The new C-800-U Spectromaster offers ultra-precise color measuring performance designed specifically for the cine and photographic industries.
Developed with the input from leading lighting manufacturers, filmmakers, photographers, and The Academy of Motion Picture Arts and Science and Technology Council, the C-800-U solves the problems image makers have when understanding color properties of light, and how lights will reproduce colors on camera.
WHAT MAKES THIS METER DIFFERENT?
The C-800-U has more Color Rendering Standards than any other field meter in the industry.
It is the first and only meter to include SSI (Spectral Similarity Index) developed by the Sci-Tech Council of the Academy.
SSI gives the user the ability to set any light as a standard, or use predefined standards (such as CIE D55), and then gives other lights an SSI score based upon how well they will match.
The C-800-U also includes TLCI (Television Lighting Consistency Index), TLMF (Television Lighting Matching Factor), TM-30-15 (Technical Memorandum) in addition to CRI (Color Rendering Index), which can be measured singularly or in two light comparison mode.
DESIGNED TO BE USED ON SET
CRI The new Spectromaster C-800-U takes the great features of the C-700 with the same bold 4.3” touchscreen, and same ability to read LED, HMI, Florescent, Tungsten, Natural Light and Flash from 1,600 to 40,000 Kelvin.
Built on its CMOS linear image sensor, the C-800-U is capable of measuring in 1 nanometer (nm) increments to detect spikes using fluorescent or LED lighting.
With the same ergonomic button layout, swivel head, and built-in dark slide that enables easy use on set and expands on the C-700-U’s color rendering standards, units of measure and memory.
MATCHING YOUR LIGHTS JUST GOT EASIER.
The C-800-U now has more color control parameters specifically designed to help match lights to one another.
CIE1931 (x, y) has been added, giving users the ability to measure and dial-in specific chromaticity coordinates into lights of some major brands.
Hue and Saturation units of measure have also been added to better match RGB LEDs to any light source.
In addition, new display screens provide easy interpretation and understanding of the new data fields, making this the best meter for all applications.
“The enhancements to the new C-800-U show our commitment to leading the category with regards to new and emerging trends in the color control industry, while also responding to the changing needs of our end users.
The new Spectromaster C-800-U was developed to provide increased confidence to filmmakers and photographers working with a range of lights; with a focus on rendering true to life skin tones, realistic color, and matching lights better than any other meter on the market.
The Sekonic C-800-U empower everyone focused on color control to light better.” - Mr. Kenji Sawai Executive Officer and General Manager, Sekonic Japan
Measures LED, HMI, Fluorescent, Tungsten, Natural Light and Flash, from 380 to 780 nm
Expanded Color Rendering Properties (CRI, SSI, TLCI, TLMF, TM-30-15)
Extended Color Control Parameters (Hue/Saturation, CIE 1931 x, y chromaticity coordinate)
Make Your Images Pop, FAST! Learn how to add beautiful Radiance to your images in Photoshop using a special Blend Mode. With this Quick and Easy Technique, we'll learn how to add depth and punch to flat boring images.
To make this technique even quicker, we'll also provide a downloadable Action. Besides, to enhance the look, even more, Gradient Maps, Curves, and Color Lookup would be of great use.
By now, she's actually a couple of weeks old. But at the time this image above was taken, Olivia Jane had been breathing air for only about an hour.
My life has change a lot since September 11 at 4:50pm, but one thing remains the same – the importance of photography in documenting the world around me.
Specific endeavors require specific gear, and lately I've been leaning heavily on certain lenses more than others.
Specifically, I've been relying on wide-aperture prime lenses, with their ability to create subject isolation and freeze motion (using moderate ISOs) when second-chance opportunities are fleeting or non-existent.
A couple of years ago, I posted an article urging site visitors to prepare a Go-Bag packed with the photography gear necessary to accomplish a certain goal.
With my wife nearing her due date, I took my own advice and packed a Lowepro backpack with the following:
Sharp-eyed site visitors have likely noticed two aspects regarding the kit listed above.
The first is that all the lenses I packed were prime lenses.
I chose to pack a large assortment of wide aperture prime lenses because I wasn't sure how well lit the hospital would be and the max aperture of my general purpose lens, a Canon EF 24-105mm f/4L IS USM, seemed too narrow to rely on for the indoor event.
As it turns out, the room where my wife gave birth was "softly lit for patient comfort" (hospital terminology for "relatively dark") with a couple of bright spot lights illuminating the delivery zone.
The wide aperture primes proved essential for maximizing image quality while documenting the life-changing event.
When packing the bag, I suspected the longest and shortest focal length primes would be too long/short for effective use in the areas I'd be shooting in during our 2-day hospital stay, and that largely proved to be true.
The second thing you might have noticed is the lack of a backup camera.
Knowing the importance of the situation ahead, I packed a second very small shoulder bag with the following items:
This kit in this bag had two purposes. One, it provided me with a backup camera should something happen to the primary camera in the other bag.
Second, it gave me a couple of STM lenses that I could pair with the 7D II should I decided to capture video.
Not knowing how much room I'd have to store things in the delivery and post-partum rooms, my plan was to leave this backup camera bag in our car parked in the parking lot and simply run out to the car if I wanted/needed it.
Of course, a primary camera failure at a critical time would have left me without an easy-to-access backup, but... thankfully, that didn't happen.
In fact, the backup camera bag never made it out of the car.
Note: I don't recommend leaving your camera gear in an automobile for long periods of time because of prolonged heat/humidity and chance of theft. In this case, however, I prioritized a less-cluttered hospital room over my gear's safety (the bag was well hidden/out of view in the vehicle).
So which lenses did I utilize most during the big event?
Canon EF 100mm f/2.8 USM Macro
Canon EF 35mm f/2 IS USM
Sigma 50mm f/1.4 DG HSM Art
Sigma 24mm f/1.4 DG HSM Art
Canon EF 85mm f/1.2L II USM
Canon EF 135mm f/2L USM
Rokinon 14mm f/2.8
Unfortunately, the data is a bit misleading. I used the Canon EF 100mm f/2.8 USM Macro to capture lots of close-ups of Olivia's feet, hands, ears, etc. However, without stabilization (and not wanting to push ISOs too high), a lot of those images came out blurry.
However, I was shooting the macros when I wasn't pressed for time and the baby was relatively content, so I often shot a large number of images for each framing I wanted.
In other words, the macro lens was only used for a limited number of compositions, but I recorded many shots of each composition to ensure I got what I wanted.
The lens that was mounted to my camera for most of our hospital stay (and just before leaving for the hospital) was the Canon EF 35mm f/2 IS USM.
The moderately wide focal length paired with image stabilization made it an extremely versatile lens, able to capture enough slightly-blurry background with the subject to tell a story while remaining easy to work with in relatively tight spaces.
The lens' IS system meant that I could use even-slower-than-usual shutter speed when subject movement was minimal, while the wide f/2 aperture allowed me to freeze action even in dimly lit conditions.
The next most-used lens was the Sigma 50mm f/1.4 DG HSM Art. It was the lens I chose to mount as soon as Olivia saw light for the first time.
At that point, I wanted to limit distractions in the composition by using a narrower field of view to focus on my wife and baby seeing each other for the first time.
A wide-aperture 50mm prime lens gave me the composition I desired along with action-stopping shutter speeds and a relatively low ISO setting.
The rest of the lenses I brought were used sporadically, but looking back, I could have sufficed without them. That said, different hospitals may present different opportunities for various focal lengths, so having several available is nearly always a good idea.
Could I have gotten away with using only a 24-70mm f/2.8 zoom lens? Maybe, but the max f/2.8 aperture would have required a 2-4x higher ISO to be used to achieve the same action-stopping shutter speeds compared to most of the primes I brought.
Also, considering the amount of background distractions found in a typical hospital room, an f/2.8 aperture would not have allowed me to blur those elements quite as much.
The downside to primes, of course, is the need to change lenses when a new focal length is desired for the optimal composition.
My backpack full of prime lenses proved equally useful after returning home from the hospital.
I left it sitting just inside our dining room and would quickly grab the camera for capturing the various "awwww" moments that occurred in our home over following week.
It's been two weeks now, and that day is a bit of a blur in my memory. But thankfully, I have a wonderful set of images to look back on to remind me of the way during my child's first few days outside the womb.
My photographic style is typically very deliberate, with lighting and/or tripod setups that slow down the capture process.
While prime lenses fit well into that kind of workflow, they aren't absolutely necessary as lighting (either added to the scene or recorded via a slower shutter speed) isn't really a problem.
But when documenting life as it happens, what a wide aperture prime lacks in focal length range, it more than makes up for in the versatility and aesthetic afforded by its max aperture.
The SIGMA Corporation announce the opening of a new state-of-the-art building at the Aizu factory located in Fukushima, Japan which is now fully operational and dedicated to the processing of magnesium alloy, a useful component that provides toughness and durability for SIGMA Global Vision products while being lightweight.
Stable procurement of magnesium parts indispensable to achieving both lightweight and toughness
Lightweight is a desirable characteristic for interchangeable lenses and provides an advantage over other manufacturer’s products especially with relatively large mass telephoto lenses. These lenses often use metal parts with high strength and rigidity for exterior parts to securely hold optical elements with a large diameter together as well as to protect the internal parts. Generally the use of metals such as aluminum for this purpose poses a challenge as it makes the product too heavy and therefore difficult to handle.
SIGMA has taken this into consideration and adopted the use of magnesium parts processed in-house for the first time with the development of the new 60-600mm F4.5-6.3 DG OS HSM|Sports, due for release in October. The lens achieves lightweight, an attribute which is increasingly sought-after by users, while being tough and durable to ensure lens performance.
Further promotion of ultra-highly efficient “mass production” by in-house integrated production
SIGMA believes it is important to be flexible and act quickly enabling the delivery of unique, surprising, and pleasing products. Its own integrated production system with a high in-house production ratio is essential to meet the demand for small-lot production of diverse products, the demand for which will be likely to grow even more in the future. To intentionally incorporate magnesium alloy processing, which requires rigid safety control, in the in-house manufacturing process, SIGMA constructed a building dedicated to magnesium alloy processing and started operations for mass production, contributing to the stable production of high quality and high accuracy parts at reasonable costs.
The magnesium parts produced in the dedicated building will be used for many products in the future including the 60-600mm F4.5-6.3 DG OS HSM|Sports and the 70-200mm F2.8 DG OS HSM | Sports announced at Photokina 2018.
