SAN JOSE, Calif. – Adobe (Nasdaq:ADBE) today reported strong financial results for its second quarter fiscal year 2018 ended June 1, 2018.
A reconciliation between GAAP and non-GAAP results is provided at the end of this press release and on Adobe’s website.
"Adobe delivers all the capabilities to enable transformative digital experiences, including content creation and management, predictive analytics and commerce," said Shantanu Narayen, president and CEO, Adobe. "Our record results in Q2 reflect continued execution against this significant opportunity where Adobe is the clear market leader."
“Adobe delivered record revenue with strong earnings and cash flow, and we expect our momentum to continue in the second half of fiscal 2018," said John Murphy, executive vice president and CFO, Adobe.
I advised my daughter and then-future son-in-law that something would go wrong with the wedding and that they should be ready to adjust plans as necessary.
What went wrong started with my youngest daughter waking up at 3:00 AM with a fever of 101.7° F (38.7° C) on the day before the wedding. I was so sad for her and expected the virus to have her in its grasp through the wedding day and beyond. Fortunately, after many prayers and sleeping much of the morning, she was feeling much better the same evening and was able to enjoy the wedding rehearsal and dinner afterwards.
That rehearsal dinner afterwards (at our house) became the next issue. The food was all out and everyone was ready to eat (and hungry), but ... the rolls needed to hold the main course were missing. Apparently an assignment was missed and a 40-minute round trip to the grocery store ensued, resolving this relatively minor issue.
As I mentioned, I was (mostly) not photographing this wedding, but received a request to "just" set up a video camera. I assembled the gear I intended to use (multiple cameras, tripods, mic, sound recorder, Pelican cases, extra batteries, etc.) the day before (amidst plenty of other chaos) and ran a gear check late in the day. I planned to use the Canon EOS-1D X Mark II as the primary camera, recording the entire ceremony in 4k. Strangely, when attempting to record video with this body, all I saw was black. After checking for an installed lens cap multiple times and verifying that live view worked in the still photo modes, I resolved to call Canon CPS in the morning, hoping that there was some obscure setting I had missed. Unfortunately, the phone call determined that the camera had a failure of some sort (I was not surprised by that news) that was preventing the shutter from opening in video mode.
So, it was wedding day for my daughter and the primary camera I intended to record video with had failed. This is the perfect example of why a backup camera is mandatory when photographing weddings and other important events.
I had a 4k-capable Sony a7 III with a Sony FE 24-70mm f/4 ZA OSS Lens, the focal length range I needed, sitting on my desk. That setup was untested, so I opted to double-record using a Canon EOS 5Ds R and Canon EF 24-70mm f/2.8L II USM Lens. I set up the two cameras immediately next to each other, one on a Really Right Stuff TVC-24L Carbon Fiber Tripod and BH-40 Ball Head and the other on a ProMediaGear TR344L Tripod with a UniqBall UBH 45X Ball Head.
A relative captured other video angles handheld using a Canon EOS 80D and EF 24-105mm f/4L IS II USM Lens. Audio was recorded with a Tascam digital audio recorder positioned under the flowers near the pastor, on a Rode Stereo Video Mic mounted on the 5Ds R in the back (closer to some of the musicians) and in-camera on the other two cameras. The setups appear to have all worked great and there is plenty of audio and video available to assemble a nice edited movie.
While I had time to put together a revised camera setup prior to leaving for the wedding, that is not always the case with equipment failures. I had an additional camera and various accessories (including batteries) along to cover any on-site failures (OK, I had enough to cover any of the contracted photographer's equipment failures as well).
Then there was the tomahawk injury that required a trip to the medical center and 8 stitches on the groom's ankle on the morning of the wedding. Don't ask – but it involved fruit. I'll just say that there was little spring in the groom's step as he walked his bride down the aisle, but the wedding worked and I now officially have a son.
As I said, I was mostly not photographing the wedding, but ... the girls happened to be ready just before the official photographers arrived and I happened to have rolled paper on a background stand and two lights in softboxes (one large octagonal overhead, a medium-sized rectangle on the back/left) ready. I needed time to set up and dial in two more lights, including one on a boom, but with a very rushed schedule, I accepted a compromise.
Overall, the wedding was awesome. Thanks for sharing in my excitement!
A larger version of this image is available on Flickr.
While Bryan and I are fans of Adobe's Creative Cloud offerings, most notably Photoshop CC and Lightroom Classic CC, we know that many are interested in alternatives to Lightroom in particular. The official blog for one of the most popular alternatives, Phase One Capture One Pro, recently posted an article aimed squarely at those looking to make a change.
From the Phase One Capture One Blog:
11 Killer Tips For Switching From Lightroom to Capture OneTo see all of the tips, check out the Phase One Capture One Blog.
Getting used to new software is rarely easy – but it doesn’t have to be frustrating. If you are considering switching from Lightroom to Capture One, here are 11 tips for making the transition easy.
There are a few things to take notes of when switching from Lightroom to Capture One:
- No modules! The interface in Capture One uses one main window, where all tools are organized in Tool Tabs.
- The default layout has tools to the left and browser to the right of the viewer.
- To choose a layout more similar to Lightroom, simply select ‘Window > Workspace > Migration’. This will provide a workspace that more closely resembles Lightroom’s layout.
- Most tools in Capture One can be re-organized, moved freely around and even scaled, by simply clicking the Tool Title and dragging. Parts of the interface can also be hidden. For an easy overview, use the View menu.
From the Adobe Photoshop YouTube Channel:
In this video, Julieanne Kost goes over four very popular blend modes – Multiply, Screen, Overlay and Soft Light – and demonstrates how they can be used when compositing images in Photoshop.
Mostly, this post is to let you share in our excitement and that sentence probably caught your attention with many thoughts potentially entering your mind.
Perhaps for those of you following this site from the early days, it is hard to believe that she is that old. Yes, the years really do fly by (every year goes by faster). This image was captured in 2003, the year TDP showed up on the web:
And now, my baby has become a beautiful young lady.
While the girls are taking care of many of the wedding's fine details, I am also involved. One of the requests of me was to assemble a set of pictures suitable for use in a slide show. While gathering those, many great memories were brought back and, as you probably guessed, I had a solid selection to choose from.
