The timing was perfect for a visit to Ricketts Glen State Park.
The new beech tree leaves were coming out with their light spring green color looking great.
It had rained a significant amount the prior day and the forecast was for rain all of this day.
Waterfalls, of course, thrive on rain, rain saturates the landscape, rain requires clouds and clouds ensure even lighting, and also helpful is that rain keeps the (smarter?) potential park visitors at home and out of images.
On this day, I had the Falls Trails completely to myself until I was hiking out near dark.
Rain also makes photography a bit more challenging.
I was wearing Gore-Tex clothing (boots, pants, and jacket) that kept me completely dry.
At least dry until I overheated a bit while hiking up out of the canyon at a fast pace with quick-drying clothing resolving that problem quickly after I was back in the car.
I carried a large umbrella to work under (awkward but very helpful) and had a microfiber cloth readily available to wipe water drops from the front of the lens.
When shooting waterfalls, a microfiber cloth is often needed regardless of the rain situation.
Note that nano-coated filters are easy to keep clean and easily worth their additional cost on days like these.
The camera and lens were in an inexpensive rain cover that I was evaluating and that is now on the to-replace list as it was not "waterproof",
leaving the camera and lens wet enough that a towel was needed (get a LensCoat RainCoat).
This is an example of when weather sealing can save the day.
I've mentioned that I rely on my tripod for personal support at times and this was one of those.
Working up onto this ledge over wet rocks was not easy and a Really Right Stuff TVC-24L Carbon Fiber Tripod saved me from a serious fall when my footing broke loose.
The ledge position meant that the lower tripod legs were planted rather far below me, making every inch of the "Long" length of this tripod very useful.
Saving my images by cutting reflections and increasing saturation was a Breakthrough Photography circular polarizer filter.
Had I forgotten this filter, I would probably have just turned around and gone home.
Overall, it was a great day in Ricketts Glenn SP.
I'll likely be sharing more of the images captured on this day at some point.
With 24 named waterfalls, including some of the most photogenic falls around, Ricketts Glen State Park is waterfall photography heaven.
I spent over 45 minutes capturing a variety of compositions of this falls alone and finally forced myself to move on, leaving some options for another day.
If you are interested in photographing with me here, I need to know.
This will likely be the destination for an upcoming waterfall photography workshop!
A larger version of this image is available on Flickr.
The Nikon Z 6 Filmmakers' Kit "Test Drive" Rental Program Provides the Opportunity to Create Your Own Contest Entry and Discover Why Everyone is Talking About the Incredibly Capable Z 6
MELVILLE, NY – Today, Nikon Inc. announced the “Follow Your Passion” video contest, which encourages content creators across the United States to capture their passion using a Nikon Z series mirrorless camera.
Entrants can submit a short film for a chance to win a Nikon Z 6 Filmmaker’s Kit and up to $25,000 in prize money.
To enter, users are invited to submit a video project from 3 to 5 minutes in length, captured with a Nikon Z 6 or Z 7, showcasing their passion through filmmaking.
Interested participants can submit videos starting on Wednesday, May 15 through Saturday, August 31, 2019.
Nikon is also giving users the chance to discover why the Nikon Z series is a new star in small-footprint productions with the Nikon “Test Drive” Program.
This Nikon Z 6 Filmmaker’s Kit rental program, available at approximately 138 retailer locations nationwide, will provide more creators with the opportunity to experience first-hand what the Nikon Z series is capable of.
Through this program, consumers can rent a Nikon Z 6 Filmmaker’s Kit from a participating retailer for up to $99.95* for three days or up to $149.95* for one-week.
This program offers an extremely cost-effective way for consumers to capture their contest submission, or simply to explore their passion for filmmaking.
Additional information, including a list of participating retailers can be found at www.nikonusa.com/ztestdrive.
“Whether you’re a seasoned filmmaker, an aspiring creator, or a stills shooter eager to explore the world of video, this is the contest that will give you a chance to follow your passion, share it with the world and potentially be rewarded for your work,” said Jay Vannatter, Executive Vice President, Nikon Inc.
“The Nikon Z series offers an extensive video feature set that opens up a world of possibilities for filmmakers; and with the Test Drive program, Nikon makes it easy to explore those possibilities.”
The first, second and third place winners of the Nikon “Follow Your Passion” Z series video contest will each receive a Nikon Z 6 Filmmaker’s Kit worth approximately $4,000.
