by Sean Setters
I've often heard the phrase, "The best camera is the one you have available when you need to take a picture." And of course, there's a lot of truth in that statement. When time is of the essence, and your ILC (Interchangeable Lens Camera) is not at hand, by default, the smartphone in your pocket is the best available tool to complete the task.
Since mid-September when Olivia Jane was born, my wife has snapped hundreds of pictures of our baby with her iPhone (an Apple iPhone 8, to be exact). And while many of those smartphone shots have been posted to social media, none of them have been deemed worthy of printing and physical display.
Of course, my wife isn't a photographer. But when my wife handed me her iPhone to capture Olivia Jane wearing a cute Halloween costume hat, I didn't feel much like a photographer either. The iPhone 8's 28mm full frame equivalent focal length did little to isolate the subject and the perspective wasn't very flattering for a close portrait. The lag shutter lag also proved to complicate the process of capturing fleeting expressions. My daughter would make a cute face and I'd quickly try to take the picture, but alas, I always seemed to miss it.
After several attempts to create a decent photo, I remembered that my Canon EOS 5D Mark III and a backpack full of prime lenses was one room away in the dining room. The Sigma 50mm f/1.4 DG HSM Art was already mounted to the camera, and I figured it would work well in this particular situation. With the camera set to aperture priority mode at f/1.4, ISO 1600 and +1/3 exposure compensation, I framed the scene and snapped a few pictures (the resulting shutter speed was 1/320 sec.). After a quick check of the LCD, I felt vindicated for taking the time (about 30 seconds) to grab my "real" camera. But it wasn't until I really started looking at the images captured that I fully appreciated the difference that the right gear can make.
Here's the best image I captured with the iPhone (straight out of the camera, f/1.8, 1/15 sec, ISO 50):
When it comes down to it, shooting with a smartphone left me feeling handicapped and a little annoyed. I know I could learn to be a better smartphone photographer, but the sheer physics of a very small sensor combined with minimal options for adjusting field of view will always leave me wishing I had a better imaging solution in my hands. The iPhone 8's sensor is 3.5 x 4.8mm, which is tiny compared to a full-frame camera's 24 x 36mm sensor.
I realize I'm preaching to the choir here. If you're a regular site visitor, you probably aren't relying on your smartphone for much of your imaging needs. But even so, do you always have your DSLR/mirrorless ILC at hand when your child does something cute (or monumental) or when you're driving home and the sunset in your rearview mirror is overwhelming captivating? I hope so. But if not, it might be time to pack a small bag with your "real" camera, a backup battery and 2-3 lenses to have available on a consistent basis. Of course, keeping up with a camera bag won't be nearly as convenient as carrying a smartphone, but... the quality of the images captured will almost certainly be worth the extra effort.
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 new firmware versions are now available for the following three Tamron models. The new F/W versions make the three models compatible with Nikon Z7 and FTZ adapter for general operations(*1).
This is an update announcement of our October 4th compatibility notice with some of Tamron Di/Di II series for Nikon mount models not operating properly on Nikon Z7 and Nikon Mount Adapter FTZ.
(*1) Functions used on DSLR cameras
The lens firmware can be updated with the separately sold TAP-in Console. If you do not have a TAP-in Console, please contact your nearest Tamron distributors.
MELVILLE, NY – Today, Nikon Inc. announced the winner of the company’s fourth annual nationwide search for the “Top Spot for Fall Foliage”, naming Michigan as the best state for fall photography in the United States. Participants from all 50 states were more eager than ever to showcase their state’s beautiful autumn landscapes, but it was Michigan (#NikonFallMI) that narrowly claimed the title, giving the state its third consecutive victory.
“Now in its fourth year, this campaign continues to provide a platform for people to show their state pride through photography that displays the natural beauty of our country, while also highlighting the uniqueness of autumn in each individual state,” said Lisa Baxt, Associate General Manager of Communications, Nikon Inc.
Michigan once again earned this year’s title of Top Spot for Fall Foliage, with a plethora of stunning submissions that displayed the state’s knockout combination of vibrant foliage and numerous lakes. Michigan took the crown for the third time, with New York (#NikonFallNY) coming in second-place, and Colorado (#NikonFallCO) trailing close behind in third.
Nikon received thousands of submissions during the nationwide campaign, with entries accepted on the brand’s Facebook page, Instagram and Twitter. When posting on Instagram and Twitter, participants shared designated hashtags unique to each state – #NikonFall followed by the state’s abbreviation. Images submitted by photographers of all skill levels demonstrated the stunning variety of autumnal landscapes from coast to coast, and displayed this year’s gorgeous array of vivid forests, gleaming lakes, and spectacular foliage.
