Watch as Adobe's Julieanne Kost explains five feature of the crop tool, some of which you may not have known.
Anhui China, Jul 8, 2019 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, are proud to introduce the the Nikon Z & Canon RF mount to the world’s widest rectilinear f/2 lens (Laowa 15mm f/2 Zero-D) and the world’s widest zoom lens (Laowa 10-18mm f/4.5-5.6).
Laowa 15mm f/2 Zero-D (Both Nikon Z & Canon RF mounts)
Laowa 15mm f/2 Zero-D (Both Nikon Z & Canon RF mounts)The Laowa 15mm f/2 Zero-D is currently the widest f/2 rectilinear native lens for full frame mirrorless cameras. The lens falls into the Laowa ‘Zero-D’ products line-up and the patented optical design successfully minimizes the optical distortion to the lowest. This compact and lightweight lens comprises of 12 elements in 9 groups with 2 pcs of aspherical elements and 3 pcs of Extra-low dispersion elements. Photographers can also take advantage of the super close focusing distance (less than 6” from the sensor) and the f/2 aperture to create some wide angle close-up shots with pleasing bokeh.
Despite the extreme specifications, Venus Optics have successfully minimized the size of the lens to only 1.1 lbs and 3” long. The flat front surface design allows photographers to use 72mm circular filter with ease. Unlike the Sony E variant, the new Nikon Z / Canon RF variants feature a design of 5 straight aperture blades which produce a clean and sharp 10-point sunstar rendering.
Laowa 10-18mm f/4.5-5.6 Zoom (Nikon Z mount only)
Laowa 10-18mm f/4.5-5.6 Zoom lens is currently the widest full frame zoom lens in the market.
The 102° (18mm) to 130° (10mm) FoV provides a great deal of flexibility for photographers to compose landscape or architecture photos with ease. The one-of-a-kind 130° FoV also helps photographers to realize many formerly impossible shots.
Similar to the Sony E-mount variant (released a few months ago), Venus Optics have managed to compress the size of this new Nikon Z variant to the smallest in its class, measuring approximately 3.5 inches (~9cm) long and weighing only 1.1 lbs (<500g) with a lens diameter of 70mm. It also incorporates a 5 straight blade aperture to deliver a sharp, clean, well-defined 10- point sunstars. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element. It comes with an excellent close up performance and is able to focus as close as 6” from the sensor. A rear 37mm filter thread is included to fit with 37mm UV/ND filter.
Venus Optics have NO plans to launch Canon R mount for Laowa 10-18mm f/4.5-5.6.
The new variants of Laowa 15mm f/2 Zero-D & Laowa 10-18mm f/4.5-5.6 are currently available to order and from authorized resellers. Recommended Retail Price in US (without tax) is USD 849 for each lens. Pricing may vary in different countries.
Adorama has the following available for preorder:
Compact, light, great focal length range, and ... very nice image quality (remember that lateral CA is usually easily removed). Create your own comparisons – share the results with your friends.
From Nikon Europe:
On February 26, 2014, Nikon released a Service Advisory informing users of the D600 that Nikon would provide corrective servicing, free of charge, of D600 cameras exhibiting a particular issue.
This announcement is to inform users of the D600 that requests for this free corrective servicing will only be accepted until January 10, 2020. Service to address this issue requested after the offer of free service expires will be handled in accordance with standard Nikon repair policies.
If you would like to have your Nikon D600 inspected for this issue and corrected as needed, at no cost to you, please request the service from a Nikon service center as soon as possible.
Some users have indicated the appearance of multiple granular dust spots in images captured with the Nikon D600 digital-SLR camera. These granular dust spots are reflections of internal dust generated with camera operation, or external dust particles that have found their way into the camera, either, or both of which, have adhered to the camera's low-pass filter.
While the structure and concept of digital-SLR cameras make the complete elimination of these dust spots very difficult, it has come to our attention that, in some rare cases, they may be reflected noticeably in images. Therefore, Nikon is informing users of a service to reduce this issue again.
Apple has updated the MacBook Air and the entry-level 13" MacBook Pro. The MacBook Air gets a True Tone display, while the entry-level 13" MacBook Pro gets fully kitted out with an 8th-Gen Intel® Core™ quad-core processor, Touch Bar, True Tone, and more. The MacBook Air now has True Tone on its Retina Display. True Tone automatically adjusts the white balance to the color temperature of the light around you, providing a much more natural viewing experience. Learn more here.
by Sean Setters
If you're like me, after having purchased the 5DayDeal Complete Video Creators Bundle (especially over multiple years), you may have a ton of LUTs (Look Up Tables) that can be used to color grade your videos and images. For instance, the last time I counted, I had over 600 LUTs sitting in a folder on my hard drive. Unfortunately, sifting through my LUTs to find one that's appropiate for a specific video/photo project has has been a painfully slow and tedius process, requiring the of application of each LUT individually within the software editor for preview purposes.
Thankfully, there's a better way. A Swedish software designer has created an excellent (and free) program – Bulk LUTs Previewer – that allows for fast and easy previewing of your locally stored LUTs.
How Does Bulk LUTs Previewer Work?
It's really simple.
Once you've found the LUT you'd like to use, here are the steps for applying the LUT to an image in Photoshop.
While the sofware is free, I highly suggest donating to the author (using the "About" menu option) to encourage the software's further development (I did).
Download: Bulk LUTs Previewer
As a photographer, you've probably run into a situation where your camera's sensor couldn't capture the full range of brightness levels in a scene, necessitating techniques – such as bracketing – to obtain a higher dynamic range image. Well, those recording audio often face a similar issue capturing the full range of sounds available without clipping and/or distortion.
