By now, it's common knowledge that a laser shining directly onto your camera's sensor will lead to its demise.
However, it seems that some lasers can also damage a sensor when reflected off of even non-mirrored surfaces, such as human skin.
Videographer Andy Boyd learned this lesson the hard way when filming a tattoo removal procedure with his Sony a7S II.
With each burst of the laser, you can clearly see the sensor sustaining damage.
So take heed – if observing any medical procedure using lasers, wear eye protection and leave your camera at home.
These adorable little fawns were playfully bounding all around and then stopped in an ideal location to check me out.
Few animals are cuter than whitetail fawns.
With the fawns beyond the idea 400mm range, it was great to have the 1.4x extender available with only a throw of the switch.
There would not have been time to mount an external 1.4x extender in this situation.
With the sun shining, not a cloud in the sky and the local vegetation finally awakening from its wintry slumber, I thought it would be a good time to venture out with my Super Color IR-converted EOS 7D to see what I could find.
Not wanting to stray too far from home, I ended up at a nearby defunct dairy farm where – fun fact – they filmed a couple of scenes from the movie Forrest Gump.
One of the greatest things about having a camera in your hands is that it feels like a you have passport for exploration, sparking the impulse for embarking on new adventures.
Unfortunately, my exploration on this day revealed that the area is not as scenic as it was at the time the movie was filmed.
A nearby dike failed many years ago flooding the low-lying areas with salt water, killing many of the trees such as the one above, the catalyst for my spending a few minutes capturing its curvy branches in isolation against a distant background and rich, blue sky.
I had originaly planned on desaturating the yellow tones so that the vegetation would appear white (the more traditional IR look I had in mind when setting off from my studio), but doing so resulted in the tree no longer standing out as well, so I instead opted to leave the grass and shrubs yellow after switching the red and blue color channels (more IR image processing in the IR Conversion Review).
In this video, SLR Lounge teams up with B&H to give you 5 long-exposure tips to maximize creativity. From creating silky smooth water effects to capturing subjects under the Milky Way, you’ll learn a handful of techniques that will raise your photography game.
Years ago, you could expect good reasonable customer service from almost any photography gear manufacturer.
Today, however, that isn't necessarily the case.
Therefore, we like to draw attention to companies that offer more than just great products, but seem to go above and beyond the competition to support their customers' needs.
I recently posted an image of a surfer taken at nearby Tybee Island.
While I experienced many technical difficulties during that session, one thing I didn't mention was what I noticed as I loading up the car and getting ready to leave.
After brushing the sand off the Matthews Maxi Kit Steel Stand I had been using, I placed it in the trunk of my car.
As the light stand hit my trunk, sand started pouring out one of the legs.
That's when I realized an end cap on one of the light stand's legs was missing.
After all of the frustration I had endured throughout the session, I didn't really feel like combing the beach to find my missing end cap.
Regardless, back to the beach I went.
The rising tide which had been encroaching on our shooting location shortly before packing up had erased the telltale signs of the exact spot where my light stand had been.
There was no hope of finding the relatively small plastic end cap, assuming it had been lost on the beach and not somewhere else before I had arrived.
I gave up after only a few minutes of aimless searching.
Once I arrived home, I immediately put a ring of gaffer tape around the leg that was missing an end cap to alert me of the missing accessory which could result in a scratched surface if the stand were used on certain types of flooring.
While doing so prevented me from using the stand on a floor where it may cause damage (wood, tile, etc.), the gaffer tape obviously didn't fix the problem.
What I needed was another end cap.
My Experience with Matthews Studio Equipment's Customer Service
When I called the Matthews Studio Equipment phone number, an operator answered the phone and asked which department I would like to be connected with.
First off, an actual operator answering the phone was a refreshing change from the typical automated answering service that I end up screaming at in vain before my call is finished.
I told the operator my problem, and she politely said, "You need the parts department. I'll connect you now."
Well, that was easy enough.
Unfortunately, with Matthews Studio Equipment being in California, it was roughly lunchtime when I called and no one answered.
However, the mailbox message requested that I leave my name and phone number and that someone would call me back, which I did.
Fast forward to the end of the California workday (5:00pm their time, 8:00pm Eastern Time) and I get a call from Stuart in the Matthews Parts Department.
I told him that I needed the end cap for a Matthews Maxi Kit Steel Stand, part #387485 because one of mine was missing.
He said, "Ok. I have a few of those right here. What's your email? I'll need you to send me your mailing address."
At this point, I'm a bit confused. I realize the plastic end caps for my light stand are probably not an expensive accessory, but I'm wondering when he's going to tell me the price of the items, how much shipping will be and how exactly I will pay for the desired gear.
I assume all the details will be in the soon-to-arrive email.
A few minutes later, Stuart's email arrived with no subject line and a simple "Hello" in the body, to which I replied with my address and the following:
Just let me know how much I owe you and the preferred method of payment and I'll make it happen.
His reply came the following morning right as the California workday began.
I will mail these out to you today free of charge. No payment needed.
Have a good day
Again, I realize these end caps (they sent a set of 3) weren't expensive items. In fact, shipping them to me likely cost as much (if not more) than what a company might typically charge for them.
But that's not the point.
When you purchase high quality products from a well-known and well-respected manufacturer like Matthews Studio Equipment, you get the type of customer service that their reputation is built upon.
Yes, their equipment is priced a little higher than its competitor's products, but you'll likely find dealing with Matthews' customer service to be easier/more pleasant than dealing with the customer service department of a competing (cheaper) brand based in different part of the world.
And even if those other brands offer similar customer service, it's highly unlikely that a replacement part coming from – for example, Asia – will arrive as quickly as one coming from California (for USA citizens, at least).
My replacement feet arrived a few days later.
My light stand is now whole again, and I take comfort in knowing that Matthews Studio Equipment's reputation for excellence and commitment to its customers is well earned.
For your light stand and other studio equipment needs, Matthews gear should be at the top of your short list. They'll take care of you.
Whereas the standard DJI Ronin-S comes with a focus wheel, control cables, a power adapter, and other accessories, the Essentials Kit includes the gimbal and the key accessories required to go out and begin shooting. There's a difference of only several accessories, accompanied by a substantially more affordable cost, and you can always add a focus wheel or other accessory at a later point.
Just add water, because water usually makes an image better.
I was staying ahead of this bull and his harem in a large meadow for perhaps 30 minutes when we arrived at a small pond that I didn't even know existed.
At the other side of the pond (my side) was a tall, steep bank down to a stream at the bottom.
