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 Tuesday, January 1, 2019

Please visit the Photography Workshops page for the latest openings.

One of my primary goals is 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 made space in the schedule and have the necessary Shenandoah National Park permit in hand.

When and Where: Sun, June 9 to Wed, June 12, 2019 and/or Wed, June 12 - Sat, June 15, 2019 in Shenandoah National Park

This trip is offered in a choice of 3 or 6 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.

Who

Hopefully you, along with 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.

Cost

The cost for this IPT is $995 per 3 days with a 50% deposit locking in your spot (balance is due 90 days prior to the IPT). Email me at Bryan@Carnathan.com to sign up or ask questions!

Whitetail Deer Fawns in Big Meadows, Shenandoah National Park

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, which are also excellent here, 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, especially at this time of the year, 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 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.

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 make this location a priority.

Shenandoah National Park Black Bear

Tour/Workshop/Adventure/Expedition

While the implied definitions of these terms vary, 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 (including as we are actively photographing), answer questions (please 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 – an "Instructional Photo Tour".

In the field, we will photograph side-by-side. You taking great images home will be a 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 during the IPT 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.

Physical Requirements

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 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

If staying for the entire duration of the trip and as long as our schedules align, I can provide transportation to and from the Dulles International Airport region or from anywhere directly on my route from the north — primarily RT 81. Otherwise, transportation to/from Skyland Resort is not included. Also, the National Park-required entrance fee is additionally required.

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. I am happy to connect you with other participants if a shared room are desired.

Food. Because of the remoteness of this location, our food will primarily consist of what is offered at the Wayside Diner or the park lodge 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.

Schedule

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 dampen 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.

Cancellation Policy

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 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, though 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.

Ideal is a camera such as the Canon EOS-1D X Mark II with a Canon EF 200-400mm f/4L IS USM Lens (with built-in 1.4x extender) or Canon EF 600mm f/4L IS III USM Lens. The Canon EF 100-400mm f/4.5-5.6L IS II USM Lens is usually in my primary wildlife kit. 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 during our time 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 light brush (including mild briars) and woods. The wildlife we are pursuing is acclimated to humans and does 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 here 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.

Sign Up or Ask Questions!

Contact me at Bryan@Carnathan.com.

Whitetail Fawns – Cutest Animals on the Face of This Planet?

Post Date: 1/1/2019 8:00:00 AM CT   Posted By: Bryan

Please visit the Photography Workshops page for the latest openings.

Consider this a personal invitation to join me in Rocky Mountain National Park in mid-late September! RMNP is an incredible location (any park with "mountain" in its name has to be great) and the elk rut there is simply awesome, combining for a bucket list wildlife and outdoor photography experience. This trip is timed for the peak of the elk rut combined with what can be the peak of fall aspen color.

I have rented an ideally-located (quick access to the hot spots) home for us to stay in. Each participant will have a private room and the home will make a great base for our adventure as well as a great location to gather in for image review. Yes, we'll eat at Smokin Dave's BBQ (maybe more than once). Yes, we'll spend time along Trail Ridge Road (the highest paved road in North America).

Plan on hanging out with a small group that shares your passion for photography in a spectacularly scenic location.

When and Where

1 Opening: Sun, September 15 to Sat, September 21, 2019

1 Opening: Sun, September 22 to Sat, September 28, 2019

Wait List for 2020

We will be based in Estes Park, CO, just outside of Rocky Mountain National Park.

This trip is initially offered for 6 full days (other options will be considered – be sure to let me know of your preferred alternative). The plan is to meet in Estes Park on Sunday and we will wrap up after a morning shoot on the last day.

Who

Hopefully you, along with 3 other participants. 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 a single SUV.

Cost

The cost for this 6-day IPT is $2990 including lodging (an approximately $1,000 value) with a 50% deposit locking in your spot (balance is due 90 days prior to the IPT). Email me at Bryan@Carnathan.com to sign up or ask questions!

Beautiful Bull Elk, Rocky Mountain National Park

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, Rocky Mountain National Park is a very reliable location to photograph rocky mountain elk and the bulls should be vying for herds of cows. In addition, the environment/scenery available for backgrounds here is excellent.

In addition to elk, we will likely see mule deer and other animals. We will be opportunistic and take advantage of any interesting 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. The views from the alpine tundra and Trail Ridge Road are awesome. Alluvial Fan Falls is conveniently located and other subjects abound.

Bull Elk and Rocky Mountains

Tour/Workshop/Adventure/Expedition

While the implied definitions of these terms vary, 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 (including as we are actively photographing), answer questions (please 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 – an "Instructional Photo Tour".

In the field, we will photograph side-by-side. You taking great images home will be a 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 during the IPT 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.

Physical Requirements

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 (possibly in our back yard), but we will be carrying our gear through the woods and tall grass over hilly terrain at times, often attempting to keep ahead of moving wildlife. Some trail hiking is planned. Thus, one needs to be in reasonable physical condition.

What is Included

As mentioned, I have a house rented for this tour and lodging is included. This home has 5 bedrooms along with 3 or 4 bathroooms. Transportation during the experience 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 the house and the required National Park entrance fee. Denver International Airport is convenient and often an inexpensive destination from an airfare perspective. I'm happy to attempt connection with other participants for sharing a ride to/from the airport.

Food. For expediency, breakfast will be on your own at the house. Typically, we will come back to the house after the morning shoot and will stop for lunch before heading out. We may pick up food to go for the evening, but will be flexible. The house is close to a small grocery store, a deli and a couple of small restaurants. Nearby Estes Park has many food options, but we will mostly avoid the heavy traffic in town there unless there is group consensus to visit a destination there.

Schedule

Our best opportunities will be found early and late in the day and we will target these times. The plans are all very flexible and we can target any specific interests the group has.

Bull Elk in Rut, Rocky Mountain National Park

Cancellation Policy

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 unless ... 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.

There will be times when a fast frame rate is beneficial, but rut posturing is often done at slower speeds and I usually opt for higher resolution cameras that typically do not have the fastest-available frame rates. 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 (full frame 600mm equivalent is ideal). 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 pair of high resolution cameras such as the Canon EOS 5Ds R along with a 600mm lens such as the Canon EF 600mm f/4L IS III USM Lens (along with a Black Rapid shoulder strap to carry it with) and a telephoto zoom lens such as the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens for my primary wildlife kit. In this location, I sometimes carry the second camera and smaller telephoto lens in a Lowepro Toploader Case.

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.

We will likely make use of a full range of landscape photography gear, including ultra-wide to wide angle lenses along with circular polarizer and neutral density filters. I'll bring a variety of other lenses and accessories.

Bring adequate memory card capacity, enough batteries to last at least a day and enough chargers to restore that capability overnight. 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 a flashlight.

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.

Frosty Bull Elk, Rocky Mountain National Park

Weather / Clothing

The weather in RMNP in late September is typically very nice, though cool and sometimes even cold (mostly mornings and late evenings). Especially at higher altitudes in the park, snow can even come into play. Dressing in layers is the best plan. Rain protection may be very appreciated at times, including rain covers for camera gear while in the field.

Plan for walking in woods and tall meadow grass (that can be wet at times). The wildlife we are pursuing is acclimated to humans and does not seem to care what we are wearing. Camo clothing is not necessary, but it is an option.

Altitude

The altitude at Estes Park is 7,500' and Trail Ridge Road reaches altitudes over 12,000'. If you've never experienced altitude sickness, I assure you that it is not fun. For those of us traveling from low altitudes, staying overnight, at least in Denver, the day before significant activity is a good idea.

I am authorized by the National Park Service, U.S. Department of the Interior, to conduct services in Rocky Mountain National Park.

Sign Up or Ask Questions!

Contact me at Bryan@Carnathan.com.

Bugling Elk in the Frost, Rocky Mountain National Park

Post Date: 1/1/2019 8:00:00 AM CT   Posted By: Bryan

Please visit the Photography Workshops page for the latest openings.

One of my primary goals is 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 again cleared space in the schedule and have the necessary Shenandoah National Park permit in hand.

When and Where: Sun, November 10 to Wed, November 13, 2019 and/or Wed, November 13 - Sat, November 16, 2019 in Shenandoah National Park

This trip is offered in a choice of 3 or 6 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.

Who

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 a single SUV.

Cost

The cost for this IPT is $995 per 3 days with a 50% deposit locking in your spot (balance is due 90 days prior to the IPT). Email me at Bryan@Carnathan.com to sign up or ask questions!

First-Light Buck, Shenandoah National Park

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 black bears sometimes 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 limited and I look for locations with a high probability of good photo 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, including photo critiques if desired, along with capturing some great images. And, we'll have fun along the way, hanging out with a group sharing the passion.

A Sense of Urgency for this Trip

As I mentioned in the previous trip invitation, 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 have made this park a priority.

Tour/Workshop/Adventure/Expedition

While the implied definitions of these terms vary, 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 (including as we are actively photographing), answer questions (please 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 – an "Instructional Photo Tour".

In the field, we will photograph side-by-side. You taking great images home will be a 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 during the IPT 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.

Physical Requirements

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 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

If staying for the entire duration of the trip and as long as our schedules align, I can provide transportation to and from the Dulles International Airport region or from anywhere directly on my route from the north — primarily RT 81. Otherwise, transportation to/from Skyland Resort is not included. Also, the National Park-required entrance fee is additionally required.

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. I am happy to connect you with other participants if a shared room is desired.

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 a bag/bucket to transport it from the ice machine). I suggest packing granola bars and other snacks/food along to keep energy levels up while photographing as we often decide we don't want to leave the action to find lunch. Sandwiches and other snacks are usually available for purchase at Skyland Resort. Plan to have water or other drink available to take with you.

Schedule

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 it is usually worth staying out all day. The sun is relatively low in the sky and the animals often remain active during the day. The plans are all very flexible and we can target any specific interests the group has.

Big Meadows Whitetail Buck

Cancellation Policy

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!

10-Point Whitetail Buck

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 a high resolution camera such as the Canon EOS 5Ds R along with a 600mm lens such as the Canon EF 600mm f/4L IS III USM Lens and a telephoto zoom lens such as the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens for my primary wildlife kit. 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.

We can potentially make use of a full range of landscape photography gear, including ultra-wide to wide angle lenses along with circular polarizer and neutral density filters.

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.

Whitetail Buck in Morning Light

Weather / Clothing

The weather in late November is typically very nice, though cool and sometimes even cold, 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 does 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 (aside from a wave of guests on Sunday before Veteran's day).

Insects 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.

Buck in the Brush, Shenandoah National Park

Post Date: 1/1/2019 8:00:00 AM CT   Posted By: Bryan

Please visit the Photography Workshops page for the latest openings.

Acadia National Park is considered the "Crown Jewel of the North Atlantic Coast." Consuming about half of Mount Desert Island on the coast of Maine, Acadia National Park has significant photographic appeal in all seasons, but it is especially appealing in my favorite season, fall.

No one can predict long in advance when the ideal fall foliage color will occur, but this tour's dates have been within the reported peak foliage color time period for the last many years. Regardless of the foliage, the New England coast does not get better than Mount Desert Island's rocky coast that can provide a different experience even daily, with varying tide schedules and especially with surf conditions that can range from quite calm to very rough.

One of my primary goals is to help you get great images and I'd love for you to join me to photograph the landscape in this great location. Beginners can start with the basics and all, including the most-advanced photographers, will be positioned in ideal locations to build out their portfolios. Unleash your creativity in this field-intensive tour in a world-class outdoor classroom environment — Acadia National Park.

