Canon, Nikon and Sony News for Dec 2018 (Page 2) Report News & Deals ►
Monday, December 24, 2018
From PiXimperfect:
Control the Light with the Amazing "Horizontal Curve" Technique in Photoshop! Discover the most natural way to adjust the brightness of any area without disturbing the colors, using a simple straight Curve.
In this tutorial, we will use a Hue/Saturation adjustment layer and combine with a Curves adjustment layer to create a "Light Map" that would allow us to control the amount of light all throughout the image.
B&H carries Adobe Photography Plan subscriptions.
Category: Photography Education Videos
Post Date: 12/24/2018 8:23:42 AM CT Posted By: Sean
Friday, December 21, 2018
Image quality test results have been added to the Canon RF 28-70mm f/2L USM Lens Review page.
You ... want this lens under your Christmas tree.
The Canon RF 28-70mm f/2L USM Lens is in stock at B&H | Amazon | Adorama | WEX.
Rent the Canon RF 28-70mm f/2L USM Lens from Lensrentals.
You ... want this lens under your Christmas tree.
The Canon RF 28-70mm f/2L USM Lens is in stock at B&H | Amazon | Adorama | WEX.
Rent the Canon RF 28-70mm f/2L USM Lens from Lensrentals.
Posted to: Canon News
Category: Camera Gear Review News
Post Date: 12/21/2018 8:24:16 AM CT Posted By: Bryan
In response to a tilt-shift lens question, Canon USA Technical Advisor Rudy Winston provided a detailed response that we though was worth sharing with you.
Canon TS-E Tilt-Shift Lens General Shooting Procedure
While there's no one "official" way to work with the TS-E lenses (I'm sure you'll find some diversity of opinion on what different users feel is best), the following is what works best in my experience. Keep in mind there's no "one-touch" way to set the lens up unless you've recorded previous settings and are shooting the same subject subsequently, at the same camera position, subject distance, and so on. Otherwise, there's a bit of trial-and-error, especially if you're trying to adjust the zone of sharpness (notice I avoided saying "depth of field," as that technically doesn't change; you're altering the plane of sharpest focus via the tilt operation).
THE BASIC OPERATIONS
It is important to be sure in one's mind what the two different possible adjustments – Shift and Tilt – do, and why you might want to apply one or the other. There are certainly many instances where just one will provide the look you want in finished images, so don't assume every shot will need a combination of both (of course, experimentation can be great fun).
A couple of other points:
I *always* recommend starting with both tilt and shift zero'ed out, before you begin to work with adjustments.
Metering with DSLRs: You MUST perform any in-camera metering with a TS-E lens at the zero Shift and Tilt positions. On any of the cameras with an optical viewfinder, you will get exposure errors or deviations if you meter daylight or E-TTL flash with a TS-E lens that's not at its zero adjust positions. Note that this is far less of a problem with the mirrorless cameras, since they're metering directly off the image sensor, and the light doesn't have to get reflected upward by a DSLR mirror, and then get scattered by a focus screen before it's read by a metering sensor in the prism area, near the viewfinder eyepiece. Bottom line, do any metering (manual mode, of course, is ideal for this, since nothing will change if you begin to adjust the TS-E lens), before you start tilting and/or shifting, and you should be in a good place to begin taking actual shots... don't freak out if you do need to tweak exposures, after a couple of quick test shots, to nail it down the way you want. Parenthetically, if you're using a separate hand-held meter (not the one built-in to the camera body), you can normally set the camera to whatever the meter suggests, whether you've engaged tilt and/or shift or not, as typically a hand-held meter will be pretty close to optimum exposure for ambient light.
Shift function
Shifting the lens up, down, left or right is primary for perspective control – the obvious example is keeping vertical lines on a building or product (like a cereal box) straight, and avoiding the "pyramid" effect of converging vertical lines. It can sometimes also be useful for literally shifting the subject in the frame, removing the image of photographer & camera if shooting into a wall with small mirrors (this won't work for an entire mirrored wall, of course!), and so on.
Tilt function
Tilting the lens, so that the front section is no longer perfectly parallel with the image sensor/film plane, changes the plane of what is in sharp focus. Shooting with a lens from an angle (rather than straight into a subject, like a wide-angle shot of a car taken from around the front fender/wheel well), it's possible to focus on the near part of the subject, then tilt the lens so that the front section is closer to being parallel to the whole length of our hypothetical car (or any other subject), and you can get sharpness to run from the near area focused upon, down the length of the subject. To be clear, tilting has **nothing** to do with the architectural photography need to keep vertical lines straight; that's SHIFTING alone. Of course, you CAN combine tilt and shift in the same image... just be clear up-front about the role of each, or you'll spend a long time trying to dial-in an optimum setting.
Shooting Aperture
Anything you want. If you apply tilt correctly, you won't require tiny f-stops like f/22 just to hope to get an entire subject sharp. In some cases, even a wide-open aperture can get the job done, which might never be possible with a conventional lens.
