Need a tiny, lightweight ball head that is well-design, excellently constructed, handles significant capacities and performs stellarly? This might be the one for you. The BH-30 is, in many ways, a compact and lightweight version of the BH-40.
Lightroom and Adobe Camera RAW have an amazing secret. A tool that very few photographers know about... Camera Calibration. While it may be meant to calibrate a camera, it's also the BEST tool for boosting color in your RAW images. It creates rich color, and avoids many of the pitfalls of the other color tools. If you shoot sunrises or sunsets, you need to learn how to use Camera Calibration.
0:55 Vibrance and Saturation
2:55 Adjusting saturation with Camera Calibration
5:05 Comparison of results for boosting color
8:58 Process version
10:25 Shadow tint
KODAKOne platform and KODAKCoin cryptocurrency give photographers a new revenue stream and a secure platform for protecting their work
Rochester, NY, Tuesday, January 09, 2018 – Today Kodak and WENN Digital, in a licensing partnership, announced the launch of the KODAKOne image rights management platform and KODAKCoin, a photo-centric cryptocurrency to empower photographers and agencies to take greater control in image rights management.
Utilizing blockchain technology, the KODAKOne platform will create an encrypted, digital ledger of rights ownership for photographers to register both new and archive work that they can then license within the platform. With KODAKCoin, participating photographers are invited to take part in a new economy for photography, receive payment for licensing their work immediately upon sale, and for both professional and amateur photographers, sell their work confidently on a secure blockchain platform. KODAKOne platform provides continual web crawling in order to monitor and protect the IP of the images registered in the KODAKOne system. Where unlicensed usage of images is detected, the KODAKOne platform can efficiently manage the post-licensing process in order to reward photographers.
“For many in the tech industry, ‘blockchain’ and ‘cryptocurrency’ are hot buzzwords, but for photographers who’ve long struggled to assert control over their work and how it’s used, these buzzwords are the keys to solving what felt like an unsolvable problem,” said Kodak CEO Jeff Clarke. “Kodak has always sought to democratize photography and make licensing fair to artists. These technologies give the photography community an innovative and easy way to do just that.”
“Engaging with a new platform, it is critical photographers know their work and their income is handled securely and with trust, which is exactly what we did with KODAKCoin,” said WENN Digital CEO Jan Denecke. “Subject to the highest standards of compliance, KODAKCoin is all about paying photographers fairly and giving them an opportunity to get in on the ground floor of a new economy tailored for them, with secure asset rights management built right in.”
The initial coin offering will open on January 31, 2018 and is open to accredited investors from the U.S., UK, Canada and other select countries. For more information visit www.kodakcoin.com. This initial Coin Offering is issued under SEC guidelines as a security token under Regulation 506 (c) as an exempt offering.
CES, Las Vegas, NV, January 8, 2018 — Roland (LVCC Central Hall, Booth# 17544) announces the R-07 High-Resolution Audio Recorder, a convenient handheld recording device for musicians, journalists, students, and anyone who needs to capture sound on the go. The R-07 features multiple high-quality recording modes, plus unique dual recording and hybrid limiting functions that ensure perfect audio capture every time. It also includes Bluetooth for remote operation and features Bluetooth-capable audio streaming enhanced with Qualcomm aptX audio technology.
While today’s smartphones have the capability to record audio, achieving high-quality results requires using external peripherals that are fussy and inconvenient. Stylish and easy to carry in a pocket, the all-in-one R-07 makes it simple to capture high-resolution audio wherever the user travels.
The R-07 supports mono and stereo WAV recording at rates up to 24-bit/96 kHz and MP3 recording at rates up to 320 kbps. Top-quality onboard stereo mics are always at the ready, while handy scene setups configure all the critical recorder settings with one touch. The R-07 is powered via two AA batteries or USB bus power, and comes in a choice of black, white, and red colors.
Using the free R-07 remote control app on an iOS or Android mobile device, users can wirelessly manage various R-07 functions and also monitor status and levels while the R-07 is placed in a prime recording location that’s out of reach.
For added protection during storage and travel, Roland is also offering an optional soft zippered pouch (CB-BPR07) and a sturdy bag with a shoulder strap and pockets (CB-BR07).
Need a compact, relatively light ball head that is well-design, well constructed, handles significant capacities and performs stellarly?
This might be the one for you.
The BH-40 is, in many ways, a compact and lightweight version of the BH-55.
At CES 2018, Western Digital Showcases Voice-Activated Media Streaming via Smart Home Devices, the World’s Smallest 1TB USB Flash Drive and a New Series of High-Performance Portable SSDs
Las Vegas, NV - January 8, 2018 – At today’s Consumer Electronics Show 2018 (CES 2018), Western Digital (NASDAQ: WDC) unveiled new and breakthrough consumer solutions that address today’s personal content explosion, including voice-activated media streaming via popular Smart Home devices, the world’s smallest 1TB USB flash drive and a portfolio of ultra-mobile, high-performance, wireless and high-capacity flash storage products. Sold under the SanDisk and WD brands, these offerings ensure that personal experiences and memories can thrive for years to come.
Smartphones, drones, action cameras and virtual reality (VR) goggles are capturing and creating rich content that users want to access and share with friends and followers alike. Innovations in multi-lens cameras, 8K video, 5G wireless, VR, augmented reality (AR) and video streaming are enabling more immersive experiences. As a result, consumers are looking for easier ways to capture, preserve, access and share their personal content as it becomes richer and more robust.
“Our lives are increasingly connected to and enriched by pictures, videos, music and ideas,” said Dinesh Bahal, vice president of product management, Client Solutions, Western Digital. “From the parent filming a school recital on their smartphone to the drone enthusiast or pro photographer, our range of consumer solutions are designed to help everyone preserve, access and share their digital world.”
At CES 2018, Western Digital is showcasing its latest solutions for today’s data-driven consumers, including:
New voice-activated media streaming features via Smart Home devices. The My CloudTM Home device empowers people to easily capture, preserve and organize all of their content in one central place. In a Smart Home environment, the My Cloud Home device now works with popular devices that support Amazon Alexa services so people can access their stored music collection via voice commands. The My Cloud Home app now also works with Google Chromecast technology to allow people to stream their home videos, TV shows and movies on the big screen using Chromecast-enabled Smart TVs.†
Continuing its legacy of technology milestones, Western Digital offers a preview of the future of flash storage, demonstrating the world’s smallest 1TB* USB device, a powerful USB Type-C flash solution capable of preserving an enormous amount of content in one tiny form factor; and the world’s smallest 256GB USB flash drive. The new 256GB SanDisk Ultra Fit USB 3.1 Flash Drive, a low-profile USB drive for people who want to add more photos, videos, games and audio files to their notebooks, tablets, TVs, gaming consoles and car audio systems. With 256GB, people have the flexibility to keep more content at their fingertips – approximately, 14,000 photos, 10 hours of full HD video and 16,000 songs, with 64GB still available for files.
For avid photographers and drone enthusiasts who require durable and high-performance media capture solutions, Western Digital is releasing two portable SSDs. The My Passport Wireless SSD, which features one-touch card copy to enable editing and sharing of content out in the field, as well as a new capability to directly access the device within third-party mobile creative apps, like FiLMiC Pro and LumaFusion. While the new, superfast SanDisk Extreme Portable SSD is perfect for saving and editing hi-res photos and videos on-the-go.
Enabling the possibilities of data, Western Digital offers the industry’s broadest portfolio of products and solutions to help people capture, preserve, access and transform their personal content.
† Smart Home app and account registration may be required. Smart Home device compatibility may be changed, terminated or interrupted at any time and may vary by country.
January 8, 2018 – LAS VEGAS – Today at the Consumer Electronics Show (CES), Nikon Inc. announced the new AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR super-telephoto zoom lens, which is ideally suited for photographing sports and wildlife with astounding speed and clarity. This professional level FX-format lens is more versatile than ever, and has been updated with the newest NIKKOR lens technologies including Nikon’s first ever built-in teleconverter and an advanced optical formula to enhance performance and minimize weight.
