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 Monday, August 17, 2015
I've used the Spiffy Gear Light Blaster periodically since authoring a review of the strobe-based projection aid nearly two years ago. Over that time I've used the Light Blaster in several different ways. With a brand new studio space (giving me more room to work than my previous place), I decided to illustrate some of the different ways you can utilize the Light Blaster for creative portraiture with a series of (yep, you guessed it) self-portraits.
The Standard – Using the Light Blaster for Backgrounds
Spiffy Gear Light Blaster Used as Background

The most common use for the Light Blaster is to project an interesting background for your portrait. It's relatively easy and straight forward to use the Light Blaster in this way. However, you need to make sure to control all the light sources in your scene as stray light can wash out the projected background. Notice that the left side of the image above is slightly more washed out than the other side which is a result of me using a reflector as opposed to a gridded softbox for fill.
Here was the setup:
Spiffy Gear Light Blaster Used as Background Setup

The main light was provided by a Canon 580EX flash diffused by a gridded softbox while the fill light was provided by a reflector positioned just out of the frame. I used another 580EX (camera left, gridded) as a rim light and a final 580EX provided the light being projected by the Light Blaster. Note that I had to use my widest angle lens (a Rokinon 14mm f/2.8) to create a projection wide enough to fill the wall behind me and I had to pose carefully so as to hide the Light Blaster during the shot.
Projecting an Image onto the Subject and Background
Spiffy Gear Light Blaster Lighting the Subject and Background

This was one of the techniques I used when creating the Light Blaster Review. This is a relatively challenging technique because of the multiple planes of focus you must consider when creating this type of image.
One plane of focus you must consider is that of the lens attached to your camera. That one's pretty straight forward as you can increase (or decrease) depth-of-field by adjusting your camera settings. The other plane of focus is more troublesome because you can't vary the aperture of Canon AF lenses that aren't attached to the camera (in other words, the lens attached to the Light Blaster). Unless that lens is fully manual (and in most cases it won't be), your lens will be projecting the image using a wide open aperture meaning you must choose a working distance and focal length which are optimal in terms of making use of the projection and obtaining the depth of field necessary for the effect.
While I was eventually able to overcome the challenges and produce an effect I liked, the projection on the background was not perfectly in focus (although I think the slight out-of-focus text looked good in that particular image).
Projecting an Image onto the Subject (But Not Onto the Background*)
Spiffy Gear Light Blaster Lighting the Subject Not Background

This is probably the second-most utilized technique when using the Light Blaster. If you have enough working space, you can position the Light Blaster so that it strikes the subject yet doesn't appear in the background. That may sound simple, but it's a little tougher than you may think.
The problem is that for a full-sized projection to cover your subject, pointing the Light Blaster straight ahead is best. However, that leaves you with the projection very noticeable in the background. You can compensate for this by independently lighting the background (blowing it out) or you can avoid the situation by angling the Light Blaster in such a way that its projection doesn't fall into the background of your composition.
Depending on the space you have available to you, it may be difficult to position the Light Blaster perfectly so that it lights the subject in a pleasing way while not also appearing the background. If you position the Light Blaster too high, it may not light your subject's eyes when looking at the camera. In my first attempt, the projection fell onto the lower part of my frame in the background when used at the height necessary to light my eyes. I dealt with it by cropping the image so as not to show that part of the frame. When showing the image to Bryan, he wasn't terribly impressed by the attempt. He challenged me to create an image with "more power."
More power, eh?
I'm glad that Bryan challenged me to make a better image, as the one shown above turned out to be one of my favorite self-portraits ever. The Light Blaster was positioned similarly as in my first attempt (high, pointed downward) and a couple of rim lights were used to help define my outline. Instead of cropping out the part that was "contaminated" by the Light Blaster's projection, I used it heighten the effect of the image. That's why there's an asterisk on this section – the projection did hit a small portion of the background (and that turned out to be a good thing).