To view all of this year’s submissions on Instagram and Twitter, search the hashtag #NikonFall followed by the state’s abbreviation (e.g. #NikonFallMI, #NikonFallNY). On Facebook visit www.facebook.com/NikonUSA to view the fall foliage submissions. And if you’re interested in capturing some fantastic seasonal landscapes of your own, check out Nikon’s Learn and Explore website for useful tips and techniques.
Changes to ViewNX-i, Picture Control Utility 2 & Capture NX-D
Additional changes from Capture NX-D version 1.5.0 to 1.5.1
Fixed the following issues:
Changes from “C” Firmware Version 1.01 to 1.02
Download: Nikon Z 7 Firmware v.1.02
Nikon Will Also Offer an Array of Special Promotions, Instant Savings and Discount Programs for their Latest Products this Holiday Season
MELVILLE, NY – With the holiday season just around the corner, Nikon Inc. is pleased to announce the retail availability of the new Nikon Z 6 camera, which was announced alongside the Nikon Z 7, Mount Adapter FTZ, and the NIKKOR Z 24-70mm f/4 S, 35mm f/1.8 S, and 50mm f/1.8 S lenses in late August of this year. In addition to announcing retail availability for this product, Nikon will be offering an array of holiday promotions, instant savings programs and special discounts for a variety of Nikon products.
Nikon Z 6 Availability
The Nikon Z 6 offers an incredible value for photographers and content creators, striking the perfect balance of speed, optical performance and powerfully cinematic video features while maintaining the advantages of a lightweight mirrorless design, all at an incredibly compelling price point. The versatile Nikon Z 6 includes a 24.5-megapixel-BSI CMOS sensor, wide ISO sensitivity range of 100–51,200, 12fps continuous shooting at full resolution, 5-axis in-camera vibration reduction technology, crystal clear 3.6m-Dot Quad VGA viewfinder and full-frame 4K UHD video capture with full pixel readout.
The Nikon Z 6 will be available nationwide starting this Friday, November 16 for the suggested retail price (SRP) of $2,599.95 with the NIKKOR Z 24-70mm f/4 S lens and $1,999.95 for the body only configuration.
Nikon Holiday Promotions
Nikon Inc. is also unveiling several new holiday promotions to encourage consumers to share the gift of photography with their friends and loved ones.
For consumers in the market for a new mirrorless camera, the Nikon Z system is an ideal entry-point. Now, for a limited time, Nikon Inc. will be offering $100-savings on the Mount Adapter FTZ when purchased alongside the new Nikon Z 7 or Nikon Z 6.
Additionally, Nikon will be offering numerous special promotions on the extensive lineup of Nikon DSLR cameras, camera kits and NIKKOR lenses, which are great gift options for those looking to take their photography and video capture to the next level this holiday season.
The list below outlines the instant savings available starting on November 22, 2018
Entry-Level DSLR Savings:
Enthusiast and Professional-Level DSLR Savings:
Lowepro Whistler AW II Product Highlights
From the B&H YouTube Channel:
There is nothing better than turning your passion of photography into a money making profession. Whether it is a part time proposition or a full time effort, Jeff Cable will give you advice on making the transition from hobbyist to professional. To be successful in the photography business, it is much more than taking great photos. Even though Jeff will talk about his equipment recommendations, he will really focus on the business aspects and what can help you get started and grow your business.
With a general purpose focal length range, moderately wide max aperture, small size and light weight, this lens is sure to be a popular favorite for Nikon Z-series camera owners.
As stated on the sales page, your email receipt, the pre-purchase FAQs, and the Terms & Conditions agreed to at checkout, you have until November 30, 2018 to download all your digital products and access/register for all online products. Log into your customer account to complete your downloads and access/register for products.
The clock is ticking, as all the links provided to you as a part of the bundled product will expire November 30, 2018.
Some of the products you received require a discount code/license in order to claim the item. Check your e-mail receipt for those unique codes. You can also access your 5DayDeal Customer Account to get your unique code - just click 'orders' and then the order number.
From the New York Times:
It takes time, passion and obsession to make great work. But you also need the opportunity to have your work seen in the first place. And since we at Lens believe only the quality of work should matter — not your connections or bank account — we are again bringing together 160 talented photographers with 75 top photo editors, publishers, curators, gallery owners and video producers, for the 7th annual New York Portfolio Review on March 30 and 31 in New York City.