“This lens is a great example of how Nikon continues to push the boundaries of innovation and what’s possible with pro-level optics and high-end imaging equipment,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.
Popular Pro-Level Lens Gets Even More Versatile
This new NIKKOR lens is a professional super-telephoto zoom lens, which is even more versatile with an extended wide range of 180-400mm, and a constant f/4 aperture to easily isolate a subject from the sidelines, even in challenging light. This is also the first NIKKOR lens to include a built-in 1.4X teleconverter, allowing photographers to seamlessly swap to a 252-560mm1 (FX-format) focal range. The teleconverter is engaged at the flick of a switch, and is easily operated with a single finger while looking through the viewfinder. When used on the Nikon D500 and other DX-format DSLRs, the focal length is the equivalent of 270-600mm (378-840mm with teleconverter engaged).
Whether capturing fast-moving winter sports on the slopes or elusive wildlife at a distance, photographers can shoot with confidence from this high performance NIKKOR lens. The new 180-400mm f/4 is optimized for high-speed capture, and features an electromagnetic diaphragm, helping to create smooth and consistent exposures while shooting high-speed bursts of images. What’s more, the AF tracking algorithm controlling the motor drive has been enhanced to increase tracking performance of fast moving subjects. When using cameras equipped with Nikon’s advanced 153-point AF system (D5, D500, D850), the outer row of AF points are activated as cross-type sensors to significantly enhance the AF coverage throughout the frame.2
Enhanced Performance with the Addition of New Technology
The lens now uses a fluorite element, which contributes to improved balance while minimizing weight. To further enhance handling and agility, the lens has adopted a new ball-bearing tripod collar ring to create a seamless transition from shooting horizontal to vertical composition. The VR mechanism offers a normal and sports mode, with up to four stops3 of compensation to help create sharp images, even when handheld.
The lens construction includes the use of durable magnesium alloy for weight reduction, while the lens is also sealed against dust and moisture. A fluorine coating is also used to help repel water droplets and dirt.
The optical formula of the lens uses eight Extra Low Dispersion (ED) elements, doubling the amount of ED elements used by its predecessor, the NIKKOR 200-400mm. These help to provide extremely sharp and detailed images and 4K UHD / 1080p video, and is ideally mated to high resolution Nikon DSLR cameras. Nikon’s exclusive Nano Crystal Coat is used to effectively suppress instances of ghosting and flare.
Price and Availability
The AF-S NIKKOR 180-400mm f/4E TC1.4 FL ED VR lens will be available in March 2018 for a suggested retail price of $12,399.954.
In its Q4 2017 earning report, GoPro revealed the following stategies for cutting 80 million from its operating expenses:
GoPro is reducing its global workforce from 1,254 employees as of September 30, 2017 to fewer than 1,000 employees worldwide.
GoPro founder and CEO Nicholas Woodman will reduce his 2018 cash compensation to $1.
Although Karma reached the #2 market position in its price band in 2017, the product faces margin challenges in an extremely competitive aerial market. Furthermore, a hostile regulatory environment in Europe and the United States will likely reduce the total addressable market in the years ahead. These factors make the aerial market untenable and GoPro will exit the market after selling its remaining Karma inventory. GoPro will continue to provide service and support to Karma customers.
GoPro's only entry into the drone market – the Karma – had a rocky introduction (at best) back in 2016. Soon after the drones hit the shelves, they started hitting the ground [hard] because of a manufacturing defect that led to the aerial crafts losing power mid-flight. The Karma was recalled and eventually re-released, but by then, DJI's Mavic Pro was already dominating the foldable drone market.
The sound of a bull elk bugling is music to my ears and I followed that music to locate this big boy in the dark.
As soon as the Moraine Park meadow opened that morning, I was on my way to find this bull and that move proved quite productive.
While the golden grass in the meadow provides a photogenic, non-distracting base for an image at any time of the day, it is lighter in color when frost-covered and other colors take on a stronger contrast at that time.
Not so photogenic was this bull's right eye.
He had apparently been injured in a fight and the camera-facing eye was not very attractive-looking.
Obviously, I fixed that problem.
When I'm selecting down images, I'm constantly watching for issues in those selected for keeping.
When an issue is found, I look for the fix in an image captured just before or just after the selected image.
The issues I'm referring to here are many, including not-optimal subject framing and blinking as common ones.
With frames of the bull facing the other direction captured in the take, I was able to find one that enabled me to copy the eye, flip it horizontally and integrate it into my preferred image by pasting it in,
transforming it (rotating in this case) to match the original eye and masking out the unneeded portion of the copied image (most of it).
The portion of the eye that was repaired in this example is small, but without the flesh showing, the image is far more attractive (especially since our eyes are drawn to subjects' eyes).
The astute in the crowd have noticed that the horizontal pixel dimension in this image exceeds that of a Canon EOS 5Ds R image.
Using the same image the eye fix was taken from, I manually stitched some additional border onto the left side of the frame by matching the details in the grasses and then blending the transition to offset the slight brightness difference caused by peripheral shading.
If the subject is important to you, don't worry about taking too many pictures.
Not all will be optimal and having too many great images is a desirable problem.
Click on the image to view larger. Get the backstory on this image and learn about the gear and settings used here: http://www.the-digital-picture.com/Pictures/Picture.aspx?Picture=2017-09-26_09-50-42
There are quite a few interesting tips in this video, with "Realistic lens flares" being the only real letdown (in my opinion). I thought changing the tone and contrast to match different films was a really intriguing tip. [Sean]
From the tutvid YouTube Channel:
In this Photoshop tutorial, we’ll go over these ten techniques in Photoshop:
In this video, Gavin Hoey creates a great looking wintry portrait in his studio with a couple of props (including fake snow), a gobo and three lights. Tip: During post processing, Gavin mentions that banding is occuring in his image (approx. 7:30 mark) after adding a Brightness/Contrast adjustment layer. The banding could have likely been avoided by importing a 16-bit RAW file rather than an 8-bit JPEG. [Sean]
Adorama's Flashpoint XPLOR 600 Pro TTL has been announced and its specs put it in league with the Profoto B1X. Even at half the cost, the Flashpoint XPLOR 600 Pro has some key advantages over the B1X:
Flashpoint XPLOR 600 Pro vs. Profoto B1X
More power: 600Ws vs. 500
Faster recycling time: 0.9 sec vs. 1.9
More full-power shots per charge: 370 vs. 325
More powerful modeling lamp: 38W vs. 24
Better color consistency: +/- 75 K over entire power range vs. +/- 150 K
Flashpoint today announced the XPLOR 600 PRO TTL, a new wireless strobe system with TTL connectivity to Canon, Nikon, Sony, Fujifilm, Panasonic and Olympus cameras. With a guide number of 285 feet at ISO 100, the lights are designed for both studio and location use. Boasting rapid recycling times and up to 370 full power flashes per battery charge, the Flashpoint XPLOR is positioned as a powerful source for pro location lighting.
600Ws TTL Wireless Flash
GN 285ft/87m (ISO 100)
Built-in 2.4GHz Wireless R2 Remote System
TTL, Manual and Multi-Flash Modes
Links to simultaneous multi-camera systems
262-feet remote range
Claimed 0.01-0.9 second recycle time
HHS up to 1/8000 sec
Flash duration 1/22-1/10000 sec.
9-stop output control from full to 1/256 power in 25 steps
Color temp 5600 degrees K
Proportional, Variable and Synced Modeling
Compatible with Canon E-TTL II, Nikon i-TTL, Sony, Olympus, Panasonic, and Fujifilm
The XPLOR 600 Pro TTL boasts a fast 0.01 second recycle time at lower output settings, and 0.9 second at full power, making it a good choice for event photography as well as other settings where powerful and fast multiple flash is necessary. It’s powered by a 28.8v/2600mah Lithium battery pack that can be recharged separately in approximately two hours. And onboard fan keeps the unit from overheating.
