Here is the Tamron 15-30mm f/2.8 VC G2 vs. G1 Lens image quality comparison. Obviously, the camera resolution is quite different in these results, but if you visualize the chart details in the G1 results being enlarged to the G2's detail size, you will likely determine that these two lenses perform very similarly. That they perform similarly is not a surprise.
Here are some more comparisons for your entertainment:
Tamron 15-30mm f/2.8 VC G2 vs. Canon EF 16-35mm f/2.8L III Lens
Tamron 15-30mm f/2.8 VC G2 vs. Sigma 14-24mm f/2.8 DG HSM Art Lens
Tamron 15-30mm f/2.8 VC G2 vs. Sony FE 16-35mm f/2.8 GM Lens
Tamron 15-30mm f/2.8 VC G2 vs. Tokina 16-28mm f/2.8 AT-X Pro FX Lens (different resolution)
While it is always great to photograph a beautiful sunset, better is to find a way to create sunset images that are different from the hordes of others in my archives. A silhouette often makes a good sunset image differentiator, adding a little something to the image, and in this case, a tiki torch hints at the location the image was captured at.
Note that sunsets do not always have to be in focus. To mix things up a bit, I decided that I wanted the tiki torch and its flame to be sharp with the background going out of focus. Thus, a wide aperture was selected. The wide aperture had the secondary purpose of enabling a flame-freezing shutter speed.
The composition decisions for this image were made primarily for overall balance in the frame. The tiki torch is dark and heavy, so placing it near the center was helpful for balance. I wanted the torch flame in the frame along with the other flame, the sun, along and the color surrounding it was another subject of primary interest. With the latter seeming stronger than the prior, moving the tiki torch slightly to the right seemed to make sense. Keeping the perimeter of the frame clear of lines often helps keep the viewer's eye in the frame.
As the flame was changing rapidly, I captured a burst of images and later selected the flame shapes I liked best.
The Canon EOS R and RF 24-105mm f/4L IS USM Lens are a perfect walkaround combination. The camera and lens used to capture this image were on loan, but I eventually added this pair to my personal kit.
A larger version of this image is available on Flickr.
We’ve been hard at work on Luminar 3 and we’ve got a significant update to share with you. With Luminar 3.1.0 you’ll find several new improvements for both Mac and Windows. The next generation of Accent AI makes enhancing your images easier than ever before. Plus some performance and usability enhancements will make your editing workflow even faster.
Accent AI 2.0. Reimagined.
The improved Accent AI filter lets you get natural-looking results in less time. New “human-aware” technology recognizes people in your photos and applies adjustments selectively for more realistic images.
With Accent AI 2.0, you can make dozens of adjustments (done quickly) with just one slider. Fix tone, detail, exposure, depth, color, and more thanks to behind-the-scenes AI. In less than a second, your photos can look their absolute best. Make Accent AI 2.0 your go-to filter. (Tip: It can even replace the Develop step for most photographers!) For beautiful photos, rely on Accent AI 2.0 as your starting point.
Follow your style.
Whether you’re working with the Library to organize your images or using the QuickEdit command, it’s now even easier to get the results you want. Take advantage of image-aware filters and professionally designed Luminar Looks to unlock the best image possible. Once you’ve created the perfect style, apply it to all shots in your series with the improved Adjustment Sync. You can now select multiple photos and apply the same adjustments in just one click. Filters and Looks are transferred in just one click, while image-specific changes like cloning and cropping are ignored.
RAW shooters can stay organized.
If you capture RAW and JPEG at the same time, it’s even easier to stay organized in Luminar 3. When you import RAW and JPEG pairs, you can decide which files to see. View just RAW or just JPEG for a less cluttered library, or see both and use the JPEG file as a reference while you edit. Edits to JPEG and RAW files are independent but can be easily synced. Use the View menu to control which images are shown for a clutter-free library.
Using the Gallery view to get organized or search for that perfect image? Now when you sort using a method like File Type or Color Label, a second organization is also applied. When you sort your images they are sorted by the new category first and then automatically sorted by date.
Trust your editing to Luminar.
Thanks to our users for reporting different issues. This version of Luminar offers general stability improvements. We’ve made hundreds of under-the-hood performance improvements based on user feedback. Windows users, in particular, will see tons of new features that bring Luminar for Mac and Windows into close alignment. Improved stability and performance along with robust catalog backups help keep your images and edits safe.
Luminar Updates for Windows Users
The Windows version of Luminar receives several updates with version 3.1.0 We hope you enjoy this new release of Luminar and appreciate your feedback and reports.
Get additional speed and performance from the Luminar update
Luminar Updates for Mac Users
Several performance improvements, as well as new features, await Mac users. We hope you enjoy this new release of Luminar and appreciate your feedback and reports.
How to Update
Updating your Luminar software is easy. Be sure to also rerun the plugin installer if using Luminar as a plugin for Photoshop or Lightroom Classic.
Mac – Please, launch Luminar 3, then in the Top Menu Bar choose Luminar 3> Check for updates.
Windows – Please, launch Luminar 3, then in the Top Menu Bar choose Help > Check for updates.
We hope you enjoy these improvements. We’re hard at work on more performance updates and features
Use coupon code THEDIGITALPICTURE to save $10.00 on a Luminar 3 purchase.
In this video, photographer Lindsay Adler demonstrates three techniques for using V-flats for beauty lighting.
April 25, 2019, Commack, NY - Tamron announces the launch of a new zoom lens, the 35-150mm F/2.8-4 Di VC OSD (Model A043), for full-frame DSLR cameras. Photographers everywhere, especially those who enjoy photographing people, can add wider range to their creative expression with the new Model A043 that extends from 35mm to 150mm and offers a fast F/2.8 aperture at the wide-angle end while maintaining a bright F/4 at the telephoto end. The lens will be available May 23 in Nikon mount and June 20 in Canon mount at approximately $799 at authorized Tamron USA retailers.