Tripod Use
Tripod use is definitely preferred where possible, since it keeps everything anchored and lets you concentrate on composing and working the lens's controls... though it *is* possible to do this hand-held. However, it's nowhere near as smooth an experience, and you can expect your arms to get tired after a while at the controls.
Release Knobs for Shift & Tilt
180 degrees from the actual adjustment knobs for each movement are locking knobs, slightly smaller in diameter. Be sure to UNLOCK each before trying to adjust shift or tilt, and then snug it back down once you've arrived at a desired setting to keep it from any inadvertent movement. This is especially important for SHIFT, since if you apply it vertically, the weight of the front section of the lens can sometimes allow it to drop downward slowly, if it's left unlocked after you've adjusted it.
Home Position and Rotating the Lens as Needed
By default, whether you've decided to apply shift/tilt or have everything zero'ed out, there's still a basic position from which you can apply your tilts and shifts. Mount the lens on the camera when it's all correctly oriented to the default settings, and you'll see the name plate at the TOP of the lens, when it's mounted and secured to the camera. AT THIS POSITION, any tilt movements (with most of the TS-E lenses, anyway) will be tilting the lens *left or right;* the larger Tilt knob will be facing upward and any shifting at the same default setting will move the lens up and down. This means the direction of each is at 90 degrees from the other movement, which is NORMAL operation for Canon TS-E lenses.
You're not locked-in to this. The lens can rotate, without loosening it from the camera. The 2nd generation lenses (see below) have TWO rotation points. However, the one closest to the camera body is definitely the primary one. It'll allow you to rotate the lens up to 90 degrees left or right. Example: in the standard position, the Shift is up and down. Say you wanted to shift side-to-side, for whatever reason. Ninety degrees to the right (think the 3 o'clock position, with the camera aimed at a subject, and in horizontal orientation) is a small, projecting tab, just inside the camera grip when the lens is correctly mounted. Press this release tab toward the camera body, and virtually the entire lens can be rotated in 30-degree increments, to the left or right. Move it 90 degrees, and your Shift now moves side-to-side (the Tilt moved as well, now tilting upward or downward).
In most real-life situations, you can rotate via this rear-most tab and move the desired adjustment to where you want it; much of the time, realistically, you won't be applying shift and tilt simultaneously. So just rotate the lens so your Shift *or* Tilt is where you need it.
Rotating Using the Forward-mounted Control
About 1/2 inch or so in front of the little, 3 o'clock projecting metal tab is another, very similar tab. THIS ONE allows you to rotate JUST the front section of the lens, while the rear section stays put. The primary purpose here is if you needed to apply both shift and tilt, and needed to change the normally standard orientation where tilt and shift are at 90 degrees from each other. However, DON'T use this rotation point to simply rotate the front section, if all you want is to change the tilt orientation... if you only want to change the direction of tilt, use the rear tab and rotation point to arrange the tilt where you want. There's a technical reason for not reaching for this forward rotation point if you can avoid it.
As I said, first-generation Canon TS-E lenses didn't have this forward mounted rotation capability... there is only one way to temporarily unlock and rotate the older TS-E lenses. Here are the lenses... check the lens naming at the front of the lens to determine which one you have.
First-gen TS-E lenses:
2nd-gen (current) TS-E lenses:
Example 1: Correcting converging vertical lines with SHIFT. I'll assume the camera is tripod-mounted, although again, you can do this hand-held if you can endure the hassle.
a. Keep the Camera Level – This is the most important part of being able to correct for converging lines, regardless of the lens you're using. Any upward angling of the entire camera, to "get the whole subject in," is going to make it impossible to correct for convergence... this is why buildings shot with conventional wide-angle lenses look like they're falling backward. It's perfectly normal not to get the entire subject in the frame at this stage.
Here's a wide-angle example of a typical building, with the camera aimed upward. The vertical lines converge inward, making the subject look a bit like a pyramid, or like it's falling over backward.
b. Aim the camera straight ahead, not tilted up. Obviously, you now can't see the entire subject, but that's the role of the Shift function. What you WILL notice is that now, with the camera level, the vertical sides of the subject are indeed parallel, and not tilting inward. This is your starting point!
c. Now, start shifting the lens upward, to include more of the subject.
d. When the entire building (or cereal box, or whatever) is positioned where you want, lock the shift in-place, and begin shooting! You're done! Of course, if you move the camera, or go to a new subject, you'll likely need to use the Shift again to compose and align things as you want.
Example 2: Tilting to keep a subject sharp, as it recedes into the distance. Normally, this would require stopping-down to your minimum aperture, and hoping you have enough depth-of-field to cover you, front to back. TS-E lenses offer another alternative, and sometimes, you can even pull this off at the lens's widest aperture. Regardless, though, you'll find a lot less need to shoot at f/16, f/22 and so on!
a. Compose the scene as you desire, horizontal or vertical. We'll use a horizontal example here. b. **Focus on the NEAREST part of the subject or scene you want in sharp focus.** Of course, the background will be out of focus.