Magnesium Building, SIGMA Aizu Factory
6594 Aza-Nitchizaka, Ohaza-Ohtani,
Fukushima prefecture, Japan 969-3395
Total floor space: 1,995 m2 (3 stories)
Completion of construction: January 2018
Start of operations: February 2018
We made some important decisions this week concerning Luminar, and we think you’ll like them.
We’re always working hard to take our products to new heights, but this last year has been special.
We’ve been intensely working on new tools that will elevate Luminar from a supercharged photo editor to THE home for editing, organizing and enjoying your images.
It’s been a long time coming, but it will completely change the way everyone uses Luminar.
I’d like to give a preview of the big things that are coming… Starting with Luminar Libraries in December, we've got a series of huge updates coming over the next year.
A much anticipated addition to Luminar, Libraries will allow photographers to organize, browse and edit images the fly.
Libraries will be powerful right out of the gate, but it represents the first of many photo organization and management updates launching over the following months.
From Libraries to other killer features, these updates are so powerful, that we want them in the hands of as many photographers as possible.
To this end, we're going to do something unprecedented.
Through late 2019 (at least), we're making every new feature available to all Luminar 2018 users - at no cost!
While software companies typically roll out paid updates every year, there will be no paid updates for Luminar until late 2019 at the earliest.
From Libraries to innovative new editing tools, every monumental advance and every new feature will be provided as free updates for Luminar 2018 users.
This is a reflection of how much we value our customers, and how confident we are in the incredible value of the features we've got coming!
With so much on the horizon, communication is key!
Check the blog regularly for updates on all the exciting upcoming features.
We look forward to your feedback and support.
Thanks for taking this journey with us!
Luminar with Libraries.
As mentioned last week, the new version will be released later this year.
Anyone who owns Luminar will get the new update for free in December, if not earlier.
This new version is now in a closed beta testing, and the feedback we have been getting so far has been overwhelming.
The first version of Libraries in Luminar is all about these main points: performance, comfort, and a complete user experience.
This means the new version will give you speed to browse & organize images without the extra wait time.
This means that you’ll enjoy your photos moments after you start the software.
Here’s a short speed test I did last week.
Take a look and stay tuned for more videos, webinars, posts and live sessions about other features.
Most importantly, with the new version of Luminar, you’ll be able to conveniently group photos into albums, rate pictures, sync edits between hundreds of images, and do more without the need to check back a manual every time.
We spent years, studying the needs, workflows, and preferences of different photographers.
So in the new Luminar, you get a truly great viewing/browsing experience that draws you in and helps you enjoy and organize your photos without extra distractions.
And since Luminar is already packed with dozens of innovative tools to edit, enhance, and share photos, you will soon get the most comprehensive and well-rounded photography experience available in a piece of software.
No paid upgrade. You will get all the great stuff for free.
Alongside the new Libraries feature, we also poured a lot of hard work, time & research to bring you new editing tools for portraits, landscapes, aerial and other genres of photography; new features powered by Artificial Intelligence, new looks and styles, and more.
We have initially planned to release those features in Luminar 2019, as a paid upgrade, just like we usually do.
However, this week, we made a decision to forgo any paid upgrades at least until the end of 2019, and add those features to Luminar 2018 for free.
We will incorporate the new tools and features in the latest version of Luminar instead of asking you to pay for the upgrade.
Expect first updates as soon as this year.
And throughout the next year we will be frequently rolling out more free updates to make Luminar Libraries, and its Editing & Sharing tools faster, better and more powerful for you.
A new price for a limited time.
Skylum's software are priced so that everyone can afford them and designed so that everyone can easily use them.
We do this because everyone takes photos, not just experienced and pro photographers.
We do this because photos are more than just the captions they come with.
We believe that every single person deserves to make his/her photos look their best without the extra hassle and without having to study and master all those photo editing tips the pros use.
So for a limited time, Luminar will be available for just $59 for new users who have yet to purchase the software.
For this price, you’ll get the current version of the software, the free update to the new version that boasts Libraries, and free updates for the new features we initially developed for Luminar 2019.
No upgrade fees.
No extra charges.
Sigma’s 28mm F1.4 DG HSM Art, 40mm F1.4 DG HSM Art, 56mm F1.4 DC DN Contemporary, 70-200mm F2.8 DG OS HSM Sports, and 60-600mm F4.5-6.3 DG OS HSM Sports will make their public debut at Photokina 2018
Cologne, Germany – September 25, 2018 – Sigma today announced five new Sigma Global Vision lenses shown for the first time at the 2018 Photokina expo in Cologne, Germany from September 26th-29th in Hall 4.2 on Stands B020, B028I and C029. From wide-angle to hyper-telephoto, the new Sigma Global Vision introductions arrive as some of the most anticipated lenses in the industry, further facilitating artistic expression for photographers.
Sigma 28mm F1.4 DG HSM Art
The new Sigma wide-angle model stands out with its thoroughly corrected magnification chromatic aberration and sagittal coma flare, as well as completely minimized distortion thanks to its optical design. It features water- and oil-repellent coating on the front lens element and its overall dust- and splash-proof structure ensures excellent performance even in the most challenging shooting conditions. The high-speed AF, thanks to the HSM (Hyper Sonic Motor) with an updated algorithm, captures the perfect moment instantly. Available in Sigma, Nikon, Canon and Sony E camera mounts, this lens is a great contender for street photography, as well as shooting landscapes and night skies.
Sigma 40mm F1.4 DG HSM Art
The 40mm F1.4 DG HSM Art is Sigma’s first lens developed originally to live up to the sought-after angle of view and performance standard for a benchmark cine lens. This lens effectively arranges three FLD (“F” Low Dispersion) glass elements and three SLD (Special Low Dispersion) glass elements to correct axial chromatic aberration and magnification chromatic aberration. Designed for exceptional sharpness at maximum aperture, this lens excels at available light photography. With less than 1% distortion and near non-existent sagittal coma flare, this lens demonstrates consistent optical results featuring both 8K-compatible resolution and a beautiful bokeh. It is available for Sigma, Nikon, Canon and Sony E mount camera systems.
Sigma 56mm F1.4 DC DN Contemporary
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma’s Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras. In addition, this lens is characterized by smooth and quiet autofocus ideal for video shooting. Compatible with the Sony E mount Fast Hybrid AF, it also achieves precise AF tracking. By using the face recognition or eye AF functions of the camera, focus will continuously be on the face or the eye even if the subject moves during the shoot.
Sigma 70-200mm F2.8 DG OS HSM Sports
One of the most anticipated lenses from the Sigma Global Vision line, the Sigma 70-200mm F2.8 DG OS HSM Sports is the new flagship large-aperture telephoto zoom lens that meets the most stringent needs of professional photographers. Robust yet lightweight, the lens’ magnesium body ensures high mobility and its dust- and splash-proof structure together with the water- and oil-repellent coating on the front element ensure safe use even in the most challenging shooting conditions. It also incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. The lens’ optical design, incorporating 10 exclusive low-dispersion glass elements, allows for extremely high resolution, from the center to the corners. By optimizing spherical aberration, a smooth and natural bokeh effect is achieved when using the Sigma 70-200mm F2.8 DG OS HSM Sports for portrait photography. The versatility of this lens is demonstrated in various customization options via an AF Function button either through the camera body or Sigma USB Dock. The newest F2.8 large-aperture zoom lens from Sigma comes in Sigma, Canon and Nikon mounts.
Sigma 60-600mm F4.5-6.3 DG OS HSM Sports
The Sigma 60-600mm F4.5-6.3 DG OS HSM Sports is the world’s first 10x optical zoom telephoto lens with a tele end of 600mm. Incorporating 25 elements in 19 groups, excellent and consistent image quality can be achieved throughout the entire zoom range. This lens’ intelligent OS featuring the latest algorithm delivers an image stabilization effect of 4 stops. Its optical design ensures maximum correction of magnification chromatic aberration encountered in hyper-telephoto shooting. This offers both high resolution and consistent edge-to-edge performance throughout the entire zoom range. In addition, when shooting at the focal length of 200mm, the Sigma 60-600mm F4.5-6.3 DG OS HSM Sports can also be used for telephoto macro photography, with a maximum magnification ratio of 1:3.3, thanks to its high rendering performance. Its multi-material build, which incorporates magnesium among other components, ensures durability and enhances portability, allowing for comfortable handling of the 10x zoom lens. The zooming mechanism has been engineered to make both smooth rotation and straight zoom possible. Versatile and robust, the new Sigma hyper-telephoto zoom lens is available in Sigma, Canon and Nikon mounts starting in late October 2018 for $1999 USD.
Company Adds Two New USB 3.1, Gen. 2 Card Readers: microSD Dual-Slot Card Reader, CompactFlash & SD Dual-Slot Card Reader
COLOGNE, Germany – photokina – ProGrade Digital, founded with a mission to provide the highest quality professional grade memory cards and workflow solutions, expands product range with introduction of professional grade microSDXC memory cards, plus two USB 3.1, Gen. 2 dual-slot workflow readers. New ProGrade Digital microSDXC UHS-II, U3, Class 10, V60 card delivers maximum read speed up to 200MB/s and maximum write speed up to 80MB/s. Video Speed Class V60 tested and certified, the card’s sustained write speed will not dip below 60MB/s, which ensures no dropped frames during video recording. Company also announces microSD Dual-Slot Card Reader, plus CompactFlash & SD Dual-Slot Card Reader. Booth readers support USB 3.1, Gen. 2 protocols and offer data transfer rates up to 10Gb/s (1.25GB/s).
ProGrade Digital microSDXC UHS-II, V60
Certified to perform at maximum read up to 200MB/s; maximum write up to 80MB/s
V60 tested and certified to perform at minimum sustained write speed of 60MB/s
Optimized for 4K, UHD, Full HD, most high bit rate MPEG-4 CODECs
Rigorous full card testing, plus component-level testing down to individual memory chips
Laser-etched serial number to track key components and manufacturing data for highest quality control
IRIX, a European brand already known for its high-quality wide-angle lenses (Irix 11mm f/4.0, Irix 15mm f/2.4) and photographic filter systems is expanding its portfolio with a new lens – the Irix 150mm f/2.8 Macro 1:1, designed for full frame cameras with the Nikon F, Canon EF, and Pentax K mount.