Plan on hanging out in a beautifully scenic location with a small group that shares your passion for photography. Bring your friends, make new friends. Just putting this tour together has made me excited!

Rays of Sunlight on the Ocean, Acadia National Park

When and Where: Tue, Oct 15 through Sun, Oct 20, 2019 in Acadia National Park

The plan is to meet at the inn on Tuesday evening for a short orientation/meet & greet, preparing for an early AM shoot. We will wrap up after an early morning shoot on Sunday.

Who

Join me and up to four other participants (2 participant minimum). Large groups are far more profitable from a workshop business perspective, but serious photography in the field becomes challenging in large groups. At least some of the time, someone in a large group is not getting an ideal position to photograph from and/or they are not getting the attention they need/deserve. Keeping the group small means better photo opportunities and more personal attention. It also means that we can travel together throughout the park in a single large SUV.

Upon having two participants signed up, I will secure the necessary Acadia National Park authorization.

Cost

The cost for this IPT is $1,790 with a 50% deposit locking in your spot (balance is due 90 days prior to the IPT). Email me at Bryan@Carnathan.com to sign up or ask questions!

Boulder Beach, Acadia National Park

What are We Photographing?

Primarily, we will be photographing the landscape with taking your skills to a new level being one goal and taking home some portfolio-grade images being another. As we will be in picturesque harbor towns, including Bar Harbor, we will flex our street photography (harborography? harborscapes?) muscles a bit as well.

Some of the headlining locations we intend to photograph include:

  • Cadillac Mountain
  • Bass Harbor Head Light
  • Jordan Pond and The Bubbles
  • Otter Point and Otter Cliffs
  • Boulder Beach
  • Sand Beach
  • Carriage Roads and Bridges, Trails, Paths, and Other Roads
  • Bar Harbor and Other Maritime Villages
  • Mountains, Lakes, Forests, Rocks, Flora and Many Other Subjects

As I often say, my time in the field is limited and I look for locations with a high probability of good photo opportunities when making the time investment. Acadia National Park is nearly a sure-thing in that regard. There is something here to photograph in nearly any weather condition and in any season.

Note that we should expect to see wildlife on this trip and we can be opportunistic in pursuit of wildlife photos, but I have not been too successful photographing wildlife here, so do not hold high expectations in this regard.

What are We Learning?

A full range of landscape topics will be encountered with a short list including:

  • Location Scouting and lighting evaluation
  • Composition including perspective, focal length, and camera position choices
  • Finding order within chaos
  • Capturing fall color
  • Exposure including exposure bracketing and HDR
  • Making mid-day images special including Circular Polarizer and Neutral Density (including 10-stop) filter use
  • Motion blurs including moving water
  • Reflections, details, colors, sunstars
  • Sunrise, sunset, blue hour strategies
  • Simplifying concepts
  • Photo critiques

Basically, we will work hard to improve your photography skills and capture some great images. We'll have fun along the way, hanging out with a group that shares the passion.

Lobster Trap Buoys, Acadia National Park

Typical Schedule

We will rise early and be at key locations to photograph at first light, returning mid-morning for breakfast and a rest.

Late in the morning or early in the afternoon, we will head back out to explore, focusing on locations that can provide interesting mid-day photo opportunities.

Early to mid-afternoon (remember that we ate a big mid-morning breakfast), we will stop for lunch and begin preparations for the afternoon shoot. Late afternoon will find us in a location ideal for capturing the last light of the day.

While most other photographers we encounter will leave when the sun sets, the best is often still to come and we will often stay until the blue in the sky is gone. We may stay late enough to capture the stars in some locations.

Stopping for dinner will round out the day.

Taking time to review images will be fit into the schedule as makes sense.

I will have a tentative schedule, but plans will remain highly flexible to accommodate weather conditions and targeting any specific interests the group has. As adequate sleep is a key to good decisions in the field, we will try to work that into the schedule.

Physical Requirements

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 be many easily accessible photography opportunities, but there will be some hiking with our gear including up and down hills and over rocks on the coast.

Tour / Workshop / Adventure / Expedition

While the implied definitions of these terms vary, 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 (especially when we are actively photographing), answer questions (please 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 – an "Instructional Photo Tour".

At least some of the time in the field, we will photograph side-by-side. You taking home great images is always the primary goal, but you learning to capture those images yourself is important and often I can best describe what you should do if I am doing it myself at the same time. This also provides participants the opportunity to watch how it is done, a leading by example approach. Your constant feedback and questions during the IPT 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.

Afterglow, Acadia National Park

What is Included

Transportation during the experience 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 to choose their level of spending.

What is Not Included

Lodging. We will be staying at the conveniently-located Acadia Inn, Bar Harbor, where a block of rooms is planned to be held for us with a very solid discount provided (100% of the discount is being passed on to participants, discount available until August 13th). The Acadia Inn will provide us with breakfast each mid-morning (after our sunrise session).

"Guests at the Acadia Inn enjoy many excellent hotel amenities, including our complimentary continental breakfast, with added hot items served daily between 6:30 a.m. and 10:30 a.m. We rise early each morning to cook up hearty and delicious meals, such as omelets and sausage gravy and biscuits. You can always enjoy cold cereals, oatmeal, fresh fruit, bagels, English muffins, yogurt, French toast, blueberry and orange-cranberry muffins, a selection of fruit juices, coffee, tea and hot chocolate."

I am happy to connect you with other participants if a shared room is desired. Also, consider bringing your spouse or family. Nonparticipating guests are not included in the tour, but the town of Bar Harbor and the entire Mount Desert Island area are full of things to do. You are welcome to stay at another location but will be expected to be timely in meeting at the Acadia Inn (and will have to source your own breakfast).

Transportation to/from Acadia Inn in Bar Harbor, Maine. For those flying into Bangor Airport, shuttle service to Bar Harbor is available.

Food. As mentioned, Acadia Inn provides a complimentary breakfast and we will be sourcing our other meals from various local restaurants. We will be starting very early in the morning and not returning for breakfast until mid-morning, so breakfast bars or similar should be along with you. Plan to have water or other drink available to take with you. Granola bars and similar may be appreciated when the time between meals gets a bit long (such as when we get into a great photo situation).

The Acadia National Park-required entrance fee. The national parks require each participant in a workshop to have an entrance pass.

Cancellation Policy

Travel insurance is strongly recommended. I have successfully used Travel Guard for this protection.

If a cancellation notice is received greater than 180 days before the workshop start date, a full refund of any payments made minus a $195 administrative fee will be provided. If a cancellation notice is received between 90 and 179 days before the workshop start date, a 50% refund of any payments made minus a $195 administrative fee will be provided. If a cancellation notice is received 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 result in payment refunded 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 landscape photography, you are going to need some gear for this trip and most cameras with a standard zoom lens will work fine.

A fast frame rate is not needed. A high-performing AF system is not needed. Most DSLR cameras and MILC (Mirrorless Interchangeable Lens Camera) will work fine. Ideal would be to have a high-resolution current or recent model DSLR or MILC with an assortment of lenses available.

Covering full-frame-equivalent focal length ranges from 16mm through 200mm is comfortable/ideal and from 11mm up to 400mm could be appreciated at times. An image stabilized general purpose zoom may be appreciated for walk-around use. A wide aperture wide angle lens would be ideal for any night photography opportunities we decide to take advantage of. There will be opportunities to make use of a macro lens.

This is a great opportunity to try some new gear via renting.

I suggest having a camera backpack or similar available for gear transport in the field. A tripod is going to be a key accessory as will circular polarizers and neutral density filters, ideally covering up to at least 10-stops. A remote release will be useful. Rain covers for camera gear and backpacks are recommended and microfiber cloths should be kept handy.

At least one flashlight is mandatory and a headlight is highly recommended. We will likely find ourselves hiking out of locations in the dark and a headlight will free up hands.

Bringing a laptop is highly recommended, enabling review of your images throughout our time together. An external hard drive will provide an additional level of backup. Bring adequate memory card capacity, enough camera 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.

Fall Hoar Frost on Cadillac Mountain, Acadia National Park

Weather / Clothing

The mid-October weather in Acadia National Park is typically comfortable. Expect the mornings and evenings to be crisp and cold (I've encountered frost at this time of the year) with comfortably-cool temperatures by mid-day. A layered clothing strategy is ideal. Rain gear may be very appreciated at times.

Bring your favorite insect repellent as the flying pests could be a nuisance, especially at sunset along the water.

Rainbow Over Atlantic Ocean, Acadia National Park

Sign Up or Ask Questions!

Contact me at Bryan@Carnathan.com.

Champlain Mountain, Acadia National Park

Post Date: 1/1/2019 10:30:00 AM CT   Posted By: Bryan

A 70-200mm telephoto zoom lens is often a pro photographer's most-used lens aside from a general purpose zoom. Engagements, weddings, parties, events, theater, stage performances, high school senior, fashion, documentary, lifestyle, zoo, sports, product and landscape photography are all great uses for this focal length range.

Those wanting to add a 70-200mm lens to their Sony kits will likely be considering the Sony FE 70-200mm f/2.8 GM OSS and Sony FE 70-200mm f/4 G OSS lenses. With that in mind, we're going to take a closer look at these lenses to see which might be the best investment option.

Sony FE 70-200mm f/2.8 GM OSS and FE 70-200mm f/4 G OSS Primary Shared Features

  • Sony E-mount, full-frame compatible
  • 70-200mm focal length range
  • A constant max aperture
  • Does not extend with zoom/focus changes
  • Built-in Optical SteadyShot with 2 modes
  • Included tripod mount ring and lens hood
  • Focus hold buttons
  • Focus range limiter

Primary Advantages of the Sony FE 70-200mm f/2.8 GM OSS Lens

  • Wider Aperture: f/2.8 vs. f/4
  • Better weather sealing
  • More Aperture Blades: 11 vs. 9
  • Higher Max Magnification: 0.25x vs. 0.13

Primary Advantages of the Sony FE 70-200mm f/4 G OSS Lens

  • Smaller Size: 3.1 x 6.9" (80.0 x 175.0mm) vs. 3.5 x 7.9" (88 x 200mm)
  • Lighter Weight: 29.7 oz (840g) vs. 52.2 oz (1480g)
  • Lower cost

Other Spec Differences: Sony FE 70-200mm f/2.8 GM OSS vs. FE 70-200mm f/4 G OSS

  • Front Filter Size: 77mm vs. 72
  • Elements/Groups: 23/18 vs. 21/15
  • Filter adjustment window in hood vs. N/A

Image Quality Differences: Sony FE 70-200mm f/2.8 GM OSS vs. FE 70-200mm f/4 G OSS

The FE 70-200mm f/2.8 GM OSS is sharper than the FE 70-200mm f/4 G OSS in most direct aperture comparisons and shows less lateral CA overall. As can be expected from a wider aperture lens, the f/2.8 lens has less peripheral shading at f/4 than the f/4 lens has wide open. That difference is mostly erased at f/5.6 and the f/4 lens has even slightly less vignetting in some f/8 comparisons. The f/4 lens has slightly less distortion.

Who should opt for the Sony FE 70-200mm f/2.8 GM OSS Lens?