While on that topic, heed my advice: now is when you need to spend time with your kids and of course, make them feel special by photographing them constantly (and giving them that reason why). Only photographs (and videos) can keep them that age forever. Capture your times together and all of the special moments. Grandparents, you are included here – you get to photograph the grandkids when that generation shows up (I look forward to that day).
Answering another common question: yes, we love the incoming son and look forward to him being an official part of the family (he's been hanging around for years already). With him and his great family joining our lives, all of the parent wish list boxes are being checked here.
I know, the first question you really wanted answered was "Are you photographing the wedding?" Well, the official answer is no – there are hired photographers for the event. But ... I just might have (a few cases of) gear stashed somewhere handy. You know – just in case!
Then came the "Oh, can you just set up a camera to video the wedding?"
In what seems a blink of an eye, the kid is grown and moving on with her life. Fortunately, she is not moving too far. And, we have plenty of pictures to look back on.
The lead image for this post is a recent one, commemorating college graduation. It was a cloudy day and light green spring colors were still on some of the trees. I positioned Brianna under the shade of a tall tree to gain some direction to the ultra-soft cloud-diffused light and aligned with a distant tree of interest in the background. At 200mm, the f/2 aperture turns the tree into an interesting blur of color and Brianna pops from the background. Due to the color of the background, my eyes struggled to properly recognize the right color balance this image but, in the end, I opted to use the black cap and gown for a custom white balance.
The Canon EF 200mm f/2L IS USM Lens is a killer portrait lens and it has captured some of my favorite portraits of the kids. This is not an inexpensive lens, but the results can be priceless.
The girls are due home from their hair appointments at any time – gotta go!
Offers superior agility and optical performance
June 14, 2018 – TOKYO – Nikon Corporation (Nikon) is pleased to announce the development of the AF-S NIKKOR 500mm f/5.6E PF ED VR, a fixed focal length super-telephoto lens compatible with Nikon FX-format digital SLR cameras.
The AF-S NIKKOR 500mm f/5.6E PF ED VR will be a high-performance super-telephoto lens that is significantly smaller and lighter than comparable predecessors due to the adoption of the same type of Phase Fresnel (PF) lens element used in the AF-S NIKKOR 300mm f/4E PF ED VR, released in January 2015. This lens makes hand-held photography easy, despite it being a fixed focal length super-telephoto lens that supports 500 mm focal length. The portability of the lens allows it to be used in a wider variety of situations, and for capturing fast-moving and unpredictable subjects in scenes such as sporting events.
Details, including the release date and suggested retail price for this product, will be shared at a later date.
Nikon continues to encourage the pursuit of imaging expression possibilities through its innovative products and solutions, built on its 100 years of heritage and advanced technical capabilities.
PF (Phase Fresnel) Lens Elements
The PF (Phase Fresnel) lens, developed by Nikon, effectively compensates chromatic aberration utilizing the photo diffraction phenomenon*. It provides superior chromatic aberration compensation performance when combined with a normal glass lens. Compared to many general camera lenses that employ an optical system using the photorefractive phenomenon, a remarkably compact and lightweight body can be attained with less number of lens elements.
* Diffraction phenomenon: Light has characteristics as a waveform. When a waveform faces an obstacle, it attempts to go around and behind it, and this characteristic is referred to as diffraction. Diffraction causes chromatic dispersion in the reverse order of refraction.
Sigma has released firmware updates for the Sigma Mount Converter MC-11 and 8 Lenses as follows:
Sigma 18-35mm f/1.8 DC HSM Art Lens
Now Compatible with Sigma Mount Converter MC-11.
Sigma 24-70mm f/2.8 DG OS HSM Art Lens
"It has corrected the phenomenon that the Manual Override (MO) function will be disabled after adjusting the settings of focus mode switch on SIGMA Optimization Pro (Macintosh ver.). "
Sigma 35mm f/1.4 DG HSM Art Lens
Now Compatible with Sigma Mount Converter MC-11.
Sigma 50mm f/1.4 DG HSM Art Lens
Now Compatible with Sigma Mount Converter MC-11.
Sigma 85mm f/1.4 DG HSM Art Lens
"It has corrected the phenomenon that the continuous shooting speed of some SIGMA interchangeable lenses with firmware Ver.2.00 decreases in certain combinations with some cameras. "
Sigma 135mm f/1.8 DG HSM Art Lens
"It has corrected the phenomenon that the continuous shooting speed of some SIGMA interchangeable lenses with firmware Ver.2.00 decreases in certain combinations with some cameras. "
Sigma 100-400mm f/5-6.3 DG OS HSM C Lens
"It has corrected the phenomenon that the Manual Override (MO) function will be disabled after adjusting the settings of focus mode switch on SIGMA Optimization Pro (Macintosh ver.)."
Sigma EF-630 Flash
"It has corrected the phenomenon where it occasionally stops communicating after recovering from Auto Power Off."
For the lenses, updating firmware is as easy as plugging in the Sigma Dock, mounting the lens and running the Sigma software.
New QuickShelf technology, premium materials and added features deliver flexibility and superior gear protection in an everyday pack designed for the way today’s content creators work.
Upper Saddle River, NJ – June 12, 2018 – Lowepro, a company with a 50-year reputation in creating protective gear-carrying solutions for image makers, today announced the launch of FreeLine BP 350 AW, a new premium, versatile daypack designed for today’s content creators, photographers, and videographers. The FreeLine BP 350 AW is the first in a collection of innovative bags intended to organize and protect the tools that capture the vision of content creators, wherever they go, leaving them free to focus on the big picture.
Features for the way today’s creators work
“The professional landscape is shifting with this rise of the independent content creator,” explains Tim Grimmer, Senior Director of Product for Lowepro. “In collaboration with our partner brand JOBY, owner of the world famous GorillaPod, we delved deeply into the world of today’s Content Creators, vloggers, YouTubers, and storytellers. We learned more about how their gear kits and shooting locations frequently change as they produce content every day. Our goal became to create a solution that offers the freedom to carry what they need each day. We’re excited to offer FreeLine, a premium daypack that pairs our company’s signature protection with the adaptability content creators crave.”
The FreeLine BP 350 AW is now available for purchase for $259.95 at select Lowepro dealers and will be on display during VidCon June 21 – 23, 2018 in Anaheim, CA.