The XPLOR 600 Pro TTL also doubles as a video light; its 38-watt LED modeling light throws the equivalent of a 400-watt conventional bulb, making it a good choice for video production as well as for other applications where constant light is important. At the other end of the spectrum, the unit offers high-speed synch flash at shutter speeds up to 1/8000 second.
The light is fronted by a Bowens mount for additional light modifiers, while an integrated reflector provides good light right out of the box.
The built-in R2 radio remote lets you link to simultaneous multi-camera systems, so you could shoot with both a Canon and a Nikon using the same flash units at the same time. The XPLOR 600 Pro TTL can be linked and synched to be triggered wirelessly in TTL mode with any R2 transmitting member of the R2 family, including the Flashpoint Streaklight 360, Zoom Speedlights, R2T and R2Pro Remote transmitters. So, if you have already invested in any of these models, you can seamlessly integrate the XPLOR 600 into your system.
In addition, a separate R2 receiver can be added to any remote flash that has a sync port, so you can add other brand flashes to your wireless TTL system.
Pricing and Availability
The Flashpoint XPLOR 600Pro TTL is available for $899, including a flashtube, Lithium battery charger, reflector and cap, and compartment case. It can be ordered now, exclusively from Adorama.
As I mentioned a couple of weeks ago, I spent some time this past Christmas in New Orleans. Fortunately for me, Audubon Park was located within walking distance of where we were staying. I spent several hours throughout the week photographing birds that could nearly always be found in and around Bird Island (Ochsner Island) in the park's lagoon. Because people are constantly walking around the lagoon or playing golf at a course that borders it, the ducks and other waterfowl/wading birds that inhabit the area have become very comfortable to having people nearby, a learned behavior that benefits just about anyone with a camera in-hand.
I often take the 7D Mark II with me when I travel because it's much easier to cover a wide range of focal lengths in a significantly smaller kit compared to covering the same focal lengths in a full-frame compatible kit. And while a 250mm won't likely be adequate for bird photography under many circumstances, it worked great for a close-up on this occasion because of my ability to get close to the bird without spooking it.
In this case, an overcast sky provided a couple of key benefits that allowed this image to work. For one, the soft light reduced contrast allowing me to capture details in both the highlight and shadow areas of the frame. And second, the glare of the overcast sky in the water behind the duck enabled great separation (producing a high key style) that made shape of the subject really stand out in the frame.
This mother bear and her cubs (there were four of them) came to the edge of the woods and then this pose happened.
The cub sitting at the feet of an upright, alert momma black bear, Pennsylvania's apex predator, with her claws ready, seems to be about as safe as it can possibly be.
This was another case where a zoom lens saved the day.
Had I been set up for the normal bear-on-all-fours position (I was) with a prime lens, I would likely have struggled to keep the bear in the frame when she stretched out vertically.
I wish you a "safe" and joy-filled New Year!
A larger version of this image is available on Flickr.
My site-related work consumes most of my time and I gave up trying to process all of my images long ago.
After looking at all images and selecting down to my favorites, I just save all of the remaining RAW files and focus on processing my favorites and those that have other immediate value.
Recently, I carved out time to go through my youngest daughter's fall soccer pictures.
I had decided to share one with you and had the selection narrowed down to 3 images (out of thousands).
Of the three images, two happened to be adjacent in a burst and one had an extra element of interest, a large bumble bee flying into the scene.
Usually, I remove inadvertent insects from my sports photos.
But, as I was editing the next image in that sequence, I noticed Mikayla's left cheek appeared differently colored/shaded and ... then I noticed the bee flying backward just below her ear.
The bee had flown into her cheek, leaving an indentation and then bounced off.
The 1D X II's fast frame rate caught that and I was amused.
Here are some of the qualities I like about this image:
Both the ball and the player's eyes are in the frame and the eyes are in sharp focus.
That the entire player's body is within the frame is also often-desired.
With the original image framed somewhat loosely, cropping allowed optimal composition.
Desirable is that the player's body position is open toward the camera and all limbs are visible (an arm or portion thereof did not go missing behind the body for example).
All limbs stretched out indicates fast action – as do both feet off of the ground.
If the athlete has long hair, the position of that hair can add to an image.
A positive is that the background is both strongly-blurred and very colorful.
What is in the background can often be determined by your position on the sideline.
While there are a lot of bad backgrounds at sporting events, the team's bench will often provide some color for you.
Also, your height above the field makes a difference with the background pushing farther away when a low position is used (and the athlete appears large).
The strong blur seen here is courtesy of the Canon EOS-1D X Mark II and Canon EF 600mm f/4L IS II USM Lens combination.
For a sporting event, the lighting seen here is excellent.
The photographer cannot choose game time and mid-afternoon, with a high-in-the-sky sun, can have terrible lighting.
If the sun is bright, there will be hard shadows in the frame and especially under a clear sky, heat waves can spell disaster for image sharpness.
If the sky is cloudy or the sun has set, dark conditions require a high ISO setting which means lots of noise.
On this afternoon, the conditions were perfect.
There were just enough clouds to diffuse the light, but not enough to require a high ISO setting.
The non-directional lighting meant that I could set up optimally for both the background and for the expected direction of the game play.
With this share, I wrap up my fall 2017 soccer season.
And, Mikayla is safe from the bees for a few months.
A larger version of this image is available on Flickr.
James Schmelzer take you step by step through the theory and techniques behind great studio lighting.
Watch as James explains the build up from one light and reflector to a multiple light set up explaining the 7 different lighting patterns and what type of face they're best used for. This class will start as basic lighting and move on to advanced lighting techniques using the latest in LED technology.
December 26, 2017, Commack, New York – Tamron USA announced the development of a new VIP Club for registered owners of multiple Tamron lenses. To be launched in 2018, the VIP Club will include select users who have registered their Tamron lenses through the company's online warranty registration system since May 2011 through January 15, 2018 (certain exclusions apply, see website for rules and details). There are three VIP Club levels: Silver for those having registered four purchased lenses; Gold for those having registered five purchased lenses; and Platinum for those having registered six or more purchased lenses. Club membership will be evaluated each year to include new members who qualify and to increase the level of existing members if applicable. The VIP Club will be in effect February 15, 2018 and 2018 members will be notified by email. Complete rules and details of the program are available at www.tamron-usa.com/vipclub.
Tamron owners who have purchased and registered four lenses during the time-frame of May 2011 and January 15, 2018 are eligible for these 2018 membership perks: Welcome gift; $50 bonus rebate each year of Silver status towards any Tamron lens; 50% off one Tamron event ticket each year of Silver status; 10% discount on non-warranty repairs; invitation to participate in the Tamron VIP Member contest; and three issues of the new Tamron magazine mailed to the member's home.
2018 Gold Level Benefits (Five Registered Lenses)
Tamron owners who have purchased and registered five lenses during the time-frame are eligible for these 2018 membership perks: Welcome gift; T-shirt; $75 bonus rebate each year of Gold status towards any Tamron lens; 50% off two Tamron event tickets each year of Gold status; free pass to one event per year of Gold status; 15% discount on non-warranty repairs; invitation to participate in Tamron's VIP Member contest; and three issues of the new Tamron magazine mailed to the member's home.
