Nikon Z 7 / Z 6 Firmware v.2.10
Changes from “C” Firmware Version 2.01 to 2.10
One of the visual comparisons I wanted to create was that of the current mirrorless full frame 24-70mm f/2.8 lenses. I got that task done and thought you might also find the image interesting.
Note that these lenses are aligned on their mounts, not their caps.
The same lenses are shown below with their hoods in place.
One of my favorite subjects to photograph is the Milky Way. The required long exposures provide plenty of time to simply watch the spectacular sky show (unless I'm running two cameras), taking in the awesomeness, and the pictures captured are usually among my favorites. I was blessed with the opportunity to photograph the Milky Way from several top-notch locations this year, including during the Rocky Mountain National Park and Acadia National Park workshops. The image shared here was captured from the coast of Acadia NP.
Seldom can the reflection of the Milky Way be seen in an ocean as the water movement completely blurs everything during the required long exposure. However, tidal pools are often still and can make great reflectors (though not at high tide) for a variety of coastal photography needs including reflecting the night sky. Adding value to this particular tidal pool was the low surrounding rock with good character, adding jaggedness to the rock line and its reflection.
To photograph the night sky, I usually want a wide-angle lens with an f/2.8 or wider aperture available with sharp wide-open image quality. The Canon RF 24-70mm F2.8 L IS USM Lens, with an EOS R behind it and a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and BH-40 Ball Head under it, met those needs superbly.
Photographing the Milky Way is easy and very addicting. This image was captured using the 2-second self-timer feature with settings of f/2.8, 15 seconds (longer exposures increase star trail length), and ISO 6400 (with a low amount of noise reduction applied). I opted to brighten the result a bit in post and brightened the foreground by an additional stop for a single-image HDR. Just after sunset, the sky still had some color in it and a slight saturation increase (+1 in DPP and +7 in PS) made those colors pop. Auto white balance was used. Increasing contrast via an S-curve adjustment always makes the Milky Way stand out.
As I was searching through the over-a-thousand images captured with the RF 24-70, selecting a few to share in the review, this one stood out as my favorite and thus I'm sharing it with you here. Add the RF 24-70mm lens to the list of good night sky lenses.
A larger version of this image is available on Flickr.
Dear Valued Sony Customer,
Thank you for your interest in Sony products.
Some SEL1635GM FE 16-35mm F2.8 GM E-mount lenses may cause the camera to not operate correctly when the lens is attached.
To address this issue, subject to the terms and conditions in the Limited Warranty that accompanied the Affected Lenses, we will repair your Affected Lens, free of charge, until March 31, 2023.
We apologize for any inconvenience this may cause, and thank you for your understanding and cooperation.
From the Adobe Photoshop YouTube Channel:
Welcome back to Photoshop’s newest tutorial series, #PHOMO! In this episode, Adobe Evangelist Paul Trani shares how to integrate text, logos or designs into your photos and make them look realistic within a scene using Photoshop. Watch this video for helpful tips and tricks to end those feelings of #PHOMO when it comes to design.
Luminar 4 works as both a standalone application or as a plug-in for Adobe Photoshop, Adobe Photoshop Elements, Adobe Lightroom Classic, and Photos for macOS Extension
Skylum's Luminar software has become quite popular. Browse the Luminar 4 home page to learn about the impressive-looking AI and other features built into this application.
Don't forget to use our coupon code THEDIGITALPICTURE to get a $10.00 discount.
As with any new camera, the first task with a new Sony a7R IV in hand is to set it up for use. Following are the 39 steps I took to make an out-of-the-box Sony a7R IV ready for use (including tweaks made after roughly 15,000 frames of use).
I of course make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration would mean that you intend to shoot similar to how I shoot – including shooting in RAW-only format. While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea. Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting. If you purchase another same or similar camera, you will be able to quickly set it up.
From the Adobe Photoshop YouTube Channel:
Julieanne Kost shares all the new ways you can use the Warp tool to transform your images in Photoshop.
From the Adorama YouTube Channel:
In this episode, Mark Wallace explains how to create a simple gobo to create patterns on a white background for more interesting portraits. Mark also goes into detail about setting up lighting for beautiful portraits using an octobox, grid, and a white panel to bounce light. This episode is packed with lighting tips.
From Canon Global:
TOKYO, November 8, 2019—Canon Inc. and Canon Marketing Japan Inc. announced today that Canon-brand equipment comprised an approximately 70% share of cameras1 used by press photographers at match venues during the knock out stage of Rugby World Cup 2019. Throughout the tournament, Canon has empowered professional photographers aiming to capture decisive moments and contributed to the success of the tournament.
Professional photographers demand comprehensive assistance from camera makers, including state-of-the-art technology, top-class performance, customized service and a strong support network.
Canon is active behind the scenes at a wide variety of sporting events, aiming to achieve "zero downtime" for professional photographers so they're never forced to stop and miss definitive moments of these intense competitions. For decades, the Company has built a reliable reputation and helped support journalists on the front lines through a wide range of services. Thanks to such efforts, Canon-brand equipment comprised an approximately 70% share of cameras1 used by press photographers at match venues during the knock out stage of Rugby World Cup 2019.
At each of the matches held between the 12 tournament venues, Canon has aimed to help realize a successful tournament as an official sponsor by establishing service stations within stadium grounds to provide fast maintenance and repair of equipment. In addition, the Company provided such services as on-site emergency repair and equipment loans.
Canon will continue striving to create competitive, highly reliable products and, through such on-site support of journalists as equipment maintenance, contribute to the further advancement of photographic and videographic expression.
Comment from Paul Gilham, Director of Getty Images, the official photo agency of RWC 2019, and camera service booth user
Getty Images is delighted to continue working with official Rugby World Cup Partner, Canon. Our photographers demand cutting edge technology and a camera they can rely on. Canon's amazing service and support during the tournament in Japan has ensured our photographers were equipped to capture the images that will tell the story of Rugby World Cup, creating a lasting legacy of iconic moments.1 Average of data obtained from the 8 matches of the knock out stage. Based on a Canon survey.
From the Adorama YouTube Channel:
Join Daniel Norton OnSet as he creates dappled patterns of light for a fun portrait look. Often times when we are using natural light, we see patterns coming through trees/fences etc and use that light to accent our portraits. With this technique you can do it in a consistently repeatable fashion.
Use the over/under-exposed results for a look at dynamic range.
Sony a7R IV compared to the Sony a7R III at ISO 6400.
Sony a7R IV compared to the Sony a7R III exposed +3 stops and processed at -3 stops for a look at dynamic range (both cameras are great in this regard).
MANY more comparisons are available.
Act fast: The Sony FE 24mm f/1.4 GM Lens is in stock at B&H. This is the first time I recall this lens being in stock at B&H since it was introduced. There are of course good optical reasons for it being so hard to get.
Check out our Sony FE 24mm f/1.4 GM Lens review to learn more.
Here are the requisite comparisons:
Please remember to support us by using our links for all of your shopping needs and by sharing the site with others!