In this example, we've got a receding fence, drifting out of focus. Sharpest focus deliberately placed at nearest point we want in-focus; in this case, the first-generation TS-E 90mm f/2.8 lens was used wide-open, at f/2.8 throughout. No Tilt/Shift movements applied, yet.
c. Now, start to tilt the lens so that the front section starts to move in a direction closer to parallel to the subject you want to keep sharp. In this case, that meant the tilt section was moved so that (viewed from above) the front of the lens now tilts to the left.
IMPORTANT: As you start to tilt the lens, you'll see two things. The farthest part of the subject (fence in this case) will become progressively sharper. However, the front portion you just focused upon in step a will begin to drift a bit out of focus. Here's the key element to using tilt – you want to tilt until the degree of DE-FOCUS you see, front to back, is essentially constant. In other words, as you tilt, nothing in the fence or whatever the subject is will appear tack-sharp. What you want is to get the tilting so that the entire subject, front-to-back, appears about the same degree out of focus (it won't be radically out, but obviously just not tack-sharp, even at the point you focused on a moment before). This is absolutely normal.
d. Once you get the tilt so the entire subject looks pretty much the same, in terms of the degree of out-of-focus you see, you've got the tilt close to right-on. NOW, RE-FOCUS THE LENS TO GET THAT FRONT POINT SHARP AGAIN. If the amount of tilt was correct, the entire subject will now appear sharp. Again, if you examine the picture immediately below, keep in mind this was taken at f/2.8 with a 90mm telephoto lens.
A mistake many users make at first is tilting TOO MUCH, especially with relatively distant subjects. Do it in little increments, slowly, until you begin to get comfortable with the process. And, in general, the closer a subject is to the camera, the more you'll typically need to tilt the lens. This is something many users have to play with for a while, to get the hang of watching that entire scene/subject drift out of focus as they tilt, and stopping when the amount of de-focus is about the same, front to back. It's at that point, if done properly, that you've got the right amount of tilt dialed-in.
Thanks go out to Rudy Winston for providing this information. Images used in this article were provided by Mr Winston.
Read our Tilt-Shift lens reviews to find the right model for your needs:
Canon TS-E Tilt-Shift Lens General Shooting Procedure
While there's no one "official" way to work with the TS-E lenses (I'm sure you'll find some diversity of opinion on what different users feel is best), the following is what works best in my experience. Keep in mind there's no "one-touch" way to set the lens up unless you've recorded previous settings and are shooting the same subject subsequently, at the same camera position, subject distance, and so on. Otherwise, there's a bit of trial-and-error, especially if you're trying to adjust the zone of sharpness (notice I avoided saying "depth of field," as that technically doesn't change; you're altering the plane of sharpest focus via the tilt operation).
THE BASIC OPERATIONS
It is important to be sure in one's mind what the two different possible adjustments – Shift and Tilt – do, and why you might want to apply one or the other. There are certainly many instances where just one will provide the look you want in finished images, so don't assume every shot will need a combination of both (of course, experimentation can be great fun).
A couple of other points:
I *always* recommend starting with both tilt and shift zero'ed out, before you begin to work with adjustments.
Metering with DSLRs: You MUST perform any in-camera metering with a TS-E lens at the zero Shift and Tilt positions. On any of the cameras with an optical viewfinder, you will get exposure errors or deviations if you meter daylight or E-TTL flash with a TS-E lens that's not at its zero adjust positions. Note that this is far less of a problem with the mirrorless cameras, since they're metering directly off the image sensor, and the light doesn't have to get reflected upward by a DSLR mirror, and then get scattered by a focus screen before it's read by a metering sensor in the prism area, near the viewfinder eyepiece. Bottom line, do any metering (manual mode, of course, is ideal for this, since nothing will change if you begin to adjust the TS-E lens), before you start tilting and/or shifting, and you should be in a good place to begin taking actual shots... don't freak out if you do need to tweak exposures, after a couple of quick test shots, to nail it down the way you want. Parenthetically, if you're using a separate hand-held meter (not the one built-in to the camera body), you can normally set the camera to whatever the meter suggests, whether you've engaged tilt and/or shift or not, as typically a hand-held meter will be pretty close to optimum exposure for ambient light.
Shift function
Shifting the lens up, down, left or right is primary for perspective control – the obvious example is keeping vertical lines on a building or product (like a cereal box) straight, and avoiding the "pyramid" effect of converging vertical lines. It can sometimes also be useful for literally shifting the subject in the frame, removing the image of photographer & camera if shooting into a wall with small mirrors (this won't work for an entire mirrored wall, of course!), and so on.
Tilt function
Tilting the lens, so that the front section is no longer perfectly parallel with the image sensor/film plane, changes the plane of what is in sharp focus. Shooting with a lens from an angle (rather than straight into a subject, like a wide-angle shot of a car taken from around the front fender/wheel well), it's possible to focus on the near part of the subject, then tilt the lens so that the front section is closer to being parallel to the whole length of our hypothetical car (or any other subject), and you can get sharpness to run from the near area focused upon, down the length of the subject. To be clear, tilting has **nothing** to do with the architectural photography need to keep vertical lines straight; that's SHIFTING alone. Of course, you CAN combine tilt and shift in the same image... just be clear up-front about the role of each, or you'll spend a long time trying to dial-in an optimum setting.
