This update (version 1.10) provides the following benefits:
Download: Sony a7R III Firmware v.1.10
From Tamron Japan:
We appreciate your continuous patronage for supporting Tamron products.
Regarding our new product, 28-75mm F/2.8 Di III RXD (Model A036), which is scheduled to be released on Thursday, May 24, 2018, we are receiving more orders than anticipated. We regret to inform that products prepared for the launch date will not be enough to fulfill the demand. We will not be able to produce the necessary quantity of products to satisfy all customer requests.
Please accept our sincere apology for any inconvenience that this may cause to you. And apologize to all people concerned including other stakeholders.
Deliveries to some of the customers who have already ordered the product might be made after the release date. In addition, for those who will place an order in the future, because we deliver sequentially, it may take time for the product to be delivered.
We will make every effort to deliver the products at the earliest possible stage. Your understanding and patience will be greatly appreciated.
Just posted: Rokinon AF 14mm f/2.8 Lens Review.
This is a good value lens.
Nikon has posted its FY 2018 (Year ended March 2018 [May 10, 2018]) financial statements. See below for more information.
* Note: this article was published before the final financial statements were officially released.
From the Will Burrard-Lucas YouTube Channel:
I was challenged to recreate my African wildlife at night images on home soil. This is the resulting film in which I use a Camtraptions PIR Camera Trap Sensor to photograph barn owls in infrared.
Learn more about infrared camera conversions in our Infrared Camera Conversion by LifePixel Review.
by Sean Setters
Before I get into the five tips for hood-mounted camera photography, it's important to note that having a reliable method for attaching your camera to the hood of an automobile is a requirement for this type of photography. The best tool I have found for the job is the RigWheels RigMount X4 Camera Platform with one of the magnetic mounts replaced with an RMH1 RigMount with Ball Head. The duo allows you to securely mount the X4 platform supported with 3 RML1 Long Magnetic Mounts on one side and the Ball Head Magnetic Mount on the other side, which can be adjusted to provide a secure magnetic connection on the side of the car.
With the absolutely required gear out of the way, let's get rolling (pun intended) with the tips.
1. Wash the parts of the car that will be visible in your image, including the hood.
I'm leading off with this tip because a) you'll want to complete this step ahead of time because washing a car with a camera attached is not advisable and b) it's something I forgot to do before taking the shot above. I did wipe down the hood with a cloth to get most of the loose dirt off the hood, but I completely forgot about the windshield. Dirt on the windshield will really stand out when light is reflected at certain angles and can cause a less clear/hazy view into the car's interior. Do yourself a favor and wash [minimally] the parts of the car that will be within the lens' field of view. Doing so will ensure you can easily see your subject/the car's interior and will reduce the amount of time needed for spot removal in post-processing.
2. Use a fisheye lens.
So why is a fisheye lens important? First, a fisheye lens gives you a very wide angle of view which makes the hood of the car look bigger/more prominent while also allowing any details on the hood (like a hood scoop) to be fully framed. And second, the fisheye lens' distortion makes the lines of the hood curved, leading to a much more intriguing, almost futuristic-looking image.
Note that one downside to using a fisheye lens is that such lenses do not accept front filters. Therefore, in order to obtain a slow enough shutter speed for optimal motion-blurred surroundings, shooting when the ambient light is minimal (in other words, at night) will be necessary.
3. Park under a street light to figure out your framing and exposure.
The best way I've found to figure out the best exposure values and obtain focus is to park under a street light. This has several benefits. For one, as street lights will likely be the primary source of illumination for the car, it makes sense to use a street light to dial in your exposure settings. As the hood will not be constantly exposed by a single light source in any of the desired moving images, it's best to set your exposure so that the hood is slightly overexposed in testing. Doing so will help account for the time the car is less illuminated between light poles. Of course, not all of the images the camera takes will be optimally exposed, but by using the street light to dial in your desired aperture, shutter speed and ISO, those images that are well-illuminated by one (or two) street lights will likely be in the ballpark of your test exposure.