2018 Platinum Level Benefits (Six or More Registered Lenses)
Tamron owners who have purchased and registered six or more lenses during the time-frame are eligible for these 2018 membership perks: Welcome gift; T-shirt; Tamron apparel; $100 bonus rebate each year of Platinum status towards any Tamron lens; 50% off three Tamron event tickets each year of Platinum status; two free passes to any Tamron event per year if available (excludes Summit); 20% discount on non-warranty repairs; lifetime limited warranty on any new Tamron lens purchased and registered within two years of Club induction at Platinum level; free shipping on any lens sent in for repair; exclusive Tamron Photo Tips Hotline; free 2-week lens loaners, if available; invitation to a 4-day workshop (The Workshop Summit, details below) if qualified; invitation to participate in the Tamron VIP Member contest; invitation for chance to be profiled on the Tamron website; and three issues of the new Tamron magazine mailed to the member's home.
The Workshop Summit
Members of the Tamron VIP Club Platinum level whose latest lens purchase and lens registration was within the past two years as of January 15, 2018, will be invited to a 4-day/3-night Workshop Summit scheduled for Fall 2018. The Workshop Summit is limited to 25 participants, first-come/first-serve. Invitations will be sent to qualifying Platinum Level members in Spring 2018 by priority mail. The Workshop Summit includes three nights hotel, meals, transportation to/from hotel/airport in destination city, workshop transportation, workshop and loaner lenses. Airfare, home airport transportation, and other incidentals are not included. The Workshop Summit will be offered each year, and Platinum level members may participate in one Workshop Summit during the life of the program.
Tamron lens owners are encouraged to register their new purchase at www.tamron-usa.com (click link to go to registration page). Registration is quick and easy and owners enjoy these benefits: Instant serial number verification to ensure that a Tamron USA imported lens with 6-Year Limited USA Warranty and eligible for any qualifying rebate has been purchased; access to product information in the event of loss or theft; custom support if service is ever required; priority contact in the rare event we discover an issue with the registered product; and if subscribe is selected, invitations to local workshops, seminars and sales events, subscription to the Tamron e-newsletter and exclusive promotional offers. And now, registration has the benefit of becoming a Tamron VIP Club Member when membership level requirements are met.
By now you've likely heard the same advice many times – "Shoot in RAW format, not JPEG." And the reason you hear that advice so often is because it is vital for obtaining the highest quality from your captured images. But it is important to keep in mind, JPEGs are limited to 8-bits, meaning that a lot of information originally recorded by the sensor is discarded to allow for a minimal file size. Shooting in RAW allows you retain all of the information that was captured at the time the image was taken.
But setting your camera to record in RAW format is only the first step. In order to achieve the highest image quality in your final image, you need to maintain a 16-bit workflow through your entire image editing process, especially if you use multiple image editing programs in your workflow. Even if your intended output is a JPEG (8-bit), you'll get a better image quality by maintaining a 16-bit workflow until the very end.
Here are some things to look for to ensure you maintain a 16-bit workflow when importing and exporting images, assuming you are starting with a RAW file.
Canon's Digital Photo Professional:
If importing a RAW file into Digital Photo Professional (v.3 or v.4), then you're working with all the information your file has to offer from the get-go. If you'd like to export your files for use in other editing programs, choose "TIFF 16bit (*.TIF)" as your export file type. Note: If you use the "Transfer to Photoshop" option in DPP, it will export a 16-bit version of the file.
Adobe Photoshop CC
When you open a RAW file in Photoshop, it will initially open in Adobe Camera RAW before being imported with the chosen settings. The important thing to look for here is the text displayed beneath your photo which displays the color space, bit depth, resolution and ppi settings for your imported RAW photo.
If ACR says "8 bit" below your image, click on the text and choose "16 Bits/Channel" in the drop-down menu beside "Depth" in the window that follows.
For saving files in Photoshop for use in other image editors, be sure to use the TIFF file format (the TIFF option is not available in the "Save for Web" dialogue) to preserve the highest quality image moving forward. If saving for posterity, saving as a PSD is recommended to preserve your adjustment layers and masks.
Adobe Lightroom CC Classic
Lightroom CC Classic imports RAW & TIFF files at their maximum bit rate, but you'll need to choose one of the non-JPEG file formats for export (TIFF, PSD, DNG or Original) to maintain a 16-bit workflow. Note that "Original" and "PSD" will only be optimal export formats if you plan on further processing the file in Photoshop.
If saving as a DNG, there are no other options necessary to adjust for maintaining the highest image quality.
Capture One imports files at their native bit depth, so there's nothing to specify when opening RAW files. While exporting your TIFF file, you may need to select "16 bit" via the drop-down menu in the Export Recipe Format.
Like Capture One, Affinity Photo will open compatible RAW files at their full bit depth. However, you'll need to specify a 16-bit file type while exporting images. The two most common options that support 16bit are TIFF and Photoshop PSD.
Luminar 2018 and Aurora HDR 2018
Both Luminar 2018 and Aurora HDR 2018 open compatible 14/16-bit files (including .RAW and .TIFF) at their native bit depths, and recent releases of the software titles now allow for exporting 16-bit TIFF files, with the export dialogues being the same for both.
As previously noted, shooting in RAW is absolutely necessary for obtaining the highest image quality. However, especially if multiple programs are being used in your post processing workflow, saving/exporting 16-bit files will ensure that your images retain high image quality all the way through publication.
In this video, renowned photographer Pete Souza sits down to reflect on his time at the White House photographing President Obama. Using intuition and professional judgment, Souza captured 1.9 million frames across the eight years of Obama's tenure, giving him a unique, personal perspective on the President.
I spent some time researching the optimal destination for my daytrip to New York City with photographing the 9/11 Tribute in Light as the primary goal.
While the lights can be seen from anywhere with a view over the city, I was looking for something especially nice.
I decided that the perspective from the Manhattan Bridge, as shared here, was the ultimate one for a variety of reasons.
The first is that I would have an elevated view on the city.
This means the river would fill a larger portion of the frame (all things equal, water surface area fills more of the frame as the camera gets higher).
Because the tribute lights need to go straight up through the frame, the camera needed to be level for both pitch and yaw.
While a tilt-shift lens could have solved this issue, shooting from a higher elevation permits a higher framing of the scene.
What can be seen from this location was another reason for selecting it.
Starting on the left side, Jane's Carousel is always an attractive element to have in a NYC frame.
It is also hard to go wrong with the Brooklyn Bridge, One World Trade Center and the rest of the South Manhattan skyline, any of which individually make great subjects.
Even the Statue of Liberty can be seen through the bridge cables on the left side.
I didn't plan on the American flag being prominently featured on top of the bridge, but it is very fitting to have it in this scene.
Having water in the frame means reflections and this location had that feature.
While the water was not still, there are still reflections and the reflected light colors were smoothed by the long exposure
The Manhattan bridge span is a very long one and that meant the position on the bridge needed to be selected.
Because bridges move when traffic crosses them, I like to photograph over the piers where the amount of movement is minimalized.
Using online maps, I verified that there was a walking area for crossing the bridge and I could see the location of the piers.
I also determined that one of the bridge piers provided alignment of the tribute lights so that each was behind the pointed top of a skyscraper.
That same pier appeared to also provide the best perspective of the city overall.
The plan was to arrive at Brooklyn Bridge Park (seen in the left side of this image) early enough in the afternoon to scout the primary shooting location and to find secondary locations for later use.
I walked the park down to the end of Pier 1, back up to beyond the Manhattan Bridge and then proceeded up onto the bridge.
The online maps clearly showed a walkway across the bridge and that was indeed present.
But what I couldn't see was the high fence that bordered the entire walkway, from one end to the other.
I was disappointed, but it was early and I went forward with my scouting plan on the bridge.
As I moved farther out onto the bridge span, I realized another significant problem, one that I thought was a show-stopper.
This bridge had a very significant amount of vibration and when I arrived to the pre-selected pier, I discovered that this location was not insulated from that significant movement.
However, I also discovered that someone had cut small holes in the fence at two places at this pier.
While the holes gave me the view I needed, I didn't think there was a chance of getting a sharp long exposure image after dark.
I decided to walk the rest of the bridge span into the city.
