In this video, Benjamin Warde gives a quick overview of the recently updated profile browser in Adobe Lightroom Classic CC.
Just posted: Rokinon AF 14mm f/2.8 Lens Review.
This is a good value lens.
Nikon has posted its FY 2018 (Year ended March 2018 [May 10, 2018]) financial statements. See below for more information.
* Note: this article was published before the final financial statements were officially released.
From the Will Burrard-Lucas YouTube Channel:
I was challenged to recreate my African wildlife at night images on home soil. This is the resulting film in which I use a Camtraptions PIR Camera Trap Sensor to photograph barn owls in infrared.
Learn more about infrared camera conversions in our Infrared Camera Conversion by LifePixel Review.
by Sean Setters
Before I get into the five tips for hood-mounted camera photography, it's important to note that having a reliable method for attaching your camera to the hood of an automobile is a requirement for this type of photography. The best tool I have found for the job is the RigWheels RigMount X4 Camera Platform with one of the magnetic mounts replaced with an RMH1 RigMount with Ball Head. The duo allows you to securely mount the X4 platform supported with 3 RML1 Long Magnetic Mounts on one side and the Ball Head Magnetic Mount on the other side, which can be adjusted to provide a secure magnetic connection on the side of the car.
With the absolutely required gear out of the way, let's get rolling (pun intended) with the tips.
1. Wash the parts of the car that will be visible in your image, including the hood.
I'm leading off with this tip because a) you'll want to complete this step ahead of time because washing a car with a camera attached is not advisable and b) it's something I forgot to do before taking the shot above. I did wipe down the hood with a cloth to get most of the loose dirt off the hood, but I completely forgot about the windshield. Dirt on the windshield will really stand out when light is reflected at certain angles and can cause a less clear/hazy view into the car's interior. Do yourself a favor and wash [minimally] the parts of the car that will be within the lens' field of view. Doing so will ensure you can easily see your subject/the car's interior and will reduce the amount of time needed for spot removal in post-processing.
2. Use a fisheye lens.
So why is a fisheye lens important? First, a fisheye lens gives you a very wide angle of view which makes the hood of the car look bigger/more prominent while also allowing any details on the hood (like a hood scoop) to be fully framed. And second, the fisheye lens' distortion makes the lines of the hood curved, leading to a much more intriguing, almost futuristic-looking image.
Note that one downside to using a fisheye lens is that such lenses do not accept front filters. Therefore, in order to obtain a slow enough shutter speed for optimal motion-blurred surroundings, shooting when the ambient light is minimal (in other words, at night) will be necessary.
3. Park under a street light to figure out your framing and exposure.
The best way I've found to figure out the best exposure values and obtain focus is to park under a street light. This has several benefits. For one, as street lights will likely be the primary source of illumination for the car, it makes sense to use a street light to dial in your exposure settings. As the hood will not be constantly exposed by a single light source in any of the desired moving images, it's best to set your exposure so that the hood is slightly overexposed in testing. Doing so will help account for the time the car is less illuminated between light poles. Of course, not all of the images the camera takes will be optimally exposed, but by using the street light to dial in your desired aperture, shutter speed and ISO, those images that are well-illuminated by one (or two) street lights will likely be in the ballpark of your test exposure.
Another benefit of parking under a street light is that you can usually set manual focus on the lens by using any light that is illuminating the car's interior and 10x Live View magnification on the camera.
And last but not least, the street light will help you set your desired framing. In most photography disciplines, getting your camera level is an optimal technique. However, significantly tilting a hood mounted camera makes it look like the car is traveling on an angle, sort of like a NASCAR stock car in a banked turn. Using Live View, experiment with different angles to see which one you think looks best.
4. Use a remote flash to light your subject(s).
While the car is an integral part of any hood-mounted image, a well-lit subject will provide a necessary focal point for the viewer. However, the subject will not be well-lit from the ambient light without the car being overexposed (especially with lighter exterior car colors). What you need is a remote, radio-triggered flash inside the car to illuminate your subject(s) during the exposure. It can be tricky to position your flash so that it is flattering to your subject yet remains unseen from the camera's position, so you may have to experiment (and problem solve) to figure out a plausible flash mounting solution, especially if you want to include a modifier in the mix. Also, be sure to choose an interval setting that includes a buffer time between images so that your flash has adequate time to recharge before the next shot.
5. Compositing can help you get the "perfect shot."
One of the great things about this type of photography is that there's an unavoidable random quality to the images that are captured. The look of the images can change dramatically based on the speed of the vehicle and the types of lights affecting the scene. You could drive the same stretch of road a dozen times with the same camera settings and no two images would look the same. On the one hand, that means you'll always get something unique. On the other hand, nailing the perfect shot takes a decent amount of luck and/or a bit of Photoshop. Because much of the image is static (never changes) and with the changing parts being motion-blurred and mostly unrecognizable, you can easily combine those areas from several images using a soft edged brush to blend desired areas of each image together.
About the Shot
Not too long ago, I installed Magic Lantern on my Canon EOS 5D Mark III so that I could test out a particular feature of the firmware add-on. While I ultimately found out that the feature didn't work as I had expected (and, therefore, was useless to me), the other benefits of having Magic Latern installed on the camera led me to leave it installed on my memory cards. One such feature, an full-featured intervalometer, made me want to recreate my favorite driving self-portrait, except using the full-frame camera instead of the EOS 7D Mark II + Rokinon 8mm f/3.5 Fisheye. The EOS 7D Mark II features a built-in intervalometer, making it really easy to use when mounted to the RigWheels RigMount X4 for the rolling car shot. However, the full-frame 5D Mark III was better at resolving fine details. With the intervalometer feature enabled by Magic Lantern, all I needed was a fisheye lens that would enable me to simulate the perspective of the Rokinon 8mm f/3.5 on the APS-C camera.
Considering that this would be a lens I intended to use sparingly, purchasing a used model seemed to make a lot of sense. Therefore, I started keeping an eye out for full-frame fisheye lenses in B&H's used inventory as well as eBay. After a couple of weeks, I ran across a Rokinon 12mm T3.1 Fisheye auction going for a very reasonable price and watched it carefully. For my intended use of the lens, autofocus was not necessary; a manual focus lens would work just fine. I ended up winning the auction with a bid significantly less than half the retail price, so needless to say I was very happy with the acquisition. Of course, there are some risks in buying a used lens, which is why I wanted to give it a thorough test after it arrived on my doorstep. Thankfully, it performed excellently.
To get the shots used for the composite above, I mounted the Canon EOS 5D Mark III + Rokinon 12mm T3.1 Fisheye on the passenger side corner of my hood with the lens set to T4 and focused where the driver would be. The camera was set to Manual mode with a 2.5 sec. exposure at ISO 200. I used the Tungsten white balance setting because most of the streetlights in Savannah emit a very warm colored light. To light myself in the driver's seat, I used a background light stand situated in the floor of the passenger side with an umbrella swivel supporting a radio triggered full CTO gelled Canon Speedlite and Lumiquest Ltp softbox mounted on top. The flash and modifier were positioned as high as I could get them without the softbox being visible to the camera for more of a side light (as opposed to an under light) and the CTO gel allowed the color of the flash's output to closely match the light emitted by the streetlights, easing the color correction process.