Another benefit of parking under a street light is that you can usually set manual focus on the lens by using any light that is illuminating the car's interior and 10x Live View magnification on the camera.
And last but not least, the street light will help you set your desired framing. In most photography disciplines, getting your camera level is an optimal technique. However, significantly tilting a hood mounted camera makes it look like the car is traveling on an angle, sort of like a NASCAR stock car in a banked turn. Using Live View, experiment with different angles to see which one you think looks best.
4. Use a remote flash to light your subject(s).
While the car is an integral part of any hood-mounted image, a well-lit subject will provide a necessary focal point for the viewer. However, the subject will not be well-lit from the ambient light without the car being overexposed (especially with lighter exterior car colors). What you need is a remote, radio-triggered flash inside the car to illuminate your subject(s) during the exposure. It can be tricky to position your flash so that it is flattering to your subject yet remains unseen from the camera's position, so you may have to experiment (and problem solve) to figure out a plausible flash mounting solution, especially if you want to include a modifier in the mix. Also, be sure to choose an interval setting that includes a buffer time between images so that your flash has adequate time to recharge before the next shot.
5. Compositing can help you get the "perfect shot."
One of the great things about this type of photography is that there's an unavoidable random quality to the images that are captured. The look of the images can change dramatically based on the speed of the vehicle and the types of lights affecting the scene. You could drive the same stretch of road a dozen times with the same camera settings and no two images would look the same. On the one hand, that means you'll always get something unique. On the other hand, nailing the perfect shot takes a decent amount of luck and/or a bit of Photoshop. Because much of the image is static (never changes) and with the changing parts being motion-blurred and mostly unrecognizable, you can easily combine those areas from several images using a soft edged brush to blend desired areas of each image together.
About the Shot
Not too long ago, I installed Magic Lantern on my Canon EOS 5D Mark III so that I could test out a particular feature of the firmware add-on. While I ultimately found out that the feature didn't work as I had expected (and, therefore, was useless to me), the other benefits of having Magic Latern installed on the camera led me to leave it installed on my memory cards. One such feature, an full-featured intervalometer, made me want to recreate my favorite driving self-portrait, except using the full-frame camera instead of the EOS 7D Mark II + Rokinon 8mm f/3.5 Fisheye. The EOS 7D Mark II features a built-in intervalometer, making it really easy to use when mounted to the RigWheels RigMount X4 for the rolling car shot. However, the full-frame 5D Mark III was better at resolving fine details. With the intervalometer feature enabled by Magic Lantern, all I needed was a fisheye lens that would enable me to simulate the perspective of the Rokinon 8mm f/3.5 on the APS-C camera.
Considering that this would be a lens I intended to use sparingly, purchasing a used model seemed to make a lot of sense. Therefore, I started keeping an eye out for full-frame fisheye lenses in B&H's used inventory as well as eBay. After a couple of weeks, I ran across a Rokinon 12mm T3.1 Fisheye auction going for a very reasonable price and watched it carefully. For my intended use of the lens, autofocus was not necessary; a manual focus lens would work just fine. I ended up winning the auction with a bid significantly less than half the retail price, so needless to say I was very happy with the acquisition. Of course, there are some risks in buying a used lens, which is why I wanted to give it a thorough test after it arrived on my doorstep. Thankfully, it performed excellently.
To get the shots used for the composite above, I mounted the Canon EOS 5D Mark III + Rokinon 12mm T3.1 Fisheye on the passenger side corner of my hood with the lens set to T4 and focused where the driver would be. The camera was set to Manual mode with a 2.5 sec. exposure at ISO 200. I used the Tungsten white balance setting because most of the streetlights in Savannah emit a very warm colored light. To light myself in the driver's seat, I used a background light stand situated in the floor of the passenger side with an umbrella swivel supporting a radio triggered full CTO gelled Canon Speedlite and Lumiquest Ltp softbox mounted on top. The flash and modifier were positioned as high as I could get them without the softbox being visible to the camera for more of a side light (as opposed to an under light) and the CTO gel allowed the color of the flash's output to closely match the light emitted by the streetlights, easing the color correction process.