The zoom range incorporates the 85mm focal length (often regarded as optimum for portrait shooting) and covers everything from full-body shots that include the surrounding environment to head-and-shoulders shots that stand out from a natural defocused "bokeh" background for which Tamron is renowned. The compact Model A043 is designed for fast handling and easy transport, measuring only 4.9 in long and perfectly balanced. On the technical side, three optimally placed LD (Low Dispersion) glass elements and three hybrid aspherical lenses quash various optical aberrations. Autofocus is exceptionally quiet with improved precision and speed thanks to the OSD (Optimized Silent Drive) DC motor. Furthermore, the Model A043 incorporates the Dual MPU (Micro-Processing Unit) system, which strikes the perfect balance between AF performance and effective vibration compensation. For close-focusing, the MOD (Minimum Object Distance) is 17.7 in across the entire zoom range. Providing greater flexibility when used outdoors, a Fluorine Coating and Moisture-Resistant Construction deliver extra measures of protection. The new 35-150mm portrait zoom is the most useful and most creative lens a portrait photographer can own.
Superb optical performance meets requirements of high-resolution 50+ megapixel DSLRs
Chromatic aberration and other imperfections that can diminish and degrade resolving power are thoroughly controlled by an optical design that combines three high-performance LD (Low Dispersion) glass elements with three hybrid aspherical lens elements aligned in perfect balance. The result provides the high levels of sharpness and contrast that today's high-resolution digital cameras require. Tamron's exclusive formula is optimized for exceptional performance around the mid-zoom 85mm range because that focal length has long been regarded as the preferred choice for portrait shooting. True to its designation as a "portrait zoom," the Model A043 leverages Tamron's optical technologies across the entire zoom range from wide-angle to telephoto to assure the finest experience at any setting. Making full use of the controlled depth-of-field properties only fast-aperture lenses can provide, Tamron employed proprietary simulation technologies to maximize the soft and natural "bokeh" defocused blur it has cultivated over many years. As a result, in-focus areas are rendered sharp and crisp down to the fine details that makes the subject stand out against a gently and beautifully blurred background. This technique is highly prized by portrait photographers and is potent for virtually every other type of photography.
Outstanding performance even in strongly backlit situations
Tamron's legendary BBAR (Broad-Brand Anti-Reflection) Coating works in harmony with an optical design that suppresses internal lens reflections to significantly reduce all traces of ghosting and flare. Because portraits are often shot under backlight conditions for impact, Tamron uses these advanced technologies to preserve high image quality even when strong sources of light-including the sun-are in frame.
High-speed Dual MPU (Micro-Processing Unit) control system delivers fast and highly responsive autofocus performance plus outstanding vibration compensation
* CIPA Standard Compliant. For Canon: EOS-5D MKIII is used. For Nikon: D810 is used.
MOD (Minimum Object Distance) of 17.7 inches across the entire zoom range
Close focusing, the A043 delivers an MOD of 17.7" at all focal lengths thereby expanding versatility and creative freedom. This allows portrait photographers to get in close to capture expressions and smaller details and allows them to adjust camera-to-subject distance with greater control. Even when shooting indoors where movement is restricted, users can make use of this feature to find the perfect shooting position and angle.
Next-generation design is consistent with brand identity and is ergonomically superb
Tamron has applied magnificent craftsmanship to a beautiful, intuitive design to produce a zoom with superior look and feel. From the outer contours of the lens, to the deftly worked Luminous Gold brand ring, the quality of this lens is second to none. Even details like the shape of the switch box and the precision and stability of the metallic mount reveal a commitment to functionality as well as design.
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.
The surface of the front element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The front surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture or oily fingerprints, allowing for much easier maintenance.
Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new Model A043 is compatible with the TAMRON TAP-in Console, an optional accessory product that provides a USB connection to a personal computer for easy updating of the lens's firmware as well as customization of features including fine adjustments to the focus position of AF and VC control.
Covers a broad range of diverse scenarios when combined as a set with the 17-35mm F/2.8-4 Di OSD (Model A037) ultra-wide angle zoom
For the discerning travel photographer who wants to pack light while maintaining excellent image quality, the new 35-150mm zoom pairs perfectly with Tamron's 17-35mm F/2.8-4 Di OSD (Model A037) wide-angle zoom. The two lenses together cover 17mm to 150mm affording creative and versatile capture of landscape, street scenes, architectural details, food, street portraits and more, at a total weight of just 44.1 oz* with fast F/2.8 at the wide ends and F/4 at the tele end of each.
* Weight applies to the model with the Nikon mount.
For wildlife photography, timing, in a variety of ways, is critical.
The time of the year is one timing factor. In Shenandoah National Park, spring brings bright green foliage and these adorable whitetail fawns.
Another timing factor is where the animal is at the moment it is photographed. That timing involves determining (guessing) where the animal is going next, determining an ideal photo position in that path, being the right distance away for framing and composition purposes, and being ready when (OK, if) they get there.
This time, the timing worked and this image of a fawn against a bed of green was the reward.
Often, wildlife looks best when photographed with a camera that is level for both tilt and roll. The tilt part means getting the camera at the animal's level and when the animal is small (and not at a higher elevation than you), that means getting down low. Photographing from a low position is not always the most comfortable, but the effort is usually worth it and the images taken with a downward angle are often deemed not good enough after some level captures are on the card.
In this example, the low green foliage permitted a level position, but a compromise is sometimes needed if visual obstructions become an issue.
Fawns are constantly moving and a monopod lets me adjust the height very quickly while trying to photograph them.
There is still room for you on the "Whitetail Fawns and Much More", Shenandoah National Park Instructional Photography Tour. All skill levels are welcome!
Sun, June 9 to Wed, June 12, 2019 and/or Wed, June 12 - Sat, June 15, 2019
Email me at Bryan@Carnathan.com to sign up or ask questions!
A larger version of this image is available on Flickr.
The Telephoto Lens.
With its new Otus 1.4/100, ZEISS has expanded the tried and tested Otus family to include a new telephoto focal length. The ZEISS Otus 1.4/100 is one of the best lenses in its class due to its low sample variation, outstanding imaging performance, and superior build quality.