Wedding and event photographers, who need to freeze action in low-light situations, will greatly benefit from the Sony FE 70-200mm f/2.8 GM OSS's twice-as-wide aperture which allows them to freeze motion in half as much light compared to the FE 70-200mm f/4 G OSS. Portrait photographers will also appreciate the increased background blur the f/2.8 lens is capable of, enabling even better/more desirable separation between the subject and background. The mount gasket seal of the Sony FE 70-200mm f/2.8 GM OSS indicates that it is a better weather sealed lens compared to the f/4 lens. That Sony proudly offers a gasketing illustration for the f/2.8 lens (shown below) but not the f/4 model bolsters this assertion.

Sony FE 70 200mm f/2.8 GM OSS Lens - Weather Sealing

Those planning on using their 70-200mm lenses in inclement weather, such as sports photographers, will likely want to spring for the f/2.8 model.

Who should opt for the Sony FE 70-200mm f/4 G OSS Lens?

Those who do not need an f/2.8 max aperture can enjoy many of the benefits found in the Sony FE 70-200mm f/2.8 GM OSS – including a highly useful focal length range, a constant max aperture, OSS and included accessories – in a lens that's smaller, lighter and less expensive. Photographers who intend on using their 70-200mm lenses in good light and in pleasant weather, those who prioritize smaller/lighter gear because of transportation limitations (hikers, backpackers, etc.) and/or those who are budget limited will likely find the Sony FE 70-200mm f/4 G OSS to be the perfect lens for their needs.

Relevant Info

Post Date: 1/1/2019 9:32:00 AM CT   Posted By: Sean
 Monday, December 31, 2018

Is your new year starting with fireworks? Photograph them!

If you've photographed fireworks long/frequently enough to be bored with the results, it is time to get creative.

Visiting the local annual fireworks show is a tradition for our family. With years of the normal motion-blurred fireworks images already on the drives, creating unique imagery has become more challenging. To create uniqueness this year, I used the fireworks focus blur strategy for practically the entire show. At least for me, this strategy results in a very low keeper rate. But, having a few of these images that worked out well was worth more to me than having 75 or 100 that looked the same as those captured in previous years.

Let's go over the gear selection for this shot/shoot. A fast frame rate was of no importance and high resolution, sharp imagery was. Thus, the Canon EOS 5Ds R was the perfect choice. The approximate focal length range needed was known and any the 24-something normal zoom lenses would comfortably cover it. I opted for the Canon EF 24-105mm f/4L IS II USM Lens over the Canon EF 24-70mm f/2.8L II USM Lens because a wide aperture was of no importance and ... I had fewer sample images from the newer 24-105mm lens.

A solid tripod was needed, but with over 1 mile of round trip walking required for this shooting location, it could not be heavy. The Really Right Stuff TVC-34 Carbon Fiber Tripod was a perfect choice. A capability-matching tripod head was of course needed. The shooting was going to be 100% in the dark and I wanted all images to be completely level despite the usually-requiring re-framing when the first rockets launch. The UniqBall UBH 45X Ball Head, with its unique capabilities, was the perfect choice. Once the head was leveled, pan and tilt could be adjusted without levelness being changed.

Fireworks are usually launched in the dark and many of us immediately think that large apertures and high ISO settings will therefore be needed. But, that is not the case. Fireworks are so bright that the opposite problem is often encountered. In order to avoid the softening effects of diffraction at the tiny aperture opening required for an ideal fireworks burst exposure, a 2-stop neutral density filter was used. As the f/10 aperture used for this image is still slightly narrower than the aperture where diffraction becomes slightly noticeable, a 3-stop ND would have been a slightly better choice.

Getting the entire fireworks burst in a single image requires a long exposure. The tripod ensures that the camera is stationary during that exposure (avoiding wavy fireworks trails), but the shutter must be opened without causing camera motion. Because timing of the start and finish of the exposure is critical for fireworks photography, a remote release is a requirement.

Fireworks are in fast motion. Thus, their brightness in the image is determined by aperture and ISO. The shutter speed controls how long the rocket and resulting explosion is captured. Since the ideal time duration varies, Bulb mode is the ideal choice. With Bulb mode selected, the release button is pressed, held and released to time with the launches.

Fireworks bursts vary greatly in size. In general, it is better to frame slightly too wide than than slightly too tight. It is easier to crop than it is to build missing light trails. My choice is often to let the largest burst go out of the frame, but keep 90 percent of the explosions entirely framed in black.

A fireworks image seemed fitting to lead a Happy New Year well-wishing post and that wish is what I most want to pass along here. Thanks for a great 2018 and Happy New Year 2019!


A larger version of this image is available on Flickr.

Post Date: 12/31/2018 9:38:43 AM CT   Posted By: Bryan

From the Adorama YouTube Channel:

David Bergman shows you how to photograph reflective objects like a wine glass In Ep 148 of Two Minute Tips.

Post Date: 12/31/2018 10:01:00 AM CT   Posted By: Sean

From Sony:

Benefits and Improvements from the latest update

  • Resolves a problem caused by specific third-party memory cards, where the cards cannot be recognized by Sony cameras

[Note 1] When updating to this version from a lower version than "Ver. 4.00", the FTP transfer feature and Wired LAN settings are initialised. You will have to configure these two items again. The names of FTP server 1, FTP server 2, and FTP server 3 will be kept, but other items will be initialised. If you have set the Wired LAN Settings to Manual, each of the manually configured settings will be initialised and the Wired LAN Settings will be set to Auto.

[Note 2] When the camera is updated from Ver. 3.00 to this version, the registered settings for Fn (function) menu may not be kept. In that event, please customise the menu to your preferred settings again. Setting: [MENU]-[Camera Settings2]-[Function Menu Set.]

Download: Sony a9 Firmware v.4.10 - Windows | Macintosh

Post Date: 12/31/2018 9:45:33 AM CT   Posted By: Sean

From the B&H Photo Video YouTube Channel:

Over 45 years ago, B&H began as a small and humble retailer, selling cameras and photography equipment to its customers. Now, with over 400,000 products for sale, we still strive to provide the best customer service and the most competitive prices. Thank you for allowing us to serve you.

Post Date: 12/31/2018 7:31:17 AM CT   Posted By: Sean
 Saturday, December 29, 2018

The titles "How to Turn Water into Gold" and "On Golden Pond" seemed also appropriate for this image. Regardless, gold was the theme here.

During my stay at Red River Camps in northern Maine this past summer, a pair of loons were raising their chicks on Island Pond. Especially unusual was that the chicks were very small for the mid-August timeframe. The loon's first nest had been attacked by a predator and the adult pair started over. With winter arriving early here, there was concern that the chicks would not be able to fly in time for migration and biologists were monitoring their progress. But, having small chicks available was a bonus from a photography perspective.

Hanging with these loons required a watercraft and a small canoe was my best option. A light wind made keeping the canoe properly positioned a big challenge and probably more time was spent paddling than photographing. The sun was setting and maintaining a position between the sun and the loons was the goal.

The adults were constantly diving for food and moving around the lake while doing so, but fortunately, they were in the area of the lake receiving the latest direct light when the sun went behind the trees. The color difference between shade light and a late day sun light is dramatic with shade light typically being very cool and direct setting sun light being very warm. As the sun went down, the water became shaded before the shoreline and shaded water usually shows reflections very well.

The photograph shared here was only lightly processed. The primary edit was selecting a custom white balance point using a patch of the adult loon's solid white feathers as the basis. Those feathers were in the shade and the result was a color temperature setting of 10500 K being established. At this setting, the reflected sunlit background becomes very golden and a slight saturation increase (+18 on a -100 to 100 scale in Lightroom) finishes off the liquid gold.

Be looking for opportunities to use the light color mismatch of sun and shade to your creative advantage when out photographing. The subject in the shade, background in the sun option as shared here often works well, but the opposite can also work, creating a blue-toned background with a properly white-balanced subject.

For those with Nikon-based kits, the Nikon 200-500mm f/5.6E AF-S VR Lens is a great option for handheld wildlife photography. The D850 is my current Nikon camera of choice for this purpose.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
330mm  f/5.6  1/640s
ISO 1000
7384 x 4923px
Post Date: 12/29/2018 9:56:17 AM CT   Posted By: Bryan
 Friday, December 28, 2018

From Bloomberg:

As a professional Instagram star, Meghan Young gets paid to climb beautiful mountains and post about those adventures to her fans. It sounds like a glamorous job, but a surprising amount of work goes into making it a full-time career. Bloomberg Technology's Aki Ito tagged along on a recent trip to learn more. This is the sixth episode of Next Jobs, a mini-documentary series about careers of the future.

Post Date: 12/28/2018 12:36:39 PM CT   Posted By: Sean

In this episode, Mark Wallace demonstrates the power of editing with frequency separation in Adobe Photoshop CC 2019. Mark walks through the entire process, from setting up the lighting, the shoot, and all the steps involved in editing your images.

Post Date: 12/28/2018 9:08:37 AM CT   Posted By: Sean

You have until January 15, 2019 to register any newly purchased Tamron lenses (teleconverters and Tap-In Console are excluded) to qualify for Tamron's VIP Club Membership for 2019. Benefits include:

  • Bonus Rebates on Tamron lenses
  • Discounts on Non-Warranty Repairs
  • Tamron Magazine Subscription
  • Exclusive Photo Contest
  • Opportunity to attend the VIP Workshop Summit (platinum only) and plenty of Tamron swag!

Registration is not complete until proof of purchase is provided and you have received confirmation the registration process is complete. New members are admitted annually on Feb 15 and members meeting club level requirements will be notified via the email address on file.

See here for a complete list of membership benefits, details and rules.

Authorized Tamron Retailers: B&H | Adorama | Amazon

Posted to: Canon News, Nikon News, Sony News   Category: Tamron News
Post Date: 12/28/2018 8:35:57 AM CT   Posted By: Sean
 Thursday, December 27, 2018

Mike Mandel’s Baseball Photographer Trading Cards (1975) is more or less a standard set of trading cards, except for one thing: rather than famous athletes, Mandel’s cards feature photographers. For the series, Mandel shot some of the greatest photographers of the twentieth century, including Imogen Cunningham, Ed Ruscha, and even Ansel Adams, whose portrait session didn’t go quite as planned.

Post Date: 12/27/2018 7:33:08 AM CT   Posted By: Sean
 Wednesday, December 26, 2018

A fresh snowfall leaving a blanket of white was calling me outdoors this morning. The snow has just subsided and the wind was arriving, promising to clear the snow from the tree branches, so time was of the essence. With the M50 and EF-M 18-150 mounted, I had an ideal combination in my hands.

The snow was beautiful and covering everything, but a good composition was not obvious. Finding order within chaos is frequently what landscape photography is about and that was the challenge I faced. Finding the order within chaos often means isolating a portion of the scene. The huge focal length range made available by the EF-M 18-150 was ideal for this task.

Exploring the scene through the viewfinder, this section of a pair of hickory trees caught my attention. The contrast between the trunks and branches and the snow and background fog was strong. As much as possible, I avoided having the larger branches leave the frame, hoping to use the large trunks as leading lines, but without branch lines leading viewers' eyes out of the picture. The distant trees visible at the bottom of the frame provide a small hint to what lies beyond otherwise hindered by fog visibility. The overall balance in the frame is always important and this composition seemed to check that box.

Good composition is often easiest to determine while reviewing images and this one was my favorite from this short session.


Check out our Winter Photography Tips page for more ideas on how to spend you winter.

A larger version of this image is available on Flickr.