The out-of-focus (OOF) areas of the projection which fell onto the background looked a little bit like flames to me, except that they were greyish in tone. The projection was not perfectly centered, either, which led to a black area on the left side.
Here's the straight-out-of-camera (SOOC) image:
Spiffy Gear Light Blaster Lighting the Subject Not Background SOOC

I cloned a section of the OOF area on the right side, flipped it horizontally, set the layer blend mode to "Lighten" and placed it over the lower black portion of the left side of the frame. I then created a new layer set to "Color" blend mode and painted the OOF areas behind me with a yellow color. The alterations transformed the OOF areas into something reminiscent of flames which added to the overall intimidating, tyrannical look I was going for.
The setup looked similar to this except Speed Grids were used on the rim light flashes:
Spiffy Gear Light Blaster Lighting the Subject Not Background Setup

Using the Light Blaster with In-Camera Multiple Exposures
Spiffy Gear Light Blaster Used in Multiple Exposures

You can also use the Light Blaster when capturing in-camera multiple exposures to create interesting and creative images. For the above image, I pointed the Light Blaster at a wall and projected a slide contained in one of the Spiffy Gear Blaster Creative Kits (think it was the Backdrops one, but I'm not 100% certain). I then set my 5D III to Multiple Exposures (Additive) and chose the Light Blaster slide as my base image.
Using the Additive setting in Multiple Exposures mode will cause the lightest pixels in each exposure to stand out. I took advantage of this by using gridded rim lights to burn my profile into the original image. Full disclosure: I was really lucky with the placement of my eye within the frame. The fact that my eye just happened to occupy a dark area in the slide meant that it became a big focal point in the image. I converted the in-camera multiple exposure to grayscale in post.
Of course, you can achieve multiple exposures in post-processing simply by layering your images and changing the blend mode to "Lighten." And in that case, you certainly aren't limited to the specific Light Blaster slides you own. But there's a certain elegance to capturing the image you want in-camera, and it can certainly be more fun to do it that way.
As you can see, there are many different ways that a Spiffy Gear Light Blaster can be used for creative portraiture. Another great thing about the Light Blaster is that purchasing used 35mm transparent slides on eBay allows for an endless variety of backdrops and projections to use.
List of Gear Used
Spiffy Gear Light Blaster
Spiffy Gear Blaster Creative Kit
Canon EOS 5D Mark III
Canon EF 24-105mm f4L IS USM
Sigma 50mm f/1.4 DG HSM Art
Rokinon 14mm f/2.8 IF ED UMC
Induro 8X CT-314 Carbon Fiber Tripod
Arca Swiss Monoball Z1 Ball Head
Matthews Maxi Kit Steel Stand (9.5')
Avenger Light Stand (Black, 12.6')
Avenger F600 Baby Offset Arm
24" Collapsibe Softbox for Shoe-mount Flashes
Impact Collapsible Oval Reflector - Soft Gold/White - 41x74"
Radio triggers
Shoe Mount Umbrella Adapter & Umbrella Swivel
Female Hotshoe with Miniphone Jack
5/8 Inch Spigot with 1/4"-20 Threaded Stud
Honl Speed Strap
Opteka 1/8" Universal Honeycomb Grid
35mm Transparent Slides
Post Date: 8/17/2015 8:24:00 AM CT   Posted By: Sean
Tamron Logo
From Tamron:
August 17, 2015 – Saitama, Japan – Tamron Co., Ltd. (President & CEO: Morio Ono), a leading manufacturer of precision optics, has announced that the European Imaging and Sound Association (EISA) has presented its "European DSLR Zoom Lens 2015-2016" award to the world's first* F/2.8 ultra-wide-angle zoom to offer image stabilization, Tamron SP 15-30mm F/2.8 Di VC USD (Model A012).
Excerpt from the Award Citation of the EISA Jury
"The Tamron SP 15-30mm F2.8 Di VC USD is quite simply a revolutionary design, being the first wideangle zoom to combine a fast f/2.8 maximum aperture with optical stabilisation. It covers a focal length range suitable for landscape photography, interiors and architecture thanks to the low optical distortion, but can also be used for street photography and atmospheric portraits. The optical performance is exceptional and provides a high level of contrast and detail. The autofocus and image stabilisation systems are highly effective, too. Build quality is high, with moisture resistant construction. It's a large and heavy lens, but great value for money."