I found one more hole in the fence over the pier on the Manhattan-side of the East River, but the vibrations were no better at this location and the view from the first pier was as I wanted.
I decided to head for solid ground, but upon arriving at the preferred bridge pier, I decided to attempt a long exposure image through the hole.
I set up a camera and lens and installed a 10-stop neutral density filter with a circular polarizer filter to simulate darkness.
I was shocked to find that 30 second images were rather sharp.
I was timing the image captures between the (very loud) subway trains passing and the long duration of the exposures were allowing the vibrations to equalize out of the final result.
As I was mentally finalizing my plans to come back for sunset and blue hour photos, another photographer arrived and began setting up at the other hole in the fence.
It was only about 4:00 in the afternoon and sunset was not until 7:11 PM.
But ... if other photographers were arriving already, I decided I need to stay the duration to retain my optimal shooting location.
The other person was very friendly, additional photographers began showing up and the time passed quickly.
While waiting, I determined that a very-carefully placed camera and medium-sized lens without a hood could *just* fit between the about-4" diamond-shaped metal crossbars at the bottom of the fence and I was able to deploy a second camera and tripod I had along.
The 90-second image shared here was captured just after 8:00 PM with the shutter being opened just after the ferry entered the frame, creating a long streak of colorful lights.
This is a single-frame capture with the Brooklyn Bridge Park area being brightened slightly.
The blue channel was boosted for a cool look and saturation was increased to bring out the colors.
My wife and I are currently staying with family in New Orleans and yesterday I woke to find a dense fog had had settled in over nearby Audubon Park. I grabbed my Canon EOS 7D Mark II (my consummate travel companion) and the EF-S 10-18mm IS STM lens to explore any opportunities the park had to offer.
The first scene that caught my eye was the view from a stone bridge that overlooks Audubon Park Lagoon. As I crossed the bridge, I noticed that ducks were following the water and flying over the bridge at regular intervals. I set the camera to burst mode, pointed it over the water, prefocused on some tree limbs on the left side of the frame, and waited. I photographed several flocks of ducks that passed over me during the 10 minutes or so that I waited, with the image below being my favorite because of the ducks' position in the frame and their reflection in the water.
Without the fog, the ducks would have been unrecognizable in the frame as Bird Island splits the lagoon just past the point obscured by the haze.
While following the pathways of the golf course at Audubon Park (it was too foggy for anyone to be playing golf at this time), I came across the scene shown at the top of this post. The fog aided in separating the tree from the background and provided a beautifully soft, ethereal light even with the sun in the composition. Without the fog, the trees in the background would have been a distraction and the scene would have been much less remarkable. The use of a wide angle lens is also key here, as it requires you to get much closer to your subject(s) for them to be prominent in the frame, and the close proximity reduces the amount of fog between the camera and the subject, increasing the clarity and contrast of your subject in relation to background elements.
So the next time you awake to find dense fog with a few minutes to spare, don't hesitate to grab your camera and explore!
Both Luminar 2018 and Aurora HDR 2018 received updates recently that checked off some items on my personal wish lists, including native file saving (for Windows) and 16-bit TIFF exports. [Sean]
Luminar 2018 v.1.1.0
This free update brings the following new and improved features to improve your Luminar editing experience:
Work faster. Luminar can now launch more quickly. Plus you’ll see a faster-editing performance and better RAM usage.
Save Native files. Be sure to save your editing projects in the new native Luminar format. This makes it easy to come back and edit later.
Clone & Stamp released. Remove objects and blemishes with ease!
LUT Mapping. Any LUT you’ve chosen can now be stored to a preset with no need to link to the original .cube file.
More export control. You can choose to export to the Adobe RGB wide color profile or the ProPhoto RGB color space on export. You can also sharpen an exported file which is great for printing.
Better masking controls. Users can adjust both the feather and density controls on a mask to refine the blending of layers. When editing a mask, a user can also press the X hotkey to toggle between Paint/Erase brush mode.
More editing control. Now even more raw formats can be edited natively with our RAW Develop filter. All filters also support advanced blending mode options as well.
Work faster. We’ve improved compatibility with OS X 10.10, 10.11 support. The Histogram also updates in real-time. Users will also enjoy Performance and RAM usage improvements. When editing press Cmd+L to quickly access the Filters list as well.
RAW image improvements. Luminar does a better job of detecting noise in a raw file and automatically fixing it when you open to a photo. DNG file support is also improved for easier editing. Plus even more raw formats can be edited natively with our RAW Develop filter.
Improved workflow with other applications. We’ve addressed several small bugs reported when working with Adobe Photoshop, Adobe Photoshop Elements, Adobe Lightroom, and Photos for Mac.
Better batch processing. A streamlined user interface makes batch processing even easier to fix multiple photos at once. Additional improvements also made to address user-reported issues.
Improved Native files. Save your editing projects in the native Luminar format which makes it easy to come back and edit in the future. Plus files can be shared between Mac and Windows users.
LUT Mapping. Any LUT you’ve chosen can now be stored to a preset with no need to link to the original .cube file.
More plugin support. Luminar can also use Topaz plugins within the Luminar editing workflow.
Improved exports. Photos can now be exported to SmugMug for online sharing. The Sharpen on Export filter is also improved for crisper images.
Better masking controls. Users can adjust the density controls on a mask to refine the blending of layers. When editing a mask, a user can also press the Backspace hotkey to reset gradient/radial mask drawing.
Mac – Please, launch Luminar 2018, on the Top Menu Bar choose Luminar 2018 > Check for updates.
Windows – Please, launch Luminar 2018, on the Top Tool Bar choose Help > Check for updates.
Aurora HDR 2018 1.1.2
This free update brings the following new and improved features to improve your Aurora HDR editing experience:
RAW image improvements. Aurora HDR does a better job of detecting noise in a raw file and automatically fixing it when you open a photo. DNG file support is also improved for easier editing.
Save Native files. Be sure to save your editing projects in the native Aurora HDR format. This makes it easy to come back and make edits. Plus files can be shared between Mac and Windows users.
More export control. You can choose to export to the Adobe RGB wide color profile or the ProPhoto RGB color space on export. You can also sharpen an exported file which is great for printing. Plus even more file formats are supported including JPEG 2000, PSD, PDF. Creating TIFF files? You can control file compression, bit depth, and resolution on export too.
Delete presets. You can now delete preset packs if you want to remove a set from your collection.
Improved Native files. Save your editing projects in the native Aurora HDR format which makes it easy to come back and edit in the future. Check the Windows compatibility option so files can be shared between Mac and Windows users.
Improved workflow with other applications. We’ve addressed several small bugs reported when working with Adobe Photoshop and Adobe Lightroom.
Work faster. We’ve improved compatibility with OS X 10.10, 10.11 support. The Histogram also updates in real-time. Users will also enjoy Performance and RAM usage improvements. When editing press Cmd+L to quickly access the Filters list as well.
Import old Aurora HDR presets. You can now import presets from previous versions of Aurora HDR.
While the subject is always very important, the background usually consumes a significant portion of the frame and that means it too is important.
One background option is to blur it away and the Canon EF 600mm f/4L IS II USM Lens is a master at that task.
Still, bull elk are very large animals and even 600mm f/4 does not completely erase the background when the entire animal is comfortably in the frame.
At long environmental portrait framing distance as seen here, the background is going to be recognizable.
Another great option is to utilize brightness to separate the subject from the background.
Having a subject in direct sunlight and the background in complete shade is one of my favorite wildlife photography situations.
An evenly-patterned background often works well.
In this case, the distant evergreen forest provided that option.
For this image, the combination of long focal length, wide aperture, distant background, strong brightness difference and evenly-patterned background all work together to make the bull elk stand out and look good.
It was nice of this large, frost-covered bull elk to stop at the top of a small ridge, turn his head and exhale into the early morning sunlight for me.
