While the rig looks cool, it is surprisingly usable.
And, the gear is truly impressive.
Here is the back view:
Based on what you see here and knowing what I've already reviewed, you can likely figure out what the next review subject is.
Crazy rigs of course need a name.
I decided to call this one the RRS Radical Rig with "Extravahead" in the running.
Sean had some other good ideas – please share your own alternative name suggestions with us.
Whitetail fawns are cute and curious – and they are bundles of energy (when not sleeping).
This one abruptly stopped after leaping around, intently watching something of interest.
Alert poses are one of my favorites for wildlife with the ear position usually being ideal.
From a compositional standpoint, the direction of the gaze adds weight to the side of the frame being gazed toward.
That means this fawn works well being positioned toward the left side of the frame to provide overall balance.
Of course, the beautiful SNP spring green landscape nicely compliments the colors of the fawn.
Fawn photography at this location can make use of all available telephoto focal lengths, from short telephoto to the longest super telephoto focal lengths available.
The flexibility offered by a zoom lens has its advantages and, in this case, the Canon EF 200-400mm f/4L IS USM Lens' built-in 1.4x extender was especially helpful.
I have a unique, limited opportunity for you: I'd love for you to join me for "Whitetail Fawns and More", a Shenandoah National Park Instructional Photo Tour.
Our goal is to photograph these beautiful little creatures along with many of the other great subjects found in Shenandoah National Park while actively learning photography skills.
Read the just-linked-to detailed description to learn more.
A larger version of this image is available on Flickr.
About 8 years ago, I purchased a 4' x 6' (1.2 x 1.8m) softbox from eBay (they aren't even available anymore) and really liked the soft light it projected onto my subjects.
However, the more I used it, the more I realized how impractical it was.
The biggest problem was that the softbox's weight was too heavy for my studio strobes' spring loaded mounting fingers.
The softbox would mount to a studio strobe under ideal conditions, but any movement of the softbox (repositioning, small gust of wind, etc.) would cause the it to dismount from the strobe and [usually] break the modeling light and/or flash tube in the process.
And even if the softbox stayed connected to the studio strobe, the studio strobes positioning handle couldn't be tightened tight enough to prohibit the softbox from slowly inching its way downward at the pivot point. The problems inherent to the weighty modifier meant that it was rarely ever used. That is, until I recently came across a solution to the problem.
Shown above is a Mountable Speed Ring, and it works with any soft box that features a traditional speed ring and spoke design (it won't work with collapsible/umbrella-like folding ones). The mountable speed ring features a threaded insert that can attach to a 3/8" stud which is mounted in a traditional umbrella swivel. This setup relieves the strobe's mounting fingers from supporting the weight of the modifier; instead, the fingers only have to support the weight of itself.
The mountable speed ring will be especially helpful for anyone suspending a large softbox above a subject or with the modifier pointed downward at a significant angle as gravity will be pusing the strobe into the mounted speed ring instead of pulling the speed ring away from a traditionally mounted strobe. However, if planning to do this, it would likely be best to permanently affix the 3/8" stud to the mountable softbox with epoxy/glue. The mountable speed ring's risk-reducing design may be the most economical insurance you ever buy.
There are three versions of the mountable softbox currently available for compatibility with Paul C. Buff/Alien Bees/White Lightning, Bowens and Profoto. However, while I cannot confirm that this is the case, if you have a similar non-mountable speed ring with interchangeable mounts (most third-party speed rings are designed this way), then you may be able to swap out any of the mounts available to make it compatible with your own strobes.
Fair warning: This isn't the most entertaining or polished "How To" video that Adobe has released, but the narrorator does cover a lot of information in this lengthy walkthrough on creating profiles in Adobe's newly revamped Camera RAW plugin. [Sean]
From the Adobe Photoshop Lightroom YouTube Channel:
An advanced, step-by-step guide to creating Creative Profiles in Adobe Camera Raw for use in Adobe Camera Raw (ACR) 10.3 and later, Lightroom Classic 7.3 and later, and Lightroom CC 1.3 and later. Please keep in mind that profiles are very different from presets, and as such, there's lots of stuff that can go wrong while making them. Experiment, have fun, and go slowly.
For more details and specifics, download the SDK with sample files from this link.
Issues fixed in Lightroom Classic CC 7.3.1 (April 2018 release)
Some presets are not converting to new format. For more information about the solution, see this tech note
With B&W legacy presets, the profile resets to Adobe Standard
Develop presets not sorting correctly
Translation errors in other languages for some profiles
Black and White Mix settings - Unable to Copy/Sync
Lightroom backup catalog error issues. To resolve corruption issue in the backed up catalogs, update to Lightroom Classic CC v7.3.1 and then back up your catalogs again. If you're backing up your catalogs on macOS, see this known issue related to catalog compression below.
(Only on macOS) When backing up your catalogs on macOS, Lightroom Classic doesn't compress (zip) catalogs that have a file size less than 4 GB. As a workaround to this issue, manually compress the backed up catalog files. Compressed files take up less hard disk space. By default, Lightroom Classic saves backed up catalogs to the following location on macOS:
Meeting more of you is always high on my to-do list, I have wanted to offer photo workshops/tours/experiences for a long time (many of you have requested such) and my Shenandoah National Park commercial use permit just arrived.
While I enjoy others enjoying my images, my primary goal is always to help you get great images and I'd love for you to join me for nearly a week of wildlife and outdoor photography in this great location.
I have cleared space in the schedule and made it through the logistical issues involved in making this trip happen, including acquiring the necessary SNP permit and having an important-for-wildlife-photography park policy change implemented (this will be one of the first tours falling under the new rules).
Due to the latter issues, this is a relatively short-notice trip.
When and Where: Sun, June 3 - Sat, June 9, 2018 in Shenandoah National Park
The plan is to meet at the lodge on Sunday afternoon, just as the park's busyness of the weekend is winding down, and we will wrap up after a morning shoot on Saturday, as the park gets busy again.
Hopefully you, along with 2 or 3 (at most) others.
While large groups are far more profitable from a business perspective, photographing wildlife in the field is challenging in large groups and keeping the group small means better opportunities and more personal attention.
$2,250 due in full to lock in your spot.
Email me at Bryan@Carnathan.com to sign up or ask questions!
What are We Photographing?
Our primary photo subject will be wildlife.
Wildlife, by definition, is "wild" and that means it is unpredictable and there can be no guarantees.
That said, Shenandoah National Park is one of the best locations in the world to photograph whitetail deer and whitetail fawns are one of the cutest creatures on the face of this planet (it seems that everyone loves pictures of them).
The timing for this trip is such that most of the fawns will be recently-born and the foliage for the always-important image backgrounds should include beautiful bright green colors.
Even with the high whitetail density found in SNP, fawns remain quite challenging to photograph, but the rewards are worth the effort.
Deer are not the only wildlife subject found here and there is high likelihood that black bears will avail themselves as subjects along with a variety of birds and other smaller mammals.
We will be opportunistic and take advantage of any subjects that we encounter - and those moments are part of the excitement.
In addition to the immersive wildlife photography experience, there will certainly be opportunity for some landscape photography.
My time in the field is very limited and I need to have a high probability of good opportunities when I make such time investment. SNP rarely lets me down in that regard.
Basically, we will work hard to capture some great images, attempting to build out your portfolio and light up your social feeds as well as working on improving your photography skills.
And, we'll have fun along the way.
There is a Sense of Urgency for this Trip
CWD (Chronic Wasting Disease) has been detected within 11 miles of SNP (according to the SNP wildlife biologist I talked to in Mar 2018).
This awful disease is always fatal to deer and when it reaches within 5 miles of the park, implementation of an already-established plan will significantly reduce the deer population here.
That means this awesome experience is at high risk and that is one of the reasons I chose this photographic opportunity first.
While the implied definitions of these terms varies, I see "workshops" typically laid out with a planned schedule and "tours" typically designed to put you in front of subjects at the right time.
I'm calling this trip a "tour" because the primary goal is for you to get great images and we will be opportunistic in that regard, making a firm schedule difficult to implement.
That said, we will spend a lot of time together and I will teach, answer questions (bring many), critique images, assist in editing, etc. throughout our time together.
Thus, the educational element will certainly be there.
In the field, we will photograph side-by-side.
You taking great images home will be the primary goal, but you capturing those images yourself is important and I can best describe what you should do if I am doing it myself at the same time.
This also provides the participant opportunity to watch how it is done.
Your constant feedback and questions are important and will enable me to provide you with the best experience possible.
An "expedition" is another type of immersive photography experience and this event involves multiple daily mini-expeditions.
Certain is that we will have an adventure.
