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 Wednesday, July 6, 2016
Roger Cicala over at LensRentals has posted an open letter thanking rental customers for making the rental company he founded the great success it is today.
If you've ever rented from LensRentals, you've likely appreciated their excellent customer service. They are an excellent company and, as such, an easy recommendation when rental services are needed.
From the LensRentals Blog:
To Our Customers:
Ten years ago, if you wanted to try out some photography equipment, if you lived in a large market, your local camera store would have a few beat up copies of popular lenses for rent (with a 100% deposit). For the rest of us, we didn’t even have that option. I had this great idea to start an online rental offering, no deposits necessary and shared my idea with people I knew. Almost everyone said I would get robbed blind and lose every dime I had. Almost everyone said you’d get junky, beat-up rental equipment and were wasting your money renting online. Almost everyone said that my idea would be a massive failure.
I say ‘almost everyone’ because a few other people thought it was a good idea, too. You guys, our customers, thought it was a good idea. We’d never met each other unless emails count as a meeting. But we trusted each other because we all wanted this to work. Because we few thought that getting to use equipment for a few days or weeks at a reasonable price just made sense.
Almost everyone turned out to be dead wrong and we few turned out to be right. Lensrentals thrived beyond anyone’s wildest dreams. Sure, I took risks, and the people who joined me here worked their butts off. But you guys, our customers, were our partners in proving ‘almost everyone’ wrong. Without you, it never would have happened.
Ten years later, saying thank you just isn’t adequate. There are no words that would possibly express my gratitude for all of you who supported Lensrentals and created our success; you folks who shared in proving ‘almost everyone’ wrong.
There are no words, but I believe actions are more important than words. Everyone who works here tries to show our gratitude in our actions. Whether it’s making all of our testing data public, making sure your rental arrives in better condition than you expected, drawing a dinosaur on your shipping box because you requested it, or just talking you through a difficult set-up on the phone, we want to show you our gratitude with every rental. We want you to know it’s more than just business. It’s a partnership between you and us. You’ve helped us achieve our goals; we want to make certain we help you achieve yours.
We wouldn’t be doing what we love to do every day without you. We want our actions, our attitude, and our service let you know, every time you rent from us, that we are grateful that you have partnered with us along this journey.
Roger Cicala
In celebration of its 10 year anniversary, LensRentals invites you to use promo code LR10YEAR to save on orders arriving before July 31st.
The code allows you to save $15.00 on orders of $100.00 - $249.00, $50.00 on orders of $250.00 - $999.00 and $250.00 on orders of $1000.00 or more.
To support this site, navigate to the appropriate product review and click the Rent button.
Posted to: Canon News,
Post Date: 7/6/2016 10:25:33 AM CT   Posted By: Sean
David Segal of the Financial Review has written a very interesting article on the success of fine art photographer Peter Lik and the market on which he thrives. [Sean]
From the Financial Review:
He's the creator of the world's most expensive photograph – it sold for $US6.5 million – but the success of Australian fine art photographer Peter Lik raises questions about his empire, and his art.
Peter Lik is in awe of himself. When he describes his career as a fine art photographer, he speaks with the satisfaction of a guy who has performed miracles, at the pace of a bystander who has just caught a glimpse of Superman.
The words tumble forth in self-exalting, run-on sentences, most of them laced with profanity, all of them in his sunny, chummy Australian accent.
"I'm the world's most famous photographer, most sought-after photographer, most awarded photographer," he said one recent afternoon, sipping a can of Red Bull in a conference room at Peter Lik USA, a 100,000-square-foot headquarters in Las Vegas devoted solely to the production and sale of Peter Lik photography.
"So I said" – and what Lik said next is an unprintable version of "the heck with it," and then – "I want to make something special, special, special, special."
That something special was a photograph called Phantom, an image of an eerily human-shaped swirl of dust in Antelope Canyon in Arizona. In December, his company announced in a news release that an anonymous collector had spent $US6.5 million ($8.4 million) for Phantom. That crushed the previous record, held by Andreas Gursky, whose Rhein II fetched $US4.3 million at an auction in 2011, and Cindy Sherman, whose Untitled #96 brought $US3.9 million at another auction the same year.