Tamron Lenses that have received the EISA Award
The receipt of this prestigious award marks the 17th year Tamron has won an EISA Award, and the 10th consecutive year since 2006.
Year AwardedProduct Name
1992-1993SP AF35-105mm F/2.8 Aspherical (Model 65D)
1993-1994AF28-200mm F/3.8-5.6 Aspherical (Model 71D)
1997-1998SP AF90mm F/2.8 MACRO [1:1] (Model 72E)
1999-2000AF28-300mm F/3.5-6.3 Aspherical [IF] MACRO (Model 185D)
2000-2001AF28-200mm F/3.8-5.6 Aspherical -IF Super? (Model 371D)
2002-2003AF28-300mm Ultra Zoom XR F/3.5-6.3LD Aspherical [IF] MACRO (Model A06)
2003-2004SP AF28-75mm F/2.8 XR Di LD Aspherical [IF] MACRO (Model A09)
2006-2007SP AF17-50mm F/2.8 XR Di II LD Aspherical [IF] (Model A16 )
2007-2008AF18-250mm F/3.5-6.3 Di II LD Aspherical [IF] MACRO (Model A18)
2008-2009AF28-300mm F/3.5-6.3 XR Di VC LD Aspherical [IF] MACRO (Model A20)
2009-2010AF18-270mm F/3.5-6.3 Di II VC LD Aspherical [IF] MACRO (Model B003)
2010-2011SP70-300mm F/4-5.6 Di VC USD (Model A005)
2011-201218-270mm F/3.5-6.3 Di II VC PZD (Model B008)
2012-2013SP 24-70mm F/2.8 Di VC USD (Model A007)
2013-2014SP 90mm F/2.8 Di MACRO 1:1 VC USD (Model F004)
SP 70-200mm F/2.8 Di VC USD (Model A009)
2014-201516-300mm F/3.5-6.3 Di II VC PZD MACRO (Model B016)
SP 150-600mm F/5-6.3 Di VC USD (Model A011)
2015-2016SP 15-30mm F/2.8 Di VC USD (Model A012)

B&H carries the Tamron SP 15-30mm f/2.8 Di VC USD.
Category: Tamron News
Post Date: 8/17/2015 5:29:22 AM CT   Posted By: Sean
 Sunday, August 16, 2015
Sigma Logo
From Sigma:
The Sigma Corporation is pleased to announce that the best-in-class optical performance lens "SIGMA 24mm F1.4 DG HSM | Art" and a masterpiece of hyper-telephoto zoom lens "SIGMA 150-600mm F5-6.3 DG OS HSM | Sports" have won EISA Awards 2015-2016.
SIGMA 24mm F1.4 DG HSM | Art
The Sigma 24mm F1.4 is a superb lens, combining exceptional resolution with very low distortion and chromatic aberration. However it's not just the incredible sharpness of this large-aperture wide-angle lens that’s impressive, but the overall look of the images, including the smooth, attractive rendition of out-of-focus regions. The construction is excellent too, with an ergonomic design and smooth manual focus ring, and autofocus is fast and silent. Available for the most popular DSLR systems, the Sigma lens is exceptional value compared to its direct competitors, and most importantly produces consistently attractive pictures with the minimum of fuss.
SIGMA 150-600mm F5-6.3 DG OS HSM | Sports
Specially designed for wildlife and sport photographers, this state-of-the-art lens is a new standard for telephoto zooms. Build quality is exemplary, with dust- and splash-proof construction for use in the great outdoors, and the zoom can be locked at all marked focal lengths. Images are very sharp, aided by an improved optical image stabilizer (OS) that helps to avoid blurring from camera shake. Autofocus is fast and quiet, and compatibility with the Sigma USB dock gives scope for user customisation of settings, along with the possibility of firmware updates. For sports and wildlife photographers it's in a class of its own.