Shooting Aperture
Anything you want. If you apply tilt correctly, you won't require tiny f-stops like f/22 just to hope to get an entire subject sharp. In some cases, even a wide-open aperture can get the job done, which might never be possible with a conventional lens.
Tripod Use
Tripod use is definitely preferred where possible, since it keeps everything anchored and lets you concentrate on composing and working the lens's controls... though it *is* possible to do this hand-held. However, it's nowhere near as smooth an experience, and you can expect your arms to get tired after a while at the controls.
Release Knobs for Shift & Tilt
180 degrees from the actual adjustment knobs for each movement are locking knobs, slightly smaller in diameter. Be sure to UNLOCK each before trying to adjust shift or tilt, and then snug it back down once you've arrived at a desired setting to keep it from any inadvertent movement. This is especially important for SHIFT, since if you apply it vertically, the weight of the front section of the lens can sometimes allow it to drop downward slowly, if it's left unlocked after you've adjusted it.
Home Position and Rotating the Lens as Needed
By default, whether you've decided to apply shift/tilt or have everything zero'ed out, there's still a basic position from which you can apply your tilts and shifts. Mount the lens on the camera when it's all correctly oriented to the default settings, and you'll see the name plate at the TOP of the lens, when it's mounted and secured to the camera. AT THIS POSITION, any tilt movements (with most of the TS-E lenses, anyway) will be tilting the lens *left or right;* the larger Tilt knob will be facing upward and any shifting at the same default setting will move the lens up and down. This means the direction of each is at 90 degrees from the other movement, which is NORMAL operation for Canon TS-E lenses.
You're not locked-in to this. The lens can rotate, without loosening it from the camera. The 2nd generation lenses (see below) have TWO rotation points. However, the one closest to the camera body is definitely the primary one. It'll allow you to rotate the lens up to 90 degrees left or right. Example: in the standard position, the Shift is up and down. Say you wanted to shift side-to-side, for whatever reason. Ninety degrees to the right (think the 3 o'clock position, with the camera aimed at a subject, and in horizontal orientation) is a small, projecting tab, just inside the camera grip when the lens is correctly mounted. Press this release tab toward the camera body, and virtually the entire lens can be rotated in 30-degree increments, to the left or right. Move it 90 degrees, and your Shift now moves side-to-side (the Tilt moved as well, now tilting upward or downward).
In most real-life situations, you can rotate via this rear-most tab and move the desired adjustment to where you want it; much of the time, realistically, you won't be applying shift and tilt simultaneously. So just rotate the lens so your Shift *or* Tilt is where you need it.
Rotating Using the Forward-mounted Control
About 1/2 inch or so in front of the little, 3 o'clock projecting metal tab is another, very similar tab. THIS ONE allows you to rotate JUST the front section of the lens, while the rear section stays put. The primary purpose here is if you needed to apply both shift and tilt, and needed to change the normally standard orientation where tilt and shift are at 90 degrees from each other. However, DON'T use this rotation point to simply rotate the front section, if all you want is to change the tilt orientation... if you only want to change the direction of tilt, use the rear tab and rotation point to arrange the tilt where you want. There's a technical reason for not reaching for this forward rotation point if you can avoid it.
As I said, first-generation Canon TS-E lenses didn't have this forward mounted rotation capability... there is only one way to temporarily unlock and rotate the older TS-E lenses. Here are the lenses... check the lens naming at the front of the lens to determine which one you have.
First-gen TS-E lenses:
2nd-gen (current) TS-E lenses:
- TS-E 17mm f/4L
- TS-E 24mm f/2.8L II
- TS-E 50mm f/2.8L Macro
- TS-E 90mm f/2.8L Macro
- TS-E 135mm f/4L Macro
Example 1: Correcting converging vertical lines with SHIFT. I'll assume the camera is tripod-mounted, although again, you can do this hand-held if you can endure the hassle.
a. Keep the Camera Level – This is the most important part of being able to correct for converging lines, regardless of the lens you're using. Any upward angling of the entire camera, to "get the whole subject in," is going to make it impossible to correct for convergence... this is why buildings shot with conventional wide-angle lenses look like they're falling backward. It's perfectly normal not to get the entire subject in the frame at this stage.
Here's a wide-angle example of a typical building, with the camera aimed upward. The vertical lines converge inward, making the subject look a bit like a pyramid, or like it's falling over backward.
b. Aim the camera straight ahead, not tilted up. Obviously, you now can't see the entire subject, but that's the role of the Shift function. What you WILL notice is that now, with the camera level, the vertical sides of the subject are indeed parallel, and not tilting inward. This is your starting point!
c. Now, start shifting the lens upward, to include more of the subject.
d. When the entire building (or cereal box, or whatever) is positioned where you want, lock the shift in-place, and begin shooting! You're done! Of course, if you move the camera, or go to a new subject, you'll likely need to use the Shift again to compose and align things as you want.