From the Adorama YouTube Channel:
Battery powered flashes are great for shooting portraits on location. There's plenty to choose from and they vary between small speedlights and bigger, more powerful monolights. In theory more power means more light and that's usually a good thing for location portraits but can a speedlight be used to light location portraits like a monolight? That's the question Gavin Hoey puts to the test in this video.
Gavin sets each flash the challenge of being used as a simple fill flash, creating dramatic skies by "over powering" the ambient light and finally getting some beautiful shallow depth of field portraits using HSS (high speed sync) flash. The results might surprise you!
From MAC Group:
White Plains, NY USA – Today Benro announced the S PRO series of video fluid heads. S PRO is the successor to the original S series of flat base video fluid heads which grew popular among wedding filmmakers, documentarians, and other small video crews.
Built for a range of video cameras and accessories, the S PRO series supports up to 17.6 lb./8kg. Equipped with a flat base, the S PRO video heads are a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Each video head includes two accessory mounts for attaching monitor arms or audio recorders directly to the head. The S PRO also feature metal ratchet style knobs and an improved CNC machined aluminum sliding camera plate.
Built for a range of video cameras and accessories, the S8 PRO video head supports up to 17.6 lb./8kg. Equipped with a 75mm flat base with a 3/8"-16 thread, the S8 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Other features include: pan & tilt lock, continuous pan & tilt drag, 8-step counterbalance (0-7), illuminated bubble level and two 3/8"-16 accessory mounts for attaching monitor arms or audio recorders directly to the head. This allows you to attach accessories without needing a cage or rig to do so. Tilt range for the S8 PRO is +90°/-75°. The forward 90 degree tilt helps with table top setups. The S8 PRO also features metal ratchet style knobs and an improved CNC machined aluminum sliding camera plate.
Ideal for a small video cameras and mirrorless rigs with accessories, the S6 PRO video head supports up to 13.2 lb./6kg. Equipped with a 65mm flat base with a 3/8"-16 thread, the S6 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Other features include: pan & tilt lock, continuous pan & tilt drag, 6-step counterbalance (0-5), illuminated bubble level and two 1/4"-20 accessory mounts for attaching monitor arms or audio recorders directly to the head. This allows you to attach accessories without needing a cage or rig to do so. Tilt range for the S6 PRO is +90°/-75°. The forward 90-degree tilt helps with table top setups. The S6 PRO also features metal ratchet-style knobs and an improved CNC machined aluminum sliding camera plate.
Despite its small size, the S4 PRO is a versatile video head with additional counterbalance. The S6 PRO video head supports up to 8.8 lb./4kg. Equipped with a 60mm flat base with a 3/8"-16 thread, the S4 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Other features include: pan & tilt lock, fixed pan & tilt drag, additional counterbalance (1-2), bubble level and two 1/4"-20 accessory mounts for attaching monitor arms or audio recorders directly to the head. This allows you to attach accessories without needing a cage or rig to do so. Tilt range for the S4 PRO is +90°/-75°. The forward 90-degree tilt helps with table top setups. The S4 PRO also features metal ratchet-style knobs and an improved CNC machined aluminum sliding camera plate.
S PRO Heads: Common Features
Let's dive right into comparisons for this one:
Please remember to support us by using our links for all of your shopping needs and by sharing the site with others!
Sigma Announces New 24-70mm F2.8 DG DN Art Zoom Lens for Full Frame Mirrorless Cameras; Available in Sony E-mount and L-mount
November 6, 2019
Sigma Corporation today made the following announcement:
Launch of the 24-70mm F2.8 DG DN Art Zoom lens for full frame mirrorless cameras, leveraging the top-level Art zoom performance, featuring:
Sigma 24-70mm F2.8 DG DN Art Lens
This second newly-designed Art zoom lens from Sigma is a large-aperture standard zoom for full-frame mirrorless camera systems and is available in Sony E-mount and L-mount. The Sigma 24-70mm F2.8 offers best-in-class performance due to a sophisticated optical design that delivers high resolution throughout the entire zoom range. This new Art zoom lens from Sigma follows the debut of the lauded 14-24mm F2.8 DG DN Art zoom for mirrorless cameras. The Sigma 24-70mm F2.8 DG DN Art lens exerts superiority in mirrorless camera-dedicated designs, resulting in a reduced lens size and weight while achieving uniformity and high resolution from the center to the periphery throughout the zoom range. Compatibility with the latest mirrorless camera bodies and functions assists in various photographic environments and meets the high demands of both professional and advanced amateur photographers.
Key features include:
The Sigma 24-70mm F2.8 DG DN Art will be available in L-mount and Sony E-mount in mid-November 2019 through authorized US dealers. Pricing will be announced at a later date.
This image was one of my Katmai National Park goals. I wanted a straight-on, tightly-cropped bear face image and the image shared here was my favorite from this trip.
The bear was huge. The September coat was beautiful. The pose was almost perfectly straight-on with some catchlights in the eyes. The water drops falling from the bear's snout show that it is active. No, that is not lipstick and yes, it is looking at me. Fortunately, these bears like the taste of salmon and not that of people.
I could have made use of a 1.4x extender behind the Canon EF 600mm f/4L IS II USM Lens for this image but didn't have time to install it. Fortunately, the Canon EOS 5Ds R resolution is so high that this heavy crop still has adequate resolution. A Wimberley Gimbal Head made controlling the large lens effortless and sitting on a small stool makes the time with the bears quite comfortable.
Picture yourself sitting alongside a remote creek in Katmai National Park filling memory cards while photographing these giant bears catching salmon, playing, fighting, etc. That's the opportunity I had and that is the opportunity you have in September 2020! Plan on joining me for the Brown Bear Chasing Salmon, Remote Katmai National Park, Alaska instructional photo tour.
Plan to increase your wildlife photography skills while capturing portfolio-grade images on this bucket-list-grade trip! Learn more here.
A larger version of this image is available on Flickr.
From Pam Clark (Adobe Blog):
Photoshop, now available on your iPad; Adobe Fresco available on your iPad and Windows devices; the Creative Cloud Desktop app; Adobe Aero; the new cloud documents system; and a major update to Photoshop on your desktop.
I am thrilled to invite you to join us at the beginning of something new. The official debut of Photoshop on the iPad and the cloud documents system, a major new release of Photoshop, a new AR app called Adobe Aero; Adobe Fresco on Windows; and quite a lot more.
Today marks a significant evolution of Photoshop. This includes:
For the product team, shipping our first version of Photoshop on the iPad and the cloud documents system is a huge milestone that comes after more than a year of intense work. It is a great burst of energy for us into the world. For you, the customer, this first 1.0 version is just the starting line. We plan to shape this new experience together with you, our customers.
Here’s more about the Photoshops, the cloud document system, and the associated apps that we are releasing today:
The journey begins with Photoshop on the iPad
When we started this project, it was hard for me to envision how we would reimagine the Photoshop desktop interface into a beautiful, performant experience optimized for pencil and touch on a smaller screen, while also retaining the power, depth and flexibility of Photoshop.
