From Canon USA:Features MP4 and AVCHD 1080/60p Recording, Dual Pixel CMOS AF, Face-Detection Autofocus (AF), Redesigned Viewfinder and OLED Panel, Built-In Canon Log Look-Up Table, and Wireless File Transfer
MELVILLE, N.Y., October 21, 2014 – Canon U.S.A. Inc., a leader in digital imaging solutions, announced today the Canon EOS C100 Mark II Digital Video Camera, the latest edition to the Canon Cinema EOS line of professional Super 35mm 8.3 megapixel CMOS cameras and the second-generation version of the popular Canon EOS C100 Digital Video Camera.
Designed for economical film and video productions such as documentary and remote broadcast crews, wedding and event coverage, indie film productions, as well as film schools and business and government users, the new EOS C100 Mark II Digital Video Camera, features advanced image processing, AVCHD and MP4 1920x1080/60p recording, uncompressed YCbCr output from HDMI, and many other new and enhanced capabilities for improved picture quality, operability, and convenient handling. Delivering a cinematic look with shallow depth of field and high sensitivity in low-light environments, the new EOS C100 Mark II camera weighs just 2.5 lbs. and is compatible with over 103 Canon EF Series lenses, including STM models which can deliver smooth and silent autofocus during filmmaking.
“Canon’s commitment to the advancement of tools for visual expression takes another major step forward with the introduction of the EOS C100 Mark II Digital Video Camera,” said Yuichi Ishizuka, president and COO of Canon U.S.A., Inc. “Drawing on input from Canon’s global community of Cinema EOS camera users and from digital filmmakers using Canon EF lenses – 100 million of which have now been produced worldwide – the Company has added new capabilities to the EOS C100 Mark II from its predecessor that powerfully leverage our considerable expertise in optics, imaging, and digital signal processing. The result is an improved, affordable Super 35mm CMOS digital camera that is designed to provide outstanding HD image quality, operational performance, ergonomics, and workflow convenience.”
Optimized for one-person operation, the new EOS C100 Mark II camera has a mobile core design enabling users to choose their preferred style of shooting. The existing design has been enhanced to include a large-size detachable eyecup for the camera’s large 68-degree tilting 0.45-inch 1.23 megapixel color EVF (electronic viewfinder). Clearly marked red trigger buttons on the camera body, top handle, grip, and a built-in mono microphone on the camera body - for times when the top handle is not attached - can be used to capture basic sound for audio notation or as an aid to audio syncing during post.
Another major redesign of the new EOS C100 Mark II over its predecessor is an innovatively hinged 3.5-inch 1.23 megapixel OLED display panel, delivering 100 percent field-of-view coverage, wide color range support, and improved viewing even in bright sunshine. The new hinge design - which folds the panel shut when stowed, protecting the OLED surface - opens 180 degrees to reveal function keys and a joystick. The panel can open even further to 270 degrees to deploy against the side of the camera to provide monitoring for directors and other production personnel. Additional design improvements on the camera body include 17 assignable recessed function buttons, dual SD card slots with a transparent cover, and a simplified battery insertion and removal release.
Previously available only as an optional upgrade for earlier Cinema EOS models, Dual Pixel CMOS AF is a standard feature on the new EOS C100 Mark II, providing enhanced autofocusing capability. The Dual Pixel CMOS AF technology helps provide smooth and consistent autofocus, so that focus transitions are natural looking and subjects can remain in focus even as they move off center. In addition, the compatibility of Dual Pixel CMOS AF with Canon EF autofocus lenses combines outstanding optical tools with a wide range of creative options. It’s ideal for shooting sports, weddings and many more productions where focus pulling by a single operator is not feasible, such as when the video camera is attached to steadicams or drones. The EOS C100 Mark II Digital Video Camera also includes Face-Detection AF , a first in the Cinema EOS camera line, which utilizes contrast detection AF to maintain focus across most of the image plane, an advantage in one-person electronic news gathering (ENG) situations.