While determining if this bull's nose-up threatening pose was meant for me or the cows he was tending, I captured a large number of frames with the 600mm focal length quickly becoming too long.
Just as I was about to go down the bank, the bull turned back to the cows and the opportunity stayed alive.
It was a hot morning and the elk were cooling themselves in the water.
Especially fun was that some of the calves were using their hooves to splash water onto their backs.
It was an awesome experience.
Professional photographer Andy Marcus shares 5 quick tips on how to prepare for a wedding shoot. From bringing all the right equipment to backing up your photos, these practices are a must for running your wedding-photography business.
Topaz Labs provided us with a pre-release copy of Sharpen AI a while back so we could try it out.
Loading a slightly blurry portrait into the software and seeing the results left me extremely impressed.
In fact, Topaz is using the exact portrait I tested the software with as a sample image on Sharpen AI's product page.
Because of downsizing, the image above doesn't really showcase what Sharpen AI can do. Here's a closer look at the difference.
To get an even better idea of the difference, download the rull resolution original image here and then run it through the trial version of the software. Pay special attention to the subject's face/glasses and necklace pendant after adjusting Sharpen AI's parameters.
The great thing about machine learning algorithms is that they get better over time. I'm excited to see how far this type of technology will take us considering how well it works right now. [Sean]
From Topaz Labs:
We've all had the disappointing moment where your "perfect photo" is blurry, out-of-focus, or just not quite sharp enough.
You viewed the image in your camera and thought you had captured the perfect moment, only to be disappointed once you see the photo on your computer screen.
Now there's a solution.
Introducing Sharpen AI
Sharpen AI is the only sharpening tool to understand the difference between detail and noise by learning through millions of images.
This means it will focus on sharpening the things you actually want to sharpen, rather than artifacts or noise.
Use it to create beautifully sharp images from even handheld, low-light, and fast-moving photos - try Sharpen AI today!
Get Sharpen AI today for the special introductory price of $59.99, originally $79.99, available until March 15th.
Sharpens and Defines
Most commercial sharpening tools will sharpen everything in your image - including noise.
Sharpen AI only sharpens the things you want and brings out the detail and definition in your shot.
It only sharpens the good stuff.
When shooting a moving object or in a low-light scenario, motion blur is a common problem.
Sharpen AI uses machine learning to stabilize motion blur in your images for a crisp clear result.
Theoretically, there is no way to recover lens blur in your photos.
Sharpen AI remembers patterns in your image and can rescue a blur within ten pixels.
When your image is just slightly out of focus, Sharpen AI provides the solution.
How does this compare to other products?
Unlike other sharpening products, like Photoshop Shake Reduction, Sharpen AI is the first product to use machine learning to fill in the details that other sharpening tools leave out.
The AI technology delivers a crisp, clear image that is full of detail.
New AI-Integrated Platform Can Help Photographers Advance Their Craft, Save Time with an Improved Workflow as well as Easily Organize and Share Their Photos
MELVILLE, NY, February 27, 2019 – In 2017, approximately 1.2 trillion photos were taken; turning millions of people into prolific photographers1, who are spending a tremendous amount of time arranging and searching through their library of photos.
To help photographers streamline their workflow and continually improve their craft, Canon U.S.A., a leader in digital imaging solutions, today announced the company’s first online photo-community platform – RAISE.
This new platform utilizes artificial intelligence (AI) to help photographers organize and categorize their photos through auto-tagging.
Features and benefits of RAISE include:
Organize – Through the use of Canon’s AI engine, photos uploaded to the platform can be auto-tagged through category and subject tags, as well as photo-centric tags such as the composition, style, emotion and color. Users can upload high-resolution JPEG images to the platform and all photographers retain ownership of all images uploaded to RAISE.
Explore – Photographers can receive insights from the RAISE community to learn and help improve their skills to step-up their photography. They can also draw inspiration from the platform with a feed personalized for them based on their own uploaded photos, tags and preferences.
Share – Photographers can create Collections within RAISE to privately share with current and prospective clients as well as loved ones, who may not be a part of the RAISE community. A photographer’s work can also be shared publically within the community to receive recognition as well as photo-centric compliments from other photographers, like “great lighting,” beautiful composition,” etc.
An Adobe Lightroom plugin version of RAISE, which is compatible with Adobe Lightroom Classic CC, is currently scheduled to be released next month.
This will further enhance the usability of the RAISE features such as auto-tagging images within a user’s Lightroom library through RAISE collections in the platform.
“Creativity is born from community – from collaboration with like-minded individuals,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“With RAISE, we are building that community for photographers.
Through this new platform, photographers from all different professional backgrounds and skill sets can come together to share their talents and connect with others in the community.
Simply put, we hope RAISE will inspire the next generation of photographers to RAISE the bar and propel their creativity to new heights.”
The new platform along with Canon’s latest solutions will be showcased at this year’s Wedding Portrait & Photography Show (WPPI) in Las Vegas from February 27 - March 1 in the Canon booth #121.
For more information about RAISE and/or to join the community, please stop by the Canon booth at WPPI or visit, raise.usa.canon.com.
Being a surfer enthusiast in Savannah, GA is a rough life; the waves found along Tybee Island (the nearest beach) are rarely conducive to "hanging ten."
Such is the story of Dagny, someone who loves to surf but rarely finds conditions here favorable for her pursuit.
On this day, however, the waves were "ok" and Dagny had just finished about an hour of surfing along a nearby shoreline.
She had obviously been having fun.
I, on the other hand, had been plagued by one issue after another since arriving at the beach at 9:00am. Let me explain.
When I arrived at the south end of Tybee Island to meet Dagny at 9:00am, there was a fairly dense fog along the shoreline.
Dagny wanted to do some surfing but also wanted a picture, so the first question to answer was, "Which do we do first?"
Since the waves were looking good to Dagny and the fog was looking questionable from a photographic standpoint, I told her to go ahead and surf and I would signal to her when I was ready to start shooting.
This would allow me time to scout out a suitable location, set up my lighting gear and hopefully give the fog some time to clear.
In hindsight, telling Dagny to hit the waves ahead of our shoot had another great benefit; it allowed me time to methodically work through the problems I was destined to face without having an increasingly impatient subject stare on with resentment for stealing her away from the best waves of the day.
When shooting at the beach, I generally prefer to transport only the items I intend on actually using to the sandy location.
This approach lessens the amount of cleanup necessary once the shoot is finished.
However, a downside of this technique is that if technical issues are experienced, one is required to go all the way back to the car to retrieve backup items.
