In response to a tilt-shift lens question, Canon USA Technical Advisor Rudy Winston provided a detailed response that we though was worth sharing with you.
Canon TS-E Tilt-Shift Lens General Shooting Procedure
While there's no one "official" way to work with the TS-E lenses (I'm sure you'll find some diversity of opinion on what different users feel is best), the following is what works best in my experience. Keep in mind there's no "one-touch" way to set the lens up unless you've recorded previous settings and are shooting the same subject subsequently, at the same camera position, subject distance, and so on. Otherwise, there's a bit of trial-and-error, especially if you're trying to adjust the zone of sharpness (notice I avoided saying "depth of field," as that technically doesn't change; you're altering the plane of sharpest focus via the tilt operation).
THE BASIC OPERATIONS
It is important to be sure in one's mind what the two different possible adjustments – Shift and Tilt – do, and why you might want to apply one or the other. There are certainly many instances where just one will provide the look you want in finished images, so don't assume every shot will need a combination of both (of course, experimentation can be great fun).
A couple of other points:
I *always* recommend starting with both tilt and shift zero'ed out, before you begin to work with adjustments.
Metering with DSLRs: You MUST perform any in-camera metering with a TS-E lens at the zero Shift and Tilt positions. On any of the cameras with an optical viewfinder, you will get exposure errors or deviations if you meter daylight or E-TTL flash with a TS-E lens that's not at its zero adjust positions. Note that this is far less of a problem with the mirrorless cameras, since they're metering directly off the image sensor, and the light doesn't have to get reflected upward by a DSLR mirror, and then get scattered by a focus screen before it's read by a metering sensor in the prism area, near the viewfinder eyepiece. Bottom line, do any metering (manual mode, of course, is ideal for this, since nothing will change if you begin to adjust the TS-E lens), before you start tilting and/or shifting, and you should be in a good place to begin taking actual shots... don't freak out if you do need to tweak exposures, after a couple of quick test shots, to nail it down the way you want. Parenthetically, if you're using a separate hand-held meter (not the one built-in to the camera body), you can normally set the camera to whatever the meter suggests, whether you've engaged tilt and/or shift or not, as typically a hand-held meter will be pretty close to optimum exposure for ambient light.
Shifting the lens up, down, left or right is primary for perspective control – the obvious example is keeping vertical lines on a building or product (like a cereal box) straight, and avoiding the "pyramid" effect of converging vertical lines. It can sometimes also be useful for literally shifting the subject in the frame, removing the image of photographer & camera if shooting into a wall with small mirrors (this won't work for an entire mirrored wall, of course!), and so on.
Tilting the lens, so that the front section is no longer perfectly parallel with the image sensor/film plane, changes the plane of what is in sharp focus. Shooting with a lens from an angle (rather than straight into a subject, like a wide-angle shot of a car taken from around the front fender/wheel well), it's possible to focus on the near part of the subject, then tilt the lens so that the front section is closer to being parallel to the whole length of our hypothetical car (or any other subject), and you can get sharpness to run from the near area focused upon, down the length of the subject. To be clear, tilting has **nothing** to do with the architectural photography need to keep vertical lines straight; that's SHIFTING alone. Of course, you CAN combine tilt and shift in the same image... just be clear up-front about the role of each, or you'll spend a long time trying to dial-in an optimum setting.
Anything you want. If you apply tilt correctly, you won't require tiny f-stops like f/22 just to hope to get an entire subject sharp. In some cases, even a wide-open aperture can get the job done, which might never be possible with a conventional lens.
Tripod use is definitely preferred where possible, since it keeps everything anchored and lets you concentrate on composing and working the lens's controls... though it *is* possible to do this hand-held. However, it's nowhere near as smooth an experience, and you can expect your arms to get tired after a while at the controls.
Release Knobs for Shift & Tilt
180 degrees from the actual adjustment knobs for each movement are locking knobs, slightly smaller in diameter. Be sure to UNLOCK each before trying to adjust shift or tilt, and then snug it back down once you've arrived at a desired setting to keep it from any inadvertent movement. This is especially important for SHIFT, since if you apply it vertically, the weight of the front section of the lens can sometimes allow it to drop downward slowly, if it's left unlocked after you've adjusted it.
Home Position and Rotating the Lens as Needed
By default, whether you've decided to apply shift/tilt or have everything zero'ed out, there's still a basic position from which you can apply your tilts and shifts. Mount the lens on the camera when it's all correctly oriented to the default settings, and you'll see the name plate at the TOP of the lens, when it's mounted and secured to the camera. AT THIS POSITION, any tilt movements (with most of the TS-E lenses, anyway) will be tilting the lens *left or right;* the larger Tilt knob will be facing upward and any shifting at the same default setting will move the lens up and down. This means the direction of each is at 90 degrees from the other movement, which is NORMAL operation for Canon TS-E lenses.
You're not locked-in to this. The lens can rotate, without loosening it from the camera. The 2nd generation lenses (see below) have TWO rotation points. However, the one closest to the camera body is definitely the primary one. It'll allow you to rotate the lens up to 90 degrees left or right. Example: in the standard position, the Shift is up and down. Say you wanted to shift side-to-side, for whatever reason. Ninety degrees to the right (think the 3 o'clock position, with the camera aimed at a subject, and in horizontal orientation) is a small, projecting tab, just inside the camera grip when the lens is correctly mounted. Press this release tab toward the camera body, and virtually the entire lens can be rotated in 30-degree increments, to the left or right. Move it 90 degrees, and your Shift now moves side-to-side (the Tilt moved as well, now tilting upward or downward).
In most real-life situations, you can rotate via this rear-most tab and move the desired adjustment to where you want it; much of the time, realistically, you won't be applying shift and tilt simultaneously. So just rotate the lens so your Shift *or* Tilt is where you need it.
Rotating Using the Forward-mounted Control
About 1/2 inch or so in front of the little, 3 o'clock projecting metal tab is another, very similar tab. THIS ONE allows you to rotate JUST the front section of the lens, while the rear section stays put. The primary purpose here is if you needed to apply both shift and tilt, and needed to change the normally standard orientation where tilt and shift are at 90 degrees from each other. However, DON'T use this rotation point to simply rotate the front section, if all you want is to change the tilt orientation... if you only want to change the direction of tilt, use the rear tab and rotation point to arrange the tilt where you want. There's a technical reason for not reaching for this forward rotation point if you can avoid it.