With its focal length of 150mm and 1:1 scale of reproduction, these are the basic features of the new product that allows comfort working with small objects. Thanks to the possibility of being able to move away from the photographed object, this makes the operation more convenient than using lenses with a shorter focal length. No shadows are cast on the object and it is also possible to use lamps dedicated to this type of photography.
The Irix 150mm f/2.8 Macro 1:1 lens is equipped with an aperture mechanism consisting of 11 rounded blades that maintain a circular shape within the entire available working range. Thanks to this, when shooting with a wide open aperture, a pleasant background blur is obtained; when closed right down, the diffraction appears much later. This ensures much greater detail of the image.
The focus ring has been equipped with a wide rubber handle with a special convexity pressing. To facilitate precise focusing of the scale, with 270 degree rotation. The whole design is complemented by a functional Focus Lock ring that allows you to lock the focus ring at a convenient position.
The Irix 150mm f / 2.8 Macro 1:1 lens has been sealed in key points (the front element, the Focus Lock ring, the focusing ring and bayonet), making it suitable for use in the harshest of weather conditions such as fog, rain or snow.
The optical design consists of twelve elements – three of which are made of super-low dispersion glass (ED), another four of glass with a higher refractive index (HR), and the whole arranged into nine optical groups. Thanks to this construction, we obtain an close to zero distortion (at a level of 0.1%).
The Irix 150mm f/2.8 Macro 1:1 lens is equipped with an internal focusing system (IF) so that the lens does not change its dimensions when focusing, thus maintaining a compact size and better sealing.
The Irix 150mm f / 2.8 Macro 1:1 lens is the first model available in the new version with the Dragonfly finish, in which the aluminium frame has been enclosed in an external structure made of aluminium-magnesium alloys and composite elements. The combination of Firefly and Blackstone features gave the lens lightness and solidity while maintaining high mechanical strength and resistance in difficult weather conditions.
The lens has a CPU that allows control of the lens aperture from camera level, and the AE module allows the use of semi-automatic modes (PASM). This solution allows the user to get confirmation of the focus from the camera. An additional benefit is the recording of exposure data in the EXIT format.
A set with the lens will include:
a practical deep lens hood that isolates the lens from sidelight sources and also protects the front element of the lens from minor damage
a rigid lens case for safe transport and storage
a detachable tripod collar (Arca Swiss standard), allowing you to transfer the weight that is the centre of gravity to the front and securely place the camera on a tripod.
Pricing and availability have yet to be determined.
Anhui China, Sept 21, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to unveil 8 new and unique lenses in Photokina.
Laowa OOOM 25-100mm t/2.9 Cine Lightweight Zoom
Laowa 17mm f/1.8 MFT
Laowa 12mm f/1.8 MFT
Laowa 9mm f/2.8 Zero-D (DJI DL)
Laowa 9mm f/2.8 Zero-D MFT
Laowa 9mm t/2.9 Zero-D Cine
Laowa 7.5mm t/2.1 Cine
Laowa 12mm t/2.9 Zero-D Cine
Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT
Laowa OOOM 25-100 t/2.9 Cine Lightweight Zoom
Laowa OOOM Cine lightweight zoom is the first professional cinema style zoom lens offered by Venus Optics.
The lens features a wide 25-100mm zoom range, making it a one-size-fits-all lens for different types of productions.
Unlike some cine lens in the market which were re-engineered from a photo zoom lens, Laowa OOOM Cine lens is designed for digital cinematography in the first place.
It is truly parfocal, meaning the focus will never shift when you zoom in or zoom back out.
It is designed to have nearly zero focus breathing throughout the whole zoom range.
The aperture remains fixed at t/2.9 at all focal lengths.
It is built with the true cinema level mechanics.
It comes with a stepless, t-stop independent aperture ring with an industry standard 0.8 mod /32 pitch gears.
The 270° rotation flow provides room or precise focus pulls and the iris is clickless, enabling smooth iris pulls.
The lens weighs only 2.16 pounds, which is fairly light for a cinema zoom that holds focus and aperture throughout the focal length range.
Laowa 17mm f/1.8 MFT
Laowa 17mm f/1.8 is a new compact, standard prime designed for Micro Four Thirds cameras and it gives a 35mm-equivalent field of view.
The lens houses 9 elements in 7 groups and have a 5-blade aperture for the best sunstar rendering.
The lens is extremely compact and lightweight, weighs only 160g (0.36lbs) and is 5cm (2”) long.
A 46cm filter thread is included and the 15cm minimal focus distance make it a perfect lens for videography.
Laowa 12mm f/1.8 MFT
Laowa 12mm f/1.8 is a new compact, wide-angle prime for Micro Four Thirds cameras and it gives a 24mm-equivalent field of view.
The ultra-fast f/1.8 aperture allows photographers to take astro photos with ease.
The lens houses 13 elements in 10 groups and a 5-blade aperture.
The lens can focus as close as 14cm (5.5”) and takes 46mm screw-in filters which gives extra convenience to videographers.
It weighs only 165g (0.4 lbs) and its 5cm long (2”).
Laowa 9mm f/2.8 Zero-D (DJI DL)
Following the successful launch of the super compact and lightweight 7.5mm f/2 MFT lens for DJI Inspire drones (X5 gimbals) during 2017, Venus Optics is proud to introduce another ultra-wide option, Laowa 9mm f/2.8 Zero-D DL, to use on DJI Inspire 2 (X7 gimbals).
Featuring an effective 118° angle of view, the Laowa 9mm f/2.8 Zero-D DJI DL is currently the widest available option for DJI Inspire 2 drones with Zenmuse X7 gimbals.
The bigger image circle can cover the size of Super35 sensors and the native DL mount allows an easy lens switching.
The lens weighs only 215g and it is super tiny and compact.
It comes with a 49mm filter thread and features a close-to-zero optical distortion.
Laowa 9mm f/2.8 Zero-D MFT
Laowa 9mm f/2.8 Zero-D (Micro Four Thirds mount) is the 4th variant added to the existing Fuji X, Sony E and EOS-M mounts. The 9mm lens provides a 18mm equivalent angle of view on the Micro Four Thirds sensor. It also has a better vignetting control over the other variants of the same lens. The close-to-zero distortion will remain unchanged.
Laowa 7.5mm t/2.1 Cine / Laowa 9mm t/2.9 Zero-D Cine
The new Laowa 7.5mm and 9mm Cine lenses are the cine-mod version of the existing photo version of Venus Optics best-selling models.
Both lenses were re-housed with a step-less aperture rings and focus rings with standard 0.8 mod gears which give videographers extra convenience to use with follow-focus systems.
Both of the lenses are the widest available in the market in its class and only weigh 180g (0.4lbs) & 250g (0.55lbs) respectively.
Closest focusing distance is both 12cm (0.4 feet).
The wide perspective and lightweight makes them the perfect companion for gimbal shooting.
MFT mount is available for 7.5mm t/2.1 Cine and Sony E mount is available for 9mm t/2.9 Cine.
Laowa 12mm t/2.9 Zero-D Cine (PL)
The new Laowa 12mm t/2.9 Zero-D Cine in PL mount is the cine-mod version of the existing 12mm f/2.8 Zero-D lens.
The lens was rehoused with a step-less, t-stop aperture rings and focus rings with standard 0.8 mod gears for iris and focus pulls.
It successfully covers the 35mm Vista Vision sensor size and offers an ultra-wide 122° angle of view, making it one of the world’s widest and fastest available option for shooting with large sensors.
Despite the ultra-wide field of view, it is perfectly rectilinear and features a close-to-zero distortion rate.
The focus flow is extended to 270° for cinematographers to also take advantage of the 0.6 feet (18cm) closest focusing distance.
The super lightweight (650g, 1.4lbs) is also an added benefit for cinematographers.
Laowa 10-18mm f/4.5-5.6 FE Zoom
This lens is currently the widest zoom lens available for Sony full frame E-mount cameras.
Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 4 inch (<10cm) and only 1.1 pounds (<500g).
The 102? (18mm) to 130? (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease.
The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance.
It can focus as close as 15cm for some mini-macro shooting.
A rear filter slot is included to fit with 37mm filter.
A dedicated filter holder is being developed to fit 100mm-wide filters.
Click/clickless aperture can be toggled by the switch on the lens barrel.
A 5-blade aperture design ensures a pleasing and clean sunstar rendering.
Multiple samples will be available for free rental during Photokina period.
Laowa 100mm f/2.8 2X Ultra Macro APO
Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up.
This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity.
The wide magnification range allows macro photographers to capture subject at any sizes.
This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found.
The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances.
Automatic aperture control feature is available for Canon EF version and Aperture coupling is available for Nikon F mount version.
Laowa 17mm f/4 GFX Zero-D
This is currently the widest available native lens option for Fujifilm G-mount cameras.
The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113?).
Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography.
The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.
Laowa 4mm f/2.8 Fisheye MFT
Featuring a 210? angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras.
The ultra-wide angle view allows photographers to create 360? panorama with ease.
Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).
Free Rental Program
Venus Optics have prepared some copies of the Laowa 10-18mm f/4.5-5.6 FE Zoom and Laowa 24mm f/14 Probe lens (Canon) for free rental during Photokina period.
For reservations, please contact Venus Optics via firstname.lastname@example.org.
All 12 new lenses will make its Europe debut in Venus Optics’ booth (Hall 2.1, D-040) in Photokina, Cologne during 26th-29th Sept. Pricing and ship date are to be confirmed.
B&H and Adorama will be closed during the Succos holiday.
If you need/want gear sooner rather than later, order now to avoid more than a week-long delay.
B&H Succos Holiday Closing Schedule
SuperStore & Offices
B&H will be closed starting at 1pm ET Sun Sep 23 through Tue Oct 2.
We will reopen at 9am Wed Oct 3.
Checkout will only be available during the following periods:
8:15pm ET Tue Sep 25 until 6:30pm Fri Sep 28
8pm Sat Sep 29 until 6:30pm Sun Sep 30
Regular checkout will resume starting at 8pm Tue Oct 2.
Any orders placed after 6:30pm ET Fri Sep 21 will be processed when we reopen on Wed Oct 3.
Store Pickup orders placed up to 1 hour before store closing time will be available for same-day pickup until store closing time. Store Pickup orders placed less than 1 hour from store closing, or while the store is closed, will be ready for pickup 30 minutes after the store reopens.