* EISA is the unique association of 50 special interest magazines from 20 European countries. All EISA member magazines meet to decide which of products analyzed in their publications during the past year deserve the coveted EISA Award. The six categories under consideration are: Photo, Video, Audio, Home Theater, and Mobile Electronics Equipment Devices.
Category: Sigma News
Post Date: 8/16/2015 7:18:30 AM CT   Posted By: Sean
Canon Logo
From Canon UK:
Canon is recognised with three esteemed EISA Awards for EOS and EF-lens products
United Kingdom, Republic of Ireland, 15 August 2015 – Canon today announces it has received three prestigious awards from the European Imaging and Sound Association (EISA). The EOS 7D Mark II has been named the ‘European Prosumer DSLR Camera 2015-2016’, both the EOS 5DS and 5DS R have been honoured with the title of ‘European Professional DSLR Camera 2015-2016’, while the Canon EF 11-24mm f/4L USM has been awarded ‘European Professional DSLR Lens 2015-2016’ – highlighting the outstanding quality of Canon products throughout its DSLR and lens range.
Voted for by panels of editors representing nearly 50 prominent magazines from across 20 European countries, the EISA Awards honour products which combine the most advanced technology, intuitive design and sought-after features, while also providing genuine value to end users. Each of the awarded products has been received with great acclaim since launch, and the EISA award recognition is further testament to their exceptional quality and performance.
“Canon has a warranted reputation for producing high-quality products that our customers really value,” said Steve Marshall, Product Marketing Director, Consumer Imaging Group, Canon Europe. “For us, photography is all about expression and discovery and as a company we consistently strive to produce pioneering, class leading products and technologies that enable people to tell their own stories through quality photography. Each of our awarded products is a fantastic example of our dedication and commitment to pushing boundaries and bringing new capabilities to both professionals and consumers, so we are truly honoured to receive such distinguished awards from the EISA panel.”
Discussing the three awards, the EISA panel said:
Canon EOS 7D Mark II
The Canon EOS 7D Mark II is one of the best APS-C DSLRs ever made, offering features normally only available in professional full frame models. The 65-point AF system gives fast and responsive focusing in a wide range of conditions, even when tracking fast moving subjects. It can shoot at 10 frames per second, with a huge buffer even when shooting in Raw. The build quality is superb, with full weatherproofing that can cope with almost any conditions. Overall the 7D Mark II is perfect for sports, action and wildlife photographers who like to capture the most fleeting moments.
Canon EOS 5DS/5DS R
The Canon EOS 5DS and 5DS R are the highest resolution full frame DSLRs on the market. The two models give photographers a choice: the EOS 5DS includes an optical low-pass filter to suppress digital imaging artefacts, while the EOS 5DS R cancels its effect for the sharpest possible images. The 50.6-million-pixel sensor, dual DIGIC 6 processors, reduced mirror vibration and reliable metering deliver superb image quality, while the 61-point AF with 41 cross-type points ensures reliable and fast AF performance. These two cameras are the perfect choice for professional photographers for whom ultimate image quality really matters.
Canon EF 11-24mm f/4L USM
With the 11-24mm f/4L USM Canon’s engineers have constructed one of the best wide angle zooms ever made. The world’s widest rectilinear zoom provides class-leading image quality, with exceptional sharpness at all settings even on high resolution sensors. Distortion, chromatic aberration and vignetting are all kept reasonably low. Construction is superb, with weather sealing for outdoor use, and the autofocus is fast and silent. Full-frame users specialising in landscape, architectural or interior photography who demand exceptional optical performance need look no further. It’s bulky and expensive, but for those who can afford it, it’s an absolutely outstanding piece of glass.
B&H carries the Canon EOS 5Ds/5Ds R, 7D Mark II and EF 11-24mm f/4L USM.
