The October 2017 update for Adobe Photoshop CC includes the following:
Better brush organization
Organize and save your brushes in the order you want. Drag and drop to reorder, create folders and sub-folders, scale the brush stroke preview, toggle new view modes, and save brush presets with opacity, flow, blend mode, and color.
Brush performance improvements
Don't be slowed down by lagging brushes. New, faster reaction time is especially noticeable when working on large documents with large brushes.
Access Lightroom Photos
Get your photos from Lightroom Cloud Services right inside Photoshop via Search or the Start Screen. With deeper integration between all the Creative Cloud photography desktop and mobile apps, all your photos are synced and accessible everywhere.
Brush stroke smoothing
Get a more polished look faster with a new smoothing algorithm. Vary the amount of smoothing for cleaner lines, even when using a mouse. Available in the Tool Options bar, along with Flow and Opacity.
Exclusive brushes from Kyle T. Webster
Access over 1,000 digital brushes from award-winning illustrator Kyle T. Webster, now available exclusively inside Photoshop.
With new font technology from Adobe, Apple, Google, and Microsoft, you can define variations within each supported font for weight, height, slant, and more.
Quick Share menu
Share a flattened copy of your work via email, text, social networks, and more. This feature uses native OS sharing mechanisms, including already authenticated services.
Curvature Pen tool
Create paths more quickly, intuitively, and precisely. Push and pull segments directly instead of having to modify Bezier handles, similar to the Curvature tool in Illustrator. Simply double-click to switch between point types.
Improve the look and feel of your paths. Choose the color and line thickness to make them easier to see.
Copy and paste layers
Copy and paste multiple layers in groups, keeping the same order and location instead of having to drag them to reorder. Copy layers onto your clipboard and paste them at the desired specific spot in your panel, within and between documents in Photoshop.
Learn about the different tools in Photoshop without leaving the app. With enhanced tooltips, dynamic information surfaces when you hover over a tool.
360 panorama workflow
Edit and export 360 panoramas. Photoshop will maintain important metadata to work with third-party viewers. You can also pan and zoom around your image inside a spherical workspace for a realistic preview experience.
Properties panel improvements
Keep better track of details for Adobe Stock assets by viewing title and license state. View an image and find similar images on the Adobe Stock site. Edit type properties with multiple layers selected, change the leading, and more.
Support for Microsoft Dial
Native support for Microsoft Dial gives you quick access to important controls without having to use your mouse. Control brush parameters including size, hardness, opacity, flow, and smoothing.
Paste as plain text
Now you can paste text without the styling. No need to spend the time reformatting text after pasting.
Support for HEIF
Photoshop now supports High Efficiency Image File (HEIF) format, promoted by Apple in macOS 10.13 and iOS 11.0. With depth information provided by the iPhone 7 Plus and future devices, you can create a depth-of-field effect using the Lens Blur filter.
Select and Mask improvements
Get more accurate and realistic results with algorithm and performance improvements, especially in cases where the foreground and background color are similar. Other usability and performance improvements include faster Quick Mask and more intuitive view mode settings.
And so much more
Also includes: Performance and stability improvements, ability to save large files faster, better face detection for Face-Aware Liquify, better Content-Aware Crop and Content-Aware Fill on edges, and more.
Integrated Cloud-Based Service Enables Easy Editing, Organizing, Storing and Sharing of Photography From Anywhere
Wednesday, October 18, 2017 9:00 am EDT – LAS VEGAS – Adobe today announced the all-new Adobe Photoshop Lightroom CC cloud-based photography service. Launched over a decade ago, Lightroom became the industry’s leading desktop application for editing and organizing photography. Now in an increasingly mobile-centric world, and with major improvements in smartphone cameras, Lightroom is transforming digital photography again. Built for professionals and enthusiasts, the new Lightroom CC fulfills the demands of today’s photographers for a more accessible, cloud-based photography service for editing, organizing, storing and sharing their photos from wherever they are.
Featuring a streamlined user interface, Lightroom CC enables powerful editing in full resolution across mobile, desktop and the web. With Lightroom CC, photographers can make edits on one device and automatically synchronize their changes everywhere. Lightroom CC makes organizing photography collections easier with features like searchable keywords that are automatically applied without the hassle of tagging. And Lightroom CC makes it simple to share photos on social media.
“As the leader in digital photography, today Adobe is unveiling Lightroom CC, our next generation photography service,” said Bryan Lamkin, executive vice president and general manager, Digital Media at Adobe. “Lightroom CC answers photographers’ demand for a deeply integrated, intelligent, cloud-based photography solution.”