Applications are now open for the free (as always) review, which is produced by The New York Times Lens column, the Craig Newmark Graduate School of Journalism at the City University of New York and United Photo Industries. Participation is open to anyone over 18 years old, and all types of photography will be considered. But remember, the deadline is Dec. 10 at 11:59 p.m. Eastern Time.
Now a mainstay of photo events in the United States, the review convenes the photographic community to meet, trade ideas, help each other — and have fun.
The first session, on Saturday, March 30, will be for photographers 21 and older. Each participant will receive six private critiques. The second session, on Sunday, March 31, will be solely for photographers 18 to 27 and will consist of at least four private critiques for each participant, as well as free workshops on how to best present, promote and publish photographs. We will screen all applicants and choose 100 participants for Saturday and 60 for Sunday.
Please note: Photographers who attended last year’s review are not eligible to apply. Those who attended once in previous years can apply for this year’s review, but they must submit new work. Those who have already attended the review twice cannot apply.
Once photographers are selected, they will submit their top choices for reviewers of their work. We will match participants with as many of those reviewers as possible.
To enter, send no more than 20 photos total, from one or two projects, using the form here. The files should be JPEGS, 1,200 pixels across and 72 D.P.I. We will inform those who are accepted by Jan. 15, 2019. Be sure to triple-check the email address you submit, because in past years some people were accepted into the review, but couldn’t be contacted with the good news because of a typo in their address. Don’t be that person.
Below the submission form is a partial list of reviewers who will be at the New York Portfolio Review.
The moderately wide angle 35mm focal length is a favorite of many photographers, making the Z 35mm f/1.8 S an ideal candidate for the Z-mount's prime lens debut.
As these are the first results posted using the Z 7, Z 7 image quality is also under the microscope here. The f/5.6 test nicely shows off Z 7 image quality. Looks very good. The Nikon Z 7 vs. D850 comparison shows the two essentially the same.
Whenever you do commercial work (product or art photography), accurate color balancing is essential. I highly recommend incorporating an X-Rite ColorChecker Passport into your workflow whenever accurate color is a priority. [Sean]
From the Adorama YouTube Channel:
Welcome to Ep 141, in this episode David Bergman shows you how to use a gray card and a color checker to get accurate color in your images.
Related Products at Adorama:
In this video, Benjamin Warde demonstrates how to use Lightroom Classic CC's soft proofing option to [help] ensure prints look like they do on your screen.
Nikon has released its financial results for Q2 2019 for the fiscal year ending March 31, 2019. As for the year-over-year results for the imaging side of its business, Nikon says:
"Imaging Products Business decreased its profit because of the initial cost for new products such as full-frame ML cameras and lenses launched in September."The full details can be found below.
For those familiar with Photoshop, you'll feel right at home with Photopea, a photo editing solution that has many of the same basic tools as Photoshop but runs in your internet browser window.
X-Rite, the leading brand of color management solutions for the photography and video, announces an exclusive offer in partnership with MZed. Consumers will receive either a free full course ($199 value) with the purchase of an i1Display Pro, i1 Filmmaker Kit or ColorChecker Video XL; or free course module ($79 value) with the purchase of a ColorChecker Passport Video or ColorChecker Video. Both the full course and the modulecan be streamed or downloaded. Offer expires December 31st, 2018.
To claim a free course/module from MZed, just follow these simple steps:
The Mastering Colorfull course (or module) will be free to use with no subscription charges. Customers will have 45 days from their purchase date to submit a redemption request. This offer is available in the U.S. and Canada until December 31st, 2018.
The EOS R represents Canon's initial foray into the mirrorless camera market and many may be wondering how it stacks up against Sony's feature-packed, budget-priced a7 III. If you fall into that group, read on as we compare these two cameras.
Sony a7 III & Canon EOS R Shared Primary Features
Primary Advantages of the Sony a7 III:
Primary Advantages of the Canon EOS R:
Who should opt for the Sony a7 III?
If you're looking to upgrade to a full frame camera and don't already have a large collection of Canon lenses, or otherwise want to get more serious about photography and prefer to skip on an APS-C sensor body, the Sony a7 III has a lot to offer, including a very reasonable price tag. Sony's IBIS (In-Body Image Stabilization) technology enables up to 5-stops of camera shake compensation with any lens that's mounted to the camera and represents huge advantage for the a7 III. Those shooting static subjects in low-light situations or when using a narrow aperture to obtain a desired depth of field, especially when a non-stabilized lens is mounted to the camera, will greatly appreciate the a7 III's sensor stabilization.