But Gursky and Sherman are titans, with solo shows in pre-eminent museums.
Who is Peter Lik?
The entire article can be read on the Financial Review.
Posted to: Canon News,
Post Date: 7/6/2016 10:06:36 AM CT   Posted By: Sean
Wondering what the new Pelican AIR hard cases are like? Check out the just posted Pelican 1535 AIR Hard Case Review.
B&H has the Pelican 1535 AIR Hard Case in stock.
Posted to: Canon News,
Post Date: 7/6/2016 9:45:08 AM CT   Posted By: Bryan

From the COOPH YouTube Channel:
Watch photographer Markus Berger demonstrate how to get your glow on under blacklight with these UV photography tips & tricks!
UV Tools and Products:
Posted to: Canon News,
Post Date: 7/6/2016 6:57:40 AM CT   Posted By: Sean
According to the Egami Blog, Canon has submitted a patent for an EF-M 16-50mm f/3.5-5.6 IS STM.
Patent Details
  • Patent Publication No. 2016-118658
  • Published 2016.6.30
  • Submission date 2014.12.22
  • Zoom ratio 2.88
  • Focus distance 16.51 21.00 47.49
  • F-number 3.49 3.77 5.80
  • Field of view (degrees) 39.61 33.04 16.05
  • Width 13.66 13.66 13.66
  • Overall length of the lens 82.00 77.35 84.14
  • BF 10.70 10.70 13.31
Posted to: Canon News
Post Date: 7/6/2016 5:28:31 AM CT   Posted By: Sean
 Tuesday, July 5, 2016

Canon Collective Ambassador Colin Baker shows us how to shoot abstract frames using Multiple Exposures mode built in to your camera.
Learn more about Canon Australia at #VividSydney and how you can make the most of your time there:
Posted to: Canon News
Post Date: 7/5/2016 9:16:54 AM CT   Posted By: Sean
In addition to image quality results, vignetting, flare and distortion test results along with specs and measurements have been added to the Samyang 14mm f/2.8 Lens and Samyang 135mm f/2 ED UMC Lens pages. As mentioned before, both of these lenses are scheduled to have full reviews completed in the near future.
B&H has the Samyang 14mm f/2.8 Lens and Samyang 135mm f/2 ED UMC Lens in stock.
Posted to: Canon News,
Post Date: 7/5/2016 8:05:00 AM CT   Posted By: Bryan
I mentioned a couple of lens' TDP rank recently and by request, I'm sharing the full list. Keep in mind that there are a lot of factors that can influence a lens' popularity (including search engine referrals) and popularity can be measured in a variety of ways. But, here is a rough look at the popularity of Canon's current (on retailer shelves) lenses:
  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. Canon EF 24-105mm f/4L IS USM Lens Buy
  7. Canon EF-S 10-18mm f/4.5-5.6 IS STM Lens Buy
  8. Canon EF 70-300mm f/4-5.6L IS USM Lens Buy
  9. Canon EF 70-200mm f/4L USM Lens Buy
  10. Canon EF 11-24mm f/4L USM Lens Buy
  11. Canon EF-S 10-22mm f/3.5-4.5 USM Lens Buy
  12. Canon EF 100mm f/2.8L IS USM Macro Lens Buy
  13. Canon EF 70-300mm f/4-5.6 IS USM Lens Buy
  14. Canon EF 24-70mm f/4L IS USM Lens Buy
