From the Photoshop Tutorials by PHLEARN YouTube Channel:
Learning keyboard shortcuts is the best way to work faster and more efficiently in Photoshop. In today's episode, we explore 5 Keyboard Shortcuts that are sure to speed up your workflow in Photoshop.
Keyboard Shortcuts - Mac
Spacebar + CMD + Click & Drag - Precise Zoom Use this keyboard shortcut to quickly zoom in and out of specific areas of a photo. Especially great for detailed editing work in Photoshop. Zoom in for detailed work, then zoom-out to see the results.
CTRL + ALT + Click & Drag - Change Brush Size and Hardness Click & Drag Left and Right to change brush size. Click & Drag Up and Down to change brush hardness.
V, 1-9, 0 - Adjust Layer Opacity To change layer opacity, first select the Move Tool by pressing "V". This will make any changes applicable to the layer, not a specific tool like the Brush Tool. Use the numbers on the top of the keyboard to correspond to layer opacity. "1" will make opacity 10%. "5" will make opacity 50%. OPTN + CMD + SHIFT + M - Add Layer Mask
Learn how to create keyboard shortcuts in this episode. There is no default keyboard shortcut for making a layer mask - we suggest making one to save time!
OPTN + CMD + SHIFT + S - Save for Web and Devices To save images with the correct settings for display online, be sure to use "Save for Web and Devices"
Keyboard Shortcuts - PC
Spacebar + CTRL + Click & Drag - Precise Zoom Use this keyboard shortcut to quickly zoom in and out of specific areas of a photo. Especially great for detailed editing work in Photoshop. Zoom in for detailed work, then zoom-out to see the results.
CTRL + ALT + Right-Click & Drag - Change Brush Size and Hardness Right-Click & Drag Left and Right to change brush size. Right-Click & Drag Up and Down to change brush hardness.
V, 1-9, 0 - Adjust Layer Opacity To change layer opacity, first select the Move Tool by pressing "V". This will make any changes applicable to the layer, not a specific tool like the Brush Tool. Use the numbers on the top of the keyboard to correspond to layer opacity. "1" will make opacity 10%. "5" will make opacity 50%.
ALT + CTRL + SHIFT + M - Add Layer Mask Learn how to create keyboard shortcuts in this episode. There is no default keyboard shortcut for making a layer mask - we suggest making one to save time!
ALT + CTRL + SHIFT + S - Save for Web and Devices To save images with the correct settings for display online, be sure to use "Save for Web and Devices"
A wide-aperture 50mm prime lens is a staple in the photographic world. It was often included in 35mm film DSLR kits because of its versatility and familiar angle of view (the focal length approximates how we see the world with our own eyes). With such deep roots, widespread availability, general lack of distortion and the ability to tackle a myriad of situations, it's no wonder why 50mm primes are so popular.
For the purposes of this comparison, we're only going to compare lenses featuring wider-than-f/2 apertures that are capable of autofocus. While there are certainly great manual focus 50mm primes out there (the Zeiss Milvus 50mm f/1.4 being one of them), the lack of AF makes them more of a special use tool rather than a versatile, general use prime. And since distortion is generally not very significant in 50mm primes, we won't be comparing that aspect of these lenses.
At the top of the list (in terms of maximum aperture and price) is the Canon EF 50mm f/1.2L USM. This high quality L-series lens has been Canon's top tier 50mm prime for a decade now. Unfortunately, its age is starting to show.
If you need the widest aperture you can get in an EF-series lens, it's your only choice. However, the lens has a "dreamy" quality at its widest aperture. A more specific way to describe the lens is it's a little soft in the center and very soft in the corners wide open. With it, you'll see pretty heavy vignetting until f/2 and chromatic aberrations (CA) will be evident the lens' widest apertures. And on top of that, it's by far the most expensive option in this comparison.
So what are the Canon EF 50mm f/1.2L USM's pros? Although it isn't Canon's fasted focusing USM lens, it is fast enough to be effectively employed for some sports uses. And unlike its longer focal length big brother featuring an identical aperture and all but one other lens in this comparison, the 50L is weather sealed (with a front filter in place).
While the naming convention Sigma uses for its Global Vision Lenses still confounds us, there's no doubt that Sigma's reputation has been bolstered by its Art and Sports series lenses. High quality construction, sleek styling, excellent optics and reasonable price have become hallmarks of the Sigma brand. The Sigma 50mm f/1.4 DG HSM Art seems to check all of those boxes.
