests its top-tier big brother. With each feature-packed iteration the 5D has appealed to an even broader market; I think that's a big reason why the cameras have been so popular over the past decade. I think it'll be interesting to see where the lineup goes from here. [Sean]
Obvious is that the Canon EOS 5Ds is a much higher resolution camera than the Canon EOS 5D Mark III. Because the 5Ds has more pixels in the same amount of sensor space as the 5D III, camera and subject motion causes subject details to cross over pixels at a faster rate, potentially resulting in blur and a loss of pixel-level sharpness. Because of this, you may find that a faster minimum shutter speed is necessary for handholding this camera (and that image stabilization becomes more important). Similarly, fast-moving subjects may require faster shutter speeds to avoid pixel-level motion blur.
This is the 5Ds change with the biggest learning curve. But, get the shutter speed wrong and you may have a fallback option available.
The momma black bear showed up and I sprung into action. With the Canon EF 100-400mm L IS II Lens mounted to the 5Ds (the "R" in this case), I quickly estimated the manual exposure needed. Black bears rendered large in the frame tend to be overexposed in auto exposure modes and I was able to dial in the right manual exposure setting just as fast as determining any exposure compensation needed. I made one quick ISO setting change after seeing the first image on the histogram and began rapidly capturing frames.
Unfortunately, most of my shots from this 2 minute session were throwaways, primarily due to the bear's constant fast movement creating poor head positions. Some of the better-composed images were not as sharp as desired due to motion blur.
Hindsight is usually clear and I know that I should have opted for a higher ISO setting and shorter shutter speed, but I was hoping that the bear would pause occassionally, affording me the opportunity for sharp images at 1/320. When modestly blurred images happen, the fall-back option available is to reduce the final image dimensions until it is the desired sharpness. Reducing the final image dimensions to those of the 5D III (or similar) will give you the about same sharpness results as if the image had been captured on that lower resolution camera.
Here is the full resolution crop example showing what I was not satisfied with:
Take this image down to 5D III pixel dimensions and ... I have an image I can be happy with:
In the case of my bear photo, 5D III dimensions result in an acceptably sharp image (the DOF is centered closer to the eyes, leaving the teeth slightly out of focus). While I would rather have the full 50.6 megapixel image be sharp, having this image sharp at 22 megapixels does not leave me with big regrets.
I know, the bear is not looking at me. I always recommend taking a tastier (and slower) friend along when photographing bears. The bear was looking at her. I'm kidding of course. :)
While testing Canon's cheapest lens on their highest resolution camera may seem to be a pairing of opposites, there is a point to be made here. The 50 STM is not a great performer at f/1.8, showing a "dreamy" look to be kind. If we review a comparison between the 5Ds R and 1Ds III with the 50 STM at its f/1.8 aperture, we see that the 5Ds R can extract more resolution from even a poor performing lens. Look at the white being more clearly delineated between the black lines in the top crop to most easily see this.
As same as the Live View mode of Canon “EOS 8000D (Rebel T6s / 760D)” and “EOS Kiss X8i (Rebel T6i / 750D)”, we have found that similar update is required for our lenses to make them compatible with the Live View mode of “EOS 5Ds” and “EOS 5Ds R” cameras.
Please note that those products shipped after May 11th in 2015 or updated the firmware for Canon “EOS 8000D (Rebel T6s / 760D)” and “EOS Kiss X8i (Rebel T6i / 750D)” cameras are already compatible with the “EOS 5Ds” and “EOS 5Ds R” cameras, too.
In case your lens belongs to the lens group listed below, please contact your nearest authorized SIGMA subsidiary or distributor to update the firmware free of charge.
Phenomena It does not display images on the rear LCD monitor when Live View Mode button on the camera body is pressed.
Products and Serial Numbers to be updated The new firmware will ensure the lens is compatible with the Live View mode of EOS 5Ds and EOS 5Ds R cameras.