With the same uncompromising performance that makes all Otus lenses stand out, the ZEISS Otus 1.4/100 is a truly exceptional lens. A lens that is a reflection of the comprehensive expertise and extensive experience of ZEISS.
Although developed for 35 mm full-frame cameras, the Otus 1.4/100 gives you the quality and look of a medium-format system.
Whether in the studio or on location, this lens stands out in every situation thanks to its high resolution and excellent sharpness – even at the maximum aperture of f/1.4.
Whether portrait or product photography, the bokeh will impress you. The apochromatic lens design with aspherical lenses and special glass prevents almost all conceivable aberrations. In addition, the high-quality coating keeps the contrast high, even when shooting against the light, and minimizes lens flare.
Because this lens is an apochromat, chromatic aberrations (axial chromatic aberations) are corrected with elements of special glass with anomalous partial dispersion. The chromatic aberrations are therefore significantly below the defined limits. Bright-dark transitions in the image, and especially highlights, are reproduced almost completely free of color artifacts.
The ultimate in image contrast
Aberrations caused by extreme differences between shadows and highlights are particularly obvious in images captured at night. Thanks to the outstanding correction of lateral chromatic aberration, the floodlit facade is reproduced with absolute perfection.
No colour fringing
Sources of light located in front of or behind the plane of focus present particular challenges to every lens. In the case of the ZEISS Otus, longitudinal chromatic aberration is so low that practically no colour fringing occurs.
The medium format look
Thanks to its exceptional sharpness, the ZEISS Otus exploits the full potentials of contemporary high-resolution sensors and rewards photographers with images characterised by breathtaking rendition of even the finest details.
The aspherical lens design ensures consistent imaging performance throughout the entire focusing range as well as sharpness to the periphery of the image. The asphere's more complex surface profile can reduce or eliminate spherical aberration and also reduce other optical aberrations compared to a simple lens.
|Focal length||100 mm|
|Aperture range||f/1.4 – f/16|
|Camera mount||Canon EF-Mount* (ZE) | Nikon F-Mount* (ZF.2)|
|Format compatibility||Full Frame|
|Focusing range||1,0 m (39.4") – 8|
|Free working distance||0,83 m (32.7") – 8|
|Angular field** (diag. | horiz. | vert.)||24° / 20° / 14°|
|Diameter of image field||43 mm (1.69")|
|Coverage at close range (MOD)**||206 x 309 mm (8.11 x 12.17")|
|Image ratio at minimum object distance||01:08.6|
|Lens elements | groups||14 / 11|
|Flange focal distance||ZE: 44 mm (1.73") | ZF.2: 47 mm (1.83")|
|Entrance pupil position (front of image plane)||35 mm (1.38")|
|Filter thread||M86 x 1.00|
|Rotation angle of focusing ring||315°|
|Diameter max.||ZE: 101 mm (3.96") | ZF.2: 101 mm (3.96“)|
|Diameter of focusing ring||ZE: 90 mm (3.54?) | ZF.2: 90 mm (3.54?)|
|Length (with lens caps)||ZE: 152 mm (6.00") | ZF.2: 150,1 mm (5.91")|
|Length (without lens caps)||ZE: 129 mm (5.07") | ZF.2: 127 mm (4.98")|
|Weight||ZE: 1405 g (3.10 lbs) | ZF.2: 1336 g (2.95 lbs)|
From the Adobe Photoshop YouTube Channel:
In this Photoshop Magic Minute, Meredith Stotzner uses the Refine Edge Brush to pull in edge details like fur and hair.
Unless you are a local, Bowers Beach in Bowers, DE, referred to as sleepy fishing village (population about 335), is probably not on your radar. That this town and beach border the Murderkill River, north of Slaughter Beach, surely does not help spur interest.
Exploring with a camera is one of my favorite things to do and late on this day, I ended up on the very peaceful Bowers Beach at low tide. With the Delaware Bay drawn back, the low angle light emphasized the ripples left in the sand. Those ripples consumed my attention for the last hour of direct sunlight.
The Tamron 28-75mm f/2.8 Di III RXD Lens mounted on a Sony a7R III were perfect for walking around the beach. For each image, I selected an aperture that would keep all details in the frame sharp (commonly f/11) and focused roughly 1/3 into the depth of the image. I varied the focal length, the camera height, and the camera's up/down angle while trying out a variety of ripple locations on the beach.
When the right set of ripples are found, there seems to be endless compositions available. That of course creates a selection challenge during post processing. For this set, I simply picked one image I liked and archived the rest of the RAW files.
Images of patterns are seldom among my most-liked social shares, but ... I love them. They are great for interior decorating and they work very well as backgrounds for various media.
A larger version of this image is available on Flickr.
Changes from “C” Firmware Version 1.15 to 1.20
Download: Nikon D500 Firmware v.1.20
In this video, photographer Vanessa Joy demonstrates her techniques for editing bright and colorful photos.
It was an early morning in Crested Butte, Colorado and the sky was dark, heavily overcast and quite uninspiring. Then the clouds rolled away and suddenly there was bright light bringing life to the fall-colored aspens.
I was primarily shooting with the Canon EOS R and RF 24-105mm f/4L IS USM Lens this morning. As there was adequate light, shooting this combination handheld permitted rapid and significant location and composition changes as dictated by the rapidly changing light.
A larger version of this image is available on Flickr.
From the B&H YouTube Channel:
Wedding photographer JB Salle gives tips on off-camera lighting and how to use strobes effectively. He discusses lighting techniques that mimic the sun when there isn’t enough natural light, as well as how to use a reflector to separate the subject from the backdrop. There are a lot of useful nuggets of information in this video, so check it out!
(New York, New York) April 17, 2019 – Rokinon has announced the new AF 85mm F1.4 Full Frame Lens for for Nikon F mount which is the 10th lens of its autofocus series of lenses for Sony, Canon and Nikon cameras.