Posted to: Canon News
Category: Canon UK News
Post Date: 8/16/2015 7:01:19 AM CT   Posted By: Sean
 Friday, August 14, 2015
Canon EF 70-200mm f/2.8L IS II USM Lens
Post Date: 8/14/2015 8:06:02 AM CT   Posted By: Bryan
Sigma 24-35mm f/2 DG HSM Art Lens
Image quality results have been added to the Sigma 24-35mm f/2 DG HSM Art Lens Review page.
Test results from the EOS 5Ds R are coming.
B&H has the Sigma 24-35mm f/2 DG HSM Art Lens Canon mount in stock. The Nikon mount version is available for preorder (expected in stock Aug 24th).
Post Date: 8/14/2015 7:44:08 AM CT   Posted By: Bryan

From the B&H YouTube Channel:
Adobe Worldwide Creative Cloud Evangelist Terry White will show you the newest tips and techniques in Lightroom and Photoshop CC to help you increase your productivity and make it easier than ever to deliver images your clients will love. Learn how to best manage your files, make enhancements to images that define your personal style and take advantage of presets, templates and batch processing to expedite your workflow.
For a limited time, B&H has a 1-Year Subscription to Adobe Creative Cloud Photography Plan available for $99.88. Regularly $119.88.
Post Date: 8/14/2015 6:45:03 AM CT   Posted By: Sean
 Thursday, August 13, 2015
Summer Photography Tips: Go North (or: Follow the Birds)
Don't like shooting in the extreme heat and humidity of summer? Be like the birds – migrate! For most of us northern hemisphere residents, the preferred direction is north.
I was recently privileged to do just that, spending a week 26 miles from the grid in the North Maine Woods, just below the Canadian border. The temperature here in late July was very pleasant during my entire stay.
The North Maine Woods are sometimes referred to as the "Silent Woods" by my family, referencing specifically the lack of crickets, cicadas, katydids, etc. making the loud night music we are accustomed to at home. But that declaration is not completely true. Along with some frogs, the clear, eerie call of the loon is a common night sound heard around the silent, pristine northern Maine lakes. It is a sound that I love to hear and a photo of that audio source brings back great memories.
I have photos of common loons, but ... none that stood out to me. I have wanted change that problem on this trip and to do so, I spent just over hour early each of four mornings attempting to photograph these beautiful birds.
My craft was a canoe. Being solo in the canoe with light and changing winds added to the challenge of positioning for the photos. Getting close enough for adequate frame filling while positioning between the loons and the sun all while not concerning the not-too-tame birds was not easy. A light wind being able to rapidly turn the canoe was definitely not helpful.
My case was a Pelican. As it is only fitting to use a case named after a bird while photographing birds, I stored the camera and lenses in a "Pelican" 1510 while in transit between shore and actively photographing the birds. While the Pelican case lacks official approval as a PFD, it floats very nicely in the event of a worst case scenario. There was no worry about water from the paddle dripping on it and no worry about water on the floor of the boat reaching the gear.
The Canon EF 100-400mm L IS II was my Lens choice for these outings. While a 600mm lens would have been more ideal from a focal length perspective (due to the distance that the loons were comfortable with), it would not have been easy to handle this lens in the canoe, especially when alternating between paddling and photographing. The 1.4x behind the 100-400 L II would have also been helpful, but ... that option was not available to me.
The Canon EOS 5Ds R was my camera choice. Having the tremendous resolution of the 5Ds R allowed me to crop deep into the frame with significant pixel dimension remaining. At least 24 megapixels remained in most final images and some required no cropping for a frame-filling loon. Framing loosely had some advantages. For one, the loons were seldom still. And, by sticking one leg straight out the side, loons can change directions 180° almost instantly. That is much faster than I could change the canoe's direction and faster than I could change an AF point to the opposite side. With the center AF point locked on the bird's head, I was ready for any direction change with the bird (often) remaining (relatively) easy to keep entirely in the frame with only slight recomposition needed.
