Nikon News (Page 17) RSS Feed for Nikon News

 Wednesday, October 31, 2018
I have to wonder what a model thinks when the assignment to wear a parachute dress at Dragon's Teeth (Kapalua, Maui, HI) comes in. "I get to wear an enormous dress designed to blow in the wind while standing barefoot on sharp rocks in extreme wind next to an ocean with occasional rogue waves that send salt water spray over everything nearby for an entire very hot, sunny day!" Pick me! Pick me! [Finding Nemo]
This model obviously accepted Canon's request and she managed the assignment very professionally. Parachutes are designed to ease the landing, but in this case, the parachute was more likely to cause a liftoff (followed by a perilous landing). I would have been more comfortable if she had a crash pad beside her, but she stayed on her feet through even the strongest wind gusts.
A 50mm lens does not create the extreme background blur that long telephoto lenses can create, but the 50mm angle of view allows a closer camera position that provides a more intimate look while the f/1.2 aperture still provides a strong background blur that makes the subject stand out. The look is unique in a very positive way.
The extremely wide f/1.2 aperture allows handholding in very low light levels but with a white dress in the sun, even a 1/8000 shutter speed is not always fast enough to avoid blown highlights at f/1.2 and ISO 100. In direct sunlight, a neutral density filter or, as used in this example, a circular polarizer filter on the lens.
When water is on the horizon, I usually want the image framed with the horizon level. Electronic viewfinder levels have greatly improved my original captures in this regard, but with the wind and unstable footing, I still managed to get a small degree of tilt that needed to be corrected in this image.
An ultra-wide aperture lens is generally selected to make use of those ultra-wide apertures. Often, especially with 50mm ultra-wide aperture lenses, the image quality at the widest apertures is not good and often describable as "dreamy". While dreamy can be nice on occasion, it is not usually what I am going for. With this lens, f/1.2 results are very sharp, showing good resolution and contrast. I have not hesitated to use this lens wide open and ... haven't stopped it down very often. The Canon RF 50mm f/1.2L USM Lens is a compelling reason to get a Canon EOS R camera.
A larger version of this image is available on Flickr.
Camera and Lens Settings
50mm  f/1.2  1/8000s
ISO 100
4448 x 6672px
Post Date: 10/31/2018 9:32:37 AM CT   Posted By: Bryan
Roger Cicala has posted the LensRentals teardown of the Nikon Z 7. Here's what they found:
This is not marketing department weather resistance. This is engineering department weather resistance. Anything that can be sealed has been sealed. I’m impressed, and I will say for future cut-and-paste blurbs: this is as robustly weather sealed a camera as we’ve ever disassembled.
I don’t believe in weather resistance myself. I believe like life; water will find a way. I believe in plastic baggies and rubber bands. I am, however, a great believer in the idea that if you claim to do something, then [you'd better] do it right. This is done right.
I’m impressed by the very solid construction of the chassis and IBIS unit. I’m impressed with the neat, modern engineering of the electrical connections. Yes, I’m aware that soldered wires carry electricity just fine, but to me, there’s something reassuring about seeing neat, well thought out, 2018 level engineering.
I’m not here to tell you which camera is best to use or has the best performance. I’m just here to say this is a [very] well-built camera, the best built mirrorless full-frame camera we’ve taken apart. (For the record, I haven’t torn down a Leica SL.)
B&H carries the Nikon Z 7.
Post Date: 10/31/2018 6:14:56 AM CT   Posted By: Sean
 Tuesday, October 30, 2018
B&H has the new Apple iPads, MacBook Air Notebooks and Mac MINIs available for preorder with free shipping.
Want to know what's new? See the details here.
Posted to: Canon News, Nikon News, Sony News   Category: Preorders
Post Date: 10/30/2018 3:04:30 PM CT   Posted By: Sean
After spending over a decade trying to establish milkweed plants on our property (what monarch caterpillars eat), healthy plants finally emerged a couple of years ago – in the flower beds next to our house, not close to where we were trying to grow them. While most "weeds" are not welcome in the flower beds, we embraced what we got and allowed them to prosper in place.
This year, milkweed plants started growing randomly throughout the yard, though frequent lawn mowing kept their visibility near nothing. After an especially long period of rain, the yard crop started showing leaves and my observant daughter spotted a monarch laying eggs on them. Prior to the next lawn cutting, she and my wife removed over 40 eggs from the rogue plants.
Most of the eggs were transferred to the being-tolerated flower bed plants and several were raised indoors, which produces perfect specimens for photographic purposes. The ideal time to photograph butterflies is just after they emerge as their wings are in perfect condition and they remain mostly still for a couple of hours. Knowing when that time is coming involves observing the monarch chrysalis color. Newly-formed chrysalises are bright green in color, but they turn very dark just prior to emergence of the butterfly stage.
I saw this opportunity coming and had some gear ready. When your camera is an EOS model with a hot shoe, the set of lighting accessories available, both Canon brand and third party options, is vast. For this image, I used a Canon Macro Ring Lite MR-14EX II Flash for a very even light on the subject. With the dual MR-14EX flash tubes configured for equal power, this flash creates a flat light, often void of shadows. When the subject is as vibrantly-colored as this one, flat lighting works quite well.
The background is a piece of orange paper (I tried a variety of colors) being held with a Delta 1 Grip-It Single Arm with 1" Clamp (extremely useful accessory) and lit with a remotely-controlled Canon Speedlite 600EX-RT Flash. Alternatively, I could have used a white paper and gelled the flash to create the desired color.
The background light being positioned behind the foreground light meant that it did not influence the lighting on the subject and the background being far enough behind the foreground meant that the foreground light did not influence the background brightness.
While I didn't expect the Canon EOS R to have any trouble with Canon's Speedlite system (other EOS models don't), it is always nice to have reassurance, especially for a new camera line. Or, maybe this test was just the excuse I needed to spend a couple of hours photographing the monarch.
At macro focus distances, depth of field becomes very shallow. One of the keys to capturing this image was to align the camera so that the wing was perfectly parallel to the imaging sensor, perpendicular to the center of the lens' image circle. Still, f/16 was needed to obtain the depth of field necessary to keep almost the entire butterfly sharp.
A larger version of this image is available on Flickr.
Post Date: 10/30/2018 8:07:31 AM CT   Posted By: Bryan
 Sunday, October 28, 2018
Landscapes, weddings, architecture, real estate, photojournalism – all are great reasons to have a wide angle zoom in your kit. Now the big question becomes, "Which one?" For Sony shooters, the FE 16-35mm f/2.8 GM and FE 16-35mm f/4 ZA OSS will likely be at the top of the wide angle zoom considerations list.
Before we dig deeper into this comparison, regular site visitors may notice that text below sounds a lot like our Sony FE 24-70mm f/2.8 GM vs. Sony FE 24-70mm f/4 ZA OSS Lens comparison. Well, there's a good reason for that – the 16-35mm lenses listed above share many of the same benefits and drawbacks as their 24-70mm counterparts when compared against one another. Therefore, much of the content of the 24-70mm comparison applies equally to the Sony FE 16-35mm f/2.8 GM and Sony FE 16-35mm f/4 ZA OSS lenses.
So, without further ado, let's take a look at these two 16-35mm lenses to see which one proves to be the best investment for your needs.
Sony FE 16-35mm f/2.8 GM and Sony FE 16-35mm f/4 ZA OSS Shared Primary Features
  • Mount: Sony E (full frame)
  • Focal Length Range: 16-35mm
  • Minimum Aperture: f/22
  • Max Magnification: 0.19x
  • Dust and moisture resistant construction
Primary Advantages of the Sony FE 16-35mm f/2.8 GM Lens
  • Wider Max Aperture: f/2.8 vs. f/4
  • More Aperture Blades: 11 vs. 7
  • AF/MF Switch vs. N/A
  • AF Hold Button vs. N/A
Primary Advantages of the Sony FE 16-35mm f/4 ZA OSS Lens
  • Built-in Optical SteadyShot Stabilization vs. N/A
  • Smaller: 3.07 x 3.88” (78 x 98.5mm) vs. 3.48 x 4.79” (88.5 x 121.6mm)
  • Lighter: 18.3 oz (518g) vs. 24 oz (680g)
  • Costs significantly less
Other Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
  • Elements/Groups: 16/13 vs. 12/10
  • AF Motor: Dual Direct Drive SSM vs. Linear
  • Front Filter Size: 82mm vs. 72
Image Quality Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
The FE 16-35mm f/2.8 GM lens is slightly sharper in the center at 16mm and 20mm f/4 and the FE 16-35mm f/4 ZA OSS lens is slightly sharper in the corners. The f/2.8 lens center of the frame advantage grows slightly at 24mm and more than slightly at 28mm. At 35mm f/4, the f/2.8 lens turns in a far better performance. These differences are minimalized at f/5.6, but the f/2.8 remains a much better choice at 35mm.
As one would expect, the f/2.8 lens shows less vignetting at f/4. By f/8, the differences are minor. The f/2.8 lens has more barrel distortion at 16mm, but less pincushion distortion in some of the mid focal length comparisons.
Who should opt for the Sony FE 16-35mm f/2.8 GM?
There are many drawbacks to an f/2.8 constant max aperture lens compared to an f/4 constant max aperture lens, including increased size, weight and cost. However, the Sony FE 16-35mm f/2.8 GM's twice-as-wide max aperture will allow you to freeze motion in half as much light at the same ISO setting compared to the FE 16-35mm f/4 ZA OSS. If you're a wedding/event photographer, or prefer not to pack a tripod for nighttime cityscape/street photography adventures, the increased size/weight/cost associated with the f/2.8 lens will prove more than worthwhile.