This ideal portrait-length prime is designed for optimal quality imaging with the most advanced Nikon Full Frame image sensor cameras. It also performs with Nikon APS-C sensor cameras as a high speed 127.5mm equivalent AF telephoto lens.
A variety of advanced lens technologies, including a Hybrid Aspherical element, allow for a more compact (< 3 inches long) and lightweight (17oz) design that also minimizes aberrations, controls distortion, and provides excellent resolution. Ultra Multi-Coating is applied to all optical surfaces to suppress flare and ghosting while increasing contrast and color accuracy. Autofocusing is fast, quiet and accomplished by two Linear Ultrasonic Motors (LSM’s) that only have to adjust a single inner lens group to achieve precise focus.
Additional notable features of the new Rokinon AF 85mm F1.4 include Weather Sealing, all metal construction, an ergonomically designed size, shape and grip for enhanced comfort, and a rounded 9 blade aperture that helps to achieve beautiful bokeh.
The new Rokinon AF 85mm F1.4 Full Frame Lens for Nikon F will be available in early May with a street price of only $799.00. It will include a reversible lens hood, lens caps, and a soft pouch case.
Sigma 100-400mm F5-6.3 DG OS HSM | Contemporary for Nikon F mount
Benefit of the update (v.1.03)
B&H carries the Sigma 100-400mm F5-6.3 DG OS HSM | Contemporary Lens.
As usual, B&H and Adorama will be closing in observance of the upcoming Passover holiday. If you need something in the near future, get it now to ensure it is delivered on time. Below are the details:
B&H will be closed starting at 7pm ET Thu April 18.
We will reopen at 10am Sun April 28.
Online ordering will pause during the following holiday observance periods:
Orders placed before 6pm ET Thu April 18 will be processed prior to the holiday closing.
Orders placed after this time will be processed when we reopen on Sun April 28.
Store Pickup orders placed up to 1 hour before store closing will be available for same-day pickup until store closing.
Store Pickup orders placed within 1 hour of store closing, or while the store is closed, will be available for pickup 30 minutes after the store reopens.
Orders submitted before our holiday closing time (4/19/2019 12:30PM) will be processed on the day submitted - subject to our verification process.
Orders submitted to us during the Passover Holiday (Friday, April 19th thru Sunday April 28th) will be shipped Monday April 29th.
Thank You for your understanding, and for your business.
Friday April 19th – 9:00am – 2:00pm
Sunday April 28th – 9:30am – 5:00pm
Once again, I'll share my favorite Nikon lens chart in this post.
Go determine which Nikon lens produced your favorite MTF results. Then begin comparing against the other brands.
From Think Tank Photo:
SANTA ROSA, CALIFORNIA – Adventure photographers need a camera bag that’s as tough as they are. With its rugged materials and faceted design, the MindShift PhotoCross 15 backpack by Think Tank Photo will protect your gear from another punishing trip into the wild. The PhotoCross 15 is built to withstand the elements, yet comfortable enough to wear on long days in the field. An extra-large side panel provides quick access to your gear when you’re ready to take the shot — without taking off the backpack.
The PhotoCross 15 comes in two colors, Orange Ember and Carbon Grey. The backpack fits an ungripped DSLR, three to five lenses, including a 70-200mm f/2.8 attached, and up to a 15” laptop. Constructed with durable, abrasion-proof materials and weatherproof zippers, the PhotoCross 15 is the ideal backpack for your next adventure.
“The PhotoCross 15 backpack delivers uncompromising protection and comfort, while offering fast and intuitive gear access,” said Doug Murdoch, Think Tank CEO and Lead Designer. “The incorporation of a waterproof, tarpaulin base and weatherproof zippers and materials demonstrate how Think Tank continues to offer the protection, comfort, and innovation that are customers require.”
Exterior: All fabric exterior is treated with a durable water-resistant coating while fabric underside is coated with polyurethane for superior water resistance, YKK weatherresistant zippers, 420D high-density nylon, heavy-duty nylon Tarpaulin, 350g air mesh, nylon webbing, 3-ply bonded nylon thread.
Interior: Removable closed-cell foam dividers, P210D liner, polyurethane backed velex liner, 2x polyurethane coated 210T seam-sealed taffeta rain cover, nylon binding tape, 3- ply bonded nylon thread.
Internal Dimensions: 10.6” W x 17.3” H x 5.5” D (27 x 44 x 14 cm)
External Dimensions: 13” W x 19.7” H x 7.5” D (33 x 50 x 19 cm)
Laptop Compartment: 10.2” x 15” x 1” (26 x 38 x 2.5 cm)
Maximum Weight (with all accessories): 3.0 lbs. (1.4 kg)
Shoulder Strap Length: 42.5–62.2” (108–158 cm) (includes length of product)
Waist Belt Length: up to 60.6” (154 cm) (includes length of product)
Volume: 20 liters
So what's new with this version of TAP-in Utility? Unfortunately, Tamron doesn't think we need to know such trivial information, as no indication has been made on the reference page. However, an interesting thing to note is that the Mac version of the software ballooned from 10 MB for v.1.3.0 to 36 MB for the new version (the Windows application size stayed the same at 1.5 MB).
Download: Tamron TAP-in Utility v.1.4.0
From the Phlearn YouTube Channel:
If you love Lightroom Classic CC, have we got a trick for you! Today Aaron shows you how to select and change the color of anything in a photo–all in Lightroom. Learn how to use the Adjustment Brush to make rough selections, a Range Mask to refine them, and the HSL/Color panel to dial in the color you want.
Now a fair warning; it’s much easier to change colors in Photoshop. But if your workflow lives in Lightroom Classic, this technique is just another reason to stick with what you love.
Think you've seen everything? Think again. In yesterday's post on the LensRentals Blog, LensRentals' Roger Cicala describes the ramifications of finding a fly deep in the inner workings of a Canon EF 70-200mm f/2.8L IS II USM Lens.
Of course, if there’s going to be a fly in the lens, it’s going to be way deep inside where it’s really hard to get to. I don’t know why flies do that, but I promise you they do. You never see a fly just under the front or rear element. They get into the deepest groups, leaving little fly parts all over, and usually, get smushed by the zoom or focus element.Read the entire article on the LensRentals Blog.