 
Camera and Lens Settings
57mm  f/8.0  1/80s
ISO 100
6000 x 4000px
Post Date: 12/26/2018 7:00:00 AM CT   Posted By: Bryan
 Tuesday, December 25, 2018

Putting up the Christmas tree is a highly-anticipated annual event at our house. We visit a local tree farm, driving up into the hills to select the perfect tree. The off-road 4x4 driving with the family might be my favorite part of the entire process. That, and causing the girls to complain about the trees I suggest. They think we need the tallest tree available, although I'm not fond of driving home with an enormous tree across the back of the SUV (on a Hitch Haul), usually with the trunk barely clearing the guard rail while the top is hovering above the road's center line on the other side.

I "get" to put the finally-agreed-upon tree in the stand (twice this year – it ran out of water and needed to have the stump cut off again to eliminate the sap seal) and try to keep it upright for the season (we understand firsthand that a fully decorated tree falling over is traumatic, at least to young kids). Oh, and I also "get" to string the lights, regardless of the height. Photographing the Christmas tree is the last job and one of my favorites. Who can resist capturing all of those sparkling lights?

While I photograph the result of a lot of work every year, I don't remember if I've ever used the same lens more than once for this task. There always seems to be a new one on hand that would work great for the task. This year, the Canon RF 28-70mm f/2L USM Lens on a Canon EOS R seemed like a perfect option.

Deciding on a composition is always an early decision for this task and this year I opted for a straight-on view from a level camera position. I wanted the windows to remain vertically straight and any camera tilt would create converging or angled lines. I determined that the timing for this photo should be during the blue hour so that a touch of color would show through the windows. With windows in the frame, reflections had to be controlled and in this case that meant that I needed a dark house. So, an afternoon when the girls were going Christmas shopping seemed ideal. That way, the have the house would be empty with no one's interests being hindered (i.e. a relaxed shoot). The exposure would not have to be timed for when no one was walking on the floor, creating vibrations for both the camera and the hanging ornaments. And, no one would care that the lights were off.

After sitting at my desk all day, I needed to get some exercise, ideally in the form of a trail run, before it was dark. A late start on that task meant that an increased pace was necessary. Despite a blown out sock along the way (requiring a stop and reversal to prevent a hot spot from becoming a blister), I still managed to complete my tough 3k course in near record (for me) pace. Phew. there was just enough time to cleanse the scene and set up the camera prior to the ideal shooting time.

Experience taught that when the outdoor ambient light was ideally balanced with the indoor light, an ISO 100 exposure of 30 seconds at f/16 would be ideal. Why f/16? Do you see the stars on the candles sitting on the windows? Every light on the tree also has a similar-but-smaller star. You need a narrow aperture to make those happen. Also note that a wide max aperture lens often creates the biggest stars and the RF 28-70's stars are awesome.

While f/22 will create even larger stars, the strong softness caused by diffraction at this setting is hard to accept. While some diffraction effects are visible at f/16, this seems to be an optimal choice for balance between star size and sharpness. Using a +1 sharpness setting is a good compromise for using f/16 over the sharper f/11 setting. Nice is that the deep f/16 depth of field makes it easy to keep everything in the image sharp.

Scene prep involved moving a couple of items (couch, ottoman, ...) out of the way and smoothing the carpet. As I began setting up the camera, my oldest daughter called (from the shopping excursion) to ask questions about a Christmas gift she was putting together for her husband. I of course wanted to help her, but ... the light was fading (so much for the relaxed shoot). Her questions were answered just in time to finalize the setup and begin shooting. It is difficult to visualize when the perfect blue hour light balance is achieved, so I usually opt to shoot through the period of time that contains the ideal balance. Then, during post processing, there is again a struggle to decide which time was best because subsequent images appear quite similar.

When there was no more blue left in the windows, I knew that additional images were not going to look any different than those already captured (without choosing a new perspective) and I went to find warmer clothes (there had been no time to change out of my running clothes prior to the shoot).

Amazingly, the girls opted for a tree that I selected this year! They did a great job decorating the tree (as always) and they like the results of my final job, the formal tree picture. That is ... my final job until I get to clean up the results of the Christmas morning package destruction (and later take the tree out).

That is probably more than you wanted to know about this Christmas tree, but ... from my family to yours, we wish you a very warm Merry Christmas! And, I wish you many memory cards full of memories from the day!


A larger version of this image is available on Flickr.

Note that you are going to be hearing more about this tripod. I'm impressed.

 
Camera and Lens Settings
28mm  f/16.0  30s
ISO 100
4480 x 6720px
Post Date: 12/25/2018 8:00:00 AM CT   Posted By: Bryan
 Monday, December 24, 2018

Are you a procrastinator? Was there someone on your gift list that you forgot to get a gift for? Thankfully, there's still time to rectify the situation.

Purchasing a gift card from B&H or Adorama can ensure your gift recipient gets exactly what they want while your e-gift gets delivered before the big day.

Posted to: Canon News, Nikon News, Sony News   
Post Date: 12/24/2018 10:25:19 AM CT   Posted By: Sean

From PiXimperfect:

Control the Light with the Amazing "Horizontal Curve" Technique in Photoshop! Discover the most natural way to adjust the brightness of any area without disturbing the colors, using a simple straight Curve.

In this tutorial, we will use a Hue/Saturation adjustment layer and combine with a Curves adjustment layer to create a "Light Map" that would allow us to control the amount of light all throughout the image.

B&H carries Adobe Photography Plan subscriptions.

Post Date: 12/24/2018 8:23:42 AM CT   Posted By: Sean
 Friday, December 21, 2018

In response to a tilt-shift lens question, Canon USA Technical Advisor Rudy Winston provided a detailed response that we though was worth sharing with you.

Canon TS-E Tilt-Shift Lens General Shooting Procedure

While there's no one "official" way to work with the TS-E lenses (I'm sure you'll find some diversity of opinion on what different users feel is best), the following is what works best in my experience. Keep in mind there's no "one-touch" way to set the lens up unless you've recorded previous settings and are shooting the same subject subsequently, at the same camera position, subject distance, and so on. Otherwise, there's a bit of trial-and-error, especially if you're trying to adjust the zone of sharpness (notice I avoided saying "depth of field," as that technically doesn't change; you're altering the plane of sharpest focus via the tilt operation).

THE BASIC OPERATIONS

It is important to be sure in one's mind what the two different possible adjustments – Shift and Tilt – do, and why you might want to apply one or the other. There are certainly many instances where just one will provide the look you want in finished images, so don't assume every shot will need a combination of both (of course, experimentation can be great fun).

A couple of other points:

I *always* recommend starting with both tilt and shift zero'ed out, before you begin to work with adjustments.

Metering with DSLRs: You MUST perform any in-camera metering with a TS-E lens at the zero Shift and Tilt positions. On any of the cameras with an optical viewfinder, you will get exposure errors or deviations if you meter daylight or E-TTL flash with a TS-E lens that's not at its zero adjust positions. Note that this is far less of a problem with the mirrorless cameras, since they're metering directly off the image sensor, and the light doesn't have to get reflected upward by a DSLR mirror, and then get scattered by a focus screen before it's read by a metering sensor in the prism area, near the viewfinder eyepiece. Bottom line, do any metering (manual mode, of course, is ideal for this, since nothing will change if you begin to adjust the TS-E lens), before you start tilting and/or shifting, and you should be in a good place to begin taking actual shots... don't freak out if you do need to tweak exposures, after a couple of quick test shots, to nail it down the way you want. Parenthetically, if you're using a separate hand-held meter (not the one built-in to the camera body), you can normally set the camera to whatever the meter suggests, whether you've engaged tilt and/or shift or not, as typically a hand-held meter will be pretty close to optimum exposure for ambient light.

Shift function

Shifting the lens up, down, left or right is primary for perspective control – the obvious example is keeping vertical lines on a building or product (like a cereal box) straight, and avoiding the "pyramid" effect of converging vertical lines. It can sometimes also be useful for literally shifting the subject in the frame, removing the image of photographer & camera if shooting into a wall with small mirrors (this won't work for an entire mirrored wall, of course!), and so on.

Canon TS-E 24mm f/3.5L II Lens Shift Example Cabin

Tilt function

Tilting the lens, so that the front section is no longer perfectly parallel with the image sensor/film plane, changes the plane of what is in sharp focus. Shooting with a lens from an angle (rather than straight into a subject, like a wide-angle shot of a car taken from around the front fender/wheel well), it's possible to focus on the near part of the subject, then tilt the lens so that the front section is closer to being parallel to the whole length of our hypothetical car (or any other subject), and you can get sharpness to run from the near area focused upon, down the length of the subject. To be clear, tilting has **nothing** to do with the architectural photography need to keep vertical lines straight; that's SHIFTING alone. Of course, you CAN combine tilt and shift in the same image... just be clear up-front about the role of each, or you'll spend a long time trying to dial-in an optimum setting.

Canon TS-E 50mm f/2.8L Macro Paddy Field Tilted at f 2.8

Shooting Aperture

Anything you want. If you apply tilt correctly, you won't require tiny f-stops like f/22 just to hope to get an entire subject sharp. In some cases, even a wide-open aperture can get the job done, which might never be possible with a conventional lens.

Tripod Use

Tripod use is definitely preferred where possible, since it keeps everything anchored and lets you concentrate on composing and working the lens's controls... though it *is* possible to do this hand-held. However, it's nowhere near as smooth an experience, and you can expect your arms to get tired after a while at the controls.

Release Knobs for Shift & Tilt

180 degrees from the actual adjustment knobs for each movement are locking knobs, slightly smaller in diameter. Be sure to UNLOCK each before trying to adjust shift or tilt, and then snug it back down once you've arrived at a desired setting to keep it from any inadvertent movement. This is especially important for SHIFT, since if you apply it vertically, the weight of the front section of the lens can sometimes allow it to drop downward slowly, if it's left unlocked after you've adjusted it.

Home Position and Rotating the Lens as Needed

By default, whether you've decided to apply shift/tilt or have everything zero'ed out, there's still a basic position from which you can apply your tilts and shifts. Mount the lens on the camera when it's all correctly oriented to the default settings, and you'll see the name plate at the TOP of the lens, when it's mounted and secured to the camera. AT THIS POSITION, any tilt movements (with most of the TS-E lenses, anyway) will be tilting the lens *left or right;* the larger Tilt knob will be facing upward and any shifting at the same default setting will move the lens up and down. This means the direction of each is at 90 degrees from the other movement, which is NORMAL operation for Canon TS-E lenses.

You're not locked-in to this. The lens can rotate, without loosening it from the camera. The 2nd generation lenses (see below) have TWO rotation points. However, the one closest to the camera body is definitely the primary one. It'll allow you to rotate the lens up to 90 degrees left or right. Example: in the standard position, the Shift is up and down. Say you wanted to shift side-to-side, for whatever reason. Ninety degrees to the right (think the 3 o'clock position, with the camera aimed at a subject, and in horizontal orientation) is a small, projecting tab, just inside the camera grip when the lens is correctly mounted. Press this release tab toward the camera body, and virtually the entire lens can be rotated in 30-degree increments, to the left or right. Move it 90 degrees, and your Shift now moves side-to-side (the Tilt moved as well, now tilting upward or downward).

In most real-life situations, you can rotate via this rear-most tab and move the desired adjustment to where you want it; much of the time, realistically, you won't be applying shift and tilt simultaneously. So just rotate the lens so your Shift *or* Tilt is where you need it.