Who should opt for the Sony FE 16-35mm f/4 ZA OSS?
If you don't often need to capture moving subjects in low-light situations, and can tolerate higher ISO use when the need arises, then the Sony FE 16-35mm f/4 ZA OSS offers many of the benefits of the Sony FE 16-35mm f/2.8 GM at less than half the price. For static subjects, when combined with Sony alpha-series cameras' IBIS (In-Body Image Stabilization), the Sony FE 16-35mm f/4 ZA's Optical SteadyShot should provide even more effective stabilization compared to a lens without built-in IS.
As you can see by the product pictures and specs listed above, the size and weight differences between these lenses are not insignificant. Photographers who will benefit from the FE 16-35mm f/4 ZA OSS's smaller size/lighter weight include anyone carrying their gear for long periods of time (for backpacking, vacations, long events, etc.) and those wanting to pack more gear in a similar amount of space.
With many full frame Sony a-series cameras having built-in sensor stabilization, one of the Sony FE 16-35mm f/4 ZA OSS Lens's major benefits – optical stabilization – is diminished. However, it does have a few advantages remaining over the Sony FE 16-35mm f/2.8 GM that will make it desirable for many photographers – smaller size, lighter weight and a much lower cost. In addition to the 1-stop wider max aperture, most photographers will prefer the FE 16-35mm f/2.8 GM's image quality over the f/4 lens. For those photographing moving subjects and/or utilizing the entire focal length range on a regular basis, such as wedding/event photographers, will find the Sony FE 16-35mm f/2.8 GM to be a worthy investment. Otherwise, the Sony FE 16-35mm f/4 ZA OSS is available for significantly less.
Relevant Info
Post Date: 10/28/2018 7:31:21 AM CT   Posted By: Sean
 Saturday, October 27, 2018
I was in Aspen, Colorado for two nights and the primary goal was to capture another set of classic Maroon Bells lake reflection images that included the amazing fall aspen color. After arriving at the hotel late in the evening on the first night, I set the alarm for 2:40 AM and went to bed. Probably no one thinks getting up at 2:40 AM is fun and ... that I was dragging my wife and youngest daughter with me ... raised questions about my sanity. Still, this is one of the most beautiful locations in the country and I calculated that it was going to be worth the sleep deprivation (and potential grief from the family) to get the perfect position along Maroon Lake.
Upon stepping outside, the heavy cloud cover was obvious and occasional light rain followed us. Landscape photographers live for the openings in breaking storm clouds and I stayed with the plan. I was one of the first photographers to arrive at the side of the lake, but I immediately encountered disruption of the plan. The first issue was that a rope now lines the path around the lake, preventing close access to the water. The second issue was that the lake level was extremely low. The restricted access and now-distant, very shallow lake combined to provide a dirt/stone former lake bottom as the image foreground and the lake was now small enough that the reflections were rather unexciting at the proximity available. In addition, the aspen leaves had changed (and many dropped) about a week early this year, courtesy of the drought that also accounted for the drained lake.
I continued to stay with the plan, remaining standing in my spot, alongside a large number of other photographers, from about 3:30 AM until close to 9:00 AM, waiting for a break in the clouds. That never happened and I finally decided that a decent photo was not likely to happen. The hike I promised the girls was looking like a great option and that became the plan.
After all of the early AM effort, the best scene of the day showed up in front of us while hiking near the far side of the lake. An opening in the clouds allowed sunlight to penetrate, brightly lighting a grove of aspens that were still holding their brilliantly-colored leaves. The key to getting my favorite Maroon Bells image on this trip was just being out in a great location, watching for something good to happen.
The Canon EOS R and RF 24-105mm f/4L IS USM Lens were perfect hiking companions.
A larger version of this image is available on Flickr.
Post Date: 10/27/2018 9:32:58 AM CT   Posted By: Bryan
 Friday, October 26, 2018
From Tamron:
Tamron 70-210m F/4 Di VC USD Firmware v.2
This update improves the following:
  • AF follow-up performance
A separately sold TAP-in Console is needed for an update.
Post Date: 10/26/2018 7:13:37 PM CT   Posted By: Sean
From Sigma:
[Updated Information] Operating conditions of the Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount
Thank you for purchasing and using our products.
We would like to share results of our further investigations regarding the operating conditions of the Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount.
When SIGMA’s interchangeable lenses in the current product lineup, listed below, are used in combination with the Nikon “Z7” and their “Mount Adapter FTZ”, both AF and AE operate without any issues.
Furthermore, lenses which incorporate Optical Stabilizer (OS) will work to maximum effect when both the lens’s OS and the in-camera stabilization are switched on simultaneously.
Applicable Products
  • DG Lens
    • 12-24mm F4 DG HSM | Art
    • 14-24mm F2.8 DG HSM | Art
    • 24-70mm F2.8 DG OS HSM | Art
    • 24-105mm F4 DG OS HSM | Art
    • 60-600mm F4.5-6.3 DG OS HSM | Sports
    • APO 70-200mm F2.8 EX DG OS HSM
    • APO 70-300mm F4-5.6 DG MACRO
    • 70-300mm F4-5.6 DG MACRO
    • 100-400mm F5-6.3 DG OS HSM | Contemporary
    • 120-300mm F2.8 DG OS HSM | Sports
    • 150-600mm F5-6.3 DG OS HSM | Contemporary
    • 150-600mm F5-6.3 DG OS HSM | Sports
    • APO 200-500mm F2.8 / 400-1000mm F5.6 EX DG
    • APO 300-800mm F5.6 EX DG HSM
    • 14mm F1.8 DG HSM | Art
    • 20mm F1.4 DG HSM | Art
    • 24mm F1.4 DG HSM | Art
    • 35mm F1.4 DG HSM | Art
    • 105mm F1.4 DG HSM | Art
    • 135mm F1.8 DG HSM | Art
    • 500mm F4 DG OS HSM | Sports
    • MACRO 105mm F2.8 EX DG OS HSM
    • APO MACRO 150mm F2.8 EX DG OS HSM
    • APO MACRO 180mm F2.8 EX DG OS HSM
  • DC Lens
    • 8-16mm F4.5-5.6 DC HSM
    • 10-20mm F3.5 EX DC HSM
    • 17-50mm F2.8 EX DC OS HSM
    • 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary
    • 18-35mm F1.8 DC HSM | Art
    • 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
    • 18-250mm F3.5-6.3 DC MACRO OS HSM
    • 18-300mm F3.5-6.3 DC MACRO OS HSM | Contemporary
    • 50-100mm F1.8 DC HSM | Art
    • 10mm F2.8 EX DC FISHEYE HSM
    • 30mm F1.4 DC HSM | Art
Phenomena particular to 4 lenses were confirmed after our announcement of September 28th
After careful investigation, we confirmed some phenomena particular to 4 products listed below. Regarding a firmware update for the SIGMA 24-35mm F2 DG HSM | Art, 50mm F1.4 DG HSM | Art and 85mm F1.4 DG HSM | Art, we are going to announce them at a later date.
24-35mm F2 DG HSM | Art
[Phenomenon]- It may occasionally stop recording while shooting video. It is planned to be resolved by a firmware update.
50mm F1.4 DG HSM | Art
[Phenomenon] - When starting to shoot with the subject completely out of focus, the response to the AF operation is intermittent. It is necessary to release several times or to turn the focus ring once to release. It is planned to be resolved by a firmware update.
85mm F1.4 DG HSM | Art
[Phenomenon] - It may occasionally show overexposure when narrowing down the aperture from F5.6 while shooting. It is planned to be resolved by a firmware update.
APO 800mm F5.6 EX DG HSM
[Phenomenon] - Please focus using MF, since it is difficult to achieve sufficient focusing accuracy. There is no plan for a firmware update.
When the lenses listed below are used, due to product specifications, the in-camera stabilization cannot be turned off. In addition, the Auto Power Off function cannot be used. Please manually turn the power [OFF] after shooting.
Applicable products
  • Current lineup
    • 17-50mm F2.8 EX DC OS HSM
    • 17-70mm 2.8-4 DC MACRO OS HSM | Contemporary
    • 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary
    • 18-250mm F3.5-6.3 DC MACRO OS HSM
    • 24-105mm F4 DG OS HSM | Art
  • Discontinued models
    • 17-70mm 2.8-4 DC MACRO OS HSM
    • 18-50mm F2.8-4.5 DC OS HSM
    • 18-250mm F3.5-6.3 DC OS HSM
    • 18-200mm F3.5-6.3 DC OS HSM
    • 50-200mm F4-5.6 DC OS HSM
    • 70-300mm F4-5.6 DG OS
Other precautions
  • Please use manual focus while shooting with lenses which do not incorporate an AF driving motor.
  • Tele Converters cannot be used together.
  • Depending on shooting conditions, sufficient focusing speed and accuracy may not be achieved. As required, please use manual focus while shooting.
  • Despite being listed above, some lenses shipped out from SIGMA before November, 2013 may require a firmware update. (Please refer to “Various lenses shipped from SIGMA before November, 2013” below.)
  • Discontinued products have different operating conditions depending on each product and their shipping period. For details, please contact your nearest authorized SIGMA subsidiary / distributor.
Various lenses shipped from SIGMA before November, 2013
We have previously confirmed that some phenomena such as AF not working correctly with some lenses released or shipped from SIGMA before November, 2013, when they are used on Nikon’s digital SLR cameras incorporating the latest firmware. Under this circumstance, we will update the lens firmware free of charge. If the products do not operate on a Z7, even when they are listed above, the lens firmware update may improve the situation.
For customers who have these applicable products, please contact your nearest authorized SIGMA subsidiary / distributor for further details.
*1 For products of which firmware was updated after November, 2013, a firmware update is not necessary.
*2 It is not possible to update the firmware of products for which our support period has finished.
*3 For products with an engraved edition number of A012, C013 or S013, the lens firmware can be updated using the optional SIGMA USB DOCK.
Posted to: Nikon News   Categories: Sigma News, Sigma Product Advisories
Post Date: 10/26/2018 9:08:21 AM CT   Posted By: Sean