While I cropped the loons rather tightly in most images, being able to go back to the RAW file means that I can open images up if/when more space is needed around the birds such as for titles and text. The background, primarily reflections of the forest with some sky, are beautiful in their own right and in this photo, I especially liked the reflected colors of the forest being hit with early morning light. The white birch tree reflection is another key location identifier to me.
Photo trips such as this one provide extremely educational firsthand experience. One of my take-aways from this loon photography experience is that loons blink a LOT after surfacing into bright sunlight. Once I noticed that behavior, I was careful to time the shutter release with an open eye (and utilized burst mode more frequently).
Crossing this photo off of my bucket list was not a small effort (some might say that I went "loony"), but the pile of keeper-grade loon images I brought home was a bit daunting to sort through. Selecting the one to share with you first was an even bigger challenge. Being in a far north latitude meant that this effort was "no sweat."
A larger version of this image is available on Flickr, Google+, 500px and Facebook. Also, if reading from a news feed reader, click through to see the framed image.
Camera and Lens Settings
400mm  f/6.3  1/500s
ISO 800
7230 x 4820px
Post Date: 8/13/2015 10:04:47 AM CT   Posted By: Bryan
Sigma 24-35mm f/2 DG HSM Art Lens
Image quality results have been added to the Sigma 24-35mm f/2 DG HSM Art Lens Review page.
Test results from the EOS 5Ds R are coming.
B&H has the Sigma 24-35mm f/2 DG HSM Art Lens Canon mount in stock. Nikon mount version is available for preorder (expected in stock Aug 24th).
Post Date: 8/13/2015 9:16:20 AM CT   Posted By: Bryan
 Wednesday, August 12, 2015
Gitzo GK2545T-82QD Series 2 Traveler Carbon Fiber Tripod with Center Ball Head
From Gitzo UK:
New Gitzo Center Ball Heads
08/10/2015 – Gitzo, pioneer in developing some of the most advanced and revolutionary technologies for camera accessories and supports, is proud to introduce a completely new range of Center Ball Heads, representing the state-of-the-art in the heads’ field and focusing on ultimate smoothness and precision.
The Center Ball Heads are dedicated to pros and advanced amateur photographers and are engineered and developed to be the ideal complements to Gitzo’s top of the range tripods. The new heads are available in three sizes ideal for Gitzo’s Traveler and Mountaineer tripods.
The new Center Ball Heads are coated with tungsten disulphide - one of the smoothest materials around. With an extremely efficient locking mechanism and the use of hard metal components under and around the ball, this mechanism provides comfortable friction onto the ball meaning it can be locked with minimal effort while avoiding unwanted deforming or drifting.
All three models feature an independent pan lock, making it possible to take panoramic photos or make horizontal adjustments for perfect framing. Friction control is also available in the GH1382QD and GH3382QD. Located in the ball lock knob it functions independently allowing the ball lock to have a quick locking without sacrificing movement and safety
The plate is locked with a screw-knob, which makes the system compact, light, and intuitive, while being flexible to accept most Arca-Swiss style plates.
The new Center Ball Heads have slim, curved forms and are aesthetically outstanding with a triangular accent, and matte grey plated steel top casings. Dimensions and colourings are designed to match perfectly with Gitzo’s Traveler and Mountaineer Tripods.
The new Center Ball Head range features the following:
  • Center Ball Head Series 1 Traveler Quick Release D (GH1382TQD)
  • Center Ball Head Series 1 Quick Release D (GH1382QD)
  • Center Ball Head Series 3 Quick Release D (GH3382QD) – Available mid November
The new Center Ball Heads are also included in the brand new Traveler Tripod Kits, as well as in Mountaineer Tripod Kits.
B&H has the Gitzo GH1382TQD, GH1382QD & GH3382QD Center Ball Heads available for preorder.

New Gitzo Traveler Tripods Range
08/10/2015 – Gitzo, pioneer in developing some of the most advanced and revolutionary technologies for camera accessories and supports is proud to introduce the new Traveler Tripod range. Boasting the 180° leg folding mechanism pioneered by Gitzo, the range is now even stronger thanks to the state of the art “Carbon eXact” tubes.