This will be a moderately strenuous trip, with much of the strain dependent on the size and weight of the gear you are carrying.
There will likely be some easy wildlife photography opportunities encountered, but we will be carrying our gear through the woods, tall grass and light brush over hilly terrain, often attempting to keep ahead of moving wildlife.
Thus, one needs to be in reasonable physical condition.
What is Included
Transportation during the experience (I am happy to provide free transportation to and/or from the park if you are directly on my route from the north - primarily RT 81) along with everything described in the Tour/Workshop/Adventure/Expedition section above is included.
By not including the items listed below in the fee, individuals are able choose their level of spending.
What is Not Included
Transportation to/from Big Meadows Lodge including the required National Park entrance fee.
Lodging. We will be staying at the Big Meadows Lodge. I usually get a very basic lodge room, but other options are available, ranging from camping to cabins.
Food. Because of the remoteness of this location, our food will primarily consist of what is offered at the Wayside Diner or the park lodges along with any food brought along into the park or purchased at the camp store.
Because it gets light very early at this time of the year (getting enough sleep will be one of our challenges), we will begin photographing before services are open. I usually pack breakfast to eat in my room prior to the morning shoots. I take a cooler with jugs of ice and ice is available at the lodge (you need bag/bucket to transport it from the ice machine).
Typically, we will eat second breakfast/early lunch (or perhaps both) at the Wayside Diner (usually open 8-8 at this time of the year) or optionally the lodge and we will likely eat at the lodge for early or late dinner (it closes at 9:00).
I suggest packing granola bars and/or bringing other snacks along while photographing (especially in case we find an amazing subject that we don't want to leave).
Plan to have water or other drink available to take with you.
At this time of the year, the days are long and the nights are correspondingly short.
Our best opportunities will be found early and late in the day and we will target these times.
Fatigue can kill mental and physical sharpness, so we will usually return to our rooms mid-day for some downtime and a nap.
We will go back out mid-late afternoon and stay out until the light level drops too low for good images.
These plans are all very flexible and we can target any specific interests the group has.
Travel insurance is strongly recommended.
As this tour is being scheduled close to the tour dates and because of the small group size, no refund can be offered for cancellation.
Aside from a great attitude and a strong interest in photographing wildlife, you are going to need some gear and mid-upper-grade gear should be considered for good results from this event.
For fawns, a camera with a reasonably fast frame rate (fawns are almost constantly moving) and high-performing AF system is preferred, but not required.
This generally means a DSLR camera or a late-model MILC (Mirrorless Interchangeable Lens Camera) should be in your bag.
A telephoto lens or lenses will be needed with a full-frame equivalent of at least 400mm (250mm on an APS-C) suggested and having longer focal lengths available is preferred.
Wildlife activity is greatest early and late, so wide apertures are often an advantage and the wide aperture's ability to blur the background can be useful.
Any telephoto lens can work, but there may be times when an f/4 or wider aperture is preferred.
This is a great event to break out your big lenses for and it is also a great time to try a new one, perhaps via renting.
I primarily use a monopod while photographing wildlife in this location.
It is not as stable as a tripod and requires more effort to use, but it is much faster to set up and adjust.
While neither are mandatory, one or both is preferred.
I always take both to this location.
We can potentially make use of a full range of landscape photography gear, including ultra-wide to wide angle lenses and circular polarizer and ND filters.
It is highly recommended to bring a laptop, enabling review of your images throughout the time we have together.
Bring an external hard drive for an additional level of backup.
Bring adequate memory card capacity, enough batteries to last at least a day with enough chargers to restore that capability overnight.
Consider what failure of any piece of gear means for your experience.
Consider bringing a backup for items identified as critical.
As always, feel free to ask us for gear advice.
Weather / Clothing
The weather in early June is typically very nice in Shenandoah National Park.
However, the mountain can create its own weather and that can be at least somewhat unpredictable.
Rain gear may be very appreciated at times, including rain covers for camera gear while in the field.
Plan for walking in brush (including mild briars) and woods.
The wildlife we are pursuing is acclimated to humans and they do not seem to care what we are wearing (though you might get their attention if you look like a black bear, a primary deer predator).
Camo clothing is not necessary, but it is a good option.
I wear mostly camo and part of the reason is to be less obvious to other park visitors.
Insects can be annoying and ticks are reportedly present (I have yet to find one on me at this location).
Permethrin and other insect repellent may be appreciated and I also wear a ball cap to help keep gnats out of my eyes (and avoid sunburn).
Especially mid-day, shorts may prove the most comfortable option at times.
Researchers from NVIDIA, led by Guilin Liu, introduced a state-of-the-art deep learning method that can edit images or reconstruct a corrupted image, one that has holes or is missing pixels.
The method can also be used to edit images by removing content and filling in the resulting holes.
The method, which performs a process called “image inpainting”, could be implemented in photo editing software to remove unwanted content, while filling it with a realistic computer-generated alternative.
“Our model can robustly handle holes of any shape, size location, or distance from the image borders. Previous deep learning approaches have focused on rectangular regions located around the center of the image, and often rely on expensive post-processing,” the NVIDIA researchers stated in their research paper. “Further, our model gracefully handles holes of increasing size.”
In a recent publication directed to its investors and based on a reevaluation of future cash flow, Nikon announced that it will suffer "extraordinary losses" from its investment in Nikon Metrology NV, its Belgium subsidiary that produces "...laser scanners; coordinate measuring machines; portable measuring solutions; and in-process measurement, video and microscope measuring, X-ray and computed tomography (CT) inspection, large scale measurement, microscope, and semiconductor systems." (Bloomerg)
The reevaluation revealed that the fair market value of the investment in Nikon Metrology NV decreased by almost $95.6 million (10,343 million yen).
I had been watching this pair of red fox kits (what baby fox are called and not to be confused with the kit fox species) at a relatively close distance, within photo range, for perhaps an hour with essentially no good images captured.
They were running, resting, wrestling, eating (the mom or dad would occasionally bring them captured food), nursing and simply being extremely cute.
While I was thoroughly enjoying watching the adorable babies, I of course wanted photos to take home.
The problem was the thick brush including vines, trees, limbs, grasses, etc. constantly obscuring the view and creating hard shadows that were nearly as problematic as the obstructions.
There were very limited unobscured areas to shoot into at this location and the kits seemed to seldom go into these.
At one point, the kits started running together in a big circle.
I saw that the arc, if followed, was going to lead them through one of the small openings.
I told the small group I was with to get ready, followed my own advice and when they hit the opening, I hit the shutter release.
The result of anticipating the shot was one of the few images worth processing I captured on the trip and anticipation is often the key to successful wildlife photography.
Wildlife is frequently moving and determining where that movement will correspond with a good composition is often what is required for good results.
A larger version of this image is available on Flickr.
SmugMug and Flickr Unite to Form the World’s Most Influential Photography Community
MOUNTAIN VIEW, CA – (April 20, 2018) – SmugMug, the largest, most comprehensive, independent photo management platform in the world, today announced it has agreed to purchase Flickr, the online photo management and sharing application. Together, SmugMug and Flickr represent the world’s most influential community of photographers, marrying SmugMug’s deep industry expertise and strong digital tools with Flickr’s global tribe of tens of millions of photographers. Following the close of the transaction, the brands will continue to operate as separate entities with the shared goal of providing photographers with both a place to fit in and a place to stand out. SmugMug and Flickr believe that all photographers—from the hobbyist to the prosumer to the professional—belong together.
“Since day one our passion has been empowering photographers to tell the stories they want to tell, the way they want to tell them, and our investment in Flickr reaffirms this commitment,” said Don MacAskill, CEO of SmugMug. “Uniting the SmugMug and Flickr brands will make the whole photography community stronger and better connected. The enduring quality of photography is so much more than clicks and likes—photography has the power to change the world. Together, we can preserve photography as the global language of storytelling.”
Established in 2002 as one of the first photo storage and sharing services, SmugMug is home to millions of passionate photographers and billions of secure photographs. The SmugMug platform provides photographers with website designs that offer a safe, easy and convenient way to share, showcase and sell their stories. SmugMug gives photographers complete control over who accesses their photos, and provides robust e-commerce features that make it easy to turn passion into profit.
At its heart, SmugMug encourages and empowers its community of photographers to learn, share, and inspire one another. SmugMug provides 24/7 support, from real people, along with tips, tutorials, and training events, and also hosts webinars and forums with leading photographers.
Founded in 2004, Flickr is an active, global community of photographers that encourages users to find their inspiration. Home to tens of billions of photos and two million groups, photography lovers come to Flickr to share their passion, discover spectacular images, hone their craft, and engage with friends old and new.
