Baar, Switzerland, October 20th, 2017 – The TH Swiss company would like to announce the expansion of its range of Irix accessories with the Edge 100 series filter system. Among new products, there will be a versatile holder – the IFH-100 - with dedicated adapters and a wide choice of 100x100mm and 100x150mm filters.
The Irix Edge IFH-100 filter holder
The Irix IFH-100 is a universal filter holder designed for size 100mm filters. Its lightweight compact construction and bayonet adapter are created especially for the Irix 15mm f/2.4 lens, allowing the use of two filters at the same time without any vignetting effect. The construction of the filter holder base on the removable adapters allows for quick and easily attachment to the lens, along with free rotation around the optical axis when using the graduated or polarizing filters.
The ability to use removable adapters with thread diameters from 67mm to 82mm means that the holder can be used with lenses produced by Irix in the future, along with other brands. Each adapter has an additional thread for attaching the cap to the lens.
The filter holder is made of an aluminium alloy, which guarantees the high strength and stiffness of its structure. This has enabled to get an extremely compact size while keeping wide functionality, along with an aesthetic design together with the whole Irix product line. It is worth mentioning that the IFH- 100 is the lightest holder of its class. The front surface of the filter holder is covered with a lightabsorbing velvet fabric that blocks access to the side light, what is especially important when using high density optical ND filters.
The Irix Edge 100 filters
With the introduction of the IFH-100 filter holder, the Edge 100 series filters will also be available in two formats. The first, size 100x150, will contain gradual filters with a soft and hard transition, and also a reversed gradual filter dedicated to taking pictures of sunrises and sunsets. These rectangular filters will be available in ND4, ND8 and ND16 versions. In the square format, Neutral Density filters with densities ND32, ND128, ND1000, ND1000K will be available for the 100x100mm, along with a polarizing filter. There are future plans by the manufacturer to introduce filters which reduce light pollution.
Edge 100 series filters have a thickness of 2mm and are made from high quality optical glass which is also used in the production of the optical elements in lenses. Filters are coated on both sides with an anti-reflective nano-coating to keep high contrast and natural colours in pictures. The additional water and oil repellent coating also ensures easy cleaning of the surface.
The premiere at Photo Plus Expo 2017
The Edge series will be available at the Irix booth (No.929) during the Photo Plus Expo in New York City on October 26-28, 2017.
The full range of new Irix Edge accessories, along with pricing and availability information, will be published in the near future.
LEE has developed a range of reverse-graduated ND filters which are scheduled for release in the very near future. Watch as landscape photographer Mark Bauer demonstrates the usefulness of such filters.
Revisiting a classic: I shared an image similar to this one some time ago, but a publication needed this scene in a 16:9 aspect ratio, meaning that a wider-angle capture was required. Since I was making the effort to process another image from that trip (and it is fall), I thought I'd share here as well. I'm also sharing this image because the Maroon Bells Scenic Area is one of the most beautiful locations I've seen.
Maroon Bells has many great landscape image components. Start out with a pair of tightly-positioned fourteener mountain peaks (Maroon Peak and North Maroon Peak) with great character. Mix in some of the most-brilliantly-colored trees on the planet along with beautifully color-contrasting and photogenically-shaped spruce trees. Add light from a clear-sky sunrise just reaching the mountain peaks while the namesake maroon rocks remain in the shade with the cooler lighting emphasizing their color. Take all of that and double it with a reflection in the clear, often-still Maroon Lake that also happens to have some bright green algae growing in it.
Capturing the image was easy. The lake is only a short trek from the parking lot. Setup the tripod, focus and switch to manual focus mode, establish final scene framing, lock down the ball head and capture a burst of exposure bracketed images (the burst strategy is helpful because that sun line is moving down the mountain faster than it may seem). That sounds easy (and it was), but capturing the exposure stack was just the final bit of effort required to capture this image.