Are you a wedding photographer? The a7 III's dual memory card slots can protect once-in-a-lifetime images from being lost due to a corrupted memory card, and the camera's higher dynamic range could come in handy for events needing great exposure latitude. Another a7 III features that wedding/event/festival photographers will surely appreciate include is its significantly longer battery life compared to the EOS R.
Fast action shooters will be able to capture a higher percentage of peak-action shots with the a7 III's 10 fps burst rate with AF tracking compared to the EOS R's 5 fps under the same circumstances, while the camera's eye tracking AF will ensure that the subject remains properly focused. Note: The a7 III's continuous burst rate drops to 8 fps with viewfinder Live View (for easier subject tracking) in use.
Videographers who want to shoot slow motion video can utilize the a7 III's 120 fps Full HD frame rate to capture smooth, slow motion video with sound and AF tracking. The EOS R's resolution at 120 fps tops out at 720p and sound recording/AF tracking is not supported. Want to get the most out of your high quality, wide angle lenses when shooting in 4K? The a7 III samples the entire width of the full frame sensor when shooting in 4K, meaning your wide angle lenses produce an uncropped field of view, perfect for capturing expansive views. Recording in 4K on the EOS R, on the other hand, results in a 1.75x crop factor for your lenses. That means that a 16-35mm lens mounted to the EOS R produces a full frame equivalent field of view of 28-61.25mm in 4K mode.
Who should opt for the Canon EOS R?
If you're highly invested in the Canon EOS system but want to give mirrorless a try, getting the Canon EOS R will allow you to gradually build up a mirrorless kit, taking full advantage of the new RF lenses coming down the pipeline, while being able to fully utilize your existing DSLR lenses in the meantime.
Speaking of lenses, at this time, Sony has 43 FE lenses that can natively fit on the Sony a7 III. Of those, 25 cover the entire full-frame sensor. Other lenses (such as Canon EF) can be used on Sony cameras via adapters, but adapted lenses don't perform nearly as well as their native counterparts on Sony alpha-series cameras. However, while the currently announced pool of Canon RF lenses is small by comparison, Canon's EF-EOS R adapters allow nearly full functionality with EF/EF-S/TS-E and MP-E lenses (EF-S lens use results in a cropped recorded image). With Canon EF-series lenses performing similarly to RF lenses on the EOS R, the pool of lenses available for EOS R customers considerably increases. In fact, if you add up all the different EF/EF-S/TS-E and MP-E lenses which have been produced since the EF mount was introduced and add the announced RF lenses, you'd have more than 175 lenses to choose from, 149 of which cover the entire full frame sensor.
From an ergonomics perspective, the EOS R features a deeper grip and raised buttons that are easier to find without having to look at the body. The new Multi-Function Bar may take some getting used to (some may not like it), but many photographers will find the Control Ring found on the new RF lenses helpful for changing a preferred setting. For those used to glancing at a top LCD to check camera settings, the EOS R has you covered.
Landscape photographers can enjoy the benefits of the Canon Drop-in Filter Mount Adapter EF-EOS R with their EOS R to enable a circular polarizer or variable ND filter to be used with any of their EF-series lenses. With most ultra-wide angle lenses being incompatible with front filters, the Drop-In Filter Mount Adapter will prove to be a vital component of many landscape shooters' kits.
If you're a portrait shooter, you'll likely prefer the EOS R's faster AF performance in One-Shot mode compared to the Sony a7 III which defocuses/refocuses with every shot even if your subject hasn't moved. Those shooting portraits will also enjoy the bokeh-accentuating, shallow DOF (Depth of Field) capabilities that Canon's RF and EF mounts offer, including lenses featuring extremely wide f/1.2 apertures.
Vloggers and those shooting self-portraits will find the EOS R's vari-angle LCD much better for self-framing compared to the a7 III's tilt-screen.
* Canon claims a future firmware update will enable Eye AF with AI Servo mode.
The Canon EOS R and Sony a7 III are both incredible cameras at good-value prices and either can be a great option for most needs.
On November 1, 2018, we announced how we’d begin bringing Flickr back to its roots: an active, photo-sharing community. This meant upgrading our Pro accounts and changing Free accounts to encourage photographers to use Flickr again for interaction and inspiration and not just for backup storage. A big part of that inspiration comes from those of you who have shared your photography with Creative Commons licensing. And from historical, governmental, and nonprofit organizations that have shared amazing photos via The Flickr Commons. Those photos, and your ability to share them, are important to us. That hasn’t changed.
The Commons Difference
The Flickr Commons is for photos that come from institutions that want to share their digital collections with as many people around the world as they can. These tend to be historical images whose copyright has expired or government images that are automatically in the public domain since taxpayers have technically already paid for them.