Adorama Succos Holiday Closing Schedule
Orders submitted to us during the Sukkos Holiday (Sunday Sept. 23rd after 12:30PM thru Tuesday, Oct. 2nd) will be shipped Wednesday, Oct. 3rd.
JOBY TelePod series now is complete to support cameras and mobile devices, delivering versatility and stability to today’s content creators.
Upper Saddle River, NJ – September 20, 2018 – JOBY, creator of award-winning mounts, stands and grips designed to elevate the potential of the latest mobile and imaging devices, announces the launch of their full line of TelePod products.
The TelePod Mobile, TelePod 325 and TelePod PRO Kit telescoping tripods join the already well-known GripTight PRO TelePod in empowering the next generation of storytellers to elevate their creativity.
Designed for the needs of today’s vloggers, photographers and videographers, the TelePod series delivers maximum versatility with the ability to function as a handgrip, monopod, elevated stand or tripod.
With dedicated solutions for both mobile and camera, the TelePod provides users the ability to capture content from new perspectives, taking creativity to the next level.
All Models Feature:
Ability to work in four modes:
Hand Grip: Close legs and hold to get a grip on your content
Extended Grip: Close legs and extend mount to create selfie stick for overhead or 360 shots
Elevated Tripod: Extend mount and legs for elevated camera/360 stand
Tabletop Tripod: Expand legs and retract mount for a compact tripod stand
Compatible with a variety of JOBY mounts.
Built with lightweight, high strength glass-filled composite, ABS plastic, anodized aluminum, stainless steel and TPE.
“Our design process always begins with listening closely to what today’s image makers are saying; this inspired our redefinition of the traditional selfie stick” explains Tim Grimmer, Senior Director of Product for JOBY.
“The TelePod series provides solutions for creators working with a mix of photos and videos, providing an extreme amount of versatility for capturing selfies, overhead shots and much more.
Content creators love them and that’s what we love to see.”
TelePod Solutions for Mobile Designed for the next generation of mobile storytellers, the already launched GripTight PRO TelePod and the TelePod Mobile securely grip up to plus-size smartphones with endless attachment options. Both models include Bluetooth Impulse remote shutter device.
TelePod Mobile – This all-in-one selfie stick tripod is designed for mobile and is perfect for vlogging, selfies and more. Securely holds smartphones using the included GripTight ONE mount or small 360 cameras. Locking ball head provides precise composition control for unique angles. Works with multiple JOBY mounts including GripTight mount series, GoPro mount, Flash mount or any ¼”-20 device under 325g.
GripTight PRO TelePod –The most recent addition to JOBY’s line-up of pro-content creation tools, easily adjusts to landscape or portrait mode for live streaming, vlogging, SnapChat and Instagram stories. Perfect for smartphones, mirrorless, 360 and action cameras or video light. Includes GripTight Pro 2, Cold Shoe Pro, Pin Joint mount and long thumbscrew for versatile setup options.
TelePod Solutions for Camera Created to support point-and-shoot, 360, action cameras, mirrorless and more, the TelePod 325 and TelePod PRO Kit are great for vlogging, overhead shots and stability on uneven surfaces.
TelePod 325v – The TelePod 325 is designed to meet the needs of creative photographers. A more compact version of our TelePod PRO, this entry-level handheld tripod/vlogging stick is perfect for compact point-and-shoots, 360 and action cameras (additional pin joint mount required) and great for mounting a lightweight microphone or small LED light. Locking ball head provides precise composition control for unique angles. Works with multiple JOBY mounts like GripTight mount series, GoPro Mount, Flash mount or any ¼”-20 device under 325g.
TelePod PRO Kit – We’ve customized our original GripTight PRO TelePod for photographers. The TelePod PRO kit has maximum versatility due to the inclusion of the JOBY BallHead 1K that offers 360 degree panning and 90 tilt for unlimited angles. The 1kg (2.2 lb) weight capacity is perfect for mirrorless, point-and-shoot, 360, action cams or video light. Expand your attachment options via ¼”-20 mount plus included Pin Joint.
All products will be available early October at select JOBY authorized dealers.
Today, GoPro didn't just announce one new camera, we're debuting THREE all-new HERO7 cameras. Yes, HERO7 Black is amazing, but what if you don't need all the bells and whistles? Well, say hello to HERO7 Silver and HERO7 White.
These are the simpilest GoPro cameras ever, at the best value ever, all while maintaining everything that makes GoPro, GoPro. Both rugged, pocket-size cameras capture high-quality photo and video, are waterproof without a housing, voice commend-enabled, and have WiFi connectivity for seamless pairing to your mobile device The $299 HERO7 Silver and $199 HERO7 White both shoot in three modes: photo, video and time lapse. They also have built-in electronic image stabilization to smooth out playback of experiences that are inherently bumpy/shaky, whether you’re skiing, snorkeling or chasing your kids around the yard.
But what's arguably most impressive is the entirely redesigned user interface. This new UI resembles the feel of a smartphone and delivers epic content with a few taps of your finger. Plus, new tools, such as vertical capture, the pre-set Short Clips video feature and selfie/group-friendly Photo Timer, take the guess work out of video and photo capture.
If you ever find yourself switching out tripod heads (or otherwise using the same head on multiple tripods), then adding a quick release system is definitely worthwhile.
I've been using this technique for a while now (example), and it has worked really well for me. [Sean]
Depending on the state of the subject, the camera would sometimes gradually go out of focus during time-lapse photography, despite the fact that focus would normally be expected to lock with the first shot.
Lowepro’s worldwide #1 selling professional camera bag series, ProTactic, has been enhanced for better organization, access and protection with expanded modular system and accessories.
Upper Saddle River, NJ – September 19, 2018 – Lowepro, a company with a 50-year reputation in creating protective gear-carrying solutions for image makers, today announced the second generation of their worldwide #1 selling ProTactic Collection. The high-performance, tactical-inspired collection has been redesigned for better organization, access and protection, while staying true to the ProTactic promise of rugged versatility and armored protection. The new line offers the BP 350 AW II and BP 450 AW II enhanced backpacks plus an expanded modular system and accessories.
Featured ProTactic Technology
4-Point Access: Molded, turret-loading top, quick-grab from both sides, and full, back entry for set-up and security.
FormShell: Lightweight yet sturdy, composite-shell construction delivers superior impact protection.
SlipLock: System of compatible loops and tabs make it easy to add pouches and cases to larger bags so you can easily bring along water bottles, memory cards and more.
CradleFit Laptop Storage: Cleverly constructed compartment suspends and safeguards laptop in backpacks.
ActivZone: Delivers targeted support at shoulder blades, lumbar and waist for comfort on the move. Structured back panel allows for ventilation with integrated trolley strap.
All Weather AW Cover: a raincoat for your gear, our patented cover fits snugly over a bag and can be folded away when not needed. An innovative way to protect against rain, snow, dust and sand.
“In designing carrying solutions, we always listen closely to what our image makers are telling us,” explains Tim Grimmer, Senior Director of Product for Lowepro.
“They are seeking increased versatility, organization, and accessibility with the performance and protection ProTactic is known for.
We’re excited to offer this enhanced line-up featuring more adaptive interiors, always-ready access and a great collection of exterior attachments and accessories.”
The updated ProTactic collection includes:
Backpacks: The exceptionally adaptive second generation of our high-performance ProTactic backpacks, the BP 350 AW II and BP 450 AW II offer a more adaptive interior, multiple access points, modular exterior attachment capabilities and convertible utility belts. Both models include utility pouch, water bottle holder, tripod cup and two Quick Straps.
ProTactic BP 350 AW II – Fits 1-2 standard DSLRs, one with 24-70mm f/2.8 lens attached, up to 8 lenses/speed lights, small drone such as a DJI Mavic, gimbals like DJI Osmo, 360 camera, 13” laptop and small accessories
ProTactic BP 450 AW II – Fits 1-2 Pro DSLRs, one with a 70-200mm f/2.8 lens attached, up to 8 lenses/speedlights, small drone such as a DJI Mavic, gimbals like DJI Osmo, 360 camera, 15” laptop and small accessories.
Lens Cases: Purpose-built lens cases allow you to change out a lens with one hand. Dual-compartment design expands to temporarily hold 2 lenses during exchange. Cases feature SlipLock compatible attachment tabs, all Weather AW Cover, easy-grip main handle, neoprene side pocket for lens or body caps and removable/adjustable shoulder strap.
ProTactic Bottle Pouch – Securely holds up to 1L water bottles and canteens while keeping liquids insulated. Features stretchable padded insulated construction, drawstring toggle and closure and SlipLock compatible tab.
ProTactic Phone Pouch – Keep your communications handy with this simple and secure zip pouch. Mounts on ProTactic backpack harness, waist belt or on pack body for easy access. Features SlipLock compatible tab. Fits up to Plus size Apple or Android phone.
ProTactic Utility Belt – Designed to operate during a variety of missions, this belt is constructed for sturdy utility carry. Reinforced “duty” belt distributes weight evenly and keeps gear close at hand. Adjusts to fit 29” – 40” waists. Holds up to 16 SlipLock compatible accessories when adjusted to 40”.
ProTactic Quick Straps – Quick attach, quick release adjustable straps securely clip into any SlipLock attachment point. Includes two 1-inch webbing strap assemblies. Adjusts from 5 to 13.5 inches.
The Lowepro ProTactic BP 350 AW II Backpack and BP 450 AW II are available now at select Authorized Lowepro dealers. Lowepro ProTactic Lens Exchange, Utility Bags, and other accessories will be available early October.
My wife has two night-blooming cereus plants which were cut from her mother's decades old plant.
In fact, the origin of this night-blooming cereus goes back four generations with mothers passing down cuttings to their daughters.
If you're unfamiliar with this type of plant, an apt description can be found on Wikipedia:
Night-blooming cereus is the common name referring to a large number of flowering ceroid cacti that bloom at night. The flowers are short lived, and some of these species, such as Selenicereus grandiflorus, bloom only once a year, for a single night. Other names for one or more cacti with this habit are princess of the night, Honolulu queen (for Hylocereus undatus), Christ in the manger, dama de noche and queen of the night (which is also used for an unrelated plant species).
The night-blooming cereuses we have typically bloom once or twice a year, with the flowers appearing well after the sun goes down and wilting sometime around sunrise.