  15. Canon EF 16-35mm f/2.8L II USM Lens Buy
  16. Canon EF-S 18-135mm f/3.5-5.6 IS STM Lens Buy
  17. Canon EF-S 15-85mm f/3.5-5.6 IS USM Lens Buy
  18. Canon EF 200-400mm f/4L IS USM Lens Buy
  19. Canon EF 85mm f/1.2L II USM Lens Buy
  20. Canon EF 50mm f/1.4 USM Lens Buy
  21. Canon EF 85mm f/1.8 USM Lens Buy
  22. Canon EF 100-400mm f/4.5-5.6L IS USM Lens Buy
  23. Canon EF 17-40mm f/4L USM Lens Buy
  24. Canon EF 70-200mm f/4L IS USM Lens Buy
  25. Canon EF 14mm f/2.8L II USM Lens Buy
  26. Canon EF 35mm f/1.4L II USM Lens Buy
  27. Canon EF 50mm f/1.2L USM Lens Buy
  28. Canon EF 100mm f/2.8 USM Macro Lens Buy
  29. Canon EF-S 24mm f/2.8 STM Lens Buy
  30. Canon EF 35mm f/2 IS USM Lens Buy
  31. Canon EF 24mm f/1.4L II USM Lens Buy
  32. Canon EF 50mm f/1.8 STM Lens Buy
  33. Canon EF 135mm f/2L USM Lens Buy
  34. Canon EF 400mm f/4 DO IS II USM Lens Buy
  35. Canon EF-S 18-135mm f/3.5-5.6 IS USM Lens Buy
  36. Canon EF 200mm f/2L IS USM Lens Buy
  37. Canon EF-S 18-200mm f/3.5-5.6 IS Lens Buy
  38. Canon EF 75-300mm f/4-5.6 III USM Lens Buy
  39. Canon EF-S 55-250mm f/4-5.6 IS STM Lens Buy
  40. Canon EF 28-300mm f/3.5-5.6L IS USM Lens Buy
  41. Canon EF 400mm f/2.8L IS II USM Lens Buy
  42. Canon EF 400mm f/5.6L USM Lens Buy
  43. Canon EF 300mm f/2.8L IS II USM Lens Buy
  44. Canon EF 70-200mm f/2.8L USM Lens Buy
  45. Canon EF-S 18-135mm f/3.5-5.6 IS Lens Buy
  46. Canon EF 24mm f/2.8 IS USM Lens Buy
  47. Canon EF 300mm f/4L IS USM Lens Buy
  48. Canon EF 200mm f/2.8L II USM Lens Buy
  49. Canon EF 28-135mm f/3.5-5.6 IS USM Lens Buy
  50. Canon EF 600mm f/4L IS II USM Lens Buy
  51. Canon EF 50mm f/1.8 II Lens Buy
  52. Canon EF 800mm f/5.6L IS USM Lens Buy
  53. Canon EF 35mm f/1.4L USM Lens Buy
  54. Canon EF 20mm f/2.8 USM Lens Buy
  55. Canon EF 40mm f/2.8 STM Lens Buy
  56. Canon MP-E 65mm Macro Lens Buy
  57. Canon EF 8-15mm f/4L USM Fisheye Lens Buy
  58. Canon EF 100mm f/2 USM Lens Buy
  59. Canon EF 500mm f/4L IS II USM Lens Buy
  60. Canon EF 2x III Extender Buy
  61. Canon EF 180mm f/3.5L USM Macro Lens Buy
  62. Canon EF 24-105mm f/3.5-5.6 IS STM Lens Buy
  63. Canon EF 1.4x III Extender Buy
  64. Canon EF-S 17-85mm f/4-5.6 IS USM Lens Buy
  65. Canon EF 28mm f/2.8 IS USM Lens Buy
  66. Canon EF 70-300mm f/4.5-5.6 DO IS USM Lens Buy
  67. Canon EF 28mm f/1.8 USM Lens Buy
  68. Canon EF-S 18-55mm f/3.5-5.6 IS STM Lens Buy
  69. Canon EF-S 18-55mm f/3.5-5.6 IS II Lens Buy
  70. Canon EF-S 60mm f/2.8 Macro USM Lens Buy
  71. Canon TS-E 24mm f/3.5L II Tilt-Shift Lens Buy
  72. Canon TS-E 17mm f/4L Tilt-Shift Lens Buy
  73. Canon TS-E 90mm f/2.8 Tilt-Shift Lens Buy
  74. Canon EF-S 55-250mm f/4-5.6 IS II Lens Buy
  75. Canon EF 400mm f/4 DO IS USM Lens Buy
  76. Canon EF 75-300mm f/4-5.6 III Lens Buy
  77. Canon TS-E 45mm f/2.8 Tilt-Shift Lens Buy
Let us know which rankings are surprises to you!