From the Adobe Photoshop YouTube Channel:
Learn Meredith Stotzner’s trick for switching between the Dodge and Burn Tools in Photoshop without disrupting your workflow.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/26/2018 7:39:28 AM CT   Posted By: Sean
From the Canon Digital Learning Center:
Halloween is right around the corner, and what a great holiday for photographic inspiration: From cute kids in costumes to spooky haunted houses; eerie glowing jack-o’-lanterns to pastoral pumpkin patches – Halloween offers an endless variety of unique subjects.
Read the entire article on the Canon Digital Learning Center.
Post Date: 10/26/2018 5:45:49 AM CT   Posted By: Sean
 Thursday, October 25, 2018

From the Adorama YouTube Channel:
Join Daniel Norton OnSet as he shows you how to create images with the feel of window light but the control of flash. This technique will allow you to shoot any time of day or night and create stunning window light portraits.
Adorama carries the Profoto B1X.
Post Date: 10/25/2018 10:13:54 AM CT   Posted By: Sean
From Nikon:
Changes from “C” Firmware Version 1.00 to 1.01
  • Fixed an issue that in rare circumstances caused the camera to stop responding during burst photography with NEF (RAW) selected for Image quality and On selected for Silent photography in the PHOTO SHOOTING MENU.
  • If Enable release is selected for Slot empty release lock in the SETUP MENU, the Image review option in the PLAYBACK MENU can now be accessed when no memory card is inserted.
Download: Nikon Z 7 Firmware v.1.01
Posted to: Nikon News   Category: Nikon Firmware Updates
Post Date: 10/25/2018 9:21:16 AM CT   Posted By: Sean
From Canon:
MELVILLE, N.Y., October 24, 2018 – Canon U.S.A., Inc., a leader in digital imaging solutions, will be showcasing its latest in high-quality digital imaging products, including the Company’s first full-frame mirrorless camera, the EOS R, at PhotoPlus Expo 2018. The brand-new EOS R is the latest revolution in the company’s long history of innovative and award-winning camera systems, featuring the newly designed RF mount, which uses groundbreaking RF lenses and has full compatibility with the existing range of EF lenses. Canon will also have its complete line of digital imaging solutions on display, including EOS DSLRs, EF Lenses, PowerShot Digital Cameras, Digital Camcorders and imagePROGRAF PRO Professional Inkjet Printers. Additionally, Canon will host educational seminars and will have its Canon Professional Services team on-site in the Jacob K. Javits Convention Center in New York City, October 25 – 27, 2018 in booth #121.
“The unique and interactive setting of PhotoPlus Expo serves as an opportunity for the photography community to come together to experience firsthand the newest technology in the industry,” said Kazuto Ogawa, president and COO, Canon U.S.A., Inc. “Canon is excited to welcome attendees into our booth and provide hands-on time with the products that help to capture and commemorate cherished memories, as well as exhibit the many ways Canon supports photographers through educational workshops and our world-class service and support.”
For many visitors to the Canon booth, PhotoPlus Expo will serve as their first opportunity to experience the EOS R camera and RF lenses. Attendees will be able to test the new camera system through various shooting opportunities, mini workshops and educational sessions with Canon technical specialists and trainers in the Canon Live Learning studio. Canon trainers are also leading five Midtown-area Photo Walks throughout the Expo; spots are limited (register here).
Canon Explorers of Light and other imaging professionals will be on the Canon stage for live-shoots and lectures featuring the best Canon digital imaging solutions. There will also be an in-booth gallery featuring images by Explorers of Light printed on the imagePROGRAF PRO-1000. In addition, Explorers of Light Lindsay Adler, Jimmy Chin and Joel Grimes will each sign 100 custom printed photographs for attendees, which will be available on a first come, first served basis.
New to the Canon booth, the state-of-the-art aRchive gallery will feature work from cultural influencers and storytellers like Nicole Issacs, Jake Guzman and Katie Goldie, using augmented reality technology to add to the experience. In order to view the gallery, visitors will need to download the aRchive app from the Google Play or Apple App stores.
Visitors to the Canon Professional Services counter will have the opportunity to learn more about the industry-leading program and offerings supporting photographers, including repair discounts, expedited service and evaluation loaners for CPS Gold, Platinum and Cinema members. Guests who renew or sign up for a paid CPS membership during the show will receive a 10 percent discount and free show-exclusive gift. To learn more about Canon Professional Services, please visit
The CPS Lounge will be open again this year, where Platinum, Gold, Cinema and Enterprise CPS members can have their Canon equipment (up-to-two current Professional DSLR bodies or lenses) cleaned and checked during Expo hours on Thursday, Oct. 25, and Friday, Oct. 26, in Room 2D12.
CPS Lounge Hours during PhotoPlus Expo 2018:
Oct. 25: 10:00 AM-5:00 PM
Oct. 26: 10:00 AM-5:00 PM
Oct. 27: 10:00 AM-2:00 PM (equipment pickup only, no new items accepted)
Visit the CarePAK PLUS counter to learn more about the current promotion for free 13 months of accidental damage protection with the purchase and registration of select Canon cameras and lenses through January 5, 2019. Exclusive for PhotoPlus Expo, visitors can get their badge scanned to enter for the chance to win a free upgrade to 49 months coverage plus Image Recovery.
Follow Canon throughout the PhotoPlus Expo show @CanonUSApro. To see the full details of Canon’s presence at PhotoPlus Expo, including the Canon stage speaker schedule, please visit:
Posted to: Canon News, Nikon News, Sony News   Category: Canon USA News
Post Date: 10/25/2018 6:06:55 AM CT   Posted By: Sean
 Tuesday, October 23, 2018
From Tiffen:
Filter Kits created for the DJI Mavic Air, Mavic 2 Pro, Mavic 2 Zoom, Inspire 2 are available now
HAUPPAUGE, NY- October 23, 2018 - Tiffen Filters, a division of The Tiffen Company for optical photographic filters and lens accessories, introduces their new collection of drone filter kits. Filter kits will be available for the DJI Mavic 2 Zoom, DJI Mavic 2 Pro, DJI Mavic Air, and DJI Inspire 2. Established filter kits for the DJI Phantom 4 Pro already exist and are available for purchase.
The filters have a multilayer and hydrophobic coating. Its surface is waterproof and contains scratch prevention technology. The filters guarantee ultra-low reflection rates and they have unmatched color fidelity. Its 4K high definition optical glass has a ten-year warranty.
With Tiffen’s exclusive kit of aerial filters for DJI, drone operators will have the opportunity to capture in flight content like never before. When used in conjunction with the award winning filter technology engineered by Tiffen, the high quality performance of the DJI 4K camera system is taken to the next level, broadening the horizons for content creation.
B&H carries Tiffen filters for DJI drones.
Posted to: Canon News, Nikon News, Sony News   Category: Tiffen News
Post Date: 10/23/2018 11:53:21 AM CT   Posted By: Sean
Places Sigma lenses plus unparalleled service and technical support in the heart of the TV & film production community
Burbank, CA – October 23, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, is pleased to announce the opening of its brand new west coast showcase in Burbank, California. A modern space for its world-class products, services and support, visitors can experience first-hand the popular Sigma Cine and Global Vision lenses through product demonstrations, seminars and special events. “Having a physical presence in the greater Los Angeles area has long been a vision of ours. The new west coast Sigma center has been years in the making and to finally open it to the public is very exciting,” said Kazuto Yamaki, CEO of Sigma Corporation. “We are thrilled to be a part of this creative community, and we look forward to the new relationships Sigma will develop with filmmakers and cinematographers, right in their backyard.”
Join Sigma at Its Grand Opening Event!
To celebrate the opening of the Sigma west coast office, Los Angeles area cinematographers and filmmakers are invited to attend the special reception hosted by Sigma Corporation of America on Saturday, November 3rd from 5-8pm PDT. In addition to the open bar with rare sake tasting, scrumptious food from local food trucks, Sigma swag and giveaways, attendees will have a chance to see product demos and a special work showcase by DP Timur Civan as the first official Sigma Cine Pro. As a Sigma Cine Pro, Timur will become a valuable resource to filmmakers, presenting informative lectures, seminars and workshops to cinematographers across the US. He has worked with clients as diverse as Louis Vuitton, Pepsi, Samsung, Toyota, Home Shopping Network, Vox Media and many more. His unique approach and technique are at the cutting edge of visual storytelling, and Sigma Cine lenses are always there to help bring his creative vision to life. Timur will be in attendance and available to answer any questions about Sigma lenses and how they facilitate his creative expression.
B&H carries Sigma lenses.
Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 10/23/2018 11:31:39 AM CT   Posted By: Sean
From Laszlo Pusztai, creator of Shuttercount and Kuuvik Capture:
Shuttercount 3.4
We did it again! Canon introduced a new shutter actuation counter method for its mirrorless cameras, starting with the M50. The just released version of ShutterCount supports this new method, as you can see on the following screen shot.
ShutterCount is the first and only app that can do it.
Instead of giving a shot-by-shot counter, the M50 (Kiss M in some markets) and the EOS R will give a value measured in thousands. ShutterCount displays it similar to the 1-series cameras do it in their menu: <= 2000 means the counter is between 1000 and 2000, <= 15000 means the counter is between 14000 and 15000, etc.
The Distribution Chart and live view counters are not available for mirrorless cameras, since all photos are taken in live view mode.
Being Wi-Fi capable, both the EOR R and the M50 are also supported in the iOS version of the app.
Speaking of mirrorless, we also certified the app with the Nikon Z 7. Just like all other Nikons, the Mac version supports this camera via image files.
The Mac version adapts to Dark Mode in macOS 10.14, and the iOS version supports the large screen size of iPhone XS Max and XR.
Version 3.4 is a free update for existing users on both operating systems. New users can purchase the app in the respective App Store. Live View Pack and Plus Pack are available as in-app purchases.
Download: Shuttercount v.3.4 (MacOS | iOS)

