Hampstead, MD — June 14, 2016 — Only a few months after having introduced NUANCES Full ND filters – the best Neutral Density filters available, Cokin is proud to announce NUANCES Graduated Neutral Density (GND) filters.
Cokin states that their biggest challenge has been to adapt their coating technology to make it graduated. A nano-metallic alloy is gradually applied on both sides of a highly resistant tempered Schott Glass B270, renowned for its high transmittance and low reflection. The result is stunning neutrality, completely free of infrared pollution. Multiple NUANCES filters (GND or Full) can be stacked without color cast.
NUANCES GND filters are dedicated to landscape photography. When the dynamic range of film or the sensor is too narrow, they allow a balanced brightness between two parts of an image by efficiently keeping details in overly-bright part of a scene. GND filters effect cannot be reproduced in post-processing, where clipping is hard to recover. The transition between the dark and light areas is soft, making it easier to use in most situations.
NUANCES GND filters are designed to fit Cokin’s range of CREATIVE filter-holders, from M to XL sizes. They can be combined with other filters from the CREATIVE Filter System range for unlimited creativity. L and XL sizes to begin shipping in late June with M sizes to ship in late July.
British photographer Mark Lloyd works in the specialised world of sailing and over the last 15 years has won himself a reputation for exceptional action images of all manner of watery pursuits. His latest assignment, to photograph the America’s Cup catamarans as they ‘fly’ across the race course, is being made infinitely easier thanks to the EOS-1D X Mark II, as he explains to CPN Editor David Corfield...
I used to consider myself a “natural light” photographer and I got really good at controlling the light that was provided to me to make beautiful portraits. Speedlites were somewhat of a mystery to me for some reason because while using TTL (through-the-lens flash metering), I never knew exactly how much light I was putting on my subject. For some reason, that was important to me, most likely because I learned on manual flash units that had three settings . . . 50 watt seconds, 100 watt seconds and 200 watt seconds. Anyway, once the 600EX-RT was released back in early 2012, a whole new world of lighting control opened up to me. I love these Speedlites for a few reasons:
I have the reliability of radio transmission from camera to off camera Speedlites.
TTL automatic flash is very accurate, more so than it’s ever been.
With this system I had complete control over all units in up to five different groups with the ability of having some flashes in E-TTL and others in manual.
I’m absolutely a Speedlite guy because they are so darned reliable and portable.
While on a recent trip to ShutterFest, a terrific photography conference in St. Louis each Spring, I taught a class entitled Great light Anywhere, Anytime with Speedlites. The goal of the class was to give students more confidence, something I didn’t have until 2012 when this Speedlite made its debut!
During the class we made some terrific images of our model, Anna Elizabeth Truett, and I’d like to share some of them by walking you through the progression of how the final portrait was created . . . all with Speedlites.
“It’s all a big mess,” that’s how Nikon Europe Ambassador, Joel Marklund, described covering each adrenaline-fuelled moment of the recent nail-biting UEFA Champions League final between Real Madrid and Atletico Madrid.
Setting up on the sidelines, handling his remote cameras, the pressure to send images ‘live’ & using the ethernet, the importance of position and a little creative thinking: Joel shares what it takes to really deliver the signature shots everyone wants.
MELVILLE, N.Y., June 15, 2016 – Expanding upon the excitement of the imagePROGRAF PRO Series, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the launch of four new large format media options, including three media for the fine arts and photography market, as well as a signage media that can be used outdoors. The Photo Paper Pro Platinum, Photo Paper Pro Luster, and Photo Paper Pro Premium Matte media, previously available in cut sheet for the imagePROGRAF PRO-1000 printer users, are now available in 100-foot rolls for those images that were meant to be printed in large format. The first of its kind to be added to the imagePROGRAF media lineup, the Water Resistant Matte Polypropylene paper expands the applications available for imagePROGRAF large format printers.
Fine Arts and Photography Media Providing photographers with an outstanding medium for their images, the Photo Paper ProPlatinum, Photo Paper Pro Luster and Photo Paper Pro Premium Matte media are available in widths of 17, 24, 36 and 42-inch rolls, all 100 feet in length. Leveraging the image performance of the newly developed LUCIA PRO pigment ink, these newmedia are great for customers with 12-channel models, including the new imagePROGRAF PRO-2000 and PRO-4000 printers.