Imaging and Recording
Central to many of the new features of the new EOS C100 Mark II Digital Video Camera is its advanced Canon DIGIC DV4 image processor. The Canon DIGIC DV4 image processor separates the RGB output from the camera’s 8.3 Megapixel CMOS imager into three individual 8 megapixel signals (as opposed to 2MB in the EOS C100) for noticeably improved image quality. The Canon DIGIC DV4 processor also includes a new debayering algorithm to help minimize moiré and reduce video noise even at high ISO speeds. (high-sensitivity recording on the camera ranges from ISO 320 to 80,000).
Another important benefit of the Canon DIGIC DV4 processor is Full HD recording in both the high-quality professional format AVCHD or the popular web-friendly MP4 format at a variety of bit rates (up to 28 Mbps and 35 Mbps, respectively), resolutions, and frame rates (up to the smooth look of 59.94p) to suit practically any production need. For special-effect requirements, slow and fast motion MP4 recording at up to 1920x1080/60p can also be performed.
Users can choose from multiple formats that support MP4 or AVCHD to suit a wide variety of production, post, and output needs. The EOS C100 Mark II camera’s dual SD card slots can record in one or both formats simultaneously for back-up, or convert AVCHD and MP4 files into smaller MP4 files for web upload. Extended clip times can be achieved by recording continuously from one card to the other without a break. In addition, a Data Import Utility application is included that can seamlessly join divided files to help reduce work during editing and to import video file data from an SD card inside the camera or a card reader.
As with the other cameras in Canon’s Cinema EOS line, the new EOS C100 Mark II Digital Video Camera includes Canon Log as a recording choice, providing maximum dynamic range for post-production color grading. New, however, is the addition of a built-in LUT (look-up table), enabling users to view the camera’s live video signal in Wide DR (dynamic range) or the BT.709 (TV standard) color space on the OLED or any external monitor connected to the camera’s locking HDMI output (this feature can be turned off in the menu). Uncompressed video output (with time code data and 2:3 pull-down markers superimposed) can be output via HDMI to an external recorder.
The addition of wireless file-transfer capabilities further expands the versatility of the new EOS C100 Mark II camera for multiple production applications, including transferring time-critical news video or backing-up files. Utilizing dual 5 GHz and 2.4 GHz frequencies, the camera can transfer video files via FTP server for instant relay, or send MP4 video to the web browsers of laptops or tablets for viewing and storage (even on PC’s lacking playback software). Remote control of the camera is also enabled via a compatible smartphone, tablet, or laptop. The new EOS C100 Mark II Digital Video Camera also includes compatibility with the optional multi-functional Canon RC-V100 Remote Controller, which can be used to adjust image quality and other important operations from a distance, a handy feature for shooting from a jib arm, drone, or other inaccessible location.
In addition, the optional Canon GP-E2 EOS GPS Receiver can be connected to the EOS C100 Mark II Digital Video Camera using a USB cable to record location and time information during shooting, a helpful feature for editing and archiving.
Pricing and Availability
The Canon EOS C100 Mark II Digital Video Camera is scheduled to be available at the end of December 2014 for an estimated retail price of $5,499.00.
Sunsets are always pretty. One sunset this month could be out of this world. On Thursday, Oct. 23rd, the setting sun across eastern parts of the USA will be red, beautiful and … crescent-shaped.
"It's a partial solar eclipse," explains longtime NASA eclipse expert Fred Espenak. In other words, the New Moon is going to 'take a bite' out of the sun.
A total eclipse is when the Moon passes directly in front of the sun, completely hiding the solar disk and allowing the sun's ghostly corona to spring into view. A partial eclipse is when the Moon passes in front of the sun, off-center, with a fraction of the bright disk remaining uncovered.
The partial eclipse of Oct. 23rd will be visible from all of the United States except Hawaii and New England. Coverage ranges from 12% in Florida to nearly 70% in Alaska. Weather permitting, almost everyone in North America will be able to see the crescent.
The eclipse will be especially beautiful in eastern parts of the USA, where the Moon and sun line up at the end of the day, transforming the usual sunset into something weird and wonderful.
From the SmugMug Blog:
Today we’re announcing the latest SmugMug for iOS App, the app that gives you easy photo uploading to your SmugMug galleries from your iPhone or iPad. Finally, you (and your fans) have the power to view all your galleries and archive your mobile photos in a place you know they’ll be safe.