Photos from NASA, The Smithsonian, The National Archives UK, and The British Library, for example, have been shared in The Flickr Commons. As part of The Flickr Commons, all these organizations already were Pro or have received a free Pro account from us, so they have unlimited storage.
The Creative Commons (CC) organization has developed a suite of licenses that give individual photographers or groups great tools for licensing their photography for others to freely use. The photographer keeps their copyright and gives the public an easy way to use their images as long as the license terms are followed.
The Flickr Commons and Creative Commons are different, thus our storage changes affect each differently (or not at all).
Are Commons Photos Being Deleted?
No. And once more for good measure: no, Commons photos are not being deleted.
The Flickr Commons photos (those uploaded by the archival, governmental, etc. institutions we are working with) are safe. We are extremely proud of these partnerships. These photos won’t be deleted as a result of any of our announced changes. The only reason they’d disappear is if the organization that uploaded them decided to delete them.
Photos that were Creative Commons licensed before our announcement are also safe. We won’t be deleting anything that was uploaded with a CC license before November 1, 2018. Even if you had more than 1,000 photos or videos with a CC license. However, if you do have more than 1,000 photos or videos uploaded, you’ll be unable to upload additional photos after January 8, 2019, unless you upgrade to a Pro account.
Bottom line: Flickr Commons photos will not be deleted. Anything uploaded with a CC license before November 1, 2018, won’t be deleted, but users will need to upgrade to Pro to upload more than 1,000 photos or videos.
What About Non-Profits?
We know and understand that there are groups out there that work hard to scrape together every nickel and dime to run their organization. And we want to help remove any stress that may come from finding a place to host photos. We’ve worked with 501(c)(3) charitable organizations for years at SmugMug to provide them with unlimited, free storage, and we’ll be doing the same at Flickr.
Organizations such as the United Nations Children’s Fund (UNICEF), 350.org, and Second Harvest are already using Flickr to share photos of the amazing work they do. And now we’ll be working with them to ensure Pro isn’t a cost they need to worry about.
In fact, you can fill out the form from this page with information about your 501(c)(3) organization or international charity, and we’ll work with you to get your free Pro account set up.
The Future of the Commons
Freely licensed photos are deeply important to us. After SmugMug acquired Flickr, one of the first meetings we had was with Ryan Merkley, the CEO of Creative Commons. We want to keep that partnership alive and strong, and we are actively working on how to grow it for the future.
“We’ll be working with Flickr to look for ways to continue growing and archiving the commons,” Merkley said. “When Flickr users apply CC licenses to their works, they are inviting everyone to use their works freely and with very few restrictions. That’s an incredible gift to the world, and that generosity should be acknowledged and preserved into perpetuity for everyone to enjoy.”
Whatever changes come in the years going forward, the importance of these photos will always matter to us. We not only want to preserve the photos we have, we want to keep partnering with organizations such as libraries, museums, and government agencies to contribute to The Flickr Commons as well. And we will continue to work hard to keep these photos safe and available for the world to view and enjoy.
The Benro RedDog R1 is a 3-axis gimbal stabilizer with a unique swivel handle designed for different filming angles and compact for travel.
Unlike other gimbal stabilizers, which allow for straight holding only, the Benro R1 allows for both Upright and Carry handling modes. Upright Mode is suitable for high angle and medium angle filming. Carry Mode is best for low angle filming. Combining these options will help you get the most out of your stabilizer. "The R1 has a great balance to it especially when using the swivel handle for waist height and low to the ground shots. It is much more comfortable to hold and operate for long shoots or multiple takes and we think that today’s filmmakers and content creators will love this unique feature," says Brian Hynes, Benro’s USA Brand Manager.
Universal Follow Mode
With Universal Follow Mode (Pink), it provides smooth camera movements towards the direction your aiming. You would use this mode when circling around a subject, or making several dynamic camera movements following a subject
Locked-down mode (Blue) keeps the camera locked on a subject while moving the gimbal. With this mode you can replicate movements similar to a jib or slider.
Horizontal follow mode
Horizontal follow mode (Red) provides smooth movement based on where you move the camera horizontally. You would use this mode when doing a lot of dynamic panning movements around corners.
By using the directional button in conjunction with these modes, you can flawlessly control your movements. The threaded receiver allows for additional attachments, giving you even more flexibility with your shots. The companion smart phone app allows you to calibrate your R1, operate it remotely, adjust parameters, update the firmware create a panorama or create a beautiful time-lapse with dynamic motion.