As I said, first-generation Canon TS-E lenses didn't have this forward mounted rotation capability... there is only one way to temporarily unlock and rotate the older TS-E lenses. Here are the lenses... check the lens naming at the front of the lens to determine which one you have.
First-gen TS-E lenses:
Example 1: Correcting converging vertical lines with SHIFT. I'll assume the camera is tripod-mounted, although again, you can do this hand-held if you can endure the hassle.
a. Keep the Camera Level – This is the most important part of being able to correct for converging lines, regardless of the lens you're using. Any upward angling of the entire camera, to "get the whole subject in," is going to make it impossible to correct for convergence... this is why buildings shot with conventional wide-angle lenses look like they're falling backward. It's perfectly normal not to get the entire subject in the frame at this stage.
Here's a wide-angle example of a typical building, with the camera aimed upward. The vertical lines converge inward, making the subject look a bit like a pyramid, or like it's falling over backward.
Example 2: Tilting to keep a subject sharp, as it recedes into the distance. Normally, this would require stopping-down to your minimum aperture, and hoping you have enough depth-of-field to cover you, front to back. TS-E lenses offer another alternative, and sometimes, you can even pull this off at the lens's widest aperture. Regardless, though, you'll find a lot less need to shoot at f/16, f/22 and so on!
a. Compose the scene as you desire, horizontal or vertical. We'll use a horizontal example here. b. **Focus on the NEAREST part of the subject or scene you want in sharp focus.** Of course, the background will be out of focus.
In this example, we've got a receding fence, drifting out of focus. Sharpest focus deliberately placed at nearest point we want in-focus; in this case, the first-generation TS-E 90mm f/2.8 lens was used wide-open, at f/2.8 throughout. No Tilt/Shift movements applied, yet.
IMPORTANT: As you start to tilt the lens, you'll see two things. The farthest part of the subject (fence in this case) will become progressively sharper. However, the front portion you just focused upon in step a will begin to drift a bit out of focus. Here's the key element to using tilt – you want to tilt until the degree of DE-FOCUS you see, front to back, is essentially constant. In other words, as you tilt, nothing in the fence or whatever the subject is will appear tack-sharp. What you want is to get the tilting so that the entire subject, front-to-back, appears about the same degree out of focus (it won't be radically out, but obviously just not tack-sharp, even at the point you focused on a moment before). This is absolutely normal.
d. Once you get the tilt so the entire subject looks pretty much the same, in terms of the degree of out-of-focus you see, you've got the tilt close to right-on. NOW, RE-FOCUS THE LENS TO GET THAT FRONT POINT SHARP AGAIN. If the amount of tilt was correct, the entire subject will now appear sharp. Again, if you examine the picture immediately below, keep in mind this was taken at f/2.8 with a 90mm telephoto lens.
Thanks go out to Rudy Winston for providing this information. Images used in this article were provided by Mr Winston.
Read our Tilt-Shift lens reviews to find the right model for your needs:
From the Adorama YouTube Channel:
If you're looking for a portrait project that's a little different and captures a bit of the festive season then this simple fine art shoot by photographer Gavin Hoey is for you.
Download Gavin's Festive Stars background from here.
After Gavin has given an overview on how he shot and edited the background he moves on to the portrait shoot, lighting the model to match the mood of the background.
Finally Gavin takes you into Photoshop to make a simple composite of the portrait and background stars.
Eurasian magpies are common in many locations, but not where I live. Thus, they are more interesting to me than others. Especially interesting is that they are extremely intelligent (relative to animals in general). That these birds' loud calls can become annoying surely leads to local disinterest, but with their great colors and shape, it is hard to argue that magpies do not look amazing.
Magpies are not a subject I have set out to specifically target with a camera, but I will take advantage of incidental encounters. When one landed in a tree in front of me as I was chasing elk in Rocky Mountain National Park, I went into opportunistic mode. I had the right lens in hand and all I had to do was adjust the monopod height, direct the camera at the bird, focus on the eye and press the shutter release.
I of course pressed the shutter release many times in the short period of time the bird cooperated with me. Why did I select this particular image to share? Here are some reasons:
First, I like the head angle, turned slightly toward me with some sky reflecting in the eye to add life to the subject.
I also like the body angle. While the bird may be turned very slightly away and that is not usually my favorite angle, in this case, that angle allowed the iridescent feathers on the wing to show their colors prominently. The tail was angled downward enough to fit in the frame (that can be an issue when photographing magpies) and with a slight toward-the-camera angle, the iridescent tail feathers also showed their colors.
Aspects I like that were common to this set of images, in addition to the beauty of the magpie, include:
I was able to get to eye level with the bird (by quickly adjusting the monopod).
The background was very distant and became completely blurred with a close subject photographed at 600mm f/4. With all details in the background eliminated, the bird stands out prominently.
I also like that the lighting was very soft with a touch of rim lighting happening. Looking closely at the catchlight in the eye tells me this day was partly cloudy and that clouds were blocking the sun during this exposure.
Unless flying, birds are on something – a branch, sand, rock, water, etc. In this case, that something was a dead tree limb. That this particular limb did not distract from the bird and even had a little character was a positive aspect.
While Rocky Mountain National Park is an awesome location for elk photography, it offers much more. Including magpies.
A larger version of this image is available on Flickr.
December 20, 2018, Saitama, Japan - Tamron Co., Ltd. announces a new firmware update for the Tamron SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for compatibility with the Canon EOS R and Mount Adapter EF-EOS R. The new F/W version makes the model compatible with Canon "EOS R" and Canon "Mount Adapter EF-EOS R" for general operations.
The lens firmware can be updated with the separately sold TAP-in Console. Customers may also contact Tamron USA's service department at 1-800-827-8880, option 1 for information on sending in the lens for the update.
Compatible Tamron Lenses as of 12/20/18
 Functions used on DSLR cameras
 With the latest version of lens firmware
In this episode of Perfecting Audio, Keith Alexander discusses various accessories for audio field recording.
This is a very well designed lens that features exceptional build quality.