I did not have time to get closer to this rutting bull before he went over the edge on his way to find cows.
That meant I simply had to accept the framing available at the time and that was not bad at all.
The entire frame was good and with the ultra-high resolution Canon EOS 5Ds R behind the lens, I had a lot of options available for cropping.
I struggled to select the one to share and eventually opted to modestly crop the image to show the elk larger in the frame.
A larger version of this image is available on Flickr.
The goal of this release is to provide perpetual customers additional camera raw support, lens profile support and address bugs that were introduced in previous releases of Lightroom. You should only update to Lightroom 6.14 if you are currently holding a license to our perpetual product.
Please note, there will be no additional updates after 6.14 for the perpetual, standalone version of Lightroom. You can check out this blog post for more information when this was announced earlier.
As always, new cameras are supported for legacy versions of Lightroom, Photoshop, Bridge, After Effects, and Photoshop Elements through the free Adobe DNG Converter.
Masterful light isn’t necessarily about being complicated…it’s about control. Chris Knight shares some of his favorite ways to shape one light to achieve stunning results from some classic techniques as well as some surprising new ones. Learn to make light work for you to achieve your vision in the simplest ways possible and make your images come to life.
Here is a winter photography tip for you: Go underwater!
Going underwater may not sound like something you want to do in the winter, though destinations close to the equator may be sounding very inviting right now.
Your local aquarium may be a much more realistic pseudo-underwater destination that can provide great entertainment, good education, comfortable temperatures and of course, interesting photos.
My nearest aquarium is the National Aquarium located in Inner Harbor, Baltimore, Maryland.
My youngest daughter and I spent an enjoyable day exploring the many exhibits together and wisely, she took a book along.
Some of my primary photo subject were in the Jellyfish Invasion exhibit and Mikayla found time to get a little reading done while waiting for me there.
To go with this post, I've created a list of 6 Aquarium Photography Tips.
Read the tips, grab your gear and go visit your nearest aquarium.
The lowest-end iMac Pro features a 3.2 GHz Intel Xeon W 8-Core processor, 32GB of DDR4 RAM and a 1TB SSD and costs $4,999.00. The highest-end iMac Pro available features a 2.3 GHz Intel Xeon W 18-Core processor, 128GB of DDR4 RAM and a 4TB SSD and costs significantly more – $13,199.00 – but thankfully, shipping is free.
Oneida Falls is one of my favorite waterfalls in Rickett's Glen State Park (or anywhere) and it is easy to get nice images prominently featuring it.
But, this falls also makes a great background.
Wide angle lenses are ideal for making a foreground subject appear large relative to a distant background subject and that is what is going on here.
The very small foreground waterfalls are close to the lens and Oneida Falls is in the distant background.
The final wide angle result is that they all share a similar size in the frame.
Getting the camera in close to a waterfall presents another issue – water splashing onto the lens.
When using wide angle lenses and narrow apertures, water drops become very obvious in the image and their results can be very difficult to remove during post processing.
As usual for photographing waterfalls, I was using a circular polarizer filter and this is one scenario where a nano-coated CPL filter earns any additional cost required for that feature.
The low adhesion properties of the nano coating meant that the water drops were easily removed with a simple squeeze of a Rocket Blower.
I simply blew away the water drops before each photo capture and captured enough photos to ensure that I had the shot well-covered.
Another reason to take multiple pictures of especially small or medium-sized waterfalls is because the waterflow is typically varying slightly.
The change is usually only slight, but slight is enough to change the splashing characteristic of the water and sometimes one frame will be preferred to the others.
Especially for perfectionists, the multiple images may create a selection challenge for later.
It is always better to have too many good photos than to miss the one you really wanted.
The Sony FE 16-35mm f/2.8 GM Lens is a superb option for landscape photography.
This day was a little late in the season for ideal fall foliage, but I was quite pleased with my take home from this daytrip to RGSP.
A larger version of this image is available on Flickr.
As a kid, Christmas morning is an event you look forward to months in advance, with excitement and anticipation building to a climax Christmas Eve making it difficult to sleep. But once morning comes, all that anticipation turns to joy and amazement as the presents under the tree are surveyed. Following are a few tips for maximizing your Christmas morning photography.
1) Grab your wide angle prime lens or an f/2.8 max aperture general purpose zoom.
Christmas morning festivities will generally play out in your living room or den, places where a wide aperture (f/1.4 - f/2.8) will be advantageous for obtaining action-stopping shutter speeds while avoiding the use of flash or noise-inducing high ISOs. Using wide angle focal lengths will allow you to capture subjects as well as their surroundings to best document the seasonal cheer and decor.
If you don't have a wide angle, f/2.8 max aperture (or wider) lens, then use [preferably bounce] flash to achieve action stopping shutter speeds while keeping your ISO low. Note that you may want to gel your flash with a 1/4, 1/2 or full CTO (orange) if the room is lit with warm, tungsten bulbs so that the color of the light emanating from your flash matches that of the ambient light in the room.
2) Capture video as well as still photos.
One of the greatest aspects of today's DSLRs and mirrorless cameras is that they can be used to capture high quality video as well as stills. And since most of Canon's recent cameras feature Dual Pixel CMOS AF, creating high quality videos has never been easier, so don't miss the opportunity to create a video highlight reel of the morning's events by capturing some video clips in addition to stills.
And if you own a 70D/80D or higher-level camera, you can make the process of capturing video clips easier by setting different exposure and camera settings via your camera's Custom Mode so that you can quickly switch between photos and stills without missing a beat.
3) Set up a timelapse camera in the corner of the room.
Want to be part of the fun instead of behind a camera all morning? Set your tripod up in the corner of the room (possibly with a second camera if that option is available), use manual focus and manual exposure variables and set your camera's intervalometer to capture a timelapse sequence of the morning's events. With a "set it and forget it" approach, you are free to join in while capturing the entire family as the fun unfolds.
As Christmas day rapidly approaches, there will be many tasks calling for your attention. Having the photo plan ready well in advance means that the capture of your important memories will not be sidelined. Starting creating your plan today. That may include purchasing or renting gear in the time that remains before Christmas. Check out the site's index for a list of relevant reviews to help get the most out of your Christmas Day photography.
Today we’re proud to release updates to the entire Lightroom CC ecosystem, including for Mac, Windows, iOS, Android, and the web, as well as updates to Lightroom Classic CC and Adobe Camera Raw. We’ve added support for new cameras and lenses, and added some great new features.
New Auto Settings, powered by Adobe Sensei
Auto has been completely reworked to create better results, every time. Using an advanced neural network powered by Adobe Sensei, our artificial intelligence (AI) and machine learning platform, the new Auto Settings creates a better photo by analyzing your photo and comparing to tens of thousands of professionally edited photos to create a beautiful, pleasing image. The new Auto is available ecosystem wide, including in Lightroom CC, Lightroom CC for iOS, Lightroom CC for Android, Lightroom CC on the web, Lightroom Classic, and Adobe Camera Raw (ACR).
The December update includes other great features across the ecosystem:
Lightroom CC on Desktop
Tone Curve – The Tone Curve is one of the most popular tools used by photographers for advanced control over the tonality, contrast, and color balance of an image. You can use either the Parametric Curve or the Point Curve modes to tune the tonality and contrast of the image, and the Red, Green, and Blue modes to adjust the color balance and stylize your image. The Tone Curve lives next to the Auto button in the Light panel — check it out and let us know what you think.
Split Toning – Split Toning allows you to stylize your photo through color tints in the highlights and shadows of your image. You can use the Split Toning tool to simulate traditional black and white tints and toners like sepia or selenium toners, simulate printing on colored paper, or create a modern stylization on color images. Split Toning lives in the Effects panel.