Rotating Using the Forward-mounted Control

About 1/2 inch or so in front of the little, 3 o'clock projecting metal tab is another, very similar tab. THIS ONE allows you to rotate JUST the front section of the lens, while the rear section stays put. The primary purpose here is if you needed to apply both shift and tilt, and needed to change the normally standard orientation where tilt and shift are at 90 degrees from each other. However, DON'T use this rotation point to simply rotate the front section, if all you want is to change the tilt orientation... if you only want to change the direction of tilt, use the rear tab and rotation point to arrange the tilt where you want. There's a technical reason for not reaching for this forward rotation point if you can avoid it.

As I said, first-generation Canon TS-E lenses didn't have this forward mounted rotation capability... there is only one way to temporarily unlock and rotate the older TS-E lenses. Here are the lenses... check the lens naming at the front of the lens to determine which one you have.

First-gen TS-E lenses:

2nd-gen (current) TS-E lenses:

Shooting with the Canon TS-E Lenses

Example 1: Correcting converging vertical lines with SHIFT. I'll assume the camera is tripod-mounted, although again, you can do this hand-held if you can endure the hassle.

a. Keep the Camera Level – This is the most important part of being able to correct for converging lines, regardless of the lens you're using. Any upward angling of the entire camera, to "get the whole subject in," is going to make it impossible to correct for convergence... this is why buildings shot with conventional wide-angle lenses look like they're falling backward. It's perfectly normal not to get the entire subject in the frame at this stage.

Here's a wide-angle example of a typical building, with the camera aimed upward. The vertical lines converge inward, making the subject look a bit like a pyramid, or like it's falling over backward.

Canon TS-E 24mm f/3.5L II Lens Home Example Pointed Up

b. Aim the camera straight ahead, not tilted up. Obviously, you now can't see the entire subject, but that's the role of the Shift function. What you WILL notice is that now, with the camera level, the vertical sides of the subject are indeed parallel, and not tilting inward. This is your starting point!

Canon TS-E 24mm f/3.5L II Lens Home Example Straight Ahead Level

c. Now, start shifting the lens upward, to include more of the subject.

Canon TS-E 24mm f/3.5L II Lens Home Example Shift Up 1

Canon TS-E 24mm f/3.5L II Lens Home Example Shift Up 2

Canon TS-E 24mm f/3.5L II Lens Home Example Shift Up 3

Canon TS-E 24mm f/3.5L II Lens Home Example Shift Up 4

d. When the entire building (or cereal box, or whatever) is positioned where you want, lock the shift in-place, and begin shooting! You're done! Of course, if you move the camera, or go to a new subject, you'll likely need to use the Shift again to compose and align things as you want.

Example 2: Tilting to keep a subject sharp, as it recedes into the distance. Normally, this would require stopping-down to your minimum aperture, and hoping you have enough depth-of-field to cover you, front to back. TS-E lenses offer another alternative, and sometimes, you can even pull this off at the lens's widest aperture. Regardless, though, you'll find a lot less need to shoot at f/16, f/22 and so on!

a. Compose the scene as you desire, horizontal or vertical. We'll use a horizontal example here. b. **Focus on the NEAREST part of the subject or scene you want in sharp focus.** Of course, the background will be out of focus.

In this example, we've got a receding fence, drifting out of focus. Sharpest focus deliberately placed at nearest point we want in-focus; in this case, the first-generation TS-E 90mm f/2.8 lens was used wide-open, at f/2.8 throughout. No Tilt/Shift movements applied, yet.

Canon TS-E 90mm f/2.8 Lens Fence Example No Tilt Nearest Focus

c. Now, start to tilt the lens so that the front section starts to move in a direction closer to parallel to the subject you want to keep sharp. In this case, that meant the tilt section was moved so that (viewed from above) the front of the lens now tilts to the left.

IMPORTANT: As you start to tilt the lens, you'll see two things. The farthest part of the subject (fence in this case) will become progressively sharper. However, the front portion you just focused upon in step a will begin to drift a bit out of focus. Here's the key element to using tilt – you want to tilt until the degree of DE-FOCUS you see, front to back, is essentially constant. In other words, as you tilt, nothing in the fence or whatever the subject is will appear tack-sharp. What you want is to get the tilting so that the entire subject, front-to-back, appears about the same degree out of focus (it won't be radically out, but obviously just not tack-sharp, even at the point you focused on a moment before). This is absolutely normal.

d. Once you get the tilt so the entire subject looks pretty much the same, in terms of the degree of out-of-focus you see, you've got the tilt close to right-on. NOW, RE-FOCUS THE LENS TO GET THAT FRONT POINT SHARP AGAIN. If the amount of tilt was correct, the entire subject will now appear sharp. Again, if you examine the picture immediately below, keep in mind this was taken at f/2.8 with a 90mm telephoto lens.

Canon TS-E 90mm f/2.8 Lens  Fence Example After Tilt and Refocusing

A mistake many users make at first is tilting TOO MUCH, especially with relatively distant subjects. Do it in little increments, slowly, until you begin to get comfortable with the process. And, in general, the closer a subject is to the camera, the more you'll typically need to tilt the lens. This is something many users have to play with for a while, to get the hang of watching that entire scene/subject drift out of focus as they tilt, and stopping when the amount of de-focus is about the same, front to back. It's at that point, if done properly, that you've got the right amount of tilt dialed-in.

Thanks go out to Rudy Winston for providing this information. Images used in this article were provided by Mr Winston.

Read our Tilt-Shift lens reviews to find the right model for your needs:

Post Date: 12/21/2018 8:10:52 AM CT   Posted By: Sean
 Thursday, December 20, 2018

From the Adorama YouTube Channel:

If you're looking for a portrait project that's a little different and captures a bit of the festive season then this simple fine art shoot by photographer Gavin Hoey is for you.

Download Gavin's Festive Stars background from here.

After Gavin has given an overview on how he shot and edited the background he moves on to the portrait shoot, lighting the model to match the mood of the background.

Finally Gavin takes you into Photoshop to make a simple composite of the portrait and background stars.

Related Products

Post Date: 12/20/2018 3:11:04 PM CT   Posted By: Sean

From Sigma:

Benefit of the update

  • It has corrected the phenomenon whereby Clear Image Zoom function incorporated in the camera cannot be used.

Download: Sigma 70mm f/2.8 DG MACRO Art for Sony E Firmwae v.02 - Windows | Macintosh

Posted to: Sony News   Categories: Sigma News, Sigma Firmware Updates
Post Date: 12/20/2018 12:03:45 PM CT   Posted By: Sean

Eurasian magpies are common in many locations, but not where I live. Thus, they are more interesting to me than others. Especially interesting is that they are extremely intelligent (relative to animals in general). That these birds' loud calls can become annoying surely leads to local disinterest, but with their great colors and shape, it is hard to argue that magpies do not look amazing.

Magpies are not a subject I have set out to specifically target with a camera, but I will take advantage of incidental encounters. When one landed in a tree in front of me as I was chasing elk in Rocky Mountain National Park, I went into opportunistic mode. I had the right lens in hand and all I had to do was adjust the monopod height, direct the camera at the bird, focus on the eye and press the shutter release.

I of course pressed the shutter release many times in the short period of time the bird cooperated with me. Why did I select this particular image to share? Here are some reasons:

First, I like the head angle, turned slightly toward me with some sky reflecting in the eye to add life to the subject.

I also like the body angle. While the bird may be turned very slightly away and that is not usually my favorite angle, in this case, that angle allowed the iridescent feathers on the wing to show their colors prominently. The tail was angled downward enough to fit in the frame (that can be an issue when photographing magpies) and with a slight toward-the-camera angle, the iridescent tail feathers also showed their colors.

Aspects I like that were common to this set of images, in addition to the beauty of the magpie, include:

I was able to get to eye level with the bird (by quickly adjusting the monopod).

The background was very distant and became completely blurred with a close subject photographed at 600mm f/4. With all details in the background eliminated, the bird stands out prominently.

I also like that the lighting was very soft with a touch of rim lighting happening. Looking closely at the catchlight in the eye tells me this day was partly cloudy and that clouds were blocking the sun during this exposure.

Unless flying, birds are on something – a branch, sand, rock, water, etc. In this case, that something was a dead tree limb. That this particular limb did not distract from the bird and even had a little character was a positive aspect.

While Rocky Mountain National Park is an awesome location for elk photography, it offers much more. Including magpies.


A larger version of this image is available on Flickr.

Post Date: 12/20/2018 11:33:50 AM CT   Posted By: Bryan

From Tamron:

December 20, 2018, Saitama, Japan - Tamron Co., Ltd. announces a new firmware update for the Tamron SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for compatibility with the Canon EOS R and Mount Adapter EF-EOS R. The new F/W version makes the model compatible with Canon "EOS R" and Canon "Mount Adapter EF-EOS R" for general operations[1].

The lens firmware can be updated with the separately sold TAP-in Console. Customers may also contact Tamron USA's service department at 1-800-827-8880, option 1 for information on sending in the lens for the update.

Compatible Tamron Lenses as of 12/20/18[2]

  • SP 15-30mm F/2.8 Di VC USD G2 (Model A041) for Canon
  • SP 24-70mm F/2.8 Di VC USD G2 (Model A032) for Canon
  • SP 70-200mm F/2.8 Di VC USD G2 (Model A025) for Canon
  • SP 150-600mm F/5-6.3 Di VC USD G2 (Model A022) for Canon
  • SP 35mm F/1.8 Di VC USD (Model F012) for Canon
  • SP 45mm F/1.8 Di VC USD (Model F013) for Canon
  • SP 85mm F/1.8 Di VC USD (Model F016) for Canon
  • SP 90mm F/2.8 Di VC USD 1:1 MACRO (Model F017) for Canon
  • 17-35mm F/2.8-4 Di OSD (Model A037) for Canon
  • 70-210mm F/4 Di VC USD (Model A034) for Canon

[1] Functions used on DSLR cameras
[2] With the latest version of lens firmware

Post Date: 12/20/2018 8:54:12 AM CT   Posted By: Sean
 Wednesday, December 19, 2018
Post Date: 12/19/2018 2:45:11 PM CT   Posted By: Sean

Sony has just released new firmwares for its a7R III and a7 III MILCs. See below for details.

Sony a7R III / a7 III Firmware v.2.10 Changes

  • Resolves a problem caused by specific third-party memory cards, where the cards cannot be recognized by Sony cameras
  • Fixes an issue where, in rare cases, images may not be displayed or the camera may stop functioning while writing RAW data onto an SD card that has been used multiple times
  • Improves the overall stability of the camera (Sony a7 III only)

Download:

Sony a7R III – Windows | Macintosh
Sony a7 III – Windows | Macintosh

Posted to: Sony News   Category: Sony Firmware Updates
Post Date: 12/19/2018 8:46:58 AM CT   Posted By: Sean
 Tuesday, December 18, 2018

LensRentals has posted a teardown of the Canon EF 400mm f/2.8L IS III USM Lens.

This is a very well designed lens that features exceptional build quality.

You can pick up your own Canon EF 400mm f/2.8L IS III USM Lens at B&H, Adorama, Wex and Henry's.

Post Date: 12/18/2018 6:08:46 PM CT   Posted By: Sean

Nikon has posted a couple of tips for using N-Log recording on the Nikon Z 7 and Z 6.