Nikon recently introduced their first full frame mirrorless cameras – the highly anticipated Z 7 and Z 6 – to much fan fair. Aside from the nameplates and price tags, there's no obvious difference between the cameras when you pick them up and hold them in your hand. In fact, they share many highlight features, such as:
The list above represents only a small portion of the features these two cameras have in common; they are much more similar than different. So many may be wondering, "What are the differences between the Nikon Z 7 and Z 6?" The table below provides the answers.
|Nikon Z 7||Nikon Z 6|
|AF Working Range||-2 – +19 EV||-4 – +19 EV|
|Max Continuous Burst Rate|
(12 bit / 14 bit)
|9 / 8||12 / 9|
|Metering Range||-3 – +17 EV||-4 – +17 EV|
|Native ISO Range||64-25600||100-51200|
|Expanded ISO Range||32-102400||50-204800|
|4K full-frame sampling||line skipping||oversampling|
|4K N-Log Recording Area||100%||90%|
|High Frame Rate and Slow-Motion|
Full-HD Recording Area
|DX (APS-C crop)||FX (Full Frame)|
|Max Wi-Fi Output Power|
(2.4 GHz / 5 GHz, dBm)
|7 / 12.1||7.4 / 12.2|
|Max Bluetooth Output Power|
(Reg. / Low Energy, dBm)
|1.5 / 0||1.9 /0.4|
The Z 7's more advanced AF system could prove beneficial in certain situations, but even the Z 6's 273 points should prove more than sufficient, especially if coming from a DSLR with significantly less AF points / AF point frame coverage. The Z 6's faster burst rate will especially be appreciated by sports and wedding photographers.
That said, the Z 7's higher resolution sensor – and Nikon's method for sampling the Z 7's 4K footage (line skipping) – means that the Z 6 may be the better choice for those prioritizing 4K capture over stills, as the Z 6 should produce sharper, cleaner footage compared to its higher priced sibling. However, note that Z 6 footage is slightly cropped when outputting 4K 10-bit N-Log to an external device.
Another video capture difference that may prove significant for filmmakers is that you're limited to a DX (APS-C) crop when filming at 120/100p or with the camera set to Slow-Motion recording with the Z 7, whereas the Z 6 is limited to FX (full frame) recording under the same circumstances. Those filming weddings or events will likely prefer the wider field of view afforded by the Z 6 if high frame rate/slow motion video recording is desired.
So, we have two simultaneously-introduced cameras that are, in most aspects, the same. However, their few differences can be quite significant, depending on one's needs. Most will find the resolution, video performance and price being the differentiating factors for purchase.
Nikon has posted a couple of tips for using N-Log recording on the Nikon Z 7 and Z 6.
In addition to the tips, you can also download the N-Log Specifications from Nikon.
Note that Nikon still can't decide whether or not the space belongs in their Z-series camera names. Even though Nikon's official stance is that the names should include a space, both versions of the camera model names are listed on the Technical Solutions page.
B&H is offering free next day delivery on 1,000s of item through December 19. If you're needing (or wanting) one more gift under the Christmas tree before the big day arrives, then head to B&H before time runs out. They have a ton of items with holiday savings and an extended return period through February 1, 2019.
Keeping track of their memory cards just got a whole easier for you with our Secure Pixel Pocket Rockets. They are designed with zippered pockets for maximum security in holding multiple card sizes, such as six CF memory cards, or six XQD memory cards, or 12 SD memory cards, or multiple Micro SD memory cards.
In addition to the zippered closure, the Secure Pixel Pocket Rockets can be mounted on belts, or attached to clothing or bag with the removable lanyard. They feature a clear identification window.
Our existing memory card holders, the Pixel Pocket Rocket, Pee Wee Pixel Pocket Rocket, and the SD Pocket Rocket, are now available in black. The additional color presents an optional organizational strategy: keep empty cards in one color and used in another. They all have been updated to account for modern media sizes.
Folded: 5.2” W x 2.8” H x 0.8” D (13.3 x 7 x 2 cm)
Weight (with lanyard): 0.2 lbs. (0.1 kg)
Exterior: All fabric exterior treated with a durable water-resistant coating while fabric underside is coated with polyurethane for superior water resistance, 250D shadow ripstop nylon, 3-ply bonded nylon thread.
Interior: 210D silver-toned nylon lining, 3-ply bonded nylon thread.
In this episode of Two Minute Tips (Ep 146), David Bergman shows you how to use negative fill to add drama to your images.
When the landscape is attractive, incorporating it into your wildilfe photography is a great idea. The Canon EF 100-400mm f/4.5-5.6L IS II USM Lens is my go-to lens for this scenario. The focal length range keeps both the animal and the background large in the frame and provides plenty of framing flexibility.
A partly cloudy day sometimes provides ideal lighting. This image was captured just before the shadow of a cloud reached the bull elk, leaving the surrounding background dark, helping the bull and its antlers stand out.
A larger version of this image is available on Flickr.
As usual, this gear is being sold to fund new gear for review. Check the updated list to see if anything fits into your kit. Most items are like new in the box.
Be sure to check out the super-cool Schneider Kreuznach PC TS Super Angulon 50mm f/2.8 Lens in Canon Mount that I am selling for a friend! Other brands include Nikon, Sony (wireless flash gear), Really Right Stuff, Gitzo, Manfrotto, Hakuba, B+W, Maha and more.
Tell your friends!
From the Adorama YouTube Channel:
Cold winter days can be the perfect time to shoot portraits inside a home studio but that doesn't mean you can't bring the outside inside. In this video Gavin Hoey shoots a winter portrait complete with falling snow.
Benefits of SIGMA Optimization Pro 1.5
SIGMA Optimization Pro 1.5 for Windows
SIGMA Optimization Pro 1.5 for Macintosh
SIGMA Optimization Pro 1.5 is available for download here.
This release of Lightroom Classic CC rolls out new features and enhancements such as customization of Develop Panel, Add to Collection option in auto-import settings, Grid Snap option in book module, other enhancements, support for new cameras and lenses, and bug fixes.
Customize the order of Develop panels
With this release, you can now drag the Develop module panels in the order you would like to see them in.