The Sigma 50 Art is impressively sharp wide open and improves to tack sharp across the frame at f/2.8. Vignetting, flare and CA are all well-controlled. One more significant benefit of the 50 Art is Sigma's 4-year warranty (1 + 3 year extension in the US market) compared to Canon's 1-year warranty.
As is too-frequently typical with third-party lenses, you can expect the Sigma 50 Art to focus less consistently accurately than the typical Canon USM lens. While results in One Shot mode may leave you scratching your head from time to time, AI Servo performance is noticeably better. I [Sean] have used the Sigma 50 Art for a number of indoor basketball games and, while not perfect, it performs admirably at the task. That the AF can be customized via the USB Dock is a nice advantage.
If there's a shot you cannot afford to miss (like a bride & groom's kiss at the end of a wedding ceremony), I'd suggest using Live View shooting to minimize the risk of missing focus. As Live View uses data coming from the actual sensor to achieve focusing, phase-detect calibration issues can be avoided.
Yes, I know that the Tamron 45mm f/1.8 VC doesn't technically qualify to be included in this comparison, but I think it's close enough in focal length to deserve consideration. Along with the 35mm variant, the 45mm f/1.8 VC became Tamron's first in a new series of lenses competing directly against Sigma's Global Vision Lens line (see Sigma GVL hallmarks above). And just like Sigma's GVLs, the Tamron's AF can be customized via a similar USB device. Like the Canon, this lens features weather sealing.
While the Tamron's maximum aperture may have a 2/3 stop narrower aperture than the Sigma, its Vibration Control (a unique feature among its competitors) capable of up to 3-stops of assistance more than makes up for the difference in aperture while photographing static subjects.
The Tamron features nice, relatively even sharpness across the frame wide open and improves noticeably at f/2.8 where results are great with minimal vignetting. Flare performance is good at wider apertures but results are less visually pleasing once stopped down to its narrowest aperture. Chromatic aberrations are decently controlled. The Tamron features the highest maximum magnification (0.29x) among its 50mm prime competitors.
As is too-frequently typical in third party lenses, you can expect less consistent AF results while using the Tamron 45 f/1.8 VC. We found center AF performance quite good (probably the best we've seen from a Tamron), but outer AF point consistency will likely be a problem for many. Just as with the Sigma, use Live View focusing for your fleeting moments using the Tamron.
Introduced in 1993, the Canon EF 50mm f/1.4 USM is by far the oldest lens in this comparison and one of Canon's longest-produced (and still current) lenses. Its price point, wide f/1.4 aperture and better build quality than Canon's f/1.8 variants have made it an attractive investment for many photographers wanting explore the benefits of prime lenses. However, its performance compared to contemporarily designed 50mm primes may be considered lackluster.
The Canon 50mm f/1.4 is very soft wide open across the entire frame but improves greatly at f/2.8. Keep in mind that for those who are stepping up from a kit lens with an f/5.6 maximum aperture at 50mm, the results of the Canon 50mm f/1.4 prime at f/2.8 may be worthwhile considering the 2-stop wider aperture advantage. Vignetting is very heavy at f/1.4 but clears nicely at f/2.8. Flare is very well controlled through f/8 (with a small amount of contrast lost) and minimal at f/11.
With a mid-grade design that's now more than 20 years old, the 50mm f/1.4 USM is not the most durable or stylish 50mm lens. It should stand up well to typical use, though. It features a very attractive price tag compared to the other lenses listed above it in this comparison. However, as far as affordable pricing is concerned, there's another Canon 50mm variant that takes the cake.
Canon's 50mm f/1.8 lenses have been the budget-conscious photographer's introduction to prime lenses for many years. Their newest variant features Canon's STM focusing technology which was developed to produce smooth (and quieter) autofocus results during video capture. And while the AF is not silent, it's significantly quieter than its predecessor (the EF 50mm f/1.8 II).
And speaking of the 50mm f/1.8 II, the Canon EF 50mm f/1.8 STM features a long list of upgrades (more aperture blades, higher build quality, STM, higher maximum magnification, etc.) that make it a worthwhile replacement for Canon's most inexpensive lens. Unfortunately, a new optical formula was not one of the upgrades (though new coatings have been employed).