As I would come to realize, that's a pretty major downside.
After scouting out a good location on the beach, I went back to my car in a [relatively] nearby parking lot to plan out my gear needs.
At that time, it was still quite foggy and I was unsure if it would clear completely before we started shooting. I decided that limiting the amount of space between the subject and me would be a good idea for optimal contrast.
Therefore, I opted for a Sigma 50mm f/1.4 DG HSM Art Lens on my Canon 5D Mark III instead of the Canon EF 135mm f/2L USM Lens I had originally planned on using.
Backup #1 [Lens]: Sigma 50mm f/1.4 DG HSM Art Lens (for Canon EF 135mm f/2L USM)
To allow me to shoot at my max flash sync speed (for these studio strobes, that's 1/160 sec), I put a 4-stop neutral density filter on the lens knowing that it wouldn't be enough density to allow me to use a wide-open aperture at my base ISO (100), but it would allow me to use a wider aperture than I would have been able to without the ND filter in place.
I'm always leery about using a softbox and/or umbrella on the beach because, even with sand bags in use, the large surface area of those modifiers can cause significant problems when wind is added to the equation.
However, I love the soft light I get with softboxes and umbrellas, so they are generally my first choices if the weather allows for their safe use.
The beach wasn't as windy as it has been in the past, but... I still didn't think it was a good idea to attach what amounts to a sail to my light stand.
Therefore, I opted to mount a Mola Demi Beauty Dish (with Opal Diffuser) to my White Lightning X3200 studio strobe, powered by a battery pack.
The 22" diameter, sturdy metal modifier has proven to be a solid choice in the past in windy conditions, so I was glad I brought it.
After transporting my light stand, studio strobe, beauty dish, battery pack, power cord, radio trigger with cord and two sand bags to the beach, I plugged everything in, turned on the battery pack/strobe/radio trigger and pushed the "Test" button on my trigger to fire the strobe.
Ok Sean, let's work the problem. Are the trigger and receiver on the same frequency? Yes. Am I sure I turned on the trigger? It doesn't appear to be blinking (a sign that it's on). I pressed the receiver button again (which should trigger the strobe in addition to turning the unit on), but nothing happens.
"Ahh, the batteries in my receiver are dead."
So, off to the car I went. While I did have some extra batteries in the car, I chose instead to grab a different radio receiver as the batteries are somewhat difficult to replace in these things.
And, back to the beach.
Backup #3: Radio Receiver #2 (for Radio Receiver #1)
With the new radio receiver plugged into the studio strobe (and blinking), and everything powered on again, I hit the test button on my trigger and... again, nothing.
However, a quiet moment between the waves and various beach sounds reveals a barely audible beeping coming from my battery pack.
It doesn't usually beep, so my guess is that it's trying to tell me something (later tests would reveal that my battery pack's battery had just failed).
Once again, it's time to go back to the car with a nearly 20 lb battery pack so that I can return with its replacement (an identical unit).
Backup #4: Battery Pack #2 (for Battery Pack #1)
After returning to the beach with the new battery pack, plugging everything back in and turning everything back on, I hit the test fire button on my trigger.
This is getting old. At this point, everything I've replaced has been a validated problem.
The radio receiver's batteries were dead and the unit was replaced with a working one.
The battery pack's battery had failed (even though it had been charging all night).
Now, even with those issues resolved, my strobe still wouldn't fire.
In one last Hail Mary attempt, I dragged my White Lightning x3200 back to the car to replace it with a Whilte Lightning Ultrazap 1600 that I had also brought along.
Backup #5 [Studio Strobe]: White Lightning Ultrazap 1600 (for White Lightning x3200)
After returning to the beach with the new studio strobe, I once again plugged everything up, turned everything on and hit the test fire button.
Success! The flash fired just as Dagny was walking to our shooting location. She needed a break from surfing, and her timing could not have been better.
Camera settings for the shot atop this post were f/3.2, 1/160 sec., ISO 100 (with a 4-stop ND filter).
The fog had mostly cleared by the time this image was taken, so I wouldn't have technically needed to use the Sigma 50mm Art lens in place of the Canon 135mm f/2L, but I liked the view I was getting at 50mm, so I think it worked out for the best.
I performed basic edits in Adobe Camera RAW and changed the color tones of the highlights and shadows and, after importing to Photoshop CC, I used the Content Aware Move Tool to reposition the three birds for better framing (they were originally more spread out and lower/closer to the left edge of the frame).
I also used the Content Aware Healing brush to remove a very long zipper pull that was flapping in the wind.
If you'd like to see what it was like on the shoot after all the problems had been worked out, check out this behind-the-scenes video.
This was one of those shoots where it seemed that everything that could go wrong did go wrong. However, having a backup of everything (I also had a backup camera along) meant that I could deal with the problems that cropped up and ultimately capture an image that I was very proud of.
When shooting on-location, do yourself a favor – bring a backup of every vital piece of equipment you're taking. You'll often find yourself falling back on one of your backups.
And someday, you may find yourself needing a backup for everything.
A larger version of the image can be seen on Flickr.
Long ago, it seemed worthwhile to include camera model product image comparisons in the camera reviews.
Eventually, we had enough to-scale camera images available to put together a trio of comparison pages showing front, back, and side views.
Today, the available images were overwhelming the simple tools and the next iteration of the comparisons is now live, condensed into a single tool: Camera Images Comparisons Tool.
The tool is not perfect (some views are missing images that were not made available to us), but especially with the new "overlay" feature, I think you will find it very useful.
February 25th, 2019, Seoul, South Korea - Global optics brand, Samyang Optics is pleased to unveil the ‘WORLD'S WIDEST PRIME LENS- DISTORTION-FREE’ (except fish-eye lens) – XP 10mm F3.5 Canon full-frame DSLR cameras (XP 10mm F3.5 for Nikon F will be launched within a few months as well).
XP 10mm F3.5 lens from Samyang encapsulates the brand's universally respected optical technology, especially in the wide angle lens category.
XP 10mm F3.5 provides ultimate ultra-wide-angle coverage up to 130° angle of view with crystal image quality.
A Single lens captures it all – Distortion Free
As the demo premium lenses high-end cameras increases, XP 10mm F3.5 elevates the quality of images provides a burst of creativity the users with its high resolution of more than 50 megapixels distortion free that you can create an outstanding landscape architecture shots.
This lens features a total of 18 lenses in 11 groups.
7 special optic lenses maximizing the image quality from corner to centre in vivid colours.
