Service Notice: EOS M50 EF-M 15-45mm IS STM Kit may contain an incorrect battery charger (LC-E17)
An incorrect battery charger (LC-E17) may be included in some M50 EF-M 15-45mm IS STM Kits.
We would like to offer our sincere apologies to users who have been inconvenienced by this issue.
If you received the LC-E17 battery charger in the EOS M50 EF-M 15-45mm IS STM Kit please contact our Customer Support Center, using the information below. Canon will replace the LC-E17 with the correct battery charger, LC-E12, free of charge.
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
If you have not already done so, please register the EOS M50. By registering, we will be able to notify you via email about future announcements.
Customer Support Operations
Canon U.S.A., Inc.
Contact Information for Inquiries
Canon Customer Support Center
Phone: 1-800-OK-CANON, 1-800-652-2666
Support options and hours of operation: www.usa.canon.com/support
From the B&H YouTube Channel:
In this fifth video in the Audio for Video series, AB discusses tips and techniques for how to best capture audio with lavalier and boom mics. From ways to conceal lavs on talent to proper operation of a boompole, you’ll see real-world examples of the types of methods that are used to enable great audio capture, regardless of environment or application. Check it out.
I spotted this lone bristlecone pine tree on my first drive up Mount Evans.
The uniquely shaped tree alone on the side of the mountain begged to be in an image and on the last day of this trip, I made that pine my sunrise subject.
A clear sky does not hold promise for an amazing sunrise or sunset, but what can be counted on is the opportunity to incorporate a great sunstar into the image.
To create a sunstar from a point light source requires a narrow aperture.
The narrower the aperture, the bigger the sunstar is the rule.
I often select f/16 for these types of images as the effects of diffraction are usually tolerable at this aperture, even on the highest resolution cameras.
A downside to using a narrow aperture with the sun in the frame is that flare effects are increased, especially from lenses with high element counts.
Whether or not the flare shapes are attractive and desired may be a personal preference.
Also note that, in general, wide aperture lenses create the largest sunstars.
Nikon Z 14-30mm f/4 S Lens' f/4 aperture isn't terribly wide and in this case, I opted for f/22 to get a larger and more attractive (including stronger points) star.
I don't like the softness that diffraction creates at f/22 so the portion of the frame without the sunstar in it was merged from an f/11-captured frame.
I captured a 5-shot bracket (varying by 1 stop) at each aperture setting and opted to use a brighter f/11 image for the foreground.
The other property a clear sky can promise is a very warm light immediately after the sun rises or immediately before the sun sets and the warm first or last light of the day raking over a scene is often welcomed from a landscape photography perspective.
The small crescent moon included in the frame just above the left side of the pine tree was a bonus for this image.
A larger version of this image is available on Flickr.
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)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.
As I shared prior regarding the first lens' test results:
While these image quality results may appear simple, they have a background.
Keeping the story short, my first copy of this lens took forever to arrive and when it did, the performance was not as expected with damage sustained in transit being strongly suspected.
The second lens also took a long time to acquire and the results being shared here are from this lens.
Before announcing these results, I did some sanity checking including with my Canon USA technical rep.
My concern (always) is ensuring that this lens' performance is representative of what buyers should expect from their own lens.
The MTF charts suggest that the version III lens should perform nearly equally to the version II lens.
While I'm not absolutely 100% confident that a better copy of this lens is not available (and will likely test at least one more copy of this lens to be sure), I have enough confidence that this lens is representative of the model, showing what we should expect, to share these results.
That said, let's jump right into the comparison that most will be interested in, the Canon EF 600mm f/4L IS III vs. II Lens image quality comparison.
The version III lens produces very impressive image quality wide open.
My only cause for concern about this lens copy was that the version II lens is very slightly sharper in the center of the frame with the difference primarily noticeable when extenders are being used.
With less lateral CA, the version III lens produces better peripheral image quality, even with the 2x extender in place.
Unmistakably better is the version III's weight.
As I was creating this post, I grabbed the lens from my desk and ran to attempt to catch a pileated woodpecker on a tree just outside the studio.
