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 Tuesday, May 20, 2014
By Sean Setters
A few days ago I wrote an article about the importance of self-portraits. Today, I'm going to tell you about a self-portrait years in the making...
I can still remember when my coworker, fellow photographer and friend James Evins first mentioned the Strobist blog to me in late 2007. He suggested that I start looking into off-camera flash and said that David Hobby's Strobist blog was the best resource to learn how.
After a couple of months of digging through Hobby's Lighting 101 and monitoring the discussion threads on the Strobist Flickr Group, I bought my first off-camera flash gear – a Vivitar 285HV and a set of Cactus V2s triggers.
I became fascinated by the entire process of lighting. Where should the light(s) be positioned? Which modifier(s) should I use? What power level(s) should the flash(es) be set to? Should I gel the flash(es) for color correction or simply for the sake of creativity?
As the years flew by, I collected more lighting gear and refined the techniques I used to express my own photographic vision. Most of my lighting gear was purchased used on eBay to reduce the investment required to fill out my kit.
The popularity of David Hobby's blog led to the rise of an industry – lighting modifiers, inexpensive radio triggers and tools designed specifically for off-camera [shoe-mount] flash use. His impact on the industry is, in my opinion, immeasurable.
Almost three years ago I had an idea – to use all of my lighting equipment in a self-portrait dedicated to David Hobby, a man who had influenced my photography more than any other. It would also be a way to demonstrate to my local client base why my portraiture differed from those natural-light shooters around me. I plotted a rough lighting setup on my white board and left it there.
The lighting setup diagram stayed on my white board for almost a year before I had to erase it to use the space for something else. But the idea stuck. It was burned into the back of my mind. All I needed to do was find an appropriate location that I could use for several hours while completing the rather arduous setup and shooting. I planned on shooting the image in three sections (left, middle, right) because I didn't have enough light stands to hold every modifier I owned. I would then combine the exposures in post.
Almost two more years went by before I found a suitable location – the Backdoor Playhouse at Tennessee Technological University – and made the right connections to gain access to it. I was granted an entire evening with the venue.
When setting up for the shoot, I realized that the stage was smaller than I had anticipated. That meant I couldn't reasonably fit all the equipment that I actually owned on the stage. So I made a game-time decision to limit my lighting setup to the number of lights that I could trigger at one time. The ultimate limitation was the number of monolights and flashes that I brought – 7 monolights and 5 shoe-mount flashes. One of the shoe-mount flashes was used in the back to trigger various lights via optical slaves.
Below is a timelapse video of the whole shoot. I used a tripod mounted Canon EOS 7D + Sigma 35mm f/1.4 DG HSM Art set to capture images every 13 seconds. The 4-hour shoot is nicely condensed into 50 seconds.

Here's a list of the gear I used to create the image:



Triggers and Receivers

All in all, I'm happy with how the image turned out. While I did leave some gear on the table (several umbrellas, gridded strip boxes, another beauty dish, etc), I think the image serves its purpose – to honor the man that inspired me light the world in front of my camera.
You can find the full-resolution image here.

Post Date: 5/20/2014 7:35:35 AM CT   Posted By: Sean
 Monday, May 19, 2014
A fresh layer of snow adds a beautiful element to any landscape shot
By Jonathan Huyer
Winter – call me crazy – is my favourite time of year for photography. This is fortunate, because in my mountain home of Canmore, Canada, winter can last for half the year. The snow and ice make for terrific landscape shots, and the short winter days also mean that you can sleep in and still catch a nice sunrise shot. Wildlife photography is also readily available in the mountain parks, with the exception of the hibernating bears. But winter photography brings with it a host of challenges that don’t exist at all in the warmer months, and being properly prepared can make all the difference. This article is an attempt to summarize the things I’ve learned over the years, mostly by trial and error, that have allowed me to survive and even thrive in the harsh weather.
It’s fairly obvious that the most important item for successful winter photography is your choice of outerwear. The goal is to find clothing that protects you from the wind and cold, and yet also allows you to move around freely and operate the camera. I work on a layer system, and adjust according to the conditions of the day. Here is the complete kit:

  • Boots: NEOS overshoes (for temperatures above -15 C), or thermal lined winter boots for colder days. In areas where I will need extra traction (on ice, for example), I add traction spikes to the boots. I have found that Kahtoola Microspikes work very well for this.
  • Pants: Long underwear, lined blue jeans, waterproof shell pants, or insulated ski pants for colder days
  • Top: Merino wool layers (two or three), plus a big fleece hoodie
  • Jacket: Canada Goose Expedition Parka
  • Head: Wool toque (that’s a Canadian word, eh)
  • Hands: Thin windproof gloves inside big insulated overmitts
  • Face: For the coldest days, I add a face mask and ski goggles

On top of this, I always make use of chemical heat packs. They are easily the best solution for cold fingers, which is the greatest challenge in winter photography. I use four at a time and stuff them inside my thin gloves as well as the overmitts. If I’m only going to use them for a short period of time, then I will seal them in a zip top bag to stop the reaction and enable them to be reused later.
If you are standing outdoors in extreme wind or cold and need to use ski goggles, then your biggest difficulty will be keeping them free of fog and ice. I have heard that Smith goggles with a battery-powered fan are excellent at this, and I’m going to try them out next season.

Jonathan Huyer Self-Portrait

A self-portrait in my full winter kit, on the frozen tundra of northern Manitoba
Photography Gear

  • Tripod – In cold weather, simple tasks like setting up your tripod can become painstaking and arduous. A tripod with big locking knobs that you can tighten with your mitts on is a huge asset. When you set your tripod down in the snow, test it to be sure that it is stable. The snow may seem steady, but the tripod might still sink when you add the camera. If you are going to be on ice, you can often find spiked points for your tripod legs that can replace the standard rubber pads. I’m a big fan of using the centre hook on the tripod to attach a weighted object (I hang my camera bag from it). The stability improves dramatically with this trick. I’ve seen tripods blow over in winter gales… don’t let that happen to you.
  • Camera – It’s really quite amazing how well digital cameras work in cold temperatures. I have never had a mechanical problem with my SLRs, in temperatures down to -37 C. The battery will always be the weakest link in the system, and you will need to keep a close watch on the power meter. When it gets low, swap the battery for a warm one (I carry two spares inside my jacket). Once you’ve reheated the cold battery, it will regain most of its charge and will be good to use again. In very low temperatures, the LCD screen on the top of the camera will become sluggish and eventually fade out completely. Fortunately the rear display screen is immune to this issue, so you can use it to monitor and adjust your settings (Canon has the ‘Q’ button for this purpose). If you are taking aurora photos at night, use a headlamp with a red filter on it to help navigate your buttons. One of the best tricks I learned is to use a cable release, and stuff it inside my left mitt. That way I can operate the camera shutter with toasty warm fingers. Composing your shot can be very challenging if you are using the viewfinder. If you accidentally breathe on it, your beautiful scene will be replaced with a cloud of fog or ice. I carry some Q-tips in a plastic bag in case I have to deal with that problem.
  • Lenses – Perhaps the biggest challenge with lenses in cold weather is making use of filters. I love using polarizers and neutral density filters, but they are all fiddly and can never be manipulated with mitts on. My only solution is to use the thin gloves and work as quickly as possible. Practicing ahead of time is helpful. I carry a rocket blower in a pocket to remove any snow that might fall on the filters. A blower is also handy for getting rid of snow that might accumulate inside a lens hood.