With all the camera gear in place, I set Magic Lantern's intervalometer dialogue to take a picture every 6 seconds with a 20 second delay before the first shot. These settings gave my flash plenty of time to recharge between shots while also not wasting shots as I returned to the driver's seat after starting the sequence. After exiting the ML settings (triggering the start of the intervalometer), I hopped in the car and headed to downtown Savannah where I did a loop before returning home. In the relatively short drive, I captured 176 images.
My ideal shot would meet the following requirements:
Unfortunately, none of the 176 images captured met all of those requirements to my fullest satisfaction. However, several of the images met some of the requirements, with the net effect that all requirements could be met by combining a few of the images in post-processing.
Here was the base image:
So who would be interestd in these types of images? Anyone who owns a car that they are proud of (or has a sentimental attachment to). You probably already know someone who spends evenings and weekends working on their pride and joy. Potential clients also abound at car meetups and race events.
Here's a recap of the gear you may need to create dynamic car shots:
From the Adobe Photoshop YouTube Channel:
Explore different blend modes that can be used for creative color and tonal edits in Photoshop CC.
DJI Phantom 4 Pro and Pro+ v.2.0 Highlights
Presenting the American Photography Open 2018. A new competition to celebrate the best pictures submitted by photo enthusiasts, taken with any device.
For over 30 years American Photography has been holding a juried competition for pro photographers. Now with the proliferation of so much great photography taken by everyone we are introducing a new competition for photo enthusiasts at all levels.
Our judges will include members of the Pro Photo Daily staff, Julia Sabot from Blink, Alison Zavos Editor of Feature Shoot, Reuel Golden Editor at Taschen, Marc Asnin from Boulevard Artists, a Tamron Image Master and they, along with the community who register, will award prizes for the best images submitted in 2018.
Final Deadline: August 24, 2018
A Short List will be announced in September and a Community Voting Gallery will be available for voting.
In October ten finalists will be announced who will receive prizes including selected products/ services from our partners, an exhibit of their prints and recognition at our awards event at Photo Plus in New York City and a chance to participate in a Photo Walk conducted by one of the Tamron Image Masters during the show.
The Grand Prize of $5000, a Tamron 24-70 G2 lens (value $1200) plus additional prizes from our partners, will be announced along with the Community Voting Award winner at an event at Photo Plus on Thursday Oct. 25th. 2018.
The entire 2018 short list collection will be featured in a book that will be available to download for free or purchase as a hard copy.
HERE’S HOW IT WORKS
Your initial entry (one image) is free through July 1, 2018. You can enter an additional 2 images, for a total of 3, for $25; an additional 6 images for a total of 7 for $50; or an additional 15 images for a total of 16 for $100. If you have more images you would like to enter they can be added for $5.50 each. Once your entry has been paid there are no refunds provided.
You keep all rights to your images: AI-AP does not retain any rights to your work when you make your submission. Upon selection, permission is given only for use in the book, website, finalists exhibit and any promotion for American Photography relevant to the contest. Proper artist credit is always given along with contact information where applicable.
JPG files are required for submission. Upload files 72dpi, RGB, up to 1000 pixels on the LONGEST side, up to 20MB. Use any unique file name, but do not include special characters or spaces in the file name. Save file as a .jpg.
You don’t have to submit high-res files: If your image is selected as a finalist, we will request hi-res files at minimum 300 dpi, 20x13", CMYK for reproduction.
The Canon Digital Learning Center recently posted tips for photographing different events: graduation, bridal and baby showers. Check out the links below for more information.
Just posted: Zeiss 15mm f/2.8 Milvus Lens Review.
This review did not have the typical Zeiss ending.
Note that the Zeiss 15mm f/2.8 Classic Lens is currently available and is a bargain at B&H (used also available) and Amazon. A specially modified version (shade removed) is available for a $500 premium over the Milvus lens at Adorama.
When there is a choice, I nearly always go after the elk with the nicest antlers.
While everyone has opinions on what "nicest" means, I generally look for overall size (bigger is better with age, genetics and nutrition aiding this aspect), symmetry (or character if something unusual is present),
shape (classic shape with long curved tines and a big whale tail) and color (dark with ground-polished white tips is perfect).
This bruiser checked most of those boxes and in this position, his primary flaw, a missing G2 (second point from the base) on the left side, is nicely hidden. This 6x5 had not long ago lost a fight with a bull with antlers that were smaller overall. In the battles, it is often the size of the elk's body that matters most and this one needed to go eat more. He is still talking to the nearby herd with a bit of food still in his mouth.
This pursuit started not too far from the car, but I eventually ended up on a ridge a good distance from where I parked. When a light rain ensued, I was thankful for weather sealed gear as I did not bring a backpack and would not have been pleased to have to leave a subject as nice as this one.
I usually use a shutter speed faster than 1/400 second when photographing elk. But, elk usually move slowly while bugling. So, I grabbed some immediate insurance shots and then rolled the shutter speed down to go after lower noise images. Manual mode was selected with a wide open aperture and auto ISO adjusting for the shutter speed change I made.
A larger version of this image is available on Flickr.
I really like Ian Spanier's use of lighting diagrams to help explain the various setups covered in this presentation. The diagrams alongside the captured images make following his lighting descriptions very easy. [Sean]
From the B&H YouTube Channel:
Award-winning photographer (and author) Ian Spanier shares his techniques for capturing great photos through proper lighting and storytelling; preparing for shoots by outlining sketches, setups, and lighting concepts; and adjusting on the fly when things don’t go according to plan. This video contains a wealth of useful information for aspiring and professional photographers alike.
In this video, Adobe's Julieanne Kost shows us how to use a smartphone to create seamless patterns in Photoshop CC.
From the Adobe Blog:
By Sharif Karmally
Sr. Product Marketing Manager, Creative Cloud for Education
05-03-2018 – I'm inspired by the educators I meet around the world who use technology to improve the way students learn and build creative problem-solving skills. Our research showed that this is important to nearly every educator and policymaker because professions which require creative problem-solving are less likely to be impacted by automation, and more likely to pay high salaries.
The study also confirmed that many of the barriers to teaching these skills that I’ve seen in classrooms are universal — some of the biggest of which are limited budgets, access to technology, and time to learn new apps. As teachers shift their classrooms to incorporate creative projects that build these skills, we at Adobe are also shifting our offerings to give them an affordable, easy, and quick way to succeed.
In January, we announced we were providing access to Spark for Education, a set of storytelling apps with premium features and additional capabilities for K-12 and higher education institutions, free of charge. And now, we’re pleased to announce that beginning May 15, 2018, the full suite of Adobe Creative Cloud apps will be available to K-12 schools via their authorized Adobe reseller for $4.99 per user license, per year, with a minimum purchase quantity of 500 licenses for a single school, or 2,500 licenses for a school district.