The app helps bridge the gap between the photo galleries on your camera and on your computer, so you have access to both when you’re away. Here’s how it works.
All Your Beautiful Photos in Your Pocket
The free, completely redesigned SmugMug for iOS app lets you take all your galleries with you, anywhere. You can:
Grab it now for free from the App Store.
Image quality, vignetting, flare and distortion test results along with specs, measurements and product images have been added to the Sigma 24mm f/1.8 EX DG Lens Review page.
"Canon USA last week launched 'See Impossible,' a new tagline and logo as part of a multi-year branding campaign.See the entire article – Seeing the Impossible: 5 Questions with Canon USA's Michael Duffett – on brandchannel.
Much in line with the industry shift towards 'age of you' and human storytelling, the accompanying ads focus on the people, rather than the camera.
As Adweek noted, 'Canon's campaign centers around a new microsite, which houses a series of digital videos that highlight how customers use a range of products. One 45-second clip shows how an author used the technology to self-publish her book. Going forward, Canon will expand the site's content to include submissions from consumers and clients.'
'We're going to use it as a messaging vehicle, but we're also going to use it internally to organize and marshal our resources in a way that's much more customer-centric than just strictly approaching everything from a product viewpoint that we've done over the years,' said Michael Duffett, VP and general manager of marketing at Canon USA.
brandchannel spoke with Duffett to get more of the strategy behind the new branding, positioning and campaign for the world's 37th most valuable brand."
I'm just back from an intensive 9-day photo trip to Colorado. Overall, the trip was great, though the weather was not cooperative for about half of the daylight hours. Bad weather can create the dramatic skies that are highly desired for landscape photos, but rain, snow and heavy fog can be especially challenging when distant mountains are a primary subject.
At the top of my distant mountains list were the Maroon Bells, a pair of fourteeners (Maroon Peak and North Maroon Peak) located in the Maroon Bells Scenic Area near Aspen. These tree-less, maroon-colored peaks are generally considered the most-photographed mountains in North America. They are most-photographed for good reasons. The mountains are beautiful, the scene in front of them, including Maroon Creek Valley and Maroon Lake, is beautiful and the access is very easy. Getting this picture into the portfolio, however, was definitely not easy.
I mentioned that access to the beautiful Maroon Bells scene is easy. The hike from the relatively-small parking lot to Maroon Lake is a short one. I carried about 50 lbs. of gear to the lake in a Think Tank Photo Airport Accelerator Backpack and a Think Tank Photo StreetWalker worn as a front pack. But, this hike is the easy part of getting this photograph.
There are basically two ideal sections of the Maroon Lake shoreline to shoot from with a limited number of photographers fitting into them. Getting the perfect location requires you to be there before the other photographers wanting the same easy-to-get-to location (just getting a parking space can be a challenge). Factor a 30 minute drive from the nearest hotel to the early arrival time requirement at the parking lot (a limited amount of campsites are available closer to the location) and the result is a very early AM alarm. By the time this photo was taken, there were nearly 100 photographers standing beside Maroon Lake, and I assure you that many did not have optimal shooting positions (just hanging out with this many friendly, enthusiastic landscape photographers makes this trip worth the effort).
Aspen in their brilliant yellow (and red) fall foliage colors were my other primary photography target for this trip. There are only a handful of days each year when the aspen trees are at their peak, so the timing of this trip has to be perfect. Locals can simply watch the foliage reports and make the drive (just over 4 hours from Denver) when the trees are peaking, but the rest of us need to plan ahead with airline ticket purchases, hotel reservations and vehicle rentals. My strategy was simple: plan the trip for peak foliage dates from recent years. In Aspen, this strategy worked perfectly for me. Some trees were beyond peak and some remained green, but most were at or near peak color. Though this is a highly desired location most of the year, the peak foliage definitely factored into the large crowds I encountered.
To get the peaks of the Maroon Bells to glow at sunrise requires a clear sky in the east during sunrise and to get a perfectly clear reflection of the peaks requires no wind. I was not hopeful during my 2 hour lakeside wait. Unlike many of the other mornings on this trip, the sky was perfectly clear. But, there was enough of a breeze blowing to create mirror-reflection-destroying ripples in the water. A moment before this photo was captured, the lake became a giant mirror and remained nearly flat for the next 3-4 hours (this duration is unusual for Maroon Lake) until the sun lit the entire valley floor below.