“We share SmugMug’s mission to cater to people—professionals, amateurs, and everybody in between— who invest time, energy and love into their photos,” said Andrew Stadlen of Flickr. “We look forward to becoming part of the SmugMug family and continue to grow, innovate and delight our global community of photographers.”
Tomorrow, April 21, you will be able to access any National Park without having to pay an entrance fee. So if you don't have any plans, why not pack up the family along with some camera gear and visit your nearest (or favorite) US National Park?
Anhui China, Apr 20, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to announce 4 new and unique lenses.
Laowa 10-18mm f/4.5-5.6 FE Zoom
Laowa 100mm f/2.8 2X Ultra Macro APO
Laowa 17mm f/4 GFX Zero-D
Laowa 4mm f/2.8 Fisheye MFT
Laowa 10-18mm f/4.5-5.6 FE Zoom
This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 10 inch (<10cm) and only 1.1 pounds (<500g). The 102° (18mm) to 130° (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. Click/clickless aperture can be toggled by the switch on the lens barrel.
Laowa 100mm f/2.8 2X Ultra Macro APO
Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found.
The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Canon EF / Nikon AI / Pentax K / Sony FE mounts are available.
Laowa 17mm f/4 GFX Zero-D
This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113°).
Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.
Laowa 4mm f/2.8 Fisheye MFT
Featuring a 210° angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360° panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).
All four lenses will be available for trial at Venus Optics’ booth (T225) in Beijing P&E Imaging fair during 3rd-6th May 2019. They are expected to be shipped in mid/late 2018. Exact shipping date and pricing are to be confirmed.
Discover new premium outdoor backpacks from Gitzo, dedicated to outdoor activities. Adventury Backpacks are specially designed for bird, wildlife, nature, and landscape photographers.
Holds pro-sized gear like 1D X with up to 400mm or 600mm f/4 tele attached
Gitzo G-Cushion removable insert for superior protection
Expandable roll top for personal items
Water repellent materials for extreme situations
The new GITZO Adventury Backpacks are available in two versions: the 45L and 30L. These two new premium carrying solutions are designed to provide long-lasting comfort and safeguard all the equipment. They are both made of premium weather-resistant materials and are designed to carry cameras with long lenses.
Update Provides New Resource Hub, Expanded Camera Support and Improved Workflow
COPENHAGEN, Apr. 19, 2018 – Phase One, the world’s leading manufacturer of high-end digital camera systems, today released Capture One 11.1, a feature release to the industry’s premier RAW conversion and image editing software. The release enhances the Capture One user experience, through a new support platform and functionality updates to ensure a faster, smoother workflow. Improved Styles and presets workflow, support for 11 new cameras, including Sony A7 Mk III and Fuji X-H1 and 10 new lenses, including Tamron lenses for both Nikon and Canon, and an all-new Resource Hub are among the latest updates.
“Capture One remains dedicated to the needs of ambitious photographers. These latest updates introduce an extension to camera and lens support, as well as an all-new Resource Hub. The Resource Hub is an in-app portal that allows users to easily access news, tutorials, updates and much more – all designed to inspire photographers and ensure the best workflow and user experience in Capture One,” said Jan Hyldebrandt-Larsen, VP Software Business at Phase One.
NEW FEATURES AND TOOLS IN CAPTURE ONE 11.1
Improved Styles And Presets
A new workflow adds a much faster way to apply both Styles and Presets to a Layer on one or multiple images, offering a direct control of opacity, imperative to wedding and portrait photographers.
Furthermore, a new Spring Styles Pack is included, offering bright pastel color grading to images, particularly helpful to wedding, portrait and landscape photography.
The Resource Hub has been introduced to offer quick access to free learning resources via a dynamic on-screen portal. Tutorials, news, webinars, blog posts and much more are offered in one convenient location to improve the user experience and learning curve with Capture One.
The normalization tool provides a reference point for exposure and white balance for batch adjustments, now allowing any color to be used when previously the only option was a neutral grey.
New Camera And Lens Support
The Capture One R&D team, alongside our color scientists, analyze hundreds of images from each camera to provide photographers access to the best out of box experience with natural profiles. Below outlines the new camera and lens additions that Capture One 11.1 supports. A full list of supported cameras can be found here: http://www.phaseone.com/supported-cameras
New camera support includes:
Leica V-Lux Typ 114
Olympus OM-D E-M10 Mk III
Sony A7 Mk III
New lens support includes:
Canon EF 24-105mm f/4L IS II USM
Leica Elmarit M 2.8/90
Leica Summicron M 2/90
Sony E 18-135mm f/3.5-5.6 OSS (SEL18135)
Sony FE 24-105mm F4 G OSS (SEL24105G)
Tamron SP 70-200mm F/2.8 Di VC USD G2 A025
Tamron SP 35mm F/1.8 Di VC USD F012
Tamron 28-300mm F/3.5-6.3 Di VC PZD A010
Tamron SP 90mm F/2.8 Di MACRO 1:1 VC USD F017
Tamron 16-300mm F/3.5-6.3 Di II VC PZD MACRO B016
CAPTURE PILOT 2.0
Capture Pilot 2.0 adds camera control support for Sony, allowing users to change camera settings of the tethered camera directly from your iOS device.
AVAILABILITY AND PRICING
Capture One 11.1 is available now for the Mac and Windows operating systems online at authorized partners worldwide.
In this video, photographyer Miguel Quiles demonstrates techniques that can help you create soft light in a small studio environment. How does he do it? Pretty simple – he bounces his soft box off of a large V-flat resulting in very soft light on his subject. Keep in mind that the dynamics of a small space work well for creating soft light because there are so many nearby surfaces for light to bounce off of, assuming that the walls are light colored (and hopefully neutral colored so as not to impart a color cast).
However, if your goal is to create a portrait with lots of contrast, shooting in a small studio space can be very problematic. Because of the nearby surfaces, limiting the amount of spill light that lands on your subject can be difficult. In those cases, gridded modifiers, black flags and black-out fabric may be needed to achieve the desired high contrast resuls. [Sean]
Our first copy of the Sigma 14-24 Art Lens suffered from an improperly-aligned element or group of elements and warranted a replacement.
Image quality test results from the replacement lens have been added to the Sigma 14-24mm f/2.8 DG HSM Art Lens page.
I opted to remove the first set of results as they were not indicative of what should be expected from this lens.
The wide end results are remarkable.
There are, as usual, many comparisons that can be made.
I'll get you started:
April 19, 2018 – The Sigma Corporation is pleased to announce it has won two TIPA World Awards 2018 for its wide-aperture ultra-wide-angle 14-24mm F2.8 DG HSM Art zoom lens and its large-diameter 24-70mm F2.8 DG OS HSM Art zoom lens suitable for any shoot.
TIPA's Best DSLR Wide Angle Zoom Lens Award for Sigma 14-24mm F2.8 DG HSM Art:
A Perfect Match for Today’s High-Resolution Cameras
Mountable on Canon, Nikon and Sigma cameras, and compatible with the Sigma MC-11 Sony E-mount converter, the Sigma 14-24mm F2.8 DG HSM Art lens delivers a high level of sharpness with near zero distortion, along with high-speed and high-accuracy AF that matches up perfectly with today’s high-resolution cameras. The lens contains three FLD (“F” Low Dispersion) glass elements, three SLD (Super Low Dispersion) glass elements, and three aspherical lens elements, including an 80mm high precision molded glass aspherical element. It has special sealing at numerous points for dust- and splash-proof protection. Thoroughly modern, the Nikon mount features a brand new electromagnetic diaphragm; the Canon mount is compatible with the Canon Lens Aberration Correction function.
TIPA's Best DSLR Standard Zoom Lens Award for Sigma 24-70mm F2.8 DG OS HSM Art:
A Premium “All-Round” Zoom
For many photographers, the 24-70mm focal length range is considered the standard as an everyday lens for a wide variety of subjects and scenarios, including street and photojournalism work, candids, travel and even nature and landscape photography. The Sigma 24-70mm F2.8 DG OS HSM Art offers many advantages, including a constant aperture throughout its range, an optical stabilization system, and outstanding bokeh effects due to its 9-blade, rounded-diaphragm, 37cm (15'') close-focusing capability. The lens is dust- and splash-proof and incorporates a newly designed hypersonic motor (HSM) for fast and smooth AF operation. The lens also incorporates the latest electromagnetic aperture control for specific Nikon cameras; the Canon mount is compatible with the Canon Lens Aberration Correction function.
Costa Mesa, CA — BenQ is offering one lucky winner the chance to explore and capture some of America’s most spectacular sites—a prize worth $5,000. The Capture the Photogenic Landscapes of competition will run until November 30, 2018.