Posted to: Canon News
Post Date: 7/5/2016 6:26:00 AM CT   Posted By: Bryan

From the B&H YouTube Channel:
Canon “Explorer of Light “ Chas Glatzer will share the thought process behind the making of an image, and the techniques used to produce consistently successful images in the field. Learn how to see and understand light, its quality, physical properties, etc., and how they relate to your subject and capture medium will allow you to take control of your imagery.
Link to Full Version:
Posted to: Canon News,
Post Date: 7/5/2016 5:34:51 AM CT   Posted By: Sean
 Monday, July 4, 2016
From National Geographic:
National Geographic’s top editors explain how to keep photography honest in the era of Photoshop—and why they’ll never move the pyramids again.
In the digital age, when it’s easy to manipulate a photo, it’s harder than ever to ensure that the images we publish, whether on paper or on a screen, reflect the reality of what a photographer saw through his or her viewfinder. At National Geographic, where visual storytelling is part of our DNA, making sure you see real images is just as important as making sure you read true words.
I’ll explain how we strive to keep covertly manipulated images out of our publications—but first an admission about a time when we didn’t. Longtime readers may remember.
Check out the entire article on the National Geographic website.
Posted to: Canon News,
Post Date: 7/4/2016 10:54:28 AM CT   Posted By: Sean

From the Phlearn YouTube Channel:
Scale Pattern into Place
Start by scaling and rotating the pattern into place. In this example, we also invert the pattern to change colors by pressing CTRL/CMD + I. Make sure to make the pattern a bit larger than the piece of clothing so it can be warped into place.
Use the Pen Tool to Cut Out Clothing
It is important to have an accurate cut out of the clothing, so the pattern looks seamless. In this example, we use the Pen Tool to cut out the original shirt. Create a pen path around the clothing by clicking and dragging to create curves.
After completing the pen path, right-click and turn it into a selection and feather the edge by 0.5 pixels. Next, load the selection as a layer mask for the pattern, making it only visible where the original piece of clothing is.
Liquify the Pattern to Fit the Clothing
To make the pattern look like it flows with the fabric, it must be warped into place. Use the liquify tool to bring in the edges of the pattern, making it look like the pattern wraps around the piece of clothing.
To re-create folds of fabric, use the freeze mask tool to paint over one-half of the fold. Then use the forward warp tool to push the pattern under the freeze mask. If done correctly, it will look like the original pattern curves around the folds of fabric.
Add Highlights and Shadows from Original Photo
The last step is to blend the pattern into the original image. In this example, we change the blend mode to ‘Multiply’ and lower the opacity to 90%.
Next, add shadows and highlights from the original piece of clothing. Duplicate the background layer and place it on top of the fabric layer. Right-click on the layer and select “create clipping mask”, then change the blend mode to ‘Multiply’.
To add highlights, duplicate the background layer and clip it to the fabric, just like the previous layer. This time set the blend mode to ‘Screen’. If needed, adjust the brightness of this layer by using a Levels adjustment - CTRL/CMD + L. Drag the black point slider to the right until the layer only appears over the highlights.
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News,
Post Date: 7/4/2016 8:49:26 AM CT   Posted By: Sean

From the Adobe Photoshop Lightroom YouTube Channel:
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News,
Post Date: 7/4/2016 6:58:20 AM CT   Posted By: Sean

From the B&H YouTube Channel:
During this video Bob Davis goes through the evolution of light using Speedlites, direct flash, bounce flash, multiple wireless remote flashes, and creating studio quality light anywhere, anytime.
Full Version:
Posted to: Canon News,
Post Date: 7/4/2016 6:39:30 AM CT   Posted By: Sean
 Friday, July 1, 2016
In late February of this year, SanDisk proclaimed they had the "World's Fastest Transfer Speed" in their newly announced Extreme Pro 128GB microSD memory card. It now seems the transfer technology has migrated up the card capacity ladder.