Jonathan Huyer – Winter Sunrise

A winter sunrise shot, taken with a tilt-shift lens and a graduated neutral-density filter.
After the shoot
When packing up, I remove the lens and attach the caps to both the lens and camera body. Then I seal the camera in a zip-top bag before bringing it indoors. I leave the lenses and other gear inside my camera bag, and when I bring them indoors I am careful not to open the bag for several hours until it has warmed up to room temperature. This will avoid condensation or ice formation on your equipment. The camera will warm up faster in the separate plastic bag. Once it is at room temperature you can remove it from the plastic bag and open the compartments to access the memory card and battery. If you are in a hurry to access your memory card, then remove it from the camera outdoors before you put it in the plastic bag. But seal the card in a case, to warm it up separately and prevent condensation from affecting the contacts.
Milder days
If the temperature outdoors is mild (-10 C or warmer) then the camera will have no trouble being outdoors all day long. If you are photographing from one location (such as on a wildlife shoot), keep the camera outside until the end of the day. The battery should experience very little power loss at that temperature.
Photographing from a vehicle
When taking wildlife photos in the winter, it is often beneficial (and more comfortable) to stay inside the car. Your car is a portable blind, and animals are usually a lot more likely to stick around if you shoot from the window. However an unexpected issue can arise, due to warm air flowing out of the window when you open it. Your backgrounds will appear noticeably mottled, and your subject might also lose some sharpness from the refraction. The solution is to turn off your heater fan, and open all the windows when you are shooting. Yes this will make the inside of the car a lot colder, so be prepared by dressing appropriately and wearing thin gloves. Don’t forget to shut off your car engine as well. You’ll eliminate vibrations, and the silence will enhance the experience you are having with the wild animal.

Jonathan Huyer – Moose

Moose, photographed from my car.
Winter can be a fantastic time for photography, and being properly prepared can make it all the more enjoyable. As always with photography, practice helps immensely, so don’t hesitate to get out there and make the most of a cold-weather day.
You can check out for many more images captured in cold weather!

Post Date: 5/19/2014 10:38:57 AM CT   Posted By: Sean
I received an email from friend-of-the-site David G. this weekend. David has started his Christmas shopping list early this year:
"I hope you don't mind... I've "adapted" an Image from your website and put it to good use.
I did a bit of "window shopping" on the B&H website and got current prices for all the lenses in your Canon "drool" image.
I added the prices to the image with a none-too-subtle headline at the top [David's original title was "Davo's Christmas Wish List"] and set it as my desktop wallpaper.
[The key strategy:] Hopefully my wife sees it and takes the hint (we can all live in hope).
For the record, if I could only have one, it would have to be the 200-400mm with built-in teleconverter... magic lens! (but then, they all are).
Great website... keep up the good work!
David G."
Thanks for sharing, David! We're all grabbing tissues right now (and checking eBay's terms of service relating to kidney sales).
You can download David's full resolution image here.
Posted to: Canon News
Post Date: 5/19/2014 9:40:21 AM CT   Posted By: Bryan
 Saturday, May 17, 2014

From The Canon USA YouTube Channel:
Telephoto lenses let you get close in on a subject. Photographer and educator Matt Kloskowski shows you how to get the most out of your Canon telephoto Lenses.
Check out the other videos in the EF 101 video series:

Posted to: Canon News
Post Date: 5/17/2014 9:39:50 AM CT   Posted By: Sean
From Elinchrom
Elinchrom Inspires With Two New High End Compact Flash Units
The ELC Pro HD Compacts 500 and 1000 are the world's most complete, feature rich compact studio flash units. The result of over 50 years experience at the forefront of studio lighting technology. Designed and assembled at Elinchrom’s HQ in Switzerland the ELC benefits from the highest Swiss specification.
Elinchrom President Chris Whittle says, ”We set out to make a unit that would not only change the way a photographer works but also the way that they think. We believe the ELC combines everything a photographer needs with everything a photographer wants, plus the consistency and reliability that you expect from Elinchrom.”
Recycling times are lightning fast (0.6s / 1.2s to full power, ELC 500w / ELC 1000w) while Swiss precision guarantees consistency of power output and colour temperature, shot after shot. Furthermore the super fast flash durations (up to 1/5000s / 1/5260s, t0.5, ELC 500 / ELC 1000) enable you to freeze motion like never before.
The ELC is the first unit to incorporate an OLED screen that displays every control for the most professional user experience. As well as Elinchrom’s stop based power scale, you will now be able to see the power in Joules, flash durations and many other settings. A jog wheel provides easy navigation of the new menu.
New Shooting Modes
The ELC features three exciting new shooting modes that will literally change the way you create. Sequence Mode - Allows you to sequentially trigger up to 20 ELC’s, in bursts or as a continuous cycle, to utilise the high frame rate of your camera.
Delayed Mode - Provides the option of first or second curtain sync and everything in-between, plus predictive syncronisation within a short sequence.
Strobo Mode - Enables you to take a picture with stroboscopic effects within a single frame.
The new Elinchrom ELC 500 and 1000 Compact Flash units will be available soon with an MSRP of $1,049.99 and $1,449.99, respectively.
B&H has the Elinchrom ELC Pro HD Flash Heads available for preorder.
Category: Elinchrom News
Post Date: 5/17/2014 8:57:53 AM CT   Posted By: Sean
 Friday, May 16, 2014