For advanced camera control you can directly operate the photo shutter/focus, video record, and zoom for Sony and Panasonic cameras making filming more convenient. The underside of the Benro R1 handle has a ¼”-20 threaded hole for mounting the stabilizer to a tripod. This allows you to connect the camera at a particular spot while still using the various modes such as Pan track or Lock mode.
The Benro R1 is ideal for multiple camera types such as: mirrorless, smartphones and action cameras. Boost your production value while traveling light and compact, with the Red Dog R1 Stabilizer.
Features & Benefits
The Benro R1 is currently available for $399.00 USD.
by Sean Setters
Very soon after we learned that we'd be having a baby, Alexis asked me to create a series of images showing her progression over the next 9 months. She doesn't ask me to take pictures of her often, so I took her request very seriously. After she showed me some examples of pregnancy progression photos she liked from Pinterest (no doubt the inspiration for this request), we decided a plain white background and strong rim lighting combined with a dark outfit would work well for the concept.
For this particular series of images, I used 3 studio lights and 1 shoe-mount flash for the lighting. One monolight was in a 4 x 6' (1.2 x 1.8m) softbox that served as the background and the other two were camera left/camera right slightly behind the subject, diffused by gridded strip boxes. The fill light was provided by a Canon Speedlite 580EX flash that was reflected into a white umbrella and boomed above my Canon 5D Mark III & Sigma 50mm f/1.4 DG HSM Art Lens which was mounted on a tripod.
Unfortunately, I was not terribly organized at the beginning of this endeavor. I remember thinking, "This is a pretty simple setup. I can recreate it without any problems." That thought proved to be quite inaccurate. As my mind was quickly bombarded with an overwhelming amount of information on raising a newborn, it apparently left little room for the details of the lighting setup I was certain I'd remember. As such, I found myself analyzing the first month's image on the second month and taking test shots to ensure consistency. After that, I decided to document the entire setup to streamline future sessions in the series.
So, here are a few things to keep in mind when creating a similar pregnancy progression photo:
If recording all the measurements above seems a bit too tedious, you maybe be able to simply mark subject/lighting/camera placement with gaffer tape on the floor (assuming the tape won't need to be removed within the required time period) and/or taking pictures of the setup from several angles with your smartphone for referring back to.
From a business standpoint, a series like this would require 10 separate sessions, generating constant revenue for the photographer over the gestational period. With the all the details well documented after the first session, future sessions could be relatively quick and easy to set up and capture.
My wife loved the final image so much that we had a matted 12x36" version of it printed. It now hangs over the changing table in the nursery.
A larger version of Alexis's Pregnancy Progression image can be seen on Flickr.
From the Adobe Creative Cloud YouTube Channel:
In this fast-paced, information-packed session for advanced Photoshop users, join Adobe Digital Imaging Evangelist Julieanne Kost as she showcases her favorite Photoshop techniques, little-known features, and hidden gems to empower you to create your best work faster than ever. If you’re a photographer, an illustrator, or a designer looking for serious insights and solid skills that you can put to use immediately, then this is a session you can’t afford to miss!
Julieanne will cover topics that include:
Photographing in the fog brings both positive and negative factors into play.
Starting out with the positive: Fog can reduce contrast, making it easy to layer near and far subjects. When fog reduces contrast enough, it completely eliminates the view of objects beyond some distance. That can make a close subject stand out strongly, as illustrated with this image. Fog also provides a very even light on a subject.
Perhaps the biggest fog downside I regularly encounter is the difficulty of locating subjects. If they are not able to be seen, they are not able to be photographed. Also, fog blocks a lot of light, often making the scene very dark.
The black bear cub in this image was coming around stalks of corn, following its mother. The glance upward toward the mother bear was nicely timed with a paw in the air. You know that bonus points are awarded for each paw/hoof/foot captured in the air, right? All four off the ground is usually the ultimate capture.
Depending on the distance to the subject, the density of the fog and your desired look for the final image, contrast, clarity and/or dehaze post processing adjustments will likely be found welcomed for your in-the-fog captures. Also note that circular polarizer filters act as fog erasers and can be a huge advantage for cutting the effects of fog during capture.
Fog or not, it is hard to go wrong with the cuteness of a little black bear cub in the frame.
A larger version of this image is available on Flickr.
From the Adorama YouTube Channel:
In Ep 140 David Bergman shows you how to use an 18% gray card to get perfect exposures every single time.
Related Products at Adorama:
Want more information on how a gray card can be used for white balancing? Check out our Gray Card Review.