The 50mm f/1.8 STM's sharpness is very similar to the Canon 50mm f/1.4 when both lenses are compared wide open, though the f/1.8 STM is noticeably better in the center. Sharpness improves significantly by f/2.8, but it still lags behind its f/1.4 cousin at the same aperture. The 50 f/1.8 STM features impressive, not-terribly-noticeable-wide-open vignetting results for a lens at its price point. At wide apertures, flare is mild but reduces to virtually nonexistent at f/5.6. Expect minimal CA when using this lens.
Undoubtedly, one of the 50mm f/1.8 STM's most attractive features is its price point. To put it into perspective, you could buy 11 EF 50mm f/1.8 STMs and still have money left over compared to the investment required to add the Canon 50L (at US MSRP) to your kit. If you are a photographer who currently uses one of Canon's 18-55mm kit lenses and wants to experience the benefits that wide-aperture prime lenses have to offer, this lens is an easily justifiable investment.
Before we move on, there are a couple of differentiating factors I didn't address above – size and weight. There is definitely a significant difference between the biggest/heaviest and the smallest/lightest options. If size and weight are a differentiating factor for your photography (especially important when traveling), use the table below to aid in your decision making process.
Size and Weight
Measured Size (D x L)
Measured Weight (w/o hood)
Canon 50mm f/1.2L USM
3.39 x 2.9”
Sigma 50mm f/1.4 DG HSM Art
3.36 x 4.25”
Tamron 45mm f/1.8 Di VC USD
3.19 x 3.93”
Canon EF 50mm f/1.4 USM*
2.91 x 2.01”
Canon EF f/1.8 STM
2.77 x 1.83”
* Manufacturer specs shown in absence of measured specs.
As you can see, the 50mm(ish), wide-aperture prime lens market is not short on options. The fact that Canon has three 50mm lenses featuring an f/1.8 or wider aperture is a testament to this prime focal length's appeal. And the fact that third party lens manufactures are devoting significant resources to producing high quality 50mm variants is unsurprising for the same reason.
For what it's worth, there isn't one right option when it comes to 50mm primes. The order of your own personal priority list – considering build quality, image quality, AF accuracy, size/weight and cost – will ultimately determine which prime lens deserves a place in your gear bag. I hope the comparison above has helped illuminate the right answer for you.
Thank you for choosing Nikon for your photographic needs.We plan to test Macintosh versions of the following software applications for compatibility with macOS Sierra. We will announce our findings once testing is complete. We cannot guarantee the compatibility of these applications with macOS Sierra until we have completed testing.
ViewNX-i (including ViewNX-Movie Editor and Nikon Transfer 2)
It has become clear that the current version of the Wireless Transmitter Utility is unable to function properly under macOS Sierra. We do plan to update the Utility to provide compatibility with macOS Sierra, so we ask that you refrain from updating to macOS Sierra until the Wireless Transmitter Utility update becomes available.
We do not intent to provide compatibility with the following applications.
ViewNX 2 (including Movie Editor)
Capture NX 2
Short Movie Creator
Capture NX Ver. 1.x
Camera Control Pro Ver. 1.x
Nikon Capture series
ViewNX Ver. 1.x
Nikon Transfer Ver. 1.x
Nikon View series
Nikon Scan series
PictureProject COOLPIX Remote Control
WT-3 Setup Utility
Wireless Camera Setup Utility
Wireless Connecting Utility
Nik Color Efex Pro 2.0
Nik Color Efex Pro 3.0 Select Edition
Nik Color Efex Pro 3.0 Complete Edition
In addition, we do not plan to provide compatibility for other software, or SCSI- or serial-connection products. We apologize for any inconvenience this may cause. For more information regarding this matter, please contact Nikon Customer Support.
Once again, thank you for choosing Nikon for your photographic needs.
Canon has released five new camera firmwares with the following update:
Corrects a phenomenon in which when using the camera with the EF-S 18-135mm f/3.5-5.6 IS USM or EF 70-300mm f/4-5.6 IS II USM lens, even if lens aberration correction is set to "Enable", correction will not be applied.
Note that the EOS 6D's updated firmware does not include correction for the [incompatible] EF-S 18-135mm f/3.5-5.6 IS USM.
Ever found yourself lost in the maze of codec options when shooting, editing, and delivering your video? You're not alone. In this video, Chase from Zacuto explains the basics of choosing and setting up your codecs for every step of your production. Concepts such as interframe vs. intraframe, color depth, and bitrates are explained as they pertain to your workflow.