Additionally, the first and second place winners will take home $25,000 and $10,000 in prize money, respectively.
The versatile Nikon Z 7 and Z 6 full-frame mirrorless cameras are ideal for content creators who are serious about filmmaking.
Both Z series cameras capture full-frame 4K Ultra HD video and come equipped with fast hybrid AF systems, 5-axis in-body image stabilization and Nikon-designed FX-format BSI CMOS image sensors that deliver outstanding image quality and powerful video performance.
These cameras also offer advanced features for videographers, including focus peaking, time-code, 10-bit output with N-Log via HDMI, along with stellar sharpness, low-light ability and dynamic range.
The Nikon Z 6 Filmmaker’s Kit pairs the powerfully cinematic Z 6 with a NIKKOR Z 24-70mm f/4 S lens, Mount Adapter FTZ, MOZA Air 2 3-Axis Handheld Gimbal Stabilizer, RODE VideoMic Pro+ Microphone, Atomos Ninja V 4K Recording Monitor and more, allowing users to unlock the camera’s full video potential.
Technical Service Advisory for users of the Z 7 and Z 6 mirrorless cameras
Thank you for choosing Nikon for your photographic needs.
It has come to our attention that the vibration reduction (VR) function built into some Z 7 and Z 6 mirrorless cameras does not achieve its full potential.
We will repair affected cameras free of charge.
Identifying affected products
To check whether or not your camera is one of those affected by this issue, click Affected Product Serial Numbers below and enter the serial number for your Z 7 or Z 6 as instructed.
Your camera's serial number will be checked against those of affected products.
If your camera is one of those affected, instructions for requesting repairs will be displayed.
If your camera is not one of those to which this issue applies, rest assured that repairs to your camera are not necessary and you may continue using your camera without further concern for this issue.
Open the camera's monitor to locate the product serial number. It is the 7-digit number printed on a label affixed to the camera body as indicated by the red frame in the image above (the Z 6 is represented in the image).
Please contact your nearest Nikon service center if you own a Nikon Z 7 or Z 6 affected by this issue. They will keep your camera, inspect it, and re-adjust or replace components as needed free of charge, even if the camera's warranty has expired or is not valid in your region.
Requesting corrective servicing
Please direct enquiries regarding this matter to your nearest Nikon Service Centre or create a Free Service Returns Request.
Nikon Service Centre’s will usually serve customers within 1-2 weeks after receiving products for servicing.
For details we recommend you contact your local Service Centre.
We sincerely apologise for any inconvenience this matter may have caused you.
Nikon will continue to take all possible measures to prevent issues like this from happening again.
Once again, thank you for choosing Nikon for your photographic needs.
Added support for Z 7 firmware version 2.00 and Z 6 firmware version 2.00.
Fixed an issue that resulted in the camera and the LCD display area in Camera Control Pro 2 showing different statuses for exposure lock if AE Lock only was deselected in Camera Control Pro 2 while exposure lock engaged on the Z 7 or Z 6 under certain conditions.
Fixed an issue that resulted in Camera Control Pro 2 and the camera showing different options for white balance if the user switched from Programmed Auto to another exposure mode while Enable Controls on Camera Body was disabled.
Added eye-detection AF for use when taking photographs. To enable eye-detection AF, select:
AF-S or AF-C for Focus mode in the PHOTO SHOOTING MENU
Auto-area AF for AF-area mode in the PHOTO SHOOTING MENU
Face and eye detection on for Custom Setting a4 (Auto-area AF face/eye detection) in the CUSTOM SETTING MENU
Improved autofocus performance for photos and movies shot under low light: -3.5 – 19 EV (low light autofocus -6 – 19 EV) [Z 6] / -2 – 19 EV (low light autofocus -4 – 19 EV) [Z 7], measured in photo mode with single-servo AF (AF-S) at ISO 100 and 20°C with an f/2 lens.
The following improvements have been made to the Continuous H (extended) option for Release mode:
Not only focus but now also exposure will respond to changes in the subject during shooting
The burst shooting display after the memory buffer fills is now easier to read
Reduced the length of time the display turns off (the blackout period) when pictures are taken with On or On (monitor only) selected for Image review in the PLAYBACK MENU.