Example 2: Tilting to keep a subject sharp, as it recedes into the distance. Normally, this would require stopping-down to your minimum aperture, and hoping you have enough depth-of-field to cover you, front to back. TS-E lenses offer another alternative, and sometimes, you can even pull this off at the lens's widest aperture. Regardless, though, you'll find a lot less need to shoot at f/16, f/22 and so on!
a. Compose the scene as you desire, horizontal or vertical. We'll use a horizontal example here. b. **Focus on the NEAREST part of the subject or scene you want in sharp focus.** Of course, the background will be out of focus.
In this example, we've got a receding fence, drifting out of focus. Sharpest focus deliberately placed at nearest point we want in-focus; in this case, the first-generation TS-E 90mm f/2.8 lens was used wide-open, at f/2.8 throughout. No Tilt/Shift movements applied, yet.
c. Now, start to tilt the lens so that the front section starts to move in a direction closer to parallel to the subject you want to keep sharp. In this case, that meant the tilt section was moved so that (viewed from above) the front of the lens now tilts to the left.
IMPORTANT: As you start to tilt the lens, you'll see two things. The farthest part of the subject (fence in this case) will become progressively sharper. However, the front portion you just focused upon in step a will begin to drift a bit out of focus. Here's the key element to using tilt – you want to tilt until the degree of DE-FOCUS you see, front to back, is essentially constant. In other words, as you tilt, nothing in the fence or whatever the subject is will appear tack-sharp. What you want is to get the tilting so that the entire subject, front-to-back, appears about the same degree out of focus (it won't be radically out, but obviously just not tack-sharp, even at the point you focused on a moment before). This is absolutely normal.
d. Once you get the tilt so the entire subject looks pretty much the same, in terms of the degree of out-of-focus you see, you've got the tilt close to right-on. NOW, RE-FOCUS THE LENS TO GET THAT FRONT POINT SHARP AGAIN. If the amount of tilt was correct, the entire subject will now appear sharp. Again, if you examine the picture immediately below, keep in mind this was taken at f/2.8 with a 90mm telephoto lens.
A mistake many users make at first is tilting TOO MUCH, especially with relatively distant subjects. Do it in little increments, slowly, until you begin to get comfortable with the process. And, in general, the closer a subject is to the camera, the more you'll typically need to tilt the lens. This is something many users have to play with for a while, to get the hang of watching that entire scene/subject drift out of focus as they tilt, and stopping when the amount of de-focus is about the same, front to back. It's at that point, if done properly, that you've got the right amount of tilt dialed-in.
Thanks go out to Rudy Winston for providing this information. Images used in this article were provided by Mr Winston.
Read our Tilt-Shift lens reviews to find the right model for your needs:
Category: Photo Tips and Stories
Post Date: 12/21/2018 8:10:52 AM CT Posted By: Sean
Thursday, December 20, 2018
From the Adorama YouTube Channel:
If you're looking for a portrait project that's a little different and captures a bit of the festive season then this simple fine art shoot by photographer Gavin Hoey is for you.
Download Gavin's Festive Stars background from here.
After Gavin has given an overview on how he shot and edited the background he moves on to the portrait shoot, lighting the model to match the mood of the background.
Finally Gavin takes you into Photoshop to make a simple composite of the portrait and background stars.
Related Products
Category: Photography Education Videos
Permalink: How to Create a Fine Art Festive Photo
Post Date: 12/20/2018 3:11:04 PM CT Posted By: Sean
From Sigma:
Benefit of the update
Benefit of the update
- It has corrected the phenomenon whereby Clear Image Zoom function incorporated in the camera cannot be used.
Posted to: Sony News
Categories: Sigma News, Sigma Firmware Updates
Post Date: 12/20/2018 12:03:45 PM CT Posted By: Sean
Eurasian magpies are common in many locations, but not where I live.
Thus, they are more interesting to me than others.
Especially interesting is that they are extremely intelligent (relative to animals in general).
That these birds' loud calls can become annoying surely leads to local disinterest, but with their great colors and shape, it is hard to argue that magpies do not look amazing.
Magpies are not a subject I have set out to specifically target with a camera, but I will take advantage of incidental encounters. When one landed in a tree in front of me as I was chasing elk in Rocky Mountain National Park, I went into opportunistic mode. I had the right lens in hand and all I had to do was adjust the monopod height, direct the camera at the bird, focus on the eye and press the shutter release.
I of course pressed the shutter release many times in the short period of time the bird cooperated with me. Why did I select this particular image to share? Here are some reasons:
First, I like the head angle, turned slightly toward me with some sky reflecting in the eye to add life to the subject.
I also like the body angle. While the bird may be turned very slightly away and that is not usually my favorite angle, in this case, that angle allowed the iridescent feathers on the wing to show their colors prominently. The tail was angled downward enough to fit in the frame (that can be an issue when photographing magpies) and with a slight toward-the-camera angle, the iridescent tail feathers also showed their colors.
Aspects I like that were common to this set of images, in addition to the beauty of the magpie, include:
I was able to get to eye level with the bird (by quickly adjusting the monopod).