From WD/SanDisk:
MOBILE WORLD CONGRESS SHANGHAI, China – June 29, 2016 – Western Digital Corporation (NASDAQ: WDC), a global storage technology and solutions leader, today introduced a new suite of 256 gigabyte (GB) microSD cards, which includes the new 256GB SanDisk Extreme microSDXC UHS-I card – the fastest microSD card in its class. The new suite of cards also includes 256GB SanDisk Ultra microSDXC UHS-I card, Premium Edition, the first 256GB card optimized for mainstream consumers. The new additions deliver leading speed and capacity in a fingernail-sized card, giving smartphone, drone and action camera users the performance and capacity they need to capture professional-grade videos and photos without worrying about running out of space on their device.
“Our microSD cards are now at the center of many consumer devices, and we’re excited to not only raise the bar with the launch of the world’s fastest microSD card, but to also offer a family of 256GB microSD cards that give consumers the flexibility they need to capture life at its fullest,” said Dinesh Bahal, vice president of SanDisk product marketing, Western Digital. “As a leading global storage provider with one of the most trusted flash brands, we take pride in transforming the way consumers capture, store and share their content.”
Whether taking pictures, shooting 4K UHD or Full HD video, or storing high-fidelity music, the new 256GB cards give consumers the freedom to capture and carry a massive amount of content on their devices without concern about storage limitations.
“At DJI we focus on creating easy-to-use drone technology for consumers to capture everyday exploration and photography, and our customers need quick and reliable access to their high quality aerial footage,” said Eli Morgan Harris, strategic partnerships, DJI. “With the new 256GB SanDisk microSD UHS-I cards, they now have greater flexibility to capture their content on high-performance storage and the peace of mind knowing they can continue shooting when it matters most.”
The Ultimate Combination of Capacity and Performance
The 256GB SanDisk Extreme microSDXC UHS-I card delivers unmatched transfer speeds of up to 100MB/s**, allowing users to save time transferring large files, as well as write speeds of up to 90MB/s** for rapid capture of photos. Users can record an estimated 14 hours of 4K UHD video1 on the 256GB card, making it ideal for high-performance drones, action cameras, and 4K-capable smartphones, among other devices.
The 256GB SanDisk Ultra microSDXC UHS-I card, Premium Edition, is ideal for Android-based smartphone and tablet users who don’t want to worry about running out of space on their devices. The new card is capable of storing more than 24 hours of Full HD video1, and also features premium transfer speeds of up to 95MB/s**. At this speed people can move files quickly – up to 1,200 photos in just one minute2.
Built to perform in harsh conditions, the new cards3 are also waterproof, temperature-proof, shock proof, and X-ray proof. Additionally, the SanDisk microSD card line up is compatible with the SanDisk Memory Zone app for Android, giving users an easy way to manage and back up content on their device. The app is available for free through the Google Play Store4.
Heritage of Memory Card Innovation
The new suite of cards is the latest breakthrough offering to join the cutting-edge SanDisk portfolio of mobile memory solutions. The first to introduce 128GB and 200GB microSDXC, and 512GB SDXC high-capacity cards, SanDisk continues to pioneer technology that keeps up with consumers’ evolving storage needs.
Pricing and Availability
The 256GB SanDisk Ultra microSDXC UHS-I card, Premium Edition, will be available worldwide in August 2016 with a U.S. MSRP of $149.99. The 256GB SanDisk Extreme microSDXC UHS-I card will be available worldwide in calendar Q4 2016 with a U.S. MSRP of $199.99.
The complete line of SanDisk microSD cards can be purchased at more than 300,000 retailers worldwide.
B&H carries SanDisk microSD memory cards.
Posted to: Canon News,
Post Date: 7/1/2016 11:17:49 AM CT   Posted By: Sean
by Sean Setters
Back in late 2014 I purchased a Vello FreeWave Stryker from B&H (via a Daily Deal) with the intent of exploring lightning photography. After only a few times using the device, I fell in love with the endeavor. However, while the device worked well for me in very dark conditions, the device could not be correctly set to trigger the camera if the ambient light was above a certain [very low] level.
That left me wondering, "Is there a more flexible lightning triggering device that's also reasonably cost effective?"
In this case, patience paid off. In February B&H featured the Miops Camera Trigger in another Daily Deal; I decided to pick one up. Not long afterwards I also purchased the OP/TECH USA 8" Small Rain Sleeve to protect my camera during the anticipated downpours.
