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 Wednesday, July 13, 2016
From Nikon:
 
Changes from Firmware Versions “A” 1.02/“B” 1.02 to Versions “A” 1.03/“B” 1.02
 
Fixed the following issues:
 
  • The battery level indicator would on rare occasions flash if the camera was turned on with Clean at shutdown or Clean at startup & shutdown selected for SETUP MENU > Clean image sensor > Clean at startup/shutdown.
  • Two different pictures with the same file number would on rare occasions be recorded to both memory cards if two cards were inserted with Overflow selected for SHOOTING MENU > Slot 2.
Download: Nikon D3s Firmware v. “A” 1.03/“B” 1.02
Posted to: Nikon News
Post Date: 7/13/2016 5:07:37 AM CT   Posted By: Sean
 Tuesday, July 12, 2016
Image quality, vignetting, flare and distortion test results along with specs and measurements have been added to the Samyang 16mm f/2 ED AS UMC CS Lens (also branded as Rokinon/Bower) page.
 
Looks like a decent lens from an optical perspective. Full disclosure: we returned our first copy of this lens due to a likely decentering issue.
 
B&H has the Samyang 16mm f/2 Lens in stock.
Posted to: Canon News,
Post Date: 7/12/2016 9:23:03 AM CT   Posted By: Bryan
From Nikon:
 
Changes from “C” Firmware Version 1.01 to 1.02
 
  • Addressed an issue that sometimes caused errors with certain UHS-II SD memory cards. As we were able to confirm that these were read errors arising not in the camera but in the cards themselves, we addressed the issue with a work-around that switches temporarily to UHS-I mode when a card-side error occurs in UHS-II mode. The camera switches back to UHS-II mode when turned off and then on again or when the standby timer restarts. Card-side read errors may still occur after the update, albeit very infrequently.
Download: Nikon D500 Firmware v.1.02
 
B&H carries the Nikon D500.
Posted to: Nikon News
Post Date: 7/12/2016 9:28:40 AM CT   Posted By: Sean
 Monday, July 11, 2016

 
From the Barbie YouTube Channel:
 
When you enter Dreamtopia with sisters Barbie and Chelsea, you wake up to a world of dreams. Watch as a Mattel Creative Services team captures that magic on set and on camera. These gorgeous Dreamtopia dolls -- mermaids, fairies and princesses -- are a dream to shoot. Go behind the scenes to meet the photo team, dive into the details and watch as they make work look fun. Fantasy background? Check. Perfect hair? Check. More glitter? Check. What else might this photo shoot need?
Posted to: Canon News,
Post Date: 7/11/2016 3:14:30 PM CT   Posted By: Sean
From the Canon Digital Learning Center:
It actually all began after meeting a new friend at a part-time job in the Philadelphia suburbs. Nick was a graduate of Brooks Institute of Photography and his neighbor, Bill, a Purina Chow rep, challenged us to come up with a promotional photography event program. For about the next two years, on numerous weekends, we traveled from Boston to Baltimore photographing family pets, usually no people unless requested. We created a compact, double wide studio set-up, purchased watches that could be custom set to alarm every three minutes after hitting the set button. The idea was to handle about an average of 12 sessions per hour in each of our two set-ups. We quickly learned that in order to handle the volume of customers that showed up at these stores, we had to learn how to stay on time, get the attention of the subject, make the right noise and move them off the set for the next subject. On any given Saturday, we would photograph 100-125 sittings... each!
 
The experience and education in learning the breeds, how to get their attention, how to position and light them and the speed required to get the shot helped prepare me for what was about to unfold. In a companion to this article, “Part 1,” there will be a “Part 2” that expands on the technical how-to’s of what you're reading.
Read more at the Canon Digital Learning Center.
The America Civil Liberties Union has created a free resource which outlines photographers' rights and tips on what to do if those rights are infringed upon.
 