17-50mm F2.8 EX DC OS HSM
No. 12651501 or later
18-250mm F3.5-6.3 DC MACRO OS HSM
No. 13044001 or later
APO 70-200mm F2.8 EX DG OS HSM
No. 12713001 or later
APO 50-500mm F4.5-6.3 DG OS HSM
No. 12902001 or later
120-300mm F2.8 DG OS HSM | Sports
No. 50064494~ 50347793
APO 150-500mm F5-6.3 DG OS HSM
No. 12669751 or later
17-70mm F2.8-4 DC MACRO OS HSM
No. 12665001 or later
18-200mm F3.5-6.3 II DC OS HSM
No. 12851001 or later
18-250mm F3.5-6.3 DC OS HSM
No. 12656101 or later
APO 50-150mmF2.8 EX DC OS HSM
No. 12839001 or later
APO 120-300mm F2.8 EX DG OS HSM
No. 12676440 or later
APO 120-400mm F4.5-5.6 DG OS HSM
No. 12971601 or later
* For lenses that have been repaired in the past, they may require the firmware update even when the serial number is not listed above. If the mentioned camera does not display images on the rear LCD monitor when Live View Mode button on the camera body is pressed, it is necessary to update the firmware. * Our DC lenses are developed for the camera bodies with APS-C image sensor, and it is not designed for the cameras with full-size and 1.3x sensors. * There is no need to update the firmware of those products shipped after May 11th in 2015 or already updated for Canon “EOS 8000D (Rebel T6s / 760D)” and “EOS Kiss X8i (Rebel T6i / 750D)”cameras.
For those who own the SIGMA USB DOCK, it will be possible to update the firmware of 120-300mm F2.8 DG OS HSM | Sports through SIGMA Optimization Pro.
* If you use the SIGMA USB DOCK with 120-300mm F2.8 DG OS HSM | Sports, even when the lens does not require the update, its firmware will be updated to the new version. * For those who use APO TELE CONVERTER 1.4x EX DG or APO TELE CONVERTER 2x EX DG with the 120-300mm F2.8 DG OS HSM | Sports, please contact your nearest authorized subsidiary / distributor of SIGMA for further support.
How to identify updated products Products that we will be shipping from now on already have the updated firmware. This can be recognized by the white sticker on lower left side of the gift box as shown below.
For further information, please contact your nearest authorized subsidiary / distributor of SIGMA.
The AF-S NIKKOR 500mm f/4E FL ED VR and AF-S NIKKOR 600mm f/4E FL ED VR Lenses Dominate the Sidelines With Superior Optical and AF Tracking Performance, While New Design Reduces Weight
MELVILLE, NY – Today, Nikon Inc. announced two new super telephoto lenses, the AF-S NIKKOR 500mm f/4E FL ED VR and AF-S NIKKOR 600mm f/4E FL ED VR. These two NIKKOR lenses use the latest Nikon lens technologies to enhance autofocus (AF) tracking and optical performance, while benefitting photographers with a significant reduction in weight. Ideal for sports, action, wildlife and press events, these lenses offer photographers the ability to capture striking images from afar with brilliant clarity and sharpness.
“The new NIKKOR 500mm and 600mm f/4 lenses were developed to give photographers the advantage on the sidelines or in the field, with a lens that can keep up with the action and get the decisive shot,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “By the fourth quarter or final period, users will sincerely appreciate the weight reduction of these lenses which allow for extended shooting, even into overtime.”
Increased Performance, Reduced Weight These new super telephoto NIKKOR lenses have been optimized for today's high-resolution image sensors and fast-shooting Nikon DSLR cameras. The new lens designs significantly improve AF tracking performance, helping photographers to capture images of dynamic wildlife or athletes in precise clarity, even when subjects are moving erratically, at random speeds or at the camera. Both lenses also utilize Nikon’s Electromagnetic Diaphragm, helping to maintain consistent exposure during high-speed burst shooting of fast action.
The addition of fluorite lens elements to the optical formula helps to reduce chromatic aberration, as well as decrease the overall weight of the lenses, saving nearly two pounds (lbs.) for the 500mm f/4E FL ED VR, and nearly three lbs. for the 600mm f/4E FL ED VR. For extended shooting days in the field, the AF-S NIKKOR 500mm and 600mm lenses also employ magnesium alloy construction for enhanced durability and further weight reduction.