To customize the Develop panel menu, do the following:
Add photos from a watched folder to a Collection with Auto Import
In the Auto Import settings, you can now use the Add To Collection option to directly pull photos from a watched folder into a specified Collection.
The Auto Import feature monitors a watched folder for photos and automatically imports them into the Collection you've set as the destination. After you set up a watched folder and specify a destination Collection in the auto-import settings, you can simply drag photos into the watched folder. Lightroom Classic CC automatically imports those photos in the specified Collection, allowing you to bypass the import window.
To add photos from a watched folder to a Collection, do the following:
Align photos in a Book layout with the Grid Snap guides
You can now easily align photos in a Book layout using the Grid Snap option in the Guides section. In Grid Snap, choose either Cells to align the cells of two photos with respect to each other, or Grid to align photos with the grid guide lines.
On moving the photo, it would snap into place based on the selected setting. By default, the Grid Snap option is set to Cells.
For more helpful information, see Create photo books.
Duplicate preset handling
With this release of Lightroom Classic CC, if you attempt to create a duplicate preset with the same name under the same group, a Duplicate Preset Name dialog box opens with options to:
For detailed information about working with Develop presets, see Work with Develop presets.
Show partially compatible presets
On opening a photo in the Loupe view in the Develop module, some presets may not appear in the Presets panel due to incompatibility with the selected photo, such as camera profiles that are not applicable to the current photo or presets that only apply to raw files. The non-compatible presets are shown as faded and in Italics style in the Presets panel in Develop.
To see all presets even if they are not compatible with the current photo, do the following:
Photo merge enhancements
For more helpful information on merge operations, see Create Panoramas and HDR Panoramas.
Support for new cameras and lenses
Newly added camera support:
Newly added lens support:
|Apple iPad Pro (11-inch) back camera 3mm f/1.8 (DNG+JPEG+HEIC)||Apple|
|Apple iPad Pro (11-inch) front camera 2.87mm f/2.2 (JPEG+HEIC)||Apple|
|Apple iPad Pro (12.9-inch) (3rd generation) back camera 3mm f/1.8 (DNG+JPEG+HEIC)||Apple|
|Apple iPad Pro (12.9-inch) (3rd generation) front camera 2.87mm f/2.2 (JPEG+HEIC)||Apple|
|Apple iPhone XR back camera 4.25mm f/1.8 (DNG+JPEG+HEIC)||Apple|
|Apple iPhone XR front camera 2.87mm f/2.2 (JPEG+HEIC)||Apple|
|Apple iPhone XS back camera 4.25mm f/1.8 (DNG+JPEG+HEIC)||Apple|
|Apple iPhone XS back camera 6mm f/2.4 (DNG+JPEG+HEIC)||Apple|
|Apple iPhone XS front camera 2.87mm f/2.2 (JPEG+HEIC)||Apple|
|Apple iPhone XS Max back camera 4.25mm f/1.8 (DNG+JPEG+HEIC)||Apple|
|Apple iPhone XS Max back camera 6mm f/2.4 (DNG+JPEG+HEIC)||Apple|
|Apple iPhone XS Max front camera 2.87mm f/2.2 (JPEG+HEIC)||Apple|
|Canon EF-M 32mm f/1.4 STM||Canon|
|Google Pixel 3 Rear Camera (DNG+JPEG)*|
|Google Pixel 3 XL Rear Camera (DNG+JPEG)*|
|HERO7 Black (Raw+JPEG)||GoPro|
|Hasselblad XCD 1,9/80mm||Hasselblad|
|Hasselblad XCD 2,8/135mm + 1.7x||Hasselblad|
|Lensbaby Velvet 85mm f/1.8||Canon, Sony, Nikon|
|LG G7 ThinQ Front Camera (DNG+JPEG)||LG|
|LG G7 ThinQ Rear Main Camera (DNG+JPEG)||LG|
|LG G7 ThinQ Rear Wide Camera (DNG+JPEG)||LG|
|Samsung Galaxy Note 9 Rear Camera 26mm F1.5-2.4 (DNG+JPEG)||Samsung|
|Samsung Galaxy Note 9 Rear Camera 52mm F2.4||Samsung|
|Samyang AF 24mm F2.8||Sony|
|SIGMA 40mm F1.4 DG HSM A018||Canon|
|SIGMA 60-600mm F4.5-6.3 DG OS HSM S018||Canon, SIGMA|
|SIGMA 105mm T1.5 FF HIGH-SPEED PRIME||Canon|
|SIGMA 56mm F1.4 DC DN C018||Sony|
|Sony FE 24mm F1.4 GM||Sony|
|TAMRON SP 15-30mm F/2.8 Di VC USD G2 A041||Canon, Nikon|
|Voigtlander VM 40mm f/1.2 Nokton Aspherical||Leica|
|Voigtlander VM 50mm f/1.2 Nokton Aspherical||Leica|
|Voigtlander NOKTON classic 35mm F1.4||Sony|
|Zeiss Batis 2/40 CF||Sony|
The following information was provided by Datacolor; we are sharing it for the benefit of our readers. Color calibration is a vital part of the photographic process and we personally rely on Datacolor products (purchased online/retail) for our own display calibration needs.
The need to have a calibrated monitor is of paramount importance, but very often overlooked. Every photographer knows they should be calibrating their monitor, yet many still don’t bother with it, seeing it as a complex and time-consuming task that will hinder instead of help their workflow process.
You want to be able to trust your monitor, as it’s the window to your digital photography and the gateway allowing you to view the true image. However, this would not be the case if you have a non-calibrated monitor, as your colors might not look how you intended due to skin tones being off, crucial shadow detail being missed or whites not being as pure as they should or need to be.
Making monitor calibration a key part of your photography workflow eliminates factors such as tiredness, human error, and the lack of dependability you will have by solely relying on your eyes to adjust the monitor correctly.
You want all on-screen images to match the initial shot taken, and using a screen calibrator is crucial to this process. Datacolor’s Spyder5 will measure light and color that appears from your screen, and make corrections to ensure the colors and details of your image are displayed as accurately as possible.
Using Different Monitors
Every monitor displays colors differently. Just because your images look accurate on one monitor doesn’t necessarily mean they will be the same on another screen you use. As they are not built ready-calibrated, their colors will in fact shift over time. Not calibrating properly and using different monitors can lead you to wasting unnecessary time editing, with your images on screen not displaying the true colors or details of your photos.