From the ACLU:
Taking photographs of things that are plainly visible from public spaces is a constitutional right – and that includes federal buildings, transportation facilities, and police and other government officials carrying out their duties. Unfortunately, there is a widespread, continuing pattern of law enforcement officers ordering people to stop taking photographs from public places, and harassing, detaining and arresting those who fail to comply.
To find out more, check out the ACLU article "Know Your Rights: What to Do If You Are Stopped or Detained Taking Photographs"
Posted to: Canon News,
Post Date: 7/11/2016 11:58:12 AM CT   Posted By: Sean
I recently posted the TDP Canon Lens Popularity Rank. A friend of the site expressed interest in seeing the 3rd party lenses included in this list and ... that sounded interesting to me also. So, today I share the extended list.
 
Once again, I caution you to use discernment as you view the list. There are a lot of factors that can influence a lens' popularity (such as search engine referrals) and popularity can be measured in a variety of ways. Also, not all Canon-mount 3rd party lenses are included on the site and of those listed, not all have full reviews (which could either hurt or help a lens' popularity). With those cautions in mind, here is a rough look at the popularity of current (on retailer shelves) Canon-mount lenses.
 
As always, leave your comments below.
 
  1. Canon EF 100-400mm f/4.5-5.6L IS II USM Lens Buy
  2. Canon EF 70-200mm f/2.8L IS II USM Lens Buy
  3. Canon EF 24-70mm f/2.8L II USM Lens Buy
  4. Canon EF-S 17-55mm f/2.8 IS USM Lens Buy
  5. Canon EF 16-35mm f/4L IS USM Lens Buy
  6. Sigma 150-600mm f/5-6.3 DG OS HSM C Lens Buy
  7. Canon EF 24-105mm f/4L IS USM Lens Buy
  8. Canon EF-S 10-18mm f/4.5-5.6 IS STM Lens Buy
  9. Canon EF 70-300mm f/4-5.6L IS USM Lens Buy
  10. Canon EF 70-200mm f/4L USM Lens Buy
  11. Canon EF 11-24mm f/4L USM Lens Buy
  12. Tamron 150-600mm f/5-6.3 Di VC USD Lens Buy
  13. Canon EF-S 10-22mm f/3.5-4.5 USM Lens Buy
  14. Canon EF 100mm f/2.8L IS USM Macro Lens Buy
  15. Canon EF 70-300mm f/4-5.6 IS USM Lens Buy
  16. Canon EF 24-70mm f/4L IS USM Lens Buy
  17. Canon EF 16-35mm f/2.8L II USM Lens Buy
  18. Canon EF-S 18-135mm f/3.5-5.6 IS STM Lens Buy
  19. Canon EF-S 15-85mm f/3.5-5.6 IS USM Lens Buy
  20. Canon EF 200-400mm f/4L IS USM Lens Buy
  21. Tokina 11-16mm f/2.8 AT-X Pro DX II Lens Buy
  22. Canon EF 85mm f/1.2L II USM Lens Buy
  23. Canon EF 50mm f/1.4 USM Lens Buy
  24. Canon EF 85mm f/1.8 USM Lens Buy
  25. Sigma 150-600mm f/5-6.3 DG OS HSM Sports Lens Buy
  26. Canon EF 100-400mm f/4.5-5.6L IS USM Lens Buy
  27. Canon EF 17-40mm f/4L USM Lens Buy
  28. Canon EF 70-200mm f/4L IS USM Lens Buy
  29. Canon EF 14mm f/2.8L II USM Lens Buy
  30. Canon EF 35mm f/1.4L II USM Lens Buy
  31. Canon EF 50mm f/1.2L USM Lens Buy
  32. Canon EF 100mm f/2.8 USM Macro Lens Buy
  33. Canon EF-S 24mm f/2.8 STM Lens Buy