As I said when offering the Whitetail Fawns and More photo tour, meeting more of you is always high on my to-do list, I have wanted to offer photo workshops/tours/experiences for a long time (many of you have requested such) and my Shenandoah National Park commercial use permit is in hand. While I enjoy others enjoying my images, my primary goal is always to help you get great images and I'd love for you to join me for 3 or 6 days of wildlife and outdoor photography in this great location. I have cleared space in the schedule and made it through the logistical issues involved in making this trip happen, including acquiring the necessary SNP permit and having an important-for-wildlife-photography park policy change implemented (again, this will be one of the first tours falling under the new rules).
When and Where: Sun, November 11 to Wed, November 14, 2018 and/or Wed, November 14 - Sat, November 17, 2018 in Shenandoah National Park
Based on recent workshop survey results, this trip is offered in a choice of 3 or 6 full days (other options will be considered). The plan is to meet at the lodge on Sunday and/or Wed mid-day and we will wrap up after a morning shoot on the last day.
Update: The Wed-Sat dates have been filled. Slots for only two people remain open during the Sun-Wed dates. I'd still love to have you along!
Hopefully you, along with 3 others. Large groups are far more profitable from a business perspective, but seriously photographing wildlife in the field is very challenging in large groups. Keeping the group small means better opportunities and more personal attention. It also means that we can travel together throughout the park in one SUV.
The cost for this IPT is $995 per 3 days with a 50% deposit locking in your spot. Email me at Bryan@Carnathan.com to sign up or ask questions!
What are We Photographing?
Our primary photo subject will be wildlife. Wildlife, by definition, is "wild" and that means it is unpredictable and there can be no guarantees. That said, Shenandoah National Park is a very reliable location to photograph whitetail deer and the environment/scenery here is quite photogenic.
During much of the year, whitetail buck in SNP have their heads down feeding. That changes during the rut and whitetail bucks exhibit great behavior at this time of the year. Late fall colors provide our backdrop and very few park visitors are expected at this time of the year, just prior to the last lodge closing for the season.
Deer are not the only wildlife subject found here and there is high likelihood that black bears will avail themselves as subjects along with a variety of birds and other smaller mammals. We will be opportunistic and take advantage of any subjects that we encounter – and discovering those moments are part of the excitement. In addition to the immersive wildlife photography experience, there will certainly be opportunity for some landscape photography.
My time in the field is very limited and I look for locations with a high probability of good opportunities when I make the time investment. Shenandoah National Park rarely lets me down in that regard. Basically, we will work hard to improve your photography skills along with capturing some great images. And, we'll have fun along the way.
There is a Sense of Urgency for this Trip
As I mentioned with the fawn IPT, CWD (Chronic Wasting Disease) has been detected within 11 miles of SNP (according to the SNP wildlife biologist I talked to in Mar 2018). This awful disease is always fatal to deer and when it reaches within 5 miles of the park, implementation of an already-established plan will significantly reduce the deer population here. That means this awesome experience is at high risk and that is one of the reasons I chose this park first.
While the implied definitions of these terms varies, I see "workshops" typically laid out with a planned schedule and "tours" typically designed to put you in front of subjects at the right time. I'm calling this trip a "tour" because the primary goal is for you to get great images and we will be opportunistic in that regard, making a firm schedule difficult to implement. That said, we will spend a lot of time together and I will teach, answer questions (bring many), critique images, assist in editing, etc. throughout our time together. Thus, the educational element will also be a primary part of our time together.
In the field, we will photograph side-by-side. You taking great images home will be the primary goal, but you capturing those images yourself is important and I can best describe what you should do if I am doing it myself at the same time. This also provides the participant opportunity to watch how it is done. Your constant feedback and questions are important and will enable me to provide you with the best experience possible.
An "expedition" is another type of immersive photography experience and this event involves multiple daily mini-expeditions. Certain is that we will have an adventure.
This will be a modestly strenuous trip, with much of the strain dependent on the size and weight of the gear you are carrying. There will likely be some easy wildlife photography opportunities encountered, but we will be carrying our gear through the woods, tall grass and light brush over hilly terrain at times, often attempting to keep ahead of moving wildlife. Thus, one needs to be in reasonable physical condition.
What is Included
Transportation during the experience (if staying for the entire 6 days, I am happy to provide free transportation to and/or from the park from anywhere directly on my route from the north - primarily RT 81) along with everything described in the Tour/Workshop/Adventure/Expedition section above is included. By not including the items listed below in the fee, individuals are able choose their level of spending.
What is Not Included
Transportation to/from Skyland Resort including the required National Park entrance fee.
Lodging. We will be staying at the Skyland Resort, a national park lodge. I usually get a basic room, but other options are available including cabins.
Food. Because of the remoteness of this location, our food will primarily consist of what is offered at the Skyland Resort (dining room, take out or tap room) along with any food brought along into the park. We will typically begin photographing before food services are open so I usually pack breakfast to eat in my room prior to the morning shoots. I take a cooler with jugs of ice and ice is available at the lodge (you need bag/bucket to transport it from the ice machine). I suggest packing granola bars and other snacks along to keep energy levels up while photographing (especially in case we find an amazing subject that we don't want to leave). Plan to have water or other drink available to take with you.
At this time of the year, the days are getting shorter and the nights are correspondingly getting longer. Our best opportunities will be found early and late in the day and we will target these times, but sometimes it is worth staying out all day. The sun is relatively low in the sky and the animals often remain active during the day. We will take time to review images, especially back at the lodge in the evening. These plans are all very flexible and we can target any specific interests the group has.
Travel insurance is strongly recommended. If a cancellation notice is received between 90 and 179 days before the workshop start date, a 50% refund of any payments made will be provided. If a cancellation notice is provided within less than 90 days of the workshop, no refund of payments made will be provided. Regardless of the cancellation notice received date, any workshop openings that are re-filled will be refunded payment in full minus a $195 administrative fee.
Let's Do This! Sign Up Now!
Email me at Bryan@Carnathan.com to sign up or ask questions!
Camera Gear Needed
Aside from a great attitude and a strong interest in learning wildlife photography, you are going to need some gear and while most cameras with a telephoto lens will work, mid-upper-grade gear should be considered for best results from this event.
When photographing bucks in rut, I am not as concerned about a fast frame rate as with some other subjects. There will be times when the fast rate is beneficial, but rut posturing is often done at slower speeds and I usually opt for higher resolution cameras. A DSLR camera or a late-model MILC (Mirrorless Interchangeable Lens Camera) should be in your bag.