Now includes 18% gray target and updated software to create custom ICC Camera Profiles for Capture One Pro users; plus, added support for ColorChecker Digital SG target
New York, NY – April 4, 2019 – X-Rite Incorporated, the world leader in color management and measurement technologies (http://xritephoto.com/) announces ColorChecker Passport Photo 2, an improved solution that helps professional and enthusiast photographers alike to reduce image processing time and maintain color control and consistency from capture to edit. Quickly and easily set white balance and exposure, create custom DNG or ICC camera profiles, and instantly enhance portraits and landscapes.
X-Rite created the industry-standard ColorChecker Passport 10 years ago which included three photographic targets plus DNG camera calibration software. Passport Photo 2 now combines four photographic targets, featuring a new 18% Gray Balance target, plus upgraded ColorChecker Camera Calibration software that adds ICC camera profile creation, especially useful for Capture One users, or anyone working in an ICC compatible workflow.
“Our original ColorChecker Passport quickly became an industry standard for managing color at capture,” says Liz Quinlisk, Global Business Unit Manager, Photo & Video at X-Rite Incorporated. “Now, with the added functionality of a gray balance target and ICC camera profiling, it’s more powerful than ever. Not only have we broadened our ability to serve Capture One and other ICC workflow users, but every photographer will have all the targets they need in a very portable, protective case.”
ColorChecker Passport Photo 2 includes:
NEW Camera Calibration Software v2.0
Now create a custom DNG or ICC camera profile utilizing an X-Rite ColorChecker Classic or Digital SG target. Camera profiling ensures accurate color at capture based on specific lighting, camera and lens combination during any given shoot, saving valuable time in edit. The newly supported ColorChecker Digital SG target offers an extended gamut to create a more accurate ICC profile.
18% Gray Balance Target
NEW Gray Balance Target Often referred to as middle gray, the 18% Gray Balance target is the de facto industry standard reference. Set proper camera exposure or check lighting ratios and light distribution, which is especially important for portrait photography. It can be used with either a reflective hand-held light meter or in-camera meter for determining exposure and can also be used to set neutral balance and remove color casts.
White Balance Target
Create custom in-camera white balance for a consistent white point across a set of images with no need to correct each individual image later. Setting custom, in-camera white balance allows quick switching between shooting stills and video.
For more than forty years, the Classic 24-patch target has been the industry standard color reference used for visual color assessment and for creating custom camera profiles.
Creative Enhancement Target
Neutralize and create a look with single click enhancement patches; check and evaluate shadow details and highlight clipping; control color shifts.
Create custom DNG camera profiles directly in Adobe® Lightroom® Classic and Lightroom® Classic CC.
Portable Protective Case
Adjusts to accommodate multiple positions to easily incorporate into any scene. Also includes a new handy lanyard.
“Since colors fade with age and light exposure, replacing a target that is several years old ensures complete color accuracy when building camera profiles,” adds Liz Quinlisk.
“Now is the perfect time for photographers to upgrade their toolkit with a Passport Photo 2 and take full advantage of the power and versatility that the updated hardware and software deliver together to save valuable time and achieve the ultimate in color accuracy.”
X-Rite recommends replacement of color reference targets every 18-24 months.
ColorChecker Passport Photo 2 is currently available through X-Rite global authorized resellers. ColorChecker Camera Calibration software is available as a free download at xrite.com/getCOLORCHECKER.
With more color science experience than anyone in the industry, X-Rite Color Checker Passport Photo 2 was truly created by Color Perfectionists for Color Perfectionists.
Color Perfectionists Unite.
Once again, I'll share my favorite chart in this post and will this time add a comparison in the above link. The Sony FE 135mm f/1.8 GM Lens is razor sharp.
Did I pick the best? Go determine out which Sony lens produced your favorite MTF results.
Note that the Zeiss Loxia and Batis prime lens results are coming soon and many additional Lensrentals-sourced test results are promised.
What: OPTIC 2019 Outdoor, Photo/Video, Travel Imaging Conference
When: Sunday, June 2nd – Wednesday, June 5th
Where: The New Yorker Hotel, 481 8th Ave, New York, NY 10001
This year’s keynote speaker is recognized as one of the world’s greatest photographers of our time, Frans Lanting. Frans will be joined by a host of Lindblad National Geographic Photographers and contemporary outdoor photographers such as Erika Skogg, Paul North, Lana MacNaughton, Stephen Wilkes, Ron Magill and many others.
What to expect at OPTIC 2019:
All this free of charge making OPTIC the photo event of the spring for the outdoor, travel, and wildlife photography world.
Learn more and reserve your seat at OPTIC 2019.
This is a good lens.
Definitely check out these just-announced, high-grade and highly-useful filters.
I'll share my favorite chart in this post. The Sigma 40mm f/1.4 DG HSM Art Lens results will get most of us drooling.
Feel free to share which Art lens produced your favorite MTF results.
Benro BVX consists of two new professional heavy-duty carbon fiber video tripod and head combinations:
The BVX16CFK provides 8-steps of counterbalance (steps 1-8) and the BVX25CFK has 16 individual steps of counterbalance allowing you to dial in the right amount of counterbalance required for each setup. Each step is repeatable which helps save time when changing lenses or adding accessories. The pan drag and tilt drag mechanisms each provide 6 individual steps (1-6) of drag adjustment to help fine tune the smooth movements. A sliding top plate with a snap-in style quick release can be shifted forward or backward to help properly balance your camera rig.
“After years of our customers requesting a video tripod that could support heavier payloads for things like teleprompters or beefy camera rigs with long lenses, Benro has delivered just that. We’re super pleased with the way the product turned out and so are the pros that have been testing it for months on the road.”The carbon fiber tripod is a 2 stage, 3 section tandem style which incorporates a 100mm bowl. The leg locks are oversized levers that can be operated while wearing gloves. The lower stage leg lock lever has an additional lip, which can be opened and closed with your foot. This allows you to hold onto your camera rig while adjusting the height of the tripod. Each tripod includes a floor spreader, a telescoping pan arm and a padded carrying case.
