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 Tuesday, June 6, 2017
Image quality, vignetting, flare and distortion test results along with specs, measurements, standard product images and eye candy have been added to the Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary Lens page.
 
Completing the review of this lens is one of my priorities right now.
 
The Sigma 100-400mm f/5-6.3 DG OS HSM Contemporary Lens is in stock at B&H | Amazon | Adorama.
Post Date: 6/6/2017 7:15:00 AM CT   Posted By: Bryan
 Monday, June 5, 2017
From the LensRentals Blog (article by Roger Cicala):
Well, I’ve written (with some misgivings because it has a tendency to create rioting in the streets) several articles about protective filters. Articles that say sometimes you shouldn’t use protective filters, and others that say sometimes you do need to use protective filters, and most recently, one showing how cheap filters can ruin your images.
 
Because no good deed goes unpunished, the result of all this has been about 762 emails asking if this filter was better than this other filter. I answered most with I don’t know for sure because I don’t test filters and, of course, everyone asked me to test filters. To which I said no. Life is too short.
 
Even Drew, who I sort of work for, asked me to test filters and write up the results. I told him I’d need at least $1,500 worth of filters to make even a basic comparison, which I thought would end the conversation. But next thing I know Drew was ordering $1,500 worth of filters. I told him I’d get around to it some day.
 
Then Brandon, who sort of works for me, emailed and said he could build a gadget to measure transmission and polarization through filters if I wanted to start testing filters. I told him I’d get around to it some day. Then he said it would have lasers. "Someday" became "right now" because of lasers. We’ve got lots of cool toys at Olaf and Lensrentals, but no lasers.
 
So today I will show you the results of testing a couple of thousand dollars worth of clear and UV filters using a couple of thousand dollars worth of home-made laser light transmission bench and a lot of thousand dollars worth of Olaf Optical Testing bench. So that we get this out of the way now: please don’t email asking me to test your favorite $6 UV filter. I’ve opened up Pandora’s Filter Box with this, and it’s already going to lead to way more work than I wanted to do. I’ll maybe do some testing of circular polarizing filters later, and maybe some testing of variable neutral density filters after this. Maybe not. I’ve got ADD, and I get bored easily. Even with lasers.
 
I like to keep these articles, well, no geekier than they just have to be. But I also want our methods to be transparent. So I’m going to give an overview of methodology in the article and put the geekier stuff in a methodology addendum at the bottom.
See how the filters performed on the LensRentals Blog's full post.
 
B&H carries clear protective and UV filters.
Post Date: 6/5/2017 10:14:50 AM CT   Posted By: Sean

 
Watch as this video reveals 10 tricks used by professional food photographers for creating appetizing imagery.
Post Date: 6/5/2017 7:47:59 AM CT   Posted By: Sean
 Sunday, June 4, 2017
I know, some of you are thinking that snakes are creepy and that putting any thought into photographing them is ... completely wasted effort. Even if that is your thinking, stay with me here as you can likely apply the same thought pattern to a different subject, one that you find more photogenic. If you scroll your browser past the snake image, you even won't have to look at it while reading.
 
The story starts with me brushing my teeth (you didn't see that one coming, did you?). I looked out the bathroom window and noticed this cute garter snake lying on top of a weeping spruce tree. While garter snakes are common here, they are usually on the ground and are seldom cooperative. So, it is unusual to have the opportunity to photograph them in such a nice environment.
 
The weather was perfect for this opportunity. It was a very cloudy day, meaning that I had soft light to work with and the camera angle decision was not going to be light-driven. After checking to be sure that I could approach at least reasonably close to the snake without it being immediately frightened away, I decided to move forward with an attempt at photographing it.
 
There was no action involved here, so the frame rate didn't matter and the Canon EOS 5Ds R is nearly always my preference in such situations. For lenses, I observed that I had a limited working distance and I knew that getting too close would send the snake looking for a safer location. Interpretation: I needed a telephoto focal length, but not the longest available.
 
I quickly narrowed my choices down to the Canon EF 100mm f/2.8L IS USM Macro Lens and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens. I decided that the snake would not likely tolerate me being close enough for the macro lens' close-focusing advantage to be a benefit over the 100-400 L II's already very good maximum magnification ability and I wanted to be able to adjust my framing to the positions I was able to get into along with the scene available at that perspective. Basically, I'm saying that a zoom range was preferable. The macro lens' wider aperture would allow me to create a stronger background blur at 100mm, but the 100-400 easily wins the background blur contest overall due to its much longer 400mm focal length and the longer focal length provides a longer working distance at its maximum magnification. I mounted the 100-400 and began working with the scenario available to me.
 