Key Lightroom CC capabilities include:
The most powerful image editing technology: Built on the same imaging technology that powers Photoshop and Lightroom, Lightroom CC offers a new streamlined interface with easy-to-use sliders, presets and quick adjustment tools.
Edit anywhere: Lightroom CC allows photographers to edit full-resolution photos anywhere – on mobile devices, desktop or the web. Edits made on one device are automatically synced across devices for anywhere access.
Worry free back-up, cloud storage: Lightroom CC has scalable storage options for safe and secure back up of full-resolution photos – including raw files.
Powered by Adobe Sensei: Adobe Sensei’s machine learning technology automatically applies searchable keywords to objects in photographs – making organization in Lightroom CC effortless.
Built-in sharing tools: Lightroom CC makes it easy to share photos directly via social media and to create custom Lightroom web galleries that can be shared via link. Photographers can also share their work through new Adobe Portfolio integration with Lightroom CC.
Updated award-winning mobile and web experiences:
Lightroom CC for mobile on iOS: Built-in search functionality powered by Adobe Sensei, keyword support, hierarchical album support, an enhanced iPad app layout and iOS 11 files support.
Lightroom CC for mobile on Android: Tablet support and a local adjustments brush, along with the same built-in search functionality, keyword support and hierarchical album support as seen in the iOS app.
Lightroom CC for web: Ability to create and manage a public gallery page, as well as enhanced integration with Adobe Portfolio, which enables subscribers to easily import collections and publish their best shots to a customized Portfolio website in just a few clicks.
Updates to Adobe Photoshop Lightroom Classic CC
Major updates to Lightroom Classic CC, previously known as Lightroom CC, include an enhanced Embedded Preview workflow that enables users to scroll through large sets of photos to select a subset of images significantly faster than before. Lightroom Classic CC also features new editing capabilities, including a new Color Range and Luminance Masking functionality that enables users to apply precise edits. As contrasted with the cloud-centric, anywhere workflows of Lightroom CC, the new Lightroom Classic CC continues to focus on a more traditional desktop-first workflow with local storage and file and folder control.
Availability, Plans and Pricing
The all-new Lightroom CC is available across three photography plans:
For photographers that want an all-in-one plan that offers the full benefits of the Lightroom CC service plus the transformative power of Photoshop, the Creative Cloud Photography plan with 1 TB includes Lightroom CC, Lightroom for mobile and web, Photoshop CC, Adobe Spark with premium features, Adobe Portfolio, and 1 TB of cloud storage ($19.99/month, but available at $14.99/month for the first year for existing Creative Cloud Photography customers).
Lightroom CC has also been added to the existing Creative Cloud Photography plan with an additional 20 GB of storage to help users get started on the new service. This plan remains at $9.99/month and includes Lightroom CC, Lightroom for mobile and web, Lightroom Classic, Photoshop CC, Adobe Spark with premium features, Adobe Portfolio, and 20 GB of cloud storage. Creative Cloud All Apps members also have access to the new Lightroom CC service.
The all-new Lightroom CC plan addresses the needs of photographers who want a cloud-based photography service for editing, organizing, storing and sharing their photos from wherever they are, and includes Lightroom CC, Lightroom for mobile and web, Adobe Spark with premium features, Adobe Portfolio, and 1 TB of cloud storage ($9.99/month).
For those who are truly mobile and don’t require a desktop photography solution, the Lightroom Mobile plan for iOS and Android is available with 100 GB ($4.99/month).
With its new wide-angle focal length, the ZEISS Milvus family now boasts eleven lenses for single-lens reflex cameras, including four focal lengths with a maximum aperture of 1.4, which are perfect for videographers too.
OBERKOCHEN/Germany, 2017-10-18 – The ZEISS Milvus 1.4/25 is the latest focal length to be added to ZEISS’s largest range of lenses for full-frame single-lens reflex cameras. The lens, which was developed for the DSLR systems from Canon1 is a trademark or registered trademark of Canon Inc. and/or other members of the Canon Group. and Nikon2 is a registered trademark of Nikon Corporation., is suitable primarily for landscape and architecture photography, and for journalistic shots and videos. “The completely new optical design ensures superior performance across the entire image field,” says Christophe Casenave, Product Manager at ZEISS. “This results in high-contrast photos and a harmonious bokeh.”