However, the new Zoom F6 uilizes 32-bit floating recording and dual analog to digital converters (one tuned to capture loud sounds, one tuned to capture low sounds) which the unit combines to create a full range of clean audio. The processing is so good, in fact, that it's almost impossible to clip audio when the device is set to 32-bit recording (the limiter isn't even available at this setting).
B&H has the Zoom F6 6-Input / 14-Track Multi-Track Field Recorder available for preorder.
Please visit the Photography Workshops page for the latest openings.
If you are you interested in photographing brown bears chasing salmon (among other things) in a remote section of Katmai National Park, I need to hear from you very soon.
I have the opportunity to charter a boat with an extremely-experienced operator, one very familiar with coastal Katmai NP and the brown bears. Photographing brown bears chasing and catching salmon is the anticipated highlight of this trip which would take place at the typical peak of the salmon run, at end of August or early September in 2020.
I've had the privilege of going on this trip and highly recommend having it on your bucket list.
The scenery in this area is amazing. The float plane flight to and from the boat is amazing. The animals are amazing. Every day is a new adventure.
I do not have much time to lock in this opportunity. I need 8 participants to make this affordable with the cost being very approximately $8,500 for 6 nights. This rough estimate cost is all-inclusive from Kodiak (and possibly Homer) (aside from crew tips).
Again, the window on this opportunity will close quickly, so I need to hear from you soon if this is a trip you are interested in joining me on. Email me now to reserve your spot or ask questions!
A new round of Tamron instant rebates began July 7 and will run through September 1, 2019. See below for details.
Tamron July/August Rebates
|Model||Rebate Amount||Authorized Retailers|
|Tamron 15-30mm f/2.8 Di VC USD G2 Lens||$100.00||B&H | Adorama | Amazon|
|Tamron 18-200mm f/3.5-6.3 Di II VC Lens||$50.00||B&H | Adorama | Amazon|
|Tamron 70-210mm f/4 Di VC USD Lens||$200.00||B&H | Adorama | Amazon|
|Tamron 100-400mm f/4.5-6.3 Di VC USD Lens||$100.00||B&H | Adorama | Amazon|
|Tamron 150-600mm f/5-6.3 Di VC USD G2 Lens||$100.00||B&H | Adorama | Amazon|
|Tamron 150-600mm f/5-6.3 Di VC USD Lens||$170.00||B&H | Adorama | Amazon|
|Tamron 45mm f/1.8 Di VC USD Lens||$200.00||B&H | Adorama | Amazon|
From the Adorama YouTube Channel:
Every studio needs a mirror but to avoid accidental light bounce it's usually kept well away from the shooting area . However if used carefully, a mirror can make a great prop. In this video Gavin Hoey shows you how to use a regular household mirror in a small home studio and create a stunning reflection portrait.
Gavin covers all the essential information you need to recreate this photo including, what type of mirror, how to light a pure white background and some simple Photoshop tricks that help give the final mirror image some polish.
Untimely was that Mount Evans and the other high peaks in the Colorado Rockies were the recipients of a summer snowstorm that dumped up-to-2' (that's right, feet, not inches — 0.6m) of snow the weekend just prior to my Monday afternoon arrival, closing the mountain for the first two days of my trip. Weather is one of the many reasons for planning more time at a location than seems necessary and for this trip, 4 days was definitely not too long.
There is often a photographic upside to bad weather and in this case, that upside was snow available for inclusion in both the foreground and often the distant background of images. Adorable baby mountain goats in snow works for me.
Bonus points are awarded for images having all of a wildlife subject's feet visible. Very often subjects are in an environment that does not allow the feet to be completely visible (grass in a meadow for example). This little kid (what a baby goat is called) was racing around and conveniently opted to run over this rock (it's what all kids do, right?).
I have a tendency to frame my wildlife images too tight and the base image used for this shot was vertically tighter than I liked. Fortunately, I had another image in the burst sequence that permitted a vertical panorama to be created, giving my kid some breathing room.
While I would like the Canon EOS 5Ds R to have a higher frame rate for wildlife photography, the images it creates are simply awesome, especially when a lens like the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens is in front of it. I lugged a 600mm f/4 with me for the duration of this trip but used it very infrequently due to extremely high winds at the over-14,000' (4,267m) elevation making subject framing too difficult. That issue along with 400mm being often sufficient at the top of this mountain meant the 600 spent most of the week in the SUV. The 100-400 allowed capture of environmental wildlife portraits as desired and that technique was definitely desirable at the top of this mountain.
A larger version of this image is available on Flickr.
For those residing in the USA, Independence Day (aka, the 4th of July) is often celebrated with freinds, family, grilled food and fireworks. With so many fireworks displays occurring this evening (either in a city center or in your own backyard), you may want to brush up on your fireworks photography techniques before the colorful bursts paint the night sky.
Fireworks Photography Tips
From the Adorama YouTube Channel:
Join Daniel Norton OnSet as he creates a dynamic portrait using the qualities of hard light. While soft light hides texture, hard light brings it out, casting shadows and patterns as well as helps with color saturation and contrast.
Related Products at Adorama
From Advancing Your Photography:
John Todd is a dynamic sports photographer who's managed to capture some of the biggest sporting events from surfing, to golf, to soccer. His work has appeared in Sports Illustrated, ESPN, the New York Times, and the list just goes on. I sat down with him and asked him for his inside tips for outstanding sports photography that you can go right out and use.
Be sure to check out more of John Todd's work on Instagram.