Using a tripod was going to be too great of a challenge due to the in-the-tree location of the snake. Thus, handholding was going to be optimal and image stabilization was once again proved highly valuable.
 
The lighting was relatively constant, but it was changing with enough frequency to make a manual exposure challenging. Also, because I wanted to use a wide open aperture, the variable max aperture of this lens increased the manual exposure challenge. While I still technically used manual exposure mode, I opted to lock in my shutter speed (I was in unstable shooting positions and counting on some assistance from image stabilization) and aperture (I selected f/4.5 with the lens at 100mm and let it auto-adjust to the max available at longer focal lengths) with Auto ISO becoming the auto exposure parameter. Because the colors in the images were relatively neutral, the camera's auto exposure system worked great with the brightest colors, the yellow lines in the snake, being right where I wanted them at the right side of the histogram.
 
When photographing a potentially-fleeting subject, I quickly capture some good-enough images to have the safety shots on the card. Along with having those safety shots, I can quickly check the exposure and other settings before moving in closer. Upon reviewing these images, I immediately noticed that reflections were impacting color saturation on the snake and that meant a circular polarizer filter would, as it frequently does, provide a significantly improvement in image quality. I slowly backed away from the snake and went back inside to get the filter.
 
With the filter installed and properly adjusted, I was happier with the results and began to work the composition more seriously, including approaching closer to the snake.
 
Finding the proper perspective is often the key to creating the best composition and the longer I photograph a subject, the better I can determine what the best perspective is. Moving closer/farther, up/down or around the subject can significantly change the juxtaposition of the subject and its surroundings, significantly changing the resulting image.
 
To jump start the composition process, I wanted the snake's head to be facing in a direction other than away. That factor eliminates about half of the potential camera positions. A sideways-facing head can work well and a slightly-toward-the-camera angle is usually a great choice. That the snake was on top of the tree removed much of the below-the-subject camera position options.
 
The background is always a huge key to good composition and using a telephoto focal length is useful in both reducing what remains in the background and blurring what remains into obscurity. I adjusted my position to take in a variety of background colors and textures and also worked my position around the snake to get different angles on the main subject. Eventually I went for a step ladder and tried some downward angle compositions for some variation.
 
Another compositional opportunity available to me was that, with no discernable horizon or other sense of levelness showing in the frame, I was free to rotate the camera as I desired and that adjustment could change the entire balance of the snake in the frame.
 
Every so often the snake would move slightly and I was able to work with a modified scenario for a period of time. The snake cooperated for about an hour – long enough for my arms and shoulders to get tired from holding the camera in awkward positions. Then the snake abruptly dropped from sight and it was game-over.
 
As so often is the case, the 5Ds R and 100-400 L II proved to be the perfect combination for this purpose. With a bit of unexpected rain occurring during this shoot, I was happy for the camera and lens' weather sealing protection, meaning I could simply keep shooting without worry in that regard.
 
Just an hour of shooting not only gave me some of my best-ever garter snake pictures, but it also provided a great practice session. Simply spending an hour photographing something that interests you around the house can keep your photography skills fresh along with teaching you new ones. So, get out there!
 
A larger version of this image is available on BryanCarnathan.com, Flickr, Google+, Facebook and 500px. If reading from a news feed reader, click through to see the framed image.
 
Camera and Lens Settings
263mm  f/5.0  1/200s
ISO 1250
8688 x 5792px
Post Date: 6/4/2017 7:12:00 AM CT   Posted By: Bryan
 Thursday, June 1, 2017
There are many types of off-camera flashes available for consideration, so let's go over the primary options. While the term "flash" could be used interchangeably to describe any of the following options, we'll be using the term "shoe-mount flash" to describe flashes featuring a hot shoe and "studio strobe" to describe the bulkier, more powerful flashes.
 