Profoto recently announced its B1 Location Kit. Watch as Karolina Henke uses the Profoto B1 kit to photograph a fashion model on Fårö, a small but beautiful Baltic Sea island off Sweden's southeastern coast.
Post Date: 5/16/2014 8:32:26 AM CT   Posted By: Sean

From Nikon's YouTube Channel:
Capture the real 'Lion King' in action with photographer Chris McLennan at Botswana safari. Unleash the power of the D4 and D800E against Africa's robust wildlife, and capture even the faintest detail with the NIKKOR 300mm f/2.8 and 500mm f/4 lenses, plus the Nikon Creative Lighting System. Now with improved resolution, find out how Chris manages to capture a new side of Africa that was previously impossible.
Related Gear

Posted to: Nikon News
Post Date: 5/16/2014 8:16:53 AM CT   Posted By: Sean
From Canon Professional Services:
Canon has announced that purchasers of its EOS C100 Digital Cinema Camera are now eligible to take advantage of a special promotion that offers a free copy of Grass Valley’s EDIUS Pro 7 editing software.
The promotion applies to all purchases of a new Canon EOS C100 (including lens kit) between April 1 and December 31, 2014 (promotion ends August 31st 2014 in North America). Simply claim a free copy of EDIUS Pro 7 by registering via the dedicated Grass Valley EOS C100/EDIUS Pro 7 promotion website, where you will also find details of the eligible countries and applicable dates in order to take advantage this promotion.
Grass Valley’s EDIUS Pro 7 is the only editing software package that currently supports the new Continuous Recording function of the EOS C100. Introduced as part of a free firmware update, Version, in February 2014, Continuous Recording enables videographers to insert metadata markers to identify crucial moments in their footage without stopping and starting the camera. When ‘Continuous Rec’ is on these ‘IN’ and ‘OUT’ markers are set by pressing the START/STOP button of the EOS C100 and do not interrupt the recording process. Recording can continue without a break until your memory card is full. The markers are then identified in metadata as separate shots which can be individually imported into the EDIUS timeline. If the marked shots are not exactly what is required, the complete original video recording is also available.
Continuous Recording is ideal for applications in which you don’t get a second chance to capture the crucial moment – wedding or wildlife videography, for example. It provides the security of a complete recording, with the convenience of a pre-selected shot list for the edit.
EDIUS Pro 7 is a fully featured professional video editing package that is widely used within the broadcast industry and is a superb finishing tool for broadcast news, news magazine content, studio programmes, documentaries, corporate films and 4K theatrical productions. It’s a fast and extremely versatile editing software that can deal with almost any format – from 24x24 to 4Kx2K – all on the same timeline, even in nested sequences, and all in real time.
Go to the EDIUS Pro 7 Editing Software Promotion Page
B&H carries the Canon EOS C100 Cinema Camera.
Posted to: Canon News
Post Date: 5/16/2014 8:02:08 AM CT   Posted By: Sean
Nikon Asia has posted sample images from the AF-S NIKKOR 400mm f/2.8E FL ED VR lens. From the looks of the sample photos, the lens looks to be a great performer. [Sean]
B&H has the Nikon AF-S NIKKOR 400mm f/2.8E FL ED VR Lens available for preorder.
Posted to: Nikon News
Post Date: 5/16/2014 7:47:47 AM CT   Posted By: Sean
Tokina announced a new stabilized telephoto zoom to the Japanese market – the AT-X 70-200mm f/4 PRO FX VCM-S for Nikon. The google translation for the announcement is a little clunky, but you can find it on Tokina Japan's website.