With all the camera gear in place, I set Magic Lantern's intervalometer dialogue to take a picture every 6 seconds with a 20 second delay before the first shot. These settings gave my flash plenty of time to recharge between shots while also not wasting shots as I returned to the driver's seat after starting the sequence. After exiting the ML settings (triggering the start of the intervalometer), I hopped in the car and headed to downtown Savannah where I did a loop before returning home. In the relatively short drive, I captured 176 images.
My ideal shot would meet the following requirements:
Unfortunately, none of the 176 images captured met all of those requirements to my fullest satisfaction. However, several of the images met some of the requirements, with the net effect that all requirements could be met by combining a few of the images in post-processing.
Here was the base image:
So who would be interestd in these types of images? Anyone who owns a car that they are proud of (or has a sentimental attachment to). You probably already know someone who spends evenings and weekends working on their pride and joy. Potential clients also abound at car meetups and race events.
Here's a recap of the gear you may need to create dynamic car shots:
|Lens Construction||9 groups 10 blades|
|Aperture Blades||7 blades|
|Min. Focusing Distance||about 0.234 meters|
|Size (DxL)||about 76×115mm|
From the Adobe Photoshop YouTube Channel:
Explore different blend modes that can be used for creative color and tonal edits in Photoshop CC.
DJI Phantom 4 Pro and Pro+ v.2.0 Highlights
From Canon USA:
Thank you for using Canon products.
We have determined that some units of the EF 200-400mm f/4L IS USM Ext. 1.4x interchangeable lens for digital SLR and mirrorless cameras exhibit a phenomenon in which the focus may not be achieved during AF shooting. Firmware which addresses this phenomenon is available for download below.
We would like to offer our sincere apologies to users who have been inconvenienced by this issue. Going forward, we will spare no effort in our quality management to make sure our customers can use our products with confidence.
When using this lens with some camera models* and performing AF shooting from approximately 3m, the subject may not be in focus in some occasions.
* Camera models: EOS-1D X Mark II, EOS-1D X, EOS-1D C, EOS 5Ds, EOS 5Ds R, EOS 5D Mark IV, EOS 5D Mark III
Customers who own one of the affected camera models above, or one of the cameras** that can be used for the lens’ firmware update can download the latest firmware version and then perform the lens’ firmware update using the camera.
** EOS-1D X Mark II, EOS-1D X, EOS-1D C, EOS 5Ds, EOS 5DsR, EOS 5D Mark IV, EOS 5D Mark III, EOS 6D Mark II, EOS 6D, EOS 7D Mark II, EOS 80D, EOS 70D, EOS Kiss X9i, EOS Kiss X9, EOS Kiss X8i, EOS Kiss X7i, EOS Kiss X7, EOS Kiss X6i, EOS M6, EOS M5, EOS M3, EOS M2, EOS M, EOS M100, EOS M50, EOS M10. Please note that EOS M camera models require an adapter EF-EOS M to connect to the EF 200-400mm f/4L IS USM Extender 1.4x lens.
If you have not already done so, please register your Canon Product. By registering, we will be able to notify you via email about future announcements.
This information is for residents of the United States and its five territories only. If you do not reside in the USA or its five territories, please contact the Canon Customer Support Center in your region.
Customer Support Operations
Canon U.S.A., Inc
Presenting the American Photography Open 2018. A new competition to celebrate the best pictures submitted by photo enthusiasts, taken with any device.
For over 30 years American Photography has been holding a juried competition for pro photographers. Now with the proliferation of so much great photography taken by everyone we are introducing a new competition for photo enthusiasts at all levels.
Our judges will include members of the Pro Photo Daily staff, Julia Sabot from Blink, Alison Zavos Editor of Feature Shoot, Reuel Golden Editor at Taschen, Marc Asnin from Boulevard Artists, a Tamron Image Master and they, along with the community who register, will award prizes for the best images submitted in 2018.
Final Deadline: August 24, 2018
A Short List will be announced in September and a Community Voting Gallery will be available for voting.