Using a colorimeter to an industry color reference standard not only gives you refined color accuracy for better print matching, but will eliminate the guesswork out of image editing, helping you to save time and efficiently manage your workflow better.
Staying up to date with calibration is vital, as making a regular habit of calibrating your display on a monthly basis will give you confidence your edited images will always match your prints best as possible. Also determining optimal monitor brightness, calibration will keep your monitor fresh with the display’s output intensity and stops you from needlessly buying abundant amounts of ink and paper.
Without calibrating your monitor, you can’t fully trust the colors you see on-screen, which then leads you to make questionable editing decisions, and waste time, paper and ink on re-printing as the color on your images don’t appear right.
To ensure printed images are as close of a match as to what you see on screen, an accurate color calibrated screen is the best starting place.
If you’re serious about photography, taking advantage of color management tools in your workflow to prepare your images will save you time, effort and money. Furthermore, if you’re planning to edit or view your images, using a reliable colorimeter to profile your monitor and calibrate any device can only help improve your process and photos.
To help photographers and videographers of all standards understand color management better, Datacolor has launched an extensive color management eBook, ‘Spyder5 eBook: Color management can be easy’. All six chapters are available for you to download here.
This is a story I shouldn't have to write. It is about how a small mistake made by Nikon USA, the simple omission of a space, has created a problem. One that I shouldn't have to spend any mental energy dealing with.
The name for a completely new series of products is important and sets the stage for future models. When Nikon's first full frame mirrorless cameras were announced, the product information disseminated from Nikon to the media clearly listed the model names as "Z 6" and "Z 7" – with a space between the letter and the number. I immediately thought those were reasonable names, short and simple, yet featuring separate line and model names with room to grow.
The problem came as we began integrating the information for those cameras with the retailer links. Apparently, there was a mistake in the new product information disseminated to retailers – the space between the letter and number was omitted. All retailers listed the cameras as "Z6" and "Z7".
That left us stuck in the middle. The parent should know the baby's name, right? When asked about this problem, Nikon’s official response was:
"“Z” is a letter symbolizing Nikon’s new camera brand. To emphasize this, there is a space between Z and 7/6."
Perfect. Now we know the right answer. The problem is that there are a lot more retailer websites listing the camera names incorrectly than Nikon USA websites with the correct names. To a computer, "Z 6" is different than "Z6", so in many cases, the space does matter. Even Google thinks the retailers must be right with its AI suggesting visitors searching for "Z 6" and "Z 7" instead search for "Z6" and "Z7". Retailers (and Google) have now trained those looking for these cameras to search for the space-less model names at an approximately 40:1 ratio.
Accuracy in a major product name seems important. Thus, we are leaving the space in place ... at least for now. Help spread the word – save the space!
This is a key lens for serious Nikon kits. Here are some comparisons:
Ronkonkoma, NY – December 7, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its anticipated cine lens – Sigma Cine 40mm T1.5 FF – will begin shipping in December 2018 for $3,499.00, with the option to purchase a fully luminous version (FL) for $4,499.00.
Sigma Cine 40mm T1.5 FF is a fast and sharp T1.5 cine lens compatible with full-frame camera sensors and optimized for ultra-high-resolution 6K-8K productions. Featuring a 180-degree focus rotation, this lens is available in EF, E and PL mounts with lens support foot and cap included.
It is the ninth lens in the Sigma Cine FF High Speed Prime Line. As a standard lens in the cinema industry, the focal length of 40mm has become an essential part of a typical cine prime set. By adding this lens to the Sigma Cine offering, its cine prime set can now satisfy all the demands of professional cinematographers.
Sigma Cine 40mm T1.5 FF is the first lens that was designed and developed for the cinema use rather than converting a still photography lens into a cine lens. This development illustrates Sigma’s commitment to the cine market – by always listening to its customers and what their needs are, and now even more than ever with the fully operational Sigma Burbank showcase facility, Sigma strives to develop new products based on that customer feedback.
The Sigma 40mm T1.5 FF lives up to the performance standard required by high-end cinematographers as it achieves the highest optical quality as well as consistent rendering performance over the entire image circle. The lens produces one of the best MTF charts ever, making it an excellent choice for all levels of filmmakers.
Prominent Characteristics of Sigma Cine Lenses
From the Caputre One Blog:
The new Capture One 12 offers powerful upgrades to existing tools and introduces new features for efficient workflows. This post will quickly guide you through the best of the best.
Re-designed interface and menus
The design of Capture One 12 has been refined, providing a flatter and more modern interface with bigger font sizes. This will help photographers not only navigate more easily but also decrease fatigue from having too much to focus on.
Additionally, the Tool Tab icons have been re-designed for a better indication of what they represent. Remember, you can always customize the Tool Tabs and their content if needed!
Radial and Linear Gradient Masks
If you need other tools than a brush to create your masks, look no further! Radial and Linear Gradient Masks are here. They are parametric, meaning you can transform them after they are created making these tools dramatically more flexible than what you could previously do in Capture One.
Radial Gradients are the new thing, and they let you create circular masks with soft feathering. They can be transformed, rotated and masked either on the inside or the outside of the round shape. Linear Gradients now allow transforming, moving, rotating and even changing the fall-off asymmetrically.
Watch the tutorial below for in-depth information.
Yes, you read that right. Luminosity masking is now possible in Capture One, and it’s easier than you think.
The Luma Range tool can be applied on any mask, even gradients like the above, and will effectively restrict your mask to certain areas based on the luminosity in your image.
“Why do I need this?”, you might ask. Well, have you ever wanted to desaturate your shadows a bit? Or apply color grading with more control than the Color Balance Tool can provide? Or maybe add clarity to the clouds in your landscape image with a tricky horizon line? Luminosity masks make all of this a breeze. Watch the tutorial below to learn more.
It’s no secret that Capture One features a massive library of keyboard shortcuts. These shortcuts are customizable, letting you do most actions with a few clicks on the keyboard.
Capture One 12 makes this much easier. You can now search, not only for features and commands, but also for specific keys to see their function. Additionally, shortcuts for features that were previously inaccessible are added for an even larger library of shortcuts.