If you are a bull elk, there comes a time in life when you are mostly alone during the rut. The other bulls your size have become your enemies and the larger bulls are going to beat you up if you get too close to the herd. You become referred to as a satellite bull.
While this bull is relatively large, he is no match for those having the cows. Bigger is usually better in terms of bull elk subjects, but I cannot resist photographing the smaller bulls in the right scenarios.
While I often seek sunlight from my back when photographing wildlife, the animal looking directly into the sun often works well from a lighting perspective. In this case, I was aligning a non-distracting background (that happened to be in the shade of a cloud) to help the elk prominently stand out in the frame.
There is only one opening remaining for the September elk in rut photo tour!
Consider joining a small group of passionate wildlife photographers pursuing these awesome animals. Photographers at all skill levels are invited to join!
Photographers at all skill levels are also invited to join me for these tours:
Tue, Oct 15 through Sun, Oct 20, 2019
Sun, November 10 to Wed, November 13, 2019 and/or Wed, November 13 - Sat, November 16, 2019
Contact me to sign up!
A larger version of this image is available on Flickr.
From the Canon USA YouTube Channel:
Join Canon Advisor Eric Stoner in the Ghost Town in Nelson, Nevada as he shows you how to get creative with your images by combining CTO, or Color Temperature Orange, gels with your flash to achieve moody night skies during the day.
From Skylum Software:
Relive your best memories with Luminar 3.1.2
This morning, we released Luminar 3.1.2, the latest update to our award-winning photo editing and management software. One of the big things we’re excited to introduce is a brand-new feature, called “On this day.”
“On this day” will let you relive your photography memories. Available for both Mac and Windows, this new feature gives you the opportunity to look back on what pictures you took on this day exactly one or more years ago. To get started with this, simply click the “On this day” shortcut in the menu.
Please note that the “On This Day” feature will only show up if you have photos in your Library taken on the current month and day in previous years.
It’s a great way to look back on how you’ve grown as a photographer, and provide you with some inspiration to get your day started!
On the Mac side of things, we’ve also added a faster import from your memory card, giving you less time waiting and more time to spend creating amazing images.
You can also now easily add plugins from Nik Collection to your workflow, and enjoy what they offer in cooperation with Luminar 3.
As for the Windows side, you’ll see a faster scroll on Single Image view. You can now scroll more quickly and more effectively. Additionally, you’ll see speed improvements to the switching process between Single Image view and Gallery view.
We’ve also fixed a bug with the Japanese calendar that caused crashes.
Finally, both Mac and Windows users will see overall performance and stability improvements. As Luminar continues to develop into a groundbreaking management and processing platform, it’s important to our team to make sure that Luminar’s performance is up to par. With every update, we try our best to make it work faster and more seamless than before, giving you a more reliable and quicker way to express your creativity through photography.
Mac users can update to version 3.1.2 by choosing Luminar 3 in the top menu bar, and then clicking “Check for updates.” Windows users can choose Help > Check for updates on the top toolbar.
Use coupon code THEDIGITALPICTURE to save $10.00 on a Luminar 3 purchase.
From Think Tank Photo:
SANTA ROSA, CALIFORNIA – Think Tank Photo announces the Digital Holster 150, a camera holster designed to offer quick access and transport for your super telephoto zoom lenses. With the versatility of a 150–600mm, you don’t need a backpack full of lenses to shoot wildlife or sports photography. Instead, a camera holster dedicated to a single DSLR body with a 150–600mm attached is an ideal solution.
The Digital Holster 150 is a top-loading solution that minimizes the weight and bulk of bigger bags so you can focus on the action. Wear the holster comfortably on a belt or over the shoulder, so you’re ready to shoot at a moment’s notice.
“Sports and Wildlife photography requires rapid reaction times and quick gear access,” said Doug Murdoch, Think Tank CEO and Lead Designer. “The Digital Holster 150 delivers on both fronts, ensuring that your 150-600mm-attached camera is at-the-ready when you see your shot.”
Holds a gripped or un-gripped camera body with up to a 12” (30.5cm) lens attached
Exterior: All fabric exterior treated with DWR while fabric underside is coated with PU for superior water resistance, 600D polyester, 420D high-density nylon, YKK RC Fuse (abrasion-resistant) zippers, Ultra Stretch front pocket, 3-ply bonded nylon thread
Interior: 210D silver-toned nylon, high-density extruded nylon, polyurethane backed velex liner, 2x polyurethane coated nylon 210T seam-sealed rain cover, high-density closed cell foam, 3-ply bonded nylon thread
Exterior Dimensions: 8” W x 16” H x 8” D (20.3 x 40.6 x 20.3 cm)
Interior Dimensions: 7.3” W x 15.3” H x 7.3” D (18.4 x 39 x 18.4 cm)
Weight (with all accessories): 1.7 lbs. (0.8 kg)
In this video, Aaron Nace demonstrates how to get perfect white balance and colors in Photoshop.
B&H carries Adobe Photography Plan subscriptions, and for a limited time, you can get a $25.00 gift card with a 12-month subscription plan.
From the B&H YouTube Channel:
Photographer Sam Hurd gives us 5 tips to add creativity to virtually any environment you’re shooting in. From using a smartphone to add reflections to creating a “ring of fire” by shooting through a small copper pipe, these methods can transform a standard photo into something unique and stunning. Check it out.