One winner will be awarded one of three trip options. They include a trip to the historic creole capital, New Orleans; to a tropical paradise with a storied past, Old Havana; or to the home of the Granite Giants, Yosemite.
“They could be roaming through swamplands and beautiful French architecture, discovering seascapes and urban wonderlands, or exploring over 800 miles of unprecedented trails, meadows and waterfalls,” the company announced.
The contest adventures are designed to guide users through the most photogenic locations as well as to teach them to visualize scenes before capturing decisive moments. The photo adventures were created with Photo Workshop Adventures. Details on each of the trip options follow.
New Orleans Landscapes
Scheduled March 17–22, 2019, this trip will focus on travel, landscape cityscape, architecture and also people photography. It will provide a professional photographer guide as well as photo walks and discussions. The six-day trip will include accommodations in a four or five star hotel, breakfasts and two dinners.
Held March 2–6, 2019, this photo journey will center on travel, landscape, seascape, architecture, urban and people photography. In addition, the winner will meet with Cuban photographers, students, musicians, artists and also entrepreneurs. A professional photographer guide as well as a Cuban guide and driver will be provided.
It will also encompass photo walks and discussions. Moreover, included in the trip will be: a room in a five star hotel; breakfasts; two lunches/two dinners; local transportation; people-to-people activities; a Visa (U.S. citizens); as well as OFAC travel documents.
Taking place April 21–26, 2019, this trip to Yosemite National Park will offer tutorials on travel, landscape, nature and wildlife photography. Moreover, there will be a focus on long-exposure photography by a professional photographer guide. The itinerary includes photo walks, hikes and also discussions.
Accommodations will be at a four or five star hotel (except in remote locations) and include breakfasts and two dinners. In addition, local transportation and National Park permits will be provided.
Curates Collections Captured by FAA Licensed Pilots/Filmmaker
New York, NY — DJI, a leading manufacturer of civilian drones as well as aerial imaging technology, and Pond5 are collaborating to develop a premium collection of licensable aerial footage. Pond5 is a global content marketplace.
By applying to join this program, pilots operating with a Part 107 Remote Pilot Certificate issued by the Federal Aviation Administration (FAA) will be eligible to have their footage included in a series of collections shot exclusively with DJI drones. The FAA certification is required for commercial use.
Pond5 will showcase these collections to its millions of users. When doing so, it will also denote video clips shot by licensed pilots in searches for customers who need to ensure their video assets comply with Part 107.
Moreover, pilots will be able to leverage Pond5’s industry knowledge to identify their most in-demand shots. They can also obtain assistance in preparing footage for licensing in the Pond5 marketplace.
DJI will work closely with the team of video experts and curators at Pond5. Together they will ensure that the most compelling and award-worthy aerial footage shot with DJI products is made accessible to customers searching for studio-quality shots to use in their productions.
“Drones have become powerful tools for storytellers, providing a cost-effective alternative for gathering aerial footage. They’re able to capture rapidly unfolding events and reach locations that would be otherwise inaccessible, costly or dangerous,” said Jason Teichman, CEO of Pond5. “As the world leader in their space, DJI is the ideal partner to bring the best in contemporary aerial footage to our marketplace.”
Select participants will also have access to Pond5’s premium clipping and tagging services. This will allow them to save time by just submitting raw footage. They will not have to do the work of editing, formatting, titling and keywording the footage themselves. Footage receiving these services will then be made available exclusively through Pond5 for a limited time.
“Drone imagery creates exciting new possibilities for video creators and producers around the world. And DJI’s collaboration with Pond5’s industry-leading content marketplace helps establish a new standard for professional video that is safe, legal, and also cleared for use,” said Michael Perry, managing director of DJI, North America. “We’re excited to elevate the presence of DJI-captured imagery in Pond5’s marketplace. And we can’t wait to see the projects that will incorporate this footage.”
Pilots with a Part 107 certificate who use DJI drones can apply to this program at pond5.com/dji. Select DJI aerial footage will be showcased on the Pond5 content marketplace in the coming months.
What is the cutest animal on the face of this planet?
Whitetail deer fawns are at the top of my list.
These adorable fawns decided they were going where I was and I was thankful that I could zoom out wide enough to keep them in the frame while they were going.
In the field, scenarios can change fast and keeping photography strategies simple can mean the difference between getting a good photo and getting nothing.
That said, selecting an exposure must always be part of the strategy.
Most North American deer are brown and brown is a friendly color for a camera's auto exposure algorithm (unlike the color of most black bears).
Green is another friendly AE color and that is the most-common background color at Shenandoah National Park in late spring.
Thus, I commonly use AE when pursuing this subject with little need to monitor changing light levels.
Though using AE, I am still using the camera's Manual mode with Auto ISO providing the brightness adjustment.
The fawns are often in fast motion, so I want control of the shutter speed being selected with a fast speed being normal.
When the subject pauses, I roll the top dial to select a longer exposure, resulting in a lower (less-noisy) ISO setting being automatically selected.
The aperture setting works similarly.
If I have a single subject, I can roll the aperture value to a wider setting, again with the ISO setting being reduced and a stronger background blur created.
If multiple subjects become part of the composition or I decide that the background should be more recognizable, I simply dial in a narrower aperture.
There are obviously many more factors that go into a wildlife image capture but having a solid exposure strategy that works in many scenarios helps keep the strategy simple.
Currently, turning my mode dial to Custom Mode 3 instantly provides this setup.
A larger version of this image is available on Flickr.
No macro lens? No problem! Although it may seem like the world of macro photography is out of reach and a world apart from our own, shooting macro is more accessible than you might think. From rigging your current gear, to creating DIY setups that tackle challenges like lighting, I’m here to be your guide for all things macro! My name is Matthew Cicanese (sick-uh-knees). I’m a National Geographic Explorer, documentary artist, and Canon USA Photographer who leads EOS Destination Workshops specializing in macro photography. I shoot macro subjects all over the world, from my own backyard to the rainforests of Sri Lanka! I’ve been a macro photographer for over ten years now, and have evolved along the way to overcome different challenges in macro and produce award-winning photographs. My goal with this article is to teach you how to accomplish more using less – less money, less frustration, and a drop of ingenuity.
MindShift Gear has just released an 18-liter version of its popular BackLight series, the BackLight 18L rear-panel backpack. This smaller version offers a lightweight daypack that enables photographers to access gear without taking off the backpack. They can change lenses or just snap a quick photo simply by rotating the bag to the front while the waist belt is still secured. Rear-panel access also adds security when traveling since camera gear is protected from behind.
This back-panel access allows photographers to work out of the bag without getting the harness dirty, wet, muddy, or icy. It features dedicated compartments that fit up to a 13” laptop and a full-size tablet. As a daypack, its front pockets total 5 liters in personal gear carry for a day’s outing, such as extra layers, a light jacket, food, and more. It is available in two colors, Charcoal and Woodland Green, and meets most international and U.S. airline carry-on requirements.
This new backpack holds a variety of camera kits:
Two gripped DSLRs with lenses attached and one to three standard zoom lenses
Two gripped Mirrorless bodies with lenses attached and three to five lenses
Fits up to a 13” laptop and a 10” tablet
Fits personal gear in the 5L front compartments
Maximum lens size: 300mm f/2.8 or 150–600mm f/5–6.3 attached to a body
ADDITIONAL FEATURES AND BENEFITS
Daisy chain, ice axe loops and additional lash points for expanding carry capacity
Includes tripod/monopod mounting system on front or side
Comfortable padded waist belt for all day comfort on the trail with webbing rail for additional MindShift accessories
Flap-keeper neck strap allows unencumbered access to gear
Two large water bottle pockets with cinch cord fit a 32oz Nalgene
Side compression straps with locking SR buckles for additional lash points
Air channel and lumbar support on rear-panel for all-day comfort
Ergonomic zipper pulls are easily gripped with gloves or frozen fingers
Highest quality YKK zippers, 420D Velocity and 420D high-density nylon for long lasting durability and strength
Front stuff pockets for trail essentials, e.g., headlamp, gloves, chargers
Adjustable dividers for large telephoto lenses, traditional photo gear, or personal items
Top zippered pocket for quick access essentials
Interior mesh pockets for storing filters, batteries, cables, etc.