Kuuvik Capture 4.1
I’m happy to announce that Kuuvik Capture 4.1 is available on the Mac App Store with full Canon EOS R support.
The EOS R is a special camera – having the fastest multi-point live view among the whole Canon repertoire, it is eminently suitable for use with tilt/shift lenses or view cameras.
It’s not just the speedy multi-point live view that makes the R a great companion to the Cambo Actus-G digital view camera, but the RF mount’s reduced flange focal distance (20mm instead of 44mm for the EF mount) allows you to use shorter lenses. A Rodenstock HR Digaron-S 60mm f/4 for example. Well, it will once Cambo starts selling an RF bayonet holder.
For those of you who aren’t aware of multi-point live view in Kuuvik Capture: it’s a unique feature (that is, no other app offers such a thing) allowing you to select up to three points on the live image and display them simultaneously in 5x magnification. An indispensable tool for product photographers.
You can learn more about the multi-point live view in my free eBook, Kuuvik Capture Inside Out.
Besides EOS R support, there are a few fixes and support for macOS Mojave’s Dark Mode in this release.
Kuuvik Capture 4.1 is available on the Mac App Store. It is a free update for users who purchased the app earlier from there. You can see the complete list of new features and changes in the release notes.
Download Kuuvik Capture 4.1 for MacOS
Post Date: 10/23/2018 9:01:47 AM CT   Posted By: Sean
 Monday, October 22, 2018
by Sean Setters
Oatmeal raisin, white chocolate macadamia nut or classic chocolate chip? No, I'm not referring to one of those types of cookies. In lighting terms, a "cookie," or cucalorus, is a "...device for casting shadows or silhouettes to produce patterned illumination." [Wiki]
A cookie is placed between your light source and the subject or background and casts a desired pattern of highlight and shadow. What can be used as a cookie? Fabrics with interesting weaves, potted plants, venetian blinds and matte black cinefoil with custom cut-out designs are popular choices. In the example above, I used an old lace curtain suspended between my main flash (camera right) and the subject, producing the interesting effect (a flash positioned camera left/low provided fill light).
So the next time you're looking to create a unique portrait, look around your home or antique/fabric stores for items that can be used to cast an interesting pattern of light onto your scene.
Post Date: 10/22/2018 10:09:21 AM CT   Posted By: Sean
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!
Bryan's Used Gear for Sale
Posted to: Canon News, Nikon News, Sony News   
Post Date: 10/22/2018 8:21:38 AM CT   Posted By: Bryan
From Nissin:
Nissin i400 – For Canon, Nikon, Sony, Fujifilm & Olympus/Panasonic Camera Systems
The pocket-sized powerful mini
The pocket-sized Nissin i400 weighs only 7.2 oz. (1), and is perfect for use as a fill-in flash even on the sunniest of days. Its compact dimensions make the i400 the ideal flash for family outings, indoor/outdoor shootings and is especially suitable for traveling. Professional functionality: Syncs up to 1/8000 sec. (3); flash output GN 40 at 105 mm; simple operation panel with two selector dials to operate the flash; flash head tilts up and rotates to make bounced lighting more versatile by utilizing more angles.
Selector dial - simple and innovative
The Nissin i400 has two selector dials, a function dial and a power dial. The small lamps indicate the current settings so that even beginners can quickly get started.
Professional flash head design
The flash head rotates 180° horizontally from left to right, and tilts upwards to 90° making bounce shooting more arbitrary and maximizing the angles that can be used.
Metal hotshoe and quick release button(3)
The i400 has a durable metal hotshot (not available for the Sony version due to limitation of the Multi Interface Shoe design) and features a quick release button. It is easy to attach to your camera and reduces the risk of damage caused by frequent or quick installation.
Automatic mode
Use this setting when you use your camera in the automatic mode. The camera and flash will communicate to produce the proper amount of flash output for the scene.
TTL flash level compensation
The power of the flash can be regulated using the TTL flash level compensation. Whereas the total exposure is controlled by the camera's EV compensation function, the flash can compensate for exposure on the main subject only, with little impact on the exposure of the background scene. The flash power level can be adjusted from -2EV to +2EV in 0.5EV steps.
Manual mode
This mode allows the user to determine the output of the flash and set it manually from full power, 1/1 , down to 1/256 power.
Four AA batteries (not included)
The i400 operates with 4 AA batteries. This lessens recycling time and reduces the need to change batteries frequently.
Technical Information
  • For Canon, Nikon, Sony, Fujifilm & Olympus/Panasonic camera systems (4)
  • GN 40 (105 mm) / GN 27 (35 mm) at ISO 100
  • Focal length coverage 24 - 105 mm (35 mm CCD format)
  • Built-in wide angle diffuser
  • Professional flash head design
  • Built-in AF assist light (5)
  • Metal hotshoe (3) and quick release button
  • High-Speed synchronization
  • Operates with only four AA batteries (not included)
(1) Weight excluding batteries.
(2) The maximum synchronization speed depends upon the camera model - High speed sync is available only for compatible cameras. Please refer to the compatibility chart.
(3) Not available for Sony cameras.
(4) Please refer to the compatibility chart.
(5) If camera body emits an AF assist light, it will not activate the AF light on the i400.

B&H carries the Nissin i400 Flash.
Posted to: Canon News, Nikon News, Sony News   Category: Nissin News
Post Date: 10/22/2018 8:09:13 AM CT   Posted By: Sean
Purchase an eligible product between now and January 5, 2019 and you'll get 13 months of Canon CarePAK PLUS damage and spill protection at no additional cost.
CarePAK PLUS Benefits Include
  • Protection from Accidental Damage
  • Coverage from Normal Wear and Tear
  • Free Two-Way Shipping
  • $0 Deductible
  • Service & Support Directly from Canon
  • Priority Service
  • Camera Maintenance with Sensor Cleanings
  • Transferable
Eligible Canon Products
EOS REOS 6D Mark IIEF 24-70mm f/2.8L II USM
EOS-1D X Mark IIEOS 80DEF 70-200mm f/2.8L IS II USM
EOS 5D Mark IVEOS 77DEF 70-200mm f/2.8L IS III USM
EOS 5D Mark IIIRF 28-70mm F2 L USMEF 50mm f/1.2L USM
EOS 5DsRF 50mm F1.2 L USMEF 85mm f/1.2L II USM
EOS 5Ds REF 16-35mm f/2.8L II USMEF 85mm f/1.4L IS USM
EOS 6DEF 16-35mm f/2.8L III USMEF 100mm f/2.8L Macro IS USM
EOS 7D Mark IIEF 17-40mm f/4L USMEF 100-400mm f/4.5-5.6L IS II USM

Post Date: 10/22/2018 6:31:18 AM CT   Posted By: Sean

In this video, Joel Grimes suggests ways to keep your strobe from rotating while affixed to the end of a boom pole. While the first technique (grinding the stud) he suggests will work, it's not the ideal method. In fact, of the three methods he suggests, none of them are as good as the simplest answer – get a baby drop-down pin.
The drop-down mounts to the end of your boom and allows you to affix your strobe and modifier so that they're hanging vertically, avoiding the stresses that cause your strobe to twist if mounted directly to the boom pole. Plus, since the drop-down pin swings freely, it stays in place (hanging straight down) as you change the angle of the boom. A drop-down pin has been part of my kit for many years now; it has a permanent home in my monolight bag and is utilized any time I pull out the boom. [Sean]
Post Date: 10/22/2018 6:16:11 AM CT   Posted By: Sean
 Sunday, October 21, 2018
I signed up for an east Maui rainforest waterfall hike and knew that the path could be wet and muddy. What I didn't know was that, thanks to a just-previous hurricane, "wet" meant I would be fording swift rain-swollen streams up to waist-deep with the MindShift Gear Trailscape 18L camera backpack being held overhead. That certainly upped the hike's entertainment value (and provided a new understanding of how well Gore-Tex trail-running shoes hold water).
Having both stories and images always makes an adventure better.
The Canon EOS R and Canon RF 24-105mm f/4L IS USM Lens were used to capture this idyllic Hawaiian rainforest waterfall. Aiding was a Breakthrough Photography circular polarizer filter, cutting reflections and increasing saturation. These filters are nearly a requirement for waterfall photography. An f/8 aperture would have provided adequate depth of field for this 29mm image, but the narrower f/11 opening permitted a longer exposure, creating a more strongly motion-blurred waterfall.
A larger version of this image is available on Flickr.
Post Date: 10/21/2018 7:00:00 AM CT   Posted By: Bryan
 Saturday, October 20, 2018
An evening sail was part of the Canon Hawaii 2018 announcement event and I saw a great sunset in the making as the boat was coming ashore, returning to the beach in Lahaina. I hurried down the ladder and ran across the beach to find a clear composition. With a Canon EOS R and Canon RF 24-105mm f/4L IS USM Lens in hand, the rest was easy.
Photographing the ocean (usually) is a type of action photography as the scene is constantly changing. Water reflects and smooth water provides the best definition of whatever is being reflected. Although they nicely reflect sky color in general, most oceans I've visited are far from smooth. However, the thin layer of water remaining on the sand immediately after a wave recedes is often quite smooth and can provide some definition of the colorful clouds, the subject most often desired to be reflected. Consider timing the capture of some of your beach images for this wave position.
Another beach photography consideration is what the leading edge of the waterline looks like. I like the frothy white roll clearly delineating the sand and water as seen in this image, but other options can also work well.
I always find a great sunset to be photographically irresistible. Islands often have very long distance views of the setting (or rising) sun, making them ideal locations for watching this time of the day through a viewfinder.
A larger version of this image is available on Flickr.
Camera and Lens Settings
24mm  f/11.0  1/250s
ISO 400
6655 x 4453px
Post Date: 10/20/2018 9:30:47 AM CT   Posted By: Bryan
 Friday, October 19, 2018

From the Adobe Photoshop Lightroom YouTube Channel:
With this new command in Adobe Camera Raw, you’ll be able to create beautiful, raw, high-dynamic-range panoramas using Merge to HDR Panorama.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/19/2018 9:38:54 AM CT   Posted By: Sean
From Tokina:
Thank you for using Tokina products.
We have thoroughly tested all current Tokina interchangeable lenses (Nikon F mount) with the Nikon Z 7 mirrorless camera using the Nikon mount adapter FTZ.
The results confirm that current Tokina lens models showed no issues in general operations with the following exceptions:
  • Tokina opera 50mm F1.4 FF
    Issue: Compared with general conditions AF speed is slower.
  • Tokina AT-X 70-200mm F4 FX VCM-S
    Issue: AF communication error. However, the lens will operate normally in manual focus mode.
Please, note that due to mount adapter FTZ specifications, the following Tokina lenses do not AF but will operate in manual focus mode:
  • Tokina AT-X M100 AF PRO D
  • Tokina AT-X 107 AF DX NH Fisheye
  • Tokina AT-X 107 AF DX Fisheye
For any question about compatibility of Tokina interchangeable lenses with Nikon Z 7 mirrorless camera contact us via contact form.
B&H carries the Nikon Z 7 and Tokina lenses.
Posted to: Nikon News   Category: Tokina News
Post Date: 10/19/2018 6:10:44 AM CT   Posted By: Sean
 Thursday, October 18, 2018