A telephoto lens or lenses will be needed with a full-frame equivalent of at least 400mm (250mm on an APS-C) suggested and having longer focal lengths available will be appreciated at times. Wildlife activity is greatest early and late, so wide apertures are often an advantage and the wide aperture's ability to blur the background can be useful. Any telephoto lens can work, but there may be times when an f/4 or wider aperture is preferred. This is a great event to break out your big lenses for and it is also a great time to try a new one, perhaps via renting.
My current plan is to take the Canon EOS 5Ds R along with the Canon EF 600mm f/4L IS II USM Lens and Canon EF 100-400mm f/4.5-5.6L IS II USM Lens for my primary wildlife kit with the Canon EF 200-400mm f/4L IS USM Lens (with built-in 1.4x extender) likely seeing some use. In addition, I'll take a Canon EOS-1D X Mark II in case I decide that I want the fast frame rate. I'll bring a variety of other lenses and accessories including a Black Rapid shoulder strap to carry the big lenses with.
I primarily use a monopod while photographing wildlife in this location. It is not as stable as a tripod and requires more effort to use, but it is much faster to set up and adjust. While neither are mandatory, one or both is preferred and I always take both.
Bringing a laptop is highly recommended, enabling review of your images throughout the time we have together. Bring an external hard drive for an additional level of backup. Bring adequate memory card capacity, enough batteries to last at least a day and enough chargers to restore that capability overnight.
Consider what failure of any piece of gear means for your experience and consider bringing a backup for items identified as critical.
As always, feel free to ask us for gear advice.
Weather / Clothing
The weather in late November is typically very nice, though cool, in Shenandoah National Park. However, the mountain can create its own weather and that can be at least somewhat unpredictable. Rain gear may be very appreciated at times, including rain covers for camera gear while in the field.
Plan for walking in light brush (including mild briars) and woods. The wildlife we are pursuing is acclimated to humans and they do not seem to care what we are wearing (though you might get their attention if you dress in all black like a black bear, a primary deer predator). Camo clothing is not necessary, but it is a good option. I wear mostly camo and part of the reason is to be less obvious to other park visitors, though there are not many at this time of the year.
Insects can be annoying at this location, but they are not typically bothersome in mid-November. Ticks are reportedly present, though I have yet to find one on me.
Sign Up or Ask Questions!
Contact me at Bryan@Carnathan.com.
I was positioned between this red fox's den (and her two kits) and her feeding grounds with a good sun angle for an approach.
She had recently brought home dinner and would always go right back out to hunt again and that was the case this time.
I knew that she was coming, but I was not able to see her as her distance closed due to the thick brush.
Suddenly, she hopped up on this log, in plain view at a close distance, stopped and looked back while being lit by a late afternoon sun. I couldn't have orchestrated her behavior any better.
I grabbed a quick burst of insurance shots and quickly moved the selected focus point for a better composition. Being able to quickly change focus points is a key skill for wildlife photography. The fox being close, made the framing tight, but in the seconds it paused, I was able to capture enough images to build this panorama, adding a small amount of border to the top and left side of the primary frame.
This particular fox's mottled coat and head angle along with the bright sun causing her to squint produces an especially sly look.
A larger version of this image is available on Flickr.
Three premium models are being added to the award winning traveler collection including: Befree Advanced Carbon Fiber, Befree Live Carbon Fiber and the brand new Befree GT.
Upper Saddle River, NJ, June 5, 2018 - Manfrotto, the world leader in the photography, imaging equipment, and accessories adds three new solutions for travel photography and videography. With the release of the carbon fiber versions of the Befree Advanced, the Befree Live, and the new Befree GT family, Manfrotto continues to create for professionals on the go, blending maximum portability and stability.
Manfrotto’s Befree Advanced Carbon Fiber travel tripod features carbon fiber legs that ensure best-in-class performance, support, and rigidity. When trekking for miles to get that unique shot, every ounce in your pack matters and the Befree Advanced Carbon delivers top-notch stability while weighing just 2.75lbs. Like the aluminum version, this new model features Manfrotto’s updated 494 Center Ball Head with friction control. Manfrotto’s brand new Befree GT travel tripod, available in aluminum and carbon fiber, meets the highest expectations of professional photographers who want maximum performance even when they are traveling. The ergonomic design, inherited from the Befree Advanced, is the perfect combination of portability and impressive stability, folding down to 17 inches yet ensures flawless operation with up to 22 lbs of equipment. The Befree GT mounts the new Manfrotto 496 Center Ball Head with fiction control providing higher performance in terms of capacity and precision. Both the Befree Advanced Carbon and the Befree GT models feature the M-lock, the new twist lock developed by Manfrotto that enhances compactness and speed of use, making them the perfect solution to carry in a backpack and quickly set up. Moreover, both tripods feature the ergonomic leg-angle selectors, which can be set to three independent angles and are designed to operate easily with either left or right hand. The lightweight, solid spider features the Easy Link like Manfrotto’s professional 190 & 055 tripods, allowing photographers to boost their creativity by adding accessories such as lights, reflectors, or monitors. These new models mount a unique plate, the 200PL-PRO, which makes them fully compatible with the world’s most widespread standard head attachments: Manfrotto RC2 and Arca-swiss style.
Manfrotto’s Befree Live Carbon Fiber completes the range with a solution independent content creators have been eagerly waiting for: a lightweight, ergonomic video travel tripod, built to record amazing video footage using DSLRs, compact system cameras or small camcorders. This model’s small size and minimal weight, just 3lbs, does not compromise sturdiness or image quality. The Befree Live Carbon has the same new tripod legs as the photographic Befree Advanced Carbon with an added feature of a leveling column allowing for a horizontal set up on uneven surfaces. This model features the Befree Live Fluid Head, which has a fluid drag system on pan and tilt and keeps the camera perfectly balanced thanks to its sliding video plate. Easy to use and set up, the Befree Live Fluid Head has two intuitive knobs that lock and unlock the head’s pan and tilt movements separately. This outstanding kit allows videographers to express their creative nature with the confidence of a professional solution they can rely on.
Befree Advanced Carbon Fiber, Befree GT Aluminum and Befree GT Carbon Fiber are available at authorized Manfrotto Dealers. The Befree Live Carbon Fiber will be available late June.