Seam-sealed rain cover included, folds flat for use as a ground cover
Compatible with MindShift’s Tripod Suspension Kit, Filter Nest, Filter Hive and Switch Case
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. Features the highest-quality abrasion-resistant YKK RC-Fuse zippers, 420D velocity nylon, 420D high-density nylon, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread
Exterior Dimensions: 10.6” W x 18.5” H x 7.1” D (27 x 47 x 18 cm)
Interior Camera Compartment: 9.4” W x 16.7” H x 5.5” D (24 x 42.5 x 14 cm)
Laptop Pocket: 8.9” W x 13.8” H x 0.8”D (22.5 x 35 x 2.1 cm)
Tablet Pocket: 8.7” W x 10.2” H x 0.6” D (22 x 26 x 1.5 cm)
Total Volume: 18L
Weight: 3.5 lbs. (1.6 kg)
Lifestyle Family Photography has gained a lot of popularity, but many don't understand the amount of posing that goes into the look.
When you step into a lifestyle family session you need go-to poses and the ability to guide your families into genuine emotion and interactions, all while keeping the session under control. Self taught and 6 figure photographer, Elena S Blair, shares her top tips for emotive family posing as well as give you step by step instruction for some of her favorite family poses.
This update features over 300 improvements and updates that make the app faster, more responsive and useful than ever.
The most essential features of the update are:
Speed (Performance & adjustments): We’ve dramatically increased the speed of editing across all areas of Luminar 2018.
Automatic Lens Correction: Our RAW Develop filter analyzes your image and the metadata to calculate a one click Automatic Lens Distortion fix.
Enhanced image quality on image view: Most of the demosaic and green equilibration issues have been fixed.
DCP Profiles Support (for the Mac version only. Coming to Windows soon): Luminar 2018 recognizes the industry standard DCP files that you may already have on your computer (or have bought from third parties).
Import speed (for the Mac version only. Coming to Windows soon): re-engineered RAW import, optimized for speed.
Windows version catches up with Mac: Added Batch processing feature, Free Transform image feature, Flip/Rotate image feature to the Windows version.
Here is a full list of the new features and improvements:
Added ability to change localisation language in the application main menu
Fixes with color profiles on export/in plugin mode
Preview mode feature added (F hotkey)
Enhanced image quality on image view - fixed most of demosaic and green equilibration
LUMINAR 2018 JUPITER OFFER INFORMATION:
Current users of Luminar may upgrade for $49 ($39 with "THEDIGITALPICTURE" coupon code)
New users can purchase Luminar 2018 for $69 ($59 with "THEDIGITALPICTURE" coupon code)
Bonuses included in the offer:
The Complete Landscape Photography Guide ebook from Photzy (worth $50) - An outstanding guide written by professional photographer and writer Kent DuFault. This ebook has something for everyone, with 237 pages packed full of information and assignments that will transform your landscape photography.
Aerial Photography & Video with Matt Granger (worth $79) - World-renowned photographer, Matt Granger will share planning, shooting and editing aerial stills and video. Matt will also demonstrate editing with Luminar 2018 on his still aerial images..
Photography Tutorial by Daniel Kordan (worth $29) - Extensive tutorial with a full workflow demonstration by expert landscape photographer Daniel Kordan. This tutorial includes shooting and post-processing images in Luminar 2018.
119 Dramatic & Romantic Sky overlays (worth $29) - This is an amazing addition to your photo editing workflow, and will help give boring skies that ‘wow!’ factor.
Splitsville Presets By Brian Matiash (worth $15) - Add a professional polish to your images with these cool presets.
Low Key lighting is more then simply photographing against a black background. Join us in this episode as photographer Gavin Hoey explains the technique of a correctly exposed image that mostly leans towards the dark side.
If you shoot in a small home or portable studio, low key lighting is one of the best lighting styles to learn and this video will give you some amazing ideas to start you off.
SANTA ROSA, CALIF – There is no such thing as bad weather, only bad gear. MindShift Gear’s new Exposure shoulder bags are storm-resistant carrying solutions for the active photographer in virtually any outdoor environment. Built with high performance waterproof sailcloth panels, strategically placed storm flaps, water-repellent DWR fabric, and a sturdy Tarpaulin bottom; the Exposure protects camera gear from the elements and withstands the rigors of adventure photography. And, with its cross-body stabilizer strap, the Exposure moves with you while you’re active or is removable for more causal environments. A waterproof rain cover is included when it’s time to put the camera away and hunker down. Exposure shoulder bags come in two models, the Exposure 13 and the Exposure 15, and in two colors, Black and Solar Flare. The Exposure 13 fits a 13” laptop; the Exposure 15 fits 15” laptops. A 10” tablet fits in zippered pocket.
“We believe it is time for outdoor photographers to have the optimal level of weather protection and durability in a shoulder bag,” said Doug Murdoch, MindShift Gear’s CEO and lead designer. “The X-Pac technology we employed is a four-layer laminated waterproof sailcloth material. It is abrasion resistant and the C6DWR coating meets current environmental concerns and regulations. Many of the large outdoor companies are using this level of DWR coating now.”
ADDITIONAL FEATURES AND BENEFITS
YKK AquaGuard weather-resistant zippered front pocket sized for today’s large phones
Weather Wings on flap for additional weather protection
Anodized aluminum hardware is lightweight and resists corrosion
Tripod attachment straps included
Comfortably padded neoprene shoulder strap with easy adjustment
Luggage handle pass-through
Customizable divider layout for stacking short lenses
Internal pockets hold batteries, card wallets, and other accessories
Ultra-Stretch mesh water-bottle pocket fits most 1 liter water bottles and secures with an elastic cord-lock
Deluxe organizer located in wide zippered pocket
Gusseted pockets allow for large objects
Compatible with the MindShift Filter Nest, Filter Hive, and Switch Case (sold separately)
Compatible with the Peak Design Capture Clip and the SpiderLight Camera Holster
Seam-sealed rain cover included
Exterior: For superior water-resistance, all exterior fabric has a durable water-repellant (DWR) coating, plus the underside of the fabric has a polyurethane coating. It also has YKK AquaGuard (weather resistant) zippers, high-performance Sailcloth, 420D velocity nylon, 600D polyester, heavy-duty nylon tarpaulin, UltraMesh pockets, anodized aluminum hardware, nylon webbing, 3-ply bonded nylon thread.
Interior: PE board reinforced removable closed-cell foam dividers, 200D liner, PU backed nylex liner, 2x PU coated nylon 190T seam-sealed taffeta rain cover, 3-ply bonded nylon thread.
Exterior Dimensions: 16.1” W x 10.6” H x 6.5” D (41 x 27 x 16.5 cm)
Interior Camera Compartment: 13.8” W x 9.1” H x 4.9” D (35 x 23 x 12.5 cm)
Laptop Pocket: 13.3” W x 9.6” H x 1” D (34 x 24.5 x 2.5 cm)
Tablet Pocket: 11.8” W x 4.7” H x 0.8” D (30 x 12 x 2 cm)
Phone Pocket: 4.7” W x 6.7” H (12 x 17 cm)
Weight: 2.6 lbs. (1.2 kg) - With all accessories included
Exterior Dimensions: 17.3” W x 12.2” H x 7.1” D (44 x 31 x 18 cm)
Interior Camera Compartment: 15.7” W x 10.4” H x 5.1” D (40 x 26.5 x 13 cm)
Laptop Pocket: 15.4” W x 11” H x 1.2” D (39 x 28 x 3 cm)
Tablet Pocket: 13.4” W x 9.4” H x 0.8” D (34 x 24 x 2 cm)
Phone Pocket: 5.5” W x 6.7” H (14 x 17 cm)
Weight: 3.0 lbs. (1.4 kg) - With all accessories included
New upgrade fully integrates visual effects and motion graphics, adds even more audio tools?plus hundreds of new features and improvements that editors and colorists have asked for!
NAB 2018, Las Vegas, USA - April 9, 2018 - Blackmagic Design today announced DaVinci Resolve 15, a massive update that fully integrates visual effects and motion graphics, making it the world’s first solution to combine professional offline and online editing, color correction, audio post production, multi user collaboration and now visual effects together in one software tool. DaVinci Resolve 15 adds an entirely new Fusion page with over 250 tools for compositing, paint, particles, animated titles and more. In addition, DaVinci Resolve 15 includes a major update to Fairlight audio, along with over 100 new features and improvements that professional editors and colorists have asked for.
A public beta of DaVinci Resolve 15 will be available today and for immediate download from the Blackmagic Design website. DaVinci Resolve 15 will also be demonstrated on the Blackmagic Design NAB 2018 booth at #SL216.
DaVinci Resolve 15 continues to revolutionize post production by combining 4 extremely high end applications as different pages in one single piece of software. The edit page has all of the tools professional editors need for both offline and online editing, the color page features the world’s most advanced color correction tools, the Fairlight audio page is designed specifically for audio post production, and the new Fusion page gives visual effects and motion graphics artists everything they need to create feature film quality effects and animations. All it takes is a single click to instantly move between editing, color, effects and audio.