The use of 3 aspherical lenses, 1 high-refractive lens, 3 extra-low dispersion lenses minimizing distortion extremely various aberrations.
Flare ghost effects are also well-controlled by ultra-multi-coating technology from Samyang.
Now you can capture a wide landscape with 130° angle of view architecture indoors as well in high resolution with distortion-free.
The XP 10mm F3.5 is expected to be the perfect lens for a broader range of photographer cinematographer who wishes to create professional photos videos in exceptional high resolution solid body quality made with metal.
Available in this spring
The absolute resolution XP 10mm F3.5 lens will be available soon at a suggested retail price of EUR 1,099.00.
When photographing non-voice-controllable subjects, the potential of capturing all subjects in the frame with good body positions decreases exponentially with the number of subjects.
With a single subject, capturing a good body position is sometimes challenging but often not too difficult to accomplish.
Add a second subject and the challenge doubles and it doubles again when a third subject is in the frame.
While not every subject in the frame is required to have the ideal pose, it certainly helps when all have one.
I had been hanging with these big boys for several minutes.
When enough distance separated them, it was not too hard to find individual subject poses worth photographing.
When both bulls were in the frame, good opportunities became scarce with the second bull often becoming a distraction to the first.
Photographing groups of animals includes increased challenge, but that challenge serves to make the rewards of success higher.
A larger version of this image is available on Flickr.
Today, Samyang announced via Facebook that it will be releasing 8 new lenses this spring. Samyang's tagline for the new lenses is "A New Perspective," possibly hinting at lenses with specs not currently seen in the marketplace today.
Feb 22, 2019 – Inspired by the focal length and aperture of the widely acknowledged Tokina AT-X 16-28mm F2.8 PRO FX lens, Tokina opera 16-28mm F2.8 FF has been developed with the same concept as the already released opera 50mm F1.4 FF, to offer the photographers another contemporary tool for professional photography.
Super wide angle, superior resolving ability coupled with high contrast and beautiful bokeh rendering, fast f/2.8 constant aperture throughout the zoom range and accurate AF drive system make this lens attractive for photographers who specialize in landscape, interior architect, documentary, environmental style portrait and night sky/time lapse photography genres.
Sales start date worldwide: March 15th, 2019
EAN code: 4961607 634660 (for Canon EF mount full frame)
EAN code: 4961607 634677 (for Nikon F mount full frame)
If you have a couple of minutes, take a look at this For the Love of the Craft feature of Abe Curland, an affiliate account manager at B&H.
Abe has been our own affiliate contact at B&H for several years, and he's always been a delight to work with.
We would like to send our heartfelt "congrats" to him for B&H's recognition of his love of photography and his ability to connect with his affiliates.
In this video, photographer Pye Jirsa describes several tips for shooting portraits at night. While several of the techniques described are relatively common, the whip-pan effect Jirsa illustrates makes watching this video especially worthwhile.
The SETUP MENU > Time zone and date > Time zone display now shows only the names of major cities in the currently selected zone.
Fixed an issue that resulted in over-application of distortion control in pictures taken with an AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens at a focal length of 10 mm and with FX (36x24) 1.0x selected for Image area > Choose image area, Off selected for Image area > Auto DX crop, and On selected for Auto distortion control in the SHOOTING MENU.
Fixed an issue that resulted in over-application of distortion control in pictures taken with an AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens at a focal length of 10 mm and with FX (36x24) 1.0x selected for Image area > Choose image area, Off selected for Image area > Auto DX crop, and On selected for Auto distortion control in the SHOOTING MENU.
Fixed an issue that resulted in over-application of distortion control in pictures taken with an AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR lens at a focal length of 10 mm and with FX (36x24) 1.0x selected for Image area > Choose image area, Off selected for Image area > Auto DX crop, and On selected for Auto distortion control in the PHOTO SHOOTING MENU.
Fixed an issue that resulted in photos shot with non-CPU lenses being overexposed when taken by pressing the shutter-release button all the way down in a single motion under the following conditions: the standby timer off, On selected for Custom Setting c1 (Shutter-release button AE-L) in the CUSTOM SETTING MENU, and lens information specified using the Non-CPU lens data option in the SETUP MENU.
Operating conditions of the Nikon “Z 6” and SIGMA’s interchangeable lenses for NIKON F mount, and firmware update for SIGMA 24-70mm F2.8 DG OS HSM | Art for NIKON F mount
Thank you for purchasing and using our products.
We would like to announce that the operating conditions of SIGMA’s interchangeable lenses for NIKON F mount on the Nikon “Z 6” and their “Mount Adapter FTZ” are the same as when they are used in combination with the Nikon “Z 7” and their “Mount Adapter FTZ” that we announced on October 26th, 2018.
Furthermore, we would like to announce that a new firmware update for SIGMA 24-70mm F2.8 DG OS HSM | Art for NIKON F mount improves on the phenomenon particular to the lens when it is used in combination with the Nikon “Z 7” or “Z 6” and their “Mount Adapter FTZ”.
For customers who own the SIGMA USB DOCK and applicable product listed below, please update the firmware via SIGMA Optimization Pro. Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0 or later.
SIGMA 24-70mm F2.8 DG OS HSM | Art for NIKON F mount
Benefit of the update
When the lens is used in combination with the Nikon “Z 7” or “Z 6” and their “Mount Adapter FTZ”, it has corrected the phenomenon whereby it may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting.
Firmware update for SIGMA MOUNT CONVERTER MC-11 EF-E
Thank you for purchasing and using our products.
We are pleased to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available.
This firmware makes the SIGMA MOUNT CONVERTER MC-11 compatible with the latest firmware of SIGMA interchangeable lenses.
For customers who own the SIGMA MOUNT CONVERTER MC-11 EF-E, please update the firmware via SIGMA Optimization Pro? by connecting it to a computer using the supplied USB Cable.
Before updating the SIGMA MOUNT CONVERTER MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.5.0 or later.
SIGMA MOUNT CONVERTER MC-11 EF-E
Benefit of the update
It has become compatible with the 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.01.
It has become compatible with the SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.01.
It has become compatible with the SIGMA 18-35mm F1.8 DC HSM | Art for CANON EF mount, that has the latest firmware Ver.2.02.
It has become compatible with the SIGMA 50-100mm F1.8 DC HSM | Art for CANON EF mount, that has the latest firmware Ver.2.02.
It has become compatible with the SIGMA 100-400mm F5-6.3 DG OS HSM | Contemporary for CANON EF mount, that has the latest firmware Ver.2.04.