Like Spark for Education, Creative Cloud for K-12 provides a method for schools to deploy licenses to students of any age in a way that is consistent with the Children’s Online Privacy Protection Act (COPPA) and other data privacy laws. And, it can be set-up with a single sign-on so that students and teachers can use their existing school ID to access Creative Cloud.
What I’m most excited about is that it allows students to access apps like Photoshop, Illustrator, Premiere Pro, XD, and more, wherever they are — and on any device. I recall visiting a high school class where the students were creating posters for a social cause they care about using Photoshop. They were so excited to have a visitor from Adobe, they all applauded. But then a hush fell over the room, and one of them asked their teacher, “How will I finish my project if we can’t work on it during this class?” Talking to the teacher more, I learned that because access to Creative Cloud was limited to the computer lab, they had to dedicate much of their class to students working on their project. They could not spend as much time as they wanted teaching students the principles of design and visual communication. With the new user licensing we are announcing today, students can continue working on projects at home, and on any device, simply by logging in and opening the apps and services they need.
In addition to making Creative Cloud affordable, Adobe is working to provide additional professional development resources to educators, in partnership with Edcamp, an organization dedicated to building and supporting communities of empowered educators. Together, we will be bringing educators together to share projects and courses focused on implementing creative problem-solving in the classroom. And beginning next year, Adobe will begin conducting hands-on professional development workshops, both in schools around the country and online, to teach educators new project-based use cases for Adobe Spark and Creative Cloud. This is all in addition to the Adobe Education Exchange, a place where educators can access free courses, workshops, and teaching materials.
We are on an exciting journey, collaborating with educators to empower the next generation to be lifelong creators. With these two new offers, Spark for Education and Creative Cloud for K-12, we’re equipping teachers with the apps, training, and support they need to make this happen. We can’t wait to see all of the amazing things students create on their journey to becoming the creative problem solvers of the future.
Days Inn, a Wyndham hospitality enterprise, is looking for a talented amateur photographer to photograph sunsets across the contitental US for an entire month to for use as artwork in its sun-themed hotels.
From Days Inn:
Bring your SPF because this month-long Sun-ternship will have you snapping photos in America’s sunniest cities—from sunrise yoga in San Diego to a sunset sail in Miami, and lots of sunny moments in between.
What’s more, you’ll get major photo props. Photos captured along the way will be featured on our site, social media channels, and hotel walls. We are bringing the sunshine inside with sun-themed art in nearly 1,500 hotels across the country and your very own sun shots will star in select locations. See below for details.
Your summer mission in a snapshot? Seize the days. Take beautiful photos of the sun. See those photos featured in hotels and online. Get paid. Be the envy (and most sun-kissed) of all your friends.
Who We’re Looking For
We’re on the hunt for a creative amateur photographer* with a passion for adventure and the ability to travel across the U.S. for one month this summer. If you’re a thrill-seeker looking for new, unforgettable experiences, you might just fit the bill.
*Must be a U.S. resident and 21 years or older to be considered.
How to Apply
Send us your favorite original outdoor photo and tell us in 100 words why you’re the best person for the job. The deadline to apply is May 20, 2018.
From Nikon USA
An Exciting Group of Talented Visual Storytellers Joins the Distinguished Roster of Industry Elite
MELVILLE, NY – Today, Nikon Inc. announced the addition of ten new visual artists representing a diverse variety of disciplines to the prestigious Nikon Ambassador Program. These exceptional individuals share in Nikon’s commitment to advancing the imaging industry through innovation, education and pushing the boundaries of creativity, all while making significant contributions to the field of modern photography.
“We are extremely proud of how the Nikon USA Ambassador Program has grown since its creation, and are excited to announce these ten new members, each of whom show an unparalleled desire to advance the photography industry and contribute to its overall growth,” said Michael Corrado, Senior Manager for Professional Photographer Relations and Marketing Business Development, Nikon Inc.
The new Ambassadors represent a mix of shooting styles and subject matter ranging from filmmaking, sports, travel, portrait, maternity, weddings, conflict and more. With the recent addition of these Ambassadors, the program now includes thirty-three members, each bringing their own unique style and perspective. Each of these elite photographers embody the philosophy of Nikon’s Ambassador Program, which is to empower creatives through education and inspiration, while working directly with Nikon to communicate valuable insights of the evolving industry.
Nikon’s Newest Ambassadors:
To learn more about Nikon’s Ambassador Program, please visit: www.nikonusa.com/ambassador.
From the Adorama YouTube Channel:
In Ep 113 of Two Minute Tips, David Bergman shows you how to use on-axis fill to enhance your pictures without changing the overall feel.
Note: In this example, the framing and distance to subject lead to a very small catchlight in the subject's eyes. For tighter subject framing, the circular catchlight caused by the ring light would be more obvious. Some people like the circular catchlight while others do not. Be sure to gauge how your subject feels about the circular catchlight before using a ring light (showing examples can help).
I used to own a dedicated ring flash, but it was so cumbersome to set up that I rarely used it and eventually sold it. Now I prefer to use a RoundFlash Magnetic Ringflash Adapter paired with an on-camera Speedlite. [Sean]
Here are some image quality comparisons that you might find entertaining:
Compared to the Canon EF 14mm f/2.8L II lens
Compared to the Canon EF 16-35mm f/2.8L III lens
Compared to the Irix 15mm f/2.4 lens
Compared to the Rokinon SP 14mm f/2.8 lens
Compared to the Rokinon 14mm f/2.8 IF ED UMC lens
Compared to the Sigma 14mm f/1.8 Art lens
Compared to the Sigma 14-24mm f/2.8 Art lens
Compared to the Zeiss 15mm f/2.8 Classic lens
The long-awaited GIMP 2.10.0 is finally here! This is a huge release, which contains the result of 6 long years of work (GIMP 2.8 was released almost exactly 6 years ago!) by a small but dedicated core of contributors.
Check out the GIMP 2.10 Release Notes for more information.
Downlaod: GIMP 2.10
In Shenandoah National Park, early June brings bright green flora that provides a great environment for wildlife photography.
Ferns are one of my favorite sources of bright green and there is no animal that stands out in starker contrast to ferns than a coal-black black bear.
This mother bear paused her food hunting task to look intently toward her two cubs, treed high in a large pine tree nearby.
While the green flora is very helpful in compositions, it also adds challenges. One flora challenge is that it frequently obstructs the view of the subject with small animals (including fawns and cubs) being most-easily obscured. While an eye-level shooting height often works well for wildlife photography, a higher level may sometimes be needed to clear the obstructions.
Another flora challenge is AF-related. The contrast and brightness provided by the green leaves and grasses along with their closer-to-the-camera position often gains the camera's AF system preference, causing a strongly front-focused image.