High-speed wide-angle lens
Thanks to a maximum aperture of 1.4, this lens can even capture exceptional images in poor light. “Even at full aperture, there are hardly any color fringes,” says Casenave. “The finest details can be reproduced in high definition and contrast all the way into the corners.” The metal housing is what makes the lens robust, and its dirt and dust protection even makes the ZEISS Milvus 1.4/25 ready for action in adverse weather. The large 172-degree focus rotation angle enables precise manual focusing for adding creative touches to photos and videos.
The largest ZEISS lens family yet
Featuring eleven focal lengths ranging from 15 to 135 millimeters, including two macros, the ZEISS Milvus family covers a host of applications, such as portrait, landscape, architecture and street photography. “We can offer every photographer just the right lens,” says Casenave.
Perfect for videographers too
The four ZEISS Milvus focal lengths 25, 35, 50 and 85 millimeters with an aperture of 1.4 are just perfect for filming. Thanks to their high speed, they are suitable primarily for interviews and documentaries where the videographer can utilize natural light. Thanks to the de-click function in the version for the Nikon-Mount the aperture can be adjusted continuously. ZEISS Lens Gears in a range of sizes permit the use of follow-focus systems.
Price and availability
The ZEISS Milvus 1.4/25 retails for 2,399 euros incl. 19 percent sales tax (RRP) or $2,399USD and will be available starting 2 November 2017.
This year's hurricane season has been disasterous for thousands of people, but one lens company has stepped up to do what it can for victims of hurricanes Harvey, Irma and Maria.
Until December 31, Sigma is offering complimentary service repairs to get your still-under-warranty lenses operating again or trade-in options "...for a special price" (according to an email from Sigma's Public Relations firm that we received).
The full details for Sigma's hurricane relief program can be found below:
Sigma hereby extends the warranty coverage of Sigma products still under warranty for damages incurred as a result of Hurricane Harvey, Irma and Maria. If your equipment is under warranty, Sigma will provide either (a) complimentary service to get your equipment running, or (b) a trade-in option. Just ship your damaged equipment to Sigma, and we will ship the equipment back to you without charge. All terms of your Sigma warranty coverage still apply, so when sending in your Sigma product, please be sure to include a copy of the original sales receipt as proof of purchase date. If you do not have appropriate documentation as a result of the Hurricanes, please contact us. Eligibility for this offer is subject to Sigma’s sole discretion. This offer is open through December 31, 2017 (we must receive your damaged equipment by that date).
We applaud Sigma's compassion and its dedication to taking care of customers ravaged by the devastating hurricanes.
PhotoPlus 2017 is just around the corner and with Canon releasing several updated lenses since our last publication of the "oldest" list (as well as discontinuing at least one lens outright), the timing seemed right to re-compute the 10 oldest Canon lens list.
The oldest Canon lens currently in production is the EF 100mm f/2 USM, sharing a very similar design and feature set with the substantially-more-popular EF 85mm f/1.8 USM (#3 on the list). As we mentioned in our last 10-oldest list published in 2015, updating the design, adding IS (image stabilization) and improving the optics of each – while keeping prices attractive for the consumer market – would catepult the popularity of these lenses which would ultimately find a home in many photographer's kits, from casual hobbyists to professionals alike. And with the recent addition of the Canon EF 85mm f/1.4L IS USM to the lineup, releasing an updated consumer-grade 85mm option seems like an especially reasonable expectation.
The 2nd oldest lens, the Canon EF 20mm f/2.8 USM and the 6th oldest, the EF 28mm f/1.8 USM, are not terribly popular. I think many photographers would be happy with replacing both these lenses with a model that falls in between them in focal length and aperture, which also features IS. For instance, maybe an EF 24mm f/2 IS USM? Then again, Canon already has several 24mm options, so they may not be so keen on adding another one to their lens lineup.
The Canon EF 50mm f/1.4 USM ranks 4th and is really starting to show its age, especially in regards to wide-open image quality. If Canon updated their 50mm f/1.4 lens, with improved image quality and IS, the lens would likely fly off the retail shelves. Considering the 50mm focal length's popularity, combined with the current EF 50mm f/1.4's performance, I think this is a great opportunity for Canon to keep its customer base devoted to the brand.
The EF 400mm f/5.6L USM ranks 5th on the list, and while its design and lack of IS are certainly indications of its age, it still holds up very well from an image quality perspective. That said, introducing a fully weather sealed update, with IS and possibly a more compact design – keeping the price well below the EF 100-400mm f/4.5-5.6L IS II USM – would make the lens especially attractive for those interested in sports and wildlife photography.