Because the AF-S NIKKOR 500mm f/4E FL ED VR weighs in at just 6.8 lbs./3090 grams (vs. 8.5 lbs./3880g of its predecessor), super telephoto performance has never been so light. This premium NIKKOR lens is ideal for nature and sports photographers who are always traveling on assignment and are looking for a fast, constant aperture lens to capture photos and HD video from a distance. The combination of nimble agility, low-light capability and superior optical performance makes this lens an obvious choice for tack-sharp images of birds in flight, aircraft or other fast moving subjects when a tripod is not always an option. The optical formula of this lens combines two fluorite elements and three Extra Low Dispersion (ED) glass elements to further reduce chromatic aberration while providing superior sharpness and color accuracy.
For long reach with superior optical performance, professional photographers should consider the AF-S NIKKOR 600mm f/4E FL ED VR, which provides the ultimate in fast-aperture and focal distance for challenging subjects. With a constant aperture of f/4, the new 600mm lens gives the photographer the ability to fill the frame and create dramatic separation between subject and background. With a weight of merely 8.3 lbs. /3810g (vs. 11.5 lbs./5060g of its predecessor), the lens features two fluorite lens elements and four ED elements to provide discerning photographers with unrivaled sharpness.
NIKKOR Lens Technologies Adding to a long legacy of renowned optical excellence, both lenses feature the most advanced NIKKOR lens technologies, including the addition of Nikon’s exclusive Nano Crystal Coat to further reduce instances of ghosting and flare; an essential feature for capturing outdoor sports or action under the lights. Both lenses also incorporate Nikon Vibration Reduction (VR) technology, affording up to four stops of image stabilization*, with automatic tripod detection to counteract vibrations when mounted on a tripod. For pros shooting fast and erratic moving sports or subjects, using the SPORT VR mode will yield a more stable viewfinder image whether handholding the lens, using a monopod or even when panning.
For enhanced durability, both lenses are sealed and gasketed against the elements and have a fluorine coating on a front protective meniscus element to make it easier to remove dirt, moisture and smudges from the lens surface. For shooting from extreme distances, the new lenses are also compatible with select Nikon teleconverters** that provide photographers with the ability to autofocus up to f/8 with many Nikon professional DSLR bodies.
Price and Availability The new AF-S NIKKOR 500mm f/4E FL ED VR will be available in mid-July for a suggested retail price (SRP) of $10,299.95. The AF-S NIKKOR 600mm f/4E FL ED VR will be available in mid-July for the SRP $12,299.95.
An Everyday Lens That's Anything But Ordinary: The AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR Lens Offers Advanced Photographers Powerful Versatility
MELVILLE, NY – Today, Nikon Inc. announced the new AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR lens – an amazingly versatile DX-format lens that is well suited for advanced and enthusiast photographers. The NIKKOR 16-80mm features a combination of the best Nikon lens technologies, some never before seen in a Nikon DX-format lens, including Nikon’s legendary Nano Crystal Coat. The resulting lens gives a wide variety of photographers an all-purpose optic to help take their photography further and tell their story with clarity and precision.
“The NIKKOR 16-80mm f/2.8-4 is a very exciting addition to the NIKKOR DX-format lens lineup, and a new milestone in the NIKKOR legacy – it combines the most advanced optical technologies with an extremely useful focal range to capture photos and HD video,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “This new lens is a great companion for Nikon’s high-performance, lightweight series of DX-format DSLR cameras.”
DX-Format Versatility Make no mistake, the new AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR is premium glass for those who desire a fast and highly capable wide-angle zoom lens. The lens features a popular, wide 24-120mm (FX-format equivalent) focal range, which makes it ideally suited for a variety of shooting disciplines. From wide-angle landscapes, tight portraits or for those looking for an all-in-one tool for travel, this lens does it all. The large f/2.8 - f/4 aperture lets photographers shoot in challenging light with ease, with the creative flexibility afforded by a shallow depth-of-field. Whether photographing friends’ faces or a festive plate full of local flavor, the 16-80mm’s fast aperture lets users blur the background to create that dramatic separation between subject and background that emphasizes and flatters a subject. For creative close-ups of everything from passion-projects to flowers, the lens has a very useful minimum focusing distance of merely 1.2 feet throughout the entire 5x zoom range.
To further enhance its low-light capability, the new NIKKOR 16-80mm f/2.8-4 lens also features Nikon’s Vibration Reduction (VR) image stabilization technology, which provides up to 4 stops of image stabilization*, helping to create sharp images while shooting handheld or in challenging light. As an added benefit to landscape and wildlife photographers, this lens features VR with automatic tripod detection, to counteract vibration when mounted on a tripod.