Wildlife is unpredictable – and too often lives up to the "wild" in its name. Getting warm light from a very late day sun to hit an animal directly from behind your back (shadow pointed to the subject) with a good background is challenging. Having the animal be an incredibly-large bull elk and the background be maple trees in peak red fall color definitely increases the image value to me. Having the broadside bull scratch itself with its antlers, aligning the shoulders within a green portion of the background, the antlers within the glowing red section of tree and the head in front of the brightest background (high contrast draws the viewer's eye) was more than I thought to pray for.
This huge 9x8 bull elk had been bedded in the sage and grass. The sun was setting rapidly and while I captured many images of the head and antlers rising above the obstructions, I really wanted a full (or nearly full) body image in this setting. Fortunately, that happened. I was in a great position when the elk stood up. However, the bull's head, looking forward, was in the shade of trees on the horizon behind me. The back scratch was precisely what I needed to leave only the legs in the shadows, completing the image.
While I prefer to use completely manual settings, the light falling on the subjects was changing frequently and the shots were often being captured in haste. So, I opted to use manual mode with Auto ISO for much of my elk photography on this trip. The color of the elk bodies and their environment was neutral enough in brightness that, at most, only a small amount of exposure compensation was needed. In this case, I exposed this image 1/2 stop brighter than needed. The 5Ds R did not have any trouble recovering the red channel pixels that exceeded a 255 RGB value. This brightness adjustment left just a tiny patch of red pixels retaining 255 values, though even more headroom is available.
Based on the movement of the elk at the time of capture, ranging from standing (often looking at me) to running away, this exposure method meant that I could simply roll the top dial to select the shutter speed I needed for the scenario (to keep the image sharp) while keeping the ISO as low as possible. If only one elk was in the frame, the aperture was nearly always intended to be set at f/4, so don't read anything into my f/4.5 actually used aperture for this image. I must have inadvertently (sounds much better than "user error") adjusted the rear control dial at some point during the action. Bull elk are huge and at the distance required to keep the entire elk in the frame, f/4 was still not shallow enough to completely erase the background in most scenarios encountered.
The 600 f/4 is a large and heavy lens. Using it without support is asking for a shoulder injury. While a tripod with a gimbal head is the ideal support for this lens, I find a strong monopod (with twist-locks for quietness) to be much faster to setup and adjust. This speed is very important for positioning in wildlife photography as the subject seldom stays in place for very long. Setting up fast and quietly can mean the difference between getting a great shot and getting no shot.
As you may have guessed, I have recently returned from a photography trip. This one was a 10-day wildlife and landscape adventure to Idaho and Wyoming. As usual, the trip was exhausting but amazing. The in-the-field experience is not only great fun, but also extremely important in fully understanding how gear works in the situations it is designed to be used in.
This trip featured the new Canon EOS 5D Mark IV DSLR camera that arrived just prior to my leaving. I rotated the 5D IV and a pair of Canon EOS 5Ds R bodies between the primary lenses I was using at the time, namely the EF 100-400mm L IS II and EF 600mm L IS II for elk and other wildlife. The 5Ds R happened to be behind the 600 on this day and the resulting image is incredibly detailed, but I would not have been disappointed to have had the 5D IV behind this lens at this time. It too is a great camera. My 5D IV is quickly approaching 10k frames and completion of its review remains a very high priority.
Question: Would you like this image better in a square/1:1 aspect ratio?
Small Size And Folding Design Make Mavic Pro Perfect For Wherever You Go
NEW YORK, Sept. 27, 2016 – DJI, the world leader in unmanned aerial technology, Tuesday revolutionized personal flight by introducing Mavic Pro - a portable, powerful and easy-to-use drone featuring DJI's most innovative flight technology in a sleek, foldable package that enables creative fun wherever you go.
DJI Revolutionizes Personal Flight With New Mavic Pro Drone Mavic Pro is DJI's first personal drone designed to be taken just about anywhere. Small enough to toss in a bag and easy enough to launch quickly whenever the time and place are right, its unique folding design compresses the entire drone to practically the size of a water bottle.
The compact body of Mavic Pro holds a drone built for uncompromising performance. Equipped with a stabilized 4K camera and a visual navigation system, with a 4.3 mile (7 km) range and 27 minute flight time, Mavic Pro sets the new standard for compact drones.