With the right scene unfolding in front of me, capturing the right framing and exposures became the next challenge. The framing was not hard (it is hard to go wrong at this location), but the exposures required more attention. With direct sunlight hitting the mountain peaks and the light-absorbing evergreens in deep shade, there was a significant amount of dynamic range to be captured. Using a multiple exposure HDR technique was the key to capturing the entire scene and all I had to do in the field was to insure that, for each final image, I had proper exposures captured for the highlights (shorter exposure) and for the shadows (longer exposure).
Back home in the studio, the processing work was much more difficult than capturing the right exposures in the field. Blending the two RAW images into a natural-looking HDR image was a complex process. I'd be embarrassed to say how many revisions I've made to this image, and while I have many variations that I like, I can't say that I am completely satisfied yet. This is my favorite revision today.
The iconic photograph of the Maroon Bells reflecting in Maroon lake with an apron of brilliantly-colored aspen trees lining Maroon Creek Valley was high on my bucket list and checking this line item off was my highest priority for this trip. No, this photo is not going to be unique (at least not completely unique). A lot of other photographers (close to 100 from this day alone) could have this or similar photos in their portfolios (if they executed and processed properly). I enjoy looking at photos taken by others, but this one is mine and there is something special about having iconic images in your own portfolio and having photos you created hanging on your walls. The memories these photos hold are part of their specialness. This particular image does not tell much of a story, but the story behind the image is big. That my father joined me on this particular trip was part of the specialness.
Because this shot was a priority, I allotted the most trip time (two full days and an additional half day if needed) to the Aspen area. The first morning was perfect (I shot from the side of the lake until about 11:00 AM and in the valley most of the day) and the second morning was an exact duplicate of the first until a breeze picked up just after sunrise (I moved to other shooting locations at this time – as planned).
Lakeside, I was simultaneously shooting with two complete tripod-based setups (one under the other when space was tight or to better protect tripod legs from accidents). With all of the effort and timing coming together perfectly and with the short duration of mountain peaks being lit, two rigs allowed me to maximize my take-home. This particular image was captured with a Canon EOS 5D Mark III and one of the best landscape lenses ever made, the Canon EF 16-35mm f/4 L IS USM Lens. They worked perfectly.
|Item||Reg. Price||Sale Price|
|SanDisk 32GB Connect Wireless Flash Drive||$58.45||$44.95|
|SanDisk 64GB Connect Wireless Flash Drive||$96.95||$69.95|
From the Canon Canon Digital Learning Center:
"You just took your Canon Image Stabilized lens off the camera and quickly replaced it with another. But as you put it into your camera bag, or later when you take it out, it seems like there’s a soft rattling sound coming from inside the lens. You give it a gentle shake and sure enough, something’s loose in there. Is your next move a call to Canon’s service department? Not necessarily! We’ll describe why in this article."See the entire article on the Canon Digital Learning Center.
From the Profoto YouTube Channel:
Andrea Belluso is an experienced photographer with more than three decades in the business. Once a month, Andrea takes us behind the scenes of a recent shoot to share some of the knowledge he has gained over the years. This time he brings strip softboxes to a murky hangar to shoot an elegant yet dramatic portrait of an old friend of his.
From the Adobe Photoshop YouTube Channel:
In the final episode of the Photoshop Playbook, Photoshop Principal Product Manager Bryan O'Neil Hughes takes a closer look at the greatest hits from the JDI (Just Do it) Project.
The Adobe Photoshop Photography Suite is only $9.99 per month.
Toughest, Most Reliable Memory Card on the Market.
Delkin BLACK SD Cards combine industrial strength & reliability with unparalleled speed, plus a quality guarantee like no other card. This exclusive media is sold only through authorized camera stores that are chosen for their commitment to customer service & knowledgeable staff. BLACK is the toughest, most reliable & trustworthy memory card on the market.