  34. Tamron 17-50mm f/2.8 XR Di II Lens Buy
  35. Canon EF 35mm f/2 IS USM Lens Buy
  36. Sigma 50-100mm f/1.8 DC HSM Art Lens Buy
  37. Tamron 24-70mm f/2.8 Di VC USD Lens Buy
  38. Canon EF 24mm f/1.4L II USM Lens Buy
  39. Canon EF 50mm f/1.8 STM Lens Buy
  40. Sigma 10-20mm f/3.5 EX DC HSM Lens Buy
  41. Sigma 18-35mm f/1.8 DC HSM Art Lens Buy
  42. Sigma 50mm f/1.4 DG HSM Art Lens Buy
  43. Canon EF 135mm f/2L USM Lens Buy
  44. Canon EF 400mm f/4 DO IS II USM Lens Buy
  45. Canon EF-S 18-135mm f/3.5-5.6 IS USM Lens Buy
  46. Tamron 70-300mm f/4-5.6 Di VC USD Lens Buy
  47. Canon EF 200mm f/2L IS USM Lens Buy
  48. Canon EF-S 18-200mm f/3.5-5.6 IS Lens Buy
  49. Sigma 17-50mm f/2.8 EX DC OS HSM Lens Buy
  50. Canon EF 75-300mm f/4-5.6 III USM Lens Buy
  51. Canon EF-S 55-250mm f/4-5.6 IS STM Lens Buy
  52. Tamron 70-200mm f/2.8 Di VC USD Lens Buy
  53. Canon EF 28-300mm f/3.5-5.6L IS USM Lens Buy
  54. Canon EF 400mm f/2.8L IS II USM Lens Buy
  55. Canon EF 400mm f/5.6L USM Lens Buy
  56. Tamron 15-30mm f/2.8 Di VC USD Lens Buy
  57. Canon EF 300mm f/2.8L IS II USM Lens Buy
  58. Canon EF 70-200mm f/2.8L USM Lens Buy
  59. Canon EF-S 18-135mm f/3.5-5.6 IS Lens Buy
  60. Tamron 90mm f/2.8 Di VC USD Macro F017 Lens Buy
  61. Canon EF 24mm f/2.8 IS USM Lens Buy
  62. Canon EF 300mm f/4L IS USM Lens Buy
  63. Sigma 8-16mm f/4.5-5.6 DC HSM Lens Buy
  64. Canon EF 200mm f/2.8L II USM Lens Buy
  65. Canon EF 28-135mm f/3.5-5.6 IS USM Lens Buy
  66. Sigma 105mm f/2.8 EX DG OS HSM Macro Lens Buy
  67. Canon EF 600mm f/4L IS II USM Lens Buy
  68. Sigma 24-105mm f/4.0 DG OS HSM Art Lens Buy
  69. Canon EF 50mm f/1.8 II Lens Buy
  70. Sigma 70-200mm f/2.8 EX DG OS HSM Lens Buy
  71. Tamron 28-75mm f/2.8 XR Di Lens Buy
  72. Canon EF 800mm f/5.6L IS USM Lens Buy
  73. Canon EF 35mm f/1.4L USM Lens Buy
  74. Canon EF 20mm f/2.8 USM Lens Buy
  75. Canon EF 40mm f/2.8 STM Lens Buy
  76. Sigma 20mm f/1.4 DG HSM Art Lens Buy
  77. Sigma 120-300mm f/2.8 DG OS HSM Sports Lens Buy
  78. Canon MP-E 65mm Macro Lens Buy
  79. Canon EF 8-15mm f/4L USM Fisheye Lens Buy
  80. Canon EF 100mm f/2 USM Lens Buy
  81. Canon EF 500mm f/4L IS II USM Lens Buy
  82. Sigma 24mm f/1.4 DG HSM Art Lens Buy
  83. Canon EF 2x III Extender Buy
  84. Sigma 35mm f/1.4 DG HSM Art Lens Buy
  85. Canon EF 180mm f/3.5L USM Macro Lens Buy
  86. Canon EF 24-105mm f/3.5-5.6 IS STM Lens Buy
  87. Sigma 12-24mm f/4.5-5.6 DG II HSM Lens Buy
  88. Canon EF 1.4x III Extender Buy
  89. Canon EF-S 17-85mm f/4-5.6 IS USM Lens Buy
  90. Canon EF 28mm f/2.8 IS USM Lens Buy
  91. Tamron 70-200mm f/2.8 Di Macro Lens Buy
  92. Sigma 24-70mm f/2.8 EX DG HSM Lens Buy
  93. Canon EF 70-300mm f/4.5-5.6 DO IS USM Lens Buy
  94. Tamron 85mm f/1.8 Di VC USD Lens Buy
  95. Canon EF 28mm f/1.8 USM Lens Buy
  96. Canon EF-S 18-55mm f/3.5-5.6 IS STM Lens Buy
  97. Canon EF-S 18-55mm f/3.5-5.6 IS II Lens Buy
  98. Sigma 85mm f/1.4 EX DG HSM Lens Buy
  99. Zeiss 15mm f/2.8 Distagon T* Lens Buy
  100. Canon EF-S 60mm f/2.8 Macro USM Lens Buy