B&H has the following Manfrotto Tripods in stock:
We recently interviewed Mikko Kesti, Founder & CEO of Loupedeck to find out more about the custom Lightroom console and how he brought it to the marketplace.
Q: First of all, what is the Loupedeck and what are its benefits for photographers, especially when compared with other console options, such as using MIDI controllers with the MIDI2LR or LrControl plugins?
Loupedeck is the only photo editing console custom-built solely for the purposes of improving the Adobe Lightroom experience. Its intuitive design – featuring buttons, dials and knobs corresponding with that of Lightroom’s – makes editing more creative and more efficient when working on large quantities of photos at once by allowing photographers to produce a greater quality output in less time.Q: After doing quite a bit of research, a $50.00 midi console and a free (or $60.00) plug-in offer compelling options to speeding up a Lightroom workflow. I think it’d be interesting to hear from the developer what makes Loupedeck a better choice by comparison. What specifically does Loupedeck and its software offer that justify its price over less expensive, not-tailor-made options?
For the Loupedeck, Lightroom customization is key and its exact parallel to the Lightroom software sets it apart. I find other consoles to be less intuitive and not as comfortable to use. MIDI controllers are not designed for photo editing. In fact, the Loupedeck is more affordable than most modular solutions that enable photographers to build their own consoles, which might be difficult for some. Our setup process is much simpler and doesn’t require photographers to assemble the tool themselves.Q: You graduated with a degree in Mechanical Engineering from Tampere University of Technology (Finland) and later worked as a mechanical engineer while enjoying photography as a hobby. What was the watershed moment that was the genesis for the Loupedeck console?
Photography has been a hobby of mine for the past 20 years and it’s something I’ve really developed a love for. I used Adobe Lightroom to edit more than 1,000 photos at one point but found relying on my mouse and keyboard to be time-consuming, impractical and ergonomically-poor. I couldn’t find a console on the market specifically intended to expedite this process, so I decided to build my own!Q: You presented your idea to former senior Nokia developers in February 2016 and then initial research and development costs for the Loupedeck were funded by a Finnish Research, Development and Innovation (RDI) grant. How were you introduced to the Nokia team, and meeting them shape your business plan, product design and marketing strategy? How important was the RDI grant for developing a working prototype?
I heard from a friend of mine that there were three senior level Nokia employees let go a few months prior and they were building up a company with the goal to bring product ideas to life in just a few weeks. I contacted them with my idea, and they presented me a prototype in just a few weeks like they promised. It was an amazing opportunity to find, as I was looking for the right people with the right skill-set for three years to work with.Q: How did photographers’ feedback influence the final design?
I knew that without a proper prototype no one would take the idea seriously. The design had to be perfect: sleek and Scandinavian.
The RDI grant was essential to me because I was a young father and had to feed my family. I couldn’t risk everything in starting a company just on an idea. With the help of that grant we built a fully working prototype which we presented to investors and on Indiegogo. After Indiegogo’s huge success, it was easy to talk to investors.
The design itself was taken very well. Photographers just love it!Q: You used an Indiegogo campaign to help fund Loupedeck’s initial production run. What advantages did crowd funding bring and what were its downsides?
We promised to listen to our customers and bring new features to the service software and we’ve been constantly improving it.
Indiegogo successfully introduced our proof-of-concept to the consumers and other people who instantly understood its value. They responded so well to the unique value proposition and we exceeded our funding goals by 488 percent after just four weeks.Q: Can you tell us a little bit about the Loupedeck’s construction, especially in regard to its durability?
As far as downsides are concerned, once we exceeded the funding goals the pressure was on to produce and deliver the device! But we hit that goal too.
We constructed the Loupedeck with functionality and comfort in mind. After multiple ergonomic assessments and tests, from the knob placement to the length of the slides, we made sure that every part of the console was the most user-friendly and efficient as possible. In regard to durability, we didn’t want to create a bulky, heavy piece of equipment that users would have to lug around and worry about fitting on a desk. The Loupedeck is lightweight and the size of any standard keyboard. Its knobs and buttons are very durable, and we rarely experience damaged or broken products.Q: What features have been added since the console’s introduction via software updates and what features do you hope to incorporate soon?
We are always working on new ways to improve the Loupedeck software and do implement software updates frequently, especially when new enhancements come through from Lightroom. From new features, customizable options and bug fixes (like the recent Lightroom 7.3).Q: What advice would you give to other photographers who may have a product idea but are unsure how to get it off the ground?
To any photographer with a product idea who doesn’t know how to get it off the ground, it’s likely that you aren’t the only photographer who has the need for that product. The first step is sourcing feedback from peers to get a comprehensive understanding of the problem you are trying to solve. Then, leverage your network to partner with engineers and developers able to develop a proof-of-concept for your idea, in addition to any business or entrepreneurial advisors able to support the business plan for your launch. I personally reaped the benefits of crowdfunding, but there are many other ways to get your vision in front of distributors or directly in front of the consumers themselves.Now that you know the story behind the Loupedeck editing console, check out this device at B&H!
I had a backpack full of new gear that needed an in-the-field workout and the right timing for waterfall photography happened – a forecast for very cloudy skies with a strong percentage chance of rain combined with recently prior rains (to provide waterflow).
So, I took advantage of the opportunity, photographing in Watkins Glen State Park.
While I knew this could be a busy park, I thought that going on a mid-spring weekday with a weather forecast that most would consider dismal would solve that problem. I was wrong. While I don't know what a normal day is like in this park, the gorge trail had plenty of people on it.
Watkins Glen is a beautiful park but being limited to the trail (mostly stone and concrete) makes it especially challenging to photograph the best scenes without random people in the composition. I spent well over an hour trying to capture this Cavern Cascade and Spiral Tunnel image. Apparently tour bus groups were being dropped off at the gorge trail's upper parking lot and being picked up at the lower lot as hundreds of people were going in the downhill direction.
At one point, I decided to leave and come back later. That approach worked especially well because, in the evening, the path light in the tunnel (very dark) better-balanced with the ambient daylight. I noticed that the tunnel walls were dark in some areas and opted to use my phone light to paint the walls slightly brighter.
I bracketed this exposure to ensure that I had the right brightness options available for HDR processing. The final image is mostly two captures with the longer exposure providing the brighter tunnel.
A larger version of this image is available on Flickr.