Utilizing a new, more durable casing, Delkin BLACK cards can withstand up to 45 lbs. of force and is more durable than any other card on the market. Whether you accidentally drop something on top of it or step on it, you can rest assured that your images and videos are safe and will remain undamaged.
Waterproof & Dustproof
A sealed & molded design provides protection against water damage and foreign debris, even when fully submerged for up to 72 hours.
Each card is tested to an extended temperature range and is able to withstand temperatures ranging from -40°C to 85°C. Confidently use it in your camera wherever you go, whether you’re in freezing, snowy climates or in hot, humid desert areas.
Built for Exceptional HD Video & RAW Performance
Capable of writing data at speeds over 80MB/s, BLACK cards are designed to excel in DSLR cameras and advanced camcorders that require faster speeds and performance. The cards support slow motion recording for professional film-making and promise not to drop frames or slow down your camera’s buffer, even in the most most demanding shooting or recording scenarios. They are also rated UHS-I (Speed Class 3), guaranteeing a minimum constant write speed of 30 MB/s.
48 Hour Replacement
In addition to our Lifetime Warranty, BLACK cards come with a premium 48 hour replacement guarantee. Simply register your card online, and call our friendly customer service team if you ever experience any issues. We will happily replace any non-working card within 48 hours or less (not including weekends), prior to receiving your non-working card. You can also replace your card over the counter at any Delkin BLACK Authorized Reseller. To activate your free replacement program & lifetime warranty, please register your Delkin BLACK card online, at delkin.com/Black.
For imagemakers, by imagemakers, Tiffen ImageMaker promotes a new global community of photographers and videographers where creating great images is everything
Hauppauge, NY – October 17, 2014 – The Tiffen Company, a leading manufacturer of award-winning imaging accessories, recently launched Tiffen ImageMaker, a community-oriented social media hub site. The site aims to build a global community where information is shared on techniques and technologies for creation of great images.
ImageMaker’s Special Features Include:
Explore some of the world’s most beautiful locations as imagemakers chronicle their shooting adventures.
Behind the Scenes
Get an exclusive look at how Tiffen products are created and produced in its U.S. manufacturing facilities, and see the latest and greatest Tiffen products launched at tradeshows.
Check back each week for Tiffen’s featured picks from images shared on Instagram. Users are invited to submit their own photography by using hashtags such as #tiffen, #steadicam, #lowel, #tiffendfx and #domke.
Want to see how today’s industry professionals are using Tiffen products in their workflow? ImageMakers highlight the work of these photographers and cinematographers.
Keep updated on the latest Tiffen news and events, and pick up some tips and tricks along the way.
Need some inspiration? View Tiffen’s gallery of images to learn some great techniques for getting beautiful still image results.
Sometimes, being a part of the action is the best way to gain practical education. Tiffen TV showcases video tutorials, user submissions and more.
Users are encouraged to share their own imagemaking stories by submitting content to firstname.lastname@example.org. To learn more about ImageMaker’s exciting features, please visit http://www.tiffen.com/imagemaker/.
The Canon EOS 7D Mark II announcement stated that "November 2014" was the expected availability date for the camera. If memory serves me right, B&H had originally listed a date in mid-November on their preorder page (though it now shows a less-specific "November 2014").
But now Amazon is listing the expected availability of Canon's new flagship APS-C sensor camera as October 30.
Granted, that's only two days before November. However, it's roughly two weeks earlier than what we were led to believe early on...
The Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM Contemporary Lenses for Canon, Nikon and Sigma are scheduled to start shipping towards the end of this month.
B&H has the Sigma 18-300mm f/3.5-6.3 DC Macro OS HSM Contemporary available for preorder.
As promised in a blog post here, we are proud to introduce the Aperture and iPhoto import plugin for Lightroom 5. The plugin allows Aperture and iPhoto customers to migrate their images and key metadata (such as keywords, events, project structure) into Lightroom catalogs in a seamless way.
The plugin is available for download here and please follow these instructions to install the plugin:
For iPhoto Customers: Click on File -> Plugin Extras -> Import from iPhoto Library and follow the prompts.
Download link -> aperture_iphoto_importer
Canon USA just released 7 new videos in its "Sometimes it's better to print" ad campaign. They are all very short and a little humorous.