HELSINKI – June 26, 2019 – Loupedeck, the custom photo and video editing console built with an intuitive design that makes editing faster and more creative, has announced its integration with Adobe’s Camera Raw for Photoshop, expanding its compatibility within the Adobe ecosystem. The Camera Raw integration provides more flexibility for Adobe users, allowing them to bring some of the basic features to the Loupedeck+ and increase functionality with Photoshop. Camera Raw is one of several Loupedeck+ integrations announced since launching one year ago, including Adobe Premiere Pro CC, Final Cut Pro and Adobe Audition.
Camera Raw and Photoshop users using Loupedeck+ will be able to:
“We value a customer experience that is always evolving to benefit our users most,” said Mikko Kesti, Founder and CEO of Loupedeck. “We’re looking forward to offering our users new Adobe product compatibility with Camera Raw, as it’s something many of them have been specifically asking for. We’re confident bringing this new integration into the mix will help them further increase their productivity with the Loupedeck+ and provide the flexibility they require on a day-to-day basis.”
From the Adobe Photoshop YouTube Channel:
In this Photoshop tutorial, Meredith Stotzner shows you how to use Adobe Sensei to find the perfect fonts in Adobe Photoshop.
From the B&H YouTube Channel:
In Part 4 of our multi-part Audio for Video series, AB walks you through the pros and cons of recording audio to your camera versus using an external audio recorder. Learn about when direct-to-camera recording may be ideal, and when you’ll need to start thinking about additional devices, such as mixer adapters and external multi-track recorders. As usual, AB breaks down many important considerations and helpful tips that you need to know for high-quality audio capture in the field.
Here’s a look at already released and upcoming videos in the “Audio for Video” series:
From the Phlearn YouTube Channel:
The Patch Tool is one of the best ways to remove large objects from a photo in Photoshop. Learn how to select distractions and replace them with textures that blend in seamlessly with the rest of an image. Help your portraits by removing background distractions and clean up any landscape for a picture perfect look!
Photographers and Filmmakers Can Choose the Ideal Size Target for Any Shot
Grand Rapids, MI USA – June 18, 2019 – X-Rite Incorporated, the world leader in color management and measurement technologies, introduces an extended ColorChecker family with new sizes including Nano, Mini, XL and MEGA. With a range of new sizes for both the ColorChecker Classic and ColorChecker Video targets, now there is a ColorChecker to help every photographer and filmmaker tell their story, no matter the size of their shoot. ColorChecker targets are essential color tools designed to save valuable time from pre-production through post-production.
The ColorChecker Classic target has been a photo industry standard for more than 40 years. It is an array of 24 natural object, chromatic, primary and gray scale colors, arranged in four rows. This iconic color reference target is now available in five sizes – Nano, Mini, Original, XL and MEGA. Simply include your preferred size ColorChecker Classic in your photo or video capture and then when editing, use it to create custom DNG or ICC camera profiles, color grade video footage or visually compare, measure and analyze differences in color reproduction in any color rendition system.
The ColorChecker Video target was first introduced in 2015 and is now available in 3 sizes – Original, XL and MEGA. This target, developed specifically for the filmmaker workflow, has gained wide adoption by filmmakers, DITs, editors and colorists. It includes chromatic color chips, skin tone chips and gray reference chips so filmmakers can easily set exposure, match multiple cameras and speed up color grading for ideal color balance throughout their footage. These targets are great for Cine wide shots – landscapes, cityscapes, custom sets; for Event filmmaking – concerts, churches, sports, stage; and for Aerial filmmaking – drones, booms, planes and helicopters.
The five newest products joining the existing ColorChecker line are:
“Over the years, X-Rite has produced custom-sized ColorChecker targets for specific applications across many industries. Bringing these various sized targets to the broader photo and video markets is a natural extension of the line to better meet the needs of all our customers. Now every photographer and filmmaker will have the ability to use an appropriate size target no matter the size of the subject, project or idea.” - Liz Quinlisk, Global Business Unit Manager, Photo & Video at X-Rite Incorporated
ColorChecker Camera Calibration Software – Free Download
ColorChecker Classic targets have been used by color perfectionists for the past decade to create custom DNG profiles for Adobe Lightroom® and Photoshop® workflows. Now photographers can build custom ICC camera profiles for use in Capture One® (or other ICC compatible software) when combining ColorChecker Classic with the latest version of X-Rite ColorChecker Camera Calibration software. Camera profiles provide accurate color at capture based on specific lighting, camera and lens combination during any given shoot, saving valuable time in edit. This software is also compatible with X-Rite ColorChecker Digital SG target for creating even higher quality custom ICC camera profiles.
Pair the ColorChecker Classic with X-Rite i1Studio or i1Profiler software (both sold separately) to create a custom ICC scanner profile.
3rd Party Support
ColorChecker targets are supported by several third-party software developers including:
B&H carries the following:
Watch as Benjamin Warde provides a quick demonstration of the usefulness of Lightroom's new Texture slider.
Portland, OR – Lensbaby – makers of award-winning lenses, optics and accessories announces today the availability of the OMNI Creative Filter System by Lensbaby.
The OMNI System offers control and repeatability when shooting through crystals and other objects engineered by Lensbaby to create distinct and compelling in-camera effects. This unique, professional system is unlike anything currently on the market and geared to work on photographers’ existing prime and zoom lenses.
The OMNI Creative Filter System utilizes a lightweight ring that screws onto the lens’s filter threads. It includes three Effect Wands that magnetically attach to the filter ring, for quick and easy positioning anywhere around the front of the lens.
“This system brings Lensbaby’s pursuit of in-camera creative effects to those who don’t shoot with Lensbaby lenses,” said Strong. “OMNI is not another camera lens. It’s the ultimate tool for adding artistic control while you are interacting with your subject and making pictures.”