In October ten finalists will be announced who will receive prizes including selected products/ services from our partners, an exhibit of their prints and recognition at our awards event at Photo Plus in New York City and a chance to participate in a Photo Walk conducted by one of the Tamron Image Masters during the show.
The Grand Prize of $5000, a Tamron 24-70 G2 lens (value $1200) plus additional prizes from our partners, will be announced along with the Community Voting Award winner at an event at Photo Plus on Thursday Oct. 25th. 2018.
The entire 2018 short list collection will be featured in a book that will be available to download for free or purchase as a hard copy.
HERE’S HOW IT WORKS
Your initial entry (one image) is free through July 1, 2018. You can enter an additional 2 images, for a total of 3, for $25; an additional 6 images for a total of 7 for $50; or an additional 15 images for a total of 16 for $100. If you have more images you would like to enter they can be added for $5.50 each. Once your entry has been paid there are no refunds provided.
You keep all rights to your images: AI-AP does not retain any rights to your work when you make your submission. Upon selection, permission is given only for use in the book, website, finalists exhibit and any promotion for American Photography relevant to the contest. Proper artist credit is always given along with contact information where applicable.
JPG files are required for submission. Upload files 72dpi, RGB, up to 1000 pixels on the LONGEST side, up to 20MB. Use any unique file name, but do not include special characters or spaces in the file name. Save file as a .jpg.
You don’t have to submit high-res files: If your image is selected as a finalist, we will request hi-res files at minimum 300 dpi, 20x13", CMYK for reproduction.
For those shopping for their first non-smartphone camera, a backup camera for a current kit or simply upgrading from a lower level/previous generation Rebel-series camera, the Canon EOS Rebel T7i/800D and EOS M5 are likely to be considered. Today, we're going to look closely at these two cameras to see which might be the better option for acquisition.
Canon EOS Rebel T7i/800D and EOS M5 Shared Primary Features:
Primary Advantages of the Canon EOS Rebel T7i/800D:
Primary Advantages of the Canon EOS M5:
Who should opt for the Canon EOS Rebel T7i/800D?
If you are a current Rebel-series owner but simply long for the benefits of a Dual Pixel CMOS sensor, and the size and weight of your current kit is a non-issue, then the EOS Rebel T7i/800D will offer a seamless transition with no adapters required to use your current set of lenses and a familiar button/control layout that feels right at home in your hands. With no adapter required, there's one less vital piece of gear to be forgotten or malfunction. Just remember your fully charged battery and a memory card, throw your lenses in a bag and you're good to go (although we do recommend packing other items as well).
Note that the T7i has an optical viewfinder (OVF) while the EOS M5 has an electronic viewfinder (EVF), and both show up as advantages for their respective cameras. Depending on what you're shooting and what your preferences are, either one may be more beneficial than the other. Check out our OVF vs. EVF comparison here.
If you're interested in exploring off-camera lighting, the Rebel T7i offers an integrated Speedlite transmitter that will allow you to control off-camera Canon Speedlites remotely. The Rebel T7i's more sensitive AF system is able to lock on in lower light, and its battery will keep you shooting long after the EOS M5's battery has been exhausted. And if you're on a tight budget, the Rebel T7's lower price tag will make it an even more attractive option.
Who should opt for the Canon EOS M5?
The EOS M5 represents a huge step up in image quality for those coming directly from a smartphone, and its size and weight will provide an easier transition into ILC (Interchangeable Lens Camera) photography compared to a traditional DSLR body. The EOS M5 will also be a great choice for current Canon DSLR owners who want a compact option that can also serve as a backup camera in a pinch (with the adapter) or otherwise want a reduced load for vacations, hiking or business trips, especially when one of Canon's EF-M series lenses will fit the bill perfectly..
On top of the size and weight advantages of an M-series kit, the M5's faster burst rate in single shot mode can help you capture the peak action as long as AF tracking is not needed for the specific situation. And if you prefer the benefits of an EVF (Electronic Viewfinder), then the M5 becomes the easy choice.