Item d5 in the CUSTOM SETTING MENU, formerly Electronic front-curtain shutter, has been renamed Shutter type and offers a choice of Auto, Mechanical shutter, and Electronic front-curtain shutter. If Auto is selected, the camera will automatically choose a shutter type according to shutter speed.
Changed the color the focus point turns when the AF-ON button is pressed or the shutter-release button is pressed halfway with Auto-area AF selected and face detection or target tracking active.
Edited and revised help text.
Fixed the following issues:
The camera would stop responding if certain operations were performed while HDMI output was in progress with 3840 x 2160 (4K UHD) selected for frame size.
The value selected for maximum sensitivity would sometimes be exceeded during movie recording in mode M with On selected for Auto ISO control (mode M) if Active D-Lighting was enabled.
The display would sometimes briefly behave unexpectedly in movie mode before or during recording. [Z 7]
The items in My Menu would sometimes not display correctly.
The RF lenses slated for delivery later this year promise at least equal to the impressiveness of the ones we already have available.
More EOS R camera models are promised, including pro models.
You Should Buy a Canon R-Series Mirrorless Camera Now If
You want to start taking advantage of the RF lenses and/or want to keep your kit optimized to the best-available lenses. If a lens you want to use now to is available in an RF mount version, this is a good time to consider buying into the R system.
You want the advantages of an electronic viewfinder, including clear, focused-to-your-eye image preview and review in bright daylight, and don't mind the EVF disadvantages, including a brief video pause when an image is being captured.
You want incredibly-low-light AF capabilities.
You want improved AF accuracy with third party lenses.
You want to learn how to use the mirrorless models. While the learning curve is not big, the fun of learning something new is.
You primarily photograph landscapes, street, still life, family and events.
You want the benefit of eye-tracking focus, especially useful with wide aperture lenses.
You want to reduce the size and weight of your kit.
You want to take advantage of the up-to-$500 rebates currently available.
You Should Wait to Buy a Canon R-Series Mirrorless Camera If
You primarily photograph sports and wildlife. The EOS R's frame rate is mediocre and a brief EVF video pause during each image capture makes tracking erratic-moving fast action challenging. The Canon EOS-1D X Mark II or the
Canon EOS 5D Mark IV are currently better choices for capturing fast, erratic action.
You don't see any advantages to the EOS R-series camera and RF lens system over what you are using now. If nothing about the new cameras and lenses interests you, stay with a DSLR.
You require an economy kit lens with a native RF mount. I expect an inexpensive RF kit lens to show up at some point, but ... an adapted EF lens is currently the best low-cost option for a general-purpose zoom lens.
You require ultra-high resolution. We do not yet have a Canon EOS 5Ds R-equivalent resolution option available in the R-series. The EOS R's 30.3 MP resolution is very high, but getting higher resolution in a Canon R-series camera requires waiting.
You require dual memory card slots.
You require IBIS (In Body Image Stabilization). Of course, most of the RF lenses have either an ultra-wide aperture or image stabilization reducing the need for stabilization in-camera.
Current video capabilities are not adequate.
Note that there will always be a new camera model coming.
How long it takes to get here is a key component to decision-making and with the manufacturers not sharing their future plans, that component is an unknown and a lot of years of current model usage could potentially be had before an alternative arrives.
New models usually bring new features that are useful, at least to some, but they also typically have higher price tags, at least higher than a similar model being replaced or higher than a model positioned lower in the lineup.
New models make no difference to how current models perform – a camera owned today will continue to perform the same tomorrow.
If you can make use of a current model now, now is a good time to get that model.
This is the application you've been waiting for! No, it is not April Fools Day. Now you can wear pictures of the grandkids on each finger!
MELVILLE, NY, May 14, 2019 – Look down – how are your nails looking? Is it time for a new set? No problem – Canon has you covered! Eliminating the need to visit your local nail salon, Canon U.S.A., Inc., a leader in digital imaging solutions, introduces printable nail stickers for select PIXMA series printers. Now, you can refresh your manicure in the comfort of your own home.
With a quick download of the Canon Nail Sticker Creator App*, users of compatible iPad®, iPhone® and Android™ mobile devices, and Canon PIXMA TS9521C, PIXMA TS9520, PIXMA TS8220 and PIXMA TS702 Printers can select from an assortment of 200 designs and have access to newly uploaded designs four times per year, or create their own nail art** within the app. When using the Canon Printable Nail Sticker sheets, the nail sticker design of choice will print onto a precut sheet of stickers placed on the printer’s multipurpose tray, and can be peeled off and adhered to the user’s nails. After a quick filing of the edges and application of a top coat to seal the design(s) – the mani is complete!