Upon locating these intriguingly-curved aspen trees in the San Juan Mountains near Ophir, CO (south of Telluride), I had hours of entertainment before me. Aspen tree trunks are beautiful and their fall leaf color is amazing. With the numerous curving trunk shapes (likely caused by an avalanche when the trees were younger), there were seemingly endless angles and perspectives to use for images here. Helping was that the lighting/weather was constantly changing, ranging from snowing to sun shining bright enough to create shadows with subsequent images appearing different without even moving the camera. It was perfect.
I have many hundreds of images to choose from (I'll likely share more). Many of them were captured with a wide angle zoom lens, but this particular perspective seemed ideal for 50mm and I happened to have the Canon RF 50mm f/1.2L USM Lens in the MindShift Gear FirstLight 30L backpack I was carrying. I originally thought this image was captured with that lens, but ... this happened to be the last image taken with the Canon RF 24-105mm f/4L IS USM Lens prior to mounting the RF 50.
Using a "standard" or "normal" focal length makes keeping both very close and very distant subjects in sharp focus a challenge, even at f/16. For this image, I focused on the foreground trees for one frame and on the background trees for a second frame. For a simple focus stacking technique, I loaded the two images as layers in Photoshop and used a layer mask to determine which image the foreground trees were showing from.
A larger version of this image is available on Flickr.
Firmware update for the SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for Canon & SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for Canon
Thank you for purchasing and using our products.
We would like to announce that a new firmware update for the SIGMA 17-70mm F2.8-4 DC MACRO OS HSM | Contemporary for Canon and SIGMA 18-200mm F3.5-6.3 DC MACRO OS HSM | Contemporary for Canon is now available.
This firmware allows compatibility with Canon’s in-camera Lens Aberration Correction function to enable correction matching the optical characteristics of each lens. It also corrects the phenomenon that abnormal images appear or operation errors occur when the function is enabled.
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.
For customers who do not own the SIGMA USB DOCK, SIGMA performs lens firmware updates free of charge. For further information, please contact your nearest authorized SIGMA subsidiary/distributor.
Benefits of the update
** EOS-1DX mark II, EOS 5Ds, EOS 5DsR, EOS 5D mark IV, EOS 6D mark II, EOS 80D, EOS 8000D (EOS Rebel T6s, EOS 760D), EOS 9000D (EOS 77D), EOS Kiss X8i (EOS Rebel T6i, EOS 750D), EOS Kiss X9i (EOS Rebel T7i, EOS 800D), EOS Kiss X9 (EOS Rebel SL2, EOS 200D)
B&H carries the following:
Need to fund more gear to review. Check out my used gear for sale list again. Prices on remaining items have been nicely dropped and some great gear, including a Canon 200-400 f/4L IS and Really Rright Stuff TVC-34 Carbon Fiber Tripod, is available.
Let’s be candid. Flickr at its best is a place to connect, to discover, and to evolve as photographers and lovers of photography. This is the world’s largest photographer-focused community. Here, together, this newly-independent community can shape the future of photography itself.
Today we are announcing updates to Flickr’s Pro and Free account offerings.
Flickr Pro is better than ever. For only $49.99 per year, get unlimited storage, ad-free browsing, advanced stats, an unmatched community, and more.
Plus all these great new Pro-only features.
Hands down the best deal in photos.
Unlimited storage, ad-free browsing, and a global community of over 100 million photographers for less than half the cost of Apple, Amazon, or Google. Sign up today and get 30% off the first year. Discount available through November 30.
Free accounts will soon be limited to 1,000 photos or videos. Flickr isn’t Flickr without the contributions and participation of our free members, and we remain committed to a vibrant free offering.
If you are a free member with more than 1,000 photos or videos, you will have ample time to upgrade to Pro (for 30% off your first year) or download your photos and videos. Read more about this decision.
New simple login! Coming in January, there will be no need for a Yahoo account to use Flickr.
Skylum releases the free update to Luminar and brings the AI Sky Enhancer designed to add detail and drama to the sky with just one slider.
Bellevue, WA – November 1, 2018 — Skylum Software today released the new free update to its award-winning photo editor Luminar and presented the AI Sky Enhancer filter. Developed in the company’s AI Lab, the AI Sky Enhancer adds depth, definition, and detail to the sky almost instantly, with only a swipe of a slider.
AI Sky Enhancer is a revolutionary new tool for automatically enhancing skies and making them beautiful without the need for creating masks and layers. This will save photographers an enormous amount of time in post processing while expanding the benefit of achieving dramatic skies to photographers who may lack the skillset needed to create these results.
Hundreds of thousands of photos incorporating varying degrees of tonal skies were used to “train” a deep neural network that powers the AI Sky Enhancer filter and allow Luminar to analyze the image and detect (and adjust) only the sky. The result is complete, automated control of the sky, from sunsets, blue skies, partly sunny, storm clouds, or virtually any other sky scene imaginable.