Latest Optical Technologies The new AF-S DX NIKKOR 16-80mm F/2.8-4E ED VR boasts some of the best optical innovations from Nikon, and is the first Nikon DX-format lens to wear the gold “N” emblem, to indicate the presence of Nikon’s exclusive Nano Crystal Coat. This advanced optical coating significantly reduces instances of ghosting and flare for the highest quality images. The front and rear elements also integrate a fluorine coating to make it easier to remove dirt, moisture and smudges from the lens surface. This is also the first Nikon DX lens to feature an electromagnetic diaphragm; this innovation electronically adjusts the aperture within the lens, resulting in consistent exposure during high speed shooting.
The new NIKKOR 16-80mm lens features robust construction while retaining a lightweight and compact body. The lens features four Extra-Low Dispersion (ED) elements and three aspheric elements to further combat instances of ghost, flare and chromatic aberration. The lens is constructed of 17 elements in 13 groups, and features a seven-blade diaphragm to create a circular, natural bokeh for a pleasing out of focus area of the image. For fast, accurate and quiet AF performance, the 16-80mm also features Nikon’s Silent Wave Motor (SWM) technology.
Price and Availability The new Nikon AF-S DX NIKKOR 16-80mm f/2.8-4E ED VR will be available in July for a suggested retail price (SRP) of $1,069.95.
MindShift Gear’s First Light Outdoor Photography Backpacks Feature Extreme Comfort, Airline Compatibility, and Big Glass Capacity
SANTA ROSA, CALIF – MindShift Gear’s First Light backpack series addresses the most pressing needs of outdoor photographers who travel and trek, especially those who carry their 200mm to 600mm “Big Glass” lenses. These high capacity backpacks come in three sizes and feature contoured, adjustable torso harnesses with 11 adjustment points for extreme comfort whether running through an airport or traversing a mountain. Designed to comply with airline carryon size requirements, First Light backpacks are built with ballistic nylon bottoms for durability, room for a laptop and personal gear, and in the two larger sizes, a dedicated pocket for hydration reservoirs.
“We heard loudly and clearly from outdoor photographers that they wanted dual-purpose backpacks they could use to transport their gear safely on airlines and also for carrying their largest lenses comfortably for hours while deep into their treks,” said MindShift Gear’s CEO and Lead Designer Doug Murdoch. “We were able to design backpacks sized to fit three different camera gear configurations that are the best made, most durable, most comfortable, and most reasonably priced in the market.”
Dedicated 3L hydration pocket on side (30L & 40L only)
Tablet or laptop fits into front pocket (20L & 30L = up to 15” laptop; 40L = up to 17” laptop)
Includes tripod/monopod mounting system on front or side
Better weight distribution for a more comfortable load enables easier all day use on the trail
Seamless rain cover (included) doubles as a ground cloth
When attached, rain cover allows small to medium tripods to be carried on front or side positions
2 front stuff pockets for travel or trail essentials; extra layers, a light jacket, headlamp, gloves, chargers
Adjustable high-density closed-cell foam dividers for large telephoto lenses, traditional photo gear, or personal items
Large water bottle or accessory pocket with drains and cinch cord for security
Top zippered pocket for quick access to essentials
Ballistic nylon bottom panel for durability in harsh environments
Shaped aluminum torso stay for additional support
Grab handles on 3 sides make it easy to hoist into an overhead bin, car, or trunk (2 handles on 20L)
Interior mesh pockets for storing filters, batteries, cables, etc.
Side compression straps with locking SR buckles for additional lash points
Shoulder straps and waist belt wrap to front for compact storage in overhead compartment
Whistle integrated into sternum strap buckle
Compatible with MindShift Tripod Suspension Kit, Lens Switch Case, and the filter cases
FirstLight 20L: Holds 1 standard-size DSLR and 4–6 standard zoom lenses. Holds 2 large Mirrorless DSLRs and 5–7 lenses plus a flash. Maximum lens size: 200–400mm f/4 detached or 300 f/2.8 attached.
FirstLight 30L: Holds 1 gripped DSLR and 4–6 standard zoom lenses, and 1 flash. Maximum lens size: 500mm f/4 lens detached or 400 f/2.8 attached.