"With the launch of printable nail stickers, we are excited to provide our customers with another reason to expand their printing needs and let their creative expression flourish right on their fingertips,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
The new Canon Printable Nail Sticker sheets (twelve stickers per sheet) are available two per pack and initially, will be available exclusively on the Canon Online Store for $12.99 per pack***. For more information and the full list of product specifications, visit https://shop.usa.canon.com/shop/en/catalog/glossy-paper.
We are never fully satisfied with the products we make.
We always strive to take steps forward, whether they be baby-steps or strides.
That is why we not only will create ground-breaking products, but we'll also continually evaluate and improve those products, as we have done with the launch of Profoto A1X, the A1’s new and improved sibling.
It has a little more of everything that made its predecessor a success.
An even more powerful battery, faster recycling and Sony compatibility are some of the 30+ updates that we have made to the product.
Or put in other words – more when it matters.
Because in photography, there are no second chances.
An image might present itself for a second, and then it's gone, so you can't afford to be fiddling with batteries or waiting for the flash to recharge - you've got to be ready.
That's why the new Profoto A1X has up to 450 full power pops per charge, and lightning-fast one-second recharge time, so you'll never miss a shot.
The light in the image will always be natural and beautiful thanks to the innovative round head with its soft and gentle fall-off.
Allowing you even more creative freedom, the A1X features a magnetic click-on mount for light shaping tools; there are six tools available that can be used individually or in combination with one another.
And for more flexibility still, there's a flicker-free modelling light built-in to the head, so you can see exactly what you're going to capture before you press the shutter; which is especially useful when operating off-camera or in low light situations.
The Profoto A1X features a 20-channel Air Remote with HSS and AirTTL so you'll always get beautiful and professional images fast.
And with the increased number of channels, you can be sure you won’t be interrupted at busy events or important moments.
Use TTL mode, and it's essentially point-and-shoot, the sensor will calculate the correct exposure for you.
However, switch it over to manual, and you can then fine-tune that exposure to create exactly the look and feel you want.
Ease of use has always been at the heart of every Profoto product, and the A1X is no exception.
The large, high-resolution display is incredibly easy to navigate with big, super-legible numbers.
The way we see it, the less time you spend messing about with menu's, the more time you can spend doing what you love – creating images.
And whether you're a Sony, Canon or Nikon shooter, all the light shaping possibilities of the Profoto A1X are yours to enjoy.
Whether it's the natural and beautiful light it provides, the easy to navigate and intuitive display or superior battery life and recycling time - with the Profoto A1X there's more when it matters.
Because let's face it - it always matters.
Bespoke versions for Sony, Canon and Nikon
20-channels Air Remote
Round head with soft, smooth and natural fall off
AirTTL and HSS for a beautiful professional image fast
Smart magnetic click-on mount for A1X Light Shaping Tools
New features and enhancements in the May 2019 (version 8.3) release of Lightroom Classic
You can now reduce shading, or lens cast, from your digital photos using the Flat-Field Correction feature.
Shading can occur from a variety of different lenses and can result in both asymmetrical vignettes as well as color casts introduced by certain lens characteristics.
Flat-Field Correction is available in the Library module.
To apply the correction, select all your photos in a natural interleaved order and choose Lightroom > Library > Flat-Field Correction.
You can now smoothen or accentuate details such as skin, bark, and hair with the new Texture slider.
You can adjust the Texture slider negatively to smooth skin and retain fine pore details to ensure natural-looking skin.
You can increase the Texture amount to accentuate details such as bark or hair without affecting less detailed areas, like the out of focus areas in a photograph.
Adjusting the Texture slider does not change the color or tonality in your photograph.
You can apply texture to your photos both as a global adjustment and to specific parts of the photo as a local adjustment.
To apply texture, select a photo and switch to the Develop module.