The OMNI Creative Filter System and the Crystal Expansion Pack will be available for pre-order June 18. The OMNI Creative Filter System will retail for $99.95. The Crystal Expansion Pack will retail for $49.95.
From the B&H YouTube Channel:
For #HowToWeek we visit visual engineer, photographer and robot master Steve Giralt. He takes us on a tour of his NYC studio to show us how he makes his creative videos using high speed robotic cameras.
He's come a long way from being only a still photographer. Today he challenges himself and pushes the boundaries of what a product commercial should look like.
June 20, 2019 – TOKYO - Nikon Corporation (Nikon) has invested USD $7.5 million in wrnch, Inc. (CEO: Dr. Paul A. Kruszewski, head office: Quebec, Canada, hereafter referred to as wrnch), a computer vision and deep learning startup.
Established in 2014, wrnch uses deep learning to develop and provide tools and software development kits (SDKs) that enable computers to see and understand human movement and activity. wrnch has also used its advanced work in pose estimation technologies to establish ties with major entertainment and communications companies. The company continues its operations in technical development, while raising funds continuously.
In accordance with its Medium-Term Management Plan, Nikon is striving to enhance its Imaging Business not only in the BtoC, but also in the BtoB markets. Nikon decided to make this investment based on the determination of new synergies created by combining resources of each company, which will expand the range of Nikon's Imaging Business.
By fusing Nikon's optical technologies and the automatic tracking shooting technologies of Mark Roberts Motion Control Limited, a subsidiary of Nikon, with wrnch's pose estimation technologies, Nikon hopes to enhance its automatic shooting solutions, primarily for the sports market. Additionally, Nikon will endeavor to provide new imaging experiences with technologies such as AI.
Nikon will continue to pursue imaging possibilities by making further use of its optical technologies and collaborating with companies that offer their own innovative solutions and technologies.
|Company Name||wrnch, Inc.|
|Head Office||1001 rue Lenoir Suite B101, Montreal, Quebec, Canada|
|CEO||Dr. Paul A. Kruszewski|
|Business||The development and sale of computer vision and deep learning software|
Nikon NIKKOR Z 50mm f/1.8 S Firmware v.1.01
Changes from Firmware Version 1.00 to 1.01:
Just posted: Zeiss 100mm f/1.4 Otus Lens Review.
Object of desire.
As always, please share!
(Note that one of the standard product images will be incorrectly sized until the cache clears.)
Achieves 25 Percent Year-Over-Year Growth with Strong Creative, Adobe Document Cloud and Adobe Experience Cloud Revenue
SAN JOSE, Calif.–Adobe (Nasdaq:ADBE) today reported financial results for its second quarter fiscal year 2019 ended May 31, 2019.
Q2 FY2019 Financial Highlights
"Adobe's continued momentum is being fueled by the explosion of creativity across the globe and the widespread business transformation agenda to deliver engaging customer experiences," said Shantanu Narayen, president and CEO, Adobe. "With an innovative technology platform, exciting product roadmap and strong ecosystem of partners, we are well positioned for the second half of FY19 and beyond."
"Adobe delivered another record quarter in Q2," said John Murphy, executive vice president and CFO, Adobe. "Highlights include 25 percent year-over-year revenue growth, strong net new Digital Media ARR and operating cash flow of $1.11 billion."
Adobe Provides Third Quarter Fiscal Year 2019 Financial Targets
The following table summarizes Adobe’s third quarter fiscal year 2019 targets.
|Adobe total Q3 fiscal year 2019 revenue||~$2.80 billion|
|Digital Media segment revenue||~20% year/year growth|
|Digital Experience segment revenue||~34% year/year growth|
|Net new Digital Media annualized recurring revenue (“ARR”)||~$360 million|
|Tax rate||GAAP: ~11%, Non-GAAP: ~11%|
|Share count||~491 million shares|
|Earnings per share||GAAP: ~$1.40, Non-GAAP: ~$1.95|
Lawrenceville, New Jersey, USA, June 18, 2019 - Datacolor, a global leader in color management solutions, announced the launch of two new product bundles for photographers to manage their color workflow: SpyderX Capture Pro and SpyderX Studio. Both include the recently launched SpyderX color calibrator for monitors – the most accurate, fastest (4X faster) and easiest-to-use Spyder, ever.
SpyderX Capture Pro provides all the essentials needed to precisely manage color from image capture through editing, and includes:
SpyderX Studio is the essential all-in-one photographic workflow solution for precision control from capture, to editing to print, and includes:
Datacolor is kicking off the launch of these two products with a special 20% savings introductory offer. From June 18 through July 14, 2019, you can purchase the SpyderX Capture Pro for $319.99 (reg. $399.99) or the SpyderX Capture Pro for $399.99 (reg. $499.99).
From the B&H YouTube Channel:
In this second video in the Audio for Video series, AB discusses ways to choose the best mic for the type of content you’re recording. He discusses pickup patterns, lavalier and shotgun mics, mic placement, and more. If you want to know how to use the right mic to capture audio for different video applications effectively, this is a great resource.
B&H carries audio recording gear, including a wide range of microphones.
Simply. Outstanding. Meet the definition of sharp.
If you can make a 100mm manual focus lens work for your application, you want this lens.
Zeiss 100mm f/1.4 Otus compared to Nikon 105mm f/1.4E ED AF-S NIKKOR Lens
Zeiss 100mm f/1.4 Otus compared to Sigma 105mm f/1.4 DG HSM Art Lens
Zeiss 100mm f/1.4 Otus compared to Zeiss Otus 85mm f/1.4 Lens
Zeiss 100mm f/1.4 Otus compared to Zeiss Milvus 100mm f/2M Lens
In this video, photographer Daniel Norton demonstrates how using subtle color filters can take your beauty portraits to the next level.