Photoshop on the iPad is built using the same code base as Photoshop on the desktop. This means you can open and edit the same PSD in Photoshop on your desktop or iPad without worrying about conversions, compressions, imports or exports. Photoshop on the iPad supports large files and many, many layers, just like Photoshop on your desktop, preserving your data across devices. The edits you make, whether making layer adjustments, masking, or spot healing, will produce the same results across devices because the app is powered by the same desktop engine.
One very important thing to note: This is the beginning. The first version of Photoshop on iPad is focused on compositing, basic retouching, and masking, common tasks and workflows that we know will be useful for most Photoshop users. Over time, we’ll add more capabilities and workflows as we learn more about how customers use Photoshop on a mobile device.
We plan to add new capabilities as quickly as possible on a regular cadence of releases, which will begin after MAX 2019. We’re releasing with a set of features we know all Photoshop users will need and plan to add capabilities as we see how customers use Ps on the iPad. While leveraging the same code base helps accelerate development, we’re also deeply committed to rethinking every experience for the pencil and touch screen to give you the best Photoshop experience possible no matter what environment you work in. We know we have more work to do and we encourage you to share what’s important to you after you’ve tried the product.
To orient you, the standard Photoshop toolbar is on the left, modernized for touch. Layers are on the right, modernized for a smaller screen to maximize canvas space. You can also see a detailed layers panel, just like desktop if that’s your preference.
All your work is automatically saved to the cloud using a new system we are also introducing today that we call cloud documents (details on that below). All your cloud documents are PSDs and are automatically saved across all your Photoshops and available to edit everywhere Photoshop is. So whether you flip over to check your email, head back to the home screen, or walk away from your iPad, you won’t lose your work.
We have some in-app tours and video tutorials to get you started and a new home button that takes you to where you can continue existing projects or start new ones. Currently you can export to PNG, JPEG, PSD, TIFF.
The help icon, which is the ? in the top right corner, takes you to help and community forums where we’d love for you to participate.
Today, Photoshop on the iPad is available to all Creative Cloud customers who have a subscription to Photoshop.
Cloud documents provide a streamlined method to work, share and manage creative documents across devices. This system is deeply integrated into Photoshop on the desktop and iPad, Adobe Fresco and Adobe Aero. Cloud documents enable you to work on your projects seamlessly across apps. Instead of exporting and importing files, simply connect to the internet, open your PSD from the app Home Screen and pick up where you left off. If you’ve been using Adobe XD, this workflow will be familiar as we use the same system for XD files. We are thrilled to integrate the cloud document capabilities into Photoshop and expand our support to PSDs today. (When a PSD is in the cloud, we’ve changed the extension to PSDC, “C” for cloud. It retains all the same characteristics and capabilities of an offline PSD.) Saving your creative work as cloud documents will enable exclusive benefits:
Home is easy to navigate to in Photoshop on the desktop, iPad and Fresco with similar tools and capabilities in all the apps.
Some key details about cloud documents:
Learn even more about what’s new in this version of Photoshop here.
On February 19, we will celebrate Photoshop’s 30th birthday. We now have many customers who were born after Photoshop and have never been without it. I’m so incredibly proud to be part of a product that continues to be the tool used by millions of creative people worldwide to bring their imaginations to life. Today that tool gets even better.
First, you will be thrilled with some of the improvements we’ve added using our Sensei technology of artificial intelligence and machine learning- particularly new capabilities in the Object Selection Tool and Content-Aware-Fill.
The home screen looks different because we’ve added things like access to cloud documents. We also have a “What’s new” tour so you can very easily see what we’ve added to each release as we are now constantly shipping new capabilities.
We’ve cut out steps to navigate through multiple panels and dialogs by repackaging top tasks into a central location. These properties are shown contextually for the given content selected. This includes:
We’ve also added new quick action buttons to accelerate common tasks. For example you can now one-click to remove background or select subject while in the pixel layer properties panel or quickly convert text layers into a frame or shape.
Preset Panels: Swatches, Gradients, Patterns, Shapes and Styles
Preset workflows have received a complete overhaul. These improvements make up some of the all-time top requests across all customer types. You get:
Don’t like the changes? The familiar legacy presets can still be accessed and loaded via the contextual panel menu item “Legacy presets.”
Object Selection Tool
This tool has been promoted to the top spot under the magic selections tool icon. We use Sensei AI machine learning to enable you to automatically select single, multiple or parts of objects in an image; speeding up complex selections.
Select subject Select Subject gets better edges, is faster on a Mac and we’ve reduced the size of the Sensei AI machine learning model on disk without reducing quality so we can also run it on Photoshop on iPad and achieve identical results on both platforms (this feature coming to iPad soon).
We’ve added three ways to identify where in your image you want it to look for source pixels as fill content.
Smart Object Convert to Layers
Convert a Smart Object back into its component layers to fine-tune your designs—and do it all in one place, without having to switch between document windows. Right-click any existing Smart Object and use the menu item ‘Convert to Layers’ to unpack the layers.
This is a specific response to requests from some of our power users and we worked very closely with them to get it right.
Now you can take better advantage of the depth maps coming out of your camera. You can set a focal point to choose what to blur and keep in focus (foreground, background, etc). We’ve also made it speedier with GPU improvements.
Transform Warp Enhancements
We’ve added much more flexibility and control to transform warp with the ability to drag with bezier curves. We’ve added preset grids: 3×3, 4×4, 5×5 defaults. You can also create your own custom-sized grids (20×4 for example) and add and move your own new gridlines and anchor points.
There’s also a new keyboard shortcut (option/alt). This supports multiple undos to remove gridlines as you add them. And you can shift/drag to select multiple points for more control over creative warping.
32-Bit HDR Images
We’ve added adjustment layers for curves and brightness / contrast for 32-bit images.
Consistent Transform Behavior
You spoke. We listened. Proportionally transform multiple layers, regardless of the type, without using Shift. However, if you prefer the legacy behavior, simply click the link in the transform option bar to revert back to legacy behavior (all layers free transform by default). With a single click, you can set up Photoshop to your preferred transform behavior.
Smart Object and Layer Comp Tracking
Now save the variation of a Layer Comp within a Smart Object to save time from manually setting each variation.
And So Much More
…Document tab improvements, native animated GIF support, better handling of scratch disks out of space…
Here are some comparisons to get you started:
Please remember to support us by using our links for all of your shopping needs and by sharing the site with others!
From the Adobe Photoshop YouTube Channel:
Here’s a sneak peek at an intelligent, Adobe Sensei-powered feature headed to Photoshop soon. Meredith Stotzner shares how the new Object Selection Tool speeds up your selection workflow by snapping to the object you want to select using machine learning technology.
Here is the Rokinon SP 85mm f/1.2 Lens vs. Canon EF 85mm f/1.2L II USM Lens comparison. Of course, the Canon RF 85mm F1.2 L USM Lens is Canon's best 85mm lens (it's awesome). Here is that comparison.
Try all of the other 85mm comparisons available.