Today Aaron shows you how easy it is to make your own custom brushes in Photoshop!
Learn how to turn any shape into a brush and how to add randomness as you paint, perfect for creating realistic atmospheric effects like rain, fog, and snow.
Best of all, our new custom snow brush is included for free in the sample image download!
February 20, 2019, Saitama, Japan - Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the development of two new lenses for full-frame DSLR cameras—the 35-150mm F/2.8-4 Di VC OSD (Model A043) zoom lens and the SP 35mm F/1.4 Di USD (Model F045) fixed focal lens; and a new high-speed ultra wide-angle zoom lens for Sony E-mount full-frame mirrorless cameras—the 17-28mm F/2.8 Di III RXD (Model A046).
Tamron will display these new lenses at CP+ 2019, the World Premiere show for camera and photo imaging, beginning February 28 through March 3, 2019 at Pacifico Yokohama.
35-150mm F/2.8-4 Di VC OSD (Model A043) For Canon and Nikon mount
SP 35mm F/1.4 Di USD (Model F045) For Canon and Nikon mount
17-28mm F/2.8 Di III RXD (Model A046) For Sony E-mount (full-frame)
Fast compact Portrait Zoom breaks new ground: 35-150mm F/2.8-4 Di VC OSD (Model A043)
The new compact Model A043 is designed for fast handling and easy transport, and features a zoom that extends from 35mm to 150mm, incorporating the 85mm focal length (often regarded as optimum for portrait shooting).
It offers a fast F/2.8 aperture at the wide-angle end while maintaining a bright F/4 at the telephoto end.
For close-focusing, the MOD (Minimum Object Distance) is 0.45m (17.7 in) across the entire zoom range.
Delivering superb image quality, precisely placed LD (Low Dispersion) glass elements and aspherical lenses quash degrading optical aberrations.
Furthermore, the Model A043 incorporates the Dual MPU (Micro-Processing Unit) system, which assures optimal AF performance and effective vibration compensation.
Note: All DSLR camera functions are possible when the Model A043 is attached to a mirrorless camera via the manufacture’s adapter.
Fast fixed focal lens boldly demonstrates Tamron’s lens-making expertise: SP 35mm F/1.4 Di USD (Model F045)
Tamron’s SP lens series was born in 1979, based on the concept of delivering lenses for taking the perfect picture for those who love photography.
This year marks the 40th anniversary of the series.
In celebration, Tamron has developed the Model F045, the distillation of Tamron’s accumulated lens-making expertise and craftsmanship.
This orthodox fixed focal lens, which some consider the most basic of all interchangeable lenses, is the embodiment of all optical technology and manufacturing knowhow Tamron has developed to date.
The Model F045’s unprecedented high-resolution image quality and beautiful, appealing background bokeh lets photographers capture any scene down to the finest details.
The external lens barrel was developed through tireless pursuit of operability and durability, focusing constantly on the needs of photographers.
This lens is equipped with a fast F/1.4 aperture and high-speed, high-precision AF functionality offering exceptional reliability, plus various other features for increased convenience, making it the perfect everyday lens for your creative pursuits.
It is ideally suited for nearly every photographic genre, including photojournalism, landscape, sports, street life, wedding groups and family snapshots.
Note: All DSLR camera functions are possible when the Model F045 is attached to a mirrorless camera via the manufacture’s adapter.
High-speed ultra wide-angle zoom lens for Sony E-mount cameras is extremely compact and lightweight: 17-28mm F/2.8 Di III RXD (Model A046)
The Model A046 achieves an astonishingly small diameter for a high-speed ultra wide-angle zoom lens, as witnessed by its modest 67mm filter size.
Its unprecedented light weight and compact size provide excellent balance when used with a full-frame mirrorless camera, making it easy to carry, and enabling it to cater to a wide range of scenes and shooting conditions.
The Model A046 offers a fast F/2.8 aperture throughout the entire zoom range, and delivers high-resolution and contrast edge to edge.
The combination of ultra wide-angle focal length, fast constant F/2.8 aperture and an MOD (Minimum Object Distance) of 0.19m (7.5 in) at the wide-angle end encourages richly expressive and creative photography in a multitude of scenarios.
The Model A046’s AF drive system is powered by the RXD (Rapid eXtra-silent stepping Drive) stepping motor unit, enabling it to deliver high-speed, high-precision and superbly quiet operation suitable for shooting video as well as still photographs.
Specifications, appearance, functionality, etc. of the above-mentioned three products are subject to change without prior notice.
You guys have watched us gut a lot of lenses and cameras over the years.
So I thought it would be fun for you to see us put one together from scratch.
Compared to many of the lenses we’ve taken apart, this is all mechanical lens is rather simple: no focus motors, image stabilizers, etc.
But even a simple lens is a very complex structure.
This post will probably give you a good idea of how much mechanical design is required to make even a very basic lens.
The lens is also unique; it’s a prototype C-4 Optics 4.9mm f/3.5 circular fisheye.
It’s a massive lens giving a 270-degree field of view, meant for immersive video and specialty shots.
To give you an idea of what 270 degrees means, the lens sees behind itself.
An ultra-wide 15mm fisheye lens gives a 180-degree field of view while an 11mm rectilinear lens is less than 120 degrees.
The closest thing that’s existed to this is the 1970s classic Nikkor 6mm f/2.8 fisheye, which gave a 220-degree field of view, weighed 5 kg, and can be rarely found for $100,000 and up these days.
The C-4 optics lens weighs every bit as much as the Nikkor, but should be far sharper, have less distortion and vignetting, and cost somewhat less than those do today.
(‘Somewhat’ being defined as ‘less than half’.)
Holidays offer great opportunities for gift giving and flowers, although possibly a bit cliché, are still very often appreciated, which is why a bouquet of flowers has been sitting on our living room hutch since Valentine's Day.
But while flowers are intended to be enjoyed by the recipient, there's no reason why we as photographers can't take advantage of the beautiful subjects at hand to add some colorful floral images to our portfolios.
A few evenings ago after my wife had retired for the evening, I took her bouquet into the studio to try one of my favorite techniques for photographing flowers – focus stacking.
After perusing the options available in the bouquet, I settled on a type of flower that I've photographed before, a type of Peruvian lily.
The colorful, elongated spots found on the leaves as well as the easily visible inner structures of these flowers make them ideal candidates for photographing.