"DJI has spent a decade making it easier for anyone to fly, and by rethinking everything about how a drones look, we have created an entirely new type of aerial platform for anyone to explore their creativity," said Frank Wang, DJI's CEO and founder.
"Mavic Pro is a technological triumph filled with features that once again show how DJI leads the industry. Most importantly, Mavic Pro allows you to reach the skies easily, see the world with new eyes and tell your stories like never before."
Mavic Pro is designed to be ultra portable and quick to launch so it can take to the skies as soon as you need it. With four folding arms and propellers that tuck neatly away against its streamlined body, it can be easily carried in a purse or backpack, saving you the trouble of mounting propellers before a flight. It can be operated by the powerful long range remote controller, or simply by your smartphone at shorter range. When controlled by a smartphone, the whole system can be set up and airborne in less than a minute to capture every key moment.
Unparalleled Flight Experience DJI's commitment to unparalleled stability, maneuverability and safety is clear in Mavic Pro's new FlightAutonomy system. FlightAutonomy is Mavic Pro's brain and nervous system, a complex network of hardware and software consisting of five cameras, GPS and GLONASS navigation systems, a pair of ultrasonic range finders, redundant sensors and 24 powerful computing cores. FlightAutonomy can position, navigate and plan routes for Mavic Pro, enabling it to avoid obstacles in various environments, with or without the help of satellite signals. FlightAutonomy provides a significant boost in working range and can cope with complex 3D environments. For navigation and obstacle avoidance, FlightAutonomy provides a superb speed-range envelope to make Mavic Pro self-navigational in various intelligent flight modes, and will avoid most obstacles at speeds up to 22 mph (36 kph).
An ultra light and aerodynamic airframe, together with DJI's state-of-the-art propulsion and battery system, enables Mavic Pro to fly for up to 27 minutes. To experience the pure joy of flying, Mavic Pro can be switched to Sport Mode, which allows speeds of up to 40 mph (64.8 kph), increasing the drone's agility and responsiveness. Mavic Pro flies smoothly and will remain stable in winds of up to 24 mph (38.5 kph), and uses DJI's GEO geofencing system to help identify restricted areas, preventing flight in locations that might raise safety or security concerns automatically, and helping pilots make smarter decisions about when and where to fly.
As with all DJI drones, Mavic Pro is set to automatically return to its launch location if it ever loses contact with the controller or reaches critically low battery levels. The new Precision Landing feature records a burst of video with two stereo cameras every time Mavic Pro launches, then uses both video and satellite information when it returns to land within an inch of where it took off. If a pilot lets go of the controls, the drone will simply hover in place.
Advanced Stabilized Camera System Mavic Pro's small size is packed with powerful features. DJI's advanced technology now includes our smallest-ever three-axis gimbal for shake-free photos and video. The autofocus camera features a minimum focusing distance of just 19 in (0.5 m) and can be flipped 90 degrees to portrait mode for vertical selfies and video. Mavic Pro records 4K video at 30fps and full 1080p HD at 96fps. Its 12-megapixel camera with Adobe DNG RAW support has been expertly tuned for aerial images. With the help of the high-precision gimbal, you can confidently shoot 2-second-long exposures in the air to get the most jaw-dropping aerial images.
New Remote and Live View Performance A revolutionary new compact remote controller has been designed to provide a fully ergonomic experience with optimum comfort, and can accommodate a smartphone or control Mavic Pro on its own. Its built-in LCD screen displays essential telemetry data, while dedicated buttons for functions such as Return-to-Home and pausing during Intelligent Flight modes ensure a confident flight every single time. The video link system, OcuSync, represents new heights in DJI's communication technology. It supports a range up to 4.3 miles (7 km) and live view resolutions up to 1080p.
The new band management algorithm makes OcuSync more robust in environments with many frequencies in operation. Mavic Pro is equipped with dual-band WiFi as a secondary link, allowing easy control via your smartphone for close range operation or for quick downloading of content from Mavic Pro straight to your device.
Most Intelligent Drone Ever The powerful systems inside Mavic Pro are easy to use, even for beginners. Using just your phone's touchscreen, you can use TapFly to direct Mavic Pro to go wherever you want, avoiding obstacles along the way. When you want to take a hands-free selfie, FlightAutonomy makes it possible to control the drone completely with just your gestures.
In Gesture mode, you can use gestures to have Mavic Pro locate you, center you in the frame and take the perfect shot as Mavic Pro's flashing lights count down to the photo. Sharing your best aerial moments has never been easier with live streaming to Facebook Live, Periscope and YouTube through the DJI GO app.