Support us: use our links for all of your shopping needs and share the site with others!
From the DJI YouTube Channel:
Introducing DJI’s most compact and portable drone yet. At just 249 grams, the ultralight Mavic Mini delivers a 30-minute max. flight time, 4km HD video transmission, and powerful safety features. Capture every vivid detail in 2.7K Quad HD video and enjoy simplified recording and editing with the new, hyper-intuitive DJI Fly app. Whether you’re trekking through the mountains, enjoying a day at the beach, or just lounging in your own backyard, Mavic Mini was made to elevate the experience.
Create your own comparisons.
This lens currently has an instant rebate of, depending on the mount version, up to $160.00.
Take To The Skies With Mavic Mini, DJI’s Lightest And Smallest Foldable Drone
The ultra-light Mavic Mini makes drone flight easier and safer than ever
October 30, 2019 – DJI, the global leader in civilian drones and aerial imaging technology, today opens a new frontier in drone possibilities with the DJI Mavic Mini, an ultra-light folding drone designed to be the everyday FlyCam. Weighing just 249 grams, Mavic Mini is portable, easy to fly, designed for safety and perfect for everyone who wants to experience the fun of flying.
Mavic Mini builds on the technological innovations in DJI’s renowned series of folding Mavic drones, from the original Mavic Pro through Mavic Air and Mavic 2, to pack professional-quality drone features into the lightest possible frame. That puts Mavic Mini in the safest drone category, which in many areas exempts it from regulations that apply to other, heavier drones. Drone pilots must always understand and follow local laws and regulations.
Mavic Mini’s high-grade camera captures compelling footage in high definition, and its new DJI Fly app’s suite of creative features seamlessly transforms photos and videos into professional-quality productions. Its enhanced, stable flight performance provides more opportunities to explore using one of the longest flight times for a drone of its size. Users can unleash their imagination with Mavic Mini’s exciting accessories, including a DIY Creative Kit and a 360° Propeller Guard for added safety.
“To design a drone as lightweight, compact yet capable as Mavic Mini was one of the most challenging projects we’ve ever tackled at DJI,” said Roger Luo, President, DJI. “Distilling top-of-the-line features into a palm-of-your-hand drone is the culmination of years of work, and we are ecstatic to bring a new class of drone to the DJI lineup. Mavic Mini’s long flight time, ultra-light weight and high-quality camera makes it DJI’s everyday drone – and most importantly, it’s easy to fly, no matter your experience level with drones.”
Portable and Safe
Mavic Mini is the smallest and lightest DJI drone ever made, and is the perfect creative tool for life’s daily adventures, whether seeing your everyday world from a new perspective or capturing incredible views of your getaways with friends and family. Mavic Mini incorporates DJI’s renowned safety technology, including geofencing to help drone pilots avoid restricted areas; AeroScope remote identification to help protect sensitive locations; built-in altitude limits; and automatic return to the launch point if the drone loses connection to the controller or reaches critically low battery level.
Mavic Mini is the first DJI drone to weigh below 250 grams, which aviation regulators around the world consider to be safest category for drone flight. In many countries, drones below 250 grams are considered safe enough that they can be used in new and exciting ways. Users should consult their country’s drone laws and regulations to learn more about what they can do there with Mavic Mini.
An Optimal Flight Experience
Created to be the drone for everyone, even those new to drones, Mavic Mini is simple to operate and fly using the dedicated remote controller. The ultra-light design and high-grade motors provide Mavic Mini with up to 30 minutes of flight time, giving users with more time to explore and capture content. A Wi-Fi transmission signal delivers stable control and an HD live feed for a clear, confident flying experience. GPS receivers and downward visual sensors detect the ground below Mavic Mini, enabling precise hovering, stable flying and accurate landing both indoors and out.
Quality Content Captured with Ease
Mavic Mini offers pilots the ability to capture high-quality footage including 2.7K video at 30 frames per second, 1080p at 60 frames per second, or 12-megapixel photographs using the 1/2.3-inch sensor. A three-axis motorized gimbal supports and stabilizes the camera, ensuring the footage is smooth and cinematic, making it perfect for sharing on social media.
Advanced Features Created to Inspire
The new DJI Fly app is intuitively designed, simplifying the flying and content capturing experience so that pilots of all skill levels can make the most of Mavic Mini. Dedicated tutorials are included to help new pilots learn about flying, and pre-set editing templates add a new level of creativity to the footage. New pilots can choose to fly in Position (P) mode for basic operation, more experienced pilots can unlock more capabilities in Sport (S) mode, and content creators can choose CineSmooth (C) mode to lengthen braking time for smoother shots and more cinematic footage. Pilots can also choose from several pre-programmed flight maneuvers known as QuickShots. Simply tap the desired mode and Mavic Mini will automatically create stunning, cinematic content:
Get Creative with New Accessories
Exciting and unique accessories allows pilots to get the most out of their Mavic Mini. Customers can choose from options including:
Detailed information on these accessories can be found here: www.dji.com/mavic-mini
Price and Availability
Mavic Mini will be available for pre-order beginning October 30 at store.dji.com, flagship stores and authorized retailers and partners. Mavic Mini will come in two purchase options, the standard version which includes Mavic Mini, remote controller, one battery, extra propellers and all necessary tools and wires for $399 USD. Or the Mavic Mini Fly More Combo which includes all of the components from the standard version with the addition of the 360° Propeller Cage, Two-Way charging Hub, three batteries in total, three sets of extra propellers and a carrying case for the price of $499 USD. Mavic Mini will begin shipping on November 11. Accessories for Mavic Mini will be available for pre-order beginning October 30. For additional information on both Mavic Mini and its accessories, please visit: www.dji.com/mavic-mini
DJI Care Refresh
DJI Care Refresh is now available for Mavic Mini. For an additional $39 USD. DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit: https://www.dji.com/service/djicare-refresh
Mavic Mini Wi-Fi system has a maximum range of 4 km when unobstructed, free of interference, and FCC compliant. Maximum flight range specification is a proxy for radio link strength and resilience. Always fly your drone within visual line of sight unless otherwise permitted and check local laws and regulations in the region being operated.
After getting to the Vessel, located in Hudson Yards near the Jacob Javits convention center in Manhattan, New York City, getting in is the next step (though photographing the exterior of this structure is also fun) and getting in requires a ticket. Vessel Tickets are free, but they must be sourced for a particular entry time slot. Tickets are available online, beginning 14 days in advance, and on site (though they can sell out). Reasonably-priced Flex Pass tickets are available up to 6 months in advance and permit one-time entry at any time on that day. If making a big effort to get to this location, it might be worth spending a bit to get this ticket.
Once inside, plan on walking a LOT of steps with 2,500 of them available in 154 flights connected to 80 landings. Even when circling the Vessel at the same level, one must go down and up stairs almost continuously.