Focal length70-200 mm
Angle of view34.45 ° ~ 12.42 ° (35mm full format)
Lens constitution19 pieces of 14 group
Minimum focusing distance1.0 m
Maximum magnification macro1:3.57
Filter Size67mm
Size82mm (maximum diameter) X167.5 mm (total length)
Weight980 g
Supported FormatsTo 24x36mm (35mm full format)
Corresponding mountNikon DSLR (full-size solid-state image sensor)
JAN Code: 4961607 216 569

Thoughts – I'm assuming Tokina will eventually come out with a Canon version of this lens. The price quoted for the Nikon version in the Japanese market is 150,000 yen, or roughly $1,480.00 USD. At that price, it would exceed the MSRP of the similarly spec'd Canon EF 70-200mm f/4L IS USM. The specs indicate Tokina will be built like a tank (as most Tokinas are), with a much heavier weight in comparison (980g vs 760g). [Sean]

Posted to: Nikon News
Category: Tokina News
Post Date: 5/16/2014 7:20:13 AM CT   Posted By: Sean
 Thursday, May 15, 2014

From B&H's YouTube Channel:
Noted architectural and interiors photographer, Thomas H. Kieren, will show and discuss some of his project images from a variety of work that he has completed. This will include a combination of artistic and operational factors that drive the success of a photography project that he incorporates into his work for clients.
Thomas H. Kieren Photography
Post Date: 5/15/2014 3:04:47 PM CT   Posted By: Sean
Canon China has posted some sample images from the newly announced Canon EF-S 10-18mm f/4.5-5.6 IS STM lens.
B&H has the Canon EF-S 10-18mm f/4.5-5.6 IS STM lens available for preorder.
Posted to: Canon News
Post Date: 5/15/2014 12:43:09 PM CT   Posted By: Sean
I was lucky to have existed in a time that allowed me to purchase a DSLR camera long before I ever purchased a smartphone. But saying that, the time of your birth or the circumstances leading to the evolution of your own photographic journey shouldn't prohibit yourself from making a decision right now – to henceforth capture images of yourself that are more meaningful and productive.
Nearly all of us have done it. We've extended our arms a little higher than our head and snapped a quick shot of our faces just to prove where we were at a moment in time. Or maybe we snapped it just to show we were happy. There's nothing technically wrong with the now-traditional selfie. Except maybe that it's lazy. And the lighting is all-too-often terrible. And the image quality is typically lacking.
"Selfies" have been around in one form or another for hundreds of years. Even before the invention of the camera, artists carved their own likeness in stone, created charcoal renderings or painted themselves. In contrast to today, self-portraits from generations past took many hours (sometimes days or weeks) to complete. But why did artists devote so much time to creating their own self-portrait? Are all creative types just that vain? (I don't think so.)
Fast forward to today and the effort that goes into making a typical selfie is shamefully minimal.
Why Should You Create More Self-Portraits?
Devoting time to taking self-portraits has many benefits. First, taking a self-portrait allows you to test out new techniques or refine existing techniques so that you're better prepared to handle future situations. Most of my self-portraits were taken while I was testing a new camera, lens, or light modifier. After playing around with the new gear, I had a pretty good idea of how the gear would perform when used in a for-profit portrait session.

Sean Setters RoundFlash Self-Portrait

And here's an obvious benefit that is often overlooked – when it comes to testing gear, you're always available to be your own subject. Your subject won't likely get bored or annoyed if things don't go according to plan (especially if the photographer takes an unusually long period of time getting familiar with the new gear).

Sean Setters Living Room Self-Portrait

Need a profile photo for your website? Or business card? Create the image that you're most happy with. Don't rely on someone else's vision to perfectly represent who you are as an artist.

Sean Setters Mustang GT Self-Portrait

In case it's not overwhelmingly obvious, I don't usually like to smile in my self-portraits. I like the "intense" look and can usually pull it off fairly well. The funny thing is that I'm really very friendly, approachable and – dare I say it – possibly even a goof ball. But taking my own self-portrait allows me to be whoever I want to be (even if only in pictures). However, I found out the "intense" look isn't very good for online dating profiles. Smiling picture, check.

Sean Setters Smiling Self-Portrait

Self-portraits can also be inspiring. After taking a self-portrait one day, I thought it might look interesting as a magazine cover. So after a little bit of Photoshop work, I created something fun that I really enjoyed. That image led me to create several more tongue-in-cheek magazine covers in the series.
After flipping through the fake magazine covers found on my Facebook page, a client asked me to create one for him. So not only had I honed specific photography and Photoshop skills while creating the personal project (which snowballed from a single self-portrait), but doing so led to business I would not have had otherwise.

