|Angle of View (diagonal)|| 34°21' -11°46'(for full-frame format)|
23°01' -7°46'(for APS-C format)
|Optical Construction||20 elements in 14 groups|
|Minimum Object Distance||37.4 in|
|Maximum Magnification Ratio||13.1|
|Length*||for Canon6.9 in.|
for Nikon 6.8 in.
|Weight**|| for Canon 30.3 oz.|
for Nikon 30 oz.
|Aperture Blades||9 (circular diaphragm)|
|Image Stabilization Performance|| 4 stops (CIPA Standards Compliant)|
For Canon : EOS-5D MKIII is used / For Nikon : D810 is used
|Standard Accessories||Lens hood, Lens caps|
|Compatible Mounts||Canon, Nikon|
Skim the pages of any fitness magazine and you’re likely to see a Nike Swoosh. Glance up at a billboard and you might see Mastercard’s dual circles staring down at you. Do you recognize these brands? Of course. What makes their logos work? First, recognize a logo on its own is not a brand identity, but just one part of it. Think of all the pieces of your identity together and how they can be aligned visually with your logo to make up a cohesive and effective brand identity.See the entire article on the Adobe Blog.
Whether you’re trying to establish a new brand or get creative with one that’s already well-known, an effective logo is key. Context and style may vary from year-to-year, but the principles and best practices that guide logo design remain unchanged.
When we think about the elements of effective logos, here are some things to keep in mind.
The New York Times is seeking a staff photographer who will primarily cover the White House and Capitol Hill. The ideal candidate is an experienced photojournalist committed to visual storytelling of all kinds, and must possess a deep interest in and understanding of American politics and government.You can apply for the White House Photographer Position on the New York Times website.
The position will be based in Washington, D.C., but will entail national and international travel.
The ideal candidate is a versatile visual journalist who is technically adept and open to working in a wide array of visual approaches and formats. This position requires diplomacy, ingenuity, and the ability to convey the world of Washington to our readers with images that go beyond press briefings and photo sprays. The ideal candidate will excel under deadline pressure and will also possess excellent reporting and writing skills, as he or she will be expected to provide not only imagery, but accurate and thorough captions and accompanying reporting.
The candidate should be an excellent collaborator and should be able to generate and execute story ideas and project proposals.
This Guild job is based in Washington, D.C., and may include night and weekend work.
The New York Times Company is an Equal Opportunity Employer and does not discriminate on the basis of an individual's sex, age, race, color, creed, national origin, alienage, religion, marital status, pregnancy, sexual orientation or affectional preference, gender identity and expression, disability, genetic trait or predisposition, carrier status, citizenship, veteran or military status and other personal characteristics protected by law. All applications will receive consideration for employment without regard to legally protected characteristics.
|CFast 2.0||550MB/sec||128GB, 256GB, 512GB||$229.99, $349.99, $699.99|
|SDXC UHS-II, Class U3||200MB/sec||64GB, 128GB, 256GB||$54.99, $94.99, $189.99|
|CFast & SD Dual Slot Workflow Reader||CFast 2.0, SDXC||USB 3.1 Gen. 2 Up to||10Gb/sec||79.99|
|Canon||Canon EF 85mm f/1.4L IS USM|
|Leica||Leica NOCTILUX-M 75mm f/1.25 ASPH.|
|Leica||Leica THAMBAR-M 90mm f/2.2|
|Rokinon||Rokinon SP 14mm f/2.4|
|Rokinon||Rokinon SP 85mm f/1.2|
|Sony||Sony E 18-135mm F3.5-5.6 OSS|
|Tamron||TAMRON 100-400mm F4.5-6.3 Di VC USD A035|
|Tamron||TAMRON 100-400mm F4.5-6.3 Di VC USD A035 x1.4|
|Tamron||TAMRON 100-400mm F4.5-6.3 Di VC USD A035 x2.0|
|Zeiss||Zeiss Milvus 1.4/25 ZE|
|Zeiss||Zeiss Milvus 1.4/25 ZF.2|
|Multi expose ctrl||Additive|
|No. of exposures||2|
|Save source imgs||All images|
|Continue Mult-exp||1-shot only|
Front Conversion Service: Service OverviewI can't help but think that very few people will be removing their Sigma 14-24mm f/2.8 DG HSM Art's hoods, but the option is available for those doing "multi-camera work."
To support the needs of virtual reality creators engaged in multi-camera videography, SIGMA is offering the new Front Conversion Service for the 14-24mm F2.8 DG HSM | Art lens . With this service, SIGMA converts the petal-type hood of the lens to an exclusive round component that lacks a light-blocking function. The new front helps prevent the lens from interfering with other lenses or from casting a visible shadow during multi-camera work. This is a for-fee service performed exclusively by SIGMA. Use of the service has no impact on the validity of the product warranty.
Cost, service time and warranty depends on each country and territory.
Please contact your nearest authorized SIGMA service station for more information.
Others in the industry are at risk if they don’t know that various freelance crew members qualify as employees, not independent contractors—at least in California and New York. Employers in those states—including photographers and producers—must withhold taxes from the wages of employees, provide workers’ comp and unemployment insurance, and in California at least, pay employees immediately at the end of a job.Read the entire article on PDN.
“It’s a huge can of worms,” says a freelance ad agency art buyer who asked for anonymity to protect relationships with her clients. “[M]any New York agencies and most editorial entities are refusing to reimburse any cost associated with payroll.” Those costs can increase crew expenses on a shoot by 20 to 30 percent.
The statutory penalty under California law for “willfully” misclassifying an employee as an independent contractor is now a minimum of $5,000 per infraction. And the statutory penalty for failing to pay an employee in California at the end of a job—including a still photo shoot—is the employee’s day rate times the number of days the paycheck is delayed, up to a maximum of 30 days.
|Lens construction||17 elements in 11 groups|
|Angle of view||114.2° - 84.1°|
|Number of diaphragm blades||9 (Rounded diaphragm)|
|Minimum focusing distance||26cm* / 10.2 in.*|
|Maximum magnification ratio||1:5.4|
(diameter x length)
|96.4mm × 135.1mm / 3.8in. x 5.3in.|
|Weight||1,150g / 40.6oz.|
I was hanging SB-80 flashes all over aircraft with these cheesy, flimsy, third party [lousy] hot shoe clamping doobers, and getting frustrated as [could be], cause the little ball heads really couldn’t hold more than a thimble full of weight, and they were always slipping and the flashes would spill light in unwanted directions.So now you know!
I called my bud Justin Stailey, then of the Bogen Corporation, and complained. Photographers. We’re good at complaining. I said there had to be a better way, and Justin being Justin, found one. He brought some off the shelf Manfrotto parts over to my studio and cobbled this little Frankenstein of a clamp together. I said "Perfect, that’s what I want, give me 10 of them."
I wrote about in American Photo, and called it the Justin Clamp. Got Justin in hot water, though, cause his professors at RIT were pretty upset that a relatively recent graduate all of a sudden had a frikkin’ piece of equipment named after his own self. Justin is now with Leica cameras, and exploring the wonders of German optics.
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