Getting a position for one's tripod at the side of Maroon Lake during peak leaf color at sunrise is far more challenging. This particular location gets one of the largest crowds of photographers I've seen outside outdoors. An extremely early alarm is required after, for most of us, a long trip to get to the Aspen, Colorado area in the first place. While photographing alone in the wilderness may seem more appealing to you, the folks on the lake shore (most of them at least) are very friendly and fun to hang out with as daybreak unfolds.
Another challenge awaits your arrival home. Manually processing the HDR stack of a scene with brightness ranging from direct sunlight transitioning immediately to shade on into deep shade (such as within the spruce trees) is a remaining challenge required for this image.
As so often is the case with photography, all of the challenges were worth conquering to get the image, many of them in this case.
A reflection can double the beauty of a scene and a second camera setup can often double (or at least significantly increase) the number and variety of images captured at the optimal time of day. When photographing a scene such as this, one that requires significant effort and has a high reward potential, I generally have two cameras on tripods simultaneously capturing the moments. In this case, the lenses mounted were two of my favorites, the Canon EF 16-35mm f/4L IS USM Lens and the Canon EF 24-70mm f/2.8L II USM Lens. While the choice of a "wider-angle" image may lead your guess to the model used here, both had the 24mm focal length used here available to them and I didn't have much reason to choose one over the other for this specific image.
A larger version of this image is available on Flickr.
In September of 2008, Canon announced a DSLR that would have a major impact on the photography and videography industry. The first full-frame camera to record video at 1080p – the EOS 5D Mark II – was a huge success, and it was a catalyst for the industry's focus on including the advanced video features in our cameras that we enjoy today.
Fast forwad almost a decade later, and now we have features such as great autofocus in video mode (via Dual Pixel CMOS sensors), 4K recording with individual frame grabs, high framerate recording, lenses with smooth and quiet AF, touchscreen focus and in-camera timelapse video creation. And while not every recently released camera has all of the features just mentioned, creating high quality 1080p videos – even with consumer grade DSLRs – is well within reach of most digital photographers.
The deluge of video features readily available in our DSLRs and mirrorless cameras undoubtly spurs a few questions for us photographers, such as:
Is it possible to do photography and videography and be good at both?
Can videography support my photography efforts, or vice versa?
Should I be shooting video as well as stills in order to stay competitive in my desired markets, or is photography enough?
What additional equipment and/or software will I need to create documentary video, short films or commercials?
Can I do both?
If your camera can capture high quality video, can you rationalize neglecting to fully utilize the capability? I can see arguments going both ways on this dilemma.
For instance, if a family member gifted you a piano in their will, you might be inclined to invest some (or, more likely, a substantial amount of) time and energy learning to play the piano so that the instrument's capabilities would not be wasted. On the other hand, you may want to devote that same time and energy to a previously explored, thoroughly enjoyed endeavor in order to become a master at that specific skill. For the sake of the hypothetical situation, let's say it is playing the guitar.
Could you do both? Sure. But doing so would mean splitting your time – a limited, non-renewable resource – between the two skills. Focusing on both skills simultaneously lengthens the time it takes to master each skill, and the time-investment-to-reward trade-off that may not prove to be worthwhile (that's assuming you're not already a master at playing the guitar). Then again, simultaneous practice of both skills may engender perpetual creativity and prevent burnout.
When it comes to photography and videography, the fields are related in that they both involve storytelling with imagery, and the same camera can be used to capture both. But aside from that, the two disciplines are vastly different. In photography, you need everything to fall in place for only a fraction of a second (or possibly several seconds in the case of long exposures) in order to capture a compelling story-telling image. But in videography, you have the flexibility to tell a story over time, but the entire sequence needs to be fluid, well composed and compelling. Lighting, composition and audio needs have to be considered on a second-by-second basis as the camera continues to record. For those of us who think who are used to thinking in "moments," videography can be exhausting as it requires constant attention to significantly more variables. And while the same camera can be used for both disciplines, the rest of the equipment required to perform each to a professional level varies greatly, although there is some overlap (more on this later).