Support for new cameras and lenses
Latest cameras added in May 2019
Canon EOS 250D (EOS Rebel SL3, EOS 200D II, EOS Kiss X10)
Google Pixel 3 Front Standard Camera
Google Pixel 3 Front Wide Camera
Google Pixel 3 XL Front Standard Camera
Google Pixel 3 XL Front Wide Camera
HMD Global Nokia 9 PureView Front Camera
HMD Global Nokia 9 PureView Rear Camera
LG V40 ThinQ Front Standard Camera
LG V40 ThinQ Rear Main Camera
LG V40 ThinQ Rear Wide Camera
Panasonic LUMIX DC-G99 (DC-G90, DC-G91, DC-G95)
RICOH GR III
RICOH THETA Z1
Sony RX0 II (DSC-RX0M2)
Latest lenses added in May 2019
Canon EF 70-200mm f/2.8L IS III USM
Canon EF 70-200mm f/2.8L IS III USM +1.4x III
Canon EF 70-200mm f/2.8L IS III USM +2x III
Canon EF 400mm f/2.8L IS III USM
Canon EF 400mm f/2.8L IS III USM +1.4x III
Canon EF 400mm f/2.8L IS III USM +2x III
Canon EF 600mm f/4L IS III USM
Canon EF 600mm f/4L IS III USM +1.4x III
Canon EF 600mm f/4L IS III USM +2x III
HMD Global Nokia 9 PureView Front Camera
HMD Global Nokia 9 PureView Rear Camera
LG V40 ThinQ Front Standard Camera
LG V40 ThinQ Front Wide Camera
LG V40 ThinQ Rear Main Camera
LG V40 ThinQ Rear Telephoto Camera
LG V40 ThinQ Rear Wide Camera
HD PENTAX-DA 11-18mm F2.8ED DC AW
HD PENTAX-FA 35mm F2
Ricoh GR III 18.3mm f/2.8
SIGMA 28mm F1.4 DG HSM A019
Canon, Nikon F, SIGMA, Sony FE
SIGMA 28mm T1.5 FF HIGH-SPEED PRIME
SIGMA 40mm F1.4 DG HSM A018
Nikon F, SIGMA, Sony FE
SIGMA 40mm T1.5 FF HIGH-SPEED PRIME
SIGMA 60-600mm F4.5-6.3 DG OS HSM S018
SIGMA 70-200mm F2.8 DG OS HSM S018
Canon, Nikon F, SIGMA
Sony FE 135mm F1.8 GM
Tokina FiRIN 20mm F2 FE AF
Tokina opera 16-28 mm F2.8 FF
Canon, Nikon F
Tokina opera 50mm F1.4 FF
Canon, Nikon F
Import photos from devices using the Files section
When you import photos from storage devices, such as SD card and CF card, the photos are now selected from the Import grid’s Files section by default. In previous versions, it used to be from the Device section.
Importing from the Files section is more performant. The Files section selects the DCIM folder of the storage device where the camera saves images. If you want to select any other folder, you can do so.
Improved performance of Auto setting
Experience performance improvements when you apply Auto settings. In the Develop module, the Auto option is located next to Tone in the Basic panel.
The COOPH team wanted to bring their images to life, so we have created this video to show you exactly how we did it – using some epic Cinemagraph ideas that anyone can try! Cinemagraphs are still essentially photographs in which a small and repetitive movement is shown. They are super cool, easy to make and are sure to make your future social media posts stand out from the crowd! So, take a look at these six tips and try them out for yourself!
Note: For the mirror reflection portrait, I can't help but think the cinemagraph might have been more interesting if the focus had been on the subject rather than the subject's reflection. What do you think? [Sean]
A Creative Cloud subscription offers numerous benefits, including frequent product updates with new features and capabilities, critical bug fixes and important security updates.
We recommend all customers use the latest release of Creative Cloud for optimal performance and benefits.
Please note that going forward, Creative Cloud customers will only have direct download access (from the Creative Cloud Desktop app and Adobe.com) to the two most recent major versions of Creative Cloud desktop applications.*
Focusing our efforts on the latest two major releases of Creative Cloud applications, which the vast majority of Adobe customers are already using, will further enable us to develop the features and functionality most requested by customers and ensure peak performance and benefits across Windows and Mac operating systems.
Business customers in need of an older version of a Creative Cloud application should contact their IT Administrator to see if one is available.
*Exception: Only the most recent version of Adobe Acrobat is available for download.
With a Canon EOS Rebel SL3 (EOS 250D, EOS Kiss 10, EOS 200D II) in hand, it is time to set up the camera for use.
Following are the 32 steps I took to make an out-of-the-box Canon EOS Rebel SL3 ready for use.
Open the box, find the battery, place it in the charger and plug it in.