The perfect travelling companion for photographers when shooting whilst on trips, the new Traveler range features the slimmest Series 0 for the first time, whilst the Series 1 and 2 models feature an improved height.
The new Traveler Tripods boast the ground breaking Carbon eXact tubes: stiffer than the antecedents’ Carbon 6X tubes, the new tubes include High Modulus carbon fibre, and have larger tube diameters. For example, the lowest leg section of the Series 1, 5-section tripod has a diameter of 40% larger than the predecessor
Traveler G-lock is the new, compact leg lock system dedicated to Traveler Tripods. The new, curved external form provides good grip, whilst the internal O-ring achieves softer operation and reduces dust and grit entering the locks. The more efficient use of space makes it possible to have taller tripods with compact folded lengths.
The new range:Series 0 – Models GT0545T / GK0545T-82TQD (with head):
Added to the Traveler family for the first time the slimmest Series 0 is the lightest tripod in the new Traveler range, but thanks to the stiff Carbon eXact tubes it provides a rigid, stable base when in use. It is a 4-section tripod with short closed length and short extended height.
  • Traveler Tripod Series 0 Carbon 4 sections (GT0545T)
  • Traveler Kit, Ser.0 4 sec tripod GT0545T + head (GK0545T-82TQD)
Series 1 – Models GT1555T / GK1555T-82TQD (with head) and GT1545T / GK1545T-82TQD (with head):
The Series 1 tripods are the perfect balance between lightweight when carrying, and height and rigidity when shooting. The 5 section Traveler has an outstanding height / closed length ratio, while the 4 section Traveler is much taller than its predecessor thanks to the space efficient Traveler G-lock.
  • Traveler Tripod Series 1 Carbon 5 sections (GT1555T)
  • Traveler Kit, Ser.1 5 sec tripod GT1555T + head GH1382TQD (GK1555T-82TQD with head)
  • Traveler Tripod Series 1 Carbon 4 sections (GT1545T)
  • Traveler Kit, Ser.1 4 sec tripod GT1545T + head GH1382TQD (GK1545T-82TQD with head)
Series 2 – Models GT2545T / GK2545T-82QD (with head):
With the largest tube diameters among Traveler tripods, Series 2 is ideal for photographers using longer lenses or requiring the highest stability. The feet are interchangeable with Gitzo’s optional feet, such as spikes and large feet.
  • Traveler Tripod Series 2 Carbon 4 sections (GT2545T)
  • Traveler Kit, Ser.2 4 sec tripod GT2545T + head GH1382QD (GK2545T-82QD with head)
Series 2 Monopod – GM2562T:
The Series 2 Monopod now features the Carbon eXact Tubes, the Traveler G-Lock and a new, more stable foot.
  • Monopod Series 2 Carbon 6 sections Traveler (GM2562T)
Available from 10th August in selected stockists.
B&H has the following new Gitzo items available for purchase:
Series 0 Traveler Tripods
Series 1 Traveler Tripods
Series 2 Traveler Tripods
Series 2 Traveler Monopod
Category: Gitzo News
Post Date: 8/12/2015 12:34:27 PM CT   Posted By: Sean
Canon EF 70-200mm f/2.8L IS II USM Lens
Image quality results from the EOS 5Ds R have been added to the Canon EF 70-200mm f/2.8L IS II USM Lens Review.
This is one of the most amazing zoom lenses made and its usefulness for a wide variety of subjects and situations makes it one of the most important lenses in my kit.
B&H has the Canon EF 70-200mm f/2.8L IS II USM Lens in stock with a $100.00 mail-in rebate available.
Posted to: Canon News
Post Date: 8/12/2015 8:08:10 AM CT   Posted By: Bryan
 Tuesday, August 11, 2015
Elinchrom, Phottix and Sekonic form Technology Allliance
From MAC Group USA:
NORTH WHITE PLAINS, NY – AUGUST 11, 2015 – Elinchrom, Phottix and Sekonic have come to be regarded as leaders in their respective areas of expertise. Together they plan on defining an exciting, new future for the lighting category.