From the Canon Digital Learning Center:
by Jeff SwingerSee the entire article on the Canon Digital Learning Center and be sure to check out our following resources:
There are few places I’d rather be than sitting on an end line or kneeling on a sideline, as long as I have a camera in my hand.
Some of my favorite moments have been on the sidelines of a football field, in the dugout for a baseball game or with my toes in the sand at a beach volleyball match. But that doesn’t mean it has always been a major league game or an Olympics. Sports come in all shapes and sizes and there is speed, impact and drama at all levels. Some of my most memorable photos were from high school games, which I have shot hundreds of over my newspaper career. I started when I was just 14 years old with a Canon AE-1 Program and a 70-210mm lens, taking pictures at soccer games and of BMX riders in the woods behind my house. I realized then that I wanted to be a photojournalist and really wanted to shoot sports. I got my first job at a small newspaper and shot a ton of high school athletics.
by Sean Setters
I took a shot yesterday that I thought looked interesting, so I thought we'd have a little fun with it today.
Can you guess what the subject of the photo is? You can click on the image above to download a higher resolution version for analysis. Then scroll down for the answer.
Answer: It's the seed head of a grass plant.
I really wanted to create a macro focus stack image, but I was having a difficulty coming up with an idea for an interesting subject. As I often do when I'm experiencing a mental block for a macro subject, I strolled around my lawn to see what I could find. It had been raining off and on in Savannah, GA for several days, so I hadn't been able to mow the lawn in quite some time. Some of the grass had gotten very tall, and one such plant drew my attention. I marveled at the plant's seed head as I inspected it closely, and decided my search for a macro subject was complete. Now onto the photography bit.
I attached stacked Kenko extension tubes and a Kenko 1.4x Teleconverter to my Canon EF 100mm f/2.8 Macro USM and mounted it all onto my EOS 5D Mark III (tripod mounted, of course). Two studio strobes were already set up in my studio with one firing through a 4 x 6' (1.2 x 1.8 m) and a 3' x 8" (0.9 x 0.2 m) gridded stripbox, so I simply used those for lighting. A bottle provided a nice stand for the stem the grass plant.
I originally shot it without a background which caused the background to be completely black. However, while the light colored part of the seed head stood out very well, the black portions (unsure what their name is), understandably, did not. So, I searched my home for something that might provide a suitable background color for the subject (I didn't expect to see recognizable details in the macro shot because of the limited depth-of-field and camera-to-subject and subject-to-background distance). I found my answer donning the wall of our kitchen – a calendar someone had given us for Christmas.
After compiling the images in Helicon Focus and a little bit of editing in Photoshop CC, I arrived at the image below.
For what it's worth, I'm consistently amazed by the details found in readily available (very common) subjects that await capture with a macro lens and (sometimes) the higher magnification made possible by extension tubes and teleconverters.
From Pelican (thanks Trent):
TORRANCE, CA – May 30, 2018 – Pelican Products, Inc. (Pelican), the global leader in the design and manufacture of high performance protective cases, has assumed exclusive control of the TrekPak brand, along with all production, sales and marketing for this innovative divider system. The TrekPak system provides the ultimate organization and protection as an interior solution for a wide variety of applications for your Pelican cases. The new agreement allows Pelican to extend the TrekPak dividers across a broader range of Pelican’s cases, including the Pelican Air, Protector Case and Storm Case lines.
In 2016, Pelican began distributing TrekPak dividers as a new configuration in 6 of their most popular sizes. Today, Pelican offers TrekPak dividers in 18 case sizes, with plans to extend the divider system to most case models. Additionally, customers are now able to purchase the TrekPak divider system as an accessory, as well as a case configuration, directly and exclusively from Pelican.
TrekPak first introduced the divider system in 2012 as an aftermarket case accessory, recognizing the need for a modular solution that organizes and protects equipment inside Pelican cases. Users across multiple industries soon adopted the design as the premium alternative to foam or padded dividers in their cases. “Pelican continues to set the standard for protection and transportation across a variety of industries,” said Georgia Hoyer, Founder of TrekPak.
“Pelican looks forward to bringing new innovative TrekPak solutions for various applications to market soon and continuing to enhance our customer experience when it comes to protecting all that you value” stated John Luna, Director of Product Management for Pelican.
From the Harvard Business Review:
by Shigeki IchiiRead the entire article on the Harvard Business Review.
He [Masashi Oka, CFO] asked one former major investor for a reaction to the company’s prediction (accompanying poor quarterly results): “that the [current] market contraction will bottom out soon and our profits will improve.” The reply he got was like a cold shower: “Management is delusional about their long-term prospects,” said the investor, adding, “Every time we meet … it truly shocks me how far behind it is and how slow they have been to grasp the trends of the industry.”
The company took note and duly committed to reducing costs at a rate exceeding market contraction. Six months later, with Nikon’s prospects looking much brighter, it was time to check in with investors. Their responses, like Nikon’s fortunes, had reversed course. The very same former major investor who had previously described Nikon’s management as “delusional” had now changed its tune. “I am very impressed with the bold actions you have taken thus far, and I look forward to monitoring your progress from here. It sounds like Nikon will be a very different company five years from now—at a minimum a much more profitable one.” The new attitude was reflected in the company’s share price: One year into its transformation, Nikon’s stock price had risen by 35%.
From Really Right Stuff:
Since launching our first carbon fiber tripods in 2009, we have been dedicated to making the world’s finest tripods. With the help of our customers’ invaluable feedback, we continuously make improvements. After years of development, we are excited to present our new Mark 2 tripod line with patent pending features!
New and Improved: Improved ergonomics make operating the tripod more comfortable and seamless. What hasn’t changed is our attention to detail, high-quality craftsmanship and commitment to proudly make and hand-assemble all our tripods in the USA.
Weight Hook: The integrated weight hook (comes installed on all TVC models) gives users an easy option for creating ballast when shooting in high-wind / waves.
Optional QD Strap: The ¼-20 accessory port is designed with subtle recesses for the optional RRS Mk2 Tripod Apex QD Mount or RRS Mk2 ‘Pod QD Strap Set.
Lightweight: Using the RRS Mk2 ‘Pod QD Strap Set creates an easy and secure way to transport your tripod.
Accessory Sockets: We redesigned our tripods to include additional ¼”-20 sockets along the outside of the tripod’s apex. This provides an extremely low-profile option for better placement of accessories like QD attachments or a BC-18 micro ballhead.