With storm season well underway, I can say I've been very impressed with the device. It can be set to detect lightning and trigger the camera in significantly brighter conditions compared to the Vello FreeWave. And the OP/TECH USA rain sleeve has proven to the perfect tool for protecting the camera. I even used it when photographing dirt track racing with Bryan a few weeks ago.
Miops camera trigger and camera protection in-hand, I began planning where I wanted to capture lightning. After a little bit of exploration, I settled on a view of River Street as seen from the Savannah International Trade and Convention Center just across the Savannah River. The location was optimal because it gave me a great view of downtown Savannah with City Hall (the gold domed building) being recognizable in the center of the frame. The convention center's awning also provided a decent amount of rain protection, though gusts of wind would still compromise gear if left uncovered/unprotected.
With the location decided upon, I needed to organize the right gear to tackle the job. And just in case I forgot to check the weather for a given day, I also installed Dark Sky - Hyperlocal Weather on my Android phone in order to receive alerts whenever precipitation was imminent. I also created a bookmark for which showed lightning activity around Savannah. After receiving a notice of precipitation, I would quickly check the map to see if lightning was also headed my way.
I keep a Go-Bag packed and ready for immediate use whenever storms are in the forecast. This allows me to bolt (pun intended) out the door at a moment's notice.
While the lenses have changed slightly in my Go-Bag over the last couple of months, most of the items remained constant. For the image above, my Go-Bag contained:
Every time I received a Dark Sky precipitation warning and confirmed lightning was headed toward Savannah, I would grab my gear, head downtown, drive across the Talmadge Memorial Bridge and make my way to the convention center. It took me four attempts, but this past Tuesday I was finally able to capture the lightning I had envisioned.
As I crossed the Talmadge Bridge Tuesday evening, I could see a significant amount of storm activity to the west. The storm was getting very close. As I was setting up my equipment, a light sprinkle of rain began to wet the ground. Soon after, it looked like a strobe light was illuminating the sky. Most of the lightning was occurring above the clouds, but every now and then one would connect with the ground within my camera's field of view.
I chose to use the EF 24-105mm f/4L IS USM because its hood would be more protective against the rain compared to the EF 17-40mm f/4L IS USM's hood. I used 10x Live View and manual focus with the camera set to f/5.6, 8 seconds at ISO 100. The f/5.6 aperture was chosen because it allowed me enough depth of field at 24mm to have most everything in focus while also keeping individual lightning bolts from overexposing the sky. An 8-second shutter speed allowed for the city lights to be decently exposed. While these settings worked well under individual strikes, multiple strikes within the 8-second shutter speed would cause overexposure in the sky especially if the bolts were large and nearby.
I varied the Miops Trigger's sensitivity throughout the evening so that I could limit the camera's captures to instances when they were more likely to capture a compelling lightning strike. With the sensitivity set too high, the camera would trigger at the reflection of lightning bouncing off of the clouds with no actual bolt within view. Finding the preferred setting proved very easy, though.
The final image above is a composite of several images taken that night. In post processing, I layered all the individual images that featured interesting lightning bolts and set them to a "Lighten" blending layer to allow the brighter parts of those images to come through. A few parts of the scene required masking so as not to have duplicate ghost items in the image (especially true around the flag poles where wind blew the flags occasionally).
I wish more lightning had occurred on the right side of the frame so that the image would appear more balanced, but... I didn't like any of my shots with lightning on the right side.
In short, I captured an image that was very close to what I had in my head and the Miops Trigger helped me do it. For what it's worth, there's currently a $40.00 instant savings on Miops Camera Trigger + cable kits and the device allows for many other types of triggering, including sound and laser triggering (which certainly increases its value). Personally, I wouldn't bother getting the mobile-branded kit as you can just as easily control the Miops trigger (connected to the camera) via your mobile phone rather than control your phone (connected to the camera, requiring an additional cable) via the Miops trigger. The only time the mobile kit would be beneficial is if you need the Miops device to be positioned well away from the camera for triggering purposes.
Posted to: Canon News,
Post Date: 7/1/2016 7:10:16 AM CT   Posted By: Sean
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