From a compositional perspective, the higher the shooting position (the more stairs you climb), the more that stairs and landings are seen in the compositions (as you are inclined to shoot more downward at higher levels). The lower the shooting position, the more that the copper color and reflections tend to be seen. The hexagonal shapes created by the flights of stairs and landings appear largest when photographed with a level camera. A wide range of focal lengths can be used, but ultra-wide-angle focal lengths are really fun to use here. The 15mm focal length was not too wide and I would have used wider if I had it available (the Canon EF 11-24mm f/4L USM Lens would be especially fun here).
Note that this is a "Tripods and selfie sticks are not permitted" location. I didn't have a problem with the selfie stick limitation but would have much appreciated having a tripod to work from. A small amount of (sloped) space available on hand rails enabled use of a Really Right Stuff TFA-01 Ultra Pocket Pod and that along with a BC-18 Microball worked very well, though very close attention was required to ensure the rig did not tip over the edge. There is a conventional round handrail throughout the structure, but it is lower than the sloped edge rail, making the RRS clamp I had along unworkable due to the obstructed view.
I love symmetry in compositions and while this structure makes symmetry available, it is a challenging pursuit. My advice is to frame the scene as symmetrically as possible or make it look like you didn't try to do so. Either can look great, but a nearly symmetrical image can appear sloppy. Centering the camera on a landing (watch the floor and railing tiles for centering clues) and ensuring that it is level is a good start to obtaining symmetry. Fine-tuning may still be required and even if great care is taken in the field, fine-tuning may still be required during post production.
This location can be photographed at any time of the day. However, the later the night got, the more I liked the results. The black sky allowed reflections on the structure to pop. Aircraft (a police helicopter is landing in this image) and vehicle lights can be streaked through the frame after dark. Fewer people were visiting and the longer exposures permitted by the darkness allowed the people still there to be erased via their movement. Using strong ND filters is a good mid-day option for obtaining long exposures. Especially on the higher levels, there are vibrations from people walking, especially when going up and down stairs. Long exposures can be surprisingly sharp when the vibrations are a short percentage of the overall exposure.
Another strategy for removing people from the composition is to capture multiple images, later blending them to show portions of the frame without people. Perhaps visiting on a bad weather (think cold, rain, etc.) weekday might gain solitude. Additional options include embracing the naturally occurring people and taking someone along that you want in your photo (environmental portraits).
If the sun is visible, capture it peeking through the structure using a narrow aperture to create a star effect (wide aperture lenses often work best for this). I planned to capture the sunset in the background on this afternoon but ... heavy clouds canceled that show.
The elevator rails will likely end up in your wide-angle images, so use them compositionally. Try centering the rails and also angling them through the side of the frame. Observe the buildings in the background varying as the structure is circled. Give consideration to what they look like in the composition. The blue lights shining upward from the bottom of the structure can be utilized in the frame. In this case, a narrow aperture turned them into a rather wild-looking bright blue star.
I managed to spend 4 hours at the Vessel before a phone call pulled me away from the fun. The take-home from this shoot was very good and it was difficult to select one image to share.
The image I've chosen here simply would not be the same if captured at 16mm. I carried the Canon EOS R and RF 15-35mm F2.8 L IS USM Lens, the only combination I ended up using, along with some other options in a MindShift Gear BackLight 18L. This backpack was perfect for this need.
A larger version of this image is available on Flickr.
SB-5000 Firmware v.14.004
Changes from Firmware Version 14.003 to 14.004
Download: SB-5000 Firmware v.14.004
Changes from Firmware Version 1.02 to 1.03
Download: WR-1 Firmware v.1.03
From the TamronVids YouTube Channel:
Pro Photographer Teal Garcia uses her Tamron 35mm F/1.8 model F012 to photograph timeless, intimate family photos.
The 10mm full frame focal length angle of view is extraodinarily wide.
Portland, OR – Lensbaby – makers of award-winning lenses, optics and accessories for photographers & videographers announces today the availability of the new Color Expansion Pack for its groundbreaking OMNI Creative Filter System by Lensbaby launched in June, 2019.
“Color is a key element to establishing mood. These multi-color crystals, films and gels allow you to inject a vast range of different tones to dramatically or subtly change the mood in your scene,” says Craig Strong, Lensbaby Chief Creative Officer and Co-Founder. “Color Expansion Pack tools let you paint in a wide range of colors and reflections, channeling the look of expired film, light leaks and more. The same scene and framing can have a completely new feel and mood depending on which Color Pack tools you mount to the front of your OMNI Filter.”
The OMNI System is the simple, unique and elegant solution to shooting through handheld objects. It offers control and repeatability when shooting through crystals and other objects engineered by Lensbaby to create distinct and compelling in-camera effects. The unique, professional-grade system is unlike anything currently on the market and geared to work on existing manual and autofocus prime and zoom lenses. This is the second expansion pack offered for the OMNI system. More will be offered in 2020.
The Color Expansion Pack includes a vast array of tools to organically introduce color and mood into imagery. It includes two multi-color crystals, two sets of multi-color films, one set of color gels and a diffraction film that creates crisscross rainbows.
The Color Expansion Pack will be available for pre-order on October 24, 2019 and will be available for demonstration at PHOTOPLUS 2019 in New York City through October 26. The OMNI Color Expansion Pack retails for $59.95. The OMNI Creative Filter System retails for $99.95 and the Crystal Expansion Pack retails for $49.95.
Color Expansion Pack Details
The Color Expansion Pack includes the following Effect Wands and Filters in a custom-designed pouch:
From the RØDE Microphones YouTube Channel:
ntroducing the NTG5 location sound shotgun microphone, a new addition to the best-selling RØDE shotgun microphone range.
Featuring a groundbreaking acoustic port design providing a superior progressive wave interference, ultra-lightweight construction and crystal clear, broadcast-grade sound, the NTG5 is a revolution in shotgun microphone design aimed at the professional user.
Key features of the RØDE NTG5 include:
The RØDE NTG5, the perfect location recording mic.
Note that certain specials are valid only by using promo code PPEBH19 during checkout.
In this video, Meredith Stotzner demonstrates a few helpul tips for adding text in Photoshop.
October 22, 2019, Commack, NY - Tamron announces the launch of three prime lenses for Sony E-mount full-frame mirrorless cameras: 20mm F/2.8 Di III OSD M1:2 (Model F050), 24mm F/2.8 Di III OSD M1:2 (Model F051), and 35mm F/2.8 Di III OSD M1:2 (Model F053). The 24mm and 35mm lenses will be available on November 20th and the 20mm will be available in January 2020. All three lenses will be available in the USA for approximately $349.
Having already produced award-winning zoom lenses in this mirrorless category, we turned our attention toward prime lenses.When using a prime lens, the photographer must decide the composition based on their distance from the subject. This puts the joy of capturing the image exactly as envisioned and the pure fun of shooting on a different level. The three new models include a 20mm focal length (Model F050) to fully explore the world of ultra-wide-angles, a 24mm focal length (Model F051) as the perfect general-purpose wide-angle lens, and the versatile 35mm focal length (Model F053) that is ideal for everyday/every subject use. Developed under the concept of "letting as many as possible learn the joy of prime lenses in a more accessible way," each lens strikes a balance between gorgeous image rendering and superior operation. We matched the same filter size (f67mm) for all three prime lenses as well as the two previously launched zooms and achieved our aim of compactness.