In addition to the tips, you can also download the N-Log Specifications from Nikon.

Note that Nikon still can't decide whether or not the space belongs in their Z-series camera names. Even though Nikon's official stance is that the names should include a space, both versions of the camera model names are listed on the Technical Solutions page.

Nikon Technical Solutions Z 7 / Z 6 Screenshot

B&H carries the Nikon Z 7 and Z 6.

Post Date: 12/18/2018 8:05:26 AM CT   Posted By: Sean
 Monday, December 17, 2018

B&H is offering free next day delivery on 1,000s of item through December 19. If you're needing (or wanting) one more gift under the Christmas tree before the big day arrives, then head to B&H before time runs out. They have a ton of items with holiday savings and an extended return period through February 1, 2019.

Posted to: Canon News, Nikon News, Sony News   Category: B&H News
Post Date: 12/17/2018 2:33:11 PM CT   Posted By: Sean

Keeping track of their memory cards just got a whole easier for you with our Secure Pixel Pocket Rockets. They are designed with zippered pockets for maximum security in holding multiple card sizes, such as six CF memory cards, or six XQD memory cards, or 12 SD memory cards, or multiple Micro SD memory cards.

In addition to the zippered closure, the Secure Pixel Pocket Rockets can be mounted on belts, or attached to clothing or bag with the removable lanyard. They feature a clear identification window.

Our existing memory card holders, the Pixel Pocket Rocket, Pee Wee Pixel Pocket Rocket, and the SD Pocket Rocket, are now available in black. The additional color presents an optional organizational strategy: keep empty cards in one color and used in another. They all have been updated to account for modern media sizes.

TECHNICAL SPECIFICATIONS

Folded: 5.2” W x 2.8” H x 0.8” D (13.3 x 7 x 2 cm)
Weight (with lanyard): 0.2 lbs. (0.1 kg)

MATERIALS

Exterior: All fabric exterior treated with a durable water-resistant coating while fabric underside is coated with polyurethane for superior water resistance, 250D shadow ripstop nylon, 3-ply bonded nylon thread.
Interior: 210D silver-toned nylon lining, 3-ply bonded nylon thread.

Think Tank Photo has the new Secure Pixel Pocket Rockets in stock.

Post Date: 12/17/2018 2:26:54 PM CT   Posted By: Sean

In this episode of Two Minute Tips (Ep 146), David Bergman shows you how to use negative fill to add drama to your images.

Products Used

Post Date: 12/17/2018 12:24:37 PM CT   Posted By: Sean
 Sunday, December 16, 2018

When the landscape is attractive, incorporating it into your wildilfe photography is a great idea. The Canon EF 100-400mm f/4.5-5.6L IS II USM Lens is my go-to lens for this scenario. The focal length range keeps both the animal and the background large in the frame and provides plenty of framing flexibility.

A partly cloudy day sometimes provides ideal lighting. This image was captured just before the shadow of a cloud reached the bull elk, leaving the surrounding background dark, helping the bull and its antlers stand out.


A larger version of this image is available on Flickr.

 
Camera and Lens Settings
158mm  f/9.0  1/1600s
ISO 1250
4787 x 7181px
Post Date: 12/16/2018 6:30:00 AM CT   Posted By: Bryan
 Saturday, December 15, 2018

As usual, this gear is being sold to fund new gear for review. Check the updated list to see if anything fits into your kit. Most items are like new in the box.

Be sure to check out the super-cool Schneider Kreuznach PC TS Super Angulon 50mm f/2.8 Lens in Canon Mount that I am selling for a friend! Other brands include Nikon, Sony (wireless flash gear), Really Right Stuff, Gitzo, Manfrotto, Hakuba, B+W, Maha and more.

Bryan's Used Gear for Sale

Tell your friends!

Posted to: Canon News, Nikon News, Sony News   
Post Date: 12/15/2018 10:03:59 AM CT   Posted By: Bryan
 Thursday, December 13, 2018

From the Adorama YouTube Channel:

Cold winter days can be the perfect time to shoot portraits inside a home studio but that doesn't mean you can't bring the outside inside. In this video Gavin Hoey shoots a winter portrait complete with falling snow.

Download Gavin's free Photoshop snow action

Post Date: 12/13/2018 6:06:11 AM CT   Posted By: Sean
 Wednesday, December 12, 2018
Posted to: Sony News   Category: Camera Gear Review News
Post Date: 12/12/2018 8:08:02 AM CT   Posted By: Bryan
 Tuesday, December 11, 2018

From Sigma:

Benefits of SIGMA Optimization Pro 1.5

SIGMA Optimization Pro 1.5 for Windows

  • It has added the “AF function button setting” to the customization menu. With this setting, it is possible to allocate various functions to the AF function button incorporated in the SIGMA 70-200mm F2.8 DG OS HSM | Sports.

SIGMA Optimization Pro 1.5 for Macintosh

  • It has added the “AF function button setting” to the customization menu. With this setting, it is possible to allocate various functions to the AF function button incorporated in the SIGMA 70-200mm F2.8 DG OS HSM | Sports.
  • It has become compatible with Mac OS Mojave (10.14).
  • It has corrected the display error of the customization menu in traditional Chinese language.

SIGMA Optimization Pro 1.5 is available for download here.

Post Date: 12/11/2018 1:52:16 PM CT   Posted By: Sean

From Adobe:

This release of Lightroom Classic CC rolls out new features and enhancements such as customization of Develop Panel, Add to Collection option in auto-import settings, Grid Snap option in book module, other enhancements, support for new cameras and lenses, and bug fixes.

Customize the order of Develop panels

With this release, you can now drag the Develop module panels in the order you would like to see them in.

To customize the Develop panel menu, do the following:

  1. Right-click (Win) / Control-click (Mac) on the header of any panel.
  2. Select Customize Develop Panel from the context menu that opens.
  3. In the Customize Develop Panel dialog box that opens, drag the panel names in the desired order.
  4. Click Save. To restore the default order, click Default Order before Save.
  5. Relaunch Lightroom Classic to see the Develop panels in the new order in the Confirm dialog that opens.
For detailed information, see Customize the order of Develop panels.

Add photos from a watched folder to a Collection with Auto Import

In the Auto Import settings, you can now use the Add To Collection option to directly pull photos from a watched folder into a specified Collection.

The Auto Import feature monitors a watched folder for photos and automatically imports them into the Collection you've set as the destination. After you set up a watched folder and specify a destination Collection in the auto-import settings, you can simply drag photos into the watched folder. Lightroom Classic CC automatically imports those photos in the specified Collection, allowing you to bypass the import window.

To add photos from a watched folder to a Collection, do the following:

  1. Go to File > Auto Import > Auto Import Settings.
  2. In the Auto Import Settings dialog box, set up a watched folder and select the Enable Auto Import option.
  3. In the Destination area of the dialog box, select the Add to Collection check box. Lightroom Classic now displays a list of all your Collections.
  4. Select any Collection as your destination for auto-import.
  5. Optionally, you can also click Create Collection to create a new collection and select it as the destination for import.
  6. Click OK.
For detailed information on photo import on tethering, see Import photos automatically.

Align photos in a Book layout with the Grid Snap guides

You can now easily align photos in a Book layout using the Grid Snap option in the Guides section. In Grid Snap, choose either Cells to align the cells of two photos with respect to each other, or Grid to align photos with the grid guide lines.

On moving the photo, it would snap into place based on the selected setting. By default, the Grid Snap option is set to Cells.

For more helpful information, see Create photo books.

Duplicate preset handling

With this release of Lightroom Classic CC, if you attempt to create a duplicate preset with the same name under the same group, a Duplicate Preset Name dialog box opens with options to:

  • Replace - Select this option to keep only the latest preset with the same name in the group
  • Duplicate - Select this option to keep two presets with the same name listed in the same group
  • Rename - Select this option to append a numeric extension to the name by default or rename it yourself

For detailed information about working with Develop presets, see Work with Develop presets.

Show partially compatible presets

On opening a photo in the Loupe view in the Develop module, some presets may not appear in the Presets panel due to incompatibility with the selected photo, such as camera profiles that are not applicable to the current photo or presets that only apply to raw files. The non-compatible presets are shown as faded and in Italics style in the Presets panel in Develop.

To see all presets even if they are not compatible with the current photo, do the following:

  1. Open a photo in Loupe view and click Edit.
  2. Select Preferences from the drop-down menu.
  3. Select Presets under the Preferences panel.
  4. In the Visibility section, select/deselect Show Partially Compatible Develop Presets to show/hide partially compatible develop presets.
For detailed information about working with Develop presets, see Work with Develop presets.

Photo merge enhancements

  • Photo merge: Requirements for merge operations that could have led to merging failures in earlier versions have now been relaxed. Now you can merge images with differing dimensions, focal lengths, and orientation.
  • Photo merge preview caching: Lightroom Classic now caches the previews generated for Photo Merge operations. This improves performance and provides a better user experience.
  • Single-step HDR-Pano merge: Now you can perform single-step panorama HDR merge using smart previews.

For more helpful information on merge operations, see Create Panoramas and HDR Panoramas.

Performance enhancements

  • Improved sync reliability and stability.
  • Improved performance while doing batch operations such as import, preview generation, DNG conversion, and export.
  • Improved grid scrolling performance on Hi-DPI displays.
  • Improved performance when switching between Develop and Library Loupe.

Other enhancements

  • Cancel on exit: With this release, you would see a confirmation dialog on exit so that you can choose to cancel exiting from Lightroom Classic CC. If you select Don’t show again checkbox from the confirmation dialog, you need to reset warning dialogs (Preferences > General > Reset All Warning dialogs) to see the confirmation dialog on exit again.
  • Color Labels for folders: Support has been added for color labels for offline folders. For more helpful information, see Create and manage folders.
  • Support for Photoshop Elements 2019 catalogs: Support has been added for importing Photoshop Elements 2019 catalogs in Lightroom Classic CC. For more helpful information, see Import photos from Photoshop Elements.