  101. Canon TS-E 24mm f/3.5L II Tilt-Shift Lens Buy
  102. Tamron 17-50mm f/2.8 XR Di II VC Lens Buy
  103. Sigma 50-500mm f/4.5-6.3 DG OS HSM Lens Buy
  104. Tamron 35mm f/1.8 Di VC USD Lens Buy
  105. Sigma 10-20mm f/4-5.6 EX DC HSM Lens Buy
  106. Sigma 24-35mm f/2 DG HSM Art Lens Buy
  107. Canon TS-E 17mm f/4L Tilt-Shift Lens Buy
  108. Tamron 10-24mm f/3.5-4.5 Di II Lens Buy
  109. Sigma 18-200mm f/3.5-6.3 DC OS HSM C Lens Buy
  110. Tamron 16-300mm f/3.5-6.3 Di II VC PZD Lens Buy
  111. Zeiss 55mm f/1.4 Otus Lens Buy
  112. Zeiss 135mm f/2.0 Apo Sonnar T* Lens Buy
  113. Tamron 18-200mm f/3.5-6.3 Di II Lens Buy
  114. Zeiss 21mm f/2.8 Distagon T* Lens Buy
  115. Zeiss 100mm f/2.0 Makro-Planar T* Lens Buy
  116. Tamron 28-300mm f/3.5-6.3 Di VC PZD Lens Buy
  117. Zeiss 85mm f/1.4 Otus Lens Buy
  118. Sigma 150mm f/2.8 EX DG OS HSM Macro Lens Buy
  119. Tokina 16-28mm f/2.8 AT-X Pro FX Lens Buy
  120. Canon TS-E 90mm f/2.8 Tilt-Shift Lens Buy
  121. Samyang 135mm f/2 ED UMC Lens Buy
  122. Zeiss 85mm f/1.4 Planar T* Lens Buy
  123. Tamron 45mm f/1.8 Di VC USD Lens Buy
  124. Canon EF-S 55-250mm f/4-5.6 IS II Lens Buy
  125. Canon EF 400mm f/4 DO IS USM Lens Buy
  126. Sigma 18-300mm f/3.5-6.3 DC OS HSM C Lens Buy
  127. Samyang 14mm f/2.8 IF ED UMC Lens Buy
  128. Sigma 17-70mm f/2.8-4 DC Macro OS C Lens Buy
  129. Tamron 18-270mm f/3.5-6.3 Di II VC PZD Lens Buy
  130. Zeiss 85mm f/1.4 Milvus Lens Buy
  131. Zeiss 50mm f/1.4 Milvus Lens Buy
  132. Tokina 11-20mm f/2.8 AT-X Pro DX Lens Buy
  133. Sigma 30mm f/1.4 DC HSM Art Lens Buy
  134. Canon EF 75-300mm f/4-5.6 III Lens Buy
  135. Zeiss 21mm f/2.8 Milvus Lens Buy
  136. Zeiss 35mm f/1.4 Distagon T* Lens Buy
  137. Zeiss 28mm f/1.4 Otus Lens Buy
  138. Zeiss 50mm f/2.0 Makro-Planar T* Lens Buy
  139. Sigma 120-400mm f/4.5-5.6 DG OS HSM Lens Buy
  140. Sigma 18-250mm f/3.5-6.3 DC Macro OS HSM Buy
  141. Zeiss 50mm f/1.4 Planar T* Lens Buy
  142. Zeiss 35mm f/2.0 Milvus Lens Buy
  143. Canon TS-E 45mm f/2.8 Tilt-Shift Lens Buy
  144. Zeiss 18mm f/3.5 Distagon T* Lens Buy
  145. Tokina 14-20mm f/2 AT-X Pro DX Lens Buy
  146. Zeiss 100mm f/2M Milvus Lens Buy
  147. Sigma Dock Buy
  148. Samyang 24mm f/3.5 Tilt-Shift Lens Buy
  149. Zeiss 35mm f/2.0 Distagon T* Lens Buy
  150. Sigma 180mm f/2.8 EX DG OS HSM Macro Lens Buy
  151. Tokina 24-70mm f/2.8 AT-X Pro FX Lens Buy
  152. Tokina 12-28mm f/4.0 AT-X Pro DX Lens Buy
  153. Tamron 180mm f/3.5 Di Macro Lens Buy
  154. Samyang 24mm f/1.4 US UMC Lens Buy
  155. Samyang 35mm f/1.4 US UMC Lens Buy
  156. Tokina 100mm f/2.8 AT-X Pro Macro Lens Buy
  157. Samyang 85mm f/1.4 Lens Buy
  158. Zeiss 25mm f/2.0 Distagon T* Lens Buy
  159. Tamron 60mm f/2.0 Di II Macro Lens Buy
  160. Zeiss 50mm f/2M Milvus Lens Buy
  161. Zeiss 28mm f/2.0 Distagon T* Lens Buy
  162. Tokina 17-35mm f/4 AT-X Pro FX Lens Buy
  163. Canon EF 50mm f/2.5 Macro Lens
Posted to: Canon News
Post Date: 7/11/2016 10:01:52 AM CT   Posted By: Bryan