For prints with vivid color and deep blacks, the durable Photo Paper Pro Platinum (300gsm) provides excellent color fastness, to help minimize fading or running. Another medium offering ample fade-resistance, the Photo Paper Pro Luster paper (260gsm), features a calm texture that is resistant to the effects of lighting, making it suitable for exhibition and gallery settings. This photo paper also dries quickly for easy handling. The Photo Paper Pro Premium Matte (210gsm) offers professionals and skilled amateurs a media with smooth surface quality for outstanding color performance. Great for printing black-and-white photography, this paper provides a natural whiteness, thickness and smooth texture while also offering superb gradations.
Outdoor Media With this newly developed, Water Resistant Matte Polypropylene media, posters can now be displayed outdoors for up to six months without lamination.* The durable, synthetic medium uses a binder for water and light resistance, helping to prevent the ink-receiving layer from peeling. The addition of a UV absorber limits density reduction on printed areas to help keep output vibrant over time while exposed to sunlight.
Best-suited for the production signage and poster printing markets, this new media is compatible with existing imagePROGRAF pigment printers, including the new PRO Series and the imagePROGRAF branded 12-color, eight-color and six-color devices. At 115gsm, this paper is available in widths of 24, 36, 42 and 54-inch rolls, all 100 feet in length.
“Whether printing a photo to be hung in a gallery or outdoor signage subject to the elements, image quality should be consistently vibrant and beautiful from the moment a picture is captured to the time it leaves the printer,” said Toyo Kuwamura, executive vice president and general manager, Business Imaging Solutions Group, Canon U.S.A., Inc. “With these new media, large format customers can expect their prints will be created with the same Canon quality they have come to know and love.”
Availability These new media are now available for purchase through authorized Canon dealers. The new imagePROGRAF PRO Series Large Format printers are now available for ordering and will ship mid-June.
Go behind-the-scenes with world-renowned photographer Joel Grimes in Phoenix, AZ as he discusses the best techniques and tricks for lighting portraits with a beauty dish and strobe.
Commercial photographer Joel Grimes has nearly thirty years of experience in the field. Throughout his successful career, Joel's assignments have taken him to every state across the USA and to over fifty countries around the globe. Aside from his commercial work, Joel views himself as an ambassador for the photographic creative process, teaching hands-on workshops around the world as a Canon Explorer of Light.
Designed by Joel, the 24" Rapid Box Beauty Dish is a collapsible, travel-friendly softbox for beauty and fashion photography. This ultra-portable beauty dish directs a soft, clean pattern of light. Featuring a soft white interior, 16 durable ribs, and a true parabolic form, this softbox is a must-have modifier for any portrait photographer.
WATSONVILLE, CA. – JUNE 15, 2016 – ExpoImaging, Inc., creator of the patented Rogue 3-in-1 Flash Grid, the first stacking honeycomb grid system for off-camera flash speedlights, today announced availability of new accessory White Grid Inserts for the Rogue Flash Grid.
Honeycomb grids attach to flashes in portrait photography help create mood or drama in an image. They are typically used to modify hair light, rim light, background light, or the main light to focus attention on the subject.
The new White Grid Inserts from Rogue Photographic Design were designed to scatter light exiting the product’s honeycomb grid cells. When directed towards a flat surface they produce a light pattern different from traditional black grids, a center spot surrounded by a glowing halo-like aura.
“Portrait photographers looking for a more gradual transition from light to shadow with their grids will be thrilled with our new White Grid Inserts for the Rogue 3-in-1 Flash Grid,” said Erik Sowder, ExpoImaging CEO. “When used in portrait photography, the edge of the lighting pattern produced by the white grids appears much softer and gentler, compared to the rapid fall-off and more dramatic lighting effect produced by black grids. This provides an advantage for creating smoother background lighting when shooting elegant or feminine styled portraits.”
The White Grid Inserts will not change the color of the flash. “Our experience manufacturing the ExpoDisc White Balance Filter helped us in our search to identify the best material to use in making the white grids,” said Sowder. “The result is consistent color from the center grid spot to the outer edge of the light pattern.”
As an accessory attachment to the popular Rogue 3-in-1 Flash Grid for speedlights, which offers photographers the versatility to choose between a 16º, 25º and 45º spot of light, the new White Grid Inserts give photographers even more choices to help them create the style of lighting and mood they envision for their subject’s image.