FirstLight 40L: Holds 2 gripped DSLRs with 6–8 standard zoom lenses and 1–2 flashes. Maximum lens size: 600mm f/4 lens detached or a 500mm f/4 attached.
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating; the underside of the fabric has a polyurethane coating. It also has the highest quality abrasion-resistant YKK RC-Fuse zippers, 420D velocity nylon, 420D high-density nylon, 1680D ballistic nylon, 210D nylon, 320G DuraStretch mesh, nylon webbing, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
FirstLight 20L: Exterior Dimensions: 11.4” W x 18.7” H x 7” D (29 x 47.5 x 17.8 cm) Interior Dimensions: 10.8” W x 17.5”H x 5.3” D (27.5 x 44.5 x 13.5 cm) Front Pocket: fits up to 15” laptop Weight: 4.4lb (1.9kg)
FirstLight 30L: Exterior Dimensions: 12” W x 19” H x 8.7” D (30.5 x 48.3 x 22 cm) Interior Dimensions: 11.2” W x 18.1”H x 7.1” D (28.5 x 46 x 18 cm) Front Pocket: fits up to 15” laptop Weight: 5.4 lbs (2.4 kg)
FirstLight 40L: Exterior Dimensions: 13.8” W x 21.7” H x 9” D (35 x 55 x 22.9 cm) Interior Dimensions: 13.4” W x 20” H x 7.3” D (34 x 51 x 18.5 cm) Front Pocket: fits up to 17” laptop Weight: 6.0 lbs (2.7 kg)
To be honest, I thought the 24-70mm f/2.8L II would be easy to declare the winner and optically, it is the best of this list. However, the two f/4 lenses perform better in front of 50.6 megapixels than I expected.
The f/2.8L II is slightly sharper over then entire focal length range at f/2.8 than either of the f/4 lenses are at f/4. At the equal f/4 comparison, the f/2.8L II is noticeably sharper and is still sharper at f/5.6. At f/8, the differences are slight and at f/11, diffraction essentially evens the playing field. Choosing an image sharpness winner between the two f/4 lenses is a challenge, but more noticeable is the 24-105's higher CA and distortion levels.
The f/2.8 lens has a 1 stop wider aperture, giving it the ability to stop action in 1/2 as much light as the other two lenses and the ability to create a stronger background blur. The 24-70mm f/4L IS rules the maximum Magnification (MM) spec with a 0.70x rating vs. the competition's 0.23x and 0.21x specs. The two f/4 lenses have image stabilization, allowing them to be used handheld in far lower light levels than the f/2.8 lens (as long as the subject is not in motion). The 24-105 L has the benefit of reaching to 105mm on the long end.
The f/2.8L II is slightly larger than the 24-105mm f/4L IS, which is slightly larger than the 24-70mm f/4L IS. The f/2.8L II has a modestly more substantial lead in the weight category, weighing in 5 oz (142g) more than the 24-105mm f/4L and 7 oz (198g) heavier than the 24-70mm f/4L. These lenses are similarly well-built.
Small differences between these lenses include the 2012-introduced 24-70mm models having 9 blade apertures vs. the 2005-introduced 24-105mm's 8 and the f/2.8 lens having an 82mm filter thread size (vs. 77mm). A not-so-small difference is the f/2.8L II's price relative to the f/4L IS models.
All of these lenses are easily good enough for use in front of a 5Ds. The decision differences for many will come down to price, aperture and overall versatility.
If your investment in the 5Ds has left you monetarily strained, a good value may be your highest priority. In that case, the 10 year old 24-105mm f/4L IS, purchased in white box or refurbished condition would be a great choice. Canon omitted the 24-105 L from its EOS 5Ds Lens Recommendations List, but ... I think this model is very worthy of consideration.
If you need to stop action in low light or want to create the strongest background blur, you need an f/2.8 aperture and the choice is easy. While the 24-70mm f/2.8L II will impact your wallet the greatest and will leave you without IS, this is the most amazing lens choice optically.
For overall versatility, I'll give the nod to the 24-70mm f/4L IS. The smallest and lightest lens of the group, the 24-70mm f/4L IS offers great image quality along with the best-performing image stabilization system and a macro-lens-like close-focusing capability. While more expensive than the white box or refurbished 24-105 f/4L IS, the 24-70 f/4L IS has the same regular price as the 24-105 L and is also a good value.