Shoe-Mount Flash: Camera Brand/Third-Party TTL Compatible
 
"Ok, so I own a Canon/Nikon/Sony camera... does that mean I have to buy all Canon/Nikon/Sony flashes for off-camera use?" The simple answer is, "No," but there are certainly some advantages to building a camera brand specific kit. Camera brand shoe-mount flashes – like the 600EX II-RT – can communicate with each other wirelessly through optical and/or radio means and can automatically calculate the amount of flash necessary to provide the correct exposure as determined by your camera (ETTL, iTTL). Optical triggering requires line-of-sight (each flash must be able to see the master flash or commander unit), and its range is fairly limited (especially outside in bright sunlight). Radio-enabled flashes provide much more range without the limitation of line-of-sight positioning. With an all Canon/Nikon/Sony flash system, you'll be able to enjoy the benefits of high-speed sync (exceeding your camera's max flash syncs speed) and rear-curtain sync (where the flash is coordinated to end with the rear curtain). Note: Nikon users can enjoy the benefits of rear-curtain sync even with non Nikon-branded flashes.
 
There are also some third-party flashes that mimic the capabilities of the camera brand flashes providing full communication with your camera and similar features at a reduced cost. However, sometimes these flashes can be incompatible with older and/or yet-to-be-released camera bodies. If the third party flash manufacturer does not release an updated firmware, or otherwise, there is no way to update the flash's firmware, then you're simply out of luck.
 
Shoe-Mount Flash: Third-Party Manual
 
Third-party manual flashes offer a relatively no-frills option as they do not feature wireless communication and power levels must be adjusted manually. These types of flashes work well in indoor studio setups where the flash is placed in an easily accessible location (they are not very convenient when the flash is boomed above a subject and the power level requires adjustments). Manual flashes typically require a radio trigger to sync the flash with the camera's shutter, but some manual flashes offer optical slaves which can trigger the flash when it sees other flashes fire.
 
The downside to all shoe mount flashes is their somewhat limited power. They tend to work great indoors and in times when the ambient light is not necessarily abundant and bright, but outside of those situations or when modifiers are used, you may find yourself wishing you had a few more stops of flash power at your command. If your photography lighting applications require more power, you'll want to look at the available studio strobe options described below.
 
Studio Strobes: Monolights and Pack & Head Systems
 
The two most common types of studio strobes include monolights and pack & head systems. With monolights like the Profoto D1, the flash bulb, modeling light, cooling system and power supply (requiring AC input) are all contained within the flash head's housing. In a pack & head system (Profoto Pro/Acute/D4) , the power source (often called a generator or power pack) is a separate component from the flash head. As you likely guessed, both these systems have benefits and drawbacks compared to the other.
 
Benefits of a pack & head system include smaller/lighter flashes, the ability to run off of battery power or AC and remote control of power levels via the pack with only one radio device needed for triggering all connected flash heads. Downsides to a pack & head system include a single point of failure (pack) could render all flashes unusable, power cords running from a single location to all flash heads (making positioning lights difficult at times) and higher cost.
 
Benefits of monolights include [generally] lower cost and easier positioning of lights assuming multiple AC outlets are available. Downsides include the need for a radio trigger for each individual light (unless the monolight features a built-in optical slave and your shooting situation allows for that type of triggering), AC power requirements and having to adjust power levels at each light (unless a radio triggering system is available that can perform power level adjustments).
 
Studio Strobes: Battery Powered
 
Relatively new to the industry are battery powered studio strobes (Profoto B1, Broncolor Siros, Interfit S1, Dynalite Baja, Phottix Indra) which offer the power of traditional studio strobes with the flexibility and convenience of a user-replaceable, rechargeable battery built right into the flash head unit. Most of these strobes feature built-in wireless receivers providing benefits such as independent power control (possibly even TTL) and high-speed sync.
 
With benefits of increased power and the inclusion of built-in rechargeable batteries (making them an excellent option for on-location/outdoor setups), the downsides of battery powered studio strobes compared to shoe-mount flashes include increased size, weight and higher cost.
 
Wrap Up
 
While there are certainly products that fall in between these categories offering a blend of benefits and drawbacks, the groups listed above constitute the majority of what's available for off-camera flash use. And with so many options available, it's very likely that you can find a flash/strobe setup (or mix of these products) which can adequately cover your lighting needs.
 
In our next installment in this series, we'll take a look at the wide range of radio triggers available in the today's marketplace.
 