An updated version of DJI's ActiveTrack recognizes common subjects such as people, bicyclists, cars, boats and animals, which then sends Mavic Pro to follow behind, lead in front, circle above or track alongside the subject, keeping the camera focused on the subject while you concentrate on flight maneuvers. The new Terrain Follow mode means that you can race up a slope behind a subject while remaining at a constant height between 1 ft (0.3 m) and 33 ft (10 m).
At the other extreme, the new Tripod Mode is designed for indoor use, slowing and fine-tuning Mavic Pro's position and angle based on controller movement inputs to allowing for precision framing and safe indoor flight.
Immerse Yourself Mavic Pro also pairs with DJI's new immersive DJI Goggles, displaying an 85-degree view from the drone in full 1080p for a true bird's-eye view of the world below. With built-in OcuSync, the goggles receive video directly from Mavic Pro in the air and not through the controller, reducing lag to a minimum - and allowing you to share the in-flight view with a friend.
Specially designed for aerial first-person view (FPV) applications, DJI Goggles allows you to flick between third person view and FPV in under a second. You can comfortably wear your glasses while wearing the goggles and quit FPV mode instantly by flipping the mask up.
Price and Availability Mavic Pro's U.S. retail price will be $999 with the remote controller included, and $749 without the remote controller. Additional Mavic Pro Intelligent Flight Batteries will cost $89. A Mavic Pro Fly More Combo, which includes a Mavic Pro, two extra Intelligent Flight Batteries, extra propellers, a charging hub, an adapter, a car charger and a shoulder bag, will be available for $1,299.
Mavic Pro is immediately available for pre-order and will begin shipping October 15.
The word on the street is that you simply cannot make sharp images with teleconverters (TCs) especially with the 2X. Nothing could be further from the truth. With some practice and good sharpness techniques you can learn to use TCs effectively to photograph small, distant, or shy subjects.
Teleconverters or multipliers come in a variety of strengths, most usually 1.4X and 2X. Nikon also offers a 1.7X TCE. Each will multiply your effective focal length by the factor in its name. A 1.4X TC will make your 400mm lens into a 560mm lens. A doubler, aka a 2X TC, will enable your 600mm lens to give you 1200mm of reach.
In this program, Arthur Morris, internationally noted bird photographer and educator, will share the tips and secrets that he has developed and used for more than three decades so that you too can use TCs to improve your photography. This program will be well-illustrated with Artie’s spectacular images of birds, wildlife, flowers, and even a few unexpected subjects.
The advent of 4K DSLR video in Canon’s flagship EOS-1D X Mark II, and now the EOS 5D Mark IV, has revolutionized still photography: this is high-resolution video, so good that each frame has sufficient quality for use in both web and print applications. Imagine what this means, not only for wildlife, sports, and other “action” applications, but also for wedding and event photographers. From a video sequence of, for example, a rodeo cowboy on a bucking bronco, the photographer can select the single frame that conveys the exact moment of peak action; separate, or “grab” that still from the video sequence; improve it in post-capture software such as Canon’s DPP and Adobe Photoshop; and use the resulting file in web applications or prints. An entire event might be captured in video, later yielding stills for promotion or other publication. We’ve known this was coming, and those who’ve embraced and mastered the video capabilities of recent DSLRs are ahead of the game. (I told you so.)
Comfortable handle, high-mileage replaceable wheel system
Manfrotto, world leader in the photography, imaging equipment and accessories industry, presents the Pro Light Reloader – 55 Photo Roller bag, the new carry-on size camera roller designed to give professional photographers and videographers a highly protective, comfortable and stylish bag to travel and work with. The Manfrotto Pro Light Reloader-55 is built to carry typical pro DSLR camera sets (e.g. 3 bodies with 8 lenses), super-tele DSLR sets (e.g. 1 body with 400mm f/2.8 lens attached and 3 more lenses) & camcorder with lighting set (e.g. disassembled Canon C100 with 2 light kits). Fitting the standard for carry-on luggage for most airlines, it gives professionals the peace of mind of having their most valuable possessions near them at all times. When it’s time to shoot, the roller becomes a workstation, with gear and accessories visible and in easy reach.