While the battery is charging, unpack the other items you want from the box.
Download and install the
Canon Solution Disk software on your computer, gaining support for the latest camera(s).
Canon Digital Photo Pro (DPP) and EOS Utility are the options I manually include in the install.
Attach the neck strap.
Insert the battery (after charging completes) and power the camera on.
Insert a memory card.
Set the camera's mode to Av, Tv or M (some modes provide only a small subset of available menu options).
Scroll through all of the menu tabs to configure the camera as follows:
Shooting settings, Tab 1: Image quality: Use top dial to set RAW to "RAW" and Cross Keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post processing work)
Shooting settings, Tab 1: Image review: 4 sec. (or sometimes off to increase shooting speed in the field)
Shooting settings, Tab 1: Release shutter without card: Disable (only in a retail store do you want to press the shutter release without saving the image file, leaving this option enabled will burn you someday)
Shooting settings, Tab 1: Lens Aberration Correction: All options "OFF" (though Chromatic Aberration correction is a good option to leave enabled for most)
Shooting settings, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust modestly during post processing)
Shooting settings, Tab 4: Picture Style: Neutral with Strength = 1 (Note: the low contrast "Neutral" picture style provides a histogram on the back of the camera that most-accurately shows me blown highlights and blocked shadows on the camera LCD. I usually change the Picture Style to "Standard" in DPP after capture.)
Shooting settings, Tab 5: Long exp. noise reduction: Auto (when active, LENR captures a dark image that is used to correct the long exposure noise in the primary image)
Shooting settings, Tab 5: High ISO speed NR: Off (or Low) (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post processing)
Playback settings, Tab 1: Histogram disp: RGB (I want to see the graph for individual color channels)
Function settings, Tab 1: Format card (always format memory cards in-camera — after all contained images are stored elsewhere of course)
Function settings, Tab 1: Auto Rotate: On computer (only) (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
Function settings, Tab 2: Date/Time/Zone: make correct for your location
Function settings, Tab 3: Beep: Disable (no one wants to hear your camera constantly beeping)
Function settings, Tab 5: Copyright information: enter as desired
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 2: ISO expansion: On (required for setting ISO to 51200)
Shooting settings, Tab 3: Photo ISO speed settings: ISO 51200 (this upper limit is only being used for testing, set to your tolerance)
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 4: Exposure comp. auto cancel: Disable (I'll decide when exposure compensation should be canceled)
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Operation/Others: 11: Retract lens on power off (avoids having a carefully-selected focus distance reset when camera auto powers off)
Display level settings, Tab 1: Shooting screen: Standard (Guided is useful for beginners)
Display level settings, Tab 1: Menu displaye: Standard (Guided is useful for beginners)
Display level settings, Tab 1: Mode guide: Disable (Enabled is useful for beginners)
Display level settings, Tab 1: Feature guide: Disable (Enabled is useful for beginners)
My Menu: Add the first tab; Register the following options for Tab 1: Format card, Mirror lockup, Date/Time/Zone (great for monitoring what time it is), Expo.comp./AEB, Long exp. noise reduction, Sensor cleaning
(nothing in my My Menu is found on the Quick Control display as those functions are already quickly accessed)
With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp
I of course make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration would mean that you intend to shoot similar to how I shoot - including shooting in RAW-only format.
While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea.
Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting.
If you purchase another same or similar camera, you will be able to quickly set it up.
This is my second-most-used tripod with only the Really Right Stuff TVC-34L Mk2 Tripod being used more frequently.
These two tripods are practically the same except for a smaller and lighter frame, a lower weight capacity, and a lower price.
Thus, a majority of the reviews are shared.
(New York, New York) May 13, 2019 – ROKINON has announced its new AF 45mm F1.8 Compact Lens for Sony E mount.
It is Rokinon’s third compact lens and seventh auto focus lens designed specifically for Sony mirrorless cameras.
The 45mm focal length provides a natural appearance, approximating how we perceive a scene with our own eyes.
It is actually closer to the human eye than a 50mm focal length is.
This focal length is great for general purpose use and can be readily used for portraiture, extreme sports, parties, lifestyle, architecture, landscape, street photography and more.
Optically, the lens is made up of 7 elements in 6 groups.
Two Aspherical plus one Extra-low Dispersion element and Ultra Multi-Coating are utilized to effectively control vignetting, distortion and chromatic aberration.