Once you see the white petals just poking out of the ends of the nearly enclosed buds, you know the flowers will be blooming later that night.
Having noticed the imminent blooms, I photographed one of the buds earlier in the day.
The leaf the bud was attached to was sticking out well beyond the railing of our back porch, giving me plenty of working room and few obstacles to shoot around if shooting from the side.
To photograph the bud, I set up a tripod-mounted Canon EOS 5D Mark III and EF 100mm f/2.8 USM Macro and pointed the camera alongside the railing to get a nice side view.
However, the background (a line of trees bordering our backyard) proved too distracting because a) the relatively narrow aperture I wanted to use did not diffuse it sufficiently for good separation and b) the colors of the background were too similar to the bud to create color separation.
To remedy the situation, I clamped a black foam core board behind the bud to eliminate the background.
Here's what the setup looked like:
At this time of the day (approx. 12:30pm Eastern Time), sunlight was filtering through the trees, giving it a soft quality, but the bud was still relatively well lit.
Therefore, I used the sunlight as my main light and simply held a white foam core board angled slightly below the bud to fill in the shadows caused by the high sun.
Of course, the sunlight was also illuminating the background, making my very dark grey foam core board less dark, but... I liked the effect.
Here's what the bud shot looked like after processing:
EXIF: f/10, 1/160 sec, ISO 200
Later that evening, the real show began. Around 10:00pm ET, we noticed that the flowers were starting to open up. I quickly grabbed the same tripod-mounted camera and lens and got to work.
This time, I used a shoe-mount flash diffused by a 24" collapsible softbox with grid positioned behind the flowing plant (rather high) to create a diffused backlit glow and rim light. I used the same white foam core board that I had used for the bud shot positioned below the flower for fill.
EXIF for the end result seen atop this post: f/8, 160 sec, ISO 400.
My mother-in-law questioned why I didn't shoot the flower from the front to show off its interesting structure, and many of you may be wondering the same thing.
Truth is, I captured many shots of the blooming flower from the front but didn't like them nearly as much. Here were the challenges that made photographing the flowers from the front less ideal:
The position of the bloom (sticking through the railing) limited where I could place off-camera flashes and modifiers (no rim/back lighting possible), leading to a rather dull image.
Night-blooming cereus flowers are very deep. Front lighting the flower from anywhere except the camera's axis results in dark shadows in the deepest part of the blooms.
Getting the entire flower in focus from the front of the petals to the back (within the depth-of-field) is very challenging. As I was photographing the flower while still attached to the plant, small movements made focus stacking an impractical solution.
Sometimes you just have to accept the limitations of a given situation and figure out a solution that works best.
New integration with Adobe Premiere Pro CC makes video editing faster, intuitive and more affordable; decision made based on community feedback
HELSINKI, Finland – September 19, 2018 –Loupedeck, the custom photo editing console built with an intuitive design that makes editing faster and more creative, has announced its first foray into video editing, beginning with its integration with Adobe Premiere Pro CC.
Following a year of success and innovation, the decision to include video editing functionalities is exclusively based on feedback from Loupedeck’s invested community.
The Loupedeck+ will make the video editing process faster, more intuitive and more affordable than the industry norm, offering a native integration with Adobe Premiere Pro CC, with all Premiere Pro functions available on the device.
New video editing functionalities of the Loupedeck+ include:
Faster and more intuitive video editing and color correction. All basic tools for color grading are simply labeled on the console
Total flexibility with Premiere Pro CC, allowing editors to make their own configurations to fit their workflow
Ability to export/import a editors’ personal Loupedeck configuration setups and easily transfer them to another computer
Lumetri Color workspace compatibility for color grading
Ability to toggle between your favorite LUTs, serving as a significant time saver
Flexible timeline navigation, content trimming and clip adjustment
Option to customize console buttons to preferred Adobe Premiere shortcut demands or use preinstalled functions
“Our mission is to keep on improving the editing workflow, so it’s only fitting our next step is in the video editing space,” said Mikko Kesti, Founder and CEO of Loupedeck.
“Just like we developed the Loupedeck+ exclusively from community feedback, we felt it was imperative to listen to what our users had to say and make the device’s functionality even more well-rounded, providing all the same editing functions that photographers have at their fingertips to videographers.
Users can now count on Loupedeck+’s intuitive design and user-friendly approach to enhance their video editing quality and increase their output.
Our ongoing partnership with Adobe made introducing these new capabilities with its Premiere Pro CC suite an easy decision.”
Additional video software integrations will be announced later this year.
On the photo editing side, the Loupedeck+ will include future integrations with Skylum’s other products, including Skylum Luminar.
It is also currently in beta with Capture One, with full integration on the way, as well as additional photography software integrations to follow later this year.
Wes Brewer, CEO ProGrade Digital has published a comparison between two emerging memory standards: SD Express and CFexpress.
Recently, the SD Association (governing body for SD card development and standardization) announced finalization of revision 7.0 for the card SD specification. This revision now includes a section 8.0, which adds an NVMe compliant, PCIe interface option. Like the announcement of CFexpress 1.0 made by the CompactFlash Association in August of 2016, the PCIe interface with NVMe provides a scalable path for improved performance in flash-based storage devices, and conforms to industry standards in use for devices such as SSDs.
This white paper provides an objective look at variances between the two standards SD Express and CFexpress.
Santa Rosa, Calif. – With Think Tank Photo’s new Emergency Rain Covers, photographers need no longer be caught off guard by bad weather. The Emergency Rain Covers are a simple, compact solution for protecting photo gear from sudden downpours or dusty conditions. These seam-sealed rain covers can be quickly and easily deployed when outdoor conditions change.
The covers are designed to fit both DSLR and Mirrorless cameras and are available in two sizes to accommodate a range of full-frame lenses. The Emergency Rain Cover – Small protects a 16–35mm f/2.8, a 14–24mm f/2.8, a 24–105mm f/4, or a 24–70mm f/2.8 lens. The Emergency Rain Cover – Medium protects a 24–70mm f/2.8 or a 70–200mm f/2.8 lens.
“When compressed, the Emergency Rain Cover fits into a small pouch, so it’s easy to bring along even if rain is a distant concern,” said Think Tank’s President and Lead Designer Doug Murdoch. “It takes up so little room in your bag, yet could save your gear when a sudden downpour or dust storm hits. Every photographer who shoots outdoors should keep one tucked one away in their camera bag.”
Seam-sealed for extreme protection in downpour or dusty conditions
Compresses into an included compact carrying pouch
Oversize window to view your LCD and controls
Ability to access your camera through one cinchable sleeve
Mountable to tripod or monopod
Dual viewing configurations for varying conditions
Hot-shoe mount keeps cover secured to camera during use
Non-slip, adjustable strap attaches directly to the lens hood
Santa Rosa, Calif. – With Think Tank Photo’s upgraded Hydrophobia rain covers, stormy weather will never again prevent photographers from getting “The Shot.” These popular rain covers feature waterproof construction that protects camera gear from downpours and dusty conditions. The Hydrophobia V3.0 rain covers are available in five sizes to fit DSLR cameras and the Sony full-frame mirrorless systems, and a variety of lenses.
The Hydrophobia D 24–70 V3.0 Rain Cover for DSLR camera bodies and the Hydrophobia M 24–70 V3.0 Rain Cover for Sony full-frame mirrorless camera bodies fit a 24–70mm f/2.8, a 24–105mm f/4, a 16–35mm f/2.8, or a 14–24mm f/2.8 lens. The Hydrophobia D 70–200 V3.0 Rain Cover for DSLR camera bodies and the Hydrophobia M 70–200 V3.0 Rain Cover for Sony full- frame mirrorless camera bodies fit a 24–70mm f/2.8, a 70–200mm f/2.8, a 80–400mm f/5–6.3, or a 100–400mm f/5–6.3 lens. The Hydrophobia DM 300–600 V3.0 Rain Cover for DSLR and Sony full-frame mirrorless camera bodies protects a 150–600mm f/5.6–6.3, a 300mm f/2.8, a 400mm f/2.8, a 500mm f/4, a 600mm f/4, a 200–500 f/5.6, or a 200–400 f/4 lens.
The Hydrophobia V3.0 rain covers are constructed with a durable 3-layer material comprised of 210T seam-sealed rip-stop, polyurethane film and 70D nylon tricot, and are Polyurethane seam-sealed for downpour or dusty conditions. The covers feature weather resistant zippers, nylon webbing, and a rubberized laminate. The eyepieces (sold separately for Canon, Nikon, Sony and Olympus) allow full access to the viewfinder while protecting the camera. Other key features include:
Other key features include:
Oversize window to view LCD and controls
Ability to get hands directly on the camera through two cinchable sleeves gives you easy access to all camera functions
Integrated shoulder strap (excluding 300–600) allows the camera to be worn on the shoulder while cover is attached. Can be replaced with a favorite strap, if desired
Mountable to tripod or monopod
Eyepiece flap folds into a visor or, when not in use, shields viewfinder from rain or dust
DWR coating for an extra layer of protection
An eyepiece pocket is built into the bottom of the Hydrophobia rain cover (eyepiece sold separately)
Rainproof front element cover is included for additional protection
Non-slip, adjustable strap attaches directly to the lens hood
Camera strap can be secured inside the cover
Carrying pouch included for transportation and storage
Hydrophobia D 24-70 V3.0 Rain Cover
Hydrophobia M 24-70 V3.0 Rain Cover
Dimensions: 13.8” long x 3.9”–5.5” Diameter (35 x 10–14 cm)
Weight: 9.5 oz (275 g) rain cover only
Hydrophobia D 70-200 V3.0 Rain Cover
Hydrophobia M 70-200 V3.0 Rain Cover
Dimensions: 18.1” long x 3.9”–5.5” Diameter (46 x 10–14 cm)
Weight: 10.5 oz (300 g) rain cover only
Hydrophobia DM 300-600 V3.0 Rain Cover
Dimensions: 27.1” L x 5.1–7.9” Diameter (69 x 13–20 cm)
600mm Lens Extension Sleeve Dimensions:
Weight: 14.9 oz (424g) rain cover only
Upper Saddle River, NJ – September 18, 2018 – Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fiber.
The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support. A 50% increase in rigidity* is achieved thanks to the combination of carbon-fiber tubes and a new patent-pending internal leg lock mechanism.