Other Photography Lighting 101 Posts
 
Post Date: 6/1/2017 9:03:41 AM CT   Posted By: Sean

 
Bergün, a village in Switzerland, has banned photography in its municipality in order to prevent the overwhelming sadness experienced by those who view the images of the village on social media yet cannot experience Bergün in-person.
 
In the above video, President of the Board (Mayor) Peter Nicolay kindly asks NASA to remove or blur all its images of the beautiful village to spare viewers the inevitable sadness, despair and longing associated with not being there.
Post Date: 6/1/2017 7:36:58 AM CT   Posted By: Sean
From Nikon:
 
Changes implemented in Nikon D3400 Firmware v.1.12 & D5600 Firmware 1.02:
 
  • Improved pairing and connectivity between the camera and Android versions of the SnapBridge app.
Download:
Nikon D3400 Firmware v.1.12
Nikon D5600 Firmware 1.02
Posted to: Nikon News
Post Date: 6/1/2017 5:52:44 AM CT   Posted By: Sean
 Wednesday, May 31, 2017

 
From the Russell Brown Vimeo Channel:
 
In this tutorial I will demonstrate a classic technique to match colors in Adobe Photoshop. I discovered this technique in the beginning of time and it is still just as helpful today. This technique uses the RGB, grayscale channels to adjust colors within an image.
 
B&H carries Adobe Photography Plan subscriptions.
Post Date: 5/31/2017 11:45:33 AM CT   Posted By: Sean
Amazon has the SanDisk Ultra Fit 128GB USB 3.0 Flash Drive available for $24.99. Regularly $39.99.
 
Product Highlights
 
  • An ultra-small, low-profile, high-speed USB 3.0 flash drive that's ideal for notebooks
  • The fast way to move media between your devices
  • Read speeds up to 150MB/s
  • Write up to 15X faster than standard USB 2.0 drives
  • Transfer a full-length movie faster than standard USB 2.0 drives
  • Keep private files private with included SanDisk SecureAccess software
Post Date: 5/31/2017 9:26:20 AM CT   Posted By: Sean
by Sean Setters
 
With a moderate temperature and sparse clouds overhead, I set off with the goal of photographing a local marsh with my infrared converted Canon EOS 7D and EF-S 10-18mm f/4.5-5.6 IS STM. I was particularly interested in photographing the dormant trees often found in such locations. After a little exploration, I found an area behind an apartment complex that seemed perfect. The marsh was mostly dry and featured obvious walking paths used by nearby residents.
 
The dry marsh featured dozens of dormant trees which I intended on photographing as my primary subjects, using the wide, flat marsh and blue sky as a backdrop. However, I photographed several trees but was unsatisfied with my results.
 
And then I started thinking about my composition. A good landscape image needs to have a distinct foreground, middle and background, or else it needs an element that guides the eye through the composition. When photographing the trees with an ultra-wide angle lens, the images had a distinct foreground and background, but the lack of an element clearly connecting the two – guiding my eye through the scene – resulted in boring photographs. With that revelation and a fresh set of eyes looking at the scene, I began searching for ways to connect the foreground and background in the composition. The answer appeared just beneath my feet.
 
The curved pathway that snaked through the scene seemed ideal for leading a viewer's eye through the image. If the path had been straight, it wouldn't have had the same effect. But with a gentle S-curve running from the foreground through the middle part of the image, the resulting composition (including interesting clouds) proved to be my favorite shot from this outing. Of course, the image doesn't feature one of the trees I was so anxious to photograph, but... the trees aren't going anywhere, so I'll likely try again another day.
Post Date: 5/31/2017 8:58:18 AM CT   Posted By: Sean
From Nikon USA:
 
Whether Exploring New Heights on the Slopes or Diving Off-Shore, Share-Worthy Images and Videos Are Easily Captured with the COOLPIX W300
 
MELVILLE, NY – Today, Nikon Inc. introduced the new COOLPIX W300, a rugged compact camera designed to capture and share high-quality images and 4K UHD video of any adventure with ease. The waterproof, shockproof, freezeproof and dustproof W300 is well-equipped with intuitive features to chronicle an action-packed excursion, whether a user is hiking, camping, skiing or relaxing on the beach. The W300 makes it easier to shoot in the moment with an improved grip and handling, a large 3-inch LCD display and a 5x optical zoom NIKKOR lens with an exceptionally wide field of view. Furthermore, the W300 allows users to seamlessly share their latest adventures with built-in Wi-Fi3 and Bluetooth2 via the Nikon SnapBridge app1.
 