The background was very distant and became completely blurred with a close subject photographed at 600mm f/4. With all details in the background eliminated, the bird stands out prominently.
I also like that the lighting was very soft with a touch of rim lighting happening. Looking closely at the catchlight in the eye tells me this day was partly cloudy and that clouds were blocking the sun during this exposure.
Unless flying, birds are on something – a branch, sand, rock, water, etc. In this case, that something was a dead tree limb. That this particular limb did not distract from the bird and even had a little character was a positive aspect.
While Rocky Mountain National Park is an awesome location for elk photography, it offers much more. Including magpies.
A larger version of this image is available on Flickr.
Magpies are not a subject I have set out to specifically target with a camera, but I will take advantage of incidental encounters. When one landed in a tree in front of me as I was chasing elk in Rocky Mountain National Park, I went into opportunistic mode. I had the right lens in hand and all I had to do was adjust the monopod height, direct the camera at the bird, focus on the eye and press the shutter release.
I of course pressed the shutter release many times in the short period of time the bird cooperated with me. Why did I select this particular image to share? Here are some reasons:
First, I like the head angle, turned slightly toward me with some sky reflecting in the eye to add life to the subject.
I also like the body angle. While the bird may be turned very slightly away and that is not usually my favorite angle, in this case, that angle allowed the iridescent feathers on the wing to show their colors prominently. The tail was angled downward enough to fit in the frame (that can be an issue when photographing magpies) and with a slight toward-the-camera angle, the iridescent tail feathers also showed their colors.
Aspects I like that were common to this set of images, in addition to the beauty of the magpie, include:
I was able to get to eye level with the bird (by quickly adjusting the monopod).
The background was very distant and became completely blurred with a close subject photographed at 600mm f/4. With all details in the background eliminated, the bird stands out prominently.
I also like that the lighting was very soft with a touch of rim lighting happening. Looking closely at the catchlight in the eye tells me this day was partly cloudy and that clouds were blocking the sun during this exposure.
Unless flying, birds are on something – a branch, sand, rock, water, etc. In this case, that something was a dead tree limb. That this particular limb did not distract from the bird and even had a little character was a positive aspect.
While Rocky Mountain National Park is an awesome location for elk photography, it offers much more. Including magpies.
A larger version of this image is available on Flickr.
Gear Used
Camera and Lens Settings
600mm f/4.0 1/160s
ISO 400
5170 x 7620px
ISO 400
5170 x 7620px
Category: Photo Tips and Stories
Permalink: Magpie, Rocky Mountain National Park
Post Date: 12/20/2018 11:33:50 AM CT Posted By: Bryan
From Tamron:
December 20, 2018, Saitama, Japan - Tamron Co., Ltd. announces a new firmware update for the Tamron SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for compatibility with the Canon EOS R and Mount Adapter EF-EOS R. The new F/W version makes the model compatible with Canon "EOS R" and Canon "Mount Adapter EF-EOS R" for general operations[1].
The lens firmware can be updated with the separately sold TAP-in Console. Customers may also contact Tamron USA's service department at 1-800-827-8880, option 1 for information on sending in the lens for the update.
Compatible Tamron Lenses as of 12/20/18[2]
[2] With the latest version of lens firmware
December 20, 2018, Saitama, Japan - Tamron Co., Ltd. announces a new firmware update for the Tamron SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for compatibility with the Canon EOS R and Mount Adapter EF-EOS R. The new F/W version makes the model compatible with Canon "EOS R" and Canon "Mount Adapter EF-EOS R" for general operations[1].
The lens firmware can be updated with the separately sold TAP-in Console. Customers may also contact Tamron USA's service department at 1-800-827-8880, option 1 for information on sending in the lens for the update.
Compatible Tamron Lenses as of 12/20/18[2]
- SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Canon
- SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Canon
- SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Canon
- SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Canon
- SP 35mm F/1.8 Di VC USD (Model F012) for Canon
- SP 45mm F/1.8 Di VC USD (Model F013) for Canon
- SP 85mm F/1.8 Di VC USD (Model F016) for Canon
- SP 90mm F/2.8 Di VC USD 1:1 MACRO (Model F017) for Canon
- 17-35mm F/2.8-4 Di OSD (Model A037) for Canon
- 70-210mm F/4 Di VC USD (Model A034) for Canon
[2] With the latest version of lens firmware
Categories: Tamron News, Tamron Firmware Updates
Post Date: 12/20/2018 8:54:12 AM CT Posted By: Sean
Wednesday, December 19, 2018
In this episode of Perfecting Audio, Keith Alexander discusses various accessories for audio field recording.