Manfrotto’s two new twin-leg carbon-fiber video tripods are available in two models: middle spreader and ground spreader and both feature:
100mm bowl with a 75mm aluminum adapter for compatibility with a wide range of video heads.
Fully adjustable & removable spreader allowing for precise positioning based upon the creators needs.
Rubber feet with spiked option making them adaptable based on location.
All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Both twin-leg carbon-fiber tripods are available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.
Manfrotto Twin Carbon Fiber Video Tripods and Kits are available now at select Manfrotto Authorized Dealers.
Digital Experience Subscription Revenue Grows 25 Percent Year-Over-Year in Q3
Thursday, September 13, 2018 4:05 pm EDT – SAN JOSE, Calif. – Adobe (Nasdaq:ADBE) today reported strong financial results for its third quarter fiscal year 2018 ended August 31, 2018.
Adobe achieved record quarterly revenue of $2.29 billion in its third quarter of fiscal year 2018, which represents 24 percent year-over-year revenue growth.
Diluted earnings per share was $1.34 on a GAAP-basis, and $1.73 on a non-GAAP basis.
Digital Media segment revenue was $1.61 billion, with Creative revenue growing to $1.36 billion and Document Cloud achieving record revenue of $249 million, which represents 21 percent year-over-year growth.
Digital Media Annualized Recurring Revenue (“ARR”) grew to $6.40 billion exiting the quarter, a quarter-over-quarter increase of $339 million. Creative ARR grew to $5.66 billion, and Document Cloud ARR grew to $744 million.
Digital Experience segment revenue was $614 million, which represents 21 percent year-over-year growth. Digital Experience subscription revenue grew 25 percent year-over-year in the quarter.
Operating income grew 32 percent and net income grew 59 percent year-over-year on a GAAP-basis; operating income grew 32 percent and net income grew 57 percent year-over-year on a non-GAAP basis.
Cash flow from operations was $955 million, and deferred revenue grew 23 percent year-over-year to approximately $2.71 billion.
Adobe repurchased approximately 2.9 million shares during the quarter, returning $714 million of cash to stockholders.
A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.
"Adobe continues to inspire creativity and drive business transformation as reflected in our record Q3 results," said Shantanu Narayen, president and CEO, Adobe. "Students, creatives, enterprises and governments trust Creative Cloud, Document Cloud and Experience Cloud to create and deliver the transformative digital experiences required to compete today."
“Our strong momentum continued into the second half of fiscal 2018 as Adobe delivered another quarter of sustained revenue growth, strong earnings and cash flow of nearly $1 billion," said John Murphy, executive vice president and CFO, Adobe.
Brand new introductions to the FF High Speed Prime Line – 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF – will be debuted at IBC2018
September 11, 2018 – Sigma Corporation is pleased to announce the development of three new Sigma Cine lenses in the FF High Speed Prime Line: 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF.
With these additions, the FF High Speed Prime Line now includes ten lenses covering 14mm to 135mm and T1.5 to T2, giving cinematographers even more options to empower their artistic expression and take their cinematic vision to the next level.
Available for test-shooting at the 2018 IBC Show in Amsterdam from September 14-18, 2018, attendees are welcome to visit the Sigma booth 12.D64 to get hands-on with the new cine lenses.
New Models in the Sigma Cine FF High Speed Prime Line
All the lenses in the FF High Speed Prime Line, including the brand new 28mm T1.5 FF, 40mm T1.5 FF and 105mm T1.5 FF, are compatible with full-frame image sensors and optimized for ultra-high-resolution 6K-8K shooting.
All three lenses come in PL, EF and E mounts with lens support foot and cap included.
The 105mm T1.5 FF is expected to start shipping in October 2018, the 40mm T1.5 FF in the end of 2018, and the 28mm T1.5 FF in early 2019.
Pricing for each new model will be announced at the time of availability.
Development of LPL Mount
In the future, the Sigma Cine lens series will include an LPL mount, the new lens mount optimized for the large format sensor released by ARRI in 2018.
The planned release date for the Sigma Cine lenses in LPL mount is 2019 or later.
New Befree tripod to monopod solution and an additional option for their Befree Live expand the traveler segment.
Upper Saddle River, NJ – September 13, 2018 – Manfrotto, world leader in the photography, videography and imaging equipment and accessories industry, has expanded its travel tripod range with new additions to the Befree Collection.
The Manfrotto Befree 2N1 is the most versatile model in the Befree range, with an all-in-one solution that allows the tripod to be converted into a monopod in just a few steps.
It offers a secure, easy and fast solution to convert the tripod into a monopod, while retaining the same exceptional stability afforded throughout the Befree collection.
The technology behind the safety and stability of the Befree 2N1 is a dedicated locking system that ensures the total absence of play when working both as a tripod and as a monopod.
Furthermore, the conjunction cap on the center column of the Befree 2N1 firmly connects the tripod leg to the tripod column, giving shape to a solid travel monopod.
The Befree 2N1 is made to enable quick and easy switching from a tripod to a monopod.
After a half-turn anticlockwise, a red rubber ring will appear on the tripod leg, providing the user with visual feedback that the tube can be safely removed for use as a monopod.
The Befree 2N1 is available in two versions: the Quick Power Lock version with levers, and the M-Lock twist option.
Additionally, following the great success of the Befree Live in both aluminum and carbon versions, Manfrotto is releasing the Befree Live with Quick Power Lock, dedicated to independent content creators who prefer the lever lock system.
All three models will be available late September at select Authorized Manfrotto Dealers
Skylum’s Quantum HDR Engine harnesses the power of AI for a more streamlined editing experience than ever before. It reduces burned-out colors, loss of contrast, noise and unnatural lighting caused by halos and unstable deghosting.
The Quantum HDR Engine has taken three years to create within Skylum’s AI lab, and contains the vast knowledge of the development team paired with artificial intelligence to bring you seamless HDR editing, be it with a single image or multiple bracketed shots.
Skylum’s developers tested thousands of bracketed shots through a neural network, and used the results to develop the technology needed for creating incredible HDR photographs - whether it’s real estate, landscape, cityscape or any other type of HDR photography.
Here are the most essential changes:
New Quantum HDR Engine
LUTs support with 11 New Integrated LUTs
Photoshop plugins support
New HDR Smart Structure filter for realistic and artefact-free structure (can be found in the new HDR Enhance filter)
Presets are now called ‘Aurora HDR Looks’
Improved Adjustable Gradient filter with new sliders for Shadows and Highlights added
Improved HDR Details Boost Effect ( the photo is shown in high-resolution while fine-tuning the filter)
Aurora HDR 2019 is available for pre-order now and will be released on October, 4.
Current users may upgrade at a price of $49 USD ($59 USD MSRP)
New users can purchase Aurora HDR 2019 at a price of $89 USD ($99 MSRP)
Video Tutorial: Getting the Most from Aurora HDR 2019 by Trey Ratcliff
Landscape Photography Handbook by David Johnston
Burning Moods LUTs by Richard Harrington
Exclusive interior Aurora Looks by Richard Harrington
Size matters, it does. Because how much gear you have to carry matters. How much space you have to set up and work in matters. Being able to move fast, getting in, getting out and nailing the shot matters.
Something else matters too; knowing that the equipment you have will push you forward rather than hold you back - that you'll be inspired to grow and to express yourself creatively. To be you, at your best.
That's why when Profoto set out to create the Profoto B10, their brand new cordless off-camera flash, the company first considered size. Or rather, a lack of it. “We designed the B10 to be small,” said Göran Marén, Product Manager at Profoto. “Just a little bigger than a medium-sized zoom lens. That means you can fit it in your bag with the rest of your gear and because it’s cordless and lightweight, it’s easy to bring and set up anywhere. That said, this is in every way a Profoto light, so the power and quality of light is essential.”
And while the B10 is small, it’s small without compromise. The B10 gives you five times more light than a speedlight; it’s a light that has a natural and beautiful soft fall off.
But this is more than just a flash; it’s also a highly effective continuous light that you can use for both stills and video. And like all Profoto lights, it’s easy to use. A separate dial on the sleek B10 interface allows you to adjust both brightness and color temperature until it blends perfectly with the ambient light. The continuous light is just one example of the extreme flexibility contained within the B10. The stand mount and the battery are prime examples. The stand mount can be swiftly removed. As a result, you can mount the B10 on any camera tripod. It is just as quick to replace the battery too, and you can charge it while you’re using it.
Göran Marén continues: “every part of the B10 has been designed to help the photographer to be more creative with light on location. We felt that the more flexibility we built in, the more an image creator can adapt to any issues or opportunities that a location might offer.”
Better still, the possibilities don’t end there since your creativity can run riot with an enormous range of Profoto light shaping tools that are as flexible as the B10. There are a dozen light shapers in Profoto’s compact and lightweight OCF series to start with, and if they’re not enough, there are 120 more light shaping tools in the full Profoto range.
Controlling the B10 off-camera is also easy. You can trigger and control the B10 wirelessly from any Profoto AirTTL remote or the Profoto A1. From up to 300 m/1000 ft you can point and shoot with TTL or switch to manual control at any time. AirTTL Remotes are available for all major camera brands.
To further capture the imagination, Profoto has added smart connectivity in the form of a unique and innovative smartphone app. With the B10 connected to the Profoto app you always have the latest B10 updates available at your fingertips. The app also gives you an ingenious remote control that lets you view and control all B10 settings from your smartphone screen.
The most inspiring part of the app might the beta version of creative capture that brings smartphone photography and the creative use of light closer together than ever before. Göran adds: “we wanted to inspire new ways of being creative with light, and to give photographers a glimpse into the future of photography.” Ultimately the B10 is a big light in a small package. And that means the possibilities are enormous.
The final words belong to Göran. “It’s what we like to call, ‘the power of small.’ It’s the power to be creative with light in so many more ways. It's the ability to take all those incredible images that live in your imagination – and make them real.”
The Profoto B10 is light unleashed. Actually, it’s more than that – it’s you unleashed.
My wife and I would like to introduce the newest member of the The-Digital-Picture.com family.
Pictured above is Olivia Jane, born yesterday at 4:50pm. She was 7 lb 13 oz (3.54 kg) and 20" (50.8 cm) long.
She's healthy and, contrary to what last night's seemingly constant crying might indicate, probably very happy to be here.