Change Capture Time – Lightroom CC now enables you to adjust the capture time, for both single photos as well as a set of photos, providing relief for those times that you forgot to change your camera’s time or time zone settings. Select a photo (or series of photos) and use the pencil icon in the Info panel to change capture time. Lightroom CC will update the capture date and make sure that your photos show up on the right day and time in the organize view, making it easier to find your photos when you need them.
Full Screen View – View your photos in full screen by using either the F key or by navigating to View-> Detail Full Screen.
In addition to the new Auto described above, we added the following to Lightroom CC on Android:
App Shortcuts — For Android Nougat and later devices, tap and hold on the app icon to quickly launch the app into popular modes.
More control for managing storage.
Resolved an issue that prevented some Huawei customers from importing images.
Resolved an issue that caused a crash for some Pixel 2 customers on export.
Resolved a problem that prevented some Samsung customers from installing the previous version.
Bug fixes and speed improvements.
In addition to the new Auto described above, we added the following to Lightroom CC on iOS:
Watermarking on export — Create and customize a text based watermark for use when exporting your image from Lightroom CC on iOS.
Improved quality to HDR capturing.
Bug fixes and speed improvements.
Lightroom Classic and Adobe Camera Raw
In addition to the new Auto described above, we’ve made a refinement to the Color Range Masking tool. Based on your feedback, we’ve made it easier to remove individual sample points. You can do this by holding down the Alt (Win) or Option (Mac) key while using your mouse to select the sample point.
Lightroom Classic CC also now supports tethered capture with the Nikon D850 camera.
An update to Lightroom 6 for perpetual licensed customers for new camera support will be available on December 19th.
We’ve excited about the December update, and can’t wait to hear your thoughts and feedback.
David Bergman (@davidbergman) is a New York based music and sports photographer. He has been Bon Jovi's official tour photographer since 2010, documenting the band on stage and on the road in more than 30 countries on 6 continents. Bergman has also toured with Barenaked Ladies, Lilith Fair, and Gloria Estefan, and worked with celebrity clients including Drew Carey, Avril Lavigne, and Joss Stone. With 13 Sports Illustrated covers to his credit including his image of New Orleans Saints quarterback Drew Brees raising his son over his head after winning the Super Bowl, Bergman has covered numerous Olympics, World Series', Super Bowls, NBA Championships, and Stanley Cup Finals.
Of course, a monarch butterfly wing photograph first requires a monarch butterfly wing and ideally, a perfect specimen.
The easiest source I've found is to raise them ourselves.
Well, more specifically, letting the kids raise them.
Perhaps even easier would be to purchase the chrysalises, avoiding the higher-maintenance caterpillar stage.
Upon exit from their chrysalises, these beautiful creatures pose very nicely until their wings dry, at which point they can be released outdoors.
The depth of field at this extremely close focus distance is very shallow and photographing perfectly square on the wings is required to keep all of the little scales in sharp focus.
Also, don't think you can make them all sharp at f/2.8.
There is enough curvature in the wing to require stopping down significantly.
You will likely need at least f/11 and I even went to f/16 here.
The Canon EF 100mm f/2.8L IS USM Macro Lens is also awesome for this purpose, but filling a full frame imaging sensor with a monarch wing requires a reproduction ratio greater than 1:1 (1x maximum magnification).
While cropping can accomplish this (and APS-C format imaging sensors are smaller), I'm always trying to avoid cropping to ensure that I have as much resolution as possible in my final results.
To go beyond 1:1 with the 100 L macro lens (and any other brand similar lens), add an extension tube.
My choice was for this image was the Canon EF 25mm Extension Tube II.
It reduced the lens' minimum focus distance by just enough to produce nothing-but-wing.
When photographing at such short focus distances, lighting becomes a serious issue.
First, the lens blocks a lot of the ambient light and using narrow apertures combined with the ultra-short focus distance causes the effective aperture to be even narrower.
While you might be able to set a tripod up perfectly to capture a wing, there is also a good change that the butterfly will move slightly before you accomplish that task – and again before you finish retrying.
The ring flash was the perfect answer here.
The lights are ideally positioned to evenly light a very close subject.
The duration of the flash is very short, meaning that motion blur is not an issue and handheld flexibility is available.
The color spectrum produced by the flashes is ideal and the light brings out the brilliant color of the subject.
I used a manual exposure for this capture and usually use this mode when using a flash.
In M mode, the camera applies the amount of flash needed for a proper exposure in combination with the selected aperture, shutter speed and ISO settings.
Exposures can then be adjusted using FEC (Flash Exposure Compensation).
In this case, FEC was set to +2/3, though I reduced the RAW image brightness by the same amount, meaning ... the camera had the brightness correctly determined in the first place.
Butterflies are just one of the many great subjects for a macro flash.
What could this flash do for your kit?
A larger version of this image is available on Flickr.
Tenba has designed a new collection of lightweight backpacks for the uncompromising outdoor enthusiast photographer and filmmaker. Built with secure rear access to equipment, Solstice backpacks allow the user to remove cameras and lenses without ever setting their bag down on rough, wet or muddy terrain. A versatile interior divider system allows the allocation of more or less space as needed to camera and personal gear so no space is wasted.
Rear Camera Access
Secures gear up against the user's back and enables access to equipment without fully removing the bag. Also prevents common issues with gear theft, as the camera equipment can only be taken out when the user wants it to be.
Comfortable Airflow Harness
The Airflow harness is comprised of ventilating 3D air mesh and Tenba’s Pivot-Fit auto-adjusting straps to ensure a comfortable fit. The hip belt can be used to support the weight of the bag when it is loaded.
Compression Straps Adjust for Oversized Items
By threading the compression straps through the front lash points, the bag can accommodate a large jacket or other oversized items.
The 12L, 20L and 24L backpacks fit an iPad Mini, full-size iPad and 13-inch laptop respectively.
Versatile Protection for Mirrorless and DSLR Cameras
Solstice backpacks can fit all sizes of mirrorless and DSLR cameras. Both the 12L and 20L packs will fit a camera with an attached 24-70mm 2.8, and the 24L will fit a Pro-size DSLR with an attached 70-200mm 2.8. By removing the dividers, each bag can fit longer Super-telephoto lenses, up to 300mm for the 12L and 20L, and up to 400mm for the 24L.
All-Day Carrying Comfort
Waist belt and adjustable sternum strap allow for easy weight balancing, and 3D air mesh ensures comfort on hot days.
Side pockets fit a tripod or a large water bottle, and they compress flat against the bag when not in use, so they don’t catch on branches and other brush.
WeatherWrap Rain Cover
Included WeatherWrap rain cover adds another layer of protection in wet weather conditions. Removable so it can be washed when needed.
Durability and Weather Resistance
Built with the finest materials and hardware, including water-repellent 210D shadow ripstop and 420D plain-woven nylon, 300g brushed tricot interior, YKK zippers and clips, and heavily-reinforced stitching.
Solstice Backpacks come in three sizes of 12-, 20- and 24-liter capacities, and in both blue/gray and black colorways. They are available to purchase immediately through Tenba Authorized Resellers for suggested retail prices of: 12L $149.95, 20L $169.95 and 24L $199.95.
Santa Rosa, Calif. – For professional videographers who need to know that all of their gear will arrive in good working order, including their tripods, Think Tank Photo has just released the Video Tripod Manager 44 rolling case. This well-cushioned, highly rigid rolling case provides hard case protection with soft case convenience. It is designed to hold cinema-sized tripods, stands, sliders, and/or modifiers up to 40” in height.
The rolling case features robust handles on four sides, so it’s easy to load into a vehicle. It is an ideal travel solution as its rectangular shape stacks easily, saving space. Built tough with the quality Think Tank is known for, this roller’s crush-resistant ABS twinwall reinforcement provides impact protection. Shock-absorbing wheels roll smoothly and hold up under the toughest conditions. Protective zipper flap will keep zippers running smoothly after years of use.