Capture One delivers an extensive suite of powerful tools to manage, edit and export images. Now the new Capture One plug-in ecosystem allows third-party developers to create plug-ins that can add even more features and capabilities to Capture One’s toolset. The first plug-ins will enable direct publishing, round-trip editing, and open-with workflows.
We are just getting started with plug-ins, much more will come! Find out what’s already available and send us your wishes here: www.phaseone.com/plugins
Intelligent copy/apply of adjustments
Capture One has a powerful feature to copy adjustments from one image to others. The functionality will auto-select any adjustments applied to an image, making them easy to apply to other images. Previous to Capture One 12, any composition change, for example, a crop, would also be automatically selected and carried over.
By default Capture One now exclude compositional changes from the auto-select functionality, making it easy to synchronize edits and color gradings between images with different crops and rotations.
Fujifilm Film Simulations
If you have ever shot with a Fujifilm X-series camera, you’re probably aware of the built-in simulations like Acros, Classic Chrome, Velvia etc. Extending on the collaboration with Fujifilm, these simulations are now available in Capture One 12 and will change the starting point of your editing to one of these simulations.
The simulations are available for Fujifilm camera models as Curves within the Base Characteristics Tool.
You can pre-order Luminar 3 with Libraries for a reduced price along with additional bonuses during this pre-order offer, December 6- 19, 2018. Those who purchase Luminar during this campaign will instantly receive Luminar 2018 + bonuses and then a free upgrade to Luminar 3 with Libraries after its release on December 18.
Note that the price after the Luminar 3 with Libraries release will be US$69.
Preorder: Luminar 3 with Libraries
It is time to put some to-be-anticipated events on the calendar. Consider this a personal invitation to join me for one or all of the following instructional photo tours. Photographers at all skill levels are welcome!
1 opening: Sun, September 15 to Sat, September 21, 2019
Filled: Sun, September 22 to Sat, September 28, 2019
Wait List or Sign Up for 2020.
Sun, November 10 to Wed, November 13, 2019 and/or Wed, November 13 - Sat, November 16, 2019
Tue, Oct 15 through Sun, Oct 20, 2019
Feel free to contact me with your destination request.
To copy this configuration would mean that you intend to shoot similar to how I shoot - including shooting in RAW-only format (highly recommended). While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea. Anytime your camera goes in for a service visit, the camera will likely be returned in a reset-to-factory state (unless you request otherwise). If your camera ever needs reset to factory settings any reason (or you purchase a second model), having your list available means you will be ready to restore your setup quickly while ensuring that you do not miss an important setting when putting the camera into service.
New headquarters in New York supports expanding media and vlogger teleprompting business
Bohemia, NY – December 4, 2018 – Genustech, a global leader in camera accessories technology including matte boxes, filters and more, has officially moved its corporate headquarters to Bohemia, New York. All Genustech operations, including R&D, customer service and support, and manufacturing, have been transitioned to the United States from Hong Kong to allow the company to continue to innovate and grow its product line while maintaining superb customer support.
The move in operations puts Genustech at the intersection of media production and technology, enabling the company to meet increased product demands through accelerated manufacturing and shipping. “With the launch of Genustech ScriptShade, we have seen an increase in business in non-traditional broadcast markets, in particular with the online vloggers,” comments Kevin Reilly, president, Genustech. “While traditional broadcast and TV operations remain a cornerstone of our customer base, we have a rapidly growing business across YouTube influencers who have enhanced the quality of their programming as well as efficiency with professional gear like ScriptShade.” Reilly adds, “With the potential growth opportunity in front of us, establishing headquarters in New York puts us in the hub of media activity with tremendous access to talent to expand design, sales, service and manufacturing personnel.”
Crafted for the changing media landscape, ScriptShade is a multifunctional, high-quality Matte Box - Teleprompter combination that is lightweight, portable and easy to use. ScriptShade brings professional camera and prompting capabilities in a form factor that is ideal for smaller and remote productions.
According to videographer Keith White, “Genustech ScriptShade is a one-of-a-kind handheld teleprompter, with nothing like it on the market. It’s an ideal solution for on-the-go production crews who need a portable kit to enhance the production value and control the narrative at the same time. It’s incredibly cost-effective, self-contained and nicely packaged with an easy and quick setup.”
Genustech On-Demand Design and Manufacturing
With the Genustech product design and manufacturing teams located in New York in one facility, engineering can incorporate customer feedback into the product design on the spot, with manufacturing building the latest product design to order. Reilly elaborates, “Our core product design philosophy is anchored around customer feedback. With our finger on the pulse of what the customer wants and needs, Genustech can anticipate where the market will grow and thus innovate with new designs and functionality. With such a strong customer support system in place in New York, we are able to always design, build and enhance products on demand.”
In addition to Genustech ScriptShade, the company offers other matte boxes & accessories, filters, adapter rings, camera cages, brackets, plates, arms, jibs, cranes, monitors and much more.
Changes from Version 1.0.0 to 1.1.0
Download: Nikon IPTC Preset Manager v.1.1.0
In this video, photographer David Bergman explains how to create images with custom shapes in your bokeh. This technique can be a lot of fun and can help you produce some very creative imagery. [Sean]
Imaging industry and Koelnmesse decide on new starting point for the new annual cycleThis is an interesting development because it may reshape when the major camera manufacturers announce new products in 2019. Without the fanfare surrounding the big event, manufacturers won't necessarily feel compelled to announce highly anticipated new products in the weeks leading up to the end of May.
Following a successful photokina 2018, the German Photo Industry Association (PIV), as conceptual sponsor of the trade fair, and the event's organiser Koelnmesse have agreed not to organise the next leading global trade fair in May 2019, as initially planned, but in May 2020. From Wednesday 27 May 2020 to Saturday 30 May 2020, all the market leaders in the imaging industry are expected once again in Cologne. The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry.
Just posted: UniqBall IQuick3Pod 40.4 Carbon Fiber Tripod Review
What if the tripod spider became a ball housing and the top plate became the ball? Great idea!
From the Adobe Photoshop YouTube Channel:
Meredith Stotzner uses Curves in Photoshop to add a ‘pop’ to her images. Find out how the Targeted Adjustment Tool helps her achieve the tones she wants.