Furthermore, the 20mm, 24mm and 35mm lenses are all capable of focusing very close, to an unprecedented in this category magnification ratio of 1:2. Other features include Moisture-Resistant Construction (for outdoor shooting) and a Fluorine Coating on the front element for easy maintenance and fingerprint removal. They also support various camera features offered by certain Sony cameras, such as Fast Hybrid AF and Eye AF, and offer a multitude of advanced functions to ensure a pleasant shooting experience and fantastic results. This series of highly practical lenses lets photographers enjoy the photographic expression of wide-angle lenses, often regarded as the sweet spot for most photographic pursuits, plus unprecedented light weight and full-blown performance.
1. Enhanced close-focusing capability expands lens usefulness and versatility
These prime lenses focus very close. The MOD (Minimum Object Distance) for the 20mm, 24mm and 35mm is 4.3, 4.7 and 5.9 inches respectively. Plus, the maximum magnification ratio for all three is 1:2. This remarkable performance allows users to create compositions that emphasize perspective (closer subjects are larger and distant ones are smaller) and that are unique to wide-angle lenses.
Being able to get in close is one of the most desirable specifications for a wide-angle lens. With dramatic closeup shooting performance for full-frame lenses, the series unleashes an unprecedented level of shooting freedom. Plus, by moving close to the subject, stronglyblurred backgrounds are easier to attain.
2. A compact, lightweight 67mm filter diameter system offering excellent portability
Weighing in at 7.8 oz for the 20mm (Model F050), 7.6 oz for the 24mm (Model F051) and 7.4 oz for the 35mm (Model F053), the lenses are exceptionally light, allowing photographers to enjoy shooting comfortably without hesitating about whether to carry the lens. All three lenses combined weigh under 1.5 pounds! Meanwhile other lenses in Tamron's lightweight full-frame mirrorless series such as the 28-75mm F/2.8 (Model A036) standard zoom or 17-28mm F/2.8 (Model A046) ultra-wide-angle zoom make the perfect companions to broaden the range of shooting possibilities.
As testament to their compactness, all three new models feature the same 67mm filter diameter as Tamron's zoom lenses for full-frame mirrorless cameras. This significantly reduces cost and packing space when working with PL, ND and other filters. Even the front lens caps are the same size, eliminating the hassle of sorting caps when switching lenses. These features combine to produce a highly convenient and mobile system that adds more fun to photography.
3. Superb high-resolution performance that matches the latest high-resolution image sensors
The sophisticated optical formula created with the latest lens design technologies boasts exceptionally high rendering performance from edge to edge thanks to the optimal arrangement of LD (Low Dispersion) and GM (glass-molded aspherical) lens elements. Any remaining minor distortions sometimes common in wide-angle lenses are corrected using in-camera functions. Additionally, Tamron's legendary BBAR (Broad-Band Anti-Reflection) Coating effectively reduces ghosting and flare. With excellent resolving power achieved through uncompromising optical performance and camera-based distortion correction, these lenses can be used with complete confidence for a wide range of applications from casual family snaps to serious professional photography.
4. Consistent 64mm (2.5 in) overall length facilitates ease-of-use
All three lenses are the same length: 2.5 in. Achieving excellent balance with Sony E-mount cameras, these compact lenses employ a front element extension system but are designed to maintain the same exterior length during focusing operations. Therefore, there is less chance of an extended front element accidentally coming into contact with a subject during closeup shooting. And optional manual focusing is easier because the focus ring is positioned toward the front of the lens within natural reach of the thumb and index finger.
5. Silent autofocus driven by OSD (Optimized Silent Drive) DC motor
The AF drive system employs an OSD to ensure quiet operation. In comparison to conventional AF types with built-in DC motors, Tamron was able to greatly reduce the drive noise as well as vastly improve AF performance and speed. The lower ambient noise level is sure to be appreciated by video shooters. Overall, this prime lens series provides superlative AF precision for exact focus even when shooting moving subjects, as well as outstanding accuracy and tracking capability. Additionally, this prime series supports various AF features offered by certain Sony cameras, including Fast Hybrid AF, Eye AF, and Direct Manual Focus (DMF) to ensure a pleasant shooting experience.
6. Moisture-Resistant Construction and Fluorine Coating
Environmental seals are located at the lens mount area and other critical locations to prevent infiltration of moisture and/or rain drops and afford Moisture-Resistant Construction. This feature provides an additional layer of protection when shooting outdoors under adverse weather conditions.Also, the front surface of the lens element is coated with a protective fluorine compound that has excellent water- and oil-repellant qualities. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, moisture or oily fingerprints, allowing for much easier maintenance. These protective features are keenly important for lenses that allow you to get in close to a subject.
7. Compatible with main camera-specific features and functions
All three of Tamron's new prime lenses are compatible with many of the advanced features that are specific to certain mirrorless cameras. These include the following:
Tamron's first two lenses in this series (17-28mm f/2.8 Di III RXD Lens and 28-75mm f/2.8 Di III RXD Lens) are huge hits, offering great image quality from small, lightweight lenses with a low price. Thus, the third model bringing us similar benefits is very promising.
Tamron Announces the Development of Compact and Lightweight High-Speed Telephoto Zoom Lens for Sony E-Mount Full-Frame Mirrorless Cameras
Much-anticipated third model in its series of F/2.8 high-speed zoom lenses delivers superb optical performance with extremely quiet, fast focus
October 23, 2019, Commack, NY - Tamron announces the development of a new high-speed telephoto zoom lens for Sony E-mount full-frame mirrorless cameras, the 70-180mm F/2.8 Di III VXD (Model A056). Availability of this new zoom is planned for Spring 2020. The lens will be on display at the upcoming Photo Plus Expo in New York City this week and Salon de la Photo in Paris next month.
Developed under the concept of "making high-speed zoom lenses user-friendly," Model A056 features a compact and lightweight design, an ideal match for full-frame mirrorless interchangeable lens cameras. The 67mm filter diameter is the same as all other Tamron lenses in this series. The optical design includes several specialized glass elements that contribute to the lens's superb imaging performance and its very short 33.5 in MOD (Minimum Object Distance) expands overall versatility. The lens adopts Tamron's newly developed VXD (Voice-coil eXtreme-torque Drive) linear motor focus mechanism that produces a quiet, quick autofocus drive. Other features that support a great shooting experience include a Moisture-Resistant Construction helpful for outdoor shooting and Fluorine Coating for easy maintenance. In addition, Model A056 is fully compatible with various camera-specific features including Fast Hybrid AF and Eye AF. This new model joins the 17-28mm F/2.8 Di III RXD (Model A046) and the 28-75mm F/2.8 Di III RXD (Model A036) and brings Tamron's total of F/2.8 zoom lenses for full-frame mirrorless cameras to three.