This gives individual users unlimited creative flexibility because they can learn and explore different toolsets. It also enables collaboration so people with different talents can work together on the same project at the same time. The DaVinci Resolve 15 collaborative workflow dramatically speeds up post production because customers no longer need to import, export or translate projects between different software applications, and work no longer needs to be conformed when changes are made. Everything is in the same software application.
The free version of DaVinci Resolve 15 can be used for professional work and has more features than virtually every other paid application for post production. DaVinci Resolve 15 Studio, which adds multi user collaboration, 3D, VR, dozens of additional filters and effects, unlimited network rendering and other advanced features such as temporal and spatial noise reduction, is available to own for only US$299. There are no annual subscription fees or ongoing licensing costs. DaVinci Resolve 15 Studio costs less than all other cloud based software subscriptions and it does not require an internet connection once the software has been activated. That means customers don’t have to worry about losing work in the middle of a job if there is no internet connection.
“DaVinci Resolve 15 is a huge and exciting leap forward for post production because it’s the world’s first solution to combine editing, color, audio and now visual effects into a single software application,” said Grant Petty, CEO, Blackmagic Design. “We’ve listened to the incredible feedback we get from customers and have worked really hard to innovate as quickly possible. DaVinci Resolve 15 gives customers unlimited creative power to do things they’ve never been able to do before. It’s finally possible to bring teams of editors, colorists, sound engineers and VFX artists together so they can collaborate on the same project at the same time, all in the same software application!”
DaVinci Resolve 15 Detailed Overview
DaVinci Resolve 15 features an entirely new Fusion page for feature film quality visual effects and motion graphics animation. Fusion was previously only available as a stand alone application and is the world’s most advanced visual effects and motion graphics software. It is now built into DaVinci Resolve 15. The new Fusion page gives customers a true 3D workspace with over 250 tools for compositing, vector paint, particles, keying, rotoscoping, text animation, tracking, stabilization and more. Adding Fusion to DaVinci Resolve has been a massive project that will be completed over the next 12-18 months. Customers can get started using Fusion today to complete nearly all of their visual effects and motion graphics work. The standalone version of Fusion will continue to be available for customers who need it.
In addition to bringing Fusion into DaVinci Resolve 15, Blackmagic Design has also added support for Apple Metal, multiple GPUs and CUDA acceleration, making Fusion in DaVinci Resolve faster than ever. To add visual effects or motion graphics, customers simply select a clip in the timeline on the Edit page and then click on the Fusion page where they can use Fusion’s dedicated node based interface, which is optimized for visual effects and motion graphics. Compositions created in the standalone version of Fusion can also be copied and pasted into DaVinci Resolve 15 projects.
DaVinci Resolve 15 also features a huge update to the Fairlight audio page. The Fairlight page now has a complete ADR toolset, static and variable audio retiming with pitch correction, audio normalization, 3D panners, audio and video scrollers, a fixed playhead with scrolling timeline, shared sound libraries, support for legacy Fairlight projects, and built in cross platform plugins such as reverb, hum removal, vocal channel and de-esser. With DaVinci Resolve 15, customers no longer have to worry about audio plugins when moving between Mac, Windows and Linux because the FairlightFX plugins run natively on all three platforms.
DaVinci Resolve is the fastest growing nonlinear video editor in the industry. It’s also Hollywood’s favorite color corrector. Blackmagic Design has listened carefully to feedback from professional colorists and editors. DaVinci Resolve 15 includes over a hundred new features and improvements that editors and colorists have asked for.
Colorists get an entirely new LUT browser for quickly previewing and applying LUTs, along with new shared nodes that are linked so when one is changed they all change, multiple playheads for quickly referencing different shots in a program, over 5x performance improvement for stabilization, improved noise reduction, and new Super Scale HD to 8K up-rezzing. DaVinci Resolve 15 also expands HDR support with GPU accelerated Dolby Vision metadata analysis and native HDR 10+ grading controls. In addition, new ResolveFX let customers quickly patch blemishes or remove unwanted elements in a shot using smart fill technology. There are also new ResolveFX for dust and scratch removal, lens and aperture diffraction effects, and more.
Professional editors will find new features in DaVinci Resolve 15 specifically designed to make cutting, trimming, organizing and working with large projects even better. DaVinci Resolve 15 has dramatically improved load times so that large projects with hundreds of timelines and thousands of clips now open instantly. New stacked timelines and timeline tabs let editors see multiple timelines at once so they can quickly cut, paste, copy and compare scenes between timelines. There are also new markers with on-screen annotations, subtitle and closed captioning tools, auto save with versioning, greatly improved keyboard customization tools, new 2D and 3D Fusion title templates, image stabilization on the Edit page, a floating timecode window, improved organization and metadata tools, Netflix render presets with IMF support and much more.
For the ultimate high speed workflow, customers can add a DaVinci Resolve Micro Panel, DaVinci Resolve Mini Panel or a DaVinci Resolve Advanced Panel. All controls are logically placed near natural hand positions and are made out of the highest quality materials. Smooth, high resolution weighted trackballs and precision engineered knobs and dials feature the perfect amount of resistance for accurately adjusting any setting. The DaVinci Resolve control panels give colorists and editors fluid, hands on control over multiple parameters at the same time, allowing them to create looks that are simply impossible with a standard mouse.
In addition, Blackmagic Design also introduced new Fairlight audio consoles for audio post production that will be available later this year. The new Fairlight consoles are available in 2, 3 and 5 bay configurations. Prices for the new Fairlight control panels are approximately 80% less than the previously available panels with prices ranging from US$21,995 to US$48,995.
Availability and Price
The public beta of DaVinci Resolve 15 is available today as a free download from the Blackmagic Design website for all current DaVinci Resolve and DaVinci Resolve Studio customers. DaVinci Resolve Studio is available for US$299 from Blackmagic Design resellers worldwide.
The Fairlight consoles will be available later this year and will be priced from US$21,995 for the Fairlight 2 Bay console. The Fairlight consoles will be available from Blackmagic Design Resellers worldwide.
Wireless controller offers professional focus/iris/zoom and gimbal controls, is attractively priced, and functions outside Freefly gimbals
Dallas, TX and Hollywood, CA - Redrock Micro today announced the MoVI Commander - a new multi-function mobile controller for Freefly MoVI Pro/XL that delivers remote focus/iris/zoom and gimbal control, operates when not connected to the MoVI gimbal, and is attractively priced. The MoVI Commander is on display beginning today in the Redrock Micro booth at the National Association of Broadcasters (NAB) conference in Las Vegas.
Professional and Precise wireless Focus/Iris/Zoom Control
At the heart of the MoVI Commander are industry-standard ergonomics for focus, iris, and zoom. The focus wheel offers refined features including the illuminated marking point, interchangeable focus disks, and adjustable hard stops. Each controller feels comfortable and intuitive, and can be adjusted for personal taste.
Command your Gimbal and Camera
The MoVI Commander is more than a multi-channel lens controller: The dual-axis joystick gives you remote control of gimbal pointing, and the smartly placed record button enables run/stop for any camera plugged in to the MoVI's camera control port.
Seamlessly integrates and extends your MoVI Pro/XL
The Freefly MIMIC plugs into the MoVI Commander as the link to your MoVI Pro/XL, so all the MoVI settings and adjustments you rely on are available at your fingertips. The Commander also addresses some of the MoVI shortcomings, including extending the MIMIC battery life, and lens control without being connected to the MoVI.
Use Outside the Freefly Ecosystem
An extraordinarily valuable feature of the MoVI Commander is the interchangeable Command Module. Unplug the Freefly MIMIC and plug in another module for standalone FIZ, VR, or other planned platforms.
It's challenging to build a great performing mobile unit with all these features: MoVI Commander nails it, and takes it further being the first truly affordable mobile controller for everyone. Special pre-order price is $995.00. A special pre-order bundle including 3 SLS motors for MoVI Pro/XL is $3890.00.
1,400MB/Second Data Transfer Speed Reaches New Milestone
LAS VEGAS—NAB—ProGrade Digital, founded with a mission to provide the highest quality professional grade digital memory cards and workflow solutions, has become the first company to publicly demonstrate the CFexpress 1.0 technology with 1TB of capacity. Debut of this important next generation digital memory card form factor, presented by CEO Wes Brewer and VP of Marketing Mark Lewis at NAB in Las Vegas, provides solid proof that the industry is moving toward productization of this new standard.
“The CFexpress standard has been evolving for several years within the CompactFlash Association as a successor to both CFast and XQD formats. We are pleased to be working within the CFA and aside device manufacturers to bring to market this next generation removable storage standard,” said Brewer. “Industry adoption of CFexpress will allow for much higher resolution and higher bit rate image capture than ever before in many still image and video capture devices. Faster offload speeds will also greatly benefit the post-capture workflow through the extremely high read speeds it provides. With our demonstration today, we’ve also been able to show compatibility for the CFexpress Type B form factor with XQD memory cards–showing operation of both card standards in a common Thunderbolt 3 reader.”
ProGrade Digital demonstrated performance benchmark speeds exceeding 1,400MB/second and burst write speeds of greater than 1,000MB/second–nearly three times faster than CFast memory cards and more than four times those for SDXC UHS-II.
CFexpress Type B format factor with two lanes of PCIe and NVM Express support
XQD form factor interoperability
Dimensions: 29.6 mm x 38.5 mm x 3.8 mm
The founders of ProGrade Digital are industry veterans in the removable storage and digital photography industries. Each, having spent time at leading companies such as Lexar and SanDisk, brings extensive expertise in the design, development and manufacture of digital storage products, plus longstanding relationships with key manufacturing and supply chain partners. The company focuses exclusively on development of memory cards, card readers and workflow software for professional imaging markets. Flagship products, ProGrade Digital CFast 2.0 and ProGrade Digital SDXC UHS-II, are optimized to render maximum performance when paired with high-end DSLR, mirrorless, camcorder and digital cinema cameras from manufacturers such as Canon, Nikon, Panasonic, Sony and Blackmagic. ProGrade Digital memory cards expand the creative visions of cinema and photography professionals around the world.
New Hybrid Camera Rig from Redrock Micro and Disney ABC Television Group/ Disney Research Merges Best of Gimbal, Jib, Drone, and Handheld to Achieve Cinematic Moves and Impossible Camera Angles
Dallas, TX and Hollywood, CA - Redrock Micro in collaboration with Disney/ ABC Television Group and Disney Research today announced DigiBoom - a new gimbal-stabilized camera rig that merges the best of jib, gimbal, Steadicam, drone, and handheld into a single highly mobile platform. DigiBoom is on display beginning today in the Redrock Micro and Blackmagic booths at the National Association of Broadcasters (NAB) conference in Las Vegas.
DigiBoom pushes content above the competition. DigiBoom is used by solo operators and small production teams to add eye-popping shots and premium cinema-style feel to live and pre-recorded news, sports, and events. DigiBoom can place the camera from ground level to over 8 feet (up to 12 feet with the optional extension) and everywhere in between while the full-time powered gimbal keeps shots smooth and steady. Use DigiBoom to create sweeping camera moves or place cameras into unusual point-of-views for maximum visual impact, including:
Reach any target, move quickly, and get angles that were previously unimaginable
Extend the pole to get shots of the tallest on the court, a crowded field and even places where tripods or handheld aren?t practical. Use the optional 3 foot extension for even higher and truly epic views
Get in front of, above, below, or around any obstacles with total control of camera angle and position
Create dynamic and premium cinema-style shots with smooth gimbal stabilization that will have people saying "How did they do that?"
Designed for Fast-Moving Productions and Small Crews
DigiBoom doesn't require additional crew or specialized skills, and can be learned in a few hours of practice. Familiar camera controls and functions are similar to traditional ENG cameras, and gimbal controls are intuitive and responsive. Solo camera operators are more productive and creative: capturing the required shots, but now with more options for unique dynamic footage. The highly mobile rig means shots and angles can be easily improvised for breaking news or on-the-spot creative choices.
DigiBoom is the only camera rig that delivers this wide range of creative shots while enabling full-time operator control over camera position and settings:
Versatility - that enables solo camera operators to be more productive and creative. The highly mobile rig means shots and angles can be easily improvised for breaking news or on-the-spot creative choices
Complete Control - of operation and settings for both camera and gimbal right
Dual Gimbal modes - for fully automated, fully manual, or hybrid control of camera aim and angle
Professional audio - including standard connectors and shielded wiring that is fully integrated into the DigiBoom for onboard camera audio, onboard mixer, or external sound mixer.
Professional power - with one power source for camera, DigiBoom, and accessories. Use the external power input for unlimited run time.
Full time monitoring - via the bright high resolution display mounted right where the operator needs it
Modular for many different setups - including jib, drone-like, Steadicam, and handheld all with one rig
Broadcast workflow and quality - whether live or pre-recorded, DigiBoom provides industry-standard video, audio and wireless with connectors and accessories
Minimal training - enables broadcast quality and delivery of totally unique content from day one
Redrock's Cinema and Video Product Expertise Brings DigiBoom to Life
Redrock Micro has long been recognized as the premiere innovator for independent production equipment. Over the past decade, Redrock's original designs and products have made high production value affordable and accessible for any budget level. DigiBoom joins Redrock's existing family of over 400 rigs, automation, and camera accessories including the Eclipse the latest generation of networked camera-top accessories.
"Redrock has empowered small crews and solo operators to punch above their weight class for over a decade," said James Hurd, President of Redrock Microsystems. "DigiBoom represents this kind of leap forward for location news, sports, and events. When we first saw DigiBoom we recognized this spark of an idea. With Redrock's product expertise and injection of Eclipse technology, we are now delivering a finished product that is ready for the demands of full-time professional production."
Powered by Technology from Disney
Core DigiBoom technology and associated patents were developed by Disney/ABC Television Group and Disney Research, and licensed to Redrock Micro to bring DigiBoom to market. DigiBoom has been field tested and refined over the past two years in organizations including Disney/ABC, ABC News, Marvel, and continues to be widely used at ESPN for live and recorded sports coverage. "Over the past two years we have seen DigiBoom deliver tremendous value to Disney/ABC, ESPN and other subsidiaries within the Disney family," said Anthony Accardo, Director, Research & Development, Disney/ABC Television Group. "Through our collaboration with Redrock, we are really pleased to see DigiBoom come to market and help elevate the state of the art for the industry."
"DigiBoom gives us a distinctive look - delivering high-quality, cinematic images in a portable and versatile package," said Brian Kennedy, vice president, Global News Gathering Operations & Planning. "At the 2017 Presidential Inauguration in Washington, D.C., DigiBoom provided incredible images and was the perfect tool allowing us to be live inside the story. No other tool could have delivered this type of coverage."
"The Rose Bowl is one of the most beloved and most watched football contests in the US today," said Lorenzo Lamadrid, ESPN Supervising Director, Rose Bowl. "Our use of DigiBoom for the 2018 Rose Bowl really enhanced the quality of the footage and sharpened the sense of 'being right there in the action' for our viewers. DigiBoom worked beautifully to create shots we couldn't otherwise achieve."
"DigiBoom allowed our camera operator to access high traffic spaces and deliver angles that wouldn't have been possible with a traditional camera," said John Vasallo, Sr. Coordinating Producer for ESPN.
DigiBoom can be used with any appropriate camera and display. To get the most from DigiBoom, the preferred recorder and camera are the Blackmagic Video Assist and Micro Studio Camera 4K, the world's smallest broadcast quality live production camera.
The unique connectivity of the Micro Studio 4k Camera's expansion port gives operators fingertip control over all camera functions directly from the DigiBoom handgrips. The Video Assist offers full-time operator monitoring, recording to internal SD cards and offering SDI pass-through for live broadcast.
"Blackmagic Design's mission is to empower creative people. When we saw what Redrock and Disney were creating with DigiBoom, we wanted to make sure they could get the most from Blackmagic cameras," said Grant Petty, CEO and Founder of Blackmagic Design. "We worked together to expand the Micro Studio Camera 4K and designed it to be versatile. It is incredibly exciting to think about how much more creative camera operators will be with DigiBoom, and with the combined solution DigiBoom essentially becomes a single integrated experience for the operator."
Pricing and Availability
DigiBoom target availability is Summer 2018 and pricing has not yet been announced. In addition to the standalone product, DigiBoom will also be available as a Deluxe Field Broadcast kit and includes the most popular DigiBoom accessories. DigiBoom will be available from Redrock direct and Redrock's Worldwide Authorized Resellers.
DigiBoom accessories and extensions
DigiBoom Jib adapter - mounts DigiBoom to your existing fluid head tripod for conversion to a more traditional jib
DigiBoom extension pole 3' - extends DigiBoom for even higher shots while still retaining full operator control of gimbal and camera
DigiBoom body strap - supports the fulcrum of DigiBoom for additional support and easy operation
DigiBoom hard case with fitted foam, ready for road and air travel
This large bull elk is singing my favorite Rocky Mountain song.
I took a little time to process a few images from my fall Rocky Mountain National Park trip and thought I would share one that I liked.