I'm running on very little sleep, so... I'll make this post short and sweet. I'm a father now, and it's a whole new world. :-)
Santa Rosa, Calif. – Being a photographer is about getting to the right location at the right time — which can often be challenging. To help photographers protect their lenses from the rigors of travel, Think Tank Photo has just released the Lens Case Duo series of six quick-access, dual-opening padded lens cases. A zippered lid and side opening is a unique feature compared to other lens cases.
With the Lens Case Duo, photographers can protect their delicate lenses while transporting them in rolling cases, backpacks or shoulder bags. These cases can then be converted into a modular system for quick access in a bag or on a belt. A shoulder strap is included for the six larger sizes: Lens Case Duo 5, Lens Case Duo 10, Lens Case Duo 15, and Lens Case Duo 20, Lens Case Duo 30, and Lens Case Duo 40. Two exterior stretch pockets provide space for a lens cap or a cleaning cloth. Soft zipper protectors and a plush lining protect sensitive and expensive lenses from scratches. All sizes come in black and green.
“The Lens Case Duo should be used by every photographer concerned about protecting their lenses, especially while in transit,” said Doug Murdoch, Think Tank Photo’s President and lead designer. “While our roller and backpack dividers provide ample protection, the Lens Case Duo provides just that extra protection layer that could help prevent damage in unforeseen circumstances.”
The Lens Case Duo 5 holds a Canon/Nikon 18-55mm f/3.5-5.6, Canon: 10-18mm f/4.5-5.6, Canon/Nikon 50mm f/1.4, Nikon 55-200mm f/4-5.6 AF-S, or Olympus: 12-40mm f/2.8, 40-150mm f/4-5.6
The Lens Case Duo 10 holds a Canon 55-250mm f/4-5.6, Sigma 8-16mm f/4.5-5.6, Tamron/Sigma 18-200mm f/3.5-6.3, or Sony 16-35mm f/4
The Lens Case Duo 15 holds a Canon/Nikon 70-300mm f/4.5-5.6, Canon/Nikon 18-200mm f/3.5-5.6, Tamron 18-400mm f/3.5-6.3, Nikon 18-300mm f/3.5-5.6, Nikon 10-24mm f/3.5-4.5, Tokina 11-16mm f/2.8, Canon/Nikon 24mm f/1.4, Canon/Nikon 35mm f/1.4, Canon/Sony 100mm f/2.8, or Nikon 105mm f/2.8
The Lens Case Duo 20 holds a Canon/Nikon/Sony 24-70mm f/2.8, Canon 24-105mm f/4, Nikon 14-24mm f/2.8, Sony 85mm f/1.4, Canon/Sony 100mm f/2.8, or Nikon 105mm f/2.8
The Lens Case Duo 30 holds a Canon 16-35mm f/2.8, Nikon 17-35mm f/2.8, or Canon 11-24mm f/4
The Lens Case Duo 40 holds a Canon/Nikon/Sony 70-200mm f/2.8, Canon/Sony 100-400mm f/4.5-5.6, or Nikon 80-400mm f/4.5-5.6
Durable water-repellant (DWR) coating
420D velocity nylon
Ultra Stretch front pockets
YKK RC zippers
3-ply bonded nylon thread
3-layer nylex liner
3-ply bonded nylon thread
Lens Case Duo 5
Interior Dimensions: 3” Diameter x 4.6” Height (7.5 x 11.5 cm)
Exterior Dimensions: 3.7” Diameter x 4.9” Height (9.5 x 12.5 cm)
Weight: 0.2 lbs. (0.1 kg)
Lens Case Duo 10
Interior Dimensions: 3” Diameter x 5.7” Height (7.5 x 14.5 cm)
Exterior Dimensions: 3.7” Diameter x 6.1” Height (9.5 x 15.5 cm)
Weight: 0.2 lbs. (0.1 kg)
Lens Case Duo 15
Interior Dimensions: 3.4” Diameter x 6.7” Height (8.5 x 17 cm)
Exterior Dimensions: 4.1” Diameter x 7.1” Height (10.5 x 18 cm)
Weight: 0.2 lbs. (0.1 kg)
Lens Case Duo 20
Interior Dimensions: 4.3” Diameter x 6.5” Height (10.8 x 16.5 cm)
Exterior Dimensions: 5.0” Diameter x 6.9” Height (12.8 x 17.5 cm)
Weight: 0.3 lbs. (0.1 kg)
Lens Case Duo 30
Interior Dimensions: 4.8” Diameter x 6.8” Height (12.2 x 17.2 cm)
Exterior Dimensions: 5.6” Diameter x 7.2” Height (14.2 x 18.2 cm)
Weight: 0.3 lbs. (0.1 kg)
Lens Case Duo 40
Interior Dimensions: 4.5” Diameter x 9.9” Height (11.4 x 25 cm)
Exterior Dimensions: 5.3” Diameter x 10.2” Height (13.4 x 26 cm)
Weight: 0.4 lbs. (0.2 kg)
An extra-large reference target to speed up color correction and save hours in post-production for filmmakers, DITs, editors and colorists.
X-Rite Incorporated, the world leader in color management and measurement technologies, today announces the addition of the new ColorChecker Video XL to the ColorChecker family.
For longer and wider shots, this extra-large format color reference target speeds up video production for more consistent and accurate color from capture to edit.
Given the popularity of the X-Rite ColorChecker Video and Video Passport targets among filmmakers and editors, adding a larger target for longer, wider and aerial shots was a logical addition to the family.
Often the distance between the camera and the subject is too great, or the angle is too wide, to effectively capture a smaller target.
With ColorChecker Video XL, users can increase capture resolution for post, maintain the same lighting conditions falling on their subject, eliminate the need to move the camera closer or adjust focal length, and minimize color casting from surrounding light.
Perfect for large production sets, event filmmaking, and aerial filmmaking, the ColorChecker Video XL allows users to accurately check highlights, shadows and mid-tones, match multiple cameras and achieve accurate color balance.
It provides the same chromatic colors, skin tones and gray reference chips of the standard size ColorChecker Video, but is twice as large, measuring 23” x 19.5” x 0.12’”(53.3 x 37.5 x 0.3 cm).
All X-Rite ColorChecker Video targets work with popular filmmaking tools like waveforms, vectorscopes, and zebras.
“Filmmakers and photographers tell stories with their images.
Along with light, color plays an essential role in these stories.
We want to make sure they tell their story as perfectly as possible, which means starting from an ideal neutral place,” said Liz Quinlisk, Marketing Director Photo & Video, X-Rite.
“Time is money, and the new ColorChecker Video XL helps filmmakers get to their creative look faster with less wasted time.
No matter how big their story is we now have the right target size for every situation.”
X-Rite ColorChecker Video XL is available as a stand-alone color reference target or combined with two forms of added protection – a choice of a simple carry sleeve or a more robust, fully configurable carrying case.
X-Rite’s ColorChecker Video XL and protective accessories are now available through the global photo and video reseller network.
Thank you for choosing Nikon for your photographic needs.
Some users of the COOLPIX W300 and the COOLPIX W300s digital camera have indicated that while shooting a series of images with their COOLPIX W300 or W300s camera to create a time-lapse movie, the focus position, which should lock when the first image is taken, may shift. Nikon’s review of this matter has confirmed that this issue may occur with some subjects under certain lighting conditions.
To address this issue Nikon is currently developing a firmware update that will resolve this issue. Please continue to check this website for further updates on this issue.
Once again, thank you for choosing Nikon for your photographic needs.
Bellevue, WA – September 6, 2018 — Photolemur, a leader in AI technology in the photography industry and a winner of the 2018 Red Dot Award for High Design Quality, has released pre-order details for the latest product launch: Photolemur 3 With Photolemur, Skylum has taken the concept of photo enhancement back down to Earth, bringing the complex process of photo editing to the hands of mass consumers all over the world. The software has been developed with regular folks in mind, camera users who might not have the time for or a good grasp of editing, from amateur and beginner photographers to moms, bloggers, and occasional shooters.
Designed as an intelligent automated photo assistant that enhances images in the same way a professional photographer would, but much quicker than any standard editing software, Photolemur only requires its users to drag and drop an image. It takes care of the rest by automatically making pro-level enhancements and adjustments to the image within minutes. Photolemur uses 14 different AI technologies to think for itself, analyzing what aspects of a photo need to be tweaked to bring the image to its best. It saves its users from going through the long editing process or relying on unintelligent filters that aren’t exactly tailor-made for that particular image. The software is proving to be a gamechanger in the photography space, allowing everyone from basic social media users and amateur bloggers to the more seasoned pros to create the perfect photo. Photolemur is transforming the photography industry, benefitting both casual photographers and professionals, reducing an hour of complex photo editing to mere minutes.
At the heart of Photolemur is a smart engine with powerful technology that has analyzed millions of photos to find editing patterns. It enhances each photo accordingly based on those patterns. It utilizes similar technology used in manual editing software, from color recovery and noise reduction to auto color temperature and exposure compensation. Both pro photographers and casual shooters can trust its AI technology to recognize the differences in objects and make smart decisions when choosing the correct adjustments.
The software also allows users to batch enhance up to 200 photos at a time, making it a real time saver for users who don’t have a lot of hours to invest in photo editing. With this new update, Photolemur now fixes skin imperfections, whitens teeth, smoothes skin and hair, and sharpens and widens eyes, making it an ideal tool for casual photographers and social media enthusiasts.
By simplifying the editing process, seamlessly creating pro-level adjustments to any photo without any effort from its users, Photolemur is sweeping not only the photography community, but also the mass market. Photolemur is ahead of the trends in the photography industry, using its intuitive AI technology to make photo editing more accessible and to bring photography back to where it matters most, the millions of camera shooters who use it to capture memories and record important moments in their lives.
Photolemur 3 includes several updates across the software, from technology to user interface.
Automatic face enhancement with skin retouch and teeth whitening. This feature detects and clears skin imperfections as well as whitens teeth for a more glowing portrait.
Smart eyes enlarge. This feature analyzes your subjects’ eyes and makes eye enlargements accordingly.
Adding styles to photos. Six new, crazily creative styles are now available to really get the look you want.
New menu for opacity settings
Quick access menu for face enhancement, lens correction, and eyes enlarge
Apply settings from one image to all images in a batch, maximum 200 images
SmugMug export for Mac
Until September 13 Photolemur 3 is available at a special pre-order price for $49 for a family license (5 activations) with a collection of bonuses. The product will be released on 14 September 2018.