While the EOS M5 is a very capable camera with the size and weight benefits a mirrorless system brings, Canon's current [limited] EF-M lens selection may not provide all the flexibility desired in an ILC kit. And while Canon's complete EF/EF-S/TS-E/MP-E lenses can be used with an adapter, using lenses designed for DSLRs on a mirrorless camera negates much of its most alluring quality, its reduced size and weight.
On the other hand, the EOS Rebel T7i/800D, with its native ability to mount Canon's full range of EF, EF-S, TS-E and MP-E lenses, along with its higher battery life and built-in Speedlite transmitter, represents a simpler and more versatile platform on which to build a photography kit.
For those general purpose photography situations where a single, variable aperture zoom lens will suffice, the EOS M5 paired with an EF-M zoom lens can be a very convient option that will not be a burden to carry throughout the day. Note that as Canon releases more EF-M lenses, the versatility of an M-series kit increases along with the M5's appeal.
The Canon Digital Learning Center recently posted tips for photographing different events: graduation, bridal and baby showers. Check out the links below for more information.
Just posted: Zeiss 15mm f/2.8 Milvus Lens Review.
This review did not have the typical Zeiss ending.
Note that the Zeiss 15mm f/2.8 Classic Lens is currently available and is a bargain at B&H (used also available) and Amazon. A specially modified version (shade removed) is available for a $500 premium over the Milvus lens at Adorama.
Canon Europe has posted a very interesting article called "Robots to Hand Polishing: 10 Facts from Canon's L-Series Lens Factory" which contains a lot of information on Canon's highest quality lenses. For instance, did you know that if all the Canon EF lenses were laid end-to-end, they would likely stretch halfway around the world?
Check out the entire article on the Canon Europe website.
When there is a choice, I nearly always go after the elk with the nicest antlers.
While everyone has opinions on what "nicest" means, I generally look for overall size (bigger is better with age, genetics and nutrition aiding this aspect), symmetry (or character if something unusual is present),
shape (classic shape with long curved tines and a big whale tail) and color (dark with ground-polished white tips is perfect).
This bruiser checked most of those boxes and in this position, his primary flaw, a missing G2 (second point from the base) on the left side, is nicely hidden. This 6x5 had not long ago lost a fight with a bull with antlers that were smaller overall. In the battles, it is often the size of the elk's body that matters most and this one needed to go eat more. He is still talking to the nearby herd with a bit of food still in his mouth.
This pursuit started not too far from the car, but I eventually ended up on a ridge a good distance from where I parked. When a light rain ensued, I was thankful for weather sealed gear as I did not bring a backpack and would not have been pleased to have to leave a subject as nice as this one.
I usually use a shutter speed faster than 1/400 second when photographing elk. But, elk usually move slowly while bugling. So, I grabbed some immediate insurance shots and then rolled the shutter speed down to go after lower noise images. Manual mode was selected with a wide open aperture and auto ISO adjusting for the shutter speed change I made.
A larger version of this image is available on Flickr.
I really like Ian Spanier's use of lighting diagrams to help explain the various setups covered in this presentation. The diagrams alongside the captured images make following his lighting descriptions very easy. [Sean]
From the B&H YouTube Channel:
Award-winning photographer (and author) Ian Spanier shares his techniques for capturing great photos through proper lighting and storytelling; preparing for shoots by outlining sketches, setups, and lighting concepts; and adjusting on the fly when things don’t go according to plan. This video contains a wealth of useful information for aspiring and professional photographers alike.
In this video, Adobe's Julieanne Kost shows us how to use a smartphone to create seamless patterns in Photoshop CC.
From the Adobe Blog:
By Sharif Karmally
Sr. Product Marketing Manager, Creative Cloud for Education
05-03-2018 – I'm inspired by the educators I meet around the world who use technology to improve the way students learn and build creative problem-solving skills. Our research showed that this is important to nearly every educator and policymaker because professions which require creative problem-solving are less likely to be impacted by automation, and more likely to pay high salaries.