I set up my Canon EOS 5D Mark III and Canon EF 100mm f/2.8 Macro USM + 36mm extension tube on a sturdy tripod and Arca-Swiss Z1 ball head set to f/9, 1/160 sec, ISO 100 and tried several compositions with the Peruvian lily that caught my eye. A studio flash on each side of the bouquet provided the light required for a proper exposure at those settings, and Magic Lantern's Focus Stacking feature was used to increment focus for the focus bracketed images.
After capturing all of the variations, I brought the images into Canon's Digital Photo Professional to see which one (or ones) might work well for further processing.
Finding a series that I really liked, I opened the relevant RAW files in Helicon Focus (my preferred focus stacking software), compiled the images and output the result as a DNG.
Looking closer at the result in Photoshop CC, I realized that I hadn't captured enough depth-of-field in my focus bracket to fully cover the parts of the plant I wanted in focus.
As such, instead of having crisp lines in places where I wanted to emphasize details, I had soft transitions that didn't seem to meld with the rest of the focus stacked image.
From a photographic standpoint, my attempt at a pleasing focus stack image was a failure. But then I had a moment of inspiration.
My wife is a huge fan of impressionist paintings.
In fact, not more than a couple of weeks ago she insisted we see (aka, dragged me to) the impressionist art exhibit that was showing at the Jepson Center for the Arts ("Monet to Matisse: Masterworks of French Impressionism").
The nice thing about impressionism is that crisp details are not a notable quality of the creative movement; in the case of my image, I could use impressionism to hide the major flaw in my image.
Keep in mind, rarely is an image made visually palatable if you have to "save it in post."
But in this case, it seemed to work just fine.
After searching for several years for a Photoshop plug-in that could convincingly turn an image into a painting, I finally found Topaz Impression and never looked back.
It's been an excellent find and has opened up a new door for monetizing my images.
Or in this case, just saving one.
In this video, Gavin demonstrates how to create candlelit nighttime images during the daytime and provides some tips for furthering the illusion in Photoshop.
In addition to Gavin's tips, I'll add just one more – you may want to lower your flash's position and point it slightly upward to simulate the candle's (or fireplace's) direction of light.
As you can see in the video, Gavin has his flash placed a little too high to match the candle's position relative to the subject's face in most of the displayed images, making the shots a little less believable.
Continuing to Adapt to Changing User Needs with the Addition of New Functions and Improvements of Capabilities
MELVILLE, NY – Nikon Inc. is pleased to announce additional details regarding the development of new firmware for its full-frame mirrorless cameras, the Nikon Z 7 and Nikon Z 6.
The firmware in development includes new functions for the Z 7 and Z 6, such as Eye-Detection AF, RAW video output, and support for CFexpress memory cards.
In addition, the cameras’ AF/AE functions will be further improved.
The Z series will continue to flexibly respond to changing user needs and offer next-generation features that give users new creative opportunities.
Functions and capabilities to be added and improved with new firmware:
1. Support for Eye-Detection AF for still image shooting (scheduled for release in May 2019)
Eye-Detection AF is convenient for portrait photography. The Eye-Detection AF in development will work not only with the AF-S (Single AF) focus mode that is convenient when photographing still human subjects, but also with the AF-C (Continuous AF) focus mode, which is effective when photographing human subjects that frequently adjust or change their pose. What's more, the function is capable of detecting multiple eyes, from which the user can select the eye upon which the camera should focus, allowing the photographer greater flexibility when photographing multiple people to suit their intent.
2. Increased AF/AE performance (scheduled for release in May 2019)
AE (auto exposure) tracking will be newly possible in continuous high-speed (extended) mode, in addition to the AF tracking that existed previously. In addition, low-light AF performance will be improved, enabling faster autofocusing in dark or dimly lit surroundings with both still-image shooting and movie recording.
3. Support for RAW video output
Output of 4K UHD and Full HD RAW data stream from the camera will be supported. The output RAW data stream can then be recorded in the compatible RAW format using an external recorder. This will allow users to utilize rich 12-bit colors to achieve flexible color grading. Release timing for this feature will be announced at a later date.
4. Support for CFexpress memory cards
The new firmware will provide support for CFexpress, a new standard for memory cards. Having passed durability tests in which they were inserted and removed from a camera 12,000 times, these memory cards offer users a greater sense of security. They also offer high-speed performance that will provide users with a more efficient workflow. After upgrading, users will be able to use both CFexpress as well as XQD cards in their camera interchangeably. In addition to the Z 7 and Z 6, in the future, CFexpress memory card support will be added to the Nikon D5 (XQD-Type), Nikon D850, and Nikon D500 digital SLR cameras as well. Release timing for this feature will be announced at a later date.
The NIKKOR Z 24-70mm f/2.8 S Implements the Latest Nikon Optical Technologies to Reinvent One of Nikon’s Most Coveted Zoom Lenses for the Full-Frame Mirrorless Z System
MELVILLE, NY – Today, Nikon Inc. announced the NIKKOR Z 24-70mm f/2.8 S: a much-anticipated, fast-aperture zoom lens that’s ideal for professional and advanced photographers who capture portraits, landscapes, weddings and events, as well as content creators who shoot video using Nikon’s revolutionary new Z Mount System.
Designed to take full advantage of the wider, brighter and faster Z Mount, this new S-Line lens delivers stunning sharpness all the way to the corners of the frame, even when used at its maximum aperture.
The NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to use the all new Nikon-designed ARNEO coat, which is used in conjunction with Nikon’s Nano Crystal Coat to significantly minimize flare and ghosting.
The lens also includes Nikon’s new Multi-Focus System to help ensure fast and accurate autofocus even when shooting close-up subjects.
Additionally, the 24-70mm f/2.8 S is the first NIKKOR Z lens to feature a dedicated manual focus ring independent of the customizable control ring, a Function (L-Fn) button, and an Organic EL Lens Information Panel for quick reference of key settings such as focus distance, depth-of-field, aperture and focal length.
“The NIKKOR Z 24-70mm f/2.8 S is the lens that Z Series users have been waiting for, a lens that many photographers and videographers would never leave home without,” said Jay Vannatter, Executive Vice President, Nikon Inc.
“Lightweight and tack sharp, the 24-70mm f/2.8 S is a great example of the outstanding performance and portability that is possible with our next-generation Z Mount System.”
NIKKOR Z 24-70mm f/2.8 S – Performance, Precision and Optical Superiority
The NIKKOR Z 24-70mm f/2.8 S builds on a century of Nikon optical heritage by harnessing the technical advantages of the Z Mount.
This type of lens is known as a photographer favorite due to its versatility, useful zoom range, fast aperture and sharpness.