The low profile design handle securely holds the bag, leaving more space for the kit. Inside the fully customizable Manfrotto Camera Protection System dividers provide shock absorption and vibration reduction with all configurations - from full day photo or video shoots to intercontinental assignments – or a personal photography adventure on the go. The outside of the bag is made of high quality, water-repellent Pro Light Rip-Stop nylon fabric, ensuring reliable protection from external shock & extreme weather conditions. The corners & bottom of the bag are carefully designed to resist wear. Large 84mm wheels ensure comfort and extensive mileage, and users can easily replace them when needed. A built-in TSA-approved combination zipper lock ensures a hassle-free travel experience through TSA partner airports.
The Pro Light Reloader-55 features independent padded pockets for 17” laptop & 10” tablet outside the equipment compartment, so they can quickly be taken out at security without opening the main zipper. The bag also carries a tripod and comes with a rain cover to keep its contents dry in the rainy season.
Portrait photography is an art. And while the most important component for expressing that art lies between the photographer's ears, there are a few accessories that can help elevate one's portraiture to higher levels.
1. Reflector & Holder
A great portrait starts with great/inspiring/creative light. While great portraiture can be created using only ambient light, being able to redirect that light is a liberating asset. That's where the simple, collapsible reflector comes in handy.
Reflectors come in wide variety of shapes and sizes and are typically gold, silver or white. A white reflector will provide the softest results while the gold and silver versions will be able to reflect a higher intensity light onto your subjects (although your surface choice will affect the color of light being reflected). Thankfully, the fact that collapsible reflectors have two sides means that you usually get at least two different reflective surfaces with a single investment. When comes to collapsible reflectors, my personal favorite is the Sunbounce Sun-Mover. Although relatively small, the Sun-Mover's spring steel frame keeps the reflector very taut and the built-in handles make it very easy for a person to hold and direct. For larger reflectors, I've owned an Impact 41x74" Collapsible Reflector for years and it has also worked well for me.
If you do not have an assistant to hold your reflector, as the photographer you can hold the reflector yourself. However, this technique will limit your ability to position the reflector and the amount of hands available to hold and control the camera. The solution to this problem is the collapsible reflector mounting arm. The mounting arm attaches to a light stand (that link is preloaded with my favorite stand) and allows you to freely position the reflector while leaving both of your hands free for manipulating/supporting the camera.
If using the stand and reflector outside, I highly suggest weighing down the ring to prevent wind from tipping it over (risking damage to gear and injury to your subjects). Sandbags are a convenient option and purpose built for such needs.
2. Off-Camera Flash
While on-camera flash can certainly produce eye catching portraits especially when bounce flash is employed, getting the flash off-camera allows for greater flexibility for creative portraiture. And considering that all recently released, non-full frame Canon DSLRs feature a master optical pop-up flash, it's easier than ever to get an Speedlite flash off-camera. That said, Canon's radio communication enabled flashes – the 600EX-RT, 600EX II-RT and 430EX III-RT – offer even more creative freedom by allowing flashes to be spaced farther apart without line-of-sight requirements.
If you don't mind going fully manual, there are a ton of relatively low-cost radio triggering options to help you get your flash off-camera. And by spending a little more, you can even get radio triggers that allow you to control a TTL flash's power manually from the camera. And with a little more trigger investment, full radio controlled, high range TTL-enabled flashes are well in within reach. Traditional studio flashes are another option if portability is less of a priority.
3. Light Modifier
Light modifiers play a key role in getting the most out of your off-camera flash, especially when it comes to portraiture. Types of light modifiers include:
umbrellas (white/silver, normal/parabolic, etc.)
soft boxes (including octa and strip boxes)
Each modifier will affect the flash's output in different way and may only fit specific types of lights (or else may have a mount that can be customized for one's specific gear). My suggestion is to start out with an inexpensive, medium-sized collapsible white umbrella, an umbrella swivel, a light stand, a sandbag or two and a radio trigger (if needed) and then move on to the next modifier that intrigues you.
4. Color Calibration Target
There are some people who are very particular about color; I'm not necessarily one of them. However, few people will complain if the color of your images is spot on. For that, a color calibration target is essential. My personal favorite is the X-Rite ColorChecker Passport Photo. Here's how it works:
Take a properly exposed RAW image of the color calibration target in the same lighting used for your portrait (most of the time I just have the subject hold the calibration target for a test capture).
Open the calibration target image in Lightroom or Photoshop. Save the image as a *.DNG file. Close the post processing application.
Open the calibration target *.DNG in X-Rite's ColorChecker Passport software. The software will automatically detect the calibration target.