Sean Setters Suburban Rapper Self-Portrait

I'm not saying that there's never an appropriate time for a cell phone snapshot. But as photographers, we should take pride in the images we post for people to see. Instead of just capturing where we were at a moment in time, we should take the opportunity to hone our craft through self-portraiture so that we're even better prepared for tackling all of the photographic challenges that we might otherwise be ill-prepared for.
Self-Portrait Tips

  • Decide on your motivation for the self-portrait – are you shooting for fun, experience or to create an image to fill a specific role? Set a goal of capturing something worthwhile with your effort no matter what your motivation is.
  • Find a way to push the limits of your own creativity. Get inspired by looking at other photographers' self-portraits.
  • Use a tripod and a wireless remote (Canon RC-6 | Vello FreeWave Plus). A tethered solution with an external monitor/display can really help with framing your shot, as can a wireless tethering solution when used with a tablet (CamRanger | DSLR Controller).
  • Try to make sure that sufficient light is hitting your eyes (or at the very least, one eye) as the eyes are usually what people are most drawn to when looking at a portrait.
  • Be patient and have fun. If you don't find the process enjoyable, you're not likely to do it again.

If you're reading this, you've obviously made a relatively serious investment in (and commitment to) photography. Get the most out of that investment by creating images of yourself that you can enjoy sharing as much as creating.

Post Date: 5/15/2014 9:18:02 AM CT   Posted By: Sean
From Pocketwizard:
South Burlington, VT - May 14, 2014 - We have identified a potentially hazardous issue with the PocketWizard PowerMC2 receiver when used in combination with the Paul C. Buff Einstein E640 flash units, especially the CE/433 MHz version sold in Europe. You may have received a previous message from Paul C. Buff, Inc. regarding this issue.
In rare circumstances, if the PowerMC2 is connected to the Einstein flash and the Einstein flash is connected to a power outlet, exposed metal components like the USB port or antenna spring on the PowerMC2 can become electrified, posing a potentially serious shock hazard. If the PowerMC2’s antenna cover is broken, removed, or in any way damaged, DISCONTINUE USE IMMEDIATELY and contact PocketWizard.
Customers in the United States may continue to safely use the Einstein flash and PowerMC2 with the power cord supplied by Paul C. Buff and a properly wired USA-style three-pronged power outlet (NEMA 5) or with the Vagabond battery pack. If a properly wired NEMA 5 power outlet is unavailable in your location, ALWAYS UNPLUG THE FLASH PRIOR TO HANDLING THE POWERMC2.
1-877-393-004 The issue has been corrected for all PowerMC2 units sold by PocketWizard’s authorized distributor in the USA after February 15, 2014. Customers owning affected units are advised to immediately contact PocketWizard Technical Support toll free 1-877-393-00451-877-393-0045 or via our inquiry page to arrange for the return of affected units for free servicing to reduce the risk of electrical shock. We urge you to contact us regardless of the condition of your PowerMC2. We greatly apologize for this inconvenience.
Affected units:
All units with the CE logo on the back, or any serial number beginning M2Cxxxxxxx are affected and correctable.

Pocketwizard Power MC Safety Notice 1

Units with the FCC logo on the back and with a serial number M2U192000 or lower are affected and correctable.

Pocketwizard Power MC Safety Notice 2

Corrected units:

Pocketwizard Power MC Safety Notice 3

Units sold by PocketWizard’s authorized distributor in the USA after February 15th, 2014, or have serial number M2U194000 and higher, already have corrective safety features and warnings installed. Identifying features are “” on the serial number sticker, and a yellow warning label.
Thank you,
Patrick Clow
Technical Support Manager

Post Date: 5/15/2014 7:27:39 AM CT   Posted By: Sean
 Wednesday, May 14, 2014
From Nikon:
Updates included with this release (Applicable to AW1, J1, J2, J3, V1, V2 & S1)

  • Support for the FULL/LIMIT focus limit switch on the 1 NIKKOR VR 70-300mm f/4.5-5.6 has been added.
  • When camera firmware is updated to this version, autofocus does not function when an FT1 running L firmware Ver. 1.10 or earlier is used. Users of the FT1 must update FT1 L firmware to Ver. 1.20 at the same time camera firmware is updated.