Additionally, the rounded nine-blade diaphragm and F1.8 bright aperture produce a pleasing out-of-focus quality when working with shallow depth of field techniques.
The minimum focusing distance is 17.7” and the 49mm non-rotating filter mount allows for easy use of polarizing and other filters that require precise positioning.
For Sony APS-C sensor cameras, the focal length is equivalent to a moderate telephoto of 67.5mm.
Construction has been optimized for portability, compactness, ergonomic handling, and the durability of a metal barrel.
Offering quiet and accurate autofocusing with enhanced speed and at 5.71oz in weight and 2.43” in length, it is the perfect lens to live on your Sony camera always.
Don’t miss that special and unique moment!
It is often said “The best camera (and lens) is the one you have with you”.
The ROKINON AF 45mm F1.8 Compact Lens for Sony E is expected to be available in early June with a street price of only $399.00.
It will include a lens hood, lens caps, and a custom fitted case.
F1.8 - 22
7 Elements in 6 Groups 2 Aspherical 1 Extra Low Dispersion
MIN. FOCUSING DIST.
1.48 ft” (0.45m)
Ultra Multi-Coating (UMC)
Full Frame (FX)
ROKINON AF 45mm F1.8 Compact Lens for Sony E - B&H | Adorama
In an unusual move earlier this year, Canon showed (some of) their cards in a development announcement.
Mock-ups of these new lenses were on display at a press event held just before that announcement and sharing some pictures from that event has been on my to-do list since.
Note that all of the images shared in this article can be clicked on to see a significantly larger version.
The lead image shows all of the 2019 RF lenses and R-series cameras.
From left to right in this image (new lens quotes are from Canon Europe) are the:
Canon RF 85mm F1.2 L USM Lens A large aperture mid-telephoto prime lens, offering the ultimate performance for advanced and professional portrait photographers.
Canon RF 85mm F1.2 L USM DS Lens (not shown, but looks identical to RF 85 non-DS): A unique high-performance lens offering a combination of beautifully smooth defocused background bokeh and a super faster aperture to produce breath-taking portraits.
Canon RF 15-35mm F2.8 L IS USM Lens Offering wide angle, fast aperture and high performance in a single package this lens is ideal for a range of uses including architecture, interiors or landscapes.
Canon RF 70-200mm F2.8 L IS USM Lens The must-have lens for any professional photographer shooting weddings, sport or wildlife. This high-speed medium telephoto zoom will be the daily go-to lens for numerous occasions.
Canon RF 24-240mm F4-6.3 IS USM Lens This compact, affordable 10x zoom is a multipurpose travel lens offering a versatile range of focal lengths and practical size and performance.
Not surprising is that the RF lenses show many similarities to each other.
The black L-zooms all feature an ideally-positioned (toward the rear of the lens, though not as far back as their EF counterparts) zoom ring and all but the RF 24-240mm lens feature a forward-positioned control ring.
The two or three rings on each lens have a differing tactile surface and the feel for each ring purpose is similar throughout the lineup with the control ring being knurled.
Notice that the RF 24-240 does not have a dedicated focus ring.
It is expected that the control ring will optionally be able to serve that function.
I was told to expect RF lens image quality to be as good or better than that of the nearest equivalent EF lens with reduced size being another benefit in some cases.
Note that the lenses shown on display boxes are lens mount-deep in their holders.
Still, we can discern some of the sizes.
I'll start with the RF 70-200 as I added a sizing prop next to it.
Canon USA was very protective of the new lens mockups the Canon Inc. engineers brought with them (we could not touch them and they used white gloves to move them), but with reluctance, I was permitted to place a phone next to the tiny 70-200.
The iPhone 7 measures 5.44" (138mm) in length.
If the phone were completely upright, it would about match the lens in length.
What if your 70-200 f/2.8 was nearly as small as your EF 16-35 f/2.8L III?
That is about the size difference we are looking at and here is a visual comparison.
I haven't seen a lens that wow'd me as much as the Canon RF 70-200mm F2.8 L IS USM Lens in a long time.
Where is the rest of the lens?
The size is so dramatically smaller that it will have an impact on the case or backpack this lens is carried in.
Interesting is that a tripod ring (hinge-removable) remains included.
Is this an indication that weight will be moving forward, justifying the ring for proper balance?
Or is the ring included because we expect a lens with these specs to have one, essentially checking the requirements box?