 
From Canon Australia:
 
An average image doesn't cut it for Adventure Photographer Krystle Wright. In 'The Shot' she pushes herself and her gear to absolute extremes to capture something exceptional.
 
B&H carries the Canon EOS-1D X Mark II and 600EX RT flashes.
Posted to: Canon News
Post Date: 7/11/2016 8:07:50 AM CT   Posted By: Sean

 
From the DJI YouTube Channel:
 
DJI’s new Geospatial Environment Online system, or GEO for short, is a best-in-class flight information system that helps drone operators make smart decisions about where and when to fly. It combines up-to-date live airspace information, a warning and flight-restriction system, and a mechanism for authorized users to unlock flight restrictions in certain locations.
 
B&H carries DJI quadcopters.
Posted to: Canon News,
Category: DJI News
Post Date: 7/11/2016 6:19:10 AM CT   Posted By: Sean

 
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
 
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News,
Post Date: 7/11/2016 5:58:59 AM CT   Posted By: Sean
 Friday, July 8, 2016
From National Geographic:
 
wild_life With Bertie Gregory Launches Wednesday, Aug. 3, on Nat Geo WILD’s YouTube Channel and NationalGeographic.com
 
July 06, 2016 04:18 PM ET – WASHINGTON – Nat Geo WILD inspires people to let the wild in every day. The network is dedicated to creating content for animal lovers everywhere to enjoy, whether it’s on TV, in magazines, or in books. Now, Nat Geo WILD is bringing the wild online with the launch of its first-ever digital series, wild_life With Bertie Gregory, premiering Wednesday, Aug. 3, on the network’s YouTube Channel, as well as on NationalGeographic.com.
 
Join 22-year-old wildlife filmmaker Bertie Gregory (@bertiegregory) as he journeys to the west coast of Vancouver Island in search of the elusive coastal wolves, a species that inhabits one of the last places on the planet where a wild forest meets a wild ocean.
 
For a sneak peek of the series, click here.
 