The Elinchrom, Phottix and Sekonic design engineers are hard at work on the most revolutionary lighting control system ever.
The key to this epoch-making event is a common “operating system” shared among the three partners incorporating their respective controllers, transmitters and receivers via a shared signal.
Phottix flash systems are currently capable of TTL and manual control with Canon, Nikon and Sony DSLR systems as well as their own Mitros+ hot shoe TTL flash and their portable, TTL monobloc Indra systems. Elinchrom is known for their high performance, portable power systems, exemplified by the ELB 400 and is also renowned for their light-shaping tools. Sekonic is known for their accuracy and reliability of meters for lighting measurement and control. The integration of select existing technologies as well as the joint development of new ones from this global alliance will create a creative lighting toolkit allowing photographers to dramatically expand their repertoire.
This industry-redefining partnership will result in new products and processes that will enable photographers to enjoy the portable power and simplicity of Elinchrom, the surety of precise metering with Sekonic and unfailing TTL triggering and power control with Phottix for unmatched lighting control.
Current new products in the works include:
  • Phottix and Elinchrom design engineers are collaborating on enhanced features for the next generation of the Skyport transmitter which will include hyper-sync functionality.
  • Photographers using the Phottix Indra 360 TTL or Indra 500 TTL lighting systems will soon have the ability to use the broad range of Elinchrom light-shapers, the most popular light-shaping tools in the world.
  • Sekonic is collaborating with both Phottix and Elinchrom to finalize two new 478-series LiteMaster Pro flash meters; one for Elinchrom featuring in-meter power control and one for Phottix that allows for triggering of groups from the meter.
Many more exciting collaborative projects are in the works and on the drawing board between these three powerhouses.
Jan Lederman, President of MAC Group US and MAC Group Europe, which will lead the way in marketing this new alliance said: “As children, we were always told to play nice in the sandbox. Now that we are grown, we want to redefine the sandbox. The goal of this revolutionary alliance is to give photographers around the world access to the very best products and technology no matter what their needs, style of shooting or experience level. With these three companies working together, we are creating an all-new future for what’s possible in the photographic lighting category.”
Steve Peer, CEO of Phottix added, “Ours has always been a culture of seeing an opportunity and pursuing it with relentless focus. Together with our new partners at Elinchrom and Sekonic, we will set an all new standard for lighting and control.”
Chris Whittle, President of Elinchrom commented “With so many technological firsts, we at Elinchrom are extremely ambitious for all photographers. We live light, and this new alliance will accelerate a raft of inclusive lighting solutions for Elinchrom mount users Worldwide.”
Harry Harada, Director of Sekonic said, “Our partners’ lighting tools working in concert with Sekonic lighting technology will make photography more enjoyable and controllable. Sekonic is now open to this enhanced partnership.”
B&H carries Elinchrom, Phottix and Sekonic gear.
Post Date: 8/11/2015 3:27:04 PM CT   Posted By: Sean

From the B&H YouTube Channel:
In this video, Mia McCormick introduces DJI's latest application of 3-axis gimbal technology, originally developed for multi-rotor UAVs. The Ronin-M is a scaled-down version of the original Ronin, weigh about 5lbs unladen, optimal for DSLRs, mirrorless cameras, and even compact cinema camera like the C100.
B&H carris the DJI Ronin-M Gimbal Stabilizer.
Post Date: 8/11/2015 1:43:30 PM CT   Posted By: Sean
Tokina 24-70mm f/2.8 AT-X Pro FX Lens

From the B&H YouTube Channel:
NY Times Food Photographer and Director Andrew Scrivani leads a talk about the use and power of social media for photographers and videographers. Andrew discusses both the practical matters of gaining and maintaining a following and the artistic outlet that platforms like Instagram, Twitter, Facebook, Pinterest and others can be for creatives.
Post Date: 8/11/2015 7:30:22 AM CT   Posted By: Sean
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