The study also confirmed that many of the barriers to teaching these skills that I’ve seen in classrooms are universal — some of the biggest of which are limited budgets, access to technology, and time to learn new apps. As teachers shift their classrooms to incorporate creative projects that build these skills, we at Adobe are also shifting our offerings to give them an affordable, easy, and quick way to succeed.
In January, we announced we were providing access to Spark for Education, a set of storytelling apps with premium features and additional capabilities for K-12 and higher education institutions, free of charge. And now, we’re pleased to announce that beginning May 15, 2018, the full suite of Adobe Creative Cloud apps will be available to K-12 schools via their authorized Adobe reseller for $4.99 per user license, per year, with a minimum purchase quantity of 500 licenses for a single school, or 2,500 licenses for a school district.
Like Spark for Education, Creative Cloud for K-12 provides a method for schools to deploy licenses to students of any age in a way that is consistent with the Children’s Online Privacy Protection Act (COPPA) and other data privacy laws. And, it can be set-up with a single sign-on so that students and teachers can use their existing school ID to access Creative Cloud.
What I’m most excited about is that it allows students to access apps like Photoshop, Illustrator, Premiere Pro, XD, and more, wherever they are — and on any device. I recall visiting a high school class where the students were creating posters for a social cause they care about using Photoshop. They were so excited to have a visitor from Adobe, they all applauded. But then a hush fell over the room, and one of them asked their teacher, “How will I finish my project if we can’t work on it during this class?” Talking to the teacher more, I learned that because access to Creative Cloud was limited to the computer lab, they had to dedicate much of their class to students working on their project. They could not spend as much time as they wanted teaching students the principles of design and visual communication. With the new user licensing we are announcing today, students can continue working on projects at home, and on any device, simply by logging in and opening the apps and services they need.
In addition to making Creative Cloud affordable, Adobe is working to provide additional professional development resources to educators, in partnership with Edcamp, an organization dedicated to building and supporting communities of empowered educators. Together, we will be bringing educators together to share projects and courses focused on implementing creative problem-solving in the classroom. And beginning next year, Adobe will begin conducting hands-on professional development workshops, both in schools around the country and online, to teach educators new project-based use cases for Adobe Spark and Creative Cloud. This is all in addition to the Adobe Education Exchange, a place where educators can access free courses, workshops, and teaching materials.
We are on an exciting journey, collaborating with educators to empower the next generation to be lifelong creators. With these two new offers, Spark for Education and Creative Cloud for K-12, we’re equipping teachers with the apps, training, and support they need to make this happen. We can’t wait to see all of the amazing things students create on their journey to becoming the creative problem solvers of the future.
From the Canon Digital Learning Center:
By Jennifer WuSee the entire article on the Canon Digital Learning Center.
In awe of the spectacular colors, I dreamed of seeing the northern lights and photographing them. I called a friend, asking him to go with me to Alaska and though auroras were on his bucket list, he wanted his first trip to Alaska to be in summer. I promised rugged Alaskan landscapes with fall colors like summer, but with even better colors and he agreed! I hadn’t been to Fairbanks, Alaska before, but I was sure it would be grand. Arriving, we were greeted with a snow-covered landscape. “Where are the fall colors?” he asked and I quickly promised him that the northern lights would be spectacular.
The first two nights were completely overcast with no sign of the lights. By the third night we could only see a hint of green color through heavy clouds. With a promising weather forecast on the forth night, we drove north along the Haul Road to a mountain pass and waited in the bitter cold, hoping for clear skies and auroras.
The moon had set below the horizon, darkening the star-filled sky. At 1 a.m. the clouds finally cleared and the auroras appeared! They were dim at first, but at least visible. We photographed the light show as it danced in the night sky. It was more than I could have imagined! Curtains of light formed, swaying with rhythmic motion, dimming and then glowing more intensely. Excited, I watched a dream coming true. Now, my friend can’t wait to return to photograph more of these "fall colors!"
Days Inn, a Wyndham hospitality enterprise, is looking for a talented amateur photographer to photograph sunsets across the contitental US for an entire month to for use as artwork in its sun-themed hotels.