When the dust settles, I'll not likely care for the forward-positioned zoom ring and that this lens extends is not ideal.
But, the considerably smaller size (the smallest Canon white L lens ever) should easily make up for those downsides.
Note that this lens also has a rear-positioned control ring.
Here is a closer look at the new lenses.
Along with the RF 70-200, the RF 15-35 and RF 24-70 complete the RF f/2.8 lens "trifecta".
These two similar-sized lenses appear to be slightly longer than the RF 24-105 (the spec will likely land at around 4.5" or 114mm) and will have a width very similar to the RF 24-105.
Here is a current visual comparison with the RF 24-105.
The wide-angle lens gets a very-welcomed extra 1mm of focal length on the wide end, making 15mm available with filter threads.
It also adds image stabilization, a Canon first for full frame f/2.8 in this range.
Additionally welcomed is that this lens appears to be slightly reduced in length and perhaps even more reduced in width.
The standard professional zoom lens does not get a focal length adjustment and the size appears not dramatially reduced, but the long-awaited image stabilization feature has arrived (woo hoo!).
Only the second RF lens to be missing the red ring, the RF 24-240 relatively-affordably covers a huge range of focal length needs in a single lens, making it ideal for times when lens changes cannot be made, cannot be made quickly enough, or are simply not wanted to be made.
Still glaringly missing in the RF lineup is a value-priced general-purpose zoom lens.
The RF 24-240 is positioned to be a great lower-budget option for all-around use, but although thin, it has a length similar to the RF 15-35 and RF 24-70 which does not completely align with the compactness of the EOS RP.
Watch for at least one shorter-range option to arrive soon.
It makes sense.
Lenses are a critical component of a camera system and the right lens can make a huge difference in the results and also in the ease in which those results are captured.
Canon's new RF lens mount has obviously opened up new possibilities for lens designers and they are rolling out some of the best lenses ever.
It's a great time to be a photographer.
A great set of rebates (up to $500) makes now an ideal time to add an R-series camera to the kit.
The included Canon Mount Adapter EF-EOS R makes integration into an existing Canon kit easy.
While I have access to evaluation cameras, I decided that I wanted my own R and recently added one to the kit.
Shop Mother’s Day savings on an array of Sigma Global Vision Art and Contemporary lenses and its Mount Converter MC-11 for Sony shooters
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Most photography has with one thing in common...
all the photos are taken at eye height.
But if you want to give your portraits a new look consider mixing up your shooting height.
In this video Gavin Hoey shows you how getting down low or higher up then your model can radically change the look and emphasis of a portrait.
Low level shots can change the background and emphasize the foreground and high shots can be framed to completely remove the background that you see when shooting at eye height.
After Gavin has shared his shooting tips he goes on to try out all three shooting heights while taking portraits in a field of flowers.
Watch wedding photographer and Canon ambassador Félicia Sisco, as she talks about shooting bridal portraits with the newly-released Canon RF 85mm F1.2L USM lens.
What does she look for in the perfect prime for portraits?
One of Félicia’s secrets to getting a flattering look in her images is shooting at her favourite focal length, 85mm.
"With an 85mm lens, I can do everything, close-up portraits and full-length shots".
She enjoys the versatility to shoot both unposed, spontaneous images and editorial style setups make her appealing to brides-to-be.
Félicia likes to shoot with fast shutter speeds, ideally around 1/2000 sec, so in lower light increases the ISO setting to compensate.
“Every little girl looks in the mirror and wants to look beautiful, and on the wedding day, in her bridal dress, her dreams come true..."
Nikon has released its 2019 financial results for the fiscal year ending today, May 9, 2019.
The presentation material shows that Nikon's Imaging Business revenue suffered a 17.9% decline year-over-year.
Other notes from the Imaging Business section of the presentation material:
Revenue: ¥64.6B down YoY
ASP was buoyed by new product launch including full-frame ML cameras
The sales volume and revenue of fullframe cameras grew two years in a row
The sales of interchangeable lens type cameras and interchangeable lenses did not reach the plan in the continuing severe condition in Q4: ¥8.9B short of the forecast
Operating Profit: ¥8.2B down YoY
OP for FY18/3 and FY19/3 was ¥36.0B and ¥22.6B, respectively, if excluding restructuring relevant expenses
Revenue/profit reduction and the initial development cost increase pushed down the OP by ¥3.0B from the forecast