Additional updates Applicable to AW1

  • An issue that prevented reading of .MOV data contained in folders numbered 256 or higher on the memory card inserted in the camera by an application such as the Wireless Mobile Utility used to connect a device via PTP/IP has been resolved.
  • An Underwater flash option has been added to the shooting menu to support use of the Underwater Speedlight SB-N10.
  • An issue that caused images captured using a non-CPU lens with the Mount Adapter FT1 to be underexposed has been resolved.

Additional updates Applicable to J1, J2 & V1

  • An issue that prevented printing of photos using the PictBridge standard with some printers has been resolved.

Additional updates Applicable to J3

  • An issue that sometimes caused a card access error to be displayed when a Lexar UHS-I SD memory card was inserted in the camera has been resolved.
  • An issue that prevented wireless shooting via the WU-1b (Wireless Mobile Adapter) when the Digiscoping Adapter DSA-N1 for Nikon 1 cameras was used, or when manual focus was used with an AF-S lens mounted via the Mount Adapter FT1, has been resolved.
  • An issue that prevented reading of .MOV data contained in folders numbered 256 or higher on the memory card inserted in the camera by an application such as the Wireless Mobile Utility used to connect a device via PTP/IP has been resolved.
  • An issue that prevented adjustment of magnification for manual focus display from Focus mode > Manual focus in the shooting menu when a manual focus lens was used has been resolved.

Additional updates Applicable to V2

  • An issue that caused images captured using the Mount Adapter FT1 with continuous shooting at 15 fps to be underexposed has been resolved.
  • An issue that sometimes caused a card access error to be displayed when a Lexar UHS-I SD memory card was inserted in the camera has been resolved.
  • An issue that prevented wireless shooting via the WU-1b (Wireless Mobile Adapter) when the Digiscoping Adapter DSA-N1 for Nikon 1 cameras was used, or when manual focus was used with an AF-S lens mounted via the Mount Adapter FT1, has been resolved.
  • An issue that prevented reflection of the exposure compensation setting when the Mount Adapter FT1 was used with shooting in Motion Snapshot shooting mode and Scene auto selector exposure mode has been resolved.
  • An issue that prevented reading of .MOV data contained in folders numbered 256 or higher on the memory card inserted in the camera by an application such as the Wireless Mobile Utility used to connect a device via PTP/IP has been resolved.

Additional updates Applicable to S1

  • An issue that sometimes caused a card access error to be displayed when a Lexar UHS-I SD memory card was inserted in the camera has been resolved.
  • An issue that prevented wireless shooting via the WU-1b (Wireless Mobile Adapter) when the Digiscoping Adapter DSA-N1 for Nikon 1 cameras was used, or when manual focus was used with an AF-S lens mounted via the Mount Adapter FT1, has been resolved.
  • An issue that prevented reading of .MOV data contained in folders numbered 256 or higher on the memory card inserted in the camera by an application such as the Wireless Mobile Utility used to connect a device via PTP/IP has been resolved.
  • An issue that prevented adjustment of magnification for manual focus display from Focus mode > Manual focus in the shooting menu when a manual focus lens was used has been resolved.

Nikon 1 AW1 Firmware A:1.10 / B:1.10 - Windows | Macintosh
Nikon 1 J1 Firmware A:1.40 / B:1.40 - Windows | Macintosh
Nikon 1 J2 Firmware A:1.20 / B:1.20 - Windows | Macintosh
Nikon 1 J3 Firmware A:1.20 / B:1.20 - Windows | Macintosh
Nikon 1 V1 Firmware A:1.40 / B:1.40 - Windows | Macintosh
Nikon 1 V2 Firmware A:1.20 / B:1.20 - Windows | Macintosh
Nikon 1 S1 Firmware A:1.20 / B:1.20 - Windows | Macintosh

Posted to: Nikon News
Post Date: 5/14/2014 8:32:25 AM CT   Posted By: Sean
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