Thank you for purchasing and using our products.
With the SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports and the SIGMA 70-200mm F2.8 DG OS HSM | Sports, we have found a phenomenon whereby when pressing the shutter button on the camera body, it may occasionally stop operating and not respond to the reoperation. In this circumstance, we would like to provide a lens firmware update free of charge to the customers using the applicable products with the serial numbers mentioned below.
We apologize for the inconvenience this may cause.
Applicable products and Serial No.
For customers using the applicable products with the mentioned serial numbers, we are going to provide a lens firmware update free of charge.
* The SIGMA USB DOCK cannot be used for this firmware update as it requires an adjustment to optimize each lens individually.
How to identify already supported products
Among the applicable products with the mentioned serial numbers, those that had their firmware updated have a black sticker on the lower right corner of the product gift box, as shown in the image below.
In this video, National Geographic photographer Bob Holmes provides a few tips for getting magazine-worthy travel/documentary imagery.
When preordering, you may want to pick up the Godox AK-R1 Accessory Kit as well.
Fast fixed focal SP 35mm F/1.4 Di USD (Model F045) boldly demonstrates Tamron’s lens-making expertise
June 6, 2019, Commack, NY— Tamron announces the launch of a new fixed focal lens, the SP 35mm F/1.4 Di USD (Model F045), for full-frame DSLR cameras. The lens, announced as under-development this February, will be available at Tamron USA authorized retailers at approximately $899 on June 26th in Nikon mount and July 25th in Canon mount.
Tamron’s SP (Superior Performance) 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 the tireless pursuit of operability and durability, focusing constantly on the needs of photographers. This lens is equipped with a large 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.
Product Development Background
“To commemorate the 40th Anniversary of Tamron’s renowned SP series lenses that are designed and constructed to deliver the highest levels of performance, we drew upon our accumulated expertise and technologies to create the ‘ultimate lens’ — the Model F045,” said the person responsible for product planning. “Our goal was to achieve high resolution, fidelity of point light source and beautiful bokeh,” he continued. “We deployed existing skills, like our highly regarded knowhow for producing bokeh, and combined them with new innovations like BBAR-G2 (Broad-Band Anti-Reflection Generation 2) Coating for anti-reflection performance. Today we announce with sincere pride that the Model F045 embodies Tamron’s philosophy for manufacturing and is the finest lens in Tamron’s history.”
1. Consummate image quality across the entire frame from edge-to-edge The optical construction (14 elements in 10 groups) leverages the best of Tamron technology and features a generous arrangement of special glass materials including four LD (Low Dispersion) and three GM (Glass Molded Aspherical) lens elements.
This combination of components successfully eliminates the effects of chromatic aberrations (which are particularly perilous for high-speed lenses) as well as other optical aberrations to the greatest extent possible. Even at its maximum aperture of F/1.4, high resolution performance is achieved from the center of the frame to the edges, providing superior aberration correction to maintain perfect fidelity of point shapes. The result is ultimate ultra-high image quality. This exceptional optical performance extends to the quality of defocused bokeh areas. With this lens, photographers can capture dramatic images that neatly sculpt their subjects against large and beautifully appealing background bokeh.
2. Next-generation BBAR-G2 Coating To maximize the optical performance and ultra-high image quality of this lens, special measures are in place for optimal correction against ghosting and flare.
Tamron has developed BBAR-G2 Coating through continued research into the coating technologies they have developed over many years. This new BBAR-G2 Coating vastly exceeds the performance of the original BBAR (Broad-Band Anti-Reflection) Coating that enjoys a long and well-established reputation in its own right. In addition to minimizing ghosting and flare, BBAR-G2 Coating enables clear images with stunning, unprecedented contrast.
3. Exceptionally reliable, fast and accurate AF
The AF drive is equipped with Tamron’s proprietary USD (Ultrasonic Silent Drive). This technology affords an autofocusing system with high speed, precision and quiet operation—even in a large aperture lens, which is typically bigger and heavier. Additionally, thanks to the Dynamic Rolling-cam mechanism that has been newly developed specifically for this lens, Tamron has succeeded in minimizing the drive load placed on the focus lens component. This breakthrough ensures stable AF operating performance and improves reliability even under the harsh shooting conditions of professional use, including high and low temperature extremes. This exceptional lens is also equipped with a Full-Time Manual Focus override system so photographers can instantly make fine adjustments to the point of focus, even when using the AF mode.
4. Vastly improved highly durable Fluorine Coating
The front surface of the lens element is coated with a Fluorine Coating based on a newly developed fluorine compound with high water- and oil-repellent properties. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints, and enabling your important lenses to be continually protected on a long-term basis.
5. Moisture-Resistant Construction
Seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain to provide Moisture-Resistant Construction. This feature affords an additional layer of protection when shooting outdoors under adverse weather conditions.
6. Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The Model F045 is compatible with the TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer, enabling users to easily update a lens’s firmware as well as customize features including fine adjustments to the AF.
7. Locking lens hood for precise positioning
The included lens hood is equipped with a locking mechanism. Being able to reliably attach the hood prevents it from unintentionally shifting position or coming off at the wrong time.