- Brian Hynes, Brand Manager
BVX16CFK Features & Benefits:
BVX25CFK Features & Benefits:
B&H has the Rode Wireless GO Compact Wireless Microphone System available for preorder with free expedited shipping.
This looks to be a very interesting and welcomed addition to the [usually costly] wireless microphone market space.
by Sean Setters
My wife, Alexis, rarely asks me to take a photo for her. She is generally satisfied with documenting everyday life with her smartphone, so when she asks me to photograph a particular subject, I usually take notice and fulfill the request as soon as possible. But I admit to dragging my feet a bit when my wife noticed one of her aloe plants blooming and said, "You should take a picture of that."
Personally speaking, I didn't find the aloe plant's bloom to be very intriguing, which is probably why I didn't immediately rush to photograph it. It doesn't feature colorful petals or otherwise interesting elements that typically make blooms ideal photographic subjects. To my eye, the aloe bloom's shape reminds me of a tall, thin pine tree, a not-very-compelling subject, especially considering the background context provided by my back yard (again, not very photogenic). However, when my wife sent me a reminder the following morning, "You should take a pic of that aloe bloom!," her use of an exclamation point was a clear sign that she was very serious about the suggestion. So, I dropped what I was doing to satisfy her request.
To photograph the bloom, I moved the aloe plant's pot from the back porch to a spot in the yard where sunlight would be hitting the bloom but not the background, allowing me to use the difference in luminosity to make the subject stand out. With the Canon EF 100mm f/2.8 USM Macro mounted to my Canon EOS 5D Mark III, I also used a wide f/2.8 aperture and a distant background to further accentuate the subject/background separation. Other than moving the plant (which was actually quite cumbersome and somewhat heavy), the image was relatively simple to capture. I proudly sent her the result of my efforts, having precisely fulfilled her request.
First, she hadn't asked for a photo of the plant with the bloom. She had twice asked for a picture of the bloom. Plus, from my perspective, the plant doesn't change very much day-to-day. If she wants to see the plant, she can just open back door and walk the 10 paces to its home on the porch. The bloom was what made the plant different from its typical appearance, that is what she asked me to photograph and that is indeed what I documented.
But that's not what she – in this case, the client – wanted. And if I had been more inquisitive from the get-go, I would have had more context and could have discerned exactly what she desired in the image. As it turns out, this particular aloe plant used to be her grandmother's who passed away a couple of years ago. And in all the years her grandmother owned the plant, the family had never known it to bloom. So while the bloom was indeed special, the plant itself garnered feelings of great sentiment, giving the bloom much more important context.
After realizing exactly what my wife wanted, I dragged the plant into my studio for a formal portrait session involving three studio lights, two shoe-mount flashes and my favorite mottled gray collapsible background. So why not photograph the plant outside? Because the increased camera-to-subject distance would require an increased subject-to-background distance to achieve a similar background blur, and the background distance, in this case, wasn't variable. I was already using nearly the full width of my backyard when I photographed the isolated bloom; photographing the whole plant would have left the backyard – including my neighbor's house and fence – too recognizable.
The resulting studio image can be seen below.
Of course, the initial failure to capture what my wife really wanted did not have devastating consequences as I was able to rectify the situation with another (more complex) photo shoot the following day. However, the lesson learned from this ordeal is quite clear, and it will surely pay more tangible dividends down the line. Don't take seemingly simple requests at face value; always dig deeper to ascertain the precise needs of your client, potentially avoiding the wasted time, effort, frustration – and dissatisfaction – resulting from not fulfilling those needs the first time around.
From the B&H YouTube Channel:
Photographer Tim Grey gives us some HDR photography tips & tricks and discusses how to use Adobe Lightroom to combine multiple images into a single, more detailed high-dynamic-range photo. Tim also demonstrates the use of Auto Align and de-ghost features to best process your HDR images in post.Want to create an HDR panoramic image? If so, Adobe released a Lightroom CC update a few months ago that made the process significantly easier.
Roger Cicala over at Lensrentals has spent years perfecting his lens MTF testing procedures and has begun sharing the results of his work with us. The-Digital-Picture.com's Camera Lens MTF Measurements Comparison Tool has been refreshed with the latest results, currently including Canon and Zeiss prime lenses with many more results coming soon.
Note that only wide-open aperture results will be shared. Zoom lenses will have results for multiple focal lengths.
The Profoto Connect trigger's press release hit our email inbox early yesterday, but after looking into the product, I wasn't quite sure what to make of it. Being keenly interested in lighting and lighting gear, a button-free trigger that required your smartphone to manually adjust your flash's power levels seemed a bit ridiculous. Profoto is an industry standard for a reason. They have a knack for developing highly reliable, extremely useful lighting solutions. But I can't help but think this product misses its mark.
Who wants to be constantly pulling out their phone during a photo shoot? I know I don't. So whom exactly is this product for? The video above provides some clues.
Profoto believes that those who have so far been intimidated by off-camera lighting may appreciate a simple, no-fuss sort of trigger. But would somone who is tepid about trying off-camera lighting lay down nearly $1,000.00 for a Profoto A1 and then another $300.00 for the Connect trigger? And from a practical standpoint, if you're going to handhold your flash like the photographer in the video, why not simply use your camera brand's flash and an inexpensive TTL Flash Cord to trigger it?
I think this product could have been so much better. Imagine if it had featured a touch sensitive scroll wheel around the top of the device with a small display in the middle. With something like that, a user could easily change power levels of individual flashes (maybe a double finger tap would allow you to cycle among them?) using the display as a reference, all while maintaining the hook of a "button free" trigger. But then, the Connect would basically be a redesigned Air Remote, so Profoto would have to limit its functionality in some way for differentiation (shorter range, fewer channels, etc.).