From the Adorama YouTube Channel:
Branding has a lot to do with psychology and consistency. Do you know what your brand colors are saying? Are you the same person on every platform? Discuss branding with Vanessa Joy and wedding industry expert Kaleigh Wiese (who is currently rebranding Vanessa's wedding business!) and find where you need to make adjustments in how you're being perceived.
Get 10 Questions to Ask Your Clients here.
Our solar system's smallest [official] planet, Mercury, will be traveling between Earth and the Sun on November 11, 2019, providing us photographers an excellent opportunity to once again drag out those solar filters we acquired for the full solar eclipse of 2017. The complete transit will be visible from South America and the eastern United States, but a partial transit will be visible from every part of the continental US as well as Europe and Africa.
If you don't have a solar filter, now might be a good time to get one as, in addition to the Mercury transit, there will be another full solar eclipse visible to much of North America on April 8, 2024.
For more information on the upcoming transit of Mercury, check out EclipseWise.
From the Mac Group:
White Plains, NY USA – The Benro 3XS and 3XS Lite gimbals revolutionized the way that smartphones were able to be used to create incredible content on the go. With a long battery life and collapsible gimbal arms, they allowed everyone to capture quality professional content in landscape mode or shake free vertical shots for social media game. The Saramonic SmartMic features a compact directional capsule that lets creators focus on sound in front of the mic, while rejecting sound from behind and on the sides – making it ideal for focused shots. Plus, an integrated swivel enables creators to point it directly at the sound they want to capture. This swivel makes it simple to switch between interview and vlog style shots.
By combining the ultra-compact and lightweight SmartMic with the folding design of the Benro 3XS and 3XS Lite, you can take your high-quality content capturing rig with you anywhere that you go. “Combine the Benro 3XS or 3XS Lite gimbal with the Saramonic SmartMic to record high-quality audio directly to a smartphone, and content creator's storytelling will be taken to a whole new level,” remarks Jan Lederman, MAC Group President.
3XS + Mic Kit
3XS Lite + Mic Kit
Photo Competition Challenges Photographers to Provide “Images of Heroism” for a Chance to Win Pelican Gear
Torrance, CA, – October 15, 2019 – With a long history of providing protective cases for both photographers and first responders, Pelican Products today announced its Portraits of Protection photo competition. This program brings these two communities together to immortalize heroes who’ve stepped forward in the face of danger.
Pelican invites photographers to submit photos of either heroism in action, or the faces of heroes, and post on Instagram tagging @pelicanprofessional, #PortraitsofProtection, and #PelicanPhotoContest for a chance to win. Each month, the most moving and visually interesting photos will be selected as winners and featured on Pelican Products’ social media channels. The winning photographers and heroes photographed will each receive their choice of $500 in Pelican gear. “At Pelican, we recognize our products are put in critical situations with first responders that require them to perform every time. There is a sense of responsibility that goes into every product we make,” said Lyndon Faulkner, CEO of Pelican Products. “Our hope is that we receive images from these skilled photographers that serve as a daily reminder to our team, of the responsibility they accept every time they walk through the door, and to honor these real-life heroes.”
Portraits of Protection corresponds with Pelican’s charitable giving program, ‘PELICAN PROTECTS – Supporting the Heroes Who Protect Us’, in alignment with its continued support of first responders and related causes.
Portraits of Protection contest details are available online here and entries will be accepted now through January 14, 2020.
Lawrenceville, NJ – October 17, 2019 – Datacolor®, a global leader in color management solutions, is providing all Spyder5 users with an upgrade of their software for monitor calibration. Datacolor will continue to ensure full compatibility with the latest operating systems for customers using the Spyder5 sensor. This is in compliance of new industry standards with the Apple operating system, which will no longer support 32-bit applications with the Catalina macOS 10.15 version. The Spyder5 software upgrade is free for all users and can be downloaded from the Datacolor website.
Datacolor’s current monitor calibration solution - SpyderX, is 64-bit compatible. SpyderX is Datacolor’s fastest, most accurate and easy-to-use color calibration sensor, providing photographers, designers and videographers with the ultimate confidence and control over their creative vision.
Lensrentals recently used their custom-designed MTF machine (Olaf) to find the highest resolving lenses available. For those that like to geek out over optics, the blog post (linked above) will be interesting and – as usual for articles authored by Roger Cicala – entertaining. Here are a few snippets from the article:
A couple of years ago, a testing customer asked us to find which lenses could get maximum resolution from a 150-megapixel sensor. Many people assumed that the highest resolving lenses at standard resolutions would be the highest resolving lenses at higher resolutions. Assumptions are the dark matter of the internet; we can’t see them, but we know they account for most of the mass.See the entire article at the Lensrentals blog to see which lenses made the cut this time around, then read more about those lenses here.
There was no photo or video lens that could resolve 200 lp/mm wide-open. (Our standard for ‘resolve’ was an MTF 0f 0.3; an MTF of 0.2 was borderline. There’s some evidence to support those cut-offs, but someone could argue them. Wait, this is the internet. Someone WILL argue them; it’s what someone lives for.)
The best results were for the Zeiss Otus 85mm f/1.4 lens at f/4. A few other lenses (Zeiss 135mm f/2 APO-Sonnar; Sigma 135mm f/1.8 DG HSM Art; Zeiss 55mm f1.4 Otus) were acceptable at f/4 in the middle portion of the image.
Two years later, that customer asked us if we knew of any other lenses that they should consider. There’ve been a lot of lenses released since we did these tests, and some of those lenses fit the criteria for possible ‘ultra-high’ resolution; primes with focal lengths of 85mm or more. The manufacturers are obviously making these lenses with at least moderately higher resolution cameras in mind. So perhaps some of the newer lenses would resolve ‘ultra-high’ frequencies better than some of the older lenses we had tested.
So we checked some new lenses all the way up to 240 lp/mm, something sufficient to make a 200 megapixel FF camera worthwhile. To be clear, this is NOT coming to a camera near you anytime soon; it’s a research project. But if the researchers are making such a sensor, it makes sense they want to know which lenses would get the best results from the sensor.
From Dave Etchells, Founder of ImagingResource.com:
I first had the idea for Imaging Resource almost 24 years ago, and I've been actively working on it for about 22 years now. I officially launched the site with the first handful of reviews in April of 1998, and it's been a spectacular run ever since. I'm proud that some of our first readers are still with us, and we've accumulated many more along the way. Personally, I've been blessed beyond measure by the site, my co-workers and the entire photo industry; it's one of the nicest industries in the world, with remarkable unstinting support, camaraderie and positive feelings all around.We would like to wish Dave great things in whatever endeavors he embarks upon next.
Now though, nearly 22 years later, we're coming to an end of that road, although it's possible that the site and brand might continue, with a greatly trimmed-down staff. I hope that'll be possible, and there may be a few ways to make it happen, but it'll require committed support from both readers and manufacturers to bring it to pass.
