SANTA ROSA, CALIF. – Working in partnership with renowned wildlife photographer Moose Peterson, MindShift Gear has updated the three classic Moose Peterson backpacks. Initially designed for wildlife and safari photographers, the backpacks feature a three-compartment layout that helps protect their gear from the elements.
The Moose Pack series is available in three sizes: MP-1, MP-5 and the smallest, the MP-7. The backpacks can carry up to three DSLR camera bodies with telephoto lenses attached—up to 600mm f/4. This strategy enables photographers to be ready to capture wildlife at any distance without changing lenses or exposing the sensor to the elements. The backpacks also feature the same innovative “Moose Ear” flaps that close automatically, protecting camera gear from dust and debris common in wildlife photography. And because nature photographers often travel to remote locations, the packs are designed to meet airline carry on requirements, and even fit in the overhead compartment of the smallest regional jets.
Moose Peterson is a recognized Nikon USA Ambassador, Lexar Elite Photographer, recipient of the John Muir Conservation Award, and Research Associate with the Endangered Species Recovery Program. He also shares his knowledge through writing, being published in over 143 magazines worldwide, authoring 28 books including Photographic FUNdementals and Taking Flight and Captured, and lecturing across the country to thousands of photographers. As one of the original Nikon shooters to receive the D1 in 1999, Moose became the first wildlife photographer to shoot strictly digital.
“Moose Peterson backpacks are renowned for serving the needs of traveling photographers,” said Doug Murdoch, Think Tank Photo’s CEO and lead designer. “It has been a joy collaborating with him on bringing these classic designs back to the marketplace. While their design and materials have been enhanced, the designs of all three backpacks retain Moose’s original vision.”
Original 1998 ‘Moose Ears’ design with auto-close compartment flaps protect the interior from dust, spray, wind, etc.
Three compartment system allows you to keep lenses attached providing the quickest way to access gear
Tuck-away harness system with removable waistbelt easily allows you to streamline your bag when loading it in a train, plane or automobile (MP-1 & MP-3 only)
Sized for carry-on, allowing you to get the maximum amount of gear on the plane
Long glass carrying solution with body attached
Tripod/monopod mounting system on side and front
Flap guard protects front zippers
Highest quality RC Fuse YKK zippers, 600D and 420D nylon construction for long-lasting durability and strength
Dual-density foam padded shoulder harness, cushioned with air mesh
Zippered side pockets fit full-sized flashes (MP-7 only)
Stretch water bottle pocket fits 32 oz. water bottle
Robust zipper pulls are easily gripped with or without gloves
Seam-sealed rain cover/drop cloth included protects against rain and dust
Moose Peterson MP-7 V2.0
Holds 1 gripped body attached to 70–200mm f/2.8 and two ungripped bodies with primes attached, two flashes and accessories
Or, holds 1 gripped body and one ungripped body with 70–200mm f/2.8, 24–70mm f/2.8, 14–24mm f/2.8 (or 16–35mm f/2.8), a 2x teleconverter, two flashes and accessories
Maximum lens size: 200mm f/2 attached to a gripped body
Moose Peterson MP-3 V2.0
3 gripped DSLRs with lenses attached, 1–2 additional lenses and 1–2 flashes and accessories
Or, 3 gripped bodies and 1 ungripped body detached from lenses, 4–5 standard zoom lenses, 1–2 flashes, a 2x teleconverter and accessories
Maximum lens size: Holds 600mm f/4 detached or 500mm f/4 lens attached to a gripped body
Moose Peterson MP-1 V2.0
3 gripped DSLRs with lenses attached,3–5 additional lenses, 2x teleconverter,1–2 flashes and accessories
Or, 3 gripped bodies and 1 ungripped body detached from lenses, 7–8 standard zoom lenses, 1–2 flashes, a 2x teleconverter and accessories
Maximum lens size: Holds 800mm detached
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. The backpacks also feature highest-quality abrasion-resistant YKK RC-Fuse zippers, 420D velocity nylon, 600D polyester, 1680D ballistic nylon, 320G DuraStretch mesh, nylon webbing, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
MELVILLE, N.Y., July 14, 2016 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced its new Canon Connect Station mobile application for the Canon Connect Station CS100 device. This application makes it easy to view, transfer, upload and share cherished photos from a compatible smartphone or tablet.
The new Canon Connect Station mobile application makes it easy to connect to the Canon Connect Station CS100 device from a compatible smartphone or tablet. Users simply connect to the same wireless network and open up the Canon Connect Station mobile application to start browsing, uploading, and downloading images. Users can also "drag and drop" images from their computer or select multiple images at a time from a compatible smartphone or tablet to the Canon Connect Station CS100 device. The application can save over 1,000 images at one time and easily identifies previously saved and stored photos, helping to eliminate duplicates stored on the Canon Connect Station CS100 device. The application also now makes it easy to save single images, or entire albums, stored on a Canon Connect CS100 device to a compatible mobile device. Additionally, users will be able to edit album names and add comments using the mobile application that can be saved to the Canon Connect Station CS100 device.