From the B&H YouTube Channel:
Join AB and Doug as they discuss the different challenges and techniques faced when recording and mixing audio for video. They cover topics such as equipment choice, EQ, compression, room acoustics, and more, and there are in-depth demos with screen captures that show how to go from an initial draft to a completed product.
Post Date: 10/18/2018 8:04:41 AM CT   Posted By: Sean
From Nikon:
TOKYO - Nikon Corporation (Nikon) is pleased to announce that entries for the Nikon Photo Contest 2018-2019 will be accepted from 1:00 p.m. today, October 18, 2018 until 1:00 p.m. on January 31, 2019 (all dates and times JST).
Nikon Photo Contest is an international photo contest that aims to provide an opportunity for photographers around the world to communicate, as well as to enrich photographic culture for professionals and amateurs alike. Since the first Contest was held in 1969, photographers from countries and regions around the world have participated and shown their support. To date, more than 410,000 photographers have submitted over 1,620,000 imaging works, making it a truly international event.
In the previous (36th) Contest, a total of 21,511 photographers from 170 countries and regions submitted 76,356 works, marking a new record for the Contest in terms of the number of countries and regions from which entries were submitted.
Nikon Photo Contest 2018-2019 Overview
The Nikon Photo Contest 2018-2019, the 37th Contest since its beginning, will be comprised of three categories — Open, Next Generation, and Short Film.
The theme for the Open Award is "Change". We live in a time full of great changes in a variety of contexts, from our work and lifestyles, to the climate. We are calling for entries that express changes that you want to share with the world.
The theme for the Next Generation Award, open to photographers aged 25 or younger, is "Identity". We look forward to entries unique to younger generations that explore who they are.
The theme for the Short Film Award is "Hope". In this category, we await entries that shine a hopeful light on the path to the future.
We plan to announce winners of the Nikon Photo Contest 2018-2019 in August 2019, and to also hold an awards ceremony.
The Contest is open to all professional and amateur photographers, regardless of age, gender, or nationality.
Entry period
1:00 p.m. on October 18, 2018 to 1:00 p.m. on January 31, 2019 (all dates and times JST)
How to enter
Enter the contest by providing the required information in the entry form on the Nikon Photo Contest 2018-2019 website. Visit the Nikon Photo Contest 2018-2019 website for further details regarding Contest eligibility, submission rules, judging, etc.
Posted to: Nikon News   
Post Date: 10/18/2018 6:41:01 AM CT   Posted By: Sean
From Nikon:
Changes from “C” Firmware Version 1.02 to 1.03
  • Fixed an issue that in rare circumstances would delay the shutter release or the start of the autofocus operation.
Download: Nikon D850 Firmware v. 1.03
Posted to: Nikon News   Category: Nikon Firmware Updates
Post Date: 10/18/2018 6:33:25 AM CT   Posted By: Sean
 Tuesday, October 16, 2018
This firmware update makes the SIGMA MOUNT CONVERTER MC-11 EF-E compatible with the latest SIGMA interchangeable lenses firmware. For customers who own the SIGMA MOUNT CONVERTER MC-11 EF-E, please update the firmware via SIGMA Optimization Pro* by connecting it to a computer using the supplied USB Cable.
*Before updating the SIGMA MOUNT CONVERTER MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.4.1 or later for Windows, and ver. 1.4.0 or later for Macintosh.
Applicable product
Benefits of the update
  • It has become compatible with the SIGMA 105mm T1.5 FF EF mount Cine lens from the FF High Speed Prime Line.
  • It has become compatible with the SIGMA 24-105mm F4 DG OS HSM | Art for Canon which has the latest firmware Ver.2.00.
Post Date: 10/16/2018 6:18:52 AM CT   Posted By: Sean
 Monday, October 15, 2018
Some of you may be wondering, "What's New in Lightroom Classic CC, Lightroom CC and Photoshop CC 2019?" If so, here's a quick overview of the changes.
Lightroom Classic CC
Depth range masking
Beginning this release, a new range mask option is added to the local adjustment tools. Make selections based on a range of depth values in supported HEIC photos that contain embedded depth map data.
Using the Depth Range Mask, after making an initial selection mask on your photo with Adjustment Brushes or Radial Filter/Graduated Filters, you can refine the mask area based on the depth range of the selection:
  1. From the Brush settings area in the Adjustment panel, choose the Range Mask type as Depth from the drop-down list. By default, Range Mask is set as Off.
  2. To sample a depth range within the mask area, do any of the following:
    • Adjust the Range slider to define the endpoints of the selected depth range.
    • Select Depth Range Selector from the Range Mask panel. Click+drag an area on the photo you want to adjust.
  3. Select the Show Depth Mask check box to view the depth of the image in black and white representation and use the Smoothness slider to control the falloff at either ends of the selected depth range.
After refining the mask area, you can now apply selective adjustments from the Effect pop-up menu to create precise photographic edits.
For more Help information, see Depth range mask.
Single-step HDR Panorama merge
Create HDR Panos faster now that you can merge multiple bracketed exposures into multiple HDR photos and then stitch them into a panorama — all in one step.
Simply select your exposure-bracketed pano source photos in the grid and select Photo > Photo Merge > HDR Panorama. In the HDR Panorama Merge Preview dialog box, you can adjust other settings using Boundary Warp slider, Auto Crop and Create Stack checkboxes.
For detailed information, see Create panoramas and HDR panoramas.
Faster tethering for Canon camera
Experience greater speed and stability when tethering supported Canon camera models to Lightroom Classic CC.
  1. Connect a supported Canon camera to your computer and choose File > Tethered Capture (Canon) > Start Tethered Capture.
  2. In the Tethered Capture Settings dialog box, specify how you want to import the photos using: Session, Naming, Destination, Information, Disable Auto Advance, Save A Copy To Camera.
  3. Click OK to start the photo-capture session.
  4. Use the floating tethered capture bar to adjust the camera controls and develop settings.
For more details, see Import photos from a tethered camera.
Additionally, tether support for the following Canon camera models has been provided in this release:
  • Canon EOS 2000D (Rebel T7)
  • Canon EOS M50
For a full list of cameras that can be tethered to Lightroom Classic, see Tethered camera support.
Process version improvements
With Process Version 5 update, Lightroom Classic's raw image processing has been updated to include improvements to image quality for high ISO raw files that reduces purple color cast in your low-light shots and you see less noise when you move the Dehaze slider to the left of zero (negative dehaze).
To check the process version in Lightroom Classic, switch to the Develop module. In the Calibration panel, select the Process drop-down list to see a list of available versions.
For related information, see Process versions.
HEVC file support (macOS)
Beginning with this release, Lightroom Classic CC supports Apple's HEVC video format (High Efficiency Video Coding, also known as H.265) on macOS High Sierra v10.13 or later.
For related information, see HEIC and HEVC media files support in Lightroom and Camera Raw.
Support for new cameras and lenses
For a full list of supported cameras and lens profiles, see these resources:

Lightroom CC
People View
(Mac, Windows, iOS, Android, and ChromeOS)
Quickly find the people you care about with Adobe Sensei-powered People View. Lightroom CC automatically tags people in photos and provides you with an easy way to see all the photos the person appears in.
Improved Search
(Mac, Windows, iOS, Android, and ChromeOS)
Get better search results with automatic search suggestions provided to you as you type in the search box. Lightroom CC provides suggestions for metadata like cameras, lenses, aperture, ISO, locations, keywords, and more.
Share Tab
(Mac, Windows, iOS)
The new Share tab gives you an easy way to browse and access shared albums and images that you made through
(Mac and Windows only)
As part of the new Share tab, you can also share albums directly to your portfolio hosted on Adobe Portfolio from within Lightroom CC using the new Connector feature.
We’re building out the Connector service to have a full menu of third-party services (like photo labs, photo book printers, and others). Please get in touch if you’re interested in working with us.
Apple Photos Migrator
(Mac only) Use the new Apple Photos Migrator to easily migrate your Apple Photos library into Lightroom CC on your desktop.
Additional Sharing Options
(iOS and Android only)
When sharing your albums to Lightroom Web you can now choose to only share images that are flagged or that have a certain star rating or higher, while controlling the display theme, directly from Lightroom CC.
Display View
( only)
The new Display view within lets you see a preview of the page, exactly how your viewers will see it. While in the Display view, you can control the layout and background color while inserting breaks between images and text to help tell the story that accompanies your photos. When you’re done setting up the layout, you can then share the album using the controls under Sharing.