The Canon EF 70-200mm f/2.8L USM comes in at #7, and it still holds up fairly well from design and image quality perspectives. However, even though its substantially less than its IS counterpart (now in its second iteration), its never been nearly as popular. That's because IS is extremely beneficial in telephoto lenses, making the higher cost of the IS version of the lens that much more easy to bear for most photographers. In this lens' case, adding IS isn't an option (that's already been done), so the question becomes – Would the lens sell enough copies to justify developing another one with updated optics and a slightly different design? Possibly, but I'm not convinced.
When it comes to the 8th and 9th lenses on our list, the Canon EF 200mm f/2.8L II USM and EF 180mm f/3.5L USM Macro, respectively, I am not sure there is enough demand to justify expecting an update for either of these lenses, although adding IS to both would make them much more attractive to some. What is certain is that the 180L Macro has significant room for improvement, as it can't match its 100mm little brother's image quality, it doesn't include the coveted IS feature, it is not weather sealed and its AF speed leaves a lot to be desired.
At the #10 spot we find the Canon EF 135mm f/2L USM, a favorite of portrait photographers since its introduction. While Sigma certainly designed the 135mm f/1.8 DG HSM Art lens to compete strongly with the Canon 135L, by not including stabilization, they left the door wide open for Canon to take back the must-have-135mm-lens crown. Update the optics, add IS and weather sealing and this lens will immediately hit the "best seller" list with its perfect-for-portraiture specs.
What do you think?
What do you think will happen to the lenses on this list? Are there desirable feature updates that I didn't mention? Let us know in the comments!
United Kingdom, Republic of Ireland, 17 October 2017—Canon Inc. announced today that the Company has reached two major production milestones—a cumulative total of 90 million interchangeable-lens EOS cameras and 130 million1 EF-series interchangeable lenses. The EOS 5D Mark IV was the 90 millionth EOS Series camera range to be produced, while an EF16-35mm f/2.8L III USM became the Company’s 130 millionth interchangeable lens.
Canon’s EOS system debuted alongside the EF series of interchangeable lenses in March 1987 as the world’s first fully-electronic mount system for film AF SLR cameras. Over the years, both product lines have continued to expand, gaining support among users ranging from first-time users to professionals. Production accelerated in the early 2000’s with the spread of digital SLR cameras. Canon’s interchangeable-lens digital cameras have maintained the No. 1 share of the global market for 14 consecutive years since 2003.2
Since its conception, the EOS series has continued to develop revolutionary technologies under the series concept of “speed and comfort”. Canon has since developed every key device in-house including the CMOS sensors, image processors and interchangeable lenses—employed in the EOS series. Particularly noteworthy are the Company’s EF lenses, which lead the industry in sales and feature such world-first3 innovations such as the Ultrasonic Motor (USM), Image Stabilizer (IS) technology and a multilayered Diffractive Optical (DO) element.
Canon will continue to strengthen and expand the EOS series and EF lens lineups by refining its imaging technologies, by striving to combine optics, stills, video and network technologies. The Company will also continue its pursuit of manufacturing products that are both stylish and reliable.
The EOS series of interchangeable-lens cameras began with the EOS 650 SLR camera, released in March 1987, that not only featured the world’s first electronic lens mounting system, but also fully digitized communication between the camera body and lens to produce a new generation of autofocus technology.
As film cameras boomed, Canon launched several models covering a wide range of user needs, including the EOS-1 in 1989, aimed at professionals, and the EOS 500 in 1993, which achieved a compact, lightweight design and greatly expanded Canon’s user base. Then in 2003, during the early years of the digital camera age, the Company released the groundbreaking EOS 300D Digital, an entry-level digital SLR camera that offered a compact, lightweight body at an affordable price. This move would trigger a massive expansion of the camera market, with Canon claiming the overwhelming lead in market share that same year. With the later release of the EOS-1D Series for professionals and the EOS 5D series, which helped popularize video capture using SLR cameras, Canon has continued to release epoch-making products that have enabled the Company to maintain the No. 1 share of the global interchangeable-lens digital camera market for 14 consecutive years from 2003 to 2016.