“This series is as much about the adventure to get the shot as it is about the shot itself,” said Gregory. “I’m taking viewers into the wild and getting up close and personal with Canada’s sexiest coastal predators. The camera is always rolling. It’s raw. It’s real. It’s intimate. And I’m excited to be a part of Nat Geo WILD’s first venture into the digital space.”
 
Over the course of 16 episodes, Gregory finds that tracking down these wolves proves to be harder than expected … but he’s not giving up. He also attempts to get face to face with some of the other charismatic species that live along this pristine coastline. Each episode features Gregory’s encounters with epic animals, including humpback whales, bald eagles and black bears. He occasionally gets closer than anticipated, as he must untangle himself from a few sticky situations, like ending up with his head in the jaws of a playful 2,000-pound sea lion.
 
“We are thrilled to extend the WILD brand beyond television to reach our audiences wherever they are,” said Geoff Daniels, executive vice president and general manager, Nat Geo WILD. “Bertie is a great ambassador for us, and his adventures in this new series will be celebrated across National Geographic’s many platforms, including SnapChat, Instagram, Facebook, Twitter, Nat Geo LIVE! and more.”
Posted to: Canon News,
Post Date: 7/8/2016 10:19:32 AM CT   Posted By: Sean
by Sean Setters
 
Before I go any further, I must make one thing very clear:
 
  • The image above [closely] resembles the image I had intended to capture. It does not represent the reality of the event.
Backstory
 
Having never attended an Independence Day celebration on Savannah's River Street before, I asked several people where exactly the fireworks were launched from. I was told the fireworks launched from behind the Westin Savannah Harbor Golf Resort & Spa on the other side of the Savannah River. Therefore, my plan was to position myself on the east end of River Street near Belles Ferry, where I hoped I could include the Westin hotel and possibly a small portion of the Talmadge Memorial Bridge in my fireworks image.
 
The fireworks were scheduled for 9:30pm. Expecting a sizable crowd on River Street, my goal was to pack my gear so that it was minimally cumbersome and as light as possible. I knew that shooting fireworks would require some type of support, but the idea of carrying a full tripod downtown (even if affixed to the outside of my backpack) did not appeal to me. In this particular case, I didn't think my very-travel-friendly Feisol TT-15 Mini Carbon Fiber would be a feasible option as I would likely have to utilize one of the concrete supports positioned by the river as the base, and having my camera atop a tiny tripod next to a river did not sound like a good idea. I wondered if I could cobble together a few odds and ends from around the house that could do the job.
 
So here's the solution I came up with:
 
Mobile Support Setup

Above you'll find older Cullman (my first) ball head with an Arca-style plate attached to the bottom. Affixed to that is an Arca-style clamp which has been bolted to an Impact Super Clamp with T-Handle.
 
This setup can be broken down into two pieces (at the clamp) for compact backpack storage and, when assembled, affixed to just about any fence which borders the Savannah River along River Street.
 
Not knowing exactly which focal length might provide the optimal framing for the event, I packed a Lowepro Flipside 400AW with my mobile support setup and the following gear:
 
Independence Day
 
Amanda and I planned to meet up with a few friends downtown before the scheduled fireworks. Unfortunately, we ended up getting to River Street later than I had intended (8:45pm). As we descended onto River Street, I realized the crowd was much larger than I had anticipated. Almost every square inch of the fence bordering the river was accounted for. It took me about 20 minutes to find a gap along the fence where I could position my camera, after which I attached my support rig, 5D III, TS-E 24mm f/3.5L and TC-80N3 remote timer. With only 10 minutes left before the show, I hurriedly composed the scene and took a few pictures at 10x Live View to obtain proper focus on the hotel building (in this case, anything beyond 14 feet would be in focus because of the hyperfocal distance). My camera settings were f/4.5, 5 seconds and ISO 200.
 
Unfortunately, my tardiness in getting to the location combined with the hot/humid Savannah night meant that condensation was inevitable. While I did wipe off the end of the lens before shooting my test images used for focusing, condensation immediately reappeared and caused halos around all the bright lights in the image. I decided to wait for the condensation to clear up in hopes that it did so before the fireworks show began.
 