8. Consistent with Tamron’s sophisticated design concepts
The smoothly contoured body and the texture of fine details reinforce simple operation and ensure intuitive use. The shape boasts a high-grade feel worthy of a next-generation model that’s packed with advanced technologies. The form snugly houses the internal components, while the carefully finished Luminous Gold brand ring and painstakingly precise construction speak loudly of the extreme high quality of the lens. Combined with the ergonomic switch box shape, highly legible distance-scale window and sturdy metal mount, the lens boasts a finely-finished rugged and functional design.
|Angle of View (diagonal)||63°26' (for full-frame DSLR cameras)|
|Optical Construction||14 elements in 10 groups|
|Minimum Object Distance||0.3m (11.8 in)|
|Maximum Magnification Ratio||1:5|
|Length*||for Canon 4.1 in (104.8mm)|
for Nikon 4 in (102.3mm)
|Weight||for Canon 28.7 oz (815g)|
for Nikon 28.4 oz. (805g)
|Aperture Blades||9 (circular diaphragm)**|
|Standard Accessories||Flower-shaped hood, Lens caps, Lens pouch|
|Compatible Mounts||Canon EF mount, Nikon F mount|
Specifications, appearance, functionality, etc. are subject to change without prior notice.
All DSLR camera functions are possible when the Model F045 is attached to a mirrorless camera via the manufacture’s adapter.
With the B10 Plus, shooting on location isn't about problems, it's about opportunities.
Because shooting on location forces you to make choices.
For the most part, those choices inevitably come down to how much gear to bring and how much gear to leave behind.
Because if you’re shooting a wedding, for example, you can’t afford for your gear to slow you down. And if the location is remote there’s only so much you can realistically carry. Ultimately, there’s always a compromise.
Here at Profoto, we’re not big on compromise. That’s what drove us to create the Profoto B10 and now, it’s ever so slightly bigger brother, the Profoto B10 Plus.
“Like the Profoto B10, the B10 Plus is a seriously small flash.” Commented Göran Marén, Product Manager at Profoto.
“It’s around the size of a large lens. That means you can fit it in your bag with the rest of your gear and because it's cordless and lightweight, it's easy to bring and set up anywhere.”
Despite its small and lightweight appearance, the Profoto B10 Plus packs a considerable punch. Twice as powerful as the B10 the B10 Plus gives you ten times more light than a speedlight. And the quality of that light is exactly what you’d expect from a Profoto flash; completely natural with a beautifully soft fall off.
The B10 Plus is also a powerful light that you can use for both stills and video. And lt’s easy to use. A separate dial on the sleek B10 interface allows you to adjust both brightness and color temperature until it blends perfectly with the ambient light.
"The B10 Plus uses the same stand adapter and battery as the B10” Göran adds, “the stand adapter can be quickly removed allowing you to mount the B10 Plus on any camera tripod.
The battery too is just as swiftly replaced, and you can charge it while you’re using it.”
The ‘no compromise’ approach continues with the huge range of compatible Profoto light-shaping tools. Profoto´s compact and lightweight OCF series is the perfect choice for light shaping on location. If they´re not enough, there are 120 more to choose from in the full Profoto range.
Controlling the B10 Plus off-camera is, again, easy. You can trigger and control the B10 Plus from any Profoto Air Remote, or from the Profoto A1 or A1X. Remotes are available for all major camera brands.
And you’ll also benefit from smart connectivity with the Profoto app. With the B10 Plus connected to the Profoto app you can view and control all the settings from your smartphone screen, experience creative capture with your smartphone, and download all the latest updates.
Ultimately, like it’s slightly smaller brother the B10, the B10 Plus is a big light in a small package. And the extra power means the possibilities are enormous.
Göran concluded. “we call it ‘more power of small.’ Because there are more possibilities to be creative with light in so many more ways. The opportunity to let your imagination run riot on any location.”
The Profoto B10 Plus; now, there’s no need to compromise.
Just posted: Sigma 60-600mm f/4.5-6.3 DG OS HSM Sports Lens Review.
This lens exceeded my expecations.
When the fog is present, contrast is significantly decreased and heavy fog can reduce visibility to very short distances. While in Shenandoah National Park for two days in the spring, heavy fog was the only visibility I had. The dozens of turnouts and trails designed to show off spectacular views of the mountains and valleys far below all had the same view. White fog.
When this happens, one option is to find close subjects. With close subjects resulting in less light-scattering fog between the camera and subject, good color and contrast is retained. The large patches of bright green ferns were one such subject that always catches my attention in the spring in Shenandoah National Park. Fog scatters light in all directions, creating very even lighting even deep in the woods.
The one problem remaining was a light breeze. Some of the ferns I was photographing were waist high. With a big sail and a small stem, these ferns moved in even the lightest breeze. I would rather the slight motion blur in the lower left fern blade not be there.
Options for dealing with the subject motion were limited. Embracing the movement and allowing the subject to become blurred is an easy one. Results vary when using this technique.
Waiting for short breaks in the breeze was option I worked on. Taking many shots was another, trying to catch a fern at the end of its motion.
Making shorter shutter speeds available by increasing the ISO setting is another good option. This option results in increased noise in the image, but sometimes a scene can be captured at a low ISO for the stationary subject and then at a higher ISO setting to keep the moving parts stabilized. The two (or more) image can then be stacked during post processing with only the in-motion portion of the frame being shown for the high ISO capture.
Using a narrower aperture offers the same shutter speed advantage with reduction of DOF being the penalty.
A last method I was working with involved placing small temporary Y-shaped twigs at the base of the closest ferns (the ones moving across the most pixels) to help stabilize them. A Wimberley Plamp is a good tool for this purpose.