Photoshop CC 2019 v.20.0.0
Content-Aware Fill reimagined
Choose which pixels to use in your fills using a new, dedicated workspace, and rotate, scale, and mirror your source pixels thanks to Adobe Sensei technology. You can even create fills on separate layers to preserve your original images.
Frame tool for easy masking
Turn shapes or text into frames that you can use as placeholders or fill with images. Easily replace an image by dropping another one into the frame — it automatically scales to fit.
Multiple Undo
Use CMD-Z to undo multiple steps, just like in other Creative Cloud apps.
Usability improvements
Now you can hide your reference point, double-click the canvas to edit text, and efficiently crop, transform, and place and enter text faster with auto-commit. Plus, Photoshop transforms pixel and type layers proportionally by default and makes it harder to move panels by accident.
Live blend mode previews
No more guessing which blend mode to use. Just scroll over the different options to see how they look on your image.
Symmetry mode
Paint your brush strokes in a perfectly symmetrical pattern — even on curves. Symmetry mode lets you define an axis or axes and then choose from preset types, including circular, radial, spiral, and mandala.
Color wheel
Visualize the color spectrum to choose complementary colors more easily.
Home screen
Get started quickly with the Photoshop home screen. Access it at any time to find out about new features, connect to learning content, and jump right to your open documents.
Improved in-app learning
Use your own assets while working through tutorials to get the looks you want in less time.
Top customer requests
You asked, we delivered. Now you can distribute the spacing between objects, type simple math operations into fields that require numeric values, see the end of long layer names, and find Japanese fonts with Match Font and Font Similarity.
UI size preference
Get more control when scaling the Photoshop UI, and adjust it independent of your other apps to get the UI size just right.
Better “Export As” experience
The “Export As” menu loads faster and offers a streamlined UI to make things easier. And you can preview multiple artboards at one time.
And so much more
Also includes: A Flip Document view that lets you flip your canvas horizontally, a Lorem Ipsum text mode for quickly placing sample text, and customizable keyboard shortcuts for the Select and Mask workspace.
B&H carries Adobe Photography Plan subscriptions.
Posted to: Canon News, Nikon News, Sony News   Category: Adobe News
Post Date: 10/15/2018 2:28:59 PM CT   Posted By: Sean
From Adobe:
Major Updates to Flagship Apps, Launch of Premiere Rush CC for Social Video and Previews of Photoshop CC and Project Gemini on iPad Accelerate Creative Cloud Innovation and Value
LOS ANGELES – Today at Adobe MAX, the Creativity Conference, Adobe (Nasdaq:ADBE) announced major updates to Creative Cloud applications including Photoshop CC, Lightroom CC, Illustrator CC, InDesign CC, Premiere Pro CC and Adobe XD. Adobe also introduced Adobe Premiere Rush CC, the first all-in-one, easy-to-use video editing app for social media creators, simplifying video creation and sharing on platforms including YouTube and Instagram. Adobe previewed new iPad versions of Adobe Photoshop CC and Project Gemini, a drawing app, reinforcing the company’s commitment to delivering high-performance apps that work seamlessly across surfaces.
“Today, we unveiled a portfolio of next-generation creative apps that deliver meaningful value to our community by transforming creative workflows across devices and platforms,” said Scott Belsky, chief product officer and executive vice president, Creative Cloud, Adobe. “By continuing to innovate in our flagship apps, extending into exploding segments such as experience design and social video creation, and pioneering in emerging mediums like touch, voice, 3D and augmented reality, Adobe Creative Cloud has truly become the creativity platform for all.”
Expanding Innovation Across Creative Cloud Applications and Services
Adobe introduced major updates to its desktop applications, including: a new Content-Aware Fill workspace in Photoshop CC; performance and workflow improvements across Lightroom CC and Lightroom Classic; the ability to design with photorealistic, Freeform gradients in Illustrator CC; a powerful Content-Aware Fit in InDesign CC; the power to instantly create and animate unique, stylized puppets using a webcam and reference artwork with Character Animator’s new Characterizer; a new rendering engine for improved render preview performance in Dimension CC; and new Sensei powered search features and exclusive content in Adobe Stock, including a new library of clips from GoPro. In addition, Adobe announced it is addressing the needs of the video animation industry with new workflows and integrations across apps, including Animate to After Effects, Animate to Character Animator and Adobe XD to After Effects.
Adobe XD, the all-in-one UX/UI solution for designing websites and mobile apps, now features new capabilities leveraging recently acquired Sayspring technology to empower designers to prototype experiences and apps for voice-powered devices, such as Amazon Echo. New voice capabilities, including voice triggers and speech playback, enable designers to create powerful experiences with screen and voice prototyping now in one application. In addition, developers can now leverage Adobe XD APIs to build plug-ins and app integrations that add new features, automate workflows and connect XD to the tools and services designers use every day.
Unleashing Social Video Content Creators with Premiere Rush CC
Designed specifically for online video creators, Premiere Rush CC integrates capture, intuitive editing, simplified color, audio and motion graphics with seamless publishing to leading social platforms, such as YouTube and Instagram, all together in one easy-to-use solution. With Premiere Rush CC, content creators do not have to be video, color or audio experts to publish professional-quality videos. Premiere Rush CC harnesses the power of Premiere Pro CC and After Effects CC, offers built-in access to professionally designed Motion Graphics templates in Adobe Stock to get started quickly and features a Sensei-powered, one-click auto-duck feature to adjust music and normalize sound. It also allows access anywhere, enabling users to create compelling video projects – optimized for social distribution – on one device and publish from another with a consistent user experience across desktop and mobile.
Previewing High-Performance Creative Imaging and Drawing Apps Across Devices
Adobe previewed two future mobile apps designed to usher in a new era of multi-surface creation while complementing workflows across Adobe’s existing flagship desktop applications:
  • Photoshop CC on iPad: Redesigned for a modern touch experience, Photoshop CC on iPad will deliver the power and precision of its desktop counterpart. Photoshop CC on iPad will let users open and edit native PSD files using Photoshop’s industry-standard image-editing tools and will feature the familiar Photoshop layers panel. With Photoshop CC across devices, coming first to iPad in 2019, you will be able to start your work on an iPad and seamlessly roundtrip all of your edits with Photoshop CC on the desktop via Creative Cloud.
  • Project Gemini: A new app designed to accelerate drawing and painting workflows across devices, Project Gemini, coming first to iPad in 2019, combines raster, vector and new dynamic brushes into a single app experience built for drawing. Project Gemini enables artists to use and sync their favorite Photoshop brushes and works seamlessly with Photoshop CC.
Unparalleled Productivity Enhancements with Adobe Sensei
The 2019 release of Creative Cloud delivers more than a dozen new Adobe Sensei-powered features and productivity enhancements – building on dozens of existing Sensei-powered features already available to Adobe Creative Cloud, Document Cloud and Experience Cloud customers. Sensei-powered features in the 2019 release include:
  • An expanded Content-Aware Fill workspace in Photoshop CC that offers greater precision and control to save editors valuable time when working with their images.
  • A new Content-Aware Fit feature in InDesign CC that intelligently detects an image and crops or fits it to an image frame automatically.
  • New Freeform Gradients in Illustrator CC that enable the creation of natural gradients.
  • A new tool in Character Animator CC, Characterizer, that transforms any style of portrait into a vivid, animated character.
Designed to make creatives more successful and supercharge their productivity, the 2019 Creative Cloud release delivers significant performance and usability improvements, greater cross-application integration, intuitive collaboration features and faster access to file assets and services. Among the new capabilities, Adobe is optimizing the in-app Start experience to accelerate customer on-boarding with new apps and improve discoverability of new features and product capabilities.
Additional workflow improvements include a contextually-aware Properties Panel in InDesign CC to display options based on the object selected, expanded Undo and auto-resizing in Photoshop CC, a customizable toolbar in Illustrator CC and a modern UI in Bridge CC with support for bulk uploads of libraries. Creative Cloud members also get the all new Adobe Acrobat DC, which provides a completely reimagined way to share work and get it reviewed and approved without sending email attachments or managing version control.
Previewing the Future of Immersive Design
Adobe previewed Project Aero, a new cross-device AR authoring tool that enables creators to design augmented reality experiences. Project Aero is the first AR app built for designers and artists and was first sneaked on-stage at Apple’s Worldwide Developer Conference earlier this year. Project Aero enables optimal delivery of AR experiences, empowering creatives to place digital content in the real world. At Adobe MAX, Adobe showcased an AR-powered retail store of the future, revealing the exciting possibilities of immersive design experiences.
Empowering Enterprise Customers
Adobe announced deeper integrations between Creative Cloud and Adobe Experience Cloud that unify creative and marketer workflows. With these integrations, brands can now easily access assets in Experience Manager within Creative Cloud apps, Adobe Stock images can be leveraged in Experience Manager, and 3D content designed with Dimension CC can be adjusted in Experience Manager and published as marketing assets.
For a comprehensive feature summary and overview of Creative Cloud innovation and new features visit:
  • Digital and Creative Imaging: including Photoshop CC, Photoshop CC on iPad, Dimension CC, Project Aero and Project Gemini
  • Photography: including Lightroom CC and Lightroom Classic
  • Digital Video and Audio: including Premiere Rush CC, Premiere Pro CC, After Effects CC, Audition CC and Character Animator
  • Design and Visual Storytelling: including Adobe XD, Illustrator CC, InDesign CC and Adobe Spark
  • Services: including Adobe Stock, Adobe Portfolio and Adobe Fonts
Pricing and Availability
Updates to Creative Cloud desktop software are now available to all Creative Cloud subscribers, including membership plans for individuals, students, teams, educational institutions, government agencies and enterprises. Adobe’s mobile apps are available for download from the iOS App Store and Google Play.
Photoshop CC on iPad, Project Aero and Project Gemini on iPad will be available in 2019. Spark Post on Android, previously available as a public beta, is now available as a 1.0 app in the Google Play store.
The all-new Premiere Rush CC, available now on Windows and macOS and via the iOS App Store (Google Play store availability coming in 2019), is offered across a series of plans tailored for customers’ unique needs.
  • Premiere Rush CC is available for $9.99/month to individuals, $19.99/month to teams and $29.99/month to enterprise customers. Premiere Rush CC is also included as part of All Apps, Student and Premiere Pro CC single app plans and comes with 100 GB of CC storage. Additional storage options, up to 10 TB, are also available for purchase.
  • Premiere Rush CC Starter Plan: Available for free, the Starter Plan gives customers access to all Premiere Rush CC features, use of desktop and mobile apps and the ability to create an unlimited number of projects and export up to three projects for free.
B&H carries Adobe Photography Plan and Creative Cloud subscriptions.
Posted to: Canon News, Nikon News, Sony News   Category: Adobe News
Post Date: 10/15/2018 11:13:14 AM CT   Posted By: Sean
 Saturday, October 13, 2018
by Sean Setters
I've been shooting a moderate amount of indoor studio portraits over the last couple of years and I am consistently impressed by the impact a fan has on the quality of my images. Take the shot above, for example. In it, I'm using six flashes to illuminate the subject and background (with various modifiers). Good lighting is a key to producing a high quality studio portrait. But the finishing touch, the element that makes this photo really interesting, is the hair movement provided by the fan placed just in front of the subject.
In this case, the fan is a oscillating, variable height/variable speed pedestal model that my dad gave me when he was moving [downsizing] a few years ago. He used it to minimize his home cooling expenses; I use it to get shots like this:
Brittney Headshot 1

And this:
Hope G Black Light - Oct 2018

Note that a fan doesn't have to be motorized for it to be useful for portraiture. Anything that's flat and somewhat rigid will do the job if you have a photo assistant available (or the ability to operate the camera remotely). Things like collapsible reflectors and foam core boards can easily be used in place of a dedicated electric fan, again, assuming someone is available to operate the device. A nice thing about non-motorized fanning tools is that they can very easily be used outdoors to create a wind effect on an otherwise calm day.
Of course, for a fan to have an impact on portraiture, it must influence at least a part of the composed scene in some way. You can use the fan to introduce movement in hair, fabric/clothing or props (such as leaves). The opportunities for capturing dynamic, fan-induced movement in your portraits are too numerous to list.
If shopping for a fan for studio use, from my personal experience, a pedestal model with an adjustable height is ideal as you can easily set it to an optimal height for your subject. However, a pedestal-style fan certainly isn't a requirement. If you already have a floor model or tabletop fan, you can simply place it on a higher surface (table, apple boxes, etc.) if needed. While some may appreciate an oscillating feature (especially if the fan is doing double duty as a cooling device), I typically lock my fan into a static position so that it's always blowing air in the desired direction.
Note that constantly blowing air at a subject's face can cause uncomfortable dry eyes. To prevent this, tell your subject to keep his/her eyes closed right up until the moment a photo is taken and use an audible countdown to alert the subject of an impending shutter release.
A fan is an inexpensive tool that can have a big impact on the quality of images delivered to your clients, making it a must-have item for any studio photographer.
Post Date: 10/13/2018 12:50:21 PM CT   Posted By: Sean
 Friday, October 12, 2018
From Kenko Tokina:
Kenko Tokina Co., Ltd. is pleased to announce the worldwide sales date for the new Tokina opera 50mm F1.4 FF lens (Canon EF/Nikon F mount) for full frame DSLR cameras.
Sales will commence on October 26th, 2018.
50mm F1.4 FF is the debut lens in the new Tokina opera series released on September 21st and presented at Photokina 2018, marking the launch of the new generation premium full frame line for high-end DSLR cameras.
Tokina opera 50mm f/1.4 FF Lens - B&H | Adorama
Post Date: 10/12/2018 7:09:13 AM CT   Posted By: Sean