That effort reminded me how amazingly light this lens is for its specs.
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.
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.
Open the program and click "Import" to point Bulk LUTs Previewer to the image you'd like to use as the sample.
I'd suggest using a small resolution image as a full-resolution image will make the previews load significantly slower.
Click the "3D Luts" button and navigate to your folder containing the LUTs.
Click "Generate" to generate the LUT previews.
How to Apply a LUT in Photoshop
Once you've found the LUT you'd like to use, here are the steps for applying the LUT to an image in Photoshop.
Open your image and add a Color Lookup Table adjustment layer.
In the Properties panel of the adjustment layer, click "Load 3D LUT..."
Click the "Load 3D LUT..." option and navigate to the appropriate LUT.
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).
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).
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!
ALERTING ALL WANDERLUST PHOTOGRAPHERS, CANON ANNOUNCES ITS FIRST RF TELEPHOTO ZOOM LENS, THE RF 24-240MM F4-6.3 IS USM
The All-in-One RF Travel Lens Provides High-End Features Such as Nano USM at an Entry-Level Price Tag
MELVILLE, N.Y., July 8, 2019 –Introducing the next travel companion for photographers, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the sixth lens in the RF family, the RF 24-240mm F4-6.3 IS USM telephoto zoom lens.
As the first telephoto zoom lens designed for EOS R and EOS RP full-frame mirrorless cameras, the compact and lightweight 10x zoom RF 24-240mm provides photographers high-quality images and video capture at a budget-friendly price point.
“Providing photographers of all skill levels with the invaluable tools to help capture and create the images they desire has been and will continue to be a paramount goal for Canon,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“The new RF 24-240mm is an excellent option as an all-around travel lens that provides attractive features for a wide variety of image capture.”
The RF 24-240mm F4-6.3 IS USM lens is equipped with Nano USM, providing users quick, high-speed and precision auto focus (AF) when shooting video and capturing still images.
With the powerful Nano USM, this lens allows photographers and videographers full time manual focusing making possible the fine tuning and adjusting of focus while in AF mode. This is the first Canon lens designed for full-frame cameras to feature Dynamic IS and
utilizes a CIPA-standard, five-stop image stabilization system.
The five-stop IS allows photographers to capture images and record videos with minimal shake, even during nighttime sightseeing or in dimly lit indoor events, without the need of a tripod.
When paired with the recently announced EOS RP full-frame mirrorless camera, the compact and lightweight portability of the RF 24-240mm rivals that of a Canon APS-C camera system with a comparable EF-S lens.
The RF 24-240mm and EOS RP kitted together are only slightly heavier and longer than the EOS Rebel T7i when it is kitted with the EF-S 18-200mm f/3.5-5.6 IS.
The diminished form factor of the new lens and EOS RP together, as compared to other full-frame mirrorless camera systems using a similar focal-length telephoto zoom lens, make the lens and camera the ideal kit for travelers who are constantly on the go.
Additional features of the Canon RF 24-240mm F4-6.3 IS USM include:
Minimum focusing distance of 1.64 feet/0.50 meters at wide angle and 2.56 feet/0.78 meters at telephoto
Maximum magnification of 0.26x at telephoto
Approximate weight of 750 grams/26.4 ounces
Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
21 lens elements in 15 groups including one Aspheric and Two UD Lens
12-pin communication system
Pricing and Availability
The Canon RF 24-240mm F4-6.3mm IS USM lens is scheduled to be available September 2019 for an estimated retail price of $899.99*.
In addition, Canon will offer a new EOS RP kit that includes the RF-24-240mm for an estimated retail price of $2199.00*.
†Based on weekly patent counts issued by United States Patent and Trademark Office.
*Specifications, availability and prices are subject to change without notice. Actual prices are set by individual dealers and may vary.
UPGRADE YOUR VISUAL STORYTELLING TOOLS WITH TWO NEWLY ENHANCED POWERSHOT G-SERIES CAMERAS FROM CANON
The PowerShot G7 X III and the PowerShot G5 X Mark II are the New Powerhouse Cameras for Visual Creators and Advanced Amateurs
MELVILLE, N.Y., July 8, 2019 – Ansel Adams, one of the greatest landscape photographers once said, “You don’t take a photograph, you make it.”