Nikon was able to redesign this all-around zoom lens to achieve a new standard of performance, while making it both smaller and lighter—approximately 24.7% lighter and 18.4% shorter than the popular AF-S NIKKOR 24-70mm f/2.8E ED VR lens.
The NIKKOR Z 24-70mm f/2.8 S takes advantage of the latest optical technologies to ensure exceptional control of aberration, ghosting and flare.
Featuring an optical construction of 17 elements in 15 groups—including two ED glass elements and four aspherical elements—the lens delivers sharp, virtually vignette-free performance from edge-to-edge across its entire zoom range, even at maximum aperture.
Additionally, the NIKKOR Z 24-70mm f/2.8 S is the first NIKKOR lens to feature Nikon’s all-new ARNEO coating: a multi-layer coating that is used in conjunction with Nano Crystal Coating for superior anti-reflective performance.
While Nano Crystal Coat suppresses ghosting and flare coming from backlight at diagonal angles, the ARNEO coat compensates for light entering the lens from vertical angles.
This expanded field enables the lens to capture exceptional contrast and sharpness even when the light source is visible inside the frame.
To help ensure fast, accurate and silent autofocus, the NIKKOR Z 24-70mm f/2.8 S combines a powerful stepping motor (STM) with Nikon’s new Multi-Focus System.
This system uses two actuators to move two focus groups at once, enabling the lens to achieve critical focus rapidly from nearly any distance, including close-up shooting.
The 24-70mm f/2.8 S is the most customizable NIKKOR Z lens yet.
The lens features an Organic EL Lens Information Panel that allows for quick confirmation of aperture and focal length or focus distance and depth-of-field without looking at the viewfinder.
For enhanced versatility, the addition of a L-Fn button allows you to set over 20 custom functions when shooting stills.
The lens is also the first to feature an independent focus ring in addition to the customizable control ring found on all S-Line lenses, giving professional photographers and videographers more comfortable and convenient control over their shooting experience.
Finally, the NIKKOR Z 24-70mm f/2.8 S was designed to excel at video in addition to stills capture, taking full advantage of the industry-leading video features found in the Nikon Z 6 and Z 7.
Its design minimizes focus breathing, preventing the angle of view from changing when the focus is adjusted; the stepping motor and Multi-Focus System ensure fast, accurate and quiet focusing; full compatibility with the built-in 5-axis VR of the Nikon Z System ensures users can capture super-smooth video hand-held; and the customizable control ring, independent focus ring and Organic EL panel give filmmakers even more control over this exceptional lens on-set.
The NIKKOR Z 24-70mm f/2.8 S is destined to be an instant classic—a must-own lens for Nikon Z Series creators of all types.
An indispensable standard zoom lens for professionals, advanced photographers and video creators—ideal for environmental portraits, landscapes, weddings, events, studio and street photography.
Constant f/2.8 aperture throughout the zoom range delivers the subject separation, speed and gorgeous bokeh professionals demand.
Exceptional optical performance achieves edge-to-edge sharpness and minimal aberration in an incredibly lightweight and portable package, thanks to the revolutionary new Z mount.
All-new ARNEO coating works in conjunction with Nikon’s Nano Crystal Coat to minimize ghosting and flare when the light source is within the frame.
Fast, accurate and quiet autofocus throughout the zoom range, thanks to Nikon-designed Multi-Focus System and Stepping Motor.
Built-in Function (L-Fn) button, Organic EL Lens Information Panel and independent focus ring give creators more control over their shooting experience.
Fully compatible with in-camera 5-axis VR found in the Nikon Z 6 and Z 7, providing up to 5 stops of image stabilization without adding to the size or weight of the lens.
Optimized for video, with reduced focus breathing, a quiet stepping motor, customizable control ring, and the ability to take advantage of the in-camera 5-axis VR + eVR of the Nikon Z 6 and Z 7.
Designed with consideration to dust and drip resistance, and featuring a fluorine coat that effectively repels dust, water droplets, grease and dirt.
Price and Availability
The NIKKOR Z 24-70mm f/2.8 S will be available in spring 2019 at a suggested retail price (SRP) of $2,299.95.
Changes for Z 6 Firmware v.1.01 & Z 7 Firmware v.1.03:
When On is selected for HDMI > Advanced > N-Log setting in the SETUP MENU, Maximum sensitivity now takes effect during movie recording if:
The camera is in mode P (programmed auto), S (shutter-priority auto), or A (aperture-priority auto), or
The camera is in mode M (manual) and On is selected for ISO sensitivity settings > Auto ISO control (mode M) in the MOVIE SHOOTING MENU.
Fixed an issue that resulted in third-party software showing an incorrect value for the Exif 35 mm format equivalent focal length field for photographs taken with a non-CPU lens connected via an FTZ mount adapter with the focal length specified using the Non-CPU lens data item in the SETUP MENU.
Fixed an issue that resulted in photographs taken using radio-controlled Advanced Wireless Lighting being overexposed if a face was detected with Auto-area AF selected for AF-area mode.
Additional changes for Z 6 Firmware v.1.01:
Fixed an issue that resulted in an incorrect aperture being selected in mode P (programmed auto) with a flash mounted on the camera under conditions in which f/32 would normally be selected.
Fixed an issue which prevented flash units controlled via radio Advanced Wireless Lighting syncing with shutter speeds of 1/100 s or faster with:
On selected for Flicker reduction shooting in the PHOTO SHOOTING MENU and
Enable selected for Custom Setting d5 (Electronic front-curtain shutter) in the CUSTOM SETTING MENU.
Today we’re releasing updates to the entire Adobe photography ecosystem, including Camera Raw, Lightroom Classic CC, and Lightroom CC for Mac, Windows, Android, ChromeOS, and iOS.
In this release, we’re introducing an all-new Sensei-powered feature, Enhance Details.
Harnessing the power of machine learning and computational photography, Enhance Details can now be found in Adobe Camera Raw, Lightroom Classic CC, and Lightroom CC for Mac and Windows, and takes a brand new approach to demosaicing raw photos.
Demosaicing is an integral process to raw processing and works at the pixel level, converting the information captured by a camera into something that looks like the photos we all expect to see.
The new Enhance Details algorithm enables you to increase the resolution of both Bayer and X-Trans based photos by up to 30%.
Enhance Details works on any raw file apart from files converted to a linear raw file, HDR or Panorama merged files (though you can apply Enhance Details to the ingredient files first and then merge), smart proxies, lossy compressed DNGs, or DNGs saved with 1.1 compatibility.