Sealed Twist Locks: The new sealed twist lock minimizes the amount of contaminants, such as sand and grit, that gets caught inside the twist locks. In addition to improving the feel and operation of the twist locks, the seals extend their life. This new feature is also important in sub-freezing environments, preventing moisture from entering the assembly and freezing, which inhibits the user from either extending or collapsing the legs.
Easier to Clean: Mark 2 tripods use a 360 degree collet and wiper shield that can be easily removed from the twist locks for cleaning. If you do need to clean out the twist-locks in the field, the process just got a lot easier. Gone are the days of difficult to remove and reinstall split gibs, maintenance is now a breeze!
Interchangeable Feet: RRS manufactures three different kinds of feet; rubber feet, rock claws, and spike feet. The rubber feet (come pre-installed on all Mark 2 tripods) are designed with a tapered silhouette for maximum stability at any angle. The rock claws are designed for maximum grip on rocky terrain and their solid stainless steel designed ensures constant performance. The foot spikes (shown above) bite info soft surfaces to keep your tripod feet from slipping.
Vented Clevis: We designed a discrete air vent to port air out just under our pull-tabs towards the center of the tripod. These air vents prevent pressure gradients from building up, allowing smoother leg extraction and collapse. The inward-facing vents also ensure air flow is directed towards the center of the tripod and away from mounted lens elements. Positioned at the top and inside of each leg, the air vents are also less likely to allow water or other debris enter the leg assembly.
Updated Sure Grip Set Screw: For added convenience, we changed the Sure Grip set-screws to use the same hex key as the one used to attach our L-plates to cameras. This means fewer tools to keep on hand. Also, if you have one of our L-brackets with a hex key storage feature, the requisite tool is at your fingertips. If you ever needed to swap out your Quick Column for a leveling base in the field, life just got easier.
DJI has just revealed final details for its highly-anticipated single-handed gimbal stabilizer—the Ronin-S. This exceptionally capable device will help smooth footage when working with DSLRs and mirrorless cameras up to 7.9 lb. For now, the Ronin-S will be exclusive to B&H
NEW YORK, May 29, 2018 – B&H Photo would like to share the official announcement of the DJI Ronin-S 3-Axis Gimbal Stabilizer, a lithe, single-handed tool used to smooth movement when shooting video with a DSLR or mirrorless camera. DJI is daring us to move, and the Ronin-S makes that dare easy to accomplish with its clean and high performance, for camera systems weighing up to 7.9 lb. It also offers one-handed design, enabling simple, intuitive operation, and a slimmer profile for working in confined spaces with ease.
Among the major advantages provided by the Ronin-S is a design that moves the roll axis to a 45-degree angle, ensuring there is a clean line of sight to the camera’s rear screen for monitoring purposes. Also, it is a part of DJI’s constantly growing ecosystem, and will offer immediate support for plenty of their accessories, including the Master Wheels and Master Force. It has a dual handle system, multiple types of wireless receivers, a focus control setup, and more. Also included are standard mounting points for attaching useful tools like microphones and lights.
Three operational modes are available for added versatility—underslung, upright, and flashlight. Each of these is determined by the desired grip and angle of the shot, and make it more comfortable to operate for longer periods of time. The gimbal can even be removed from the handle and mounted on other supports, such as a jib or RC car, for which there is a dedicated mode to ensure silky smooth motion. A Sport Mode can be enabled for moments of fast-paced action.
To provide an excellent operating experience, the Ronin-S offers multiple control options, including a precise joystick located on the handle, with multiple customizable parameters. Users will enjoy support for camera control as well, with the ability to connect to select Canon, Sony, Nikon, and other systems where they can adjust focus settings, initiate recording and more without taking their hands off the Ronin-S. Other settings include a Virtual Joystick option, Time-Lapse, Track, and Panorama modes.
A wide range of movement is possible with this gimbal, including continuous 360 degrees of rotation, tilt from -95 to 185 degrees, and a complete 360 degrees of roll in a Roll 360 mode that will come in handy for rapid movement and repositioning of your camera. Additionally, it is powered by a rechargeable 18650 2400mAh Li-ion polymer battery pack that will operate for hours on a single charge, while Bluetooth 4.0 and USB Type-C connections permit the stabilizer to be connected directly to mobile devices and computers.
I was in coastal Katmai National Park primarily to photograph brown bears feasting on salmon, but the landscape was also very impressive.
As the light faded on the bears, clouds settled into the mountaintops and the setting sun brightly lit the clouds not shaded by the mountain.
Direct sunlight just before sunset (or just after sunrise) is warm in color and very significantly warmer than the light in shaded areas.
I often like that difference in color.
While I carried a wide angle zoom lens along with me on the bear treks, primarily to use for landscape photography, it was not the right lens choice for this scene. My subjects were mountain tops and I wanted them large in the frame. Meeting this goal calls for telephoto focal lengths and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens I primarily intended for wildlife use worked perfectly here.
Sometimes capturing a great landscape image with a telephoto lens seems too easy. While the 100-400 L II is not a small or light lens, it is usually with me when photographing landscape exclusively. This is an extremely versatile lens that delivers very impressive image quality.
A larger version of this image is available on Flickr.
From the We Eat Together YouTube Channel:
Ever wondered how to create levitation photography? Quickly learn how to make flying food photos and freeze time and space.
SIGMA 24mm F1.4 DG HSM | Art and SIGMA 35mm F1.4 DG HSM | Art for Sony E-mount are scheduled to start shipping in June, 2018.
While offering the same high-performance optical design as other lenses in the Art line, the new Sony E-mount models will feature a newly developed control algorithm that optimizes the autofocus drive and maximizes the data transmission speed. In addition, these lenses will be compatible with Sony’s Continuous AF (AF-C), which is not addressed by SIGMA MOUNT CONVERTER MC-11. Like the converter MC-11, the lenses will be compatible with in-camera image stabilization and in-camera lens aberration correction, which includes corrections for peripheral illumination, chromatic aberrations, and distortion.
B&H lists the lenses' expected availability as "mid June."
The “Bokeh Master” will begin shipping in Canon, Nikon and Sigma mounts in late June for a retail price of $1,599.00 USD
Ronkonkoma, NY – May 25, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its 105mm F1.4 DG HSM Art lens will be available in Canon, Nikon and Sigma camera mounts in late June for $1,599.00 USD through authorized US dealers. The Sony E-mount availability will be announced later.