Never have truer words been spoken as digital photography has evolved and storytelling is shared through multiple mediums.
Providing visual storytellers more options to bring their imaginative visions to life, Canon U.S.A., Inc., a leader in digital imaging solutions, introduces the PowerShot G7 X III and the PowerShot G5 X Mark II cameras.
Successors to the PowerShot G7 X II and PowerShot G5 X respectively, these new cameras usher in a plethora of new and innovative functionalities.
Depending on the model, new innovative features include live-streaming available with YouTube* (via wireless connection), a pop-up electrical viewfinder (EVF) and 4K video shooting.
“Creators and photographers of all levels are reinventing the way stories are told and, as technology has progressed, so have the diverse needs of our customers,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“With features such as live-stream to YouTube* and a pop-up EVF, the PowerShot G7 X III and the PowerShot G5 X Mark II are true testaments to the company’s commitment to integrate the latest advancements for those who choose to digitally stream their journeys with the world or
seek to scale and capture the highest peaks.”
Even though the PowerShot G7 X III and the PowerShot G5 X Mark II have many individualized, unique qualities, both include many core features that are true to Canon’s imaging excellence.
These features include:
DIGIC 8 Imaging Processor
20.1 Megapixel** 1.0-inch stacked CMOS sensor to achieve high image quality, high functionality and fast speeds
4K up to 30p, Full HD up to 60p, FHD up to 120p, HDR, high frame rate movie with no crop
High-speed continuous shooting at a maximum of 20 FPS
Highest ISO speed in the PowerShot category with a maximum of 12,800
Wi-Fi®1 and Bluetooth®2 connectivity
USB-C charge power supply
Craft Your Own Unique Visual Voice with the PowerShot G7 X III
Calling all YouTube creators, the PowerShot G7 X III is primed to be the next-generation vlogging camera.
The PowerShot G7 X III features live-streaming to YouTube** capability via a wireless connection, allowing for creators of all levels to easily capture and post content in real time.
The PowerShot G7 X III also offers vertical video support***, 4K up to 30P high-rate movie with no crop, full HD up to 120p, and an optical 4.2x lens, helping to achieve high image quality.
Powered by the company’s DIGIC 8 image processor, a new 20.1 Megapixel** sensor, and wrapped within a compact body with a microphone jack, the PowerShot G7 X III offers innovative technologies, an improved user interface and Creative Assist for both video and still photography needs.
Capture on-the-go with the PowerShot G5 X Mark II
A lighter, compact and premium point and shoot camera that touts a new pop-up EVF, touch and drag AF and new optical 5x lens, the PowerShot G5 X Mark II is perfectly positioned to provide high image quality and valuable functions.
From trekking through various terrains of Patagonia where users can leverage the new panoramic shot feature, to capturing key moments with loved ones, the PowerShot G5 X Mark II will satisfy the needs of advanced amateurs who regularly use and
are familiar with Canon EOS cameras as a second camera or integrate it into their daily lives.
The PowerShot G7 X III and the PowerShot G5 X Mark II have an estimated retail price of $749.99 and $899.99†, respectively and are expected to be available in August 2019. For more information and the full list of product specifications, visit http://shop.usa.canon.com/
†Based on weekly patent counts issued by United States Patent and Trademark Office.
1 Compatible with iOS® versions 9.3/10.3, Android™ smartphone and tablet versions 4.4/5.0/5.1/6.0/7.0/7.1. Data charges may apply with the download of the free Canon Camera Connect app. This app helps enable you to upload images to social media services.
Please note that image files may contain personally identifiable information that may implicate privacy laws. Canon disclaims and has no responsibility for your use of such images.
Canon does not obtain, collect or use such images or any information included in such images through this app.
2 Compatible with select smartphone and tablet devices (Android™ version 5.0 or later and the following iOS® devices: iPhone 4s or later, iPad 3rd gen. or later, iPod Touch 5th gen. or later) equipped with Bluetooth® version 4.0 or later and the Camera Connect.