“For those experiencing a once in a lifetime vacation or adventure, the COOLPIX W300 is an exciting rugged and lightweight camera option, offering an advanced feature-set that delivers stunning image quality, improved handling and advanced performance to easily capture fast-action moments and 4K UHD video,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.
 
Handle Rugged Situations: The Durable Nikon COOLPIX W300
Featuring a 16-megapixel CMOS back-side illuminated (BSI) sensor, the COOLPIX W300 captures life’s adventures in stunning quality, even in low-light. Built to withstand even the toughest outdoor elements, the robust COOLPIX W300 offers a waterproof (100ft. / 30m), freezeproof (14F / -10C), dustproof and enhanced shockproof (7.9ft. / 2.4m) camera body that any outdoor enthusiast could appreciate. Whether exploring underwater or venturing out in a snowstorm with gloved hands, the adventurous photographer will feel confident capturing moments with ease due to the camera’s increased grip area and ergonomically improved shutter button placement.
 
The W300 is the ideal companion for exploring remote areas, as users can pinpoint precise locations using the built-in GPS to recall exactly where that stunning image of a hidden natural wonder was captured. Additional outdoor-friendly features include the ability to go off the beaten path with Points of Interest (POI) and mapping functions, as well as an altimeter and depth gauge. The camera also has a dedicated button to activate an LED light for illumination, and a new Active Guide function to easily display location and altitude data at a glance.
 
Additionally, with built-in Wi-Fi and Bluetooth connectivity, images can transfer automatically to a photographer’s smart device so that family and friends can instantly view vacation highlights. When connected, users can also operate the camera remotely with a smart device to capture new perspectives and explore their creative potential.
 
Capturing Incredibly Stunning Images and 4K UHD Video
The COOLPIX W300 allows the user to get close to the action with a 5x optical zoom wide-angle lens (f/2.8-4.9) and 10x dynamic fine zoom for detailed images from far-away distances, even in challenging light. The camera’s hybrid VR technology provides up to three stops of compensation to capture sharp images and smooth 4K UHD (3840×2160/30p) videos, great for when snorkeling or rock climbing. Additional video features include a variety of creative functions, such as time-lapse and superlapse recording to offer a unique perspective of once-in a lifetime adventures.
 
Price and Availability
The COOLPIX W300 will be available in Summer 2017 in orange, yellow and black for a suggested retail price (SRP) of $389.95.
 
Preorders
 
Nikon COOLPIX W300 - B&H
Posted to: Nikon News
Post Date: 5/31/2017 5:48:06 AM CT   Posted By: Sean
From Nikon USA:
 
MELVILLE, NY – Today, Nikon announced three exciting new wide-angle NIKKOR lenses to give a diverse array of users’ brilliant image quality and maximum versatility whether shooting vast landscapes, architecture, interiors, events and many other wide-angle applications. The new ultra-wide zoom and lightweight DX-format AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR is an excellent value for budding shutterbugs and novice shooters looking to explore a wide-angle point of view, while the new AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is an FX-format circular fisheye zoom lens for photographers and content creators who desire a truly unique perspective. Lastly, the new AF-S NIKKOR 28mm f/1.4E ED is a superior prime lens that provides professional and advanced photographers the ultimate in wide-angle image quality. Both the AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED and AF-S NIKKOR 28mm f/1.4E ED are the latest additions to the Gold Ring Series of NIKKOR lenses, a mark identifying Nikon’s premium lens offerings.
 
“Nikon continues to push the limits of optical excellence, while making new perspectives more attainable than ever before with our latest wide-angle NIKKOR offerings,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “Whether a photographer is a novice learning the art of landscapes, an enthusiastic video creator or a working professional shooter, Nikon now makes the wide-angle perspective achievable for everyone.”
 
The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – Ultra-Wide Zoom Lens That’s Compact and Portable
The new NIKKOR 10-20mm is an ultra-wide-angle DX-format zoom lens that opens new perspectives and possibilities for those new to photography, and is ideal for shooting travel and scenery, real estate, large group portraits or vlogging. This new lens combines superior image quality and an attainable price to give consumers wide-angle versatility with a lens that’s remarkably compact and lightweight.
 