The “Bokeh Master” with Longest Focal Length Among Sigma Wide-Aperture F1.4 Art Lenses
The Sigma 105mm F1.4 DG HSM Art is the ninth lens in the Sigma F1.4 line-up designed for full-frame cameras. To combine outstanding wide-aperture, mid-telephoto performance with F1.4 brightness at maximum aperture, this lens incorporates 17 optical elements in 12 groups, including three FLD glass elements, two SLD glass elements and one aspherical lens element. This optical setup minimizes axial chromatic aberration to deliver ultra high resolution along with ample peripheral light volume, which minimizes vignetting. As a result, the area in focus is extremely sharp, while the out-of-focus area features a beautiful bokeh effect with highly natural colors, making this a desired lens for portrait photography. The optical design also minimizes sagittal coma flare, making it an excellent choice for capturing starry skies.
Featuring the Sports line level dust- and splash-proof design, this lens can be used in varying weather conditions. The high-speed, high-accuracy autofocus helps photographers react in an instant to capture those special moments. Other lens highlights include carbon fiber reinforced plastic hood for durability and compatibility of the Canon mount lens with the Canon Lens Aberration Correction function.
Best known for her role in Game of Thrones, actress Emilia Clarke can be seen taking a starring role in several classic business stock photos. Do you have a business meeting coming up in the near future? You'll probably be seeing her face in the next slide show you're forced to sit through.
In this video, Dr Andrew Steele uses an infrared-converted DSLR to demonstrate the hidden world of IR that resides all around us.
Interested in converting a camera to infrared (or full-spectrum)? I highly recommend checking out LifePixel's vast assortment of conversion options.
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.
IMPORTANT: Firmware updates cannot be performed if Enable is currently selected for Network > Network connection in the SETUP MENU. Select Disable for Network connection before proceeding.
Changes from “C” Firmware Version 1.21 to 1.30
Recall shooting functions can be assigned to the following controls using Custom Setting f1 (Custom control assignment): Preview button, Fn1 button, Fn2 button, AF-ON button, Sub-selector center, AF-ON button for vertical shooting, and Lens focus function buttons. It can also be assigned to the Fn button on a WR-1 or WR-T10 remote control using the Assign remote (WR) Fn button option in the SETUP MENU.
For more information, see the addenda to the User’s Manual available from the Nikon Download Center (Nikon Download Center > D5 > Manuals > Supplementary Firmware Update Manual).
|Lens focal length||Teleconverter||Before update||After update|
|400 mm||1.4×||550 mm||560 mm|
|400 mm||1.7×||650 mm||680 mm|
|800 mm||1.4×||1150 mm||1120 mm|
|800 mm||1.7×||1350 mm||1360 mm|
Download: Nikon D5 Firmware v.1.30
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.
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.
StreetWalker Rolling Backpack V2.0
StreetWalker Backpacks V2.0
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.
Benefit of the Update
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.
In this video, Julieanne Kost goes over several shortcuts for using Point Type in in Photoshop CC.
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.
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:
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.
TOKYO - Nikon Corporation (Nikon) is pleased to announce that the Nikon D850 digital SLR camera has received the Camera GP (Grand Prix) 2018 "Readers Award" and "Editors Award."
The Camera GP awards focus primarily on cameras and lenses, and are sponsored by the Camera Journal Press Club (CJPC/Japan), which was established in September 1963, and is comprised of editors from 10 print and online camera and photography magazines (as of April 2018). Recipients of the Camera GP 2018 awards were selected from products that were released between April 1, 2017 and March 31, 2018.
The D850 was the winner of the "Readers Award," the recipient of which is selected by general users through online voting (voting period: March 23 to April 12, 2018). Additionally, the D850 was selected by CJPC members as a winner of the "Editors Award," evaluated based on popularity, topicality, and innovation, from all cameras and imaging devices with the exception of those chosen as Camera and Lens of the Year.
The D850 has won numerous imaging and design-related awards across the globe since its release in September 2017. Among them are the Best DSLR Professional award at the TIPA World Awards 2018, and an iF Product Design Award 2018.
D850 Primary Features
Reasons for D850 selection (Comments from the Committee)
The D850 is an almost perfect digital SLR camera that utilizes an optical viewfinder. Equipped with a quick-return mirror, it is an outstanding camera that will leave its mark on history. Despite its incredibly high pixel count of 45.7 megapixels, it supports top level high-speed and high-sensitivity performance. In addition to fast and accurate focusing achieved with the same AF system built into the flagship model, the camera is capable of high-speed continuous shooting at approximately 7 fps with the body alone, and up to approximately 9 fps when the MB-D18 Multi-Power Battery Pack is used with an EN-EL18b or EN-EL18a Rechargeable Li-ion Battery. It offers superior image quality from low to high sensitivities, and its auto white balance is very accurate. The D850 is outstanding not just in one aspect — it offers excellent all-round balance and demonstrates high versatility for all types of photography, including press, sports, portraits, railway, and landscapes. Another attractive feature is the smooth and intuitive operational feel enabled by its fine craftsmanship. The D850's functions and flexibility as an SLR have been polished to maximize the advantages of this type of camera. With the D850, Nikon has created the SLR of photo enthusiasts' dreams.
In this video, filmmaker Todd Blankenship explains how C-stands got its name and provides a few tips on how to use them.
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.
Have any photography-through-a-fence tips? Please share them with us!
A larger version of this image is available on Flickr.
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.
B&H typically offers a 90-day warranty on used items. Please check the product listing above to verify.
SuperStore & OfficesFrom Adorama:
B&H will be closed starting at 2pm Fri May 18. We will reopen at 9am Tue May 22.
Online ordering will be unavailable from 8pm Fri May 18 until 9:30pm Mon May 21.
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.
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.
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.
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
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.
|Drone Photo & Video||Maternity Photography|
|Rooftop Portraits||Wedding Photography|
|Night Sky Photography||Building a Social Community|
|Portrait Photography||Fashion Photography|
|Travel Photography||Kids' Fashion Portraits|
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.
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!
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
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]
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!
Changes from Firmware Version 1.1 to 1.2:
Fixed the following issues:
Download: Nikon COOLPIX S9900 Firmware v.1.2
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.
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.
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.