Watch as Benjamin Warde demonstrates how to use the Compare View to narrow down your selects in Lightroom.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/12/2018 6:16:14 AM CT   Posted By: Sean
 Thursday, October 11, 2018
From Adobe:
Support for the following cameras has been added. Visit the Camera Raw page for a complete list of supported cameras.
  • Canon EOS R
  • Fujifilm X-T3
  • Nikon COOLPIX P1000 (*)
  • Nikon Z 7
  • Panasonic LUMIX DC-LX100 II
Download: Adobe DNG Converter 11.0 - Windows | Mac OS
Post Date: 10/11/2018 8:29:17 AM CT   Posted By: Sean

From the PHLEARN YouTube Channel:
Today we show you how to realistically match lighting between two photos in Photoshop! Learn how to use a Threshold Adjustment Layer in combination with a Levels Adjustment Layer to adjust the highlights and shadows and help your subject to blend in seamlessly to a new background.
If you’re just learning how to composite, make sure that any photos you blend together were taken in somewhat similar lighting conditions!
Download the Sample Image (PSD) here.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/11/2018 8:18:53 AM CT   Posted By: Sean
From Nikon:
Changes from Firmware Version 1.01 to 1.02
  • Added support for the Z 7 and Z 6.
Download: Nikon WR-1 Firmware v.1.02
Posted to: Nikon News   Category: Nikon Firmware Updates
Post Date: 10/11/2018 7:17:35 AM CT   Posted By: Sean
 Wednesday, October 10, 2018

Watch as Julieanne Kost demonstrates how to modify the edge of a Layer Mask or Vector Mask in Photoshop.
B&H carries Adobe Photography Plan subscriptions.
Post Date: 10/10/2018 9:50:11 AM CT   Posted By: Sean
Image quality test results from a Nikon D850 have been added to the Nikon 24-120mm f/4G AF-S VR Lens page.
The Nikon 24-120mm f/4G VR features an excellent general purpose focal length range, a moderately fast max aperture and VR – a combination which results in a highly useful lens with a modest price tag and travel-friendly size.
Here are a couple of comparisons to get you started:
Nikon 24-120mm f/4G AF-S VR compared to Canon EF 24-105mm f/4L IS II USM Lens
Nikon 24-120mm f/4G AF-S VR compared to Sony FE 24-105mm f/4 G OSS Lens
The Nikon 24-120mm f/4G AF-S VR Lens is in stock at B&H | Amazon | Adorama | WEX.
Rent the Nikon 24-120mm f/4G AF-S VR Lens from Lensrentals.
Posted to: Nikon News   Category: Camera Gear Review News
Post Date: 10/10/2018 7:01:05 AM CT   Posted By: Bryan
 Monday, October 8, 2018

From the Adorama YouTube Channel:
Today in Episode 136 of Two Minute Tips, David Bergman explains the difference between first curtain and second curtain sync.
Post Date: 10/8/2018 9:48:39 AM CT   Posted By: Sean
 Friday, October 5, 2018
by Sean Setters
I was reading an article yesterday that stated the Canon EOS R had a "1.83x crop factor" when recording 4K video. However, while the EOS R certainly has a crop factor in 4K recording, it's actually a slightly lower crop factor of 1.75x.
I can understand the source of the confusion and, as such, I thought we'd take a minute to go over the math involved in determining a camera's sensor or video recording crop factor.
Before we dive into the crop factor calculations, it's important to understand why a crop factor is relevant. The crop factor determines the field of view we see in a given situation. For more information on the root of this phenomena and how it relates to sensor size, check out our Field of View Crop Factor explanation.
At the heart of it, the formula for determining crop factor is easy: you determine the ratio of the larger area's hypotenuse (diagonal) to the smaller area's hypotenuse measurement. For that, we'll need to use the tried-and-true Pythagorean theorem (a2+b2=c2). For example, to determine the crop factor of a Canon APS-C sensor, the math looks like this:
EOS-1-series Full-Frame Sensor Hypotenuse (mm)
362 + 242 = c2
1,296 + 576 = c2
1,872 = c2
√1,872 = c
43.27 = c
EOS 7D Mark II APS-C Sensor Hypotenuse (mm)
22.42 + 152 = c2
501.76 + 225.00 = c2
726.76 = c2
√726.76 = c
26.96 = c
Now the crop factor can be calculated by dividing the full-frame hypotenuse by the APS-C one:
APS-C Crop Factor
43.27 / 26.96 = 1.605
We know that APS-C sensor cameras feature a 1.6x crop factor, so with a little rounding, the calculation proves correct in determining the crop factor. The process for calculating video crop factor (when the video recorded is sampled via a 1-to-1 readout of the pixels in the center of the sensor which creates the video's resolution) is similar, but not exactly the same. The first difference involves our units of measure; we'll be using pixels to determine the hypotenuses for comparison. We can do this because the pixel size is the same (a standard) throughout the comparison. The second difference is that we'll need to normalize the aspect ratios to figure out the appropriate crop factor.
As I mentioned the EOS R above, we'll use it as an example of how to calculate the camera's (4K) video crop factor. First we need to determine what part of the sensor would be used if the video recording utilized the entire width of the sensor. To do that, we need to calculate the pixel area of a 16:9 (4K) ratio crop of the camera's 3:2 ratio frame. To do that, we simply divide the sensor's pixel width by 16 and then multiply by 9 to get the area utilized by an uncropped 16:9 video.
EOS R Video Pixel Height (Full Sensor WxH = 6720 x 4480 px)
6720 * 16 / 9 = 3780
So in a world where the EOS R captures "uncropped" 4K footage, the sensor would utilize an area of the frame that is 6720 x 3780 pixels and then downsample it to the lower 4K resolution. The video is technically cropped from a 3:2 ratio frame, but it's referred to as "uncropped" because the horizontal field of view remains the same (it's cropped at the top and bottom, not the sides).
Now that we know the portion of the frame that would be utilized for a 16:9 aspect ratio video, we need to compare it to the video size actually being recorded by the EOS R, or 3840 x 2160 pixels. Because of the rather large numbers, I'll shorten the following equations by eliminating some of the calculation steps.
"Uncropped" 16:9 Video Hypotenuse (px)
√(67202 + 37802) = c
7710.175 = c
EOS R 4K Video Hypotenuse (px)
√(38402 + 21602) = c
4405.814 = c
Crop factor of EOS R
7710.175 / 4405.814 = 1.75
So for practical purposes, the EOS R has a 4K crop factor of 1.75x, where a 20mm lens delivers a 16:9 field of view equivalent to a 35mm lens when recording in 4K. From a technical standpoint, saying that the EOS R has a 1.83x crop factor could be accurate if we also labeled the Sony a7 III as having a 1.05x crop factor in video mode. But when you call the a7 III's 4K video "uncropped," you necessitate normalizing the field of view captured in the EOS R's 4K 16:9 aspect ratio frame, resulting in the 1.75x result.
Post Date: 10/5/2018 11:56:02 AM CT   Posted By: Sean
From Tamron:
Dear users and potential purchasers of Tamron interchangeable lenses.
Thank you for using Tamron products and for your continuous support.
We would like to announce that we have discovered issues that some of Tamron Di/Di II series for Nikon mount models may not operate properly on Nikon Z7, which was newly released on September 28, 2018, with Nikon Mount Adapter FTZ.
We are investigating the causes and will make further announcement of the compatibility for every single model once we find the solution.
Post Date: 10/5/2018 7:31:51 AM CT   Posted By: Sean
 Thursday, October 4, 2018
Skylum's Aurora HDR 2019 is now available for purchase/download. It's $99.00 for first-time users or $59.00 to upgrade (use our coupon code THEDIGITALPICTURE to get a $10.00 discount).
I installed the software earlier this morning and was really impressed with the results I got with the few HDR batches I loaded for testing. Real estate photographers will especially love the realistic results the software can achieve balancing interior ambient light with the exterior window light.
From a processing standpoint, this looks to be a worthwhile upgrade for Aurora 2018 users. My one complaint – Skylum hasn't increased the size of the scroll bars. They're ridiculously thin and hard to click (same as they were in the 2018 version of the software), making the scroll bars practically useless. Thankfully, using a mouse scroll wheel mimics the scroll bars' functionality. [Sean]
Posted to: Canon News, Nikon News, Sony News   Categories: Skylum News, Aurora HDR
Post Date: 10/4/2018 10:41:23 AM CT   Posted By: Sean
From Adobe:
The Elements team is excited to announce the release of Photoshop Elements 2019 & Premiere Elements 2019.
The 2019 release focuses on:
A home screen designed for you
The first thing you’ll notice when opening Photoshop Elements and Premiere Elements 2019 is the brand-new Elements Home Screen that welcomes you every time you open the apps. The new Home Screen offers a personalized experience by surfacing info on what’s new since your last version of Elements and content suited to your level of expertise.
Auto creations, made just for you
Beautiful photo and video slideshows and collages are automatically created just for you highlighting memorable moments like birthdays and vacations and delivered upon launch in the Home Screen. It’s all thanks to photo and video automation powered by Adobe Sensei AI technology.
Beyond the Home Screen, there are a number of exciting new features and enhancements across Photoshop Elements and Premiere Elements 2019 to help you create stunning photo creations, videos, and movies so that you can then quickly share your memories in print, DVDs, the web and across your social media channels.
So, let’s dig in to what’s new and enhanced.
Redesigned photo collages
In this release we’ve redesigned your photo collage creation experience so that you can create collages with fewer clicks and quickly choose from stylish new templates that look great as Instagram posts and more. You also have the ability to customize your photo collages by adding frames and changing up backgrounds for the perfect finishing touch.
Guided edits
Photoshop Elements 2019 is introducing four all-new Guided Edits, bringing the total to 53 step-by-step photo editing guides to help you quickly edit and create.
  • Create amazing multi-photo text: Now you can design visual text that features a different photo inside each letter to make words or names that look great as wall art, invitation cards or scrapbook pages.
  • Make fun memes: This Guided Edit walks you through the process of typing in text, adding filters, borders and more to turn your photos into memes that are perfect for sharing on social media.
  • Turn part of your photo into a sketch: Make a unique artistic statement by turning part of a favorite photo into a sketch by brushing on the medium of your choice, including colored pencil, old paper, or an aged photo look.
  • Add polish with text and border overlays: This new Guided Edit teaches you how to embellish photos with borders and text that make them stand out – whether you plan to print it out or post it online to social media.
Enjoy better performance and HEIF support
The team worked hard to improve your experience with Photoshop Elements, and you’ll notice it right off the bat with a faster download and installation process and improved performance throughout common photo editing tasks. We’ve also added support for importing and editing HEIF images on macOS.
Redesigned Quick Edit mode
Creating your movies is now easier than ever with our completely redesigned Quick Edit mode. The new, user-friendly, editing interface presents you with two options:
  • Smart Trim, which automatically finds your best footage and walks you through a series of steps for trimming a video.
  • A simplified Sceneline for combining clips, photos, titles, music and more into a unique production that you can then share on DVD, the web or social media.
Guided edits
Premiere Elements 2019 is introducing two all-new Guided Edits, bringing the total to 20 step-by-step video editing guides in Premiere Elements that help you get started.
  • Make glass pane effects: This Guided Edit helps you make the action in your scene appear like its taking place behind the glass. You’ll learn how to add a video overlay to create this sleek look.
  • Create Luma fade transitions: Add a professional looking dramatic scene transition, which walks you through the process of fading in the colors from darkest to lightest in your video creations.
Enjoy better performance plus VFR, HEIC and HEVC support
Just like in Photoshop Elements, you’ll experience the same faster download and installation process and improved performance on common video editing tasks. We’ve also added support for variable frame rate (VFR), import and editing of HEIF images on macOS and HEVC video on macOS 10.13 and above.
Adorama has Adobe Photoshop 2019 and Premiere Elements 2019 in stock.
Posted to: Canon News, Nikon News, Sony News   Category: Adobe News
Post Date: 10/4/2018 10:02:05 AM CT   Posted By: Sean
 Wednesday, October 3, 2018
Image quality test results have been added to the Nikon 600mm f/4E AF-S FL ED VR Lens page. You are going to like these results.
There is a rather long story behind why test results from this lens' are showing up on the site at this time. I'll try to make this brief while filling in some blank space for you.
We first began testing Nikon lenses many years ago using a D3x. As imaging sensor resolutions increased, I felt the need to re-test Nikon lenses with the latest model, highest resolution Nikon camera available at that time. That was the D810. Not long after begining the D810 lens testing project, we ran into a number of bad lens copies that cost us significantly and I placed Nikon lens testing on the backburner. At the same time, many requests were coming in for Sony lens testing and thus, we moved Sony lens testing to a higher priority.
As we worked through the Sony full frame lens reviews, the Nikon lens testing project was rising on the priority list and now, the significantly higher-resolution D850 is available. I decided that we needed to acquire a D850 before investing further in Nikon lens evaluations (our like-new, lightly used D810 is for sale).
Then a few things happened, aligning the stars, so-to-speak. For over a year, I've had an elk photography trip booked at a private ranch in Idaho. Then Canon announced the replacement for my wildlife-go-to Canon EF 600mm f/4L IS II USM Lens. While the image quality promised to be similar (extremely good), the weight savings on the III is incredible. The difference is game-changing – and it feels even more significant when holding the II and III at the same time. I placed an order for the 600mm f/4L IS III the minute preorders opened. BTW, the 400 f/2.8L IS II and III weight difference feels just as major.
Back to the Nikon story: it seemed wrong for someone who reviews cameras and lenses to take a being-replaced lens for primary (almost exclusive) use on a big photo trip. Then a Nikon 600mm f/4E AF-S FL ED VR Lens in 9+ condition showed up in B&H's used department.
With the D850 closely approaching the resolution of my Canon EOS 5Ds R and boasting a much-faster 9 fps frame rate with the MB-D18 grip and EN-EL18c battery installed, I decided that I would sell my current 600 f/4L II to fund the III and use the Nikon 600 f/4E to challenge the D850 in the interim. The elk photo trip would be an especially great opportunity to get to know this gear (and I always love figuring out new gear).
While I am not often a proponent of buying used gear, buying used gear from B&H is relatively safe and I thoroughly tested the lens upon arrival. I was especially wary because, years ago, we tested a number of Nikon supertelephoto lenses that ... didn't perform very well. After AF calibrating the lens and giving it some initial testing, I had a close black bear and cubs encounter in heavy fog that proved out the functionality and capabilities of this setup. The gear worked great on my trip and ... my photo processing backlog has been greatly increased.
Photographing, evaluating gear and image processing – I can pick 2 of those right now and opted to narrow down and process images later, perhaps over the winter. I have spent a lot of time behind cameras and lenses this summer and fall and have a lot to share over the following months.
Back to the Nikon D850 results: note that, after careful consideration, we have increased the standard sharpness setting of the Nikon D850 results from "0" to "1" (using Nikon software for RAW conversion). Evaluating highly magnified images shows very slight sharpening halos present at this setting, but comparatively, we think "1" is the right number to go with. The Nikon 600mm f/4E AF-S FL ED VR Lens vs. Canon EF 600mm f/4L IS II USM Lens at f/5.6 shows the two lenses appearing similarly sharp with their respective high resolution cameras behind them (Nikon D850 vs. Canon EOS 5Ds R).
Also note that we remain committed to evaluating Canon gear as our highest priority (our primary kits are Canon) and will bring additional brand camera and lens test results and reviews as time and resources permit.
The excellent Nikon 600mm f/4E AF-S FL ED VR Lens is in stock at B&H | Amazon | Adorama | WEX.
Rent the Nikon 600mm f/4E AF-S FL ED VR Lens from Lensrentals.
Posted to: Nikon News   Category: Camera Gear Review News
Post Date: 10/3/2018 7:31:34 AM CT   Posted By: Bryan