The bottom line is that the eyes (minimally the closest one) must be in focus. While MF may sometimes be required to work around obstructions, they can often be worked around by selecting a focus point off of the animal's eye, on a nearby part. Which nearby part depends on the animal and its head position. If the animal is looking sideways in the frame, much of the head, from nose to ear, may provide a sharp eye. If the animal is facing the camera, the challenge is often greater with long noses also being a big AF system lock-on favorite. Parts that situationally may work include the forehead, the base of an antler or the base of an ear.
Carefully watching what is sharp immediately upon focus lock can help identify any series issues in that regard. For this frame, focusing on the eye worked fine.
I have had the privilege of photographing a large number of bears and know that they are not equally attractive. Within a species, they have somewhat different shapes and especially their coats are not all the same. This one; however, was a quite beautiful specimen.
A larger version of this image is available on Flickr.
Just posted: Really Right Stuff PG-02 Pano-Gimbal Head Review.
Having a selection of RRS parts is a bit like having a pile of Legos. Once you get started, you just want to keep building (and you find yourself "needing" more parts).
During an evaluation, I decided to put most of the items I was working with together into one setup. And, thought I'd share it with you. Supported in the Radical Rig are:
Used for support in the Radical Rig are:
While the rig looks cool, it is surprisingly usable. And, the gear is truly impressive.
Here is the back view:
Based on what you see here and knowing what I've already reviewed, you can likely figure out what the next review subject is.
Crazy rigs of course need a name. I decided to call this one the RRS Radical Rig with "Extravahead" in the running. Sean had some other good ideas – please share your own alternative name suggestions with us.
#MYRRS #RRS #ReallyRightStuff
Whitetail fawns are cute and curious – and they are bundles of energy (when not sleeping).
This one abruptly stopped after leaping around, intently watching something of interest.
Alert poses are one of my favorites for wildlife with the ear position usually being ideal. From a compositional standpoint, the direction of the gaze adds weight to the side of the frame being gazed toward. That means this fawn works well being positioned toward the left side of the frame to provide overall balance. Of course, the beautiful SNP spring green landscape nicely compliments the colors of the fawn.
Fawn photography at this location can make use of all available telephoto focal lengths, from short telephoto to the longest super telephoto focal lengths available. The flexibility offered by a zoom lens has its advantages and, in this case, the Canon EF 200-400mm f/4L IS USM Lens' built-in 1.4x extender was especially helpful.
I have a unique, limited opportunity for you: I'd love for you to join me for "Whitetail Fawns and More", a Shenandoah National Park Instructional Photo Tour. Our goal is to photograph these beautiful little creatures along with many of the other great subjects found in Shenandoah National Park while actively learning photography skills. Read the just-linked-to detailed description to learn more.
A larger version of this image is available on Flickr.
B&H has posted several presentations from its Depth of Field 2018 Event on its YouTube channel.
Depth of Field 2018 Presentations
by Sean Setters
About 8 years ago, I purchased a 4' x 6' (1.2 x 1.8m) softbox from eBay (they aren't even available anymore) and really liked the soft light it projected onto my subjects. However, the more I used it, the more I realized how impractical it was. The biggest problem was that the softbox's weight was too heavy for my studio strobes' spring loaded mounting fingers. The softbox would mount to a studio strobe under ideal conditions, but any movement of the softbox (repositioning, small gust of wind, etc.) would cause the it to dismount from the strobe and [usually] break the modeling light and/or flash tube in the process.
And even if the softbox stayed connected to the studio strobe, the studio strobes positioning handle couldn't be tightened tight enough to prohibit the softbox from slowly inching its way downward at the pivot point. The problems inherent to the weighty modifier meant that it was rarely ever used. That is, until I recently came across a solution to the problem.
The mountable speed ring will be especially helpful for anyone suspending a large softbox above a subject or with the modifier pointed downward at a significant angle as gravity will be pusing the strobe into the mounted speed ring instead of pulling the speed ring away from a traditionally mounted strobe. However, if planning to do this, it would likely be best to permanently affix the 3/8" stud to the mountable softbox with epoxy/glue. The mountable speed ring's risk-reducing design may be the most economical insurance you ever buy.
There are three versions of the mountable softbox currently available for compatibility with Paul C. Buff/Alien Bees/White Lightning, Bowens and Profoto. However, while I cannot confirm that this is the case, if you have a similar non-mountable speed ring with interchangeable mounts (most third-party speed rings are designed this way), then you may be able to swap out any of the mounts available to make it compatible with your own strobes.
Fair warning: This isn't the most entertaining or polished "How To" video that Adobe has released, but the narrorator does cover a lot of information in this lengthy walkthrough on creating profiles in Adobe's newly revamped Camera RAW plugin. [Sean]
From the Adobe Photoshop Lightroom YouTube Channel:
An advanced, step-by-step guide to creating Creative Profiles in Adobe Camera Raw for use in Adobe Camera Raw (ACR) 10.3 and later, Lightroom Classic 7.3 and later, and Lightroom CC 1.3 and later. Please keep in mind that profiles are very different from presets, and as such, there's lots of stuff that can go wrong while making them. Experiment, have fun, and go slowly.
For more details and specifics, download the SDK with sample files from this link.
Issues fixed in Lightroom Classic CC 7.3.1 (April 2018 release)
(Only on macOS) When backing up your catalogs on macOS, Lightroom Classic doesn't compress (zip) catalogs that have a file size less than 4 GB. As a workaround to this issue, manually compress the backed up catalog files. Compressed files take up less hard disk space. By default, Lightroom Classic saves backed up catalogs to the following location on macOS:
/Users/[user name]/Pictures/Lightroom/[catalog name]/Backups
Meeting more of you is always high on my to-do list, I have wanted to offer photo workshops/tours/experiences for a long time (many of you have requested such) and my Shenandoah National Park commercial use permit just arrived. While I enjoy others enjoying my images, my primary goal is always to help you get great images and I'd love for you to join me for nearly a week of wildlife and outdoor photography in this great location. I have cleared space in the schedule and made it through the logistical issues involved in making this trip happen, including acquiring the necessary SNP permit and having an important-for-wildlife-photography park policy change implemented (this will be one of the first tours falling under the new rules). Due to the latter issues, this is a relatively short-notice trip.
When and Where: Sun, June 3 - Sat, June 9, 2018 in Shenandoah National Park
The plan is to meet at the lodge on Sunday afternoon, just as the park's busyness of the weekend is winding down, and we will wrap up after a morning shoot on Saturday, as the park gets busy again.
Hopefully you, along with 2 or 3 (at most) others. While large groups are far more profitable from a business perspective, photographing wildlife in the field is challenging in large groups and keeping the group small means better opportunities and more personal attention.
$2,250 due in full to lock in your spot. Email me at Bryan@Carnathan.com to sign up or ask questions!
What are We Photographing?