Can video support my photography, or vice versa?
With many photographers owning multiple DSLRs, it's important to note that videos can help bolster one's photography business (of course, owning at least two cameras is ideal as you'd likely want to be using a camera in the frame while promoting your own photography). Great examples of this would be short promotional films (possibly added to the front page of one's photography website) and behind the scenes videos. Both are easily shared by happy clients and followers on social media platforms and can help generate more business.
Photography can also help support one's filmmaking goals, as printed media is often more easily disseminated to potential film audiences and can serve as an easily recognizable symbol for the film (movie posters would be a good example). In smaller productions, a good photograph used as the title card for a YouTube video can aid in giving that video a polished and professional look.
Will offering video services be required to stay competitive in my regional market?
The fact that most cameras can shoot video is not lost on modern-day consumers. If a bride and groom inquire about your wedding photography, they'll often ask "Do you shoot video too?" Of course, it's very difficult to shoot video and still imagery of the same event simultaneously and provide sufficient coverage, but most consumers don't realize that. So you're more likely going to provide one service or the other for a specific event (although you may also have someone else on your team providing the additional service).
So, assuming you've already invested the time, energy and equipment into becoming proficient at videography, offering videography services makes a lot of sense as it increases your potential client base. You could even give try to partner with other photographers/videographers in your area with the agreement that they recommend you as a videographer when potential clients inquire about wedding photography services, or otherwise recommend you as a photographer if they are approached for wedding videography services (with you recommending them for the other service when you are alternately approached by clients).
Of course, becoming proficient in a separate skill and offering an additional service is only necessary if you need to expand your business. If you're already having trouble finding free hours in the day while offering only photography services, it doesn't make sense to expand into a new market. But if you have the time and could use additional income, branching out into videography could certainly make sense from an economic perspective, especially if you already have sufficient video production tools at your disposal.
What extra equipment will I need to create high quality videos?
If you didn't read the last part of the previous sentence carefully, please read it again. Just because your camera shoots 1080p video does not mean you have everything you need to create high quality videos. Although anyone can push the shutter button on a camera and take a picture, it takes education, persistence and oftentimes special equipment to produce a captivating photograph. As far as photography is concerned, "special equipment" might include neutral density or polarizing filters, tripods, special triggering devices, shoe-mount flashes and/or studio lights, radio triggers, etc. You also likely use special software, such as Adobe Photoshop or Lightroom for post processing needs. Videography is no different, and thankfully, some of the previously mentioned photography products can help in videography as well (filters, tripods, lights).
While photography and videography share many similarities, including a subset of shared equipment, they are very different creative disciplines and each requires a vast amount of resources – in time, education, equipment and experience – to master. Whether or not it is wise to pursue both disciplines will depend heavily on one's personal drive and available resources. For those who do choose to pursue photography and videography, it can be a long, but likely fruitful adventure.
OK, perhaps calling it a composite would be more accurate, but "Hyper-HDR" makes a more-dramatic title, right?
During a solar eclipse, the moon moves between the sun and our viewing location, taking, minimally, a bite out of the solar disk.
While it is possible to use an exposure that captures a small amount of detail in the moon during totality, I am not aware of anyone able to do so during the partial phases and, even during totality, the moon is poorly lit with the perimeter of the moon quickly becoming too bright.
So, to get a perfect moon exposure, a composite is needed.
Remember us suggesting that you capture an image of the full moon just-prior to the August 2017 solar eclipse?
Well, this post is about what you can do with that image.
Start by selecting one of your partial solar eclipse photos to use as the base image.
The moon is going to show full regardless of the sun image selected and that means the balance between the amount of sun and moon showing is going to be determined by the sun image.
I opted to show a significant portion of the sun in this composite.
Hint: error on the side of showing too much sun because the moon can be positioned over more than just the missing portion of the sun.