* The live streaming service available with this product is for live streaming on YouTube only.
To use live streaming, you need to have an active YouTube account and a CANON iMAGE GATEWAY account.
Please be aware that YouTube may change, stop, or terminate its services, including live streaming, at any time without notice.
Canon makes no representations or warranties with respect to any third party product or service, including live streaming.
** Image processing may cause a decrease in the number of pixels.
*** Vertical Video Support is not available when utilizing the live streaming service available with this product (on YouTube only).
†Availability, prices and specifications are subject to change without notice. Actual prices are set by individual dealers and may vary.
Preorder the new Canon cameras and lens here: B&H |
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.
I switched to using back button focusing about a year ago and now I never want to go back. [Sean]
From the Canon Austalia YouTube Channel:
Learn how to back button focus with this step-by-step video guide by Canon Collective Ambassador, Kass Brumley.
With this video guide, you will learn how back-button focus works, use cases and how to set it up on a Canon EOS 5D Mark IV and similar models.
These are the key steps to follow in order to set back-button focus:
Step 1: Disable Autofocussing from the Shutter Button - 1:53
Step 2: Select ‘Metering Start’ - 2:13
Step 3: Assign Your AF-ON Button - 2:33
Step 4: Select a Focussing Mode - 2:53
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.
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.
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.
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!
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.
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.
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.”
Designed to form fit a 150–600mm or equivalent sized lens with body attached
Quick access top opening
Carry with the included robust shoulder strap or belt mount
Fits a 105mm filter in its case in a zippered front pocket
Attachment for a monopod, a small tripod or a modular component
Rotate or Lock attachment on a Think Tank belt like the Pro Speed Belt V3.0
Front stretch pocket for lens caps, back caps, and other items
Removable screen protector separates your camera strap from the LCD
Metal hardware and YKK RC Fuse zippers for long lasting durability
Additional divider allows you to stack smaller lenses
Zippered side pocket for larger accessories or rain cover
Inner lid pocket for SD cards or lens cloth
Top grab handle for quick carry
Business card holder on top of lid
Seam-sealed rain cover included
Holds a gripped or un-gripped camera body with up to a 12” (30.5cm) lens attached
Nikon D5 with 200–500mm f/5.6 VR II attached
Canon 7D MII with Sigma 150–600mm f/5–6.3 Sport attached
Sigma 150–600mm f/5–6.3 Sport or Contemporary
Sigma 60–600mm f/4.5–6.3 Sport or Contemporary
Tamron 150–600mm f/5–6.3
Nikon 200–500mm f/5.6 VR
Nikon 500mm f/5.6 VR
Nikon 300mm f/2.8 VR
Sigma 300mm f/2.8
Canon 300mm f/2.8L IS II
Canon 24–70mm f/2.8 + 16–35mm f/2.8
Nikon 24–70mm f/2.8 + 14–24mm f/2.8
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
BRUSSELS - Japanese camera and printer maker Canon was hit with a 28-million-euro ($31.8 million) fine on Thursday for jumping the gun in its acquisition of Toshiba Corp’s medical unit three years ago before securing EU antitrust clearance.
The European Commission said Canon had breached EU merger rules by using a so-called “warehousing” two-step transaction structure involving an interim buyer to purchase the company prior to obtaining the relevant approvals.
The unorthodox method allowed Toshiba, which was struggling for cash after an accounting scandal, to book proceeds in time for the financial year-end in March.
“Our merger assessment and decision-making depends on the Commission being sure that companies are not jumping the gun and implementing mergers without our approval,” European Competition Commissioner Margrethe Vestager said in a statement.
The deal was cleared unconditionally in September 2016.
The EU competition enforcer charged Canon with breaching EU merger rules in July 2017.
French telecoms provider Altice was penalized to the tune of 124,5 million euros for a similar offense last year.
Facebook and General Electric have also been sanctioned in recent years for breaching merger rules.