“Skylum continues to build Luminar into the most comprehensive photo imaging software available in the marketplace,” explains Alex Tsepko, CEO of Skylum Software . “Our goal is to create a software solution that is effective, innovative and fun while incorporating a value proposition that never requires an annual subscription fee. Our addition of Luminar 3 with Libraries will reset the standard for end-to-end imaging software solutions.”
The new AI-powered filter comes ahead of Luminar 3 with Libraries, which will begin its roll-out to Luminar owners on December 18 . Skylum made the unprecedented decision to include every new feature of Luminar – big or small – at no additional cost to customers through 2019. This includes Luminar 3 with Libraries, which will allow photographers to organize, browse, and edit images on-the-fly. And, Luminar customers will never pay an annual subscription fee.
New and current users of Luminar will also receive a value-add promotional package including a three-month Pro Membership to ViewBug ($42), two-month Pro Membership to KelbyOne ($40); a choice of any e-book from Rocky Nook ($40), Awesome Landscapes Tutorial from Daniel Kordan ($80), and a $20 gift card toward the purchase of any Manfrotto / Gitzo product valued at $125 or more.
Luminar is available to new customers for $59. Current users of other Skylum software titles including Aurora HDR , Photolemur and Skylum legacy products can purchase Luminar for a special price of $49.
Note: Use coupon code THEDIGITALPICTURE to save $10.00 on your Skylum Luminar purchase.
AI Sky Enhancer joins Accent AI and Foliage Enhancer currently available in Luminar, to create a fast and extremely powerful trilogy of single slider solutions for automatic image correction.
Other key features and functions available in Luminar include (for Mac and Windows):
Here are some comparisons to get you started. Remember, many comparisons are showing results from different cameras and your visualization skills are required.
Sigma 50mm f/1.4 Art vs. Canon RF 50mm f/1.2L USM Lens
Sigma 50mm f/1.4 Art vs. Canon EF 50mm f/1.2L Lens
Sigma 50mm f/1.4 Art vs. Canon EF 50mm f/1.4 Lens
Sigma 50mm f/1.4 Art vs. Canon EF 50mm f/1.8 STM Lens
Sigma 50mm f/1.4 Art vs. Nikon 50mm f/1.4G AF-S Nikkor Lens
Sigma 50mm f/1.4 Art vs. Nikon 50mm f/1.8G AF-S Nikkor Lens
Sigma 50mm f/1.4 Art vs. Nikon 58mm f/1.4G AF-S Nikkor Lens
Sigma 50mm f/1.4 Art vs. Sony FE 50mm f/1.8 Lens
Sigma 50mm f/1.4 Art vs. Sony FE 55mm f/1.8 ZA Lens
Sigma 50mm f/1.4 Art vs. Tamron 45mm f/1.8 VC Lens
Sigma 50mm f/1.4 Art vs. Zeiss Milvus 50mm f/1.4 Lens
Sigma 50mm f/1.4 Art vs. Zeiss Otus 55mm f/1.4 Lens
From the Vox YouTube Channel:
Horseshoe Bend used to be a little-known roadside view of the Colorado River in Page, Arizona. But over the past few years, the spot has witnessed a dramatic increase in popularity. The main culprit for that uptick? Instagram. It’s now one of many hidden treasures across America that have become too popular for their own good — requiring extensive redesign to protect the visitors and the environment. With visitation at a record 84 million in 2017, America’s national parks are more popular than ever — and social media is rewriting the rules of how and why people visit them.
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.
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.B&H carries the Nikon Z 7.
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.)
Want to know what's new? See the details here.
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.
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
Primary Advantages of the Sony FE 16-35mm f/2.8 GM Lens
Primary Advantages of the Sony FE 16-35mm f/4 ZA OSS Lens
Other Differences: Sony FE 16-35mm f/2.8 GM vs. Sony FE 16-35mm f/4 ZA OSS
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.
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.
A larger version of this image is available on Flickr.
Tamron 70-210m F/4 Di VC USD Firmware v.2
This update improves the following:
A separately sold TAP-in Console is needed for an update.
[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.
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.
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.
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.
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.
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.
Changes from “C” Firmware Version 1.00 to 1.01
Download: Nikon Z 7 Firmware v.1.01
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 www.usa.canon.com/aboutcps..
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: usa.canon.com/photoplus2018
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.
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.
From Laszlo Pusztai, creator of Shuttercount and Kuuvik Capture:
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.
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
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.