Sometimes It's Better to Print Ad Campaign
COOLPIX P340 Firmware: 1.2 update
Updates enabled with this release:
Download the COOLPIX P340 Firmware: 1.2.
Updates enabled with this release
Download the COOLPIX P600 Firmware: 1.2.
Watch as France's Airgonay club sets up a drone race in the middle of a forest. The resulting video looks astonishingly similar to the speeder chase scene in Return of the Jedi.
Now I want a drone even more... :-) [Sean]
From Canon UK:
Canon introduces new 4K cine-servo, ultra-telephoto lens with world’s longest focal length
United Kingdom, Republic of Ireland, 16 October 2014 – Canon today bolsters its cine servo lens line-up with the new CN20x50 – a high performance, ultra-telephoto zoom lens for sport and nature TV production. Leveraging Canon’s long-standing and unparalleled expertise in lens design, the CN20x50 delivers superb image quality and exceptional creative control, and is the first lens of its type to combine a built-in 1.5x extender, class-leading 20x magnification and a removable servo drive, with a native 50-1000mm focal range that expands to a huge 75-1500mm.
Designed to be a portable solution for broadcast productions using super 35mm cameras – whether HD, UHD or 4K – the CN20x50 is a tool of unprecedented quality, versatility and usability. Featuring a completely removable updated servo drive unit that enables an agile shooting style that’s difficult to achieve with typical cine lenses, the new cine-servo lens helps to meet growing demands for Ultra High Definition (UHD) resolution sport and nature television production.
Versatile and reliable
With productions today expected to shoot in demanding and unpredictable environments, a huge level of lens flexibility is required. For wildlife television, operators typically work in hostile and sensitive conditions which often necessitate shooting from extremely long distances, while sports productions typically require extremely high resolution for close-to-the-action stadium work. In both situations, operators require fast, reactive positional changes, shooting flexibility and nimble hardware that allow them to respond to changes in the scene.
Weighing just 6.6kg, the CN20x50 is conveniently portable and lightweight and offers an unrivalled focal length and zooming capabilities for its class. It enables sport and documentary crews to capture footage at a distance, while maintaining the highest quality throughout the zoom range. The lens’s huge zoom range also significantly reduces the volume of hardware that crews are required to carry, offering a superb solution for location shoots.
The latest in Canon’s cine-servo lens line-up, the CN20x50 is also user-friendly and robust. The design has been developed to ensure high levels of ruggedness and reliability, even in unforgiving broadcast environments – combining the finest quality optics with a weather-and-shock-proof construction that makes it suitable for use in the most hostile conditions when on location, to the same level as conventional Canon broadcast lenses.
Compatible with a wide range of cameras, the CN20x50 also supports communication between lens and camera and will be available in both EF-mount and PL-mount variants. The EF-mount version utilises Canon’s own system, while the PL-mount variant supports Cooke’s /i Technology standard. Both models feature a 12-pin serial connection for integration with typical broadcast equipment.
The focus ring rotation is 180 degrees, balancing the accuracy required for 4K imaging with the speed needed for broadcast use. In scenarios where every second counts – and operators only have one opportunity to capture a shot – high speed zoom, iris and simple focusing operation mean that even rapidly changing scenes can be captured with ease and accuracy.
The lens’ design supports a range of cinema and broadcast accessories including operational zoom and focus controls, matte boxes and 0.8- and 0.5-type gear module accessories such as follow focus units, to provide a truly versatile solution.
CN20x50 key benefits:
Check out more information about the CN20x50 on the Canon Professional Network's dedicated page.
From the Canon Professional Network:
"Adobe now offers a Creative Cloud Photography bundle that includes Lightroom editing software and Photoshop CC for photographers who want to organise, edit, enhance and share their images via desktop or their mobile devices – this package currently comes bundled with the Canon EOS 5D Mark III and EOS 6D DSLRs, plus the PowerShot G1 X Mark II and G7 X compact cameras. In a four-part CPN series of articles and video tutorials Richard Curtis (a Principal Solutions Consultant in Digital Imaging for Adobe UK) will examine the workflow between Lightroom software and Photoshop CC to help you to understand the benefits of working with both in tandem. In Part 1 of this series Richard Curtis explains how to use Smart Objects within the Lightroom and Photoshop CC workflow and, in a special video, he reveals how Smart Objects ensure your image edits are non-destructive for longer. Please click on the play button in the window above to watch the video..."Read the entire article and see the video on the Canon Professional Network.