If you're seriously considering investing in a Profoto lighting kit, including the excellent B1X and B2 (or even the A1) flashes, I highly suggest you spring for the slightly more expensive Profoto Air Remote instead. [Sean]
Profoto Connect Highlights
In this video, Aaron Nace of Phlearn demonstrates how to create custom keyboard shotcuts in Photoshop. For what it's worth, I set up a keyboard shortcut long ago for "Trim" (ALT+F1, Windows) because I use that Photoshop tool daily while working with the site. [Sean]
From the B&H YouTube Channel:
Portrait photographer Peter Hurley gives 5 quick tips on taking better headshots. Peter talks about the importance of keeping things simple and making sure your subjects look confident and approachable in their photos. Check out the video for more great advice!
Just posted: Sigma 28mm f/1.4 DG HSM Art Lens Review.
The rut is the perfect time to get great bull elk poses. This bull was without a harem but staying close to a larger bull that has one. These satellite bulls are constantly watching for their opportunities to move in.
What is the best technique for composing an image of an entire animal? While this answer can quickly become complicated and is situationally dependent, a simple strategy that often works is to center the entire animal in the frame and open up to the side it is looking toward. In this example, the elk is looking almost straight at me, but with its head angled slightly toward the right of the frame, adding weight to that side, I positioned the elk slightly to the left of center to create an overall balance.
Picture yourself here! As recently shared, I have added a second week for the Rocky Mountain National Park workshop. Photographers at all skill levels are invited to join!
Photographers at all skill levels are also invited to join me for these tours:
Sun, June 9 to Wed, June 12, 2019 and/or Wed, June 12 - Sat, June 15, 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.
Newsday has reported that 60 employees – formerly of Canon USA's Melville, NY location and primarily in the camera division – have been laid off.
The site goes on to say:
Canon employed 1,569 people in Melville in 2017, according to the most recent state records. It must report its local employment annually to the state and to Suffolk County, both of which aided in the construction of Canon’s $500 million headquarters near Exit 49 of the Long Island Expressway.Read the entire article at Newsday.
The company moved from Lake Success to Melville in 2013 after a 25-year search for a new home. It has exceeded the employment promises made to the state and Suffolk so far. State records show Canon's employment cannot fall below 1,360 people or it would have to pay back some of the grant money and tax-break aid it has received.
LEE Filters has introduced its new LEE100 Filter Holder system and it looks very interesting (check out the video for more details).
From Think Tank Photo:
Santa Rosa, Calif. – Studio photographers know that lighting stands are heavy, cumbersome and hard to transport. In fact, transporting light stands is as much about protecting your car and your fingers as it is easily moving them. The Stand Manager 52 rolling case is an ideal solution for storing and transporting stands of any kind.
With a truly innovative design – the Stand Manager 52 has both internal tiedowns and exterior compression straps to secure your stands. With four padded handles, wheels and rear skid rails, the case is also easy to load while transporting to and from your location shoot. The Stand Manager 52 is one of the most durable and protective cases you can own.
“C-stands are heavy, oddly shaped and difficult to transport,” said Doug Murdoch, Think Tank Photo’s President and lead designer.
“With the Stand Manager 52, you can fit up to 4 Cstands in a highly durable rolling case, making them much easier to transport.”
Exterior: All fabric exterior treated with DWR while fabric underside is coated with PU for superior water resistance, 1680D ballistic nylon, YKK RC Fuse (abrasion resistant) zippers, replaceable shock-absorbing wheels, antique plated metal hardware, nylon seatbelt webbing, 3-ply bonded nylon thread
Interior: 200D poly, 420HD nylon, 1680D ballistic nylon, honeycomb ABS, high-density closed cell foam, 3-ply bonded nylon thread
Exterior Dimensions: 12.5” W x 54” H x 4.5–8” D (31.8 x 137.1 x 11.4–20.3 cm)
Interior Dimensions: 12” W x 52 H x 4–7.5” D (30.5 x 132 x 10.1–19 cm)
Weight: 12.1 lbs. (5.5 kg)
Capture NX-D 1.5.2
Changes from Version 1.5.1 to 1.5.2
Fixed the following issues:
Changes from Version 1.3.1 to Version 1.3.2:
Changes from Version 2.4.1 to 2.4.2:
Just posted: Sigma 40mm f/1.4 DG HSM Art Lens Review.
New integration with Final Cut Pro X Marks First-Ever Apple-Developed Compatibility with Loupedeck+
HELSINKI, Finland – March 14, 2019 – Loupedeck, the custom photo and video editing console built with an intuitive design that makes editing faster and more creative, has announced Final Cut Pro is now available integration as the first Apple-developed suite made compatible for Loupedeck+, alongside additional integration with Adobe Audition.
Following the successful launch of the Loupedeck+, and its initial integration with Adobe Premiere Pro CC, Final Cut Pro and Adobe Audition integrations are the next step in delivering an increasing level of functionality and flexibility the video and audio editing communities require with the Loupedeck+.
Final Cut Pro users using Loupedeck+ will be able to:
Adobe Audition users using Loupedeck+ will be able to:
“Our customers have been eager for Apple-integration with the Loupedeck+ since it was launched,” said Mikko Kesti, Founder and CEO of Loupedeck. “Final Cut Pro X was the logical choice given its wide adoption in the editing community and we felt it was an important next step for us as we look to continue our mission of delivering a well-rounded experience for users and helping to improve their workflows. Not only will they get the benefits of Loupdeck+’s intuitive design and approachable tools, they’ll get increased functionality across the range of video editing products they might be using.”
As with the 55mm Otus, this is the lens upon which the others are compared. We've updated our test results to the highest resolution camera available, making comparisons with other 5Ds R-tested lenses easier.
I'll get your comparisons started:
Zeiss 85mm f/1.4 Otus compared to Canon EF 85mm f/1.4L IS Lens
Zeiss 85mm f/1.4 Otus compared to Sigma 85mm f/1.4 Art Lens
Zeiss 85mm f/1.4 Otus compared to Sony FE 85mm f/1.4 GM Lens
Zeiss 85mm f/1.4 Otus compared to Tamron 85mm f/1.8 VC Lens
Zeiss 85mm f/1.4 Otus compared to Zeiss Milvus 85mm f/1.4 Lens
Firmware update for SIGMA’s interchangeable lenses for CANON EF mount
Thank you for purchasing and using our products. We would like to announce that a new firmware update for SIGMA’s interchangeable lenses for CANON EF mount listed below is now available.