Because my moon image showed a very slight amount of shadowing on the top right (clouds prevented me from getting an image on the night of the fullest moon),
the bottom-left side of the moon blended better with the sun, driving my option to select a sun image with the top-right being eclipsed.
Process both of the images (if captured in RAW format) and open them as layers in an image editing program (Photoshop is perfect).
Position the moon image on the top layer and use a layer mask to allow only the moon itself to remain visible (masking out all of the black).
Reposition the moon layer so that it aligns properly over the sun and make any layer mask edits necessary for ideal blending.
The perimeter of the image will be pure black, so feel free to adjust the framing or cropping or even increase the canvas size to create the final image desired.
OK, so you missed one or both of these events?
Get your solar filter and take a picture of the sun on the next clear day.
Then, on a clear night during the next full moon, capture the moon image with the same lens (sans solar filter of course).
Process both images and position your cut-out moon partially over the sun, creating a fake solar eclipse.
Very few will spot the difference.
A larger version of this image is available on Flickr.
Macphun, makers of Aurora HDR 2018, are teasing a Digital Asset Management module that will eventually be included in Luminar 2018. For those who are uneasy about the direction Adobe is heading with cloud-focused software, Macphun's Luminar 2018 may prove to be a viable alternative.
Below, Tom Hogarty (director of product management for all things photography at Adobe) answers a few questions about Photoshop CC and Photoshop Classic CC.
From the Adobe Lightroom Journal:
How does this update affect my old Photography/Creative Cloud Plan?
TH: Within the Creative Cloud Photography plan we’ve updated the Lightroom you know and love to include performance and editing enhancements in a new version called Lightroom Classic. We added new Lightroom CC and a small amount of storage for you to experiment and try out the new cloud-based Lightroom offering. The Creative Cloud Photography plan – Lightroom Classic, Photoshop CC, and now the new Lightroom CC plus Adobe Spark – is still $9.99 per month. There is also a new Lightroom CC plan that is $9.99 per month that does not include Lightroom Classic or Photoshop CC but does include 1TB of cloud storage for your photography library.
Is Lightroom Classic being phased out? How long will it be until Adobe kills Lightroom Classic?
TH: No, we’re not phasing out Lightroom Classic and remain committed to investing in Lightroom Classic in the future. We know that for many of you, Lightroom Classic, is a tool you know and love and so it has an exciting roadmap of improvements well into the future. But please hold us accountable as we make updates in the following months and years to let us know if we’re meeting your expectations.
Does everything have to be synced to Lightroom CC or can users pick and choose what content syncs with the cloud?
TH: For this 1.0 release, everything imported is intended to upload to Creative Cloud. We clearly understand that there are situations where a customer would not want all of their images uploaded to Creative Cloud so let’s talk about those situations and how we can address them. In the case where a customer doesn’t want any images in the Creative Cloud, Lightroom Classic is and will continue to be an excellent workflow choice.
Some users have about 8TB worth of photos. How do they fit that into 1TB of space?
TH: We have plans available for 1TB, 2TB, 5TB and 10TB right now at $9.99 per TB per month. Let us know if you want more.
What if you don’t have superfast, unlimited Internet to sync everything? Won’t it likely take days to upload a full shoot of raw files to a cloud server?
TH: Upload times depend on your bandwidth but you can still start working on your images immediately. If your bandwidth is not going to support your current volume of photography, Lightroom Classic is and will continue to be an excellent workflow choice.
In regards to Lightroom 6, why did you abandon the Lightroom standalone version?
TH: Customers are overwhelmingly choosing the Creative Cloud Photography plan as the preferred way to get access to Lightroom. We’re aligning our investment with the direction our customers have signaled over the last several years.
A true test of the radio capabilities of the SB-5000. At night, helicopter to helicopter, exceeding the triggering distance I thought possible. This short video is technical in nature, and shows the placement and progress of lighting the helicopter. We used four SB-5000 Speedlights to get the interior lit before taking off over the NYC skyline.