Our primary photo subject will be wildlife. Wildlife, by definition, is "wild" and that means it is unpredictable and there can be no guarantees. That said, Shenandoah National Park is one of the best locations in the world to photograph whitetail deer and whitetail fawns are one of the cutest creatures on the face of this planet (it seems that everyone loves pictures of them). The timing for this trip is such that most of the fawns will be recently-born and the foliage for the always-important image backgrounds should include beautiful bright green colors. Even with the high whitetail density found in SNP, fawns remain quite challenging to photograph, but the rewards are worth the effort. Deer are not the only wildlife subject found here and there is high likelihood that black bears will avail themselves as subjects along with a variety of birds and other smaller mammals. We will be opportunistic and take advantage of any subjects that we encounter - and those moments are part of the excitement. In addition to the immersive wildlife photography experience, there will certainly be opportunity for some landscape photography. My time in the field is very limited and I need to have a high probability of good opportunities when I make such time investment. SNP rarely lets me down in that regard. Basically, we will work hard to capture some great images, attempting to build out your portfolio and light up your social feeds as well as working on improving your photography skills. And, we'll have fun along the way.
There is a Sense of Urgency for this Trip
CWD (Chronic Wasting Disease) has been detected within 11 miles of SNP (according to the SNP wildlife biologist I talked to in Mar 2018). This awful disease is always fatal to deer and when it reaches within 5 miles of the park, implementation of an already-established plan will significantly reduce the deer population here. That means this awesome experience is at high risk and that is one of the reasons I chose this photographic opportunity first.
While the implied definitions of these terms varies, I see "workshops" typically laid out with a planned schedule and "tours" typically designed to put you in front of subjects at the right time. I'm calling this trip a "tour" because the primary goal is for you to get great images and we will be opportunistic in that regard, making a firm schedule difficult to implement. That said, we will spend a lot of time together and I will teach, answer questions (bring many), critique images, assist in editing, etc. throughout our time together. Thus, the educational element will certainly be there. In the field, we will photograph side-by-side. You taking great images home will be the primary goal, but you capturing those images yourself is important and I can best describe what you should do if I am doing it myself at the same time. This also provides the participant opportunity to watch how it is done. Your constant feedback and questions are important and will enable me to provide you with the best experience possible. An "expedition" is another type of immersive photography experience and this event involves multiple daily mini-expeditions. Certain is that we will have an adventure.
This will be a moderately strenuous trip, with much of the strain dependent on the size and weight of the gear you are carrying. There will likely be some easy wildlife photography opportunities encountered, but we will be carrying our gear through the woods, tall grass and light brush over hilly terrain, often attempting to keep ahead of moving wildlife. Thus, one needs to be in reasonable physical condition.
What is Included
Transportation during the experience (I am happy to provide free transportation to and/or from the park if you are directly on my route from the north - primarily RT 81) along with everything described in the Tour/Workshop/Adventure/Expedition section above is included. By not including the items listed below in the fee, individuals are able choose their level of spending.
What is Not Included
Transportation to/from Big Meadows Lodge including the required National Park entrance fee.
Lodging. We will be staying at the Big Meadows Lodge. I usually get a very basic lodge room, but other options are available, ranging from camping to cabins.
Food. Because of the remoteness of this location, our food will primarily consist of what is offered at the Wayside Diner or the park lodges along with any food brought along into the park or purchased at the camp store. Because it gets light very early at this time of the year (getting enough sleep will be one of our challenges), we will begin photographing before services are open. I usually pack breakfast to eat in my room prior to the morning shoots. I take a cooler with jugs of ice and ice is available at the lodge (you need bag/bucket to transport it from the ice machine). Typically, we will eat second breakfast/early lunch (or perhaps both) at the Wayside Diner (usually open 8-8 at this time of the year) or optionally the lodge and we will likely eat at the lodge for early or late dinner (it closes at 9:00). I suggest packing granola bars and/or bringing other snacks along while photographing (especially in case we find an amazing subject that we don't want to leave). Plan to have water or other drink available to take with you.
At this time of the year, the days are long and the nights are correspondingly short. Our best opportunities will be found early and late in the day and we will target these times. Fatigue can kill mental and physical sharpness, so we will usually return to our rooms mid-day for some downtime and a nap. We will go back out mid-late afternoon and stay out until the light level drops too low for good images. These plans are all very flexible and we can target any specific interests the group has.
Travel insurance is strongly recommended. As this tour is being scheduled close to the tour dates and because of the small group size, no refund can be offered for cancellation.
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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 photographing wildlife, you are going to need some gear and mid-upper-grade gear should be considered for good results from this event.
For fawns, a camera with a reasonably fast frame rate (fawns are almost constantly moving) and high-performing AF system is preferred, but not required. This generally means a DSLR camera or a late-model MILC (Mirrorless Interchangeable Lens Camera) should be in your bag.
A telephoto lens or lenses will be needed with a full-frame equivalent of at least 400mm (250mm on an APS-C) suggested and having longer focal lengths available is preferred. Wildlife activity is greatest early and late, so wide apertures are often an advantage and the wide aperture's ability to blur the background can be useful. Any telephoto lens can work, but there may be times when an f/4 or wider aperture is preferred. This is a great event to break out your big lenses for and it is also a great time to try a new one, perhaps via renting.
My current plan is to take a Canon EOS-1D X Mark II along with the Canon EF 200-400mm f/4L IS USM Lens (with built-in 1.4x extender) and Canon EF 100-400mm f/4.5-5.6L IS II USM Lens as my primary wildlife kit. In addition, I'll take at least one Canon EOS 5Ds R body and will likely bring a Canon EF 600mm f/4L IS II USM Lens. 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. I always take both to this location.
We can potentially make use of a full range of landscape photography gear, including ultra-wide to wide angle lenses and circular polarizer and ND filters.
It is highly recommended to bring a laptop, enabling review of your images throughout the time we have together. Bring an external hard drive for an additional level of backup. Bring adequate memory card capacity, enough batteries to last at least a day with enough chargers to restore that capability overnight.
Consider what failure of any piece of gear means for your experience. Consider bringing a backup for items identified as critical.
As always, feel free to ask us for gear advice.
Weather / Clothing
The weather in early June is typically very nice in Shenandoah National Park. However, the mountain can create its own weather and that can be at least somewhat unpredictable. Rain gear may be very appreciated at times, including rain covers for camera gear while in the field.
Plan for walking in brush (including mild briars) and woods. The wildlife we are pursuing is acclimated to humans and they do not seem to care what we are wearing (though you might get their attention if you look like a black bear, a primary deer predator). Camo clothing is not necessary, but it is a good option. I wear mostly camo and part of the reason is to be less obvious to other park visitors.
Insects can be annoying and ticks are reportedly present (I have yet to find one on me at this location). Permethrin and other insect repellent may be appreciated and I also wear a ball cap to help keep gnats out of my eyes (and avoid sunburn). Especially mid-day, shorts may prove the most comfortable option at times.
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Contact me at Bryan@Carnathan.com.
Researchers from NVIDIA, led by Guilin Liu, introduced a state-of-the-art deep learning method that can edit images or reconstruct a corrupted image, one that has holes or is missing pixels.Read the entire article on NVIDIA's website.
The method can also be used to edit images by removing content and filling in the resulting holes.