Like all NIKKOR lenses, the new AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR provides advanced optical technologies for stellar image quality in any light, whether shooting a sun-drenched coastal vista, tight spaces or the night sky. The lens features the equivalent of 3.5 stops1 of Vibration Reduction (VR) performance, to help capture sharp images while handheld or in challenging light. Additionally, it utilizes Nikon’s Pulse Motor technology for super-fast and whisper quiet AF operation- which is especially useful when recording video. The optical formula contains three aspherical elements for excellent image quality with minimal distortion even at the widest focal length.
 
This is a versatile lens that not only excels at shooting expansive horizons, but also offers a remarkably close working distance that’s useful for images or showing up-close details when making product-related videos or how-to content. To get closer to capture small objects with big details, the lens has a close minimum focusing distance of only 8.6 inches (0.22 meters), bringing small objects to life in glorious size.
 
AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED – Circular Fisheye for Photographers and Content Creators
Nikon’s first fisheye zoom gives photographers and filmmakers an FX-format lens with the look and feel of a circular fisheye and the versatility of a full-frame fisheye, all in one lens. The new lens design provides a creative circular 180-degree vertical / horizontal angle of view on full frame cameras, and zooms to a non-circular fisheye view (180-degree diagonal angle of view) on the long end of the focal range. The lens can also be used on DX-format cameras for a distinctive point-of-view and extreme wide-angle applications. When looking to push creative boundaries, the intriguing perspective from a fisheye lens should be considered to provide a distinct look to your photos and videos, such as a dramatic emphasis on a subject or an extremely wide interior point of view.
 
The AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is also the latest in Nikon’s Gold Ring Series of premier lenses and features a next-generation design for high-resolution Nikon DSLR cameras. Made for advanced photographers and creators, this durable lens is constructed of lightweight magnesium alloy, and employs internal focusing (IF) to retain its compact size, even while focusing. It is also Nikon’s latest lens to use an electromagnetic diaphragm for consistent exposure during high speed shooting, or smooth exposure control while capturing video.
 
The optical formula of the Fisheye NIKKOR 8-15mm consists of three ED elements to reduce chromatic aberration, while two aspherical lens elements minimize coma, even at the widest aperture, and enable a more compact lens size. Additionally, the front lens element is coated with Nikon's non-stick Fluorine coat to help resist dirt, fingerprints and smudges, while Nikon’s exclusive Nano Crystal Coat helps reduce ghost and flare.
 
AF-S NIKKOR 28mm f/1.4E ED – The Latest in The Gold Ring Series of f/1.4 Primes in the NIKKOR Line
The new AF-S NIKKOR 28mm f/1.4E ED is Gold Ring glass that provides maximum versatility for outstanding definition and sharpness regardless of shooting scenario. With a fast f/1.4 maximum aperture and nine blade rounded diaphragm, it affords a shallow depth of field with gorgeous bokeh and stellar low light performance, making it a great choice for shooting low light landscapes, interiors and events.
 
The superbly balanced and solid body is composed of lightweight magnesium alloy, and features dust and water drop resistant sealing to withstand the elements, combined with a fluorine coating to resist dirt and smudges. The optical construction of the lens is engineered for the best possible wide-angle image quality. It consists of 14 elements in 11 groups, with three aspherical elements that virtually eliminate coma, aberration and distortion, with two ED glass elements that minimize chromatic aberration. The lens also uses Nikon’s Nano Crystal coat to reduce instances of ghosting and flare.
 
The new AF-S NIKKOR 28mm f/1.4E ED is a welcome addition to Nikon’s stable of impressive f/1.4 primes that give professional photographers and creators the highest levels of image quality and performance, which also include; The AF-S 24mm f/1.4G ED, AF-S NIKKOR 35mm f/1.4G, AF-S NIKKOR 58mm f/1.4G, AF-S NIKKOR 85mm f/1.4G and AF-S NIKKOR 105mm f/1.4E ED.
 
Price and Availability
The Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED will be available immediately for a suggested retail price (SRP) of $1249.95. The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR and AF-S NIKKOR 28mm f/1.4E ED will be available in late June for a suggested retail price (SRP), $309.95 and $1999.95, respectively.
 