Photolemur 3.0 Regular Pricing (starting on September 14):
Current users may upgrade at a price of $19
New users can purchase Photolemur 3.0 Family at a price of $59
New users can purchase Photolemur 3.0 Single at a price of $39
Summer is over and now it’s up to you to bring the heat. For the next 30 days, we’ll be providing you with prompts on the @AdobeStudents Instagram that are designed to ignite your creative spark and teach you some new skills along the way. We’ll also be giving out some incredible prizes at the end of the month, including a 13-inch MacBook Pro.
A new prompt will be shared every day of September on the @AdobeStudents Instagram and we are challenging you to complete as many as possible using tools from Adobe Creative Cloud. Don’t worry if you haven’t used them before, you can download a free 7-day trial here and complete any of the prompts for a chance to win. See below for further details on prizes and sweepstakes eligibility.
We can’t wait to see the amazing work you create, so be sure to share all of your work on Instagram by October 1, 2018 by tagging @AdobeStudents and using hashtags #AdobeStudents30 #Sweepstakes.
To be entered into the prize drawing, you must complete one or more of the prompts. For each prompt you complete, you will receive one entry into the sweepstakes. For example, if you choose to complete one prompt, you will receive one entry; if you complete 30 prompts, you will receive 30 entries into the drawing. The more prompts you complete, the higher the chance of winning one of the following prizes:
Grand Prize: 13-inch MacBook Pro & 12-month Creative Cloud Subscription
Second Prize: iPad Pro, Apple Pencil & 12-month Creative Cloud Subscription
Third Prize: iPad Mini & 12-month Creative Cloud Subscription
This challenge is all about building a creative routine, not about creating perfect work. All of these prompts are designed to be completed within 30-minutes. Whether you consider yourself a beginner or an expert, all we ask is you give your best effort! It’s time to get creative, get excited and most of all, enjoy 30 days of sharing your creativity with the world.
No purchase necessary. All entries must be submitted by October 1, 2018. Must be 18+ and a current or recently graduated student (2018 onwards). For complete details, eligible countries, and promotional item descriptions, see official rules. Void where prohibited. Winners will be announced by November 1st, 2018.
On 27.07.18, the century’s longest lunar eclipse occurred, forming a blood moon that was visible across South America, Europe, Africa and Asia. We went behind the scenes with astrophotographer Michi Rust on his mission to photograph it. In this video, Michi shows us his gear set up and the steps he follows to get shots that are truly out of this world!
Just for fun, I hit the tool's "Generate" button a few times to come up with my own Tamron 15-30mm f/2.8 G2 press release:
This is a true advance that will inspire your craft and create new opportunities in your imaging world. Now you can possess a single wide-angle lens that coaxes you to seize images that are both extraordinary and impressive. Its performance is unquestioned with regards to tonal depth yet it provides astounding flare control. Like all of our products, this lens incorporates our extensive expertise. This lens provides a classic focal length, offering a unique opportunity to enhance your natural creativity.
We have created a galvanizing new benchmark in photography that will dramatically improve your images. This is a new breakthrough that will revolutionize your craft and create new opportunities in your imaging world. Like all of our products, this lens is in a class of its own. We have combined intuitive control with unsurpassed technology to provide you a singular experience. Catch an instant and make it your revenue photoGenerator forever.
Using advanced technology including multiple floating elements and the industry’s most accurate autofocus system, this lens can take your imaging to new achievements. Discover detail that you never saw was around you. Whatever the subject matter, in any working condition, in all lighting conditions, this lens offers amazing definition while maintaining excellent vignetting control. Designed for the connoisseur, it offers the finest craftsmanship most only wish for, at a price that most can’t afford. Capture images in a way you’ve always wished you could.
Well, that was easy.
The funny thing is, Tamron doesn't mention in their own press release that the G2 model features the exact same optical formula as its predecessor. Want proof? Check out the optical formula diagrams taken from Tamron USA's product pages.
So what's actually new in the G2 model? Here's a quick rundown of the updated features, sans marketing mumbo jumbo:
New coatings on the same ol' lenses
Improved Vibration Compensation - G2 model provides up to 4.5 stops of compensation; previous model's VC assistance was never specified
Improved autofocus performance through, primarily, a new AF algorithm
Possibly better weather sealing - the original model had some sealing that included a rear mount gasket, but the internal seals diagram was never provided
Rear filter holder
Updated exterior to match other G2 lenses
Compatibility with the TAP-in console
As usual, the improvements listed above come at a cost; the G2 version's MSRP is $100.00 more than the original one's and the price difference is even larger considering the current $100.00 instant savings on the G1 model. Check out our Tamron 15-30mm f/2.8 Di VC USD Lens Review for more information on the G2's predecessor.
August 31, 2018, Commack, New York - Tamron announces the launch of a new high-speed ultra-wide-angle zoom lens, the SP 15-30mm F/2.8 Di VC USD G2 (Model A041), for full-frame DSLR cameras.
The new model will be available in Nikon mount on September 21st and in Canon mount October 12th at a suggested retail price of $1299.
With a well-established reputation for ultra-high-quality wideangle zoom lenses with its Model A012, Tamron carries on the tradition of high optical performance with the new SP 15-30mm F/2.8 Di VC USD G2 (Model A041).
By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element, as well as multiple LD (Low Dispersion) lens elements, the distortion and lateral chromatic aberrations so common in wideangle shooting have been greatly minimized.
Furthermore, a newly developed AX (Anti-reflection eXpand) Coating has been applied to reduce ghosting and flare more thoroughly than ever before.
The optical performance in this high-speed F/2.8 ultra-wideangle zoom lens is outstanding.
In addition, the built-in Dual MPU (Micro-Processing Unit) enables vastly improved AF speed and precision and image stabilization.
This is a next-generation super high-quality, high-speed ultra-wideangle zoom lens with first-rate optics and a wide range of features that serve to revitalize the user's shooting experience.
With the release of this model, three of Tamron's high-speed F/2.8 zoom lens with VC (Vibration Compensation) are now G2 (Generation 2).
Super high-quality high-speed ultra-wideangle zoom lens
The Model A041 is an F/2.8 ultra-wideangle lens with a focal length starting at 15mm that offers high resolution even in the peripheral area of the image. By incorporating an XGM (eXpanded Glass Molded Aspherical) lens element and multiple LD (Low Dispersion) lens elements to curtail distortion and lateral chromatic aberrations, Tamron has achieved a degree of resolution throughout the range that is just as good as a fixed focal length lens.
Newly developed AX Coating
The AX (Anti-reflection eXpand) Coating, especially effective for wideangle lenses that tend to let in harmful light from peripheral areas, was developed to control rays that affect image quality. It is a revolutionary new proprietary coating developed in-house by Tamron using specialized deposition technology. The new coating keeps the reflection factor for peripheral areas at the same high level as that for the center area, not only overcoming standard curvature issues, but even overcoming the problems of conventionally produced convex surface with large curvatures for which uniform deposition has always proved difficult to achieve. Furthermore, the Model A041, along with eBand (Extended Bandwidth & Angular-Dependency) Coating utilizing nanotechnology, and BBAR (Broad-Band Anti-Reflection) Coating, makes effective use of three different types of coatings, thereby enabling unsurpassed curtailment of ghosting and flare and consequently enabling superlative, exceptionally clear image quality edge to edge.
High-speed, high-precision AF
Superb AF speed and precision is delivered by equipping the lens with a Dual MPU (Micro-Processing Unit) system and employing an enhanced AF control algorithm to improve performance. The AF drive uses proprietary Tamron technology, USD (Ultrasonic Silent Drive), enabling high torque, high response, and silent operation. And because it comes with a Full-time Manual Focus override system, manual focus adjustments can be made on the fly.
VC promises sharp images for all varieties of shooting
Tamron released the first high-speed F/2.8 ultra-wideangle zoom lens in the world equipped with a VC (Vibration Compensation) mechanism, the original Model A012. The new Model A041 has been further improved with a newly developed VC mechanism that surpasses former versions and reaches 4.5 stops, according to CIPA standards. This makes it possible to shoot sharp photos over a wide range of photographic scenes, including indoor and outdoor shots as well as handheld shots at stopped-down aperture settings for landscape photography.
Rear filter holder
The Model A041 made for use on Canon (EF-mount) cameras comes with a filter holder as a standard feature that lets you insert gelatin and other sheet filters into the rear side of the lens. This makes photography using filters much easier and simpler by overcoming the problem of the curvature of the front lens elements that made shooting with filters so difficult in the past.
Vastly improved highly durable Fluorine Coating
Abrasion resistance capability has been vastly improved on the new Model A041. The front surface of the lens element is coated with a Fluorine Coating based on a newly developed fluorine compound with high water- and oil-repellent properties. The lens surface is easier to wipe clean and is less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints, and enabling your important lenses to be continually protected on a long-term basis.
The new design provides greater operability and design consistency
With the new SP design applied, Model A041 shares the same feel of high quality and operability as the other two models in this series, SP 24-70mm F/2.8 Di VC USD G2 (Model A032) and SP 70-200mm F/2.8 Di VC USD G2 (Model A025). Tamron has merged beautiful craftsmanship with intuitive design in this new high-speed ultra-wideangle zoom lens. Even details like the shape of the switch box, distance-scale window, and the precision and stability of the metallic mount reveal a commitment to functionality, as well as design. The result is a next-generation lens that's easy to use yet loaded with cutting-edge technology.
Compatible with TAMRON TAP-in ConsoleTM, an optional accessory
The new Model A041 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.
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.
Manufacturing innovation with thorough attention to details based on the rigorous quality standards worthy of the SP series
Tamron has enhanced the SP series lenses to fulfill high-level photographic requirements and provide the pleasure of ownership. While introducing a new exterior design, Tamron reviewed the SP series standards. The new SP series has been developed by setting rigorous standards for design, manufacturing and quality that apply to the optical design and mechanical design as well as such wide-ranging areas as the product's robustness and improvements in a variety of individual functions. This has helped to achieve a more consistently superb optical performance, making it a lens that fulfills the demand for higher image quality that is compatible with the latest high-pixel cameras. To maximize the optical performance of the SP series, Tamron will continue to enhance the accuracy of the component parts of each lens element unit and improve the mechanical precision of the entire lens, thereby achieving a high overall performance.