Canon U.S.A. Launches Bold New Expedited Service at PhotoPlus EXPO 2017
MELVILLE, N.Y., October 19, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, continues its mission to deliver industry-leading speed and quality of service offered through Canon Professional Services (CPS), its award-winning service and support program for professional photographers. CPS Platinum members will now enjoy next-day service, with equipment serviced and shipped the business day after an estimate is approved. For repairs that will take longer, Canon will offer next-day loaner equipment. In addition, CPS Gold members' benefits will now be enhanced with two-day service turnaround.
“For professional photographers, sending equipment in for service can mean lost income while their gear is being repaired, and we are committed to do everything in our power to minimize their downtime,” noted Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “Canon has long been delivering fast, high-quality service and customer satisfaction, and this bold new level of performance sends a clear message to photographers that we remain dedicated to providing professional-level service and support.”
This next-day service will officially launch at PhotoPlus Expo 2017 in the Jacob K. Javits Convention Center in New York City, Oct. 26-28, 2017, where Canon U.S.A. is showcasing its latest in digital imaging products for photographers of all skill levels, in addition to hosting educational seminars from booth #121. At the Expo, Canon Professional Services will once again host its always-popular CPS Lounge where Platinum, Gold, and Cinema CPS members can have their Canon equipment (up-to-two current Professional DSLR bodies or lenses)2 cleaned and checked during Expo hours from Thursday, Oct. 26, through Saturday, Oct. 28, in Room 2D12.
In the Canon booth, attendees can observe factory-trained technicians performing Canon maintenance service, highlighting Canon’s commitment to providing world-class service and support for professionals. For more information on the Canon CPS program, including the new service times, please visit the CPS web page at: www.cps.usa.canon.com. For more information on Canon maintenance service, including a list of eligible products, visit usa.canon.com/maintenance.
Canon Products at the PhotoPlus EXPO
Also at the booth, will be the tradeshow debut of the brand-new Canon PowerShot G1 X Mark III, Canon’s first PowerShot Digital Camera to feature an APS-C CMOS Sensor and Canon’s revolutionary Dual-Pixel CMOS Auto Focus. As always, PhotoPlus Expo attendees will have the opportunity to touch and try Canon’s wide array of digital imaging solutions, including the recently announced EOS 6D Mark II DSLR Camera, EOS M100 Digital Camera and EF 85mm f/1.4L IS USM lens. The booth will also feature the full line of Canon EOS and PowerShot Digital Cameras, EF Lenses, imagePROGRAF PRO, PIXMA PRO, PIXMA and SELPHY printers and REALiS projectors.
Officially Licensed Merchandise from Canon
Canon will also showcase its line of “Canon Gear,” available for purchase to visitors of the Canon booth. This line will feature a collection of officially licensed Canon merchandise, including miniature Canon model cameras, Canon-branded thermal water bottles and backpacks, collectible photographer teddy bears and much more. The full line of Canon Gear is scheduled to be available for purchase on October 26 at shop.usa.canon.com.
Canon Education and Galleries at PhotoPlus EXPO
The main stage in the booth will feature presentations from several Canon Explorers of Light (schedule subject to change), including one of the newest members of the program, Barbara Davidson, who will make her debut as a Canon Explorer of Light at PhotoPlus Expo. For the complete speaking schedule, please see below.
Thursday, Oct. 26
Friday, Oct. 27
Saturday, Oct. 28
Peter Hurley - “The Need For Speed…Lights” (Live Shoot)
Joel Grimes - “Tilt-shift Portraits” (Live Shoot)
Michele Celentano - “Family Photos Start to Finish” (Live Shoot)
Barbara Davidson - “On Location in India with the Canon EOS M5” (Lecture)
Roberto Valenzuela - “Make it Speedy! Speedlite Techniques on The Go” (Live Shoot)
Rick Sammon - “Wildlife Photography with Canon EOS” (Lecture)
Stephen Johnson - “The Craft of Photograph” (Lecture)
Lindsay Adler - "Macro Fashion Art" (Live Shoot)
Barbara Davidson - “Covering Conflict and Tragedy” (Lecture)
George Lepp - “Creative Wildlife Portraits” (Live Shoot)
George Lepp - “Canon Macro and Techniques” (Live Shoot)
Peter Hurley - “Shabanging Lenses for Headshots” (Live Shoot)
Enjoy a taste of the Canon Live Learning experience with free 45-minute sessions on the show floor. The sessions will have something for everyone—including portraits, lighting, macro, action and more. Each session features hands-on training by a pro photographer, inspiring subjects to capture, sample gear to try, a free print and a tote full of Canon swag. Space is limited to eight students per session; register here.