Preorders
 
Nikon AF-S NIKKOR 28mm f/1.4E ED – B&H | Wex Photographic
Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED – B&H | Amazon | Wex Photographic
Nikon AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – B&H | Amazon | Wex Photographic
Posted to: Nikon News
Post Date: 5/31/2017 5:34:00 AM CT   Posted By: Sean
 Tuesday, May 30, 2017

 
From the Adorama YouTube Channel:
 
In this episode Mark Wallace demonstrates three ways to add light to interior room to match the bright light from the sun. After watching this tutorial you'll be able to balance the light so your interior shots look natural with the light from outside. Mark shows how you can use a speedlight, a small off-camera flash, and even a fully manual studio setup.
 
Note: Instead of using high-speed sync, you can also use ND filters to reduce the shutter speed required for a proper exposure to arrive at a shutter speed at or below your camera's max flash sync speed. [Sean]
Post Date: 5/30/2017 9:57:34 AM CT   Posted By: Sean
Before we address the need for off-camera flash, it's vital to understand why investing in any flash – whether it be an on-camera shoe-mount flash or a studio strobe – is worthwhile. While beautiful, natural, soft ambient light is ideal, many times circumstances don't line up with pre-scheduled portrait sessions. With a flash (or multiple flashes) in your kit, you gain the ability to create the ideal light wherever and whenever you need it.
 
Now let's say you have invested in a shoe-mount flash. However, with the shoe-mount flash mounted to the camera's hot shoe and pointing forward, you find your portraits don't look quite right. There's a good reason for that. Think of it this way – how often do you view the world with a bright, small sized light emanating from your forehead? My guess is... not often (outside of you spelunkers out there).
 
When you view the world day in and day out, light is usually generated from many different sources, and therefore, it comes from varying directions (but as we established, rarely from your forehead). One way to change the size and direction of your camera mounted flash's output is to swivel the flash head and bounce the light off of a nearby neutral colored wall or ceiling. For flash owners, this is the first and easiest step to improving the look of images taken using [on-camera] flash. But unfortunately, bounce flash is not a panacea. Sometimes there isn't a nearby surface suitable for bouncing your flash, and other times you may want more control over the light than this option permits.
 
Now let's consider positioning the flash in a location other than the camera's hot shoe. With the flash off-camera, more natural looking portraits can be created compared to portraits utilizing on-camera (especially bare, pointed forward) flash. With a huge array of light modifiers available, each influencing your flash's light quality in a unique way, the possibilities for creative, compelling and professional looking imagery are endless.
 
In the next installment in this series, we'll take a look at the various types of off-camera flashes and studio strobes.
 
Other Photography Lighting 101 Posts
 
Post Date: 5/30/2017 8:37:18 AM CT   Posted By: Sean
From Nikon:
 
Capture NX-D 1.4.5
 
Changes from Version 1.4.3 to 1.4.5
 
  • Added support for the D7500.
  • Added support for Picture Control > Auto.
  • Changed the Crop tool 11:7 crop to 10:7.
  • Improved thumbnail display quality for JPEG images that contain only small thumbnails.
  • Fixed the following issues:
    • White would print as light grey when Use this profile when printing was selected for Color Management > Printer Profile.
    • Capture NX-D would quit unexpectedly if the Retouch Brush tool was displayed in full-screen view.
Download: Capture NX-D 1.4.5
 


ViewNX-i 1.2.7
 
Changes from Versions 1.2.4/1.2.5 to Version 1.2.7
 
  • Added support for the D7500.
  • Added support for Picture Control > Auto.
  • Fixed the following issues:
    • Facebook login could not be used.
    • Images modified using Exposure compensation or White balance with On selected for Auto Red-Eye would sometimes not display correctly.
Download: ViewNX-i 1.2.7
 


Camera Control Pro 2.25.0
 
Changes from Version 2.24.0 to 2.25.0
 
  • Added support for the D7500.
  • Picture Control Utility 2 can now be launched from a Picture Control > Edit button in the Image Processing panel.
Download: Camera Control Pro 2.25.0
 


Picture Control Utility 2.3.0
 
Changes from Version 2.2.2 to 2.3.0
 
  • Added support for the D7500.
  • With the release of Camera Control Pro 2 version 2.25.0, Picture Control Utility 2 can now be launched using the Edit button next to Picture Control in the Camera Control Pro 2 Image Processing panel.
Download: Picture Control Utility 2.3.0
Posted to: Nikon News
Post Date: 5/30/2017 5:37:02 AM CT   Posted By: Sean
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