To use Rogue’s new White Grid Inserts, photographers need the attachment Grid Strap included with the Rogue 3-in-1 Flash Grid (sold separately). The White Grid Inserts cannot be attached to the flash without the Grid Strap. The Grid Strap can be purchased separately online for $14.95 at RogueFlash.com
Pricing and Availability
The new White Grid Inserts for the Rogue 3-in-1 Flash Grid are available from ExpoImaging’s distribution partners worldwide. The White Grid Inserts package includes the Grid Bezel, the 25° White Honeycomb Grid insert, and the 45° White Honeycomb Grid insert. The Rogue White Grid Inserts retail for $19.95.
According to the Egami Blog, Canon has filed an optical design patent for an EF 24-105mm f/4 lens. While the patent does not specifically mention the "L" branding or "IS," the current 24-105L is more than a decade old and may be due for a refresh in the not-so-distant future.
That said, the Canon EF 24-105mm f/4L IS USM is a lens I use very frequently, and right now you can get a Canon USA refurbished model for only $599.99 + tax & shipping.
Join Central Park Conservancy Photographer and Historian Sara Cedar Miller for a short illustrated presentation on the beautiful design and spectacular features of the Park. Learn about the miraculous transformation of the Park from national disgrace to national treasure by the Central Park Conservancy, the not for profit organization that has managed, restored and maintained the nation's most celebrated urban park for the past 35 years.
Note from Sean: Speaking as someone who has never visited Central Park, I found this video very informative. Miller describes the history of the park and how the Conservancy brought it back to life.
A couple of weeks ago my work laptop went kaput (SSD failure). And while I had a relatively recent backup of my entire system, what I didn't have was an install file for the Flickr Uploadr program I've been using for years. That wonderful little program allowed me to right-click images and choose "Send to Flickr."
After choosing "Send to Flickr," the following window would pop-up (I still have it installed on my home desktop and simulated my last upload for this post):
If I wanted to add more images, all I had to do was drop them in the window.
The old Uploadr program did everything I wanted. It allowed me to upload batches of images with the same titles, descriptions & tags to whichever album I wanted and in whatever order I wanted. Also great was that nothing was uploaded until the entire batch was ready. And with the program set to an "Anyone" privacy setting, images were immediately available for everyone to see after the upload completed.
I expected that the new Flickr Uploadr program would provide similar functionality. After installation, I decided to walkthrough adding an image using the new program. I was dismayed to learn that it didn't add a right-click shortcut "Add to Flickr." In order for the program to upload the image, I had to specify where the image was stored or save the image in some [rather mundane] location, like the Pictures folder.
I assumed the program would introduce a new window once it found an image (or group of images) that would allow me to edit the title, description, tags, and specify which album I wanted the image to be added to. But that didn't happen. Instead, the program just uploaded the image with the filename being used for the title. And ridiculously, it automatically created a new album for the image (I think it used the folder name as the album name, but that may not be right). So after the image was uploaded, I had to use the web interface to add all the necessary information and move the image into the correct album before setting the image's Privacy setting to "Public."
How. Incredibly. Stupid.
The new Uploadr does exactly one thing – it automatically uploads images that are saved to specified folders. Then you're required to edit your images' information using a web browser, just as if you had uploaded the image through the web browser to begin with.
I don't use Flickr as a image backup system. I use it to showcase images that I think are worth sharing. I shoot quite a bit, but I'm selective in what I post. But when I want to post a batch of images, I want all the information to be in place before the images are uploaded.
When a program is updated, we generally get more features, not fewer features. And in this case, the full functionality of the old program has been replaced with a single – and quite useless for my needs – feature, UPLOAD NOW!
And this program is a Pro feature? Really? To say I'm bitter about the change is an understatement.
What do you think? Are there any Pro users who find the new Uploadr program useful for anything? Am I missing something?
I've been using Blend If in the Layer Style window for quite some time as an easy way to combine/composite images with white/dark backgrounds, but I never thought to use it to selectively apply noise reduction to shadow areas.
Also, Blake's use of the Color Fill Layer (via Clipping Mask) to visualize where the noise reduction is taking place is simple yet ingenious. [Sean]
Peter's friend and Oracle Team USA tactician, Andrew Campbell, gives Peter a tour of the compound in Bermuda as the team is busy preparing to defend their America's Cup title. The tour randomly turns into a full on photo shoot and we can see Peter's excitement as he incorporates the use his portrait skills with these talented sailors at the top of their sport. A sport Peter traded for a camera after training for the 1996 and 2000 Olympic Games.