The Canon Connect Station CS100 device is a go-to-photo and video hub that provides a place for family members to share, store, manage and view unforgettable memorable moments. The Canon Connect Station CS100 device offers up to 1 TB of wirelessly accessible storage with the capacity to store approximately 150,000 photos or approximately 70 hours of video content. Photos can be transferred from a compatible smartphone or tablet to the Canon Connect Station CS100 with the new mobile application; or photos and videos can be transferred to the device by tapping an NFC-equipped Canon camera or camcorder, in addition to using the available SD/CF card slots and USB connection. Once loaded onto the Canon Connect Station CS100 device, photos and videos are automatically organized by date or shooting device, and can be quickly accessed and enjoyed. Photos and videos from the Canon Connect Station CS100 device can be played on an HDTV via an HDMI cable, or printed wirelessly to a compatible Canon wireless printer such as the PIXMA MG7720, allowing families to relive special memories together or wirelessly share photos and video with family members who may be in different locations between two Canon Connect Station CS100 devices.
The new Canon Connect Station Mobile Application is available for free on the Apple App Store and Google Play Store. For more information about the Canon Connect Station CS100 Mobile Application please go to: usa.canon.com/cs100mobile
For a limited time, the Canon Connect Station CS100 device will be available for $99.99 with the purchase of an eligible Canon camera or camcorder such as the Canon EOS Rebel T6i or Canon VIXIA HF R70. For more information, visit: usa.canon.com/cs100mobile
As I work my way through a trio of Samyang (Rokinon, Bower, etc.) lens reviews, I have finished the product images and thought I would share the eye candy with you. Find them on the pending review pages:
The sharp-eyed among you have noticed that the Samyang 16 is mounted on a Canon EOS 5Ds R in some of its product pics. You are right, this lens is not full-frame compatible. But, it mounts just fine and ... I didn't have an APS-C body available to me while photographing this lens. Visualize the camera as the similarly-sized 7D Mark II. :)
Would you like to learn to better understand how to approach your photos and achieve the best results using the Develop module in Lightroom? If so, you won't want to miss this presentation by Tim Grey. You'll gain insights into a workflow for optimizing your photos that focuses on the photo itself, to help you achieve your vision for each image.
Get contact information from 100+ fashion publications!
Getting published in a fashion magazine is extremely rewarding, but it’s no easy task, especially when just starting out.
That’s why we teamed up with PhotoShelter member and acclaimed fashion photographer Lindsay Adler for Get Published! 2, a resource to help you pitch the right publications and connect with the right people.
Inside, get a rundown of over 100 fashion publications, complete with up-to-date contact information for photo editors, art directors, direct submission links and more.
The first tip, of course, is the most important: Always make sure your images fit the submission criteria and focus on pitching the publications your style feels most in sync with.
Fixed an issue that resulted in the camera interfering with nearby radios and other devices, possibly producing audible noise, when connected to the EH-73P/EH-73PCH charging AC adapter via USB with the battery inserted and the power off. This issue does not occur when the EH-71P/EH-71PCH charging AC adapter is used.
Top wildlife photographer Thorsten Milse recently took a trip to Madagascar to capture the beauty of the island's nature and many of its endemic species with the new EOS-1D X Mark II DSLR. In an exclusive interview he spoke to CPN writer Steve Fairclough to reveal how the camera performed for him in the field...
Two big updates for Lightroom for mobile are now available for download: Lightroom for iOS 2.4 and Lightroom for Android 2.1.
Lightroom for iOS 2.4
In version 2.4, two major improvements have been added: a raw technology preview and the addition of local adjustment tools. In addition to these major improvements, we’ve also added the ability to use keyboard shortcuts with physical keyboards connected to iPads, the ability to add your copyright to all imported photos, functionality to turn on lens profiles (if your camera and lens combination are supported), as well as the usual bug fixes and improvements.
Raw Technology Preview
We’re sure it’s happened to you before: you’re out taking photos (in raw of course) and you capture a real stunner that you can’t wait to share with the world. Until now, you had to either transfer a JPEG version of the file over or you had to wait until you got back to your desktop or laptop. With the raw technology preview, you’ll be able to import raw photos immediately to either your iPhone or iPad, edit them, and then share them, anywhere you’ve got a connection. Our goal with Lightroom for mobile is to make it an indispensable part of your photography workflow, providing the tools that you’re familiar with and the quality you expect in a product that can be with you, no matter when inspiration strikes. With this technology preview, we want to push the boundaries of how photographers around the world work with their mobile devices.
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 iOS 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 added.
Lightroom for mobile 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 need to use either the camera connection kit or the lightning to SD or USB kits from Apple to transfer your raw files over to your device, which will bring up the Import tab within the iOS Photos app. Importing the files will add them into your camera roll, where you can then access and load in any raw file directly into Lightroom mobile. It’s important to keep in mind that raw files are significantly larger (3-5 times larger) than JPEGs, meaning the raw files will take longer to import, upload, and take up more space on your device. Even as such, we found that the added control and quality that the raw files afforded were so useful that it outweighed the negatives.