At almost precisely 9:30pm, the fireworks started. However, instead of being launched from directly behind the hotel as I had been led to believe, they were actually set off several hundred yards to the east. I quickly rotated the ball head, re-leveled the camera and began shooting the fireworks (using the remote). Unfortunately, this framing led to a very uninteresting backdrop for the colorful display.
 
With my original plan out the window, I decided to try something I had used on a previous fireworks image – compositing. I changed my camera settings to isolate the explosions from the surrounding background: f/5-6.3, 8 seconds, ISO 100. These settings allowed me to capture 1-4 bursts in each frame, depending on how fast they were launched. In post processing, I would overlay my favorite fireworks images with the original framing I had imagined.
 
At the end of the night, I was left with about 150 images of fireworks that looked like this:
 
Savannah Fireworks Single Frame

Post-Processing
 
Unfortunately, I only captured a few test shots of the hotel scene before the fireworks started. As such, even my best image showed very noticeable halos around the lights.
 
I selected my favorite fireworks images in post processing and composited them with my hotel image using a "Lighten" blending mode in Photoshop CC. Note that this blending mode also allowed the fireworks' reflections in the water to be seen which was key to making the image look somewhat realistic. I also added a slight Gaussian Blur to the fireworks to simulate the type of halos/lack of sharpness visible in the base image.
 
Final Thoughts
 
Things don't always go as planned. As photographers, we sometimes have to roll with the punches and do the best with the cards we're dealt. In this case, the fireworks launching location meant that I couldn't capture the scene I had in mind in-camera. And the lateness of my arrival, combined with the hot/humid weather meant that my base image in the composite didn't turn out as well as I would have liked. However, my mobile support rig worked very well and I'm not completely dissatisfied with the final image. The halos seem in the base image actually add a dreamlike quality to it; maybe it's a fitting look as the image never actually happened in real life, but only in my dreams.
Posted to: Canon News,
Post Date: 7/8/2016 9:52:55 AM CT   Posted By: Sean
From Samsung:
 
Samsung Electronics, the world leader in advanced memory technology, today unveiled the industry’s first removable memory cards based on the JEDEC Universal Flash Storage (UFS) 1.0 Card Extension Standard, for use in high-resolution mobile shooting devices such as DSLRs, 3D VR cameras, action cams and drones. Coming in a wide range of storage capacities including 256, 128, 64 and 32 gigabyte (GB), Samsung’s UFS cards are expected to bring a significant performance boost to the external memory storage market, allowing much more satisfying multimedia experiences.
 
“Our new 256GB UFS card will provide an ideal user experience for digitally-minded consumers and lead the industry in establishing the most competitive memory card solution,” said Jung-bae Lee, senior vice president, Memory Product Planning & Application Engineering, Samsung Electronics “By launching our new high-capacity, high-performance UFS card line-up, we are changing the growth paradigm of the memory card market to prioritize performance and user convenience above all.”
 
Samsung’s new 256GB UFS removable memory card - simply referred to as the UFS card will provide greatly improved user experiences, especially in high-resolution 3D gaming and high-resolution movie playback. It provides more than five times faster sequential read performance compared to that of a typical microSD card, reading sequentially at 530 megabytes per second (MB/s) which is similar to the sequential read speed of the most widely used SATA SSDs. With this UFS card, consumers have the ability to read a 5GB, Full-HD movie in approximately 10 seconds, compared to a typical UHS-1 microSD card, which would take over 50 seconds with 95MB/s of sequential reading speed. Also, at a random read rate of 40,000 IOPS, the 256GB card delivers more than 20 times higher random read performance compared to a typical microSD, which offers approximately 1,800 IOPS.
 