Applying Enhance Details to your photos can greatly improve fine detail rendering, improve the reproduction of fine colors, and resolve issues that some customers reported with their Fujifilm X-Trans based cameras.
If you would like to know more about Enhance Details, a white paper can be found here and if you’d like to try Enhance Details on a Fujifilm X-Trans based file, you can download one here.
All of the apps have also been updated to support new cameras and lenses.
Newly Supported Cameras
Nikon COOLPIX A1000
Olympus OM-D E-M1X
Sony A6400 (ILCE-6400)*
* Preliminary support
Newly Supported Lenses
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR Nikon
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.4x
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 1.7x
Nikon AF-S NIKKOR 500mm f/5.6E PF ED VR + 2.0x
Lightroom CC for Mac and Windows
In addition to Enhance Details, we’ve also added HDR, Pano, and HDR Pano merge tools, the Target Adjustment Tool, and histogram clipping indicators.
HDR, Pano, and HDR Pano merge
High dynamic range (HDR) and panoramas are two types of photos that combine multiple frames to create visually stunning results that would otherwise be impossible to create from a single photo.
Lightroom CC can merge either raw or non-raw photos together into HDR and panorama photos, and when merging raw files, the resulting DNG maintains all of the benefits of a raw file, with the ability to change white balance and recover highlights, giving you the best possible results.
Capturing a panorama can be done either handheld or with a tripod.
When shooting handheld, Lightroom’s powerful alignment technology will align each photo and correct for any distortion.
Using a tripod can yield even higher quality results and provides more flexibility for difficult shots, such as super-wide panoramas.
When capturing a series of photos for HDR, including both HDR and HDR Panos, it’s often recommended to use your camera’s auto exposure bracketing mode, which results in a series of photos being captured in a row, varying the exposure for each shot.
Consult your camera’s manual for how to enable its auto exposure bracketing mode.
When capturing an HDR Pano, capture each series of exposures before moving the camera.
This is where having a tripod and a remote trigger can be quite handy.
Once you’ve imported the photos into Lightroom, select the photos that you want to merge, and then navigate to Photos > Photo Merge > and select the appropriate merge option.
Target Adjustment Tool
The Target Adjustment Tool (TAT) gives you precise control over color and tonality and is available in both the Tone Curve, Color Mixer, and B&W Mixer tools.
To access the TAT, open either the Tone Curve, Color Mixer, or B&W Mixer and click on the target icon.
A new control will show up at the bottom of the screen that provides control over what the TAT will affect while interacting with your photo.
Clicking and dragging on your photo will then directly adjust the Tone Curve, Color Mixer, or B&W Mixer (depending on which is currently active) for the color or tonality under the mouse cursor, enabling you to quickly modify different parts of your image directly and effectively.
For example, clicking and dragging on the sky in a photo with the TAT focusing on the Color Mixer tool in Saturation mode enables you to increase or decrease the saturation of the colors in the sky.
Histogram clipping indicators
The term clipping refers to areas that have become either too bright or too dark to have any details in them, such as an area of pure white (highlights) or pure black (shadows).
An image may either be captured with clipped highlights or shadows due to the scene having too high of a dynamic range such as a very bright and sunny day or clipped areas may be introduced while editing the photo.
You can use the histogram clipping indicators to ink the areas of your photo with clipped highlights in red or clipped shadows in blue.
To enable the histogram clipping indicators, first ensure that the histogram is visible by navigating to View > Edit Panels > Show Histogram, which will show the histogram at the top of your edit panels.
You can then selectively turn on the clipping indicators individually by clicking on the either the left (shadows clipping) or right (highlight clipping) triangles.
Lightroom CC for iOS
This release makes it possible to create ad-hoc photo shares and continues to focus primarily on behind-the-scenes updates and preparation for exciting features that will be coming soon.
For a full list of improvements and bug fixes found in this release, please visit the What's New page.
Ad-hoc photo shares
You can now create an online share of photos with an arbitrary assortment of photos.
Instead of creating an album and sharing that album, you can now select any number of photos that you want to share, tap the 3-dot menu at the top-right of the screen, and then select Share to Web.
Like any other web share, you can control whether people that you share that link with can download or see the photos’ metadata.
Lightroom CC for Android and ChromeOS
This release primarily focuses on foundational improvements and bug fixes, making way for new features coming soon.
For a full list of improvements and bug fixes found in this release, please visit the What's New page.
Lightroom Classic updates
In this release, we further improved tether performance and stability with Nikon cameras.
Nikon cameras now have the same speed and stability as Canon cameras after the October 2018 release.
Tethered image transfer at the time of capture should now be a faster experience overall in Lightroom Classic.
You also now have the convenience of controlling basic camera features, like ISO, shutter speed, aperture, and white balance within the tether bar itself.
Additional details on this enhancement can be found here.
For a full list of the improvements and bug fixes, please visit the What's New page.
Mike Olbinski presents his inspirational story about taking a passion for storms and turning it into a photography business. He then follows that with some great, basic guidelines about photographing storms, lightning, and even some time-lapse tips thrown in the mix.
Lawrenceville, NJ – (February 11, 2019) – Datacolor, a global leader in color management solutions, has launched SpyderX, its fastest, most accurate and easiest to use color calibration tool for monitors.
The development of SpyderX is testament to Datacolor’s commitment in advancing color management solutions for photographers, videographers and creative specialists worldwide.
SpyderX uses a fully redesigned color engine that provides significantly increased color accuracy and low light capabilities, giving photographers the confidence needed to achieve their creative vision.
SpyderX enhanced features include:
Blazing Speed – Taking less than two minutes to calibrate a screen, the SpyderX is several times faster than previous models, with calibration happening so fast it easily becomes part of the workflow.
Highest Accuracy – Providing a significantly higher level of color accuracy and shadow detail on a wide range of monitors.
Ease of Use – Simple and intuitive single-click calibration software, as well as advanced options.
Susan Bunting, director of marketing at Datacolor, said: “We know photography is a labor of love, and a lot goes into taking every shot.
That’s why we’ve redesigned SpyderX from the ground up, ensuring you can trust the color on your screen while making the whole process of calibration as intuitive and quick as possible.”
Now available in two versions, the SpyderX Pro is designed for serious photographers and designers seeking a fast and easy-to-use monitor calibration solution.
The SpyderX Elite takes it one step further with more advanced settings for professional photographers and videographers who want ultimate control of their color workflow.
Purchase SpyderX at Amazon or other authorized resellers.