From Days Inn:
Bring your SPF because this month-long Sun-ternship will have you snapping photos in America’s sunniest cities—from sunrise yoga in San Diego to a sunset sail in Miami, and lots of sunny moments in between.
What’s more, you’ll get major photo props. Photos captured along the way will be featured on our site, social media channels, and hotel walls. We are bringing the sunshine inside with sun-themed art in nearly 1,500 hotels across the country and your very own sun shots will star in select locations. See below for details.
Your summer mission in a snapshot? Seize the days. Take beautiful photos of the sun. See those photos featured in hotels and online. Get paid. Be the envy (and most sun-kissed) of all your friends.
Who We’re Looking For
We’re on the hunt for a creative amateur photographer* with a passion for adventure and the ability to travel across the U.S. for one month this summer. If you’re a thrill-seeker looking for new, unforgettable experiences, you might just fit the bill.
*Must be a U.S. resident and 21 years or older to be considered.
How to Apply
Send us your favorite original outdoor photo and tell us in 100 words why you’re the best person for the job. The deadline to apply is May 20, 2018.
From Nikon USA
An Exciting Group of Talented Visual Storytellers Joins the Distinguished Roster of Industry Elite
MELVILLE, NY – Today, Nikon Inc. announced the addition of ten new visual artists representing a diverse variety of disciplines to the prestigious Nikon Ambassador Program. These exceptional individuals share in Nikon’s commitment to advancing the imaging industry through innovation, education and pushing the boundaries of creativity, all while making significant contributions to the field of modern photography.
“We are extremely proud of how the Nikon USA Ambassador Program has grown since its creation, and are excited to announce these ten new members, each of whom show an unparalleled desire to advance the photography industry and contribute to its overall growth,” said Michael Corrado, Senior Manager for Professional Photographer Relations and Marketing Business Development, Nikon Inc.
The new Ambassadors represent a mix of shooting styles and subject matter ranging from filmmaking, sports, travel, portrait, maternity, weddings, conflict and more. With the recent addition of these Ambassadors, the program now includes thirty-three members, each bringing their own unique style and perspective. Each of these elite photographers embody the philosophy of Nikon’s Ambassador Program, which is to empower creatives through education and inspiration, while working directly with Nikon to communicate valuable insights of the evolving industry.
Nikon’s Newest Ambassadors:
To learn more about Nikon’s Ambassador Program, please visit: www.nikonusa.com/ambassador.
From the Adorama YouTube Channel:
In Ep 113 of Two Minute Tips, David Bergman shows you how to use on-axis fill to enhance your pictures without changing the overall feel.
Note: In this example, the framing and distance to subject lead to a very small catchlight in the subject's eyes. For tighter subject framing, the circular catchlight caused by the ring light would be more obvious. Some people like the circular catchlight while others do not. Be sure to gauge how your subject feels about the circular catchlight before using a ring light (showing examples can help).
I used to own a dedicated ring flash, but it was so cumbersome to set up that I rarely used it and eventually sold it. Now I prefer to use a RoundFlash Magnetic Ringflash Adapter paired with an on-camera Speedlite. [Sean]
Here are some image quality comparisons that you might find entertaining:
Compared to the Canon EF 14mm f/2.8L II lens
Compared to the Canon EF 16-35mm f/2.8L III lens
Compared to the Irix 15mm f/2.4 lens
Compared to the Rokinon SP 14mm f/2.8 lens
Compared to the Rokinon 14mm f/2.8 IF ED UMC lens
Compared to the Sigma 14mm f/1.8 Art lens
Compared to the Sigma 14-24mm f/2.8 Art lens
Compared to the Zeiss 15mm f/2.8 Classic lens
The long-awaited GIMP 2.10.0 is finally here! This is a huge release, which contains the result of 6 long years of work (GIMP 2.8 was released almost exactly 6 years ago!) by a small but dedicated core of contributors.
Check out the GIMP 2.10 Release Notes for more information.
Downlaod: GIMP 2.10