The method, which performs a process called “image inpainting”, could be implemented in photo editing software to remove unwanted content, while filling it with a realistic computer-generated alternative.
“Our model can robustly handle holes of any shape, size location, or distance from the image borders. Previous deep learning approaches have focused on rectangular regions located around the center of the image, and often rely on expensive post-processing,” the NVIDIA researchers stated in their research paper. “Further, our model gracefully handles holes of increasing size.”
From the Adorama YouTube Channel:
In the episode (Ep112) David Bergman shows you how and why you might use a right angle finder on your camera.
Just posted: Sigma 14-24mm f/2.8 DG HSM Art Lens Review.
It is a good lens, with some complexities encountered.
From the Profoto YouTube Channel:
Photographer Michael Anthony creates engagement and wedding portraits with different Profoto OCF lighting set-ups in three different locations.
In a recent publication directed to its investors and based on a reevaluation of future cash flow, Nikon announced that it will suffer "extraordinary losses" from its investment in Nikon Metrology NV, its Belgium subsidiary that produces "...laser scanners; coordinate measuring machines; portable measuring solutions; and in-process measurement, video and microscope measuring, X-ray and computed tomography (CT) inspection, large scale measurement, microscope, and semiconductor systems." (Bloomerg)
The reevaluation revealed that the fair market value of the investment in Nikon Metrology NV decreased by almost $95.6 million (10,343 million yen).
I had been watching this pair of red fox kits (what baby fox are called and not to be confused with the kit fox species) at a relatively close distance, within photo range, for perhaps an hour with essentially no good images captured.
They were running, resting, wrestling, eating (the mom or dad would occasionally bring them captured food), nursing and simply being extremely cute.
While I was thoroughly enjoying watching the adorable babies, I of course wanted photos to take home. The problem was the thick brush including vines, trees, limbs, grasses, etc. constantly obscuring the view and creating hard shadows that were nearly as problematic as the obstructions. There were very limited unobscured areas to shoot into at this location and the kits seemed to seldom go into these.
At one point, the kits started running together in a big circle. I saw that the arc, if followed, was going to lead them through one of the small openings. I told the small group I was with to get ready, followed my own advice and when they hit the opening, I hit the shutter release.
The result of anticipating the shot was one of the few images worth processing I captured on the trip and anticipation is often the key to successful wildlife photography. Wildlife is frequently moving and determining where that movement will correspond with a good composition is often what is required for good results.
A larger version of this image is available on Flickr.
SmugMug and Flickr Unite to Form the World’s Most Influential Photography Community
MOUNTAIN VIEW, CA – (April 20, 2018) – SmugMug, the largest, most comprehensive, independent photo management platform in the world, today announced it has agreed to purchase Flickr, the online photo management and sharing application. Together, SmugMug and Flickr represent the world’s most influential community of photographers, marrying SmugMug’s deep industry expertise and strong digital tools with Flickr’s global tribe of tens of millions of photographers. Following the close of the transaction, the brands will continue to operate as separate entities with the shared goal of providing photographers with both a place to fit in and a place to stand out. SmugMug and Flickr believe that all photographers—from the hobbyist to the prosumer to the professional—belong together.
“Since day one our passion has been empowering photographers to tell the stories they want to tell, the way they want to tell them, and our investment in Flickr reaffirms this commitment,” said Don MacAskill, CEO of SmugMug. “Uniting the SmugMug and Flickr brands will make the whole photography community stronger and better connected. The enduring quality of photography is so much more than clicks and likes—photography has the power to change the world. Together, we can preserve photography as the global language of storytelling.”
Established in 2002 as one of the first photo storage and sharing services, SmugMug is home to millions of passionate photographers and billions of secure photographs. The SmugMug platform provides photographers with website designs that offer a safe, easy and convenient way to share, showcase and sell their stories. SmugMug gives photographers complete control over who accesses their photos, and provides robust e-commerce features that make it easy to turn passion into profit.
At its heart, SmugMug encourages and empowers its community of photographers to learn, share, and inspire one another. SmugMug provides 24/7 support, from real people, along with tips, tutorials, and training events, and also hosts webinars and forums with leading photographers.
Founded in 2004, Flickr is an active, global community of photographers that encourages users to find their inspiration. Home to tens of billions of photos and two million groups, photography lovers come to Flickr to share their passion, discover spectacular images, hone their craft, and engage with friends old and new.
“We share SmugMug’s mission to cater to people—professionals, amateurs, and everybody in between— who invest time, energy and love into their photos,” said Andrew Stadlen of Flickr. “We look forward to becoming part of the SmugMug family and continue to grow, innovate and delight our global community of photographers.”
Tomorrow, April 21, you will be able to access any National Park without having to pay an entrance fee. So if you don't have any plans, why not pack up the family along with some camera gear and visit your nearest (or favorite) US National Park?
FYI: Not all National Parks charge a fee for entry, but here's a list of ones that typically do.
Anhui China, Apr 20, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique Laowa camera lenses, is proud to announce 4 new and unique lenses.
Laowa 10-18mm f/4.5-5.6 FE Zoom
This lens is currently the widest zoom lens available for Sony full frame E-mount cameras. Designed primarily for travel photography, Venus optics have managed to compress the size to smallest in its class, less than 10 inch (<10cm) and only 1.1 pounds (<500g). The 102° (18mm) to 130° (10mm) angle of view provides flexibility for photographers to compose landscape or architecture photos with ease. The lens houses with 14 elements in 10 groups with 2 aspherical elements & 1 extra-low dispersion element to deliver exceptional performance. It can focus as close as 15cm for some mini-macro shooting. A rear filter slot is included to fit with 37mm filter. Click/clickless aperture can be toggled by the switch on the lens barrel.
Laowa 100mm f/2.8 2X Ultra Macro APO
Followed by the success of the Laowa 60mm f/2.8 2:1 Macro, the 100mm f/2.8 2:1 Macro is the 2nd member of Laowa 2:1 macro line-up. This new 100mm lens can cover full frame sensor size and focus from 2:1 magnification to infinity. The wide magnification range allows macro photographers to capture subject at any sizes. This 100mm portrait lens also features an apochromatic (APO) characteristic that no chromatic aberration can be found.
The 12 elements in 10 groups optics design delivers a crystal sharpness image in both macro and tele distances. Canon EF / Nikon AI / Pentax K / Sony FE mounts are available.
Laowa 17mm f/4 GFX Zero-D
This is currently the widest available native lens option for Fujifilm G-mount cameras. The new Laowa 17mm f/4 GFX has a field of view equivalent to 13mm in 35mm format (113°).
Featuring a close-to-zero distortion and 86mm filter thread, this lens is ideally suited for landscape, architecture & interior photography. The 21 elements in 14 groups design with 2pcs of aspherical & 3pcs of Extra-low dispersion elements successfully help to control the distortion & chromatic aberrations to the minimal.