From the Adorama YouTube Channel:
If you use flash in your photography you might be aware that the shutter speed plays a vital role in controlling the amount of ambient light that's captured in an exposure. Usually when shooting in a studio, the cameras maximum flash sync shutter speed is fast enough to control the ambient light but if you love shooting with fast glass and wide apertures you need to master HSS flash aka high speed sync flash.
In this video photographer Gavin Hoey explains why and when HSS flash is helpful and then goes on to share his simple tips and tricks to make setting up HSS flash really straightforward. Once Gavin has everything ready he uses the set-up to shoot some eye catching portraits of a medieval knight!
MELVILLE, NY, October 10, 2019 – Your activity of choice should not limit you on your quest to #RECtheWorld – from jumping on a trampoline, biking down a mountainside, screaming on a roller coaster or feeling the beat at a music festival. Down for just about anything, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce the IVY REC Clippable Outdoor Camera. Made to go anywhere while capturing those larger-than-life moments – this new camera is made for adventure.
Great for the outdoors, the clippable and wearable design allows users to wear it on a belt or bag and the clip doubles as a viewfinder – eliminating the potential to crack a screen. Simple to use with one click capture for both photos and videos, the IVY REC pairs with the optional Canon Mini Cam app. When paired with a compatible mobile device2 such as a smartphone, you can keep informed about important settings including battery life of the IVY REC camera, remaining image capacity for the MicroSD card, video recording resolution (720p or 1080p)3, and image size. You can also use the app as a live viewfinder to capture photos and videos, and even use it as a remote shutter with a timer. For photos and videos, the app lets you wirelessly transfer them to your compatible mobile device to print and share. The go-anywhere camera is also waterproof4, shockproof5 and lightweight.
“We have learned a lot about the IVY customer since we launched our first IVY product over a year ago –their unique shopping habits and what’s important to them when it comes to consumer technology products,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “We’ve worked tirelessly to implement this knowledge into the next generation of IVY products, the IVY REC, offering the younger generation consumer the opportunity to go where the moment takes them and capture them in an instant.”
The Canon IVY REC comes in three colors: Riptide (Blue), Avocado (Green) and Dragon Fruit (Pink) and is scheduled to be available in October 2019 at an estimated retail price of $129.99.
NEW YORK, Oct. 11, 2019 -- B&H Photo is pleased to share the announcement of the new Zhiyun Tech WEEBILL-S Handheld Gimbal Stabilizer. Touted by Zhiyun-Tech as the "Tiny Giant," it features motors that are 50% more responsive and have 300% more torque than previous gimbals. This allows the WEEBILL-S to remain small and lightweight, while supporting DSLR and mirrorless cameras without reaching the limits of the gimbal's motors—all of which makes it easier to operate the gimbal for extended run times with more flexibility in shooting.
The built-in OLED screen can display a variety of adjustable parameters such as: Motor Strength, Follow Speed, Smoothness, and Deadband (helps prevent unwanted gimbal movements). These adjustments can be made directly on the WEEBILL-S without using the downloadable app. A built-in auto-tune function will tune the WEEBILL-S to mounted camera, providing the most efficient use of power and allowing your WEEBILL-S to run up to 14 hours on a set of interchangeable 18650 batteries, and the WEEBILL-S can power select cameras. Your camera mounts via the two-in-one Manfrotto/Arca-Swiss quick-release plate, while newly designed axis locks make balancing your camera faster and easier. The gimbal supports a full-range POV mode, Vortex mode (for 360-degree barrel rolls), Go mode for extremely fast action, PF mode (pan follower), F mode (follower), which has all axes follow your movements, and L mode, which allows you to mimic jib shots. Additionally, the Zhiyun ZY Play iOS/Android mobile app enables Panorama, Timelapse, Motion Timelapse, and Long Exposure Timelapse shooting.
An optional Image Transmission module mounts directly under the quick-release plate and transmits video signals up to 1080p30, allowing you to livestream from your gimbal. It works not only as a transmitter, but, incorporating a motion sensor, it allows for precision control. The second supported mobile app, ViaTouch 2.0, takes advantage of this, allowing you to connect with your smartphone, camera, and gimbal together electronically so you can adjust settings and control your set up from a smartphone. When coupled with the SmartFollow 2.0 module, sold separately, you can track objects precisely from your smartphone, without needing to mount your smartphone on your gimbal. The WEEBILL-S supports up to three devices wirelessly, including smartphones, tablets, and monitors. A third app, Sync Motion, interfaces with the Image Transmission module and allows real-time monitoring plus synchronous motion control for an immersive FPV experience.
Along with the image quality test results, vignetting, flare, and distortion test results along with specs, measurements, and standard product images have been added to the Tamron 17-28mm f/2.8 Di III RXD Lens page.
Warning #2: You are going to want this lens.
Reminder: share these results with your friends!
I had attempted to photograph the historic Crystal Mill twice. On the first (not very serious) attempt, a navigational error prevented success. On the second attempt, heavy rains prevailed and even the jeep service would not take me to the mill. With the end of the Rocky Mountain National Park photography workshops aligning with the normal peak fall foliage time in Marble, CO and the airline ticket price home being significantly lower one day later, I opted to make another attempt at photographing this mill and routed the itinerary through Marble one more time. This time, success was achieved.
Getting to this location requires driving a very-rough 4x4 road or a very long hike. My rental Suburban checked the 4x4 box but I was advised that it was questionably long to safely make the trip. Yes, the rental company's damage insurance coverage was in place but I still needed to be able to get to the airport and after driving up the first section of road, I opted to park the SUV in an area just large enough to clear the road. The hike remaining hike was between 4 and 5 miles and quite scenic.
This trek started mid-morning and the mill was reached at around noon. Upon paying the access fee ($10 enables access beyond the cable) and scoping out the available shot locations, it was obvious that the light would be better later in the afternoon (as expected). Also, the crowds were heavy at noon, another unfavorable aspect of photographing at this time of the day. With a very early AM flight scheduled, a very short night at the hotel was promised (about 2.5 hours of sleep) and a nap seemed like a good plan. I hiked past Crystal City, a ghost-town-like area featuring historic rental cabins and a store, and upon finding a sloped rock with my name on it, (sort of) slept for a couple of hours.
Upon returning to the mill, I found the crowds much lighter. The sky had filled with clouds that created an even light and clouds prevailed for most of my remaining time there. I didn't mind the even lighting that the clouds created but the clouds in the background were usually in direct sunlight, creating a huge dynamic range. After shooting many HDR captures, the clouds parted momentarily and I was able to make (only) one single image with direct sunlight hitting the mill while using this camera and lens. The cloudy sky images were nice, but this direct sunlight image was my favorite.
For this hike, I could take two cameras and two lenses in the MindShift Gear BackLight 18L. The Canon EOS R and Canon RF 15-35mm F2.8 L IS USM Lens made the cut and delivered excellently. A Breakthrough circular polarizer filter was used to cut reflections and increase saturation. a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and Really Right Stuff BH-40 Ball Head provided the support for this image.
A larger version of this image is available on Flickr.
Learn several very useful Photoshop tips from Adobe's Julieanne Kost.