Reporting by Foo Yun Chee; Editing by Alissa de Carbonnel
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:
Categorize their images with stars and colors
Use Loupedeck+ to boost their raw images before editing them fully with Photoshop
Manage all basic adjustments (e.g. exposure, contrast, temperature) with Loupedeck+
Color correct their images using HSL scrolls that work seamlessly with Adobe’s HSL-adjustments tab
Fine tune their image with tone curves, details (sharpening, noise reduction), split toning, lens corrections, effects (vignette, grain) and use camera calibration to fix tones
“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.”
The Camera Raw integration is available starting today across all regions.
Loupedeck+ is available for purchase at B&H Photo and Amazon US.
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:
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:
ColorChecker Classic Nano: 1x1.75”/24x40mm – for macro or close up photography
ColorChecker Classic Mini: 2.5x4.25”( 63.5x109 mm) – for archival photography or where the protective case of the Passport is too cumbersome
ColorChecker Classic XL: 21x14.75” (53.3x37.5 cm) – for photographers working in large studios, doing long distance photography or camera/lighting testing. This target is available in three configurations: Target Only, Target plus Sleeve, Target plus Case
ColorChecker Classic Mega: 40x60” (10x152 cm) – for photographers working on large sets and doing extreme distance photography or camera/lighting testing
ColorChecker Video Mega: 40x60” (10x152 cm) – for filmmakers working on large sets and doing extreme distance filmmaking or camera/lighting testing
“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:
Black Magic DaVinci Resolve – Classic and Video targets
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.
“Shooting through handheld objects can add something special - but it’s difficult to hold an object in front of your lens and achieve the desired effect, while also framing your subject and operating your camera.
The OMNI Creative Filter System puts unique, variable and repeatable in-camera effects right at the fingertips of video and still photographers,” said Craig Strong, Lensbaby Chief Creative Officer and Co-Founder.
“OMNI's Effect Wands attach magnetically and can easily be manipulated, offering a simple, intuitive and elegant solution.”
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.
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.
This firmware corrected the phenomenon related with the selection range of AF frame (AF point) of the camera.
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, please ensure SIGMA Optimization Pro has been updated to Ver.1.5.0 or later.
SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for CANON EF
SIGMA 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary for CANON EF
SIGMA 24mm F1.4 DG HSM | Art for CANON EF
Benefit of the update
It has corrected the phenomenon whereby the selection range of AF frame (AF point) becomes narrower depending on the camera attached.
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 achieved record quarterly revenue of $2.74 billion in its second quarter of fiscal year 2019, which represents 25 percent year-over-year growth. Diluted earnings per share was $1.29 on a GAAP-basis, and $1.83 on a non-GAAP basis.
Digital Media segment revenue was $1.89 billion, which represents 22 percent year-over-year growth. Creative revenue grew to $1.59 billion and Document Cloud achieved revenue of $296 million. Digital Media Annualized Recurring Revenue (“ARR”) grew to $7.47 billion exiting the quarter, a quarter-over-quarter increase of $406 million. Creative ARR grew to $6.55 billion, and Document Cloud ARR grew to $921 million.
Digital Experience segment revenue was $784 million, representing 34 percent year-over-year growth.
GAAP operating income in the second quarter was $750 million, and non-GAAP operating income was $1.05 billion. GAAP net income was $633 million, and non-GAAP net income was $901 million.
Cash flow from operations was $1.11 billion.
Remaining Performance Obligation was $8.37 billion.
Adobe repurchased approximately 2.5 million shares during the quarter.
A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.
"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
Digital Media segment revenue
~20% year/year growth
Digital Experience segment revenue
~34% year/year growth
Net new Digital Media annualized recurring revenue (“ARR”)
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:
Spyder LensCal - Calibrate cameras, lenses and DSLR components.
Spyder Cube – Set white balance and RAW conversion.
Spyder Checkr – Next-level camera color calibration.
SpyderX Elite – Professional monitor calibration.
SpyderX Studio is the essential all-in-one photographic workflow solution for precision control from capture, to editing to print, and includes:
Spyder Cube – Set white balance and RAW conversion.
SpyderX Elite– Professional monitor calibration.
Spyder Print – Printer profiling for any printer/ink/paper combination.
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).
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.