Relevant Products
- Zoom H6 Portable Recorder for Field Recording Deluxe Kit
- Tascam DR-701D 6-Track Field Recorder
- Zoom F8n Multi-Track Field Recorder
- Zoom Accessory Pack for H4n Recorder
- Behringer XENYX 1002B Small Format Mixer
- Rycote 065506 Stickies for Lavalier Microphone
- Rycote Micro Windjammers
- Tascam Accessory Kit for DR-70D and DR-701D
- Rycote PCM-D100 Audio Recorder Kit
- Rycote Super-Shield Windjammer
Category: Photography Education Videos
Permalink: Accessories & Mounts for Field Recording
Post Date: 12/19/2018 2:45:11 PM CT Posted By: Sean
Sony has just released new firmwares for its a7R III and a7 III MILCs. See below for details.
Sony a7R III / a7 III Firmware v.2.10 Changes
Sony a7R III – Windows | Macintosh
Sony a7 III – Windows | Macintosh
Sony a7R III / a7 III Firmware v.2.10 Changes
- Resolves a problem caused by specific third-party memory cards, where the cards cannot be recognized by Sony cameras
- Fixes an issue where, in rare cases, images may not be displayed or the camera may stop functioning while writing RAW data onto an SD card that has been used multiple times
- Improves the overall stability of the camera (Sony a7 III only)
Sony a7R III – Windows | Macintosh
Sony a7 III – Windows | Macintosh
Posted to: Sony News
Category: Sony Firmware Updates
Post Date: 12/19/2018 8:46:58 AM CT Posted By: Sean
Just posted: Really Right Stuff LCF-54 Foot Review.
After seven months of using the LCF-54, it has become a must-have accessory.
The Really Right Stuff LCF-54 Foot is in stock at B&H.
If you have a different lens with a tripod collar, check out the other Really Right Stuff replacement feet available. Wimberley and Kirk also make high quality replacement feet.
After seven months of using the LCF-54, it has become a must-have accessory.
The Really Right Stuff LCF-54 Foot is in stock at B&H.
If you have a different lens with a tripod collar, check out the other Really Right Stuff replacement feet available. Wimberley and Kirk also make high quality replacement feet.
Posted to: Canon News
Category: Camera Gear Review News
Post Date: 12/19/2018 8:18:37 AM CT Posted By: Bryan
Tuesday, December 18, 2018
B&H has the Canon RF 24-105mm f/4L IS USM Lens in stock with free expedited shipping.
Product Highlights
Product Highlights
- RF-Mount Lens/Full-Frame Format
- Aperture Range: f/4 to f/22
- Super Spectra Coating
- Nano USM AF System
- Optical Image Stabilizer
- Customizable Control Ring
- Rounded 9-Blade Diaphragm
Posted to: Canon News
Category: In Stock Notices
Post Date: 12/18/2018 7:16:53 PM CT Posted By: Sean
LensRentals has posted a teardown of the Canon EF 400mm f/2.8L IS III USM Lens.
This is a very well designed lens that features exceptional build quality.
You can pick up your own Canon EF 400mm f/2.8L IS III USM Lens at B&H, Adorama, Wex and Henry's.
This is a very well designed lens that features exceptional build quality.
You can pick up your own Canon EF 400mm f/2.8L IS III USM Lens at B&H, Adorama, Wex and Henry's.
Categories: LensRentals Teardowns, LensRentals News
Post Date: 12/18/2018 6:08:46 PM CT Posted By: Sean
Nikon recently introduced their first full frame mirrorless cameras – the highly anticipated Z 7 and Z 6 – to much fan fair.
Aside from the nameplates and price tags, there's no obvious difference between the cameras when you pick them up and hold them in your hand.
In fact, they share many highlight features, such as:
The Nikon Z 7's higher price tag is largely the result of its significantly higher resolution sensor as well its more advanced AF system. The difference between 45.7MP and 24.5MP is significant, with the higher resolution sensor allowing for significantly more cropping headroom while maintaining sufficient resolution for many output needs. And if a lower resolution photo is acceptable for the desired output, a higher resolution image which is downsampled often produces better image quality than a lower resolution captured image.
The Z 7's more advanced AF system could prove beneficial in certain situations, but even the Z 6's 273 points should prove more than sufficient, especially if coming from a DSLR with significantly less AF points / AF point frame coverage. The Z 6's faster burst rate will especially be appreciated by sports and wedding photographers.
That said, the Z 7's higher resolution sensor – and Nikon's method for sampling the Z 7's 4K footage (line skipping) – means that the Z 6 may be the better choice for those prioritizing 4K capture over stills, as the Z 6 should produce sharper, cleaner footage compared to its higher priced sibling. However, note that Z 6 footage is slightly cropped when outputting 4K 10-bit N-Log to an external device.
Another video capture difference that may prove significant for filmmakers is that you're limited to a DX (APS-C) crop when filming at 120/100p or with the camera set to Slow-Motion recording with the Z 7, whereas the Z 6 is limited to FX (full frame) recording under the same circumstances. Those filming weddings or events will likely prefer the wider field of view afforded by the Z 6 if high frame rate/slow motion video recording is desired.
So, we have two simultaneously-introduced cameras that are, in most aspects, the same. However, their few differences can be quite significant, depending on one's needs. Most will find the resolution, video performance and price being the differentiating factors for purchase.