The Ultimate 5Ds General Purpose Lens
While it would be easy to justify a decision for any of these three lenses, I'm going to declare the EF 24-70mm f/2.8L II Lens to be the ultimate EOS 5Ds general purpose lens. Canon apparently agrees with this choice as this is the lens shown mounted in the Canon-supplied EOS 5Ds product images. However, I will not be selling my 24-70 f/4L IS lens anytime soon.
Also available, DxO FilmPack v5.1.4 and DxO ViewPoint v2.5.6 are now fully compatible with Adobe Photoshop CC 2015
Paris – July 1, 2015 – DxO, one of the world leaders in digital imaging technology, announces the immediate availability of DxO OpticsPro v10.4.2, DxO FilmPack v5.1.4, and DxO ViewPoint v2.5.6 for Mac and Windows. These three updates allow these DxO solutions to support the Canon EOS 5DS and 5DS R cameras, and to allow DxO FilmPack 5 and DxO ViewPoint 2 to integrate perfectly with the 2015 edition of Adobe Photoshop CC.
Enhanced Canon EOS 5DS and 5DS R images Renowned for its unequaled management of highlights, outstanding color rendering, and the spectacular results of its ultra-high-quality PRIME denoising feature, DxO OpticsPro 10 now supports RAW files from Canon EOS 5DS and 5DS R cameras. Digital noise is removed; details and color saturation are preserved, particularly in dark areas; and textures are preserved, even when shot at the highest sensitivities — perfect tools for these two extremely high-resolution cameras from Canon, which offer a wide range of sensitivities and high accuracy.
25,000 available DxO Optics Modules for unrivaled optical corrections DxO OpticsPro v10.4.2 also adds 789 new camera/lens combinations to its DxO Optics Modules library, thus offering support to lenses from Canon, Samsung, Sigma, Sony, Tamron, Tokina, Voigtlander and Zeiss for numerous Canon, Nikon, Panasonic, Samsung and Sony cameras.
Developed in the laboratory using an exclusive calibration process, DxO Optics Modules contain all of the information about the characteristics of each camera and lens. This database, the most unique in the world, allows DxO OpticsPro to automatically correct distortion, vignetting, chromatic aberrations, and lens softness with an unparalleled level of quality.
Compatible with the 2015 edition of Adobe Photoshop CC Praised by professionals for the high fidelity of its analog renderings, DxO FilmPack allows users to reproduce the characteristics of the films that made photo history. Its ultra-simple interface allows users to apply numerous original renderings, filters, tonings, and visual effects — all of which can be combined in an infinite number of ways — all while preserving the image quality, thanks to DxO FilmPack’s RAW format support.
DxO ViewPoint fixes even the most complex perspective problems and easily restores the natural shapes of subjects located on the edges of images. Benefitting from all of DxO’s optical calibration know-how, it corrects barrel, pincushion, and fisheye distortion.
DxO FilmPack and DxO ViewPoint can be used both as standalone applications as well as plugins for Photoshop, Elements, Lightroom, Aperture, and DxO OpticsPro. As either a standalone application or as a plugin for DxO OpticsPro, they allow users to directly process TIFF, JPEG, or RAW images. As plugins, they offer an extremely flexible workflow with Adobe and Apple solutions.
Prices and availability DxO OpticsPro v10.4.2, DxO FilmPack v5.1.4, and DxO ViewPoint v2.5.6 are immediately available at photo resellers.
Photographers who acquired a DxO OpticsPro 9 license on or after September 1, 2014, are entitled to a free upgrade to version 10. Photographers who purchased a DxO FilmPack 4 license on or after September 1, 2014, are entitled to a free upgrade to version 5. All owners of DxO ViewPoint who acquired a license on or after August 1, 2013, are entitled to a free upgrade.
"Fireworks are one of the most inspiring and photogenic, yet challenging subjects, to capture. And unfortunately, this is one of those shooting situations where fully automatic exposure and focusing may not help. However, with these tricks up your sleeve, a few accessories and a willingness to experiment, you'll capture amazing fireworks photos this Fourth of July!"
Check out the full CPN Article for all the helpful tips.