Support for new cameras and lenses

Newly added camera support:

  • Apple iPad Pro 11-inch (2018 model)
  • Apple iPad Pro 12.9-inch (2018 model)
  • Apple iPhone XR
  • Apple iPhone XS
  • Apple iPhone XS Max
  • Canon PowerShot SX70 HS
  • Google Pixel 3
  • Google Pixel 3 XL
  • GoPro HERO7 Black
  • Huawei P9 Lite
  • Leica D-Lux 7
  • Leica M10-D
  • Leica M10-P
  • LG G7 ThinQ
  • Nikon COOLPIX P1000
  • Nikon D3500
  • Nikon Z 6
  • Samsung Galaxy Note 9
  • Samsung Galaxy S6
  • Samsung Galaxy S6 Edge
  • Sony DSC-HX95
  • Sony DSC-HX99

Newly added lens support:

LensMount
Apple iPad Pro (11-inch) back camera 3mm f/1.8 (DNG+JPEG+HEIC)Apple
Apple iPad Pro (11-inch) front camera 2.87mm f/2.2 (JPEG+HEIC)Apple
Apple iPad Pro (12.9-inch) (3rd generation) back camera 3mm f/1.8 (DNG+JPEG+HEIC)Apple
Apple iPad Pro (12.9-inch) (3rd generation) front camera 2.87mm f/2.2 (JPEG+HEIC)Apple
Apple iPhone XR back camera 4.25mm f/1.8 (DNG+JPEG+HEIC)Apple
Apple iPhone XR front camera 2.87mm f/2.2 (JPEG+HEIC)Apple
Apple iPhone XS back camera 4.25mm f/1.8 (DNG+JPEG+HEIC)Apple
Apple iPhone XS back camera 6mm f/2.4 (DNG+JPEG+HEIC)Apple
Apple iPhone XS front camera 2.87mm f/2.2 (JPEG+HEIC)Apple
Apple iPhone XS Max back camera 4.25mm f/1.8 (DNG+JPEG+HEIC)Apple
Apple iPhone XS Max back camera 6mm f/2.4 (DNG+JPEG+HEIC)Apple
Apple iPhone XS Max front camera 2.87mm f/2.2 (JPEG+HEIC)Apple
Canon EF-M 32mm f/1.4 STMCanon
Google Pixel 3 Rear Camera (DNG+JPEG)* Google
Google Pixel 3 XL Rear Camera (DNG+JPEG)*Google
HERO7 Black (Raw+JPEG)GoPro
HERO7 SilverGoPro
Hasselblad XCD 1,9/80mmHasselblad
Hasselblad XCD 2,8/135mm + 1.7xHasselblad
Lensbaby Velvet 85mm f/1.8Canon, Sony, Nikon
LG G7 ThinQ Front Camera (DNG+JPEG)LG
LG G7 ThinQ Rear Main Camera (DNG+JPEG)LG
LG G7 ThinQ Rear Wide Camera (DNG+JPEG)LG
Samsung Galaxy Note 9 Rear Camera 26mm F1.5-2.4 (DNG+JPEG)Samsung
Samsung Galaxy Note 9 Rear Camera 52mm F2.4Samsung
Samyang AF 24mm F2.8Sony
SIGMA 40mm F1.4 DG HSM A018Canon
SIGMA 60-600mm F4.5-6.3 DG OS HSM S018Canon, SIGMA
SIGMA 105mm T1.5 FF HIGH-SPEED PRIME Canon
SIGMA 56mm F1.4 DC DN C018Sony
Sony FE 24mm F1.4 GMSony
TAMRON SP 15-30mm F/2.8 Di VC USD G2 A041Canon, Nikon
Voigtlander VM 40mm f/1.2 Nokton AsphericalLeica
Voigtlander VM 50mm f/1.2 Nokton AsphericalLeica
Voigtlander NOKTON classic 35mm F1.4Sony
Zeiss Batis 2/40 CFSony

B&H carries Adobe Photography Plan subscriptions.

Post Date: 12/11/2018 12:07:21 PM CT   Posted By: Sean

The following information was provided by Datacolor; we are sharing it for the benefit of our readers. Color calibration is a vital part of the photographic process and we personally rely on Datacolor products (purchased online/retail) for our own display calibration needs.

From Datacolor:

The need to have a calibrated monitor is of paramount importance, but very often overlooked. Every photographer knows they should be calibrating their monitor, yet many still don’t bother with it, seeing it as a complex and time-consuming task that will hinder instead of help their workflow process.

You want to be able to trust your monitor, as it’s the window to your digital photography and the gateway allowing you to view the true image. However, this would not be the case if you have a non-calibrated monitor, as your colors might not look how you intended due to skin tones being off, crucial shadow detail being missed or whites not being as pure as they should or need to be.

Photography Workflow

Making monitor calibration a key part of your photography workflow eliminates factors such as tiredness, human error, and the lack of dependability you will have by solely relying on your eyes to adjust the monitor correctly.

You want all on-screen images to match the initial shot taken, and using a screen calibrator is crucial to this process. Datacolor’s Spyder5 will measure light and color that appears from your screen, and make corrections to ensure the colors and details of your image are displayed as accurately as possible.

Using Different Monitors

Every monitor displays colors differently. Just because your images look accurate on one monitor doesn’t necessarily mean they will be the same on another screen you use. As they are not built ready-calibrated, their colors will in fact shift over time. Not calibrating properly and using different monitors can lead you to wasting unnecessary time editing, with your images on screen not displaying the true colors or details of your photos.

Using a colorimeter to an industry color reference standard not only gives you refined color accuracy for better print matching, but will eliminate the guesswork out of image editing, helping you to save time and efficiently manage your workflow better.

Regular Calibration

Staying up to date with calibration is vital, as making a regular habit of calibrating your display on a monthly basis will give you confidence your edited images will always match your prints best as possible. Also determining optimal monitor brightness, calibration will keep your monitor fresh with the display’s output intensity and stops you from needlessly buying abundant amounts of ink and paper.

Without calibrating your monitor, you can’t fully trust the colors you see on-screen, which then leads you to make questionable editing decisions, and waste time, paper and ink on re-printing as the color on your images don’t appear right.

To ensure printed images are as close of a match as to what you see on screen, an accurate color calibrated screen is the best starting place.

Datacolor’s eBook

If you’re serious about photography, taking advantage of color management tools in your workflow to prepare your images will save you time, effort and money. Furthermore, if you’re planning to edit or view your images, using a reliable colorimeter to profile your monitor and calibrate any device can only help improve your process and photos.

To help photographers and videographers of all standards understand color management better, Datacolor has launched an extensive color management eBook, ‘Spyder5 eBook: Color management can be easy’. All six chapters are available for you to download here.

Post Date: 12/11/2018 9:13:28 AM CT   Posted By: Sean

The Sigma 70-200mm f/2.8 DG OS HSM Sports Lens is available for preorder at B&H, Adorama, Henry's and Wex Photo.

Product Highlights

  • Full-Frame Format
  • Aperture Range: f/2.8 to f/22
  • Nine FLD Elements, One SLD Element
  • Super Multi-Layer Coating
  • Hyper Sonic AF Motor
  • Intelligent OS Image Stabilization
  • Removable Arca-Type Tripod Foot
  • Dust- and Moisture-Sealed Construction
  • Rounded 11-Blade Diaphragm
  • Compatible with Sigma Teleconverters

Posted to: Canon News, Nikon News, Sony News   Categories: Preorders, Sigma News
Post Date: 12/11/2018 6:40:42 AM CT   Posted By: Sean

This is a great idea. Start your DIY project with a camera lens mug from Amazon.

Post Date: 12/11/2018 6:33:39 AM CT   Posted By: Sean
 Monday, December 10, 2018

From Sony Asia:

Thank you for using Sony products.

It has come to our attention that the following issues may occur with our a7R III and a7 III interchangeable lens digital cameras.

  • In rare cases, your a7R III or a7 III model may stop functioning while writing RAW data onto an SD card that has already been used multiple times.
  • With the a7R III, taking a picture while using the Auto Review function, may occasionally cause the camera to stop responding.

Notes:

  • This may also cause abnormalities in the files managing the images, preventing the images from displaying on the camera
  • No image data in the memory card will be corrupted or deleted aside from data that was being written at the time the interruption occurred
  • If images no longer display on the camera, follow the steps below to use "Recover Image DB" feature:
    • Select MENU -->(Setup) --> [Recover Image DB] --> desired memory card slot --> [Enter]
    • Then, when taking a picture, back up the data on a PC or other device, and format the memory card on your camera.

We will provide an update to the system software addressing to the above issues in mid-December. Until then, please take the following precautions:

While we are preparing to provide new system software, we will no longer offer updates to the current system software.

  • Before taking any pictures, format the memory cards in both slots on the camera, or use a new memory card.
  • Ensure the Auto Review function is off when taking pictures.

We would like to apologize for any inconvenience caused while using the affected products and thank you for your understanding.

Posted to: Sony News   Category: Sony Product Advisories
Post Date: 12/10/2018 9:24:51 AM CT   Posted By: Sean

This is a story I shouldn't have to write. It is about how a small mistake made by Nikon USA, the simple omission of a space, has created a problem. One that I shouldn't have to spend any mental energy dealing with.

The name for a completely new series of products is important and sets the stage for future models. When Nikon's first full frame mirrorless cameras were announced, the product information disseminated from Nikon to the media clearly listed the model names as "Z 6" and "Z 7" – with a space between the letter and the number. I immediately thought those were reasonable names, short and simple, yet featuring separate line and model names with room to grow.

The problem came as we began integrating the information for those cameras with the retailer links. Apparently, there was a mistake in the new product information disseminated to retailers – the space between the letter and number was omitted. All retailers listed the cameras as "Z6" and "Z7".

That left us stuck in the middle. The parent should know the baby's name, right? When asked about this problem, Nikon’s official response was:

"“Z” is a letter symbolizing Nikon’s new camera brand. To emphasize this, there is a space between Z and 7/6."

Perfect. Now we know the right answer. The problem is that there are a lot more retailer websites listing the camera names incorrectly than Nikon USA websites with the correct names. To a computer, "Z 6" is different than "Z6", so in many cases, the space does matter. Even Google thinks the retailers must be right with its AI suggesting visitors searching for "Z 6" and "Z 7" instead search for "Z6" and "Z7". Retailers (and Google) have now trained those looking for these cameras to search for the space-less model names at an approximately 40:1 ratio.

Accuracy in a major product name seems important. Thus, we are leaving the space in place ... at least for now. Help spread the word – save the space!

Post Date: 12/10/2018 8:28:28 AM CT   Posted By: Bryan
 Friday, December 7, 2018

From Sigma:

Ronkonkoma, NY – December 7, 2018 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, today announced that its anticipated cine lens – Sigma Cine 40mm T1.5 FF – will begin shipping in December 2018 for $3,499.00, with the option to purchase a fully luminous version (FL) for $4,499.00.

Sigma Cine 40mm T1.5 FF is a fast and sharp T1.5 cine lens compatible with full-frame camera sensors and optimized for ultra-high-resolution 6K-8K productions. Featuring a 180-degree focus rotation, this lens is available in EF, E and PL mounts with lens support foot and cap included.

It is the ninth lens in the Sigma Cine FF High Speed Prime Line. As a standard lens in the cinema industry, the focal length of 40mm has become an essential part of a typical cine prime set. By adding this lens to the Sigma Cine offering, its cine prime set can now satisfy all the demands of professional cinematographers.

Sigma Cine 40mm T1.5 FF is the first lens that was designed and developed for the cinema use rather than converting a still photography lens into a cine lens. This development illustrates Sigma’s commitment to the cine market – by always listening to its customers and what their needs are, and now even more than ever with the fully operational Sigma Burbank showcase facility, Sigma strives to develop new products based on that customer feedback.

The Sigma 40mm T1.5 FF lives up to the performance standard required by high-end cinematographers as it achieves the highest optical quality as well as consistent rendering performance over the entire image circle. The lens produces one of the best MTF charts ever, making it an excellent choice for all levels of filmmakers.

Prominent Characteristics of Sigma Cine Lenses

  • Individual inspection of every single lens with A1 proprietary Modulation Transfer Function (MTF) measuring system using 46-megapixel Foveon direct image sensors. Even previously undetectable high-frequency details are now within the scope of their quality control inspections.
  • Computer-based ray tracing has been used from the design stage onward to minimize flare and ghosting and enhance contrast in backlit conditions. Ghosting has also been checked at every prototype stage, with its causes identified, assessed and eliminated.
  • Color balance standardized across the line to make color correction a breeze.
  • Dust-proof and splash-proof construction, with each ring and mount sealed to prevent water and dust from entering.
  • The body is made 100% of metal to stand up to tough professional use over the long term.
  • Luminous paint for enhanced visibility
  • Laser engraving for enhanced durability
  • Mount Conversion Service allows users to convert their lenses to and from EF and E-mounts (charges apply). If the camera system changes, it is possible to simply convert the mount system to continue using the high-performance Sigma lenses.
  • The Sigma USB Dock allows the user to connect the lens to a computer and update firmware, while the Sigma Mount Converter MC-11 allows users to enjoy the high performance of Sigma’s Canon EF mount interchangeable lenses with the Sony E-mount camera body.