On the evening of January 20, North/South America, Greenland and Iceland will be treated to a total lunar eclipse – or blood moon – with the full moon at perigee (supermoon).
At this point, the full moon will appear about 14% larger and 30% brighter than when it is at its farthest distance from earth (full moon at apogee, a.k.a. micromoon). Between now and January, be on the lookout for good vantage points to capture the big event. Want more information and tips for photographing a lunar eclipse? B&H has you covered.
Here are the details for a couple of cities on the east coast and west coast (from timeanddate.com):
|New York City, New York, USA|
|Duration:||5 hours, 11 minutes, 33 seconds|
|Duration of totality:||1 hour, 1 minute, 58 seconds|
|Penumbral begins:||Jan 20, 2019 at 9:36:29 pm|
|Partial begins:||Jan 20, 2019 at 10:33:54 pm|
|Full begins:||Jan 20, 2019 at 11:41:17 pm|
|Maximum:||Jan 21, 2019 at 12:12:14 am|
|Full ends:||Jan 21, 2019 at 12:43:15 am|
|Partial ends:||Jan 21, 2019 at 1:50:39 am|
|Penumbral ends:||Jan 21, 2019 at 2:48:02 am|
|San Francisco, California, USA|
|Duration:||5 hours, 11 minutes, 33 seconds|
|Duration of totality:||1 hour, 1 minute, 58 seconds|
|Penumbral begins:||Jan 20, 2019 at 6:36:29 pm|
|Partial begins:||Jan 20, 2019 at 7:33:54 pm|
|Full begins:||Jan 20, 2019 at 8:41:17 pm|
|Maximum:||Jan 20, 2019 at 9:12:14 pm|
|Full ends:||Jan 20, 2019 at 9:43:15 pm|
|Partial ends:||Jan 20, 2019 at 10:50:39 pm|
|Penumbral ends:||Jan 20, 2019 at 11:48:02 pm|
From the PiXimperfect YouTube Channel:
Use The Power of 3D to Apply Amazing Contrast, Depth, and Dimension to Your Portraits in Photoshop! Learn how to make the images pop by generating three-dimensional bump maps.
In this tutorial, we have two examples to illustrate how to automatically add the highlights and shadows to just the right places very easily, and create intricate details to make the image come to life.
From the Adorama YouTube Channel:
In this episode you will learn about producing your own sound effects which is also known as creating a Foley.
Here are some comparisons to get you started:
Note that these images were processed in their respective brand's RAW converter (Sony-blessed Capture One Express for Sony was used for the a7R III results). With a sharpness setting of one (our current Nikon and Canon standard), the Canon appears undersharpened.
Also note that I updated this tool to permit additional scenarios, including not-full-stop ISO settings for some cameras. The D850 (and Z 7) results have ISO 32 (extended) and ISO 64 included and (I'm sure you have been anxiously awaiting this) ISO 40000 results for the EOS R are now included. Please report any problems found.
Please share these results with your friends with Nikon-based kits!
Great deal: Save nearly $330 on the D850 in 10-condition at B&H used.
Subscribers can access the latest features and unlimited premium add-ons with valuable yet affordable subscription plans
Taipei, Taiwan—November, 28th 2018 — CyberLink Corp. (5203.TW), the world’s leading consumer multimedia software company, today released PhotoDirector 365, the subscription version of CyberLink’s award-winning photo editing software, PhotoDirector. PhotoDirector 365 ensures subscribers always get the latest product and feature updates, as well as unlimited access to an ever-growing collection of premium add-ons, templates & unique AI Style Packs, offering the best photo editing and creation package available.
PhotoDirector 365 provides a comprehensive and robust photo editing solution with easy-to-use tools, streamlined workflow, and point-of-use tutorials. It incorporates a variety of PhotoDirector’s powerful editing tools like Layer Packs, HDR, Black & White and Split Tone Presets, Motion Still, Keystone Correction, and 360° photo editing. It comes with the latest advanced features in the recently released PhotoDirector 10 Ultra, including the support of AI Style Effects, Tethered Shooting and Soft Proofing. Subscribers will be able to turn their photos into works of art, and enhance their photography editing workflow.
PhotoDirector 365’s subscribers have unlimited access to a wide and growing collection of CyberLink’s premium add-ons. They include AI Style Effects for Oil Paintings, Mosaic Art, Pencil Sketches and Watercolors, Express Layer Template Packs for multi-layer projects, and background music to create slideshow videos. A number of new style packs are released every quarter, providing PhotoDirector 365 subscribers with hundreds of dollars’ worth of unique tools throughout the life of their subscription.
"Software subscription plans consistently offer users new unique tools to ensure they stay ahead of the creative curve. People are striving to discover new features and techniques that will push boundaries and stimulate their inspiration, and our subscription service does just that," said Dr. Jau Huang, CEO of CyberLink. “PhotoDirector 365 provides value, flexibility and all the tools, effects and plug-ins content creators need to bring their artistic visions to life.”
365 Subscription Benefits
Versions & Pricing
The above products are available in select retail outlets worldwide in the following languages: English, French, German, Italian, Spanish, Dutch, Chinese (Simplified and Traditional), Japanese and Korean.
Here are some comparisons to get you started:
Nikon Z 6 compared to Nikon Z 7
Nikon Z 6 compared to Nikon Z 7 (both overexposed 2 stops)
Nikon Z 6 compared to Nikon Z 7 (both underexposed 3 stops)
Nikon Z 6 compared to Canon EOS R
Nikon Z 6 compared to Sony a7 III
Note that these images were processed in their respective brand's RAW converter (Sony-blessed Capture One Express for Sony was used for the a7 III results). With a sharpness setting of 1 (our current Nikon and Canon standard), the Canon appears under-sharpened. Note that I'm sharing ISO 50 results for this camera.
Here are a couple of comparisons to get you started:
Note that these images were processed in their respective brand's RAW converter (Sony-blessed Capture One Express for Sony was used for the a7R III results). With a sharpness setting of one (our current Nikon and Canon standard), the Canon appears undersharpened.
Great deal: Save up to nearly $700 on the Z 7 at B&H used, including an "Open Box with full manufacturer warranty" option with $400 savings (I took this option to get the test camera).