Laowa 4mm f/2.8 Fisheye MFT
Featuring a 210° angle of view, this lens delivers unique circular fisheye field of view on Micro four thirds cameras. The ultra-wide angle view allows photographers to create 360° panorama with ease. Despite the unique & ultra-wide perspective, the lens only weighs 0.3 pounds (135g).
Specifications can be found here.
All four lenses will be available for trial at Venus Optics’ booth (T225) in Beijing P&E Imaging fair during 3rd-6th May 2019. They are expected to be shipped in mid/late 2018. Exact shipping date and pricing are to be confirmed.
Discover new premium outdoor backpacks from Gitzo, dedicated to outdoor activities. Adventury Backpacks are specially designed for bird, wildlife, nature, and landscape photographers.
The new GITZO Adventury Backpacks are available in two versions: the 45L and 30L. These two new premium carrying solutions are designed to provide long-lasting comfort and safeguard all the equipment. They are both made of premium weather-resistant materials and are designed to carry cameras with long lenses.
From Phase One:
Update Provides New Resource Hub, Expanded Camera Support and Improved Workflow
COPENHAGEN, Apr. 19, 2018 – Phase One, the world’s leading manufacturer of high-end digital camera systems, today released Capture One 11.1, a feature release to the industry’s premier RAW conversion and image editing software. The release enhances the Capture One user experience, through a new support platform and functionality updates to ensure a faster, smoother workflow. Improved Styles and presets workflow, support for 11 new cameras, including Sony A7 Mk III and Fuji X-H1 and 10 new lenses, including Tamron lenses for both Nikon and Canon, and an all-new Resource Hub are among the latest updates.
“Capture One remains dedicated to the needs of ambitious photographers. These latest updates introduce an extension to camera and lens support, as well as an all-new Resource Hub. The Resource Hub is an in-app portal that allows users to easily access news, tutorials, updates and much more – all designed to inspire photographers and ensure the best workflow and user experience in Capture One,” said Jan Hyldebrandt-Larsen, VP Software Business at Phase One.NEW FEATURES AND TOOLS IN CAPTURE ONE 11.1
Improved Styles And Presets
A new workflow adds a much faster way to apply both Styles and Presets to a Layer on one or multiple images, offering a direct control of opacity, imperative to wedding and portrait photographers.
Furthermore, a new Spring Styles Pack is included, offering bright pastel color grading to images, particularly helpful to wedding, portrait and landscape photography.
The Resource Hub has been introduced to offer quick access to free learning resources via a dynamic on-screen portal. Tutorials, news, webinars, blog posts and much more are offered in one convenient location to improve the user experience and learning curve with Capture One.
The normalization tool provides a reference point for exposure and white balance for batch adjustments, now allowing any color to be used when previously the only option was a neutral grey.
New Camera And Lens Support
The Capture One R&D team, alongside our color scientists, analyze hundreds of images from each camera to provide photographers access to the best out of box experience with natural profiles. Below outlines the new camera and lens additions that Capture One 11.1 supports. A full list of supported cameras can be found here: http://www.phaseone.com/supported-cameras
New camera support includes:
New lens support includes:
CAPTURE PILOT 2.0
Capture Pilot 2.0 adds camera control support for Sony, allowing users to change camera settings of the tethered camera directly from your iOS device.
AVAILABILITY AND PRICING
Capture One 11.1 is available now for the Mac and Windows operating systems online at authorized partners worldwide.
Profoto has posted several videos for users of its A1 AirTTL-C Studio Light.
In this video, photographyer Miguel Quiles demonstrates techniques that can help you create soft light in a small studio environment. How does he do it? Pretty simple – he bounces his soft box off of a large V-flat resulting in very soft light on his subject. Keep in mind that the dynamics of a small space work well for creating soft light because there are so many nearby surfaces for light to bounce off of, assuming that the walls are light colored (and hopefully neutral colored so as not to impart a color cast).
However, if your goal is to create a portrait with lots of contrast, shooting in a small studio space can be very problematic. Because of the nearby surfaces, limiting the amount of spill light that lands on your subject can be difficult. In those cases, gridded modifiers, black flags and black-out fabric may be needed to achieve the desired high contrast resuls. [Sean]
Our first copy of the Sigma 14-24 Art Lens suffered from an improperly-aligned element or group of elements and warranted a replacement. Image quality test results from the replacement lens have been added to the Sigma 14-24mm f/2.8 DG HSM Art Lens page. I opted to remove the first set of results as they were not indicative of what should be expected from this lens.
The wide end results are remarkable.
There are, as usual, many comparisons that can be made. I'll get you started:
We'll have Sigma test results from the Canon EOS 1Ds Mark III and 7D Mark II soon, enabling more direct comparisons.
April 19, 2018 – The Sigma Corporation is pleased to announce it has won two TIPA World Awards 2018 for its wide-aperture ultra-wide-angle 14-24mm F2.8 DG HSM Art zoom lens and its large-diameter 24-70mm F2.8 DG OS HSM Art zoom lens suitable for any shoot.
TIPA's Best DSLR Wide Angle Zoom Lens Award for Sigma 14-24mm F2.8 DG HSM Art:
A Perfect Match for Today’s High-Resolution Cameras
Mountable on Canon, Nikon and Sigma cameras, and compatible with the Sigma MC-11 Sony E-mount converter, the Sigma 14-24mm F2.8 DG HSM Art lens delivers a high level of sharpness with near zero distortion, along with high-speed and high-accuracy AF that matches up perfectly with today’s high-resolution cameras. The lens contains three FLD (“F” Low Dispersion) glass elements, three SLD (Super Low Dispersion) glass elements, and three aspherical lens elements, including an 80mm high precision molded glass aspherical element. It has special sealing at numerous points for dust- and splash-proof protection. Thoroughly modern, the Nikon mount features a brand new electromagnetic diaphragm; the Canon mount is compatible with the Canon Lens Aberration Correction function.
TIPA's Best DSLR Standard Zoom Lens Award for Sigma 24-70mm F2.8 DG OS HSM Art:
A Premium “All-Round” Zoom
For many photographers, the 24-70mm focal length range is considered the standard as an everyday lens for a wide variety of subjects and scenarios, including street and photojournalism work, candids, travel and even nature and landscape photography. The Sigma 24-70mm F2.8 DG OS HSM Art offers many advantages, including a constant aperture throughout its range, an optical stabilization system, and outstanding bokeh effects due to its 9-blade, rounded-diaphragm, 37cm (15'') close-focusing capability. The lens is dust- and splash-proof and incorporates a newly designed hypersonic motor (HSM) for fast and smooth AF operation. The lens also incorporates the latest electromagnetic aperture control for specific Nikon cameras; the Canon mount is compatible with the Canon Lens Aberration Correction function.
Costa Mesa, CA — BenQ is offering one lucky winner the chance to explore and capture some of America’s most spectacular sites—a prize worth $5,000. The Capture the Photogenic Landscapes of competition will run until November 30, 2018.
One winner will be awarded one of three trip options. They include a trip to the historic creole capital, New Orleans; to a tropical paradise with a storied past, Old Havana; or to the home of the Granite Giants, Yosemite.