When it comes to writing, the new 256GB UFS card processes 35,000 random IOPS, which is 350 times higher than the 100 IOPs of a typical microSD card, and attains a 170MB/s sequential write speed, almost doubling the top-end microSD card speed. With these substantial performance improvements, the new 256GB UFS card significantly reduces multimedia data downloading time, photo thumbnail loading time and buffer clearing time in burst shooting mode, which, collectively, can be particularly beneficial to DSLR camera users. To shoot 24 large/extra fine JPEG photographs (1,120 megabyte (MB)-equivalent) continuously with a high-end DSLR camera, the 256GB UFS card takes less than seven seconds, compared to a UHS-1 microSD card which typically takes about 32 seconds, at 35MB/s.
 
To achieve the highest performance and most power-efficient data transport, the UFS card supports multiple commands with command queuing features and enables simultaneous reading and writing through the use of separately dedicated paths, doubling throughput.
 
As the leading memory storage provider, Samsung has been aggressive in preparing UFS solutions for the marketplace, while contributing to JEDEC standardization of the Universal Flash Storage 2.0 specification in September 2013 and the Universal Flash Storage (UFS) 1.0 Card Extension standard in March 2016. Following its introduction of the industry-first 128GB embedded UFS chip in January 2015, the company successfully launched a 256GB embedded UFS memory for high-end mobile devices in February of this year. As of earlier this month, Samsung also completed the Universal Flash Storage Association (UFSA)’s certification program that evaluates electrical and functional specifications for compatibility of a UFS card, and Samsung’s new UFS card products were approved as UFSA-certified UFS cards with the right to use the official UFS logo for the first time in the industry.
Posted to: Canon News,
Category: Samsung News
Post Date: 7/8/2016 5:21:00 AM CT   Posted By: Sean
 Thursday, July 7, 2016
From Canon USA:
 
Changes:
Firmware Version 1.0.2 incorporates the following functional improvements and fixes.
 
  1. Incorporates countermeasures for a phenomenon in which the bottom part of still images recorded to SanDisk CFast cards become corrupted.
  2. Enhances communication reliability between the camera and CFast cards.
If you are using the affected CFast cards, after having updated the camera firmware to Firmware Version 1.0.2, please make sure to use the camera to format the CFast card.
 
The Version 1.0.2 firmware being released at this time is for cameras with Firmware Version 1.0.0. If the camera's firmware is already Version 1.0.2, it is not necessary to update the firmware. When updating the firmware of your camera, please first go over the instructions thoroughly before you download the firmware. The firmware update takes approximately six minutes.
 
Download: Canon EOS-1D X Mark II Firmware v.1.02
Posted to: Canon News,
Post Date: 7/7/2016 3:49:21 PM CT   Posted By: Sean
Mixing brilliant turquoise-colored water with a dramatic sunset is not so easy. The ideal light to bring out the water color is from a high overhead sun and that is of course not available at sunset. However, the water in some locations is amazingly colored enough to still show turquoise even at sunset. Three Mary Cays in North Caicos is one such location.
 
Most of the west side of North and Middle Caicos islands is inaccessible without a boat, leaving few good locations for mid-winter sunset photography (with the sun setting farther north mid-summer, more northern locations can work well at this time of the year). Of those remaining locations, the shoreline by Three Mary Cays presents very nice winter sunset views. And, the shoreline and islands all have the character I was looking for.
 
Three Mary Cays is amazingly beautiful and also amazing is how seldom it is photographed by serious photographers. Online scouting revealed very few images and I spent two evenings watching the blazing ball drop into the Atlantic Ocean at this location with no one else as far as the eye could see.
 
While the cloud moving over the sun helped significantly with the brightness balance in this image, I still opted to use an HDR technique to balance the overall exposure.
 
It has become rare for me to photograph landscapes without the Canon EF 16-35mm f/4L IS USM Lens in the pack. This lens delivers amazing results every time. Well, at least every time I do my part of the job correctly. It is hard to believe that my other primary piece of landscape kit, the 5Ds R, is now over 1-year-old. #lovingthiscamera.
 
A larger version of this image is available on Flickr, Google+, Facebook and 500px.
Posted to: Canon News,
Post Date: 7/7/2016 11:33:44 AM CT   Posted By: Bryan
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