From the Adorama YouTube Channel:
In Ep143 of Two Minute Tips, David Bergman shows you how to get reflections under your subject using clear sheets of acrylic.
If you appreciate high-precision USA CNC-machined photography accessories have not heard of ProMediaGear, add this name to your brand name short list. And with a 10% off Cyber Monday discount at B&H and Adorama, there's never been a better time to get a ProMediaGear tripod (sale ends tomorrow at midnight).
The ProMediaGear TR344/TR344L Pro-Stix Carbon Fiber Tripod is in stock at B&H | Amazon | Adorama.
To Our Loyal Visitors,
Earlier this month – November 6, to be exact – we quietly celebrated the site's 15th birthday. Bryan sent me an email to let me know about the momentous occasion, but neither of us had the time to create a post to announce that the site can now get a learner's driving permit in 23 states.
Of course, being busy is a good thing.
With that in mind, as we prepare to enjoy Thanksgiving with our own families, we wanted to take this moment to convey our thankfulness for you and the friendship that so many of you have offered. We so much appreciate you stopping by the site all these years and for your support. We're extremely fortunate to be able to share our love of photography and photography gear with you and we hope to be here for you for many years to come.
Tamron has added general Nikon Z 7 / FTZ Adapter support via firmware updates for the following lenses:
A Tamron TAP-in Console is required for the firmware updates.
Changes from Firmware Version 1.00 to 1.01
Nikon has added Z 6 compatibility to the newest versions of Camera Control Pro 2 and Wireless Transmitter Utility. Download links below.
Download Nikon Software Updates
'Tis the season for adding much wanted gear to your photography kit as well as buying gifts for all your close family and friends. As you shop this holiday season, please remember that this site is supported by your purchases. Using our links to make your purchases doesn't cost you anything additional, but it brings vital support that we need to keep the site updated with fresh content including photography tips, lab tests and gear reviews. This site is here for you and it is up to you to keep us funded to continue working for you – your support is needed right now. Without it, we simply couldn't do what we do.
Just use one of the many retailer links on this site immediately prior to purchasing anything from that retailer (it doesn't have to be photography related) and in turn, we receive the support needed to serve you. Other options, including direct one-time and monthly donations are available on our support page.
If you see what looks like a deal at a local store, that deal is likely also available at one of the online retailers we work with. Shopping at one of our primary retailers will allow you to avoid driving in traffic and waiting in long shopping lines. Spend that extra time photographing or sharing ever-fleeting moments with your family. Better yet, do both, documenting your family togetherness time.
There have already been some great deals posted to the site over the last couple of days. Many Canon items are at their lowest price ever thanks to special holiday instant rebates, including higher-than-ever rebates on the 5D Mark IV and 6D Mark II with free battery grips. Not to be outdone, several popular Sony a-series cameras are also at their lowest price ever. This week (including Cyber Monday) is typically your best opportunity to save big on photography gear. Be sure to take advantage of the savings before the best deals are gone.
Along with purchasing items to use personally over the holidays or to gift to someone else, this is a good time to consider renting something fun for recording the holidays. Renting from LensRentals.com is another win-win for you and TDP.
We are grateful for your support!
If you want quality, selection and value, you’ll love Adorama Rewards. Points add up fast and you can redeem toward your Adorama purchases.
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Open a free Adorama account and you’re automatically enrolled in Adorama Rewards. If you already have an account, you’re already a member.
Earn 1 point for every $1 in purchases.*
Simply shop our vast inventory and redeem your Reward points at checkout.
*You must be logged into your Adorama Account at the time of purchase to earn Adorama Reward Points. Earning points on qualifying purchases is limited to 30,000 per year from the date of your first point accumulation from purchases. See terms and conditions for complete program rules and details.
Get more details on the Rewards Program here.
November 20, 2018 – Tokyo – Nikon Corporation (Nikon) is pleased to announce that the total production of NIKKOR lenses for Nikon interchangeable lens cameras has reached 110 million* as of October, 2018.
By providing NIKKOR F lenses for SLR cameras, produced since 1959, as well as NIKKOR Z lenses for mirrorless cameras, newly introduced in 2018, Nikon continues to further enrich the NIKKOR lens lineup.
Nikon will continue to lead imaging culture by providing products that stimulate the creative intent of photographers around the world, while responding to the latest advances in imaging technologies.
* Total number of interchangeable lenses for SLR and mirrorless cameras produced by Nikon.
From the Daniel Norton Photographer YouTube Channel:
It’s not always convenient or even possible to place your camera on a tripod when creating time-lapse shots. In this short video I show you how to build a small rig that will allow you to hang your camera from a drop ceiling, keeping it out of the way of the situation you are recording.
Pro Tip- get yourself a few 1/4 20 nuts to use as spacers so you don’t need to screw the tripod head tight to the scissors clamp each time.
Multiple lighting effects and optimum output power offer endless creative possibilities
Edison, NJ – November 19, 2018 – The new Polaroid RGB LED Camera and Camcorder Light offers photographers and videographers a professional, portable LED light system with powerful output for 99.00 USD. With a wide array of settings to create different moods, atmospheres, color backgrounds and special lighting effects, the easy-to-use light allows photographers to control and fine-tune the light source focus to capture the perfect shot every time. The free companion app allows users to fully control all aspects of the light, including color, brightness and saturation, for a fast and efficient workflow.
Experiment with Numerous Lighting Options
Equipped with 320 professional-grade LED lamps, the Polaroid RGB LED camera and camcorder light provides 99 levels of cool white, warm white and RGB light to create the right ambience for your photo or video shoot. For further customization, you can adjust hue and saturation, brightness level and the exact color temperature you want to achieve in the 3200K-5600K range. With so many lighting options from just one device, the Polaroid RGB LED camera and camcorder light makes experimenting like a pro easy.
Maximum Control Gives Way to Endless Lighting Combinations
Created with a flexible and versatile design, the Polaroid RGB LED camera and camcorder light can be used unmounted, mounted to your camera or tripod, or stacked with additional lights. With endless lighting adjustments, controlling the appropriate levels is effortless with the option to select your preferences manually or from your smart device via Bluetooth with the free downloadable app. With the Polaroid RGB LED camera and camcorder light, you can change the whole look of your shoot directly from your phone!