Moving farther away from the moving branch and/or using a wider focal length make the moving subject smaller in the frame which means they cross over imaging sensor pixels less rapidly which means they are sharper in the final image.
Remove the light-cutting circular polarizer filter can help establish faster shutter speeds, though this is not often a good choice for landscape photography. While on the fog topic, note that CPL filters very significantly cut through fog. The difference can be very noticeable. Rotate the filter to turn on or off the fog effect, obtaining the look you want.
A larger version of this image is available on Flickr.
5DayDeal's next video education bundle, Complete Video Creators Bundle 2019, launches on June 6th. Stay tuned for the details!
Meredith Stotzner dives into the Layers Panel and shares her tips for making layer thumbnails easier to see in Photoshop.
Through midnight tonight Eastern Time, B&H has the IDX System Technology CUE-D150 147Wh V-Mount 2-Battery Kit with Dual-Battery Charger available for $449.00 with free shipping. Regularly $629.00.
See today's full list of B&H Deal Zone Deals for excellent savings opportunities.
Credentialed access to a 4 hour concert in a 15,000-seat indoor stadium seemed like the perfect opportunity to give the Canon EOS R and Canon RF 28-70mm f/2L USM Lens a workout while the mostly high-energy performers also got a workout.
When photographing low light action, one historically had to choose between a moderately wide aperture (f/2.8) in a zoom lens and an ultra-wide aperture (f/1.4 for example) in a prime lens. With the RF 28-70, you can have both a wide aperture and a zoom focal length range. While some prime lenses still have the wide aperture advantage, the RF 28-70 f/2 L lens bridges the divide and, especially from an image quality perspective, is an outstanding option for low light needs including concert photography.
The spot lights happened to be on the singer (Ledger) in this image, allowing a very clean ISO 800 with a shutter speed adequate to stop most of the motion at f/2. Other images were captured at ISO settings as high as 6400 where the 1-stop advantage this zoom lens has over most other zooms makes a considerably bigger difference in image quality.
At concerts, the location of the action is often unpredictable and changing fast and that means focal length changes are required, ideally fitting for a zoom lens. Yes, some prime lenses could have given me another 1-stop lower ISO setting, but I would have minimally needed multiple cameras to cover the same range and often the performers were moving so fast that the shot would have been long gone by the time the cameras were swapped. Shooting wider and cropping later is an option, but lower resolution images are the result.
Also great for fast moving subjects was the R's touch and drag AF. With the left hand adjusting the focal length and the right thumb moving the focus point as needed for ideal framing, the EOS R was an ideal choice.
Every shoot teaches new lessons and here are a few concert photography tips from that night.
First, if photographing with a media pass, know without a doubt which gate you are supposed to enter through and be ready to politely ask for a additional opinions when the first person(s) thinks they know the different gate you are required to enter through. This saves walking half way around a stadium to the shipping and receiving area and waiting for a security guard to make a series of phone calls to figure out what you already knew and send you back to the other side of the stadium. If opting to ignore this advice, strongly consider arriving at least 1 hour early.
Also if photographing with a media pass, make sure that you have a signed copy of that pass (minimally on your phone) with you because the media reps for some reason may not have your name on the list. If offered a label with your name handwritten on it, request a lanyard because your camera strap is going to peel the label off within 10 minutes of your arrival, leaving you without the pass. Minimally attach the label to something that avoids the peel-off risk.
While your media pass may specify where you are supposed to photograph from, the media pass may not have been updated since the 360° stage was implemented. The specified locations may not exist and those working the show may have no clue about the topic or even how to get to the floor from the entrance level. Arrive early enough that if the instructions do not align with reality there is time to figure out where you are permitted to go without negatively impacting the show (it is probably not being performed for you).
Oh, if the tour is promoting a 360° stage, just get a ticket and leave the camera at home. Within seconds, the performer can be a basketball court distance away and even two cameras with complementing zoom lenses are not adequate. Compounding the problem is that you will have backs toward you for at least 270° of the stage.
I'll add these notes to the concert photography tips page.
A larger version of this image is available on Flickr.
From the B&H YouTube Channel:
AB from B&H introduces a new series on recording audio for video, which is designed to give you all the tools you’ll need to properly record audio for your video projects. This intro gives a basic overview of topics that will be covered in detail in subsequent videos, from choosing the right mic and location to setting recording levels and fixing things in post. If you want a good, basic intro to gear, tips, and techniques, this first video is a great place to start.
B&H has everything you need to record great audio.
This bull had just lost a fight over a harem of cows and headed for the hills. His rack was larger than that of the opponent, but the opponent's body was larger and that is where the battle strength comes from.
Capturing this image was primarily a matter of repeatedly getting out in front of the bull and properly predicting where it would enter a clearing at the right distance for the big prime lens I was using. As you will notice from the camera settings for this image, it was quite dark when this image was captured. The pursuit started under cloudy weather that deteriorated into light rain.
I still have one opening remaining for the September elk in rut photo tour in Rocky Mountain National Park (or get on the 2020 waiting list). Consider joining a small group of photographers (all skill levels welcome) pursuing these awesome animals and other wildlife and landscape opportunities in this great park!
A larger version of this image is available on Flickr.
From the Adorama YouTube channel:
We often see beams of light created my nature but being at the right place at the right time when you're shooting portraits is tricky. So in this video Gavin Hoey will show you how to use flash to create rays of light on a location shoot, whenever you want them.
Using a single flash fired through a small window, Gavin adds smoke to the scene in order to see the real rays of light. He then adds a second flash to light his model and create a dark and moody urbex style portrait in a disused building.