The booth will also feature a curated gallery of photographs by Explorers of Light, showcasing the skill and talent that earned them a place in this elite program. Included is a special collection of images from a campaign for the Too Young to Wed organization with Canon Explorer of Light Stephanie Sinclair telling the true story of young women across the globe—many still children—who are forced into marriage.
Follow Canon throughout the PhotoPlus Expo show @CanonUSApro. To see the full details of Canon’s presence at PhotoPlus Expo, please visit: usa.canon.com/photoplus2017.
In the video above, Julieanne Kost, Principal Digital Imaging Evangelist for Adobe, explains the primary differences between the new Lightroom CC and the older Lightroom Classic CC (the program we're all familiar with), and which type of user may benefit from using each program.
In the video, we learn that the following features are not yet found in the new Lightroom CC:
Lightroom Classic CC Features Not Available In Lightroom CC
Tone Curve and Split Tone Panels
Camera profiles and soft proofing
Snapshots or a History Panel
Extended metadata support
Smart Collections, custom sort orders
Survey, compare, or reference view
Robust batch processing
Support for 3rd party plug-ins
Print, Book, Slideshow and Map creations
Color and Luminance Range Masking
If any of the above features are necessary for your workflow, the program formerly known as Lightroom CC – now called Lightroom Classic CC – is still there for you. And the really good news is that the newest iteration of the desktop-centric program has been upgraded for faster performance (in my limited tests so far, the difference was noticeable). If you need to have access to your full resolution files across multiple platforms (desktop/laptop, especially), then using the new Lightroom CC will make a lot of sense. And keep in mind, this is the first version of the cloud-centric Lightroom CC. The list of unavailable features will likely diminish over time as the new program is updated.
Thoughts on Repurposing the "Lightroom CC" Name
I've been a big proponent of Adobe's Creative Cloud subscription model since the early days of its existence because, from a consumer's standpoint, I think the Photography Plan (Photoshop + Lightroom) makes a lot of sense. It's easily the most productive $9.99 I spend each month.
But I must admit to being completely baffled by Adobe's decision to take the name of a well known program, give it to a new (very similar) program, and then rename the old program. It's very confusing (to put it mildly).
Let's say you want to start using the new Lightroom CC but its new interface seems a bit confusing for you, especially as you're used to the Lightroom Classic CC. Try typing in "Adobe Lightroom CC Tutorial" into YouTube and you will undoubtedly be presented with a hundred videos with similar titles. However, determining which of the instructional videos will be providing information relating to the "new" Lightroom CC will be, at best, challenging.
As Shakespeare penned, "That which we call a rose, by any other name would smell as sweet." That may be true, but there are expectations that come with a well known name. If florists started calling carnations "roses" and roses "classic roses" tomorrow, we'd all be just as bewildered. [Sean]
Camera Raw 10 is now available as a final release available in the Adobe Create Cloud desktop app.
Range Mask works within the structure of the existing local adjustment tools to give you more precision with your local adjustments. One way to think of it is that Range Mask is a modifier that can be applied to a local adjustment, allowing you to create more precise selections with less hassle. Range Mask is designed to be easy to use, and the resulting mask can be further refined by nudging the sliders.
Range Mask has two different modes to address two different types of color/tone-based masks: Color Range Mask and Luminance Range Mask.