Included lock and cable secure the main compartment and case to a fixed object
Multiple tie-down straps secure tripod, stands or slider when transporting between locations
Coffin-style opening gives unencumbered access to gear
YKK RC Fuse zippers, 1680D ballistic nylon and ABS Twinwall reinforcement are the highest quality materials in the industry
Bolster cushions provide support for different sized gear
ID plate can be registered on the Think Tank website to help locate a lost or stolen bag
Large interior mesh pockets for organizing tools and accessories
Adjustable lid straps keep bag open and accessible
Easy-to-clean internal bottom lining for messy shoot locations
Clear pocket for documents and easy identification on top panel
User-replaceable wheels and hardware
External: All fabric exterior treated with DWR while fabric underside is coated with PU for superior water resistance, 1680D ballistic nylon, YKK RC Fuse (abrasion resistant) zippers, custom designed extra tall skid plates, replaceable shock-absorbing wheels, antique plated metal hardware, nylon seatbelt webbing, 3-ply bonded nylon thread
Today’s cameras allow us to capture night skies in a way that was impossible just a few years ago. Yet night photography does not come without its challenges.
In this video, National Parks at Night’s Chris Nicholson discusses topics such as white balance for night skies, shutter speeds for capturing star points, techniques for creating star trails, compositional effects and considerations, how to deal with moonlight and light pollution, post-processing tips and techniques, and more.
Many of you know that I usually consider the ideal wildlife light to be from behind me, directing my shadow toward the animal (though keeping it outside of the frame of course), but that is just another of the many photography rules looking for an opportunity to be broken.
It was a great start to the day.
I had found this beautiful large-bodied 10-pt buck right away in the morning while there was barely light enough to see it.
The buck was staying close to a calmly-feeding doe and defending against the occasional intruder.
I was ready to photograph as soon as there was enough light to make it worth attempting.
When the buck moved, I would also change position to what I felt would be photographically optimal (often moving farther away as it approached) and was able to stay with the buck until the sun rose high enough to directly light it.
It was at that point when the buck made a short charge to contain the doe, deterring it from going toward a distant intruder.
The buck ideally stopped on the crest of a hill.
The sunlight was hitting the deer nearly horizontally and I was up-light in position, but ... I saw the background that I had been looking for and that became the higher priority for me.
Shenandoah National Park is known for its many mountain ridges and incorporating them into a white-tailed deer image background is a great goal, but one that is not so easy to achieve, especially with the narrow field of view that a 600mm focal length presents.
The lighting was making hard shadows, but the intruding buck was positioned toward the sun and that meant this buck was watching toward the sun, easing the shadow issue.
Selecting the to-share image from the couple-of-minutes take was challenging and I eventually narrowed the choice down to two.
In the other example, the buck had its head turned even farther to the right with its left ear angled back, resulting in no shadows on the head.
While that pose made the deer appear larger, I opted for the wider rack perspective shown by the more-toward-the-camera head angle.
Especially cool is that, with the Canon EOS 5Ds R's extreme resolution, I can crop this image down to a tight full-body portrait and still have about 24 mp of very sharp resolution remaining.
A larger version of this image is available on Flickr.
One of the greatest features found in current Canon DSLRs is a Dual Pixel CMOS Autofocus (DPAF) sensor which allows for easy and smooth autofocus tracking in video mode. This capability alone is a compelling reason to upgrade cameras if your current camera lacks the DPAF feature.
On that note, I was recently asked to film a high school basketball game and create a highlight reel of the team. I had never filmed or produced a sports highlight reel before, but here are a few things I learned during the process.
1) Small, inexpensive (even variable aperture) Canon STM lenses work great in moderately well lit gymnasiums.
When photographing indoors sports, I typically rely on very wide aperture prime lenses in order to achieve the fastest shutter speeds (to free action) while keeping my ISO as low as possible (for the cleanest possible images). However, an action-stopping shutter speed isn't a requirement when shooting video. Optimally, your shutter speed should be double the reciprocal of your video frame rate. That means that when capturing, for instance, 1080p video at 29.97 fps, your shutter speed should be 1/60 second.
At 1/60 second, even lenses with a max aperture of f/5.6 can be used in reasonably well lit gymnasiums without requiring the use of your camera's highest ISO settings to achieve a proper exposure. For the game above, I used a Canon EOS 7D Mark II combined with the EF-S 24mm f/2.8 STM, EF 40mm f/2.8 STM, EF 24-105mm f/4L IS USM and EF-S 55-250mm f/4-5.6 IS STM lenses, with the same manual exposure settings of f/5.6, 1/60 sec., ISO 2000 employed for all of them.
And with STM lenses in-use, AF transitions are smooth and AF sounds are [typically] minimized (though the ambient sound level in a gym with cheering/jeering fans can drown out a substantial amount of AF noise).
2) A monopod is really helpful to have for stabilizing video and reducing fatigue.
Lenses with built-in image stabilization are certainly handy, but a monopod with a tilt head is a relatively inexpensive universal stailization solution that is especially handy when using prime, non-stabilized lenses (like the EF-S 24mm f/2.8 STM and EF 40mm f/2.8 STM). You can easily pivot a monopod for horizontal panning while using the tilt head to track subjects vertically (be sure your monopod features a rubber foot that will not damage the gym floor).
3) Where you can position yourself on the floor will depend on the most conservative referee's consideration of safety.
For the game shown above, two referees were perfectly fine with me being anywhere along the baseline or sides of the floor. However, one particular referee requested that I go no further than about 5 feet in on both ends of the floor. Gyms offer differently sized areas designated as "safe zones" around the playing floor, and those zones are often up for interpretation. Respect the referees and the venue by following all rules, regulations and requests to ensure you can film in the same venue (or in another venue with the same referee crew) in the future.
4) Record everything that could result in a great play and use your camera's Rating feature to mark the best videos recorded.
After I got home from the basketball game, I had recorded over 100 individual videos. Unfortunately, I had to preview each one to determine whether or not it was worth including in the highlight reel. While previewing, I marked videos that I would definitely include with a special character (I added an underscore) and videos that could possibly be used with another special character and moved uninteresting videos to the trash. This left me with only the videos I needed for the highlight reel.
After going through my organization process, I realized that I could have simply rated the videos right after they occurred, opened up my memory card in Digital Photo Professional 4, filtered by the star rating and then only copied the relevant videos to my hard drive to begin with, quickly culling the videos that weren't interesting enough to use. You can even distinguish between "will use" clips and "possible filler clips" with a two star and one star rating, respectively, to further expedite the organization process.
5. In post processing, separate the video and audio tracks and extend/blend the after-play audio with the next play's audio.
When an exciting play happens, the crowd usually cheers afterwards. To best capture the drama, preserve some of the audio captured just after an exciting play and blend it into the following clip. Even if the clip doesn't feature a cheer-worthy play, blending a clips audio with the adjacent clip(s) will ensure the audio of the crowd sounds natural.
Offering to shoot highlight reels is a good way to earn a little extra income and gain exposure (especially if wearing a t-shirt displaying your photography/videography services brand) while getting to enjoy a sporting event up close. And, not only does the team get something awesome to show for their efforts, your highlight reel could possibly help a student get noticed by college scouts resulting in a scholarship offer.
That sounds like a good deal for everyone involved.
Today, Apple named Aurora HDR 2018 as their Best Mac App of 2017. This is a big honor for all of the team and we’re very grateful to cap off a year of hard work this way. At the same time, we will continue to work hard to achieve our bigger goal of ensuring Aurora HDR is the industry standard for HDR photography
To celebrate this milestone, and help even more people access this great photography tool, Aurora HDR 2018 — both Mac & Windows — will be available for the rest of December at $20 OFF with a pack of special bonuses included. Read below for the detailed information about the offer.
Current users of Aurora HDR may upgrade at a Special price of $39
New users can purchase Aurora HDR 2018 for $79
A collection of bonuses will also be included with every purchase.