Authorized Retailers
Nikon Z7 Mirrorless Camera - B&H | Adorama | Amazon | Wex | Henry's
Nikon Z6 Mirrorless Camera - B&H | Adorama | Amazon | Wex | Henry's
- New (mirrorless) Z mount
- Full frame sensor with 5-axis stabilization
- EXPEED 6 image processor
- 0.5" (1.27cm) approx. 3690k-dot (Quad VGA) OLED viewfinder
- Full width 4K recording at 30p
- 3.2" (8cm) 2100K-dot tilting touchscreen LCD
- Shutter Speed Range: 1/8000 to 30 sec, x-sync 1/200 sec
- Size: 5.3 x 4.0 x 2.7" (134.0 x 100.5 x 67.5mm)
- Weight: 20.7 oz (585 g)
| Nikon Z 7 | Nikon Z 6 | |
| Sensor Resolution | 45.7MP | 24.5MP |
| AF Points | 493 | 273 |
| AF Working Range | -2 – +19 EV | -4 – +19 EV |
| Max Continuous Burst Rate (12 bit / 14 bit) | 9 / 8 | 12 / 9 |
| Metering Range | -3 – +17 EV | -4 – +17 EV |
| Native ISO Range | 64-25600 | 100-51200 |
| Expanded ISO Range | 32-102400 | 50-204800 |
| 4K full-frame sampling | line skipping | oversampling |
| 4K N-Log Recording Area | 100% | 90% |
| High Frame Rate and Slow-Motion Full-HD Recording Area | DX (APS-C crop) | FX (Full Frame) |
| Max Wi-Fi Output Power (2.4 GHz / 5 GHz, dBm) | 7 / 12.1 | 7.4 / 12.2 |
| Max Bluetooth Output Power (Reg. / Low Energy, dBm) | 1.5 / 0 | 1.9 /0.4 |
The Nikon Z 7's higher price tag is largely the result of its significantly higher resolution sensor as well its more advanced AF system. The difference between 45.7MP and 24.5MP is significant, with the higher resolution sensor allowing for significantly more cropping headroom while maintaining sufficient resolution for many output needs. And if a lower resolution photo is acceptable for the desired output, a higher resolution image which is downsampled often produces better image quality than a lower resolution captured image.
The Z 7's more advanced AF system could prove beneficial in certain situations, but even the Z 6's 273 points should prove more than sufficient, especially if coming from a DSLR with significantly less AF points / AF point frame coverage. The Z 6's faster burst rate will especially be appreciated by sports and wedding photographers.
That said, the Z 7's higher resolution sensor – and Nikon's method for sampling the Z 7's 4K footage (line skipping) – means that the Z 6 may be the better choice for those prioritizing 4K capture over stills, as the Z 6 should produce sharper, cleaner footage compared to its higher priced sibling. However, note that Z 6 footage is slightly cropped when outputting 4K 10-bit N-Log to an external device.
Another video capture difference that may prove significant for filmmakers is that you're limited to a DX (APS-C) crop when filming at 120/100p or with the camera set to Slow-Motion recording with the Z 7, whereas the Z 6 is limited to FX (full frame) recording under the same circumstances. Those filming weddings or events will likely prefer the wider field of view afforded by the Z 6 if high frame rate/slow motion video recording is desired.
So, we have two simultaneously-introduced cameras that are, in most aspects, the same. However, their few differences can be quite significant, depending on one's needs. Most will find the resolution, video performance and price being the differentiating factors for purchase.
Authorized Retailers
Nikon Z7 Mirrorless Camera - B&H | Adorama | Amazon | Wex | Henry's
Nikon Z6 Mirrorless Camera - B&H | Adorama | Amazon | Wex | Henry's
Posted to: Nikon News
Post Date: 12/18/2018 10:49:53 AM CT Posted By: Sean
Nikon has posted a couple of tips for using N-Log recording on the Nikon Z 7 and Z 6.
In addition to the tips, you can also download the N-Log Specifications from Nikon.
Note that Nikon still can't decide whether or not the space belongs in their Z-series camera names. Even though Nikon's official stance is that the names should include a space, both versions of the camera model names are listed on the Technical Solutions page.
B&H carries the Nikon Z 7 and Z 6.
In addition to the tips, you can also download the N-Log Specifications from Nikon.
Note that Nikon still can't decide whether or not the space belongs in their Z-series camera names. Even though Nikon's official stance is that the names should include a space, both versions of the camera model names are listed on the Technical Solutions page.
B&H carries the Nikon Z 7 and Z 6.
Category: Nikon Technical Solutions
Post Date: 12/18/2018 8:05:26 AM CT Posted By: Sean
Monday, December 17, 2018
B&H is offering free next day delivery on 1,000s of item through December 19.
If you're needing (or wanting) one more gift under the Christmas tree before the big day arrives, then head to B&H before time runs out.
They have a ton of items with holiday savings and an extended return period through February 1, 2019.
Category: B&H News
Permalink: B&H Free Next Day Delivery Expiring Dec. 19
Post Date: 12/17/2018 2:33:11 PM CT Posted By: Sean
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