This firmware allows compatibility with Canon’s in-camera Lens Aberration Correction function to enable correction matching the optical characteristics of each lens. It also corrects the phenomenon that abnormal images appear or operation errors occur when the function is enabled. In addition, it improves the functionality. Furthermore, there is an improvement to the phenomena particular to some lenses when they are used in combination with the Canon “EOS R” and their “Mount Adapter EF-EOS R”, or “Control Ring Mount Adapter EF-EOS R”. This was previously reported in our announcement of January 16th, 2019.
For customers who own the SIGMA USB DOCK and applicable products listed below, please update the firmware via SIGMA Optimization Pro. Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver. 1.5.0. or later..
SIGMA 30mm F1.4 DC HSM | Art for CANON EF Mount Update
SIGMA 24-70mm F2.8 DG OS HSM | Art for CANON EF Mount Update
SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports for CANON EF Mount Update
SIGMA 120-300mm F2.8 DG OS HSM | Sports for CANON EF Mount Update
SIGMA 150-600mm F5-6.3 DG OS HSM | Contemporary for CANON EF Mount Update
SIGMA 85mm F1.4 DG HSM | Art for CANON EF Mount Update
* Compatible Canon camera models:EOS R**, EOS-1DX mark II, EOS 5Ds,EOS 5DsR, EOS 5D Mark IV, EOS 6D mark II, EOS 80D, EOS 8000D(EOS Rebel T6s, EOS 760D), EOS 9000D(EOS 77D), EOS Kiss x8i(EOS Rebel T6i, EOS 750D), EOS Kiss x9i(EOS Rebel T7i, EOS 800D), EOS Kiss x9(EOS Rebel SL2, EOS 200D)
** When the Digital Lens Optimizer is switched [OFF], but "Peripheral illumination correction", "Chromatic aberration correction" and "Distortion correction", located within the in-camera Lens Aberration Correction function is switched [ON], the appropriate corrections can be achieved in accordance with the optical characteristics of each lens.
Download: SIGMA Optimization Pro
Watch as Julieanne Kost demonstrates three color toning methods in Photoshop CC.
Portland, OR – Lensbaby – makers of award-winning lenses, optics and accessories announces today the availability of its new wide angle tilt lens. The Composer Pro II with Edge 35mm Optic is available for use on Canon EF, Nikon F, Sony E, Fuji X, and Micro 4/3 interchangeable lens cameras. The Edge 35mm Optic is also available separately for anyone who already owns a Lensbaby Composer Pro or Composer Pro II lens body. Fans of this style of selective focus photography have been requesting a wider option beyond the company's existing 50mm and 80mm lenses.
The Composer Pro II with Edge 35 Optic is a 35mm f/3.5 tilting lens designed for those looking for a wider focal length to create unique in-camera shots with a slice of tack-sharp focus and detail. By tilting this lens, users can place a slice of sharp focus through objects in both the foreground and background of an image at the same time, bordered by smooth blur. This in-camera effect helps artists tell their story in an uncommon way.
“Over the past 15 years, we’ve made optical tools to help you discover unique ways of seeing your world. A 35mm tilt lens, despite being our most requested new product offering since we introduced the Edge 80 in 2012, has been elusive and the results of our efforts have paid off in a lens that is far better than we thought possible when starting our design process. It was worth the wait,” said Craig Strong, Lensbaby Chief Creative Officer and Co-Founder.
The Composer Pro II swivels and tilts on a smooth metal ball and socket design, providing a fast and intuitive way to switch between traditional straight lens photos and tilt photography. Tilting the lens up or down results in a horizontal slice of focus; left or right a vertical slice; diagonally for a diagonal slice. After setting the tilt, rotating the focus ring moves that slice of focus through the image, from one side of the frame to the other.
“The Edge 35 has changed my traveling & portrait sessions for the better. I'm able to get into tight spaces and buildings and still be able to show the whole aspect of the story I'm trying to create,” said renowned portrait, travel and lifestyle photographer Stephanie DeFranco. “I find the wider slice of focus makes it easier to find the area I want to draw the viewer’s eye toward. With its 35mm focal length, this optic lets me create the same dreamy feel as the Edge 50 and Edge 80, but because of the wider slice of focus, also allows me to include more of a scene in the story.”
The Composer series of lenses are lenses that tilt to move a spot or slice of focus anywhere in the frame. They feature Lensbaby’s Optic Swap System. Users can simply purchase one lens, made up of a lens body with an included optic, for their camera system, then, swap out the optic that it came with for a new optic to completely change the effect and focal length of their Lensbaby lens.
The Composer Pro II with Edge 35 Optic will be available in April for $449.95, and by itself as an Optic for those who already own a Composer series lens, for $249.95.
Composer Pro II with Edge 35 Optic Product Specifications
Adobe has released Photoshop CC (v.20.0.4) which fixes the issues found below. You can initiate the update using the Creative Cloud app management console.
Photoshop CC March 2019 (version 20.0.4) Release
This is the lens upon which the others are compared. We've updated our image quality test results for this lens to the highest resolution camera available, making comparisons with other 5Ds R-tested lenses easier.
Zeiss 55mm f/1.4 Otus compared to Canon RF 50mm f/1.2L Lens (different res cameras)
Zeiss 55mm f/1.4 Otus compared to Sigma 40mm f/1.4 Art Lens
Zeiss 55mm f/1.4 Otus compared to Sigma 50mm f/1.4 Art Lens
Zeiss 55mm f/1.4 Otus compared to Tamron 45mm f/1.8 VC Lens
Zeiss 55mm f/1.4 Otus compared to Zeiss Milvus 50mm f/1.4 Lens