Since the release of the first EF lens, launched alongside the EOS series in 1987, Canon has produced EF lenses featuring world-first technologies such as the EF75-300mm f/4-5.6 IS USM with IS in 1995, the EF400mm f/4 DO IS USM with a DO lens in 2001 and the EF24mm f/1.4L II USM, treated with highly antireflective Subwavelength Structure Coating (SWC) in 2008. In 2015 Canon released the EF11-24mm f/4L USM, the world’s first4 ultra-wide-angle zoom lens to achieve an 11mm focal length.
Today, Canon boasts 93 lenses5 in its rich EF lens lineup that comprises of lenses such as an ultra-wide-angle 8 mm focal length lens, an 800mm focal length super-telephoto lens and EF Cinema Series lenses for video production. With a wide selection of lenses for every purpose including zoom lenses, IS-equipped lenses, fast-aperture lenses, macro lenses and even the TS-E tilt-shift lenses, Canon is well-positioned to meet the needs of various users.
AeroScope Addresses Safety, Security And Privacy Concerns While Protecting Drone Pilots
12 October 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, today unveiled AeroScope, its new solution to identify and monitor airborne drones with existing technology that can address safety, security and privacy concerns.
AeroScope uses the existing communications link between a drone and its remote controller to broadcast identification information such as a registration or serial number, as well as basic telemetry, including location, altitude, speed and direction. Police, security agencies, aviation authorities and other authorized parties can use an AeroScope receiver to monitor, analyze and act on that information. AeroScope has been installed at two international airports since April, and is continuing to test and evaluate its performance in other operational environments.
“As drones have become an everyday tool for professional and personal use, authorities want to be sure they can identify who is flying near sensitive locations or in ways that raise serious concerns,” said Brendan Schulman, DJI’s Vice President for Policy and Legal Affairs. “DJI AeroScope addresses that need for accountability with technology that is simple, reliable and affordable – and is available for deployment now.”
DJI demonstrated the system today in Brussels, Belgium, showing how an AeroScope receiver can immediately sense a drone as it powers on, then plot its location on a map while displaying a registration number. That number functions as the equivalent of a drone license plate, and authorities can use it to determine the registered owner of a drone that raises concerns. In March 2017, in response to growing calls by governments worldwide for remote identification solutions, DJI released a white paper describing the benefits of such an approach to electronic identification for drones.
AeroScope works with all current models of DJI drones, which analysts estimate comprise over two-thirds of the global civilian drone market. Since AeroScope transmits on a DJI drone’s existing communications link, it does not require new on-board equipment or modifications, or require extra steps or costs to be incurred by drone operators. Other drone manufacturers can easily configure their existing and future drones to transmit identification information in the same way.
Because AeroScope relies on drones directly broadcasting their information to local receivers, not on transmitting data to an internet-based service, it ensures most drone flights will not be automatically recorded in government databases, protecting the privacy interests of people and businesses that use drones. This approach also avoids substantial costs and complexities that would be involved in creating such databases and connecting drones to network systems.
This system is consistent with DJI’s problem-solving approach to drone regulation, which aims to strike a reasonable balance between authorities’ need to identify drones that raise concerns and drone pilots’ right to fly without pervasive surveillance. DJI has led the industry with safety and security advances such as geofencing and sense-and-avoid technology, and believes the rapid pace of innovation provides the best means to address new policy concerns.
Drone identification settings will be included in DJI’s initial drone software to allow customers to choose the content of their own drone’s identification broadcast to match local expectations both before and after identification regulations are implemented in different jurisdictions. To protect customers’ privacy, the AeroScope system will not automatically transmit any personally identifiable information until regulations or policies in the pilot's jurisdiction require it.
“The rapid adoption of drones has created new concerns about safety, security and privacy, but those must be balanced against the incredible benefits that drones have already brought to society,” said Schulman. “Electronic drone identification, thoughtfully implemented, can help solve policy challenges, head off restrictive regulations, and provide accountability without being expensive or intrusive for drone pilots. DJI is proud to develop solutions that can help distribute drone benefits widely while also helping authorities keep the skies safe.”
When the Irix 11mm f/4 Firefly Lens showed up, I had a couple of subjects immediately in mind for it. The Cathedral Parish of St Patrick in Harrisburg, PA was one of them and on the next very-cloudy day, I made the trip to this beautiful place.
Why did I need a cloudy day to photograph the interior of a church? Any direct sunlight shining through the windows creates overly bright spots on the interior. While daylight was needed to light the inside of the church and bring life to the stained-glass windows, strongly-diffused sunlight creates a far more even light than direct sunlight.
Perhaps the biggest challenge to creating an image like is perfectly aligning the camera to the ceