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 Thursday, May 24, 2018
A few new interesting gear protection items are now in stock at B&H. Note that each of the dry boxes comes in a padded insert and sans padded insert version.
 
Ruggard Portable Dry Case (Black, 22.4L)
 
  • Holds Photo, Electronic, and Other Gear
  • Renewable Desiccant Humidity Protection
  • Hygrometer Displays Relative Humidity
  • Silent Operation
  • Weatherproof Rubber Gasket Seal
  • Manual Pressure Release Valve
  • Latches with Hasps for Optional Padlocks
  • Ergonomic Top Handle
Ruggard Portable Dry Case (Clear/Yellow, 8.5L)
 
  • Holds Photo, Electronic, and Other Gear
  • Renewable Desiccant Humidity Protection
  • Hygrometer Displays Relative Humidity
  • Silent Operation
  • Weatherproof Rubber Gasket Seal
  • Manual Pressure Release Valve
  • Latches with Hasps for Optional Padlocks
Ruggard Renewable Dehumidifier for Portable Dry Case
 
  • Use with Portable Dry Cases or Alone
  • Rechargeable in an AC Wall Outlet
  • Space-Saving Retractable Outlet Prongs
  • Silent Operation
  • Status Display Window
  • Silica Gel Works Without Power
Post Date: 5/24/2018 1:16:53 PM CT   Posted By: Sean
From ZEISS:
 
With its 13 high-speed, full-frame, prime lenses for high-quality film productions, ZEISS is focusing on maximum quality, low weight, and significant versatility when it comes to creating superb visual imagery.
 
OBERKOCHEN/Germany, 2018-05-24 – ZEISS has introduced a new family of high-speed lenses for high-end film production: The ZEISS Supreme Prime family consists of 13 lenses with fixed focal lengths between 15 and 200 millimeters, the majority with a maximum aperture of T1.5. “The lenses are designed for film productions of an extremely high quality,” says Christophe Casenave from ZEISS. “They are perfect for high-budget advertising or feature films, for example.” ZEISS Supreme Primes are designed to cover cinematic large format camera sensors and are compatible with all of the latest camera models, such as the Sony Venice, ARRI Alexa LF, and RED Monstro. According to Casenave, the versatility of the Supreme Prime lenses to create different visual looks is due to the gentle sharpness, the aesthetic focus fall-off and elegant bokeh. The lenses are extremely flexible and can be used equally well for science fiction thrillers as well as for dramas.
 
Compact and Lightweight
 
"Weighing an average of 1600 grams (3.5 pounds), ZEISS Supreme Primes are significantly lighter and smaller than comparable lenses on the market,” says Casenave. With these compact and lightweight lenses, ZEISS is responding to many camera operators’ desire for compact equipment that stills meets the highest standards of quality. “ZEISS Supreme Primes are unbelievably rugged and reliable. Regardless of whether filming in the desert or in the Arctic, the lenses perform flawlessly. And in the event that something should ever break, our worldwide service network provides fast and professional help.”
 
ZEISS eXtended Data Metadata Technology
 
The ZEISS Supreme Primes are equipped with the ZEISS eXtended Data metadata technology. Introduced in 2017, ZEISS eXtended Data provides frame by frame data on lens vignetting and distortion in addition to the standard lens metadata provided using Cooke's /i technology1 protocol. This greatly speeds up the entire film production’s workflow. When using visual effects for example, with only a few clicks, the lens properties can be removed so that computer-generated effects imagery can be accurately applied to the captured imagery. The lens properties can then be reapplied with the same click of a button and combined with the film material to create a realistic image. Previously, all of the data had to be measured manually so that it could be corrected in post-production. But ZEISS eXtended Data eliminates this time-consuming job.
 
Price and Availability
 
The first ZEISS Supreme Primes lenses with focal lengths of 25, 29, 35, 50, and 85 millimeters will be available starting on August 1, 2018. The ZEISS Supreme Prime 100 millimeter will be available in December 2018. The set of six lenses, consisting of the focal lengths mentioned above, is available from ZEISS Cinema lens dealers for $108,000.00 USD. The remaining focal lengths will be released successively until 2020.
 
B&H carries ZEISS lenses.
Post Date: 5/24/2018 7:57:40 AM CT   Posted By: Sean
Well, it looks like Tamron will be announcing an update to their Tamron AF 18-270mm f/3.5-6.3 Di II VC PZD Lens in the very near future as B&H has the new lens, the similarly named Tamron 18-270mm f/3.5-6.3 Di II VC PZD Lens, available for preorder in Canon EF and Nikon F mounts.
 
Product Highlights
 
  • 28.8-432mm (35mm Equivalent)
  • Aperture Range: f/3.5 to f/40
  • Three Low Dispersion Elements
  • Three Aspherical Elements
  • BBAR and Fluorine Coatings
  • PZD Autofocus Motor
  • VC Image Stabilization
  • Rounded 7-Blade Diaphragm
Categories: Preorders, Tamron News
Post Date: 5/24/2018 6:54:37 AM CT   Posted By: Sean
From Think Tank Photo:
 
05/23/2018 – Digital Imaging Reporter recently asked 85 retail photography dealers to indicate their favorite products in 12 different categories based on product quality, support and ease of selling. According to the magazine’s editors, “For the third year in a row, Think Tank Photo carried the day, winning the bag category with 48% of the votes going to its StreetWalker series.”
 
The StreetWalker Rolling Backpack V2.0 is so spacious, it will fit two DSLR bodies with lenses attached (including a 200-400mm f/4), and a 15” laptop. The StreetWalker HardDrive V2.0 backpack fits two bodies with lenses attached or a gripped body with a 200–400mm f/4 attached, a 15” laptop and a 13” tablet. The StreetWalker Pro V2.0 backpack fits two bodies with lens attached or a 400mm f/2.8 unattached, and a 10” table. And, the StreetWalker V2.0 backpack fits one gripped DSLR with 70–200mm f/2.8 attached, one standard DSLR with 24–70mm f/2.8 attached, a 16–35mm f/2.8, and a 10” tablet.
 
KEY FEATURES
 
StreetWalker Rolling Backpack V2.0
 
  • Comfortable harness system allows you to roll the bag or carry it on your back
  • Dedicated laptop compartment that holds up to a 15” laptop
  • Fits two bodies with lenses attached including a 200–400mm f/4
  • Specially designed interior to maximize gear for carry-on, meets most U.S. and International airline carry-on requirements
  • Reinforced telescoping handle with rubberized touch points
  • Tripod mount on front panel
  • Dedicated smartphone pocket fits today’s large phones with a 5.5” (14cm) screen size
  • Lockable YKK RC Fuse zipper sliders (lock not included)
  • Two side water bottle pockets and two side zippered pockets
  • YKK RC Fuse zippers, ballistic nylon, high-density velex and closed cell PU foam are the highest quality materials in the industry
  • Custom-designed, high-performance, 80mm wheels with sealed ABEC grade 5 bearings for quiet rolling
  • Seam-sealed rain cover included
  • User-replaceable retractable handle, wheels, wheel housings, feet and kick plate extends product life
  • Adjustable dividers allow a customized fit for your DSLR or Mirrorless gear
  • Hypalon reinforced rear panel for increased durability
  • Shoulder harness pockets, D-rings, daisy chain and adjustable sternum strap
StreetWalker Backpacks V2.0
 
  • Tripod mount on front panel (tripod cup for larger tripods included on Pro and HardDrive versions)
  • Padded shoulder straps comfortable for all day trekking
  • YKK RC Fuse zippers, ballistic nylon, high density velex and closed-cell PU foam are the highest quality materials in the industry
  • Seam-sealed rain cover included
  • Adjustable dividers allow you to customize the fit of your DSLR or Mirrorless gear
  • Two side water bottle pockets and two side zippered pockets
  • Dedicated smartphone pocket fits today’s large phones with a 5.5” (14cm) screen size
  • Removable webbing waist belt detaches easily
  • Lockable YKK RC Fuse zipper sliders (lock not included)
  • Interior clear zippered pockets for accessories
  • Organizer pocket
  • Shoulder harness pockets, D-rings, daisy chain and adjustable sternum strap
  • Clear business card holder on top panel for identification
  • Compatible with Camera Support Straps (sold separately)
  • Compatible with our Thin Skin and Pro Speed Camera Belts (sold separately)
Think Tank Photo has the StreetWalker series in stock and you'll get a free gift when using our links for your purchase ($50.00 minimum purchase required).
Post Date: 5/24/2018 5:23:32 AM CT   Posted By: Sean
 Wednesday, May 23, 2018
From Sigma:
 
Thank you for purchasing and using our products.
 
We would like to announce that a firmware update for the SIGMA MOUNT CONVERTER MC-11 EF-E is now available. This firmware update makes the SIGMA MOUNT CONVERTER MC-11 EF-E compatible with the new product SIGMA 70mm F2.8 DG MACRO | Art for Canon.
 
* Before updating the MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to ver. 1.4.1 or later for Windows, and ver. 1.4.0 or later for Macintosh from the following download page.
 
Applicable Product
 
  • SIGMA MOUNT CONVERTER MC-11 EF-E
Benefit of the Update
 
  • It has become compatible with the SIGMA 70mm F2.8 DG MACRO | Art for Canon
SIGMA Optimization Pro Download page
 
B&H carries the Sigma Mount Converter MC-11 EF-E.
Category: Sigma News
Post Date: 5/23/2018 7:43:21 AM CT   Posted By: Sean
From the Canon Digital Learning Center:
by Rick Sammon
 
Having just returned from another photo-successful safari to Africa, where I photographed the handsome lion that opens this article, I thought I’d put together some thoughts on how you can make a photo safari a photo success. After all, a photo safari to Africa is an once-in-a-lifetime experience for many travelers; so coming home with a selection of great photographs that tell the story of the amazing adventure is a top priority – in addition to having fun!
Read the entire article on the Canon Digital Learning Center.
Posted to: Canon News
Post Date: 5/23/2018 7:25:34 AM CT   Posted By: Sean
 Tuesday, May 22, 2018

 
From the Pond5 YouTube Channel:
 
The importance of well-mixed audio in a video project can’t be overstated. Dialogue, ambient noise, sound effects, and music all need to be mixed together properly to enhance the viewer’s experience. Here are 5 basic audio mixing techniques for editing video.
Post Date: 5/22/2018 2:31:56 PM CT   Posted By: Sean

 
In this video, Julieanne Kost goes over several shortcuts for using Point Type in in Photoshop CC.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 5/22/2018 1:03:10 PM CT   Posted By: Sean
From Shutterbug:
 
Venerable Photography Media Brand to Focus on Website After Ending Print Edition
 
May 22, 2018 – Shutterbug is moving forward as a web-only publication (Shutterbug.com) after ending its print magazine after 45 years, Shutterbug Editor-in-Chief Dan Havlik announced today.
 
“Shutterbug magazine had a great run, but the media landscape has changed dramatically in the last 4+ decades, and we felt now was the time for Shutterbug to become a dynamic, web-only publication,” Havlik said. “Shutterbug.com has grown dramatically in recent years with record traffic and expanded reach to photographers around the world. We can now dedicate all our resources to further growing our online presence and expanding our video, social media, mobile and e-commerce channels.”
 
In the last four years since Havlik joined Shutterbug as editor-in-chief, Shutterbug.com’s traffic has increased over 700%. Shutterbug.com was also recently named one of the top five best photography news sites by Feedspot. Meanwhile, Shutterbug’s social media channels have grown exponentially in recent years, with nearly one million followers on Facebook, YouTube, Instagram, Flipboard, Twitter and other social sites combined.
 
“The web, social media and video are simply the best ways for Shutterbug to reach the growing audience of photographers out there, including everyone who is graduating up from shooting with their smart phones and wants to learn how to capture photos with real cameras, to photo enthusiasts and seasoned pros who want to read the latest news and reviews of the hottest photo gear. Shutterbug.com offers it all.”
 
Along with continuing to post the best photography how-tos, video tutorials, feature stories and camera gear reviews on the web, Shutterbug.com will expand its popular photo galleries where readers share and comment on their images. Shutterbug.com will also open an online photography store where visitors can buy cameras, lenses, software, and photo accessories, along with Shutterbug-branded merchandise such as t-shirts and camera bags.
 
Shutterbug is owned by AVTech Media Americas Inc., a division of the UK-based AVTech Media Ltd (UK) company.
Category: Shutterbug News
Post Date: 5/22/2018 10:50:47 AM CT   Posted By: Sean
From Skylum (developers of Aurora HDR 2018 and Luminar 2018):
 
Skylum also hires Alex Savsunenko, former CEO of Let’s Enhance, to lead AI-based photo technologies to the next level.
 
May 22, 2018 — Bellevue, WA — Today, Skylum Software announced the formation of a new research and development division dedicated to the advancement of artificial intelligence technologies in image processing. The Skylum AI Lab leverages the company’s prior work developing smart filters in its award-winning Luminar software, as well as technology from its “sister company” Photolemur, which was founded in 2016 by Dima Sytnik and Alex Tsepko, co-founder and CEO of Skylum respectively.
 
“Clearly, AI can simplify our lives. By using AI-based technologies in our products, our customers save time vs. manual editing, and can often get better results,” said Alex Tsepko, CEO at Skylum. “Our neural networks are being trained on millions of images taken by cameras from Fujifilm, Sony, Olympus, Nikon, Canon and many others, which means outstanding results for all photographers, regardless of what style they shoot and what gear they are using.” To spearhead the new Skylum AI Lab, the company has hired Alex Savsunenko, former CEO of Let’s Enhance, a leader in machine learning for visual content. Savsunenko will manage all research and development for technologies based on artificial intelligence, machine learning, and neural networks. Promising results will ultimately be implemented in Skylum products and solutions for image and video enhancement, with the aim to help users make their workflow faster, smarter and more efficient.
 
Currently, the Skylum AI Lab is testing over a dozen new solutions, including:
 
  • Image upscaling: uses deep convolutional neural networks to improve low-resolution images and scale them up for superior viewing and printing.
  • Tagging: generates tags that describe the image and its objects based on image recognition.
  • Segmentation: smart recognition of image areas that can be automatically enhanced using different filters and corrections based on the type of object.
  • Automatic enhancement: applies smart image corrections to photos based on a variety of issues
To further reinforce its AI prowess, Skylum has also joined forces with Photolemur, creator of the world's first fully automatic photo enhancement solution. Photolemur app has been sold for several years, with hundreds of thousands of customers worldwide. It enhances images utilizing artificial intelligence without the need to use any manual controls. Development will continue on Photolemur, with the next evolution of the app likely to be a cloud solution that helps high-volume users enhance images as batch process.
Category: Skylum News
Post Date: 5/22/2018 10:25:19 AM CT   Posted By: Sean
For those shopping for their first non-smartphone camera, a backup camera for a current kit or simply upgrading from a lower level/previous generation Rebel-series camera, the Canon EOS Rebel T7i/800D and EOS M50 are likely to be considered. Today, we're going to look closely at these two cameras to see which might be the better option for addition to your kit.
 
Canon EOS Rebel T7i/800D and EOS M50 Shared Primary Features:
 
  • Resolution: 24 MP / 6000 x 4000 pixels
  • Crop Ratio: 1.6x
  • Dual Pixel CMOS AF, up to 1080p 59.94 fps
  • Shutter Speed: 30 - 1/4000 sec.
  • Auto White Balance with Ambience priority / White priority
  • Wi-Fi, NFC & Bluetooth
  • 3" (7.7/7.5cm) Vari-angle Touchscreen LCD, 1040K dots
  • Flash X-sync: 1/200 sec.
  • SD, SDHC, SDXC (UHS-I compatible)
  • Similar Price (at US authorized retailers, excluding rebates)
Primary Advantages of the Canon EOS Rebel T7i/800D:
 
  • Native compatibility with EF, EF-S, TS-E & MP-E lenses
  • More Sensitive AF: down to EV -3 vs. EV -2
  • Larger Buffer: Up to 27 RAW/unlimited JPEG vs. 10/33
  • Wider Exposure Compensation Range: +/-5 EV vs. +/-3 EV
  • Large Auto ISO Range: 100 - 25600 vs. 100 - 6400
  • Higher Power Flash: 13.1 GN vs. 5
  • Optical Viewfinder
  • Longer Battery Life: 820 shots vs. 235 (370 in Eco Mode)
  • Compatible with E3-type remotes, smartphones/tablets and BR-E1 (Bluetooth) vs. BR-E1 and smartphones/tablets only
Primary Advantages of the Canon EOS M50:
 
  • Native compatibility with EF-M lenses, compatible with EF, EF-S, TS-E & MP-E lenses via adapter
  • Newer Processor: DIGIC 8 vs. DIGIC 7
  • More AF Points: 143 vs. 45
  • Faster Burst Rate: Approx 10.0 fps RAW (7.4 with Servo AF) vs. 6
  • Better Face Detection: Eye AF vs. Face AF
  • Wider Metering Range: EV 0 – 20 vs. EV 1 – 20
  • Higher Resolution Video: 4K UHD vs. FHD 1080p
  • Electronic Viewfinder
  • Smaller: 4.6 x 3.5 x 2.3" (116.3 x 88.1 x 58.7mm) vs. 5.16 x 3.93 x 3.00" (131.0 x 99.9 x 76.2mm)
  • Lighter: 13.7 oz (387g) vs. 18.77 oz (532g)
Who should opt for the Canon EOS Rebel T7i/800D?
 
If you are a current Rebel-series owner but want the benefits of a Dual Pixel CMOS sensor, and the size and weight of your current kit is a non-issue, then the EOS Rebel T7i/800D will offer a seamless transition with no adapters required to use your current set of lenses and a familiar button/control layout that feels right at home in your hands. With no adapter required for use with EF, EF-S, TS-E & MP-E lenses, there's one less vital piece of gear to be forgotten or malfunction. Just remember your fully charged battery and a memory card, throw your lenses in a bag and you're good to go (although we do recommend packing other items as well).
 
Note that the T7i has an optical viewfinder (OVF) while the EOS M5 has an electronic viewfinder (EVF), and both show up as advantages for their respective cameras. Depending on what you're shooting and what your preferences are, either one may be more beneficial than the other. Check out our OVF vs. EVF comparison here.
 
If you're interested in exploring off-camera lighting, the Rebel T7i offers an integrated Speedlite transmitter that will allow you to control off-camera Canon Speedlites remotely. To get the same functionality with the EOS M50, you would need a master flash (600EX II-RT / 430EX III-RT) or ST-E3-RT / ST-E2 transmitter, reducing the mirrorless camera's size/weight benefits.
 
The Rebel T7i's more sensitive AF system is able to lock on in lower light, and its battery will keep you shooting long after the EOS M50's battery has been exhausted.
 
Who should opt for the Canon EOS M50?
 
The EOS M50 represents a huge step up in image quality for those coming directly from a smartphone, and its size and weight will provide an easier transition into ILC (Interchangeable Lens Camera) photography compared to a traditional DSLR body. The EOS M50 will also be a great choice for current Canon DSLR owners who want a compact option that can also serve as a backup camera in a pinch (with the adapter) or otherwise want a reduced load for vacations, hiking or business trips, especially when one of Canon's EF-M series lenses will fit the bill perfectly.
 
Want to capture 4K video? The M50 has you covered (albeit without the benefits of Dual Pixel CMOS AF). If 1080p output is your goal, you can easily downsample 4K video (with very slight cropping on the right and left sides), crop the frame to provide a tighter angle of view, or even pan your FHD video within the confines of the 4K captured frame. You can also mimic zooming in and out of a scene to add even more production value to your 1080p movies. When not utilizing 4K capture, the M50 offers similar benefits as the Rebel T7i, including DPAF subject tracking.
 
On top of the size and weight advantages of an M-series kit, the M50's faster burst rate in single shot mode can help you capture the peak action as long as AF tracking is not needed for the specific situation. And if you prefer the benefits of an EVF (Electronic Viewfinder), then the M5 becomes the easy choice.
 
Summary
 
While the EOS M50 is a moderately capable camera with the size and weight benefits a mirrorless system brings, Canon's current [limited] EF-M lens selection may not provide all the flexibility desired in an ILC kit. And while Canon's complete EF/EF-S/TS-E/MP-E lenses can be used with an adapter, using lenses designed for DSLRs on a mirrorless camera negates much of its most alluring quality, its reduced size and weight.
 
On the other hand, the EOS Rebel T7i/800D, with its native ability to mount Canon's full range of EF, EF-S, TS-E and MP-E lenses, along with its higher battery life and built-in Speedlite transmitter, represents a simpler and more versatile platform on which to build a photography kit.
 
For those general purpose photography situations where a single, variable aperture zoom lens will suffice, the EOS M50 paired with an EF-M zoom lens can be a very convient option that will not be a burden to carry throughout the day. Note that as Canon releases more EF-M lenses, the versatility of an M-series kit increases along with the M50's appeal.
 
More Information:
 
Posted to: Canon News
Post Date: 5/22/2018 11:03:03 AM CT   Posted By: Sean
Back in September 2015, Canon announced that it was developing a 120 megapixel CMOS sensor. Now, you can buy the APS-H-sized sensor (in RGB or Monochrome variants) from authorized distributor Phase 1 Technology Corp.
 
Phase 1 doesn't actually list the sensor's price on their product page, but from what we've been told, it'll set you back a cool $12,000.00.
Posted to: Canon News
Post Date: 5/22/2018 7:44:31 AM CT   Posted By: Sean
 Sunday, May 20, 2018

 
In this video, filmmaker Todd Blankenship explains how C-stands got its name and provides a few tips on how to use them.
 
B&H carries C-stands.
Post Date: 5/20/2018 10:05:43 AM CT   Posted By: Sean
 Saturday, May 19, 2018
While some fences can be great photo subjects themselves, they often contain another photo subject, including captive wildlife and those participating in sporting events (and sometimes subjects that the paparazzi are chasing). I'm going to primarily focus on the wildlife photography aspects of fencing today, but the same tips are applicable to many through-the-fence situations.
 
For wildlife, not everyone can afford a safari to Africa and not everyone can take enough time off of work to track down more-locally-occurring wildlife such as a wild mountain lion. Zoos make these great animals readily available for observation and enjoyment. Photographing the animals in zoos, however, remains a challenge and the biggest challenge is usually the fence.
 
A key to a great zoo animal photo is avoiding any signs of the fence, including a patterned background blur, in the photo. To that goal, here is a list of photography tips relevant to fences.
 
  • The most important tip: move the lens as close to the fence as possible. Doing so aids immensely in the foreground fence becoming blurred out recognition. Getting against a fence, at least at some exhibits, may require attendance at a special program designed for this access (ZooAmerica's Photography Tour in this case), but others are readily approachable. Removing the lens hood permits a closer-to-the-fence position, but caution is required to avoid scratching the lens. A UV/Clear Protective Filter can help minimize the risk of damage to your lens' front element.
  • The second most important tip: use a wide aperture, allowing the shallow depth of field to obscure the obstruction, including both the foreground and background fence.
  • Similarly, use a long focal length to enlarge the blurred obstruction, making it less obvious. Though an ultra-wide angle lens may cause a background fence to be so small that it is barely visible in the frame, wide angles are more likely to leave even a practically-against-the-front-element fence very recognizable. So, use a long telephoto lens to blur both the foreground and background fences away.
  • Dark-colored fences (dark colors absorb more light than bright ones), remain more obscured in an image than bright silver fences (very common). If you have a choice, go for dark.
  • Avoid brightly-lit fences. For the same reason I prefer dark fences, I prefer shaded ones. If you have a choice, opt for fences in the shade (including in the background). If the sun is behind you, the opportunity to create your own shade exists and the lens with your hand around it may be all that is needed to accomplish this.
  • Attempt to align your subject inside the fence so that there is a natural background, avoiding the background fence that most fenced enclosures have. This may mean shooting from a low position to look over the background fence or aligning the subject with flora (as seen here). Using a long focal length lens provides a narrow angle of view that makes smaller background scenes easier to work with.
  • Shoot from over the fence. While the looking-down angle is not often my favorite for wildlife, it may be the best available option.
  • Find the widest opening available in the fence and center the lens in it. Finding a hole to shoot through (do not create one unless you own the fence) can be a great find. Take advantage of existing fence damage to gain a larger portal for photography purposes. Quality fencing likely has all-identical-sized openings and this tip will not be helpful in that scenario.
  • Use the fence as a steadying aid. While the fence may detract from your image quality by some amount, if the subject is stationary enough, you might be able to shoot braced against the fence with longer shutter speeds than otherwise possible, enabling lower ISO settings that improve image quality through lower noise levels.
  • Avoid fence shadows falling on your subject and in your backgrounds. This may require shooting at a specific time of the day or even a certain time of the year. Cloudy skies are often optimal for this reason.
  • Lighting, subject pose, the background and all of the other important requirements for a good image are still in place. Don't lose sight of what makes a good image just because a fence is obscuring your view and/or the subject is unusual for you.
  • Low contrast and low saturation are likely image quality issues with photos captured through a fence. Consider adding these adjustments during post processing.
  • A last resort for removing fencing in the frame is via photo editing software with Photoshop's healing brush tool being especially helpful if individual fence wires remain visible.
If you can't obscure the fence, your option may only be to capture a memory photo. Memories are very important too, so capture the memory and move on.
 
Have any photography-through-a-fence tips? Please share them with us!
 
A larger version of this image is available on Flickr.
 
Camera and Lens Settings
400mm  f/5.6  1/125s
ISO 2000
5304 x 7952px
Post Date: 5/19/2018 6:00:00 AM CT   Posted By: Bryan
 Thursday, May 17, 2018
B&H has a Used Really Right Stuff PG-01 Compact Pano-Gimbal Head with Screw-Knob Clamp and Flat Dovetail Base (Condition: 8) available for $189.00 with free shipping. Compare at $240.00 new.
 
Product Highlights
 
  • Load Capacity: 8 lb
  • Height: 7.5"
  • Weight: 1.1 lb
  • Arca-Type Compatible Clamp
  • Panning Range: 360°
  • 3/8"-16 Tripod Mounting Thread
  • Laser Engraved Degree Scales
  • Aluminum and Steel Construction
  • Hex Key with Magnetized Storage
B&H typically offers a 90-day warranty on used items. Please check the product listing above to verify.
Both B&H and Adorama will be closing for the Shavous holiday, May 18-21, 2018. If you need something in the near future, order now to avoid a delayed shipment.
 
From B&H:
SuperStore & Offices
B&H will be closed starting at 2pm Fri May 18. We will reopen at 9am Tue May 22.
 
Online Orders
Online ordering will be unavailable from 8pm Fri May 18 until 9:30pm Mon May 21.
 
Shipping
Orders placed before 12 pm Fri May 18 will be processed prior to the holiday closing.
 
Orders placed after this time will be processed when we reopen at 9am on Tue May 22.
 
Store Pickup
Orders placed up to 1 hour before store closing time will be available for same-day pickup until store closing time. Orders placed within 1 hour of store closing, or while the store is closed, will be available for pickup 45 minutes after the store reopens.
From Adorama:
Adorama will be closed in observance of Shavous from Friday, May 18th at 1pm EST through Monday May21st. All Orders placed during those times will be shipped after we re-open.
 
Online Ordering & Phone Orders
Orders submitted before our holiday closing time (5/18/2018 1:00PM) will be processed on the day submitted - subject to our verification process.
 
Orders submitted to us during the Shavous Holiday (Friday May 18th after 1:00PM thru Monday, May 21st) will be shipped Tuesday, May 22nd.
Categories: B&H News, Adorama News
Post Date: 5/17/2018 8:35:11 AM CT   Posted By: Sean
Image quality test results have been added to the Tamron 70-210mm f/4 Di VC USD Lens page.
 
This Tamron lens has a very nice design and a good value price. Here are some comprisons you might find entertaining:
 
Tamron 70-210mm f/4 Di VC Lens compared to Canon EF 70-200mm f/4L IS Lens
Tamron 70-210mm f/4 vs. 70-200mm f/2.8 G2 Di VC Lens (at f/4)
Tamron 70-210mm f/4 Di VC Lens compared to Nikon 70-200mm f/4G AF-S VR Lens
 
The Tamron 70-210mm f/4 Di VC USD Lens is in stock at B&H | Amazon | Adorama | WEX.
Post Date: 5/17/2018 8:11:52 AM CT   Posted By: Bryan
From Adorama:
 
A single day event simply isn’t enough to bring together everything Adorama has to offer. Starting with our important brand partners we aim to provide an even larger community with the education, inspiration and tools they need to create anything they imagine.
 
This year Adorama will provide a week of designed-to-share experiences, workshops and panels designed to bring the industry’s best talent directly to our customers. We aim to inspire creators, encourage collaboration and spark new ideas. This week will culminate with a completely overhauled version of our annual street fair.
 
Full days will be dedicated to photography, professional video, professional audio and drones. These custom experiences provide not only education, but also the opportunity to try new gear in real-life, on-location scenarios.
 
Learn from Experts – Choose from more than 40 sessions, workshops and panel discussions.
 
Meet Your Peers – Have some fun and make connections with other creators at receptions and workshops.
 
Brand Partners – Try the latest gear and technology from our top brands.
 
Workshops
 
Drone Photo & VideoMaternity Photography
Rooftop PortraitsWedding Photography
Night Sky PhotographyBuilding a Social Community
Architecture PhotographyVlogging
Portrait PhotographyFashion Photography
Travel PhotographyKids' Fashion Portraits
Food Photography 

Experiences – Full days will be dedicated to photography, professional video, professional audio and drones. These custom experiences provide not only education, but also the opportunity to try new gear in real-life, on-location scenarios.
 
  • Aerial Photo & Video
  • A Day at the Races (Belmont Track)
  • Sunset Skyline Photography
  • Gallery Reception
  • NYC Photowalks
Adorama Expo – The Adorama Expo will focus on creating hands-on opportunities for customers to try equipment in real-life situations. Join us at the Metropolitan Pavilion June 29 & July 1.
 
For more information, including a list of presenters and a shedule of events, see here.
Category: Adorama News
Post Date: 5/17/2018 8:12:37 AM CT   Posted By: Sean
 Wednesday, May 16, 2018
B&H's Optic 2018 Outdoor Photo/Video, Travel & Imaging Conference is just around the corner, taking place June 3-6, 2018. Registration is free but seating is limited, so register today!
 
RSVP Now
 
From B&H:
 
A four-day imaging event exploring inspiration, techniques and equipment essential to capturing the great outdoors, the annual OPTIC conference and trade show features the world's top outdoor photographers.
 
Presented by B&H and Lindblad Expeditions as well as top imaging companies, OPTIC 2018 will bring your passion for travel and photography to the next level of excitement and engagement.
 
To find out more about the OPTIC 2018 Event and see a schedule of speakers, click here
Category: B&H News
Post Date: 5/16/2018 11:48:54 AM CT   Posted By: Sean

 
From the Tested YouTube Channel:
 
While attending the NASA Insight rocket launch recently, we have our first opportunity to set up a remote camera to photograph the nighttime launch. Norm goes over his gear used for his setup and the excitement of leaving that gear so close to a rocket in hopes to capturing a photo of the blast off!
 
Shot and edited by Norman Chan. Thanks to Trace Dominguez from Seeker for helping with filming!
 
Note that Chan uses a Miops Camera Trigger to capture the event, the same trigger I use to capture lightning. Chan also utilizes one of Bryan's favorite (and cheapest) accessories that he keeps in all of his camera bags.[Sean]
Post Date: 5/16/2018 11:32:00 AM CT   Posted By: Sean
As many of you are aware, I recently made an instructional photo tour available.
 
I am gauging interest in additional photography workshops / tours / expeditions / experiences ("workshop" hereafter) and if you are interested in joining me on such, I would be grateful for some feedback in the form of answers to a short survey.
 
Please take the short photography workshop survey
 
I am grateful for your time!
 
Bryan Carnathan Initials
Category: Workshops
Post Date: 5/16/2018 9:07:03 AM CT   Posted By: Bryan
 Monday, May 14, 2018
It looks like Yongnuo will soon be releasing a new 50mm f/1.8 lens, the YN50mm f/1.8 II. No word yet on the release date or retail price.
 
Specifications
 
YONGNUO YN50mm F1.8 II Lens Specifications

Category: YONGNUO News
Post Date: 5/14/2018 9:34:04 AM CT   Posted By: Sean
From Marketing Week:
It is almost exactly a year since Canon relaunched its brand with the aim of making it “accessible” to a wider group of customers. The shift was predicated on a realisation that the organisation needed to move from being product-centric to more customer-centric, focusing more on how its cameras and printers meet consumers’ needs rather than shouting about the latest specs.
 
The most obvious sign of this was a TV ad, ‘Live for the story’ created by VCCP, that positioned Canon as a storytelling brand. That was followed up by work with influencers such as Zoe Kravitz to tap into particular genres of photography, including family, travel and food.
 
“The underlying premise was how do we help you tell the best story of your life,” explains Lee Bonniface, marketing director at Canon Europe. “It’s an integration of the brand owning the space of storytelling and then the integration of our products and services to allow customer to be able to tell their story in the best way possible.
 
“It’s a higher order – it’s around imaging, not camera and it’s around video and reliving those stories.”
Read the entire article on Marketing Week.
Posted to: Canon News
Post Date: 5/14/2018 8:06:13 AM CT   Posted By: Sean
 Saturday, May 12, 2018
The ideal height to photograph wildlife, especially birds not flying (perched, standing, walking, swimming, etc.) is most often when the camera is level (pitch) and the bird is properly framed. Basically, this is the same level as the subject.
 
If the bird is on the ground and the ground is flat and void of visual obstructions, getting flat on the ground is a great option and a ground pod is a great support for this position.
 
If the bird is in or on the water, getting to their level immediately becomes more complicated. The embankments of most water bodies are raised at least somewhat over the water and that makes it hard to get down to bird-level from outside of the water. If possible, and you are OK with the risks involved, getting in the water can be a great way to get down to close to the ideal level. Still, the comfortable/safe height of the camera (and likely the tripod head) above the water usually leaves the bird at a still-lower elevation.
 
The next option is to get farther away. If the bird is near you, the camera will be angled downward more than if the bird is farther away. Of course, moving farther away means the bird is smaller in the frame. That is, unless a longer focal length is used.
 
Very long focal lengths are ideal for bird photography for a couple of reasons. The obvious reason is that they make the bird appear large in the frame from a less-frightening (mattering only to the bird usually) distance. The other reason coincides with one of the reasons for shooting from a level: to strongly blur the background.
 
Long focal lengths magnify the background blur, giving images a more-strongly blurred background that makes the subject stand out. Aside from the perspective making the bird look good, shooting from a lower position pushes background farther into the distance, farther outside of the depth of field and making your long focal length lens blur powers even more magical.
 
For this image capture, I was wearing chest waders and a Gore-Tex coat and sitting in the water up to my elbows (where the Gore-Tex jacket became an important part of the wardrobe). The temperature was in the 40s F (single digits C) on this day, so I had many layers on in addition. The tripod was positioned so that the apex was just above the water line and I was bent over to reach the viewfinder. Note that I'm not saying that a low shooting position is comfortable, especially after over 4 hours of not moving. But, what is comfort when making a good image is at stake?!
 
Being as low as I could go and using a long focal length (840mm) on a full frame body provided a great background blur right out of the camera. Of course, it is hard to take a bad picture of a subject as beautiful as a wood duck.
 
A larger version of this image is available on Flickr.
Post Date: 5/12/2018 6:00:00 AM CT   Posted By: Bryan
 Friday, May 11, 2018
From Sigma:
 
Responding to popular demand, the SIGMA Corporation is pleased to announce that another lens is compatible with the Rear Filter Holder FHR-11.
 
The chargeable installation service of the Rear Filter Holder FHR-11 for the SIGMA 14-24mm F2.8 DG HSM | Art for Canon starts from May, 2018.
 
The Rear Filter Holder FHR-11 is an accessory exclusively designed for the SIGMA 14-24mm F2.8 DG HSM | Art (for Canon) and the SIGMA 14mm F1.8 DG HSM | Art (for Canon). It enables photographers to use a sheet filter on the lens. By attaching the Rear Filter Holder FHR-11 to the rear of the lens, it allows more freedom for photographic expression.
 
Sigma Rear Filter Holder FHR-11 In-Use

For details of the price and the commencement date of the service, please contact your nearest authorized SIGMA subsidiary/distributor.
 
PACKAGE CONTENTS (UPC Code: 0085126 934866)
 
  • Rear Filter Holder FHR-11
  • Guide template
  • Fixing screws (3 pieces)
Please Note:
 
  • Any damage or faults caused by attaching the filter holder on your own will not be covered by the warranty.
  • This product is exclusive to the SIGMA 14-24mm F2.8 DG HSM | Art 018 for Canon and the SIGMA 14mm F1.8 DG HSM | Art 017 for Canon. Please do not attempt to attach it to any other lenses or mounts. There is a risk that it may cause damage to the lenses and cameras.
  • Please be careful to avoid scratches to the lens or the electrical contacts when attaching the filter holder.
  • Please ensure not to drop the small fixing screws inside the lens.
  • Please ensure you remove the filter after shooting as it could scratch the rear element of the lens.
If you would prefer to install the accessory yourself, the Sigma Rear Filter Holder FHR-11 is available at B&H and Adorama.
Posted to: Canon News
Category: Sigma News
Post Date: 5/11/2018 10:34:19 AM CT   Posted By: Sean
From Sigma:
 
Ronkonkoma, NY – May 11, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its 70mm F2.8 DG MACRO Art, the first prime macro lens to be adorned with the Art badge, will be available in Canon mount in the end of May for $569.00 USD through authorized US retailers. The Sigma mount model is expected to ship in June. The release of the Sony E-Mount version will be announced later.
 
The First Macro Lens in the Sigma Global Vision Art Line
 
Elevating the legendary Sigma 70mm F2.8 EX DG to the Art line, the brand new Sigma 70mm F2.8 DG MACRO Art prioritizes optical performance that defines the Sigma Art line, delivering stunning resolution and incredible clarity, while at the same time offering extremely smooth autofocus performance for a weightier, high-performance lens.
 
To achieve optimal results at every shooting distance, the lens features an extending, floating, two-group focus mechanism, which minimizes aberration at all focal lengths. In addition, the lens’ optical elements design increases resolution at close shooting distances, allowing for a razor-sharp in-focus area contrasted with a bokeh area free of color streaking.
 
Other feature highlights include focus-by-wire system featuring newly developed coreless DC motor for comfortable and precise focusing typically required for macro photography; compatibility of the Canon mount lens with the Canon Lens Aberration Correction function; and compatibility with Sigma Electronic Flash Macro EM-140 DG and Sigma Teleconverters.
 
Sigma 70mm f/2.8 DG MACRO Art Lens Preorders: B&H | Adorama
Categories: Sigma News, Preorders
Post Date: 5/11/2018 9:59:57 AM CT   Posted By: Sean
Making the long backstory short, my wife gave my father-in-law a Jack-in-the-pulpit seed for Christmas. My in-laws planted it in the spring and it grew, only to be dug out by an animal. It was replanted and the next year it was crushed by a bear. After installing three different types of fencing around the vulnerable plant, their Jack bloomed splendidly this year.
 
That led to the phone call from my mother-in-law, suggesting that I might have interest in photographing the plant. I was nearing the completion of a review and really wanted stay heads-down until it was finished. But, I felt the strong encouraging and started asking questions and for location pics via text.
 
Flowers do not often stay at their peak appearance very long (and who knew what might try to destroy this plant overnight). With the initial assessment leaning favorably to decent image potential, I went over with a MindShift Gear BackLight 26L full of gear, including a multi-off-camera flash setup and reflectors.
 
One of the challenges I faced was the background. Winter seemed to hang on forever this year and only a few days earlier a warm spell finally and very quickly accelerated leaf growth. Still, the available leaves, able to add a green color, were minimal and mostly brown was the surrounding forest and ground color, with dead leaves on the ground and bare tree trunks primarily visible. My tongue-in-cheek suggestion that we cut the flower was not found humorous.
 
Another challenge was the lighting. Good lighting is always key to a good picture. As the forest canopy had barely started growing leaves, I expected mottled direct sunlight to be a problem. The flashes and reflectors (able to provide shade as well as reflected light) were my insurance, ensuring that I could create my own lighting if necessary. Also, waiting until the sun set would give me full shade and completely even lighting.
 
As the background did not compare in attractiveness to the plant, blurring the background away was going to be a high priority and that meant long focal lengths and wide apertures. I contemplated taking the Canon EF 600mm f/4L IS II USM Lens with a 25mm extension tube, but the sloping ground was not going to give me optimal positioning from the subject distance that focal length would have required. I needed a shorter telephoto lens and opted to take the Canon EF 100mm f/2.8L IS USM Macro and the Canon TS-E 135mm f/4L Tilt-Shift Macro lenses with me. While the macro lens may be an obvious good choice, the tilt-shift lens has a 0.5x maximum magnification and with a narrow aperture desired, I thought the movements feature could be useful. That turned out to be a good choice as in the end, I only used the tilt-shift lens option.
 
Upon arriving on the scene, I found the sunlight to be mostly diffused on the plant with some of the background being touched by direct sunlight. Shade is typically cool in color temperature and late day sunlight is usually warm. That means a properly white balanced subject in the shade results in the sunlit background turning especially warm and that scenario often works well.
 
The composition was a bit of a challenge. I wanted to see the full flower without obstruction and the large leaves growing on two sides immediately limited the available angles. I also wanted to see the curved top of the jack in the frame and from the side or front of course. Upon working the scene, I saw that, with a low/level camera position, a pair of background trees were framing the Jack and keeping some border around those trunks framed the trees.
 
The inside of the pulpit (the spathe) and the Jack (spadix) of this particular Jack-in-the-pulpit are very bright in relation to everything else in the frame. Thus, my exposure goal was to make just a tiny part of the Jack blinking overexposed in the image review. I wanted the background to be as blurred as possible, emphasizing the Jack-in-the-pulpit in the image and that meant using the wide open f/4 aperture for this lens. I was using a tripod and wind was not an issue, so ISO 100 was selected for the lowest noise levels with the camera's mirror lockup and the self-timer mode being used. The shutter speed was adjusted until that small portion of the Jack was blinking during review on the camera's LCD.
 
As I worked the scene, adjusting/refining the camera position, I captured some bracketed exposures in case I wanted to the background to be brighter in the final image. In the end, I opted to use the original exposure for most of the image and dropped the Jack and pulpit by 1/3 stop to bring the brightest details down on the tone curve, slightly increasing contrast and bring a small amount of detail out on the nearly detail-void Jack.
 
Notice the tiny fly with red eyes sitting on the Jack? It is difficult to see at this resolution (I'll share a larger version on my Flickr account). Fortunately, I think he was only parking and not eating. Flies are attracted to Jacks by smell and in turn do the pollinating. He was an incidental subject that I didn't notice while photographing and he was only in a few frames. I liked the additional point of interest and opted to not stamp him out during post processing.
 
For this image, I used the tilt-shift lens as a normal lens with the movements in their zero position. But I did use movements for some images including this Jack-in-the-pulpit image.
 
As I was leaving, my mother-in-law mentioned "If they turn out well, I want to have a metal print made." Phew, going to take the pics was definitely the right decision.
 
A larger version of this image is available on Flickr.
Post Date: 5/11/2018 8:25:13 AM CT   Posted By: Bryan

 
In this video, Benjamin Warde gives a quick overview of the recently updated profile browser in Adobe Lightroom Classic CC.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 5/11/2018 7:17:57 AM CT   Posted By: Sean
 Thursday, May 10, 2018
B&H has the Canon Speedlite 470EX-AI Flash in stock with free expedited shipping.
 
Product Highlights
 
  • Auto Intelligent Bounce Head
  • Compatible with Canon E-TTL / E-TTL II
  • Guide Number: 154' at ISO 100 and 105mm
  • Zoom Range: 24-105mm (14mm with Panel)
  • Tilts Upward 120°, +/- 180° Rotation
  • AI.B Full-Auto and AI.B Semi-Auto Modes
  • Optical Receiver Mode
  • LCD Panel
  • AF Assist Beam
  • Runs on 4x AA Batteries
Posted to: Canon News
Post Date: 5/10/2018 3:36:12 PM CT   Posted By: Sean
Just posted: Rokinon AF 14mm f/2.8 Lens Review.
 
This is a good value lens.
 
The Rokinon AF 14mm f/2.8 Lens is in stock at B&H | Amazon | Adorama | WEX.
Post Date: 5/10/2018 7:30:00 AM CT   Posted By: Bryan
 Wednesday, May 9, 2018

 
From the Will Burrard-Lucas YouTube Channel:
 
I was challenged to recreate my African wildlife at night images on home soil. This is the resulting film in which I use a Camtraptions PIR Camera Trap Sensor to photograph barn owls in infrared.
 
Learn more about infrared camera conversions in our Infrared Camera Conversion by LifePixel Review.
Post Date: 5/9/2018 9:53:33 AM CT   Posted By: Sean
by Sean Setters
 
Before I get into the five tips for hood-mounted camera photography, it's important to note that having a reliable method for attaching your camera to the hood of an automobile is a requirement for this type of photography. The best tool I have found for the job is the RigWheels RigMount X4 Camera Platform with one of the magnetic mounts replaced with an RMH1 RigMount with Ball Head. The duo allows you to securely mount the X4 platform supported with 3 RML1 Long Magnetic Mounts on one side and the Ball Head Magnetic Mount on the other side, which can be adjusted to provide a secure magnetic connection on the side of the car.
 
With the absolutely required gear out of the way, let's get rolling (pun intended) with the tips.
 
1. Wash the parts of the car that will be visible in your image, including the hood.
 
I'm leading off with this tip because a) you'll want to complete this step ahead of time because washing a car with a camera attached is not advisable and b) it's something I forgot to do before taking the shot above. I did wipe down the hood with a cloth to get most of the loose dirt off the hood, but I completely forgot about the windshield. Dirt on the windshield will really stand out when light is reflected at certain angles and can cause a less clear/hazy view into the car's interior. Do yourself a favor and wash [minimally] the parts of the car that will be within the lens' field of view. Doing so will ensure you can easily see your subject/the car's interior and will reduce the amount of time needed for spot removal in post-processing.
 
2. Use a fisheye lens.
 
So why is a fisheye lens important? First, a fisheye lens gives you a very wide angle of view which makes the hood of the car look bigger/more prominent while also allowing any details on the hood (like a hood scoop) to be fully framed. And second, the fisheye lens' distortion makes the lines of the hood curved, leading to a much more intriguing, almost futuristic-looking image.
 
Note that one downside to using a fisheye lens is that such lenses do not accept front filters. Therefore, in order to obtain a slow enough shutter speed for optimal motion-blurred surroundings, shooting when the ambient light is minimal (in other words, at night) will be necessary.
 
3. Park under a street light to figure out your framing and exposure.
 
The best way I've found to figure out the best exposure values and obtain focus is to park under a street light. This has several benefits. For one, as street lights will likely be the primary source of illumination for the car, it makes sense to use a street light to dial in your exposure settings. As the hood will not be constantly exposed by a single light source in any of the desired moving images, it's best to set your exposure so that the hood is slightly overexposed in testing. Doing so will help account for the time the car is less illuminated between light poles. Of course, not all of the images the camera takes will be optimally exposed, but by using the street light to dial in your desired aperture, shutter speed and ISO, those images that are well-illuminated by one (or two) street lights will likely be in the ballpark of your test exposure.
 
Another benefit of parking under a street light is that you can usually set manual focus on the lens by using any light that is illuminating the car's interior and 10x Live View magnification on the camera.
 
And last but not least, the street light will help you set your desired framing. In most photography disciplines, getting your camera level is an optimal technique. However, significantly tilting a hood mounted camera makes it look like the car is traveling on an angle, sort of like a NASCAR stock car in a banked turn. Using Live View, experiment with different angles to see which one you think looks best.
 
4. Use a remote flash to light your subject(s).
 
While the car is an integral part of any hood-mounted image, a well-lit subject will provide a necessary focal point for the viewer. However, the subject will not be well-lit from the ambient light without the car being overexposed (especially with lighter exterior car colors). What you need is a remote, radio-triggered flash inside the car to illuminate your subject(s) during the exposure. It can be tricky to position your flash so that it is flattering to your subject yet remains unseen from the camera's position, so you may have to experiment (and problem solve) to figure out a plausible flash mounting solution, especially if you want to include a modifier in the mix. Also, be sure to choose an interval setting that includes a buffer time between images so that your flash has adequate time to recharge before the next shot.
 
5. Compositing can help you get the "perfect shot."
 
One of the great things about this type of photography is that there's an unavoidable random quality to the images that are captured. The look of the images can change dramatically based on the speed of the vehicle and the types of lights affecting the scene. You could drive the same stretch of road a dozen times with the same camera settings and no two images would look the same. On the one hand, that means you'll always get something unique. On the other hand, nailing the perfect shot takes a decent amount of luck and/or a bit of Photoshop. Because much of the image is static (never changes) and with the changing parts being motion-blurred and mostly unrecognizable, you can easily combine those areas from several images using a soft edged brush to blend desired areas of each image together.
 
About the Shot
 
Not too long ago, I installed Magic Lantern on my Canon EOS 5D Mark III so that I could test out a particular feature of the firmware add-on. While I ultimately found out that the feature didn't work as I had expected (and, therefore, was useless to me), the other benefits of having Magic Latern installed on the camera led me to leave it installed on my memory cards. One such feature, an full-featured intervalometer, made me want to recreate my favorite driving self-portrait, except using the full-frame camera instead of the EOS 7D Mark II + Rokinon 8mm f/3.5 Fisheye. The EOS 7D Mark II features a built-in intervalometer, making it really easy to use when mounted to the RigWheels RigMount X4 for the rolling car shot. However, the full-frame 5D Mark III was better at resolving fine details. With the intervalometer feature enabled by Magic Lantern, all I needed was a fisheye lens that would enable me to simulate the perspective of the Rokinon 8mm f/3.5 on the APS-C camera.
 
Considering that this would be a lens I intended to use sparingly, purchasing a used model seemed to make a lot of sense. Therefore, I started keeping an eye out for full-frame fisheye lenses in B&H's used inventory as well as eBay. After a couple of weeks, I ran across a Rokinon 12mm T3.1 Fisheye auction going for a very reasonable price and watched it carefully. For my intended use of the lens, autofocus was not necessary; a manual focus lens would work just fine. I ended up winning the auction with a bid significantly less than half the retail price, so needless to say I was very happy with the acquisition. Of course, there are some risks in buying a used lens, which is why I wanted to give it a thorough test after it arrived on my doorstep. Thankfully, it performed excellently.
 
The Setup
 
To get the shots used for the composite above, I mounted the Canon EOS 5D Mark III + Rokinon 12mm T3.1 Fisheye on the passenger side corner of my hood with the lens set to T4 and focused where the driver would be. The camera was set to Manual mode with a 2.5 sec. exposure at ISO 200. I used the Tungsten white balance setting because most of the streetlights in Savannah emit a very warm colored light. To light myself in the driver's seat, I used a background light stand situated in the floor of the passenger side with an umbrella swivel supporting a radio triggered full CTO gelled Canon Speedlite and Lumiquest Ltp softbox mounted on top. The flash and modifier were positioned as high as I could get them without the softbox being visible to the camera for more of a side light (as opposed to an under light) and the CTO gel allowed the color of the flash's output to closely match the light emitted by the streetlights, easing the color correction process.
 
With all the camera gear in place, I set Magic Lantern's intervalometer dialogue to take a picture every 6 seconds with a 20 second delay before the first shot. These settings gave my flash plenty of time to recharge between shots while also not wasting shots as I returned to the driver's seat after starting the sequence. After exiting the ML settings (triggering the start of the intervalometer), I hopped in the car and headed to downtown Savannah where I did a loop before returning home. In the relatively short drive, I captured 176 images.
 
Post-Processing
 
My ideal shot would meet the following requirements:
 
  • The subject would not be motion blurred or blocked by a street light's glare on window.
  • The hood would be well-lit without the camera's shadow detracting from the image.
  • The surroundings would be adequately blurred and interesting-looking.
Unfortunately, none of the 176 images captured met all of those requirements to my fullest satisfaction. However, several of the images met some of the requirements, with the net effect that all requirements could be met by combining a few of the images in post-processing.
 
Here was the base image:
 
Cruisin with the RigWheels RigMount X4 and Rokinon 12mm Cine Lens Base Image

I chose the above for the base image because the hood was well and evenly lit without an obvious shadow being cast by the camera rig, my facial expression was suitable and generally liked the background blur. However, I thought the area along the right side in the blurred area was lacking interest, so I found an image where I liked that part of the frame better.
 
Cruisin with the RigWheels RigMount X4 and Rokinon 12mm Cine Lens Image 2

After masking the second image and blending the desired areas of the frame, I ended up with this:
 
Cruisin with the RigWheels RigMount X4 and Rokinon 12mm Cine Lens Image 2 with Base

However, I still wasn't satisfied with the image. At this point, I didn't really like the dark area on the left side of the frame and I decided I wasn't completely happy with my facial expression and the direction of my gaze. Coincidentally, I had captured another image that solved both of those problems.
 
Cruisin with the RigWheels RigMount X4 and Rokinon 12mm Cine Lens Image 3

After blending in the desired parts of that image and a bit of spot healing, I ended up with the final result:
 
Cruisin with the RigWheels RigMount X4 and Rokinon 12mm Cine Lens

You can see a higher resolution version of the image on my Flickr photostream.
 
So who would be interestd in these types of images? Anyone who owns a car that they are proud of (or has a sentimental attachment to). You probably already know someone who spends evenings and weekends working on their pride and joy. Potential clients also abound at car meetups and race events.
 
Here's a recap of the gear you may need to create dynamic car shots:
 
Relevant Article
 
Post Date: 5/9/2018 8:00:22 AM CT   Posted By: Sean
 Tuesday, May 8, 2018
It looks like Yongnuo will soon be releasing a new manual focus macro lens, the YN60mm f/2 MF. (thanks Bali)
 
Specifications
 
Focal Length60mm
Lens Construction9 groups 10 blades
Aperture Blades7 blades
Minimum Aperturef/16
Min. Focusing Distanceabout 0.234 meters
Maximum Magnification
Filter Diameter67mm
Size (DxL)about 76×115mm
Weightabout 586g

Although it's not specifically stated in any documentation that I can find, it will at least be released in a Canon EF-mount version as the product pictures clearly show a Canon mount.
Posted to: Canon News
Category: Yongnuo News
Post Date: 5/8/2018 1:45:36 PM CT   Posted By: Sean

 
From the Adobe Photoshop YouTube Channel:
 
Explore different blend modes that can be used for creative color and tonal edits in Photoshop CC.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 5/8/2018 12:02:39 PM CT   Posted By: Sean
The DJI Phantom 4 Pro and Pro+ v2.0 Quadcopters are available for preorder at B&H with free expedited shipping.
 
DJI Phantom 4 Pro and Pro+ v.2.0 Highlights
 
  • 1" 20MP CMOS Sensor
  • Gimbal-Stabilized 4K60 / 20MP Imaging
  • Ocusync Transmission
  • FlightAutonomy with Redundant Sensors
  • Four Directions of Obstacle Avoidance
  • Top Speed of 45 mph in Sport Mode
  • Maximum Control Range of 4.3 Miles
  • Visual Tracking of Moving Subject
  • Up to 30 Minutes Flying Time
  • Remote Controller Included
Categories: Preorders, DJI News
Post Date: 5/8/2018 8:37:15 AM CT   Posted By: Sean
From Canon USA:
 
Thank you for using Canon products.
 
We have determined that some units of the EF 200-400mm f/4L IS USM Ext. 1.4x interchangeable lens for digital SLR and mirrorless cameras exhibit a phenomenon in which the focus may not be achieved during AF shooting. Firmware which addresses this phenomenon is available for download below.
 
We would like to offer our sincere apologies to users who have been inconvenienced by this issue. Going forward, we will spare no effort in our quality management to make sure our customers can use our products with confidence.
 
Phenomenon
 
When using this lens with some camera models* and performing AF shooting from approximately 3m, the subject may not be in focus in some occasions.
 
* Camera models: EOS-1D X Mark II, EOS-1D X, EOS-1D C, EOS 5Ds, EOS 5Ds R, EOS 5D Mark IV, EOS 5D Mark III
 
Affected Products
 
  • Canon EF 200-400mm f/4L IS USM Extender 1.4x lenses with Firmware Version 1.0.0
Support
 
Download Firmware Version 1.1.0 for the EF 200-400mm f/4L IS USM Extender 1.4x
 
Customers who own one of the affected camera models above, or one of the cameras** that can be used for the lens’ firmware update can download the latest firmware version and then perform the lens’ firmware update using the camera.
 
** EOS-1D X Mark II, EOS-1D X, EOS-1D C, EOS 5Ds, EOS 5DsR, EOS 5D Mark IV, EOS 5D Mark III, EOS 6D Mark II, EOS 6D, EOS 7D Mark II, EOS 80D, EOS 70D, EOS Kiss X9i, EOS Kiss X9, EOS Kiss X8i, EOS Kiss X7i, EOS Kiss X7, EOS Kiss X6i, EOS M6, EOS M5, EOS M3, EOS M2, EOS M, EOS M100, EOS M50, EOS M10. Please note that EOS M camera models require an adapter EF-EOS M to connect to the EF 200-400mm f/4L IS USM Extender 1.4x lens.
 
If you have not already done so, please register your Canon Product. By registering, we will be able to notify you via email about future announcements.
 
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
 
Thank you,
Customer Support Operations
Canon U.S.A., Inc
Posted to: Canon News
Post Date: 5/8/2018 8:16:16 AM CT   Posted By: Sean
From Photoshelter:
 
Presenting the American Photography Open 2018. A new competition to celebrate the best pictures submitted by photo enthusiasts, taken with any device.
 
For over 30 years American Photography has been holding a juried competition for pro photographers. Now with the proliferation of so much great photography taken by everyone we are introducing a new competition for photo enthusiasts at all levels.
 
Our judges will include members of the Pro Photo Daily staff, Julia Sabot from Blink, Alison Zavos Editor of Feature Shoot, Reuel Golden Editor at Taschen, Marc Asnin from Boulevard Artists, a Tamron Image Master and they, along with the community who register, will award prizes for the best images submitted in 2018.
 
Final Deadline: August 24, 2018
 
ENTER HERE
 
A Short List will be announced in September and a Community Voting Gallery will be available for voting.
 
In October ten finalists will be announced who will receive prizes including selected products/ services from our partners, an exhibit of their prints and recognition at our awards event at Photo Plus in New York City and a chance to participate in a Photo Walk conducted by one of the Tamron Image Masters during the show.
 
The Grand Prize of $5000, a Tamron 24-70 G2 lens (value $1200) plus additional prizes from our partners, will be announced along with the Community Voting Award winner at an event at Photo Plus on Thursday Oct. 25th. 2018.
 
The entire 2018 short list collection will be featured in a book that will be available to download for free or purchase as a hard copy.
 
HERE’S HOW IT WORKS
 
Your initial entry (one image) is free through July 1, 2018. You can enter an additional 2 images, for a total of 3, for $25; an additional 6 images for a total of 7 for $50; or an additional 15 images for a total of 16 for $100. If you have more images you would like to enter they can be added for $5.50 each. Once your entry has been paid there are no refunds provided.
 
You keep all rights to your images: AI-AP does not retain any rights to your work when you make your submission. Upon selection, permission is given only for use in the book, website, finalists exhibit and any promotion for American Photography relevant to the contest. Proper artist credit is always given along with contact information where applicable.
 
JPG files are required for submission. Upload files 72dpi, RGB, up to 1000 pixels on the LONGEST side, up to 20MB. Use any unique file name, but do not include special characters or spaces in the file name. Save file as a .jpg.
 
You don’t have to submit high-res files: If your image is selected as a finalist, we will request hi-res files at minimum 300 dpi, 20x13", CMYK for reproduction.
Post Date: 5/8/2018 8:03:45 AM CT   Posted By: Sean
For those shopping for their first non-smartphone camera, a backup camera for a current kit or simply upgrading from a lower level/previous generation Rebel-series camera, the Canon EOS Rebel T7i/800D and EOS M5 are likely to be considered. Today, we're going to look closely at these two cameras to see which might be the better option for acquisition.
 
Canon EOS Rebel T7i/800D and EOS M5 Shared Primary Features:
 
  • Resolution: 24.2 MP / 6000 x 4000 pixels
  • Dual Pixel CMOS AF, up to 1080p 59.94 fps
  • HDMI out & external mic jack
  • Crop Ratio: 1.6x
  • Processor: DIGIC 7
  • Metering Range: EV 1 – 20
  • Auto ISO Range: 100 - 25600
  • Shutter Speed: 30 - 1/4000 sec
  • Built-in Wi-Fi, NFC and Low-Energy Bluetooth
  • Flash hot shoe
Primary Advantages of the Canon EOS Rebel T7i/800D:
 
  • Natively compatible with EF, EF-S, TS-E & MP-E lenses
  • AF Working Range: EV -3 - 18 vs. EV -1 - 18
  • Exposure Compensation: +/-5 EV vs. +/-3 EV
  • Higher Max ISO: 51200 vs. 25600
  • Vari-angle LCD screen vs. tilt only
  • Ambience priority, white priority AWB vs. ambience only
  • More Powerful Pop-up Flash: 13.1 GN (m) vs. 5
  • Integrated Speedlite Transmitter vs. N/A
  • Longer Battery Life: 820 shots vs. 295 (420 with Eco Mode On)
  • Larger, more comfortable grip size
  • Optical viewfinder
  • Lower cost
Primary Advantages of the Canon EOS M5:
 
  • Native EF-M lenses are smaller/lighter than similar EF-S/EF lenses
  • Compatible with EF, EF-S, TS-E & MP-E lenses via adapter
  • More AF points: 49 vs. 45
  • Focus peaking vs. N/A
  • Faster Continuous Shooting: approx. 9 fps (7fps with AF) vs. 6
  • Electronic viewfinder
  • Better Viewfinder Coverage: 100% vs. 95%
  • Larger / Higher Resolution LCD: 8.0 cm (3.2”), 1,620 K dots vs. 7.7 cm (3.0"), 1040 K dots
  • Smaller Size: 4.6 x 3.5 x 2.4" vs. 5.16 x 3.93 x 3.00" (115.6 x 89.2 x 60.6mm vs. 131.0 x 99.9 x 76.2mm)
  • Lighter Weight: 15.1 oz. vs. 18.77 oz (427g vs. 532g)
Who should opt for the Canon EOS Rebel T7i/800D?
 
If you are a current Rebel-series owner but simply long for the benefits of a Dual Pixel CMOS sensor, and the size and weight of your current kit is a non-issue, then the EOS Rebel T7i/800D will offer a seamless transition with no adapters required to use your current set of lenses and a familiar button/control layout that feels right at home in your hands. With no adapter required, there's one less vital piece of gear to be forgotten or malfunction. Just remember your fully charged battery and a memory card, throw your lenses in a bag and you're good to go (although we do recommend packing other items as well).
 
Note that the T7i has an optical viewfinder (OVF) while the EOS M5 has an electronic viewfinder (EVF), and both show up as advantages for their respective cameras. Depending on what you're shooting and what your preferences are, either one may be more beneficial than the other. Check out our OVF vs. EVF comparison here.
 
If you're interested in exploring off-camera lighting, the Rebel T7i offers an integrated Speedlite transmitter that will allow you to control off-camera Canon Speedlites remotely. The Rebel T7i's more sensitive AF system is able to lock on in lower light, and its battery will keep you shooting long after the EOS M5's battery has been exhausted. And if you're on a tight budget, the Rebel T7's lower price tag will make it an even more attractive option.
 
Who should opt for the Canon EOS M5?
 
The EOS M5 represents a huge step up in image quality for those coming directly from a smartphone, and its size and weight will provide an easier transition into ILC (Interchangeable Lens Camera) photography compared to a traditional DSLR body. The EOS M5 will also be a great choice for current Canon DSLR owners who want a compact option that can also serve as a backup camera in a pinch (with the adapter) or otherwise want a reduced load for vacations, hiking or business trips, especially when one of Canon's EF-M series lenses will fit the bill perfectly..
 
On top of the size and weight advantages of an M-series kit, the M5's faster burst rate in single shot mode can help you capture the peak action as long as AF tracking is not needed for the specific situation. And if you prefer the benefits of an EVF (Electronic Viewfinder), then the M5 becomes the easy choice.
 
Summary
 
While the EOS M5 is a very capable camera with the size and weight benefits a mirrorless system brings, Canon's current [limited] EF-M lens selection may not provide all the flexibility desired in an ILC kit. And while Canon's complete EF/EF-S/TS-E/MP-E lenses can be used with an adapter, using lenses designed for DSLRs on a mirrorless camera negates much of its most alluring quality, its reduced size and weight.
 
On the other hand, the EOS Rebel T7i/800D, with its native ability to mount Canon's full range of EF, EF-S, TS-E and MP-E lenses, along with its higher battery life and built-in Speedlite transmitter, represents a simpler and more versatile platform on which to build a photography kit.
 
For those general purpose photography situations where a single, variable aperture zoom lens will suffice, the EOS M5 paired with an EF-M zoom lens can be a very convient option that will not be a burden to carry throughout the day. Note that as Canon releases more EF-M lenses, the versatility of an M-series kit increases along with the M5's appeal.
 
More Information:
 
Posted to: Canon News
Post Date: 5/8/2018 7:53:24 AM CT   Posted By: Sean
The Canon Digital Learning Center recently posted tips for photographing different events: graduation, bridal and baby showers. Check out the links below for more information.
 
CDLC Articles
 
Post Date: 5/8/2018 6:48:27 AM CT   Posted By: Sean
 Monday, May 7, 2018
Just posted: Zeiss 15mm f/2.8 Milvus Lens Review.
 
This review did not have the typical Zeiss ending.
 
The Zeiss 15mm f/2.8 Milvus Lens is in stock at B&H (available used also), Amazon and Adorama.
 
Note that the Zeiss 15mm f/2.8 Classic Lens is currently available and is a bargain at B&H (used also available) and Amazon. A specially modified version (shade removed) is available for a $500 premium over the Milvus lens at Adorama.
Post Date: 5/7/2018 8:10:48 AM CT   Posted By: Bryan
Canon Europe has posted a very interesting article called "Robots to Hand Polishing: 10 Facts from Canon's L-Series Lens Factory" which contains a lot of information on Canon's highest quality lenses. For instance, did you know that if all the Canon EF lenses were laid end-to-end, they would likely stretch halfway around the world?
 
Check out the entire article on the Canon Europe website.
Posted to: Canon News
Post Date: 5/7/2018 8:01:28 AM CT   Posted By: Sean
 Sunday, May 6, 2018
When there is a choice, I nearly always go after the elk with the nicest antlers. While everyone has opinions on what "nicest" means, I generally look for overall size (bigger is better with age, genetics and nutrition aiding this aspect), symmetry (or character if something unusual is present), shape (classic shape with long curved tines and a big whale tail) and color (dark with ground-polished white tips is perfect).
 
This bruiser checked most of those boxes and in this position, his primary flaw, a missing G2 (second point from the base) on the left side, is nicely hidden. This 6x5 had not long ago lost a fight with a bull with antlers that were smaller overall. In the battles, it is often the size of the elk's body that matters most and this one needed to go eat more. He is still talking to the nearby herd with a bit of food still in his mouth.
 
This pursuit started not too far from the car, but I eventually ended up on a ridge a good distance from where I parked. When a light rain ensued, I was thankful for weather sealed gear as I did not bring a backpack and would not have been pleased to have to leave a subject as nice as this one.
 
I usually use a shutter speed faster than 1/400 second when photographing elk. But, elk usually move slowly while bugling. So, I grabbed some immediate insurance shots and then rolled the shutter speed down to go after lower noise images. Manual mode was selected with a wide open aperture and auto ISO adjusting for the shutter speed change I made.
 
A larger version of this image is available on Flickr.
Post Date: 5/6/2018 7:00:00 AM CT   Posted By: Bryan
 Friday, May 4, 2018

 
I really like Ian Spanier's use of lighting diagrams to help explain the various setups covered in this presentation. The diagrams alongside the captured images make following his lighting descriptions very easy. [Sean]
 
From the B&H YouTube Channel:
 
Award-winning photographer (and author) Ian Spanier shares his techniques for capturing great photos through proper lighting and storytelling; preparing for shoots by outlining sketches, setups, and lighting concepts; and adjusting on the fly when things don’t go according to plan. This video contains a wealth of useful information for aspiring and professional photographers alike.
Post Date: 5/4/2018 8:51:00 AM CT   Posted By: Sean

 
In this video, Adobe's Julieanne Kost shows us how to use a smartphone to create seamless patterns in Photoshop CC.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 5/4/2018 6:40:26 AM CT   Posted By: Sean
 Thursday, May 3, 2018
From the Adobe Blog:
 
By Sharif Karmally
Sr. Product Marketing Manager, Creative Cloud for Education

 
05-03-2018 – I'm inspired by the educators I meet around the world who use technology to improve the way students learn and build creative problem-solving skills. Our research showed that this is important to nearly every educator and policymaker because professions which require creative problem-solving are less likely to be impacted by automation, and more likely to pay high salaries.
 
The study also confirmed that many of the barriers to teaching these skills that I’ve seen in classrooms are universal — some of the biggest of which are limited budgets, access to technology, and time to learn new apps. As teachers shift their classrooms to incorporate creative projects that build these skills, we at Adobe are also shifting our offerings to give them an affordable, easy, and quick way to succeed.
 
In January, we announced we were providing access to Spark for Education, a set of storytelling apps with premium features and additional capabilities for K-12 and higher education institutions, free of charge. And now, we’re pleased to announce that beginning May 15, 2018, the full suite of Adobe Creative Cloud apps will be available to K-12 schools via their authorized Adobe reseller for $4.99 per user license, per year, with a minimum purchase quantity of 500 licenses for a single school, or 2,500 licenses for a school district.
 
Like Spark for Education, Creative Cloud for K-12 provides a method for schools to deploy licenses to students of any age in a way that is consistent with the Children’s Online Privacy Protection Act (COPPA) and other data privacy laws. And, it can be set-up with a single sign-on so that students and teachers can use their existing school ID to access Creative Cloud.
 
What I’m most excited about is that it allows students to access apps like Photoshop, Illustrator, Premiere Pro, XD, and more, wherever they are — and on any device. I recall visiting a high school class where the students were creating posters for a social cause they care about using Photoshop. They were so excited to have a visitor from Adobe, they all applauded. But then a hush fell over the room, and one of them asked their teacher, “How will I finish my project if we can’t work on it during this class?” Talking to the teacher more, I learned that because access to Creative Cloud was limited to the computer lab, they had to dedicate much of their class to students working on their project. They could not spend as much time as they wanted teaching students the principles of design and visual communication. With the new user licensing we are announcing today, students can continue working on projects at home, and on any device, simply by logging in and opening the apps and services they need.
 
In addition to making Creative Cloud affordable, Adobe is working to provide additional professional development resources to educators, in partnership with Edcamp, an organization dedicated to building and supporting communities of empowered educators. Together, we will be bringing educators together to share projects and courses focused on implementing creative problem-solving in the classroom. And beginning next year, Adobe will begin conducting hands-on professional development workshops, both in schools around the country and online, to teach educators new project-based use cases for Adobe Spark and Creative Cloud. This is all in addition to the Adobe Education Exchange, a place where educators can access free courses, workshops, and teaching materials.
 
We are on an exciting journey, collaborating with educators to empower the next generation to be lifelong creators. With these two new offers, Spark for Education and Creative Cloud for K-12, we’re equipping teachers with the apps, training, and support they need to make this happen. We can’t wait to see all of the amazing things students create on their journey to becoming the creative problem solvers of the future.
Category: Adobe News
Post Date: 5/3/2018 12:35:57 PM CT   Posted By: Sean
From the Canon Digital Learning Center:
By Jennifer Wu
 
In awe of the spectacular colors, I dreamed of seeing the northern lights and photographing them. I called a friend, asking him to go with me to Alaska and though auroras were on his bucket list, he wanted his first trip to Alaska to be in summer. I promised rugged Alaskan landscapes with fall colors like summer, but with even better colors and he agreed! I hadn’t been to Fairbanks, Alaska before, but I was sure it would be grand. Arriving, we were greeted with a snow-covered landscape. “Where are the fall colors?” he asked and I quickly promised him that the northern lights would be spectacular.
 
The first two nights were completely overcast with no sign of the lights. By the third night we could only see a hint of green color through heavy clouds. With a promising weather forecast on the forth night, we drove north along the Haul Road to a mountain pass and waited in the bitter cold, hoping for clear skies and auroras.
 
The moon had set below the horizon, darkening the star-filled sky. At 1 a.m. the clouds finally cleared and the auroras appeared! They were dim at first, but at least visible. We photographed the light show as it danced in the night sky. It was more than I could have imagined! Curtains of light formed, swaying with rhythmic motion, dimming and then glowing more intensely. Excited, I watched a dream coming true. Now, my friend can’t wait to return to photograph more of these "fall colors!"
See the entire article on the Canon Digital Learning Center.
Posted to: Canon News
Post Date: 5/3/2018 11:41:26 AM CT   Posted By: Sean
Days Inn, a Wyndham hospitality enterprise, is looking for a talented amateur photographer to photograph sunsets across the contitental US for an entire month to for use as artwork in its sun-themed hotels.
 
From Days Inn:
 
The Ask
 
Bring your SPF because this month-long Sun-ternship will have you snapping photos in America’s sunniest cities—from sunrise yoga in San Diego to a sunset sail in Miami, and lots of sunny moments in between.
 
What’s more, you’ll get major photo props. Photos captured along the way will be featured on our site, social media channels, and hotel walls. We are bringing the sunshine inside with sun-themed art in nearly 1,500 hotels across the country and your very own sun shots will star in select locations. See below for details.
 
Your summer mission in a snapshot? Seize the days. Take beautiful photos of the sun. See those photos featured in hotels and online. Get paid. Be the envy (and most sun-kissed) of all your friends.
 
The Perks
 
  • Travel to select sunny cities across America over the course of one month this summer.
  • Capture as many sun-inspired photos as your camera roll will hold.
  • A $10,000 stipend.
  • Photos featured on the brand’s website, social channels, and walls at select Days Inn hotels in the U.S.
  • Paid travel expenses to explore sunny destinations around the country for one month.
  • Wyndham Rewards Diamond status. Not Gold, not Platinum, but Diamond—which means early check-in, late checkout, and more. Learn how your status with our award-winning loyalty program can also get you free nights.
  • A glowing recommendation upon completion of the Sun-ternship from Barry Goldstein, Wyndham Hotel Group’s executive vice president and chief marketing officer.
Who We’re Looking For
 
We’re on the hunt for a creative amateur photographer* with a passion for adventure and the ability to travel across the U.S. for one month this summer. If you’re a thrill-seeker looking for new, unforgettable experiences, you might just fit the bill.
 
*Must be a U.S. resident and 21 years or older to be considered.
 
How to Apply
 
Send us your favorite original outdoor photo and tell us in 100 words why you’re the best person for the job. The deadline to apply is May 20, 2018.
 
Apply Now via Email
Post Date: 5/3/2018 7:29:59 AM CT   Posted By: Sean
B&H has UniqBall's new IQuick3Pod Carbon Fiber Tripods in stock with free expedited shipping.
 
Product Highlights
 
  • 10-Layer Carbon Fiber Legs
  • Twist Locks
  • Built-In Leveling Base
Post Date: 5/3/2018 5:26:11 AM CT   Posted By: Sean
 Wednesday, May 2, 2018

 
From the Adorama YouTube Channel:
 
In Ep 113 of Two Minute Tips, David Bergman shows you how to use on-axis fill to enhance your pictures without changing the overall feel.
 
Note: In this example, the framing and distance to subject lead to a very small catchlight in the subject's eyes. For tighter subject framing, the circular catchlight caused by the ring light would be more obvious. Some people like the circular catchlight while others do not. Be sure to gauge how your subject feels about the circular catchlight before using a ring light (showing examples can help).
 
I used to own a dedicated ring flash, but it was so cumbersome to set up that I rarely used it and eventually sold it. Now I prefer to use a RoundFlash Magnetic Ringflash Adapter paired with an on-camera Speedlite. [Sean]
Post Date: 5/2/2018 8:57:22 AM CT   Posted By: Sean
Post Date: 5/2/2018 8:04:50 AM CT   Posted By: Bryan
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