Adobe's Photoshop Photography Program is only $9.99 per month (Photoshop CC + Lightroom).
From Nikon Europe:
In this video pro-photographer, film maker, & director of DEDICATED, Corey Rich highlights why the D4S allows him to focus only on content and not the technology; the three most meaningful improvements made on the D4S; & how its features helped capture scenes that were previously impossible to capture. 'Hollywood crews could do this but not guys like me.' - Corey Rich.
Note from Sean: Oh my goodness! Why didn't I ever think to use Auto ISO when shooting video to compensate for transitioning from very dim environments to very bright ones (or vice-versa)? The EOS 5D Mark III works in the same way; it changes ISO on the fly when set to Auto ISO. The Nikon D4s's algorithm may allow for smoother ISO changes, but otherwise, the 5D III does the exact same thing.
International Awards Exhibition Printed with Epson Printers and Papers Opens at Smithsonian on Oct. 24
LONG BEACH, Calif. – Oct. 15, 2014 – Epson today announced it is a global sponsor of the 2014 Nature’s Best Photography Windland Smith Rice International Awards Exhibition for the third consecutive year. As the official inkjet printer and paper partner for the ongoing print exhibition, Epson’s professional printing technology allows visitors to celebrate the beauty and diversity of nature through the art of photography. On the second floor of the Smithsonian National Museum of Natural History in Washington, D.C., museum guests will see award-winning photographs displayed from one of the world’s most prestigious nature photography competitions.
“The annual Nature's Best Photography Windland Smith Rice International Awards program began as a creative tool to celebrate the beauty and diversity of nature and encourage greater public interest in outdoor enjoyment and conservation stewardship,” says Awards Director, Steve Freligh. “The high caliber of photographic prints we are able to achieve through using Epson printers, inks and papers bring these images to life in a way that truly showcases the spectacle of nature and the creative talent delivered by photographers in the field."
The Smithsonian exhibition opens on Oct. 24, 2014, and features winners from the annual Windland Smith Rice International Awards program. Chosen from more than 20,000 entries from photographers in 50 countries, the exhibition will showcase the Grand Prize winner, the Photographer of the Year and the Youth Photographer of the Year, as well as finalists selected in 13 separate categories. The images are displayed as large format prints ranging in size from 2x3 feet to nearly 4x6 feet in the nation’s most visited museum, which welcomes more than eight million visitors annually.
“We are honored to be supporting one of the most highly-respected and visually compelling nature photography competitions in the world,” said Larry Kaufman, product manager, Professional Imaging, Epson America, Inc. “Our goal is to provide these photographers with access to the most advanced printing technology and pro-quality papers to produce true-to-life output that accurately and completely conveys the true vision and story behind their photographs.”
The exhibition-quality prints were created with Epson’s award-winning 44-inch wide Epson Stylus Pro 9900. With the precision of its Epson MicroPiezo TFP printhead and the performance of Epson UltraChrome HDR ink, the printer delivers superb photographic prints with an extremely wide color gamut and incredible sharpness. Used with Epson Professional Papers, this advanced printing technology produces the richest blacks and smooth tonal transitions.
The exhibition will be viewed by millions of visitors at the Smithsonian National Museum of Natural History located on the National Mall in Washington, D.C. and is open daily, free to the public. The annual photo competition is open to the public and encourages submissions from photographers at all levels of expertise – pros, amateurs and youth. For more information, visit www.NaturesBestPhotography.com.
From the Canon Digital Learning Center:
In our new Quick Tips series, you get to watch and learn right from Canon Digital Learning Center experts!
Each video will feature a Canon Technical Advisor offering a helpful imaging tip, sharing a unique product insight, or explaining a key technology. New videos will be added regularly, so check back to keep expanding your Canon knowledge base.
Quick Tips Videos Available