Save the Camera Profile with a unique name.
Open your post processing software and import the original color calibration target and portrait session RAW files. Apply the unique Camera Profile and use the target for setting white balance.
It's surprising how a small amount of movement in long hair can take a portrait to the next level. As such, a fan is a good thing to have on hand. However, this is one item you likely already have lying around the house (in one form or another). If going the mechanical route, it's important that your fan can be set not to oscillate and that it can be dialed down very low. If you want to use a fan on location where no power outlet is available, you have a couple of options.
The first option is to use a voice-activated reflector holder (in other words, an assistant who wafts a reflector at your subect on cue). This is the easiest and least expensive option if you happen to have a photo assistant available for your session.
The second option is to get a battery-powered fan for location use. Some battery-powered fans even have clips that you can use to attach to a spare light stand for optimal positioning (expect needing to position the fan relatively close to your subject because of these fans' relatively lower power). Otherwise, if you own rechargeable Ryobi hand tools, this portable hybrid fan should provide plenty of power from a ground level position.
Note: The Ryobi fan does not come with a battery or charger which must be purchased separately if not already owned.
So that's our top 5 portrait photography accessories. Did we miss an item that you think should have been included? Let us know in the comments.
The ARCA-SWISS Monoball Z1+ is the latest tripod head in the Monoball Z-Family. Following the introduction of the Z2+ and Z1g+, the new Z1+ will benefit equally from the further refined “Motion Related Gravity Control” system.
MRGC is a variable bi-directional drag system which operates independently on both axes but is stabilized in all directions.
With horizontal movements, the friction setting of the ball head remains the same, whereas vertical movements take advantage of the aspherical ball which leads to a progressive increase of the friction as the camera/lens is tipped forward or back.
This increase makes our ball head the safest available. No flopping around! Intelligent engineering and precise manufacturing guarantee well distributed radial forces to provide a strong hold, while simultaneously allowing smooth and accurate positioning of the camera.
The new Monoball Z1+ is available with a single or double pan. The double pan allows perfectly horizontal panning, irrespective of the tripod placement.
ARCA-SWISS is offering a new version of our compact and lightweight p0 tripod heads. All p0 tripod heads are fitted with an aspherical ball and a patented locking mechanism based on three planetary locking elements.
These locking elements apply uniform force around the ball ensuring smooth movements of the camera in any axis.
Above the head’s locking mechanism, ARCA-SWISS has now integrated two self-locking, geared segments, each of which can precisely adjust up to a range of ± 10° in the X or Y axes.
This allows the Photographer to adjust or level the camera coarsely with the ballhead using the p0 locking ring, and then be able to fine tune his camera position precisely in both axes, using the MicroMetric gear driven knobs. These mechanisms have been designed so the camera moves within a circular arc over the center. Additionally, if the nodal point is adjusted for, there will be virtually no change in the distance to the subject that can be seen in the viewfinder or dis - play. After the alignment and lev - eling of the camera, a panoramic swivel device placed above the two axes, allows for a completely level rotation of 360°, with no further adjustment of the camera required. It’s the perfect solution in applications requiring fast but precise adjustments, such as for architectural, table top, macro and panoramic photography.
ARCA-SWISS C1 and D4 gp
The patented ARCA-SWISS C1 cube and ARCA-SWISS D4 with their unique design and innovative construction have been further developed and are now available with a gear driven self-locking panning device situated underneath the camera quick release, for secure and precise positioning. The new versions of our heads will be designated “gp” for geared panning control.
The photographer now has a choice when using pan for an image — gear driven or free movements. When the gp knob is pulled out, the pan movement is free for coarse and quick panning adjustments. When the gp knob is pushed in, the gears inside the panning device are re-engaged and will offer precision geared rotation of the camera.
Using the new geared panning device, cameras and lenses can be moved micro-metrically in three axes. Due to its position, panoramic movements will maintain the central axis.
Additionally, ARCA-SWISS C1 cube gp and ARCA-SWISS D4 gp are equipped with a second manual panning control at the base of the head for aligning the head on the tripod.
The new C1 cube gp and D4 gp will be offered separately and are not replacing the current versions.
In the video above, photographer Karl Taylor tours the Lee Filters manufacturing plant to discover how graduated NDs are made. Fast forward to the 4:10 minute mark to see Lee's surprising low-tech solution for achieving filter graduation.