When elk are standing, their antlers rise far above their heads, meaning that wider framing (longer subject distance or wider focal length) is required to fit the entire animal within the image borders.
However, when elk bugle, they tilt their heads far back, bringing their antlers much closer to the rest of their body, allowing a tighter portrait to be created.
Although I was positioned for a tightly-framed image of a standing bull, I was still able to crop modestly for a large-in-the-frame elk.
Most often, the head is facing forward, positioning one antler on each side of their body.
For this bugle, the elk's head was turned to the side, allowing both antlers to fit comfortably into a tight portrait.
I liked how that pose came together with a beautiful animal in great light.
In the video above, photographer Matthew Jordan gives us a walkthrough of his 3 light (plus 1 reflector) beauty setup. He also makes a very good point about how a light meter can help you produce a more consistent-looking body of work.
Below are the second and third videos in this series.
Time and time again, we've stressed the importance of having a structured, reliable method for backing up your images and keeping them safe. In its latest blog post, LensRentals enumerates how videographers can protect themselves from data loss through reliable data transfer and backup techniques.
Two or three times a week here at Lensrentals.com, we get one of two common support calls. Scenario number one is that someone thought they transferred all of their footage over, but later found that they missed a couple of clips and need us to send them their rental cards back. If we haven’t inspected those cards yet, we’re happy to do that, but if our techs have already inspected them, that’s a problem we can’t solve. We perform a full and secure format at inspection to make sure previous customers’ footage isn’t recoverable on subsequent rentals. Once the footage is gone, the footage is really and truly gone. No amount of file recovery software can bring it back. That’s never a fun phone to call to have.
The second scenario is that someone did manage to transfer over all of their footage, but one of the clips was corrupted in the transfer. Typically this realization comes during the edit, after we’ve already formatted the original media. That’s an equally tough phone call. True, sometimes file corruption happens in-camera, but nine times out of ten, the file was corrupted during the transfer from the card to the computer or hard drive. These kinds of problems aren’t something you can avoid entirely. There are inherent risks in working with digital media just like there are inherent risks in working with tape or film. However, there are steps you can take to mitigate that risk and to ensure that, if a problem arises, you’re prepared to work around it.
What I hoped to share with you today was an accurate representation of the image quality delivered by the Sigma 14-24mm f/2.8 DG HSM Art Lens.
While we do have the test results for this lens loaded on the site and will again in the future, the results from this specific lens are only temporarily available.
Why only temporarily available?
I want to use them for an illustration.
We have apparently received a lens with an improperly-aligned element or group of elements (this is a retail-acquired lens).
The image included with this post shows all for corners of a 14mm f/2.8 image.
Lenses are round and symmetrical and a properly constructed lens will render all four corners identically.
Obviously, this one does not. The top right, the corner that shows in the site's image quality tool, is unfortunately the worst.
The corner results are less significantly different at the longer focal lengths, but 14mm is going to be this lens' most important focal length for many.
When unequal corner performance happens, we test another copy of the lens.
So, in this case, first looks at the Sigma 14-24mm f/2.8 DG HSM Art Lens image quality mean second looks are needed.
Stay tuned for that.
If the right side looks as good as the left ... we should be very pleased.
While we are looking at this comparison image, I'll make another point and that is in regards to the linear distortion profile of this lens.
At close focusing distances, the Sigma 14-24mm f/2.8 Art Lens has very significant barrel distortion at 14mm.
Fortunately, this distortion is greatly reduced at longer focus distances.
I'll illustrate that in the review.
Ronkonkoma, NY – April 5, 2018 – The Sigma Corporation today announced the newest accessory for its Cine High Speed 14mm T2 FF Prime Lens – the Clamp-On Ring 162mm COR-11, which extends the front diameter of the lens to 162mm. When attached to a wide-angle matte box compatible with 6.6" x 6.6" square type filters such as the ARRI LMB-6 (2-stage), the setup allows cinematographers to film on full-frame cameras without undesired vignetting. The Sigma COR-11 is also compatible with SF Ex-tender SF-E1 (optional) and other third-party accessories. Sigma continues to expand its Cine offering by providing solutions to the increasing demand for cine lenses compatible with digital cinema cameras with large format sensors.
The Clamp-On Ring 162mm COR-11, along with Sigma Cine lens lines – High Speed S35 Zoom, FF Zoom and FF High Speed Prime, will be on display at the 2018 NAB Show in Las Vegas from April 9th through April 12th in booth C10308.
Pricing and availability of Sigma COR-11 will be announced at a later date.
While on vacation in Pigeon Forge, TN, my wife and I decided to tackle some easy-to-moderate trail hikes in the Great Smoky Mountains National Park.
Being spring break for many primary school students, the park was more crowded than usual.
With that in mind, we decided to avoid all the paved trails which are typically popular for family hikes.
While we had a few trails in mind, a stop at the Sugarlands Visotors' Center and a talk with one of the rangers proved vital to determining which trails we would ultimately traverse as the ranger provided previously unknown information like temporary road temporary road closures, likely crowd sizes and the types of things we might see on each trail.
In the end, we settled on the Porters Creek Trail / Fern Branch Falls at Greenbrier and Cucumber Gap Loop at Elkmont.
Photography was not a primary goal for these hikes; spending quality time with my wife who thoroughly enjoys hiking was.
However, going on the hikes without a camera seemed unimaginable to me, so I decided to pack a small kit with the intent of pausing our hike periodically so that she could meditate to the tranquil sounds of the wind in the forest and the gently flowing creek.
At least, that's how I sold the idea to her as she watched me pack my small camera backpack.
I knew that our hikes would follow a couple of creeks and their smaller tributaries.
I wanted to use long exposures to capture silky movement in the water, which meant that an ND filter was necessary.
I decided to bring my Singh-Ray Vari-N-Duo filter because its variable neutral density filter and circular polarizer combination seemed well suited for photographing flowing water.
Note that I didn't say "perfectly suited" as I own the standard version of the filter which is very thick (it extends .69" / 17.54mm from the end of the lens) and causes significant mechanical vignetting at focal lengths wider than roughly 50mm on the EF 24-105mm f/4L IS USM (mounted on a full frame EOS 5D Mark III) that I took with me. In short, the tradeoff for getting an ND + polarizing effect was the loss wide angles of view.
Using exposures long enough to capture ample motion blur in the water necessitated a stabilized camera, and that meant I needed to bring a tripod or alternate method of stabilization. My primary tripod and head weigh in at nearly 6.5 lb (2.9 kg) and when compacted, are still 27.75" (70.49 cm) long.
The size and weight of the tripod made it an inconvenient and cumbersome choice for the hikes, especially considering the small camera backpack I planned to take on the trips.
In place of the primary tripod I opted to take my Feisol TT-15 Carbon Fiber Tabletop Tripod.
Even with a small travel-style ball head attached, the tripod and head weigh less than 1 lb (0.45 kg) and are only 8.38" (21.29 cm) long when folded down.
The combo's small size and minimal weight made carrying the tripod a breeze yet it allowed me to capture the long exposures I was hoping to get.
That said, there was one significant drawback to the diminutive tripod, which is that the framing and composition options available at any given time depended on the surfaces (and especially the height of those surfaces) available at any specific location.
There were several locations that I thought looked interesting but couldn't find a suitable platform high enough to get the composition I wanted.
But in most cases along the Smoky Mountain Trails we traversed, a large rock bordering (or in) the water or a fallen tree trunk provided a sufficiently high enough platform for pleasing compositions.
In the end, I was extremely happy I had the Feisol TT-15 Tabletop Tripod in my kit. Consider picking one up if you plan on hiking moderate-to-long distances and want to reduce the weight you bear with every step.
Johnnie Behiri of cinema5D was given exclusive access to SIGMA's Aizu cinema zoom and Art-series lens manufacturing facility in Bandai, Fukushima, Japan. During his visit, he got to sit down with Kazuto Yamaki-san, SIGMA's CEO, to discuss the company's manufacturing processes and the legacy of Yamaki-san's father, Michihiro Yamaki, the founder of SIGMA.
Adobe has updated Camera RAW by incorporating the Camera Profiles (now simply called "Profiles") section (previously found on the Calibration tab) with the basic tab where Exposure, Contrast, Highlights & Shadows adjustments are made.
Surprising is that Adobe has changed the default profile for RAW files to something new – Adobe Color – which features warmer reds, yellows and oranges and increased contrast compared to the previous default, Adobe Standard.
Note: If you have created custom camera profiles with an X-Rite Color Checker Passport, you can find them under the "Profiles" section after clicking "Browse Profiles." However,if you choose the "Legacy" section, you'll see previews of Black & White versions of your custom profiles (for some reason). [Sean]