“They could be roaming through swamplands and beautiful French architecture, discovering seascapes and urban wonderlands, or exploring over 800 miles of unprecedented trails, meadows and waterfalls,” the company announced.
The contest adventures are designed to guide users through the most photogenic locations as well as to teach them to visualize scenes before capturing decisive moments. The photo adventures were created with Photo Workshop Adventures. Details on each of the trip options follow.
New Orleans Landscapes
Scheduled March 17–22, 2019, this trip will focus on travel, landscape cityscape, architecture and also people photography. It will provide a professional photographer guide as well as photo walks and discussions. The six-day trip will include accommodations in a four or five star hotel, breakfasts and two dinners.
Held March 2–6, 2019, this photo journey will center on travel, landscape, seascape, architecture, urban and people photography. In addition, the winner will meet with Cuban photographers, students, musicians, artists and also entrepreneurs. A professional photographer guide as well as a Cuban guide and driver will be provided.
It will also encompass photo walks and discussions. Moreover, included in the trip will be: a room in a five star hotel; breakfasts; two lunches/two dinners; local transportation; people-to-people activities; a Visa (U.S. citizens); as well as OFAC travel documents.
Taking place April 21–26, 2019, this trip to Yosemite National Park will offer tutorials on travel, landscape, nature and wildlife photography. Moreover, there will be a focus on long-exposure photography by a professional photographer guide. The itinerary includes photo walks, hikes and also discussions.
Accommodations will be at a four or five star hotel (except in remote locations) and include breakfasts and two dinners. In addition, local transportation and National Park permits will be provided.
To enter the competition, fill in the form here.
Curates Collections Captured by FAA Licensed Pilots/Filmmaker
New York, NY — DJI, a leading manufacturer of civilian drones as well as aerial imaging technology, and Pond5 are collaborating to develop a premium collection of licensable aerial footage. Pond5 is a global content marketplace.
By applying to join this program, pilots operating with a Part 107 Remote Pilot Certificate issued by the Federal Aviation Administration (FAA) will be eligible to have their footage included in a series of collections shot exclusively with DJI drones. The FAA certification is required for commercial use.
Pond5 will showcase these collections to its millions of users. When doing so, it will also denote video clips shot by licensed pilots in searches for customers who need to ensure their video assets comply with Part 107.
Moreover, pilots will be able to leverage Pond5’s industry knowledge to identify their most in-demand shots. They can also obtain assistance in preparing footage for licensing in the Pond5 marketplace.
DJI will work closely with the team of video experts and curators at Pond5. Together they will ensure that the most compelling and award-worthy aerial footage shot with DJI products is made accessible to customers searching for studio-quality shots to use in their productions.
“Drones have become powerful tools for storytellers, providing a cost-effective alternative for gathering aerial footage. They’re able to capture rapidly unfolding events and reach locations that would be otherwise inaccessible, costly or dangerous,” said Jason Teichman, CEO of Pond5. “As the world leader in their space, DJI is the ideal partner to bring the best in contemporary aerial footage to our marketplace.”
Select participants will also have access to Pond5’s premium clipping and tagging services. This will allow them to save time by just submitting raw footage. They will not have to do the work of editing, formatting, titling and keywording the footage themselves. Footage receiving these services will then be made available exclusively through Pond5 for a limited time.
“Drone imagery creates exciting new possibilities for video creators and producers around the world. And DJI’s collaboration with Pond5’s industry-leading content marketplace helps establish a new standard for professional video that is safe, legal, and also cleared for use,” said Michael Perry, managing director of DJI, North America. “We’re excited to elevate the presence of DJI-captured imagery in Pond5’s marketplace. And we can’t wait to see the projects that will incorporate this footage.”
Pilots with a Part 107 certificate who use DJI drones can apply to this program at pond5.com/dji. Select DJI aerial footage will be showcased on the Pond5 content marketplace in the coming months.
From the Adorama YouTube Channel:
In this Episode (Ep111) David Bergman tells you why you should probably shoot using the sRGB color space instead of AdobeRGB.
Nikon COOLPIX W300 Firmware v.1.1
Changes from Firmware Version 1.0 to 1.1
Download: Nikon COOLPIX W300 Firmware v.1.1
Changes from Firmware Version 1.3 to 1.4
Download: Nikon COOLPIX P900 Firmware v.1.4
What is the cutest animal on the face of this planet?
Whitetail deer fawns are at the top of my list.
These adorable fawns decided they were going where I was and I was thankful that I could zoom out wide enough to keep them in the frame while they were going.
In the field, scenarios can change fast and keeping photography strategies simple can mean the difference between getting a good photo and getting nothing. That said, selecting an exposure must always be part of the strategy.
Most North American deer are brown and brown is a friendly color for a camera's auto exposure algorithm (unlike the color of most black bears). Green is another friendly AE color and that is the most-common background color at Shenandoah National Park in late spring. Thus, I commonly use AE when pursuing this subject with little need to monitor changing light levels.
Though using AE, I am still using the camera's Manual mode with Auto ISO providing the brightness adjustment. The fawns are often in fast motion, so I want control of the shutter speed being selected with a fast speed being normal. When the subject pauses, I roll the top dial to select a longer exposure, resulting in a lower (less-noisy) ISO setting being automatically selected.
The aperture setting works similarly. If I have a single subject, I can roll the aperture value to a wider setting, again with the ISO setting being reduced and a stronger background blur created. If multiple subjects become part of the composition or I decide that the background should be more recognizable, I simply dial in a narrower aperture.
There are obviously many more factors that go into a wildlife image capture but having a solid exposure strategy that works in many scenarios helps keep the strategy simple. Currently, turning my mode dial to Custom Mode 3 instantly provides this setup.
A larger version of this image is available on Flickr.
I find macro photography to be very relaxing because subjects are plentiful and photographing non-live subjects allows you to slow down and work methodically to achieve pleasing results. [Sean]
From the Canon Digital Learning Center:
No macro lens? No problem! Although it may seem like the world of macro photography is out of reach and a world apart from our own, shooting macro is more accessible than you might think. From rigging your current gear, to creating DIY setups that tackle challenges like lighting, I’m here to be your guide for all things macro! My name is Matthew Cicanese (sick-uh-knees). I’m a National Geographic Explorer, documentary artist, and Canon USA Photographer who leads EOS Destination Workshops specializing in macro photography. I shoot macro subjects all over the world, from my own backyard to the rainforests of Sri Lanka! I’ve been a macro photographer for over ten years now, and have evolved along the way to overcome different challenges in macro and produce award-winning photographs. My goal with this article is to teach you how to accomplish more using less – less money, less frustration, and a drop of ingenuity.Read the entire article on the Canon Digital Learning Center.
Are you looking to add a macro lens to your kit? Check out our Macro Lens Recommendations.
In this video, Benjamin Warde describes the recently improved Auto adjustment feature in Lightroom Classic CC and how to use it for specific adjustments instead of globally.