Open an image into the Camera Raw plugin
Select one of the local adjustment tools (Local Adjustment Brush, Graduated Filter, Radial Filter) and make an initial mask of your intended selection area.
From the Range Mask option, select either Color or Luminance.
Color: Use the Eyedropper to select the colors you’d like to include in your selection. You can select up to 5 different colors using the Shift + click method with the eyedropper. Alternatively, you can sample a range of colors, even completely different colors, by dragging out an area with the eyedropper. Once selected, you can further refine your selection using the Amount slider.
Luminance: Use the Range and Smoothness sliders to adjust your mask and fine tune.
Use the local adjustment sliders to make the desired edits to your images.
Supports PowerShot G1 X Mark III, PowerShot G12, PowerShot G11, PowerShot G10, PowerShot G9, PowerShot S95, PowerShot S90, PowerShot SX50 HS, PowerShot SX1 IS.
Supports EF85mm f/1.4L IS USM, EF-S35mm f/2.8 Macro IS STM.
Supports Chromatic aberration correction, Peripheral illumination correction, Distortion correction, and Digital Lens Optimizer for images captures with a combination of EOS 6D Mark II and TS-E50mm f/2.8L Macro, TS-E90mm f/2.8L Macro, TS-E135mm f/4L Macro, TS-E17mm f/4L, or TS-E24mm f/3.5L II.
Enhances operability of the Filter/Sort function.
Supports customization on the Preview Properties Display.
Company Welcomes Barbara Davidson and Terrell Lloyd into its Revered Program
MELVILLE, N.Y., October 18, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, is proud to announce the addition of photographers Barbara Davidson and Terrell Lloyd to its renowned Explorers of Light program. These new members add to the already impressive ranks of Canon's program, expanding its wide range of talented professionals that impact imaging culture and influence the way their audiences see the world. Both Barbara Davidson and Terrell Lloyd will be on hand at the Canon Booth (#121) at PhotoPlus Expo 2017, October 26-28 at the Jacob Javits Convention Center in New York City. In addition, Barbara will be a member of a keynote panel at the Expo on Thursday, Oct 26 and will be presenting at the Canon booth on both Thursday, October 26 and Saturday, October 28th. At the Canon booth, she will share her work and experience of shooting with the EOS M5 camera as well as capturing emotional images of conflicts and tragedies. For a full schedule of PhotoPlus Expo events in the Canon booth, please visit usa.canon.com/photoplus2017.
Barbara Davidson is a three-time Pulitzer Prize and Emmy-award winning photojournalist best known for her work on victims of gang abuse in Los Angeles. As a long-time photographer at the Los Angeles Times, Barbara spent much of the past decade photographing women and children trapped in a culture of poverty and guns. “I am excited to be a part of this great program and look forward to sharing my years of experience with Canon users all over the world,” said Davidson.
Terrell Lloyd is known for his experience shooting professional and college sports. He is currently employed by the San Francisco 49ers as their full-time lead team photographer and managing all of the organization’s photography services. Over the past 25 years, Lloyd has diversified his business by photographing a multitude of events. “Being an Explorer of Light gives me the opportunity to help educate and inspire the next generation of image creators,” said Lloyd.
"Canon’s Explorer of Light program has enabled us to connect with and showcase the works of many amazing professional photographers and we are so pleased to welcome Barbara Davidson and Terrell Lloyd into this exclusive family,” said Yuichi Ishizuka, president and COO, Canon U.S.A., Inc. “It’s a privilege to have our Explorers of Light share their photographic passions and technical expertise with eager audiences of photo professionals, hobbyists, and enthusiasts to further inspire them to reach their creative potential."
Since the creation of the program in 1995, Canon's Explorers of Light have been leaders in their respective fields, and have garnered awards and accolades for their work. These individuals work with Canon extensively as representatives, ambassadors, educators, and role models for aspiring creative artists. They participate in workshops, seminars, gallery showings and personal appearances throughout the United States.