B&H carries Sigma Cine lenses.

Posted to: Canon News, Nikon News, Sony News   Category: Sigma News
Post Date: 12/7/2018 6:12:24 AM CT   Posted By: Sean
 Thursday, December 6, 2018

From the Caputre One Blog:

The new Capture One 12 offers powerful upgrades to existing tools and introduces new features for efficient workflows. This post will quickly guide you through the best of the best.

Re-designed interface and menus

The design of Capture One 12 has been refined, providing a flatter and more modern interface with bigger font sizes. This will help photographers not only navigate more easily but also decrease fatigue from having too much to focus on.

Additionally, the Tool Tab icons have been re-designed for a better indication of what they represent. Remember, you can always customize the Tool Tabs and their content if needed!

Radial and Linear Gradient Masks

If you need other tools than a brush to create your masks, look no further! Radial and Linear Gradient Masks are here. They are parametric, meaning you can transform them after they are created making these tools dramatically more flexible than what you could previously do in Capture One.

Radial Gradients are the new thing, and they let you create circular masks with soft feathering. They can be transformed, rotated and masked either on the inside or the outside of the round shape. Linear Gradients now allow transforming, moving, rotating and even changing the fall-off asymmetrically.

Watch the tutorial below for in-depth information.


Luminosity Masks

Yes, you read that right. Luminosity masking is now possible in Capture One, and it’s easier than you think.

The Luma Range tool can be applied on any mask, even gradients like the above, and will effectively restrict your mask to certain areas based on the luminosity in your image.

“Why do I need this?”, you might ask. Well, have you ever wanted to desaturate your shadows a bit? Or apply color grading with more control than the Color Balance Tool can provide? Or maybe add clarity to the clouds in your landscape image with a tricky horizon line? Luminosity masks make all of this a breeze. Watch the tutorial below to learn more.


Improved shortcuts with search functionality

It’s no secret that Capture One features a massive library of keyboard shortcuts. These shortcuts are customizable, letting you do most actions with a few clicks on the keyboard.

Capture One 12 makes this much easier. You can now search, not only for features and commands, but also for specific keys to see their function. Additionally, shortcuts for features that were previously inaccessible are added for an even larger library of shortcuts.

Plug-in platform

Capture One delivers an extensive suite of powerful tools to manage, edit and export images. Now the new Capture One plug-in ecosystem allows third-party developers to create plug-ins that can add even more features and capabilities to Capture One’s toolset. The first plug-ins will enable direct publishing, round-trip editing, and open-with workflows.

We are just getting started with plug-ins, much more will come! Find out what’s already available and send us your wishes here: www.phaseone.com/plugins

Intelligent copy/apply of adjustments

Capture One has a powerful feature to copy adjustments from one image to others. The functionality will auto-select any adjustments applied to an image, making them easy to apply to other images. Previous to Capture One 12, any composition change, for example, a crop, would also be automatically selected and carried over.

By default Capture One now exclude compositional changes from the auto-select functionality, making it easy to synchronize edits and color gradings between images with different crops and rotations.

Fujifilm Film Simulations

If you have ever shot with a Fujifilm X-series camera, you’re probably aware of the built-in simulations like Acros, Classic Chrome, Velvia etc. Extending on the collaboration with Fujifilm, these simulations are now available in Capture One 12 and will change the starting point of your editing to one of these simulations.

The simulations are available for Fujifilm camera models as Curves within the Base Characteristics Tool.

B&H carries Phase One Capture Pro 12.

Post Date: 12/6/2018 8:53:04 AM CT   Posted By: Sean

You can pre-order Luminar 3 with Libraries for a reduced price along with additional bonuses during this pre-order offer, December 6- 19, 2018. Those who purchase Luminar during this campaign will instantly receive Luminar 2018 + bonuses and then a free upgrade to Luminar 3 with Libraries after its release on December 18.

Pricing

  • New users can purchase Luminar 2018 for US$59 ( US$49 with coupon code THEDIGITALPICTURE).
  • Current users of Luminar 2018 will be able to update for free .
  • Current users of Luminar 2017 can upgrade for US$49 ( US$39 with coupon code THEDIGITALPICTURE).
  • Current users of a Luminar 2018 trial (those who have downloaded it before November 1) can purchase Luminar 2018 for US$49 ( US$39 with coupon code THEDIGITALPICTURE).
  • Owners of Skylum legacy products (Creative Kit, Noiseless, Intensify, Tonality, FX Photo Studio, Focus, Snapheal, Filters for Photos) can purchase Luminar for US$49 ( US$39 with coupon code THEDIGITALPICTURE).
  • Current users of Aurora HDR (2016–2019) can purchase Luminar for US$49 ( US$39 with your coupon code).
  • Current users of Photolemur can purchase Luminar for US$49 ( US$39 with coupon code THEDIGITALPICTURE

Note that the price after the Luminar 3 with Libraries release will be US$69.

Bonuses

  • ViewBug: 3-Month Pro Membership (US$42 value)
  • KelbyOne: 2-Month Pro Membership (US$40 value)
  • Rocky Nook: Choice of ANY e-book (US$40 value)
  • Daniel Kordan: Awesome Landscapes Tutorial (US$80 value)
  • Manfrotto & Gitzo: US$20 Gift card with US$120 purchase (US$20 value)

Preorder: Luminar 3 with Libraries

Post Date: 12/6/2018 8:00:57 AM CT   Posted By: Sean
 Wednesday, December 5, 2018

It is time to put some to-be-anticipated events on the calendar. Consider this a personal invitation to join me for one or all of the following instructional photo tours. Photographers at all skill levels are welcome!

Rocky Mountain National Park

"Bull Elk in Rut and Much More", Rocky Mountain National Park

1 opening: Sun, September 15 to Sat, September 21, 2019
Filled: Sun, September 22 to Sat, September 28, 2019
Wait List or Sign Up for 2020.

Shenandoah National Park

"Whitetail Buck in Rut and Much More", Shenandoah National Park

Sun, November 10 to Wed, November 13, 2019 and/or Wed, November 13 - Sat, November 16, 2019

Acadia National Park

Fall Landscape in Acadia National Park Instructional Photography Tour

Tue, Oct 15 through Sun, Oct 20, 2019

Feel free to contact me with your destination request.

Posted to: Canon News, Nikon News, Sony News   
Post Date: 12/5/2018 6:03:45 PM CT   Posted By: Bryan

From Genustech:

New headquarters in New York supports expanding media and vlogger teleprompting business

Bohemia, NY – December 4, 2018 – Genustech, a global leader in camera accessories technology including matte boxes, filters and more, has officially moved its corporate headquarters to Bohemia, New York. All Genustech operations, including R&D, customer service and support, and manufacturing, have been transitioned to the United States from Hong Kong to allow the company to continue to innovate and grow its product line while maintaining superb customer support.

The move in operations puts Genustech at the intersection of media production and technology, enabling the company to meet increased product demands through accelerated manufacturing and shipping. “With the launch of Genustech ScriptShade, we have seen an increase in business in non-traditional broadcast markets, in particular with the online vloggers,” comments Kevin Reilly, president, Genustech. “While traditional broadcast and TV operations remain a cornerstone of our customer base, we have a rapidly growing business across YouTube influencers who have enhanced the quality of their programming as well as efficiency with professional gear like ScriptShade.” Reilly adds, “With the potential growth opportunity in front of us, establishing headquarters in New York puts us in the hub of media activity with tremendous access to talent to expand design, sales, service and manufacturing personnel.”

Crafted for the changing media landscape, ScriptShade is a multifunctional, high-quality Matte Box - Teleprompter combination that is lightweight, portable and easy to use. ScriptShade brings professional camera and prompting capabilities in a form factor that is ideal for smaller and remote productions.

According to videographer Keith White, “Genustech ScriptShade is a one-of-a-kind handheld teleprompter, with nothing like it on the market. It’s an ideal solution for on-the-go production crews who need a portable kit to enhance the production value and control the narrative at the same time. It’s incredibly cost-effective, self-contained and nicely packaged with an easy and quick setup.”

Genustech On-Demand Design and Manufacturing

With the Genustech product design and manufacturing teams located in New York in one facility, engineering can incorporate customer feedback into the product design on the spot, with manufacturing building the latest product design to order. Reilly elaborates, “Our core product design philosophy is anchored around customer feedback. With our finger on the pulse of what the customer wants and needs, Genustech can anticipate where the market will grow and thus innovate with new designs and functionality. With such a strong customer support system in place in New York, we are able to always design, build and enhance products on demand.”

In addition to Genustech ScriptShade, the company offers other matte boxes & accessories, filters, adapter rings, camera cages, brackets, plates, arms, jibs, cranes, monitors and much more.

B&H carries Genustech products including the ScriptShade.

Posted to: Canon News, Nikon News, Sony News   Category: Genustech News
Post Date: 12/5/2018 5:50:00 AM CT   Posted By: Sean
 Tuesday, December 4, 2018

In this video, photographer David Bergman explains how to create images with custom shapes in your bokeh. This technique can be a lot of fun and can help you produce some very creative imagery. [Sean]

Tall Grass with Birds (Super Color IR)

Post Date: 12/4/2018 6:23:35 AM CT   Posted By: Sean
 Monday, December 3, 2018

From photokina:

Imaging industry and Koelnmesse decide on new starting point for the new annual cycle

Following a successful photokina 2018, the German Photo Industry Association (PIV), as conceptual sponsor of the trade fair, and the event's organiser Koelnmesse have agreed not to organise the next leading global trade fair in May 2019, as initially planned, but in May 2020. From Wednesday 27 May 2020 to Saturday 30 May 2020, all the market leaders in the imaging industry are expected once again in Cologne. The decision to postpone the start of the announced annual cycle by one year is intended to give all participants the opportunity to further develop the new concept for photokina and to tap into new target groups among exhibitors and visitors in order to heighten the status of the trade fair as a global platform for the photography and imaging industry.

This is an interesting development because it may reshape when the major camera manufacturers announce new products in 2019. Without the fanfare surrounding the big event, manufacturers won't necessarily feel compelled to announce highly anticipated new products in the weeks leading up to the end of May.

Posted to: Canon News, Nikon News, Sony News   Category: photokina News
Post Date: 12/3/2018 12:42:12 PM CT   Posted By: Sean

Just posted: UniqBall IQuick3Pod 40.4 Carbon Fiber Tripod Review

What if the tripod spider became a ball housing and the top plate became the ball? Great idea!

The UniqBall IQuick3Pod 40.4 Carbon Fiber Tripod is in stock at B&H and Adorama

Post Date: 12/3/2018 7:22:02 AM CT   Posted By: Bryan

From the Adobe Photoshop YouTube Channel:

Meredith Stotzner uses Curves in Photoshop to add a ‘pop’ to her images. Find out how the Targeted Adjustment Tool helps her achieve the tones she wants.

B&H carries Adobe Photography Plan subscriptions.

Post Date: 12/3/2018 6:56:16 AM CT   Posted By: Sean
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