Just as when working with raw files that were synced from Lightroom for desktop or Lightroom on the web, you’ll be able to perform raw-specific enhancements, such as changing the white balance with greater control and recovering clipped highlights, but unlike when working with raw files synced from Lightroom for desktop, you’ll have access to the full resolution file AND you can do it anywhere in the world, even from your iPhone!
We’ve run Lightroom for mobile through its paces on a number of different files, including the 50MP Canon 5DS running on an iPhone 6, proving that you really can edit nearly any photo anywhere. After playing with the app for a few months, we’ve found that it’s a really great way to take a few of your favorite images from the day (or even that you just captured), review to make sure you captured what you saw, edit, and then share them, all right away, and with all of your edits carried through the rest of the Lightroom ecosystem.
We had the pleasure of working with a number of photographers while creating the raw technology preview, take a look at how travel photographer Elia Locardi was able to put the technology to use while shooting on location in Greece.
In addition to the raw technology preview, we’ve also added in the ability to perform local adjustments with linear and radial selections, the two most requested features after raw support.
With the Linear and Radial Selection tools, you can either add or modify existing selections made to your photos and use the tools to draw attention to certain parts of your images.
Lightroom for iOS Availability
Lightroom mobile 2.4 is available immediately for iPhone and iPad from the iOS App Store for free. Both of these improvements are available only for members with a creative cloud subscription.
Lightroom for Android 2.1
While the iOS team was working hard on the raw technology preview, the Android team doubled-down on the unique end-to-end DNG capture experience first announced in Lightroom for Android 2.0 and created a brand new capture experience. Our goal is to create the best mobile photography experience available, and with the amazing quality possible on Android devices, especially thanks to DNG raw capture, we wanted to provide all of the controls and functionality needed.
Now, the built-in camera has a new Pro mode that lets you control the shutter speed, ISO, white balance, and focus all manually, in a brand new interface.
You can access the camera directly using the new Lightroom Camera widget. This new widget will launch the Lightroom camera directly, making it faster for you to get in and start taking pictures.
In addition to the new built-in camera, we’ve also improved the app’s ability to export full-resolution files. If the files are available somewhere within the Lightroom ecosystem, Lightroom for Android will now download the full resolution version and enable you to export them.
The bright, sunny days of spring, summer and fall present perfect image-making opportunities when you have an infrared converted camera in your gear bag. For me, that camera is an EOS 7D converted by LifePixel with a Super Color IR sensor.
While conventional photographic wisdom dictates that the golden hours just after sunrise and before sunset are ideal times for image-making, those with an IR camera at hand can take full advantage of midday sun to create compelling IR images. This IR benefit came in handy a couple of weeks ago.
Seeing a beautiful blue, midday sky overhead on my way to the mailbox around 1pm, I decided to head out with the IR camera to a spot I had filed in the back of my memory. It was a small parking area off of Victory Dr. on the way to Tybee Island from Savannah, GA. After arriving at the location, I photographed various scenes for about a half hour before ultimately deciding it wasn't as photogenic as I had thought (or maybe my creative skills simply weren't doing it justice on that day). With my tail between my legs, I headed home.
However, on my return trip I spotted an interesting dock area to my right on the other side of the bridge that crosses the Wilmington River. After turning off the main road, I worked my way back to the dock and found that it was a public park – W.E. Honey Park, to be exact – and the dock I had seen from the bridge was easily accessible.
I parked and attached the EF 24-105mm f/4L IS USM to the EOS 7D to allow for a wide range of framing opportunities from the dock. I also attached a B+W Circular Polarizer to the lens to see how it might impact the image. After several attempts to capture the bridge as seen from the dock, I turned around to photograph a small river winding its way through the marsh with lots of clouds near the tree-lined horizon. After returning to my vehicle, I realized that my normal custom white balance may not be optimal with the circular polarizer attached. As such, I pulled out my X-Rite ColorChecker Passport and photographed its white balance target in direct sunlight with the CPOL attached for color correction purposes in post processing.
As I do with all my images captured in IR, I set the white balance in Digital Photo Professional and then exported a TIFF into Photoshop CC. There, I view the image a few different ways to see which post processing technique I feel best suits the scene.
Here's what the image looked like straight out of the camera with only an Auto Levels applied:
While I find that non red/blue channel flipped images may work well for some portraits, I rarely find the nearly straight out of camera approach well suited for landscapes.
Let's try another technique. Below I've applied Auto Levels, swapped the red and blue color channels and desaturated the yellow color of the foliage.
The above represents a more typical IR photo, albeit with blue color in the sky and in the water. While this image looks much better than the straight out of camera example, I decided to leave the Yellow channel untouched in the final image above so that there was a clear separation between the clouds and the tree line. The circular polraizer that was used seemed to create an even more intense blue in the scene compared to images taken without the filter in place.
I've been really happy having an IR-converted camera in my kit these past few months. It's been a great investment for me and a fitting use for a DSLR which would have seen little use after upgrading to 7D Mark II. And the great thing about the Super Color IR sensor option, in particular, is that I gain great flexibility in creating multiple image styles from the same capture.