You've got the space, but do you have the gear necessary to make it a functional photography studio? Watch as photographer Daniel Norton goes over the must-have gear for any studio.
Product Links:
Sandbag 25 Pound - Adorama (Full) | Amazon (Empty)
Sandbag 15 Pound - Adorama (Full) | Amazon (Empty)
Shot Bag - Adorama | Amazon
Apple Box - Adorama | Amazon
C-Stand - Adorama | Amazon
650 Pin - Adorama | Amazon
Cable Cuffs - Amazon
Black Flags - Adorama | Amazon
Step Ladder - Amazon
Post Date: 10/3/2018 7:23:58 AM CT   Posted By: Sean
 Tuesday, October 2, 2018
From Benro:
Today, Benro announced the availability of Tripster, a reverse folding travel tripod that also converts to a monopod. Currently available in three sizes, three colors (Black, Blue and Titanium) in your choice of aluminum or carbon fiber, this travel friendly tripod is well suited for smaller mirrorless and action cameras up through full frame DSLRs.
Tripster easily converts from a tripod to a full size monopod by combining one of the legs with the center column. The Arca-Swiss style ballhead is attached via a 3/8"-16 stud which can easily be removed. A 1/4"-20 mount on the tripod shoulder is ideal for attaching additional accessories. A Carrying bag is included.
"Whether you’re heading to your closest hiking trail or traveling overseas, there’s really no better option than a compact travel tripod. And for capturing the night sky or long exposures, the end results are worth it. We designed the Benro Tripster to be the go-to travel tripod with usability in mind," says Brian Hynes, Benro USA Brand Manager.
Features & Benefits:
  • Reverse folding legs – Allows for maximum compactness when traveling
  • Converts to Monopod - The center column connects to the tripod leg to form a full size monopod.
  • Removable Ballhead - The ballhead is attached via a 3/8"-16 stud and can easily be removed.
  • Telescoping 2-Section Center Column - The column can be extended for additional height.
  • Accessory Mount - A 1/4"-20 accessory mount is located on the shoulder for attaching additional accessories.
  • Arca-Swiss style camera plate - This camera plate will work with most other Arca-Swiss style heads.
Benro Tripster is currently available online and through camera stores nationwide from $99.00 up to $279.00.
B&H carries Benro Tripster tripods.
Posted to: Canon News, Nikon News, Sony News   Category: Benro News
Post Date: 10/2/2018 1:28:33 PM CT   Posted By: Sean
From Sigma:
Thank you for purchasing and using our products.
We are pleased to announce that a new firmware update for the SIGMA MOUNT CONVERTER MC-11 SA-E and EF-E is now available.
This firmware makes the SIGMA MOUNT CONVERTER MC-11 compatible with the latest firmware of SIGMA interchangeable lenses. For customers who own the SIGMA MOUNT CONVERTER MC-11 SA-E / EF-E, please update the firmware via SIGMA Optimization Pro by connecting it to a computer using the supplied USB Cable. Before updating the SIGMA MOUNT CONVERTER MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.4.1 or later for Windows, and ver. 1.4.0 or later for Macintosh.
Applicable product
Benefits of the update
  • It has become compatible with the SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports.
  • It has become compatible with the SIGMA 24-70mm F2.8 DG OS HSM | Art (For SIGMA: Ver.1.03, For Canon: Ver.2.02).
Post Date: 10/2/2018 1:04:38 PM CT   Posted By: Sean
From Sigma: Thank you for purchasing and using our products.
We would like to announce that a new firmware update for the SIGMA 24-70mm F2.8 DG OS HSM | Art for SIGMA, Canon and Nikon is now available
This firmware update improves the stability of the image in the viewfinder, making it easier to confirm composition.
For customers who own the SIGMA USB DOCK and applicable product listed below, please update the firmware via SIGMA Optimization Pro. Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver.1.4.1 or later for Windows, and Ver.1.4.0 or later for Macintosh.
Applicable product
  • SIGMA 24-70mm F2.8 DG OS HSM | Art for SIGMA, Canon and Nikon
Benefit of the update
  • It has improved the stability of the image in the viewfinder, making it easier to confirm composition, thanks to the updated control algorithm of the Optical Stabilizer.
Post Date: 10/2/2018 8:51:17 AM CT   Posted By: Sean
 Monday, October 1, 2018
From Sigma:
Operating condition of Nikon “Z7” and SIGMA’s interchangeable lenses for Nikon mount
Thank you for purchasing and using our products.
We would like to announce that we have confirmed that SIGMA’s interchangeable lenses for Nikon mount in the current lineup do not have any issues with general operation when they are used on the “Z7”, released by Nikon Corporation, via their “Mount Adapter FTZ”.
In addition, please note the information below when using the following lenses.
  • Interchangeable lenses that do not incorporate an AF drive motor will operate only in manual focus.
  • Some interchangeable lenses shipped out before November 2013 that are not compatible with the latest DSLR cameras will not operate.
We will continue verification and provide updates on the operating conditions including discontinued models.
Posted to: Nikon News   Category: Sigma News
Post Date: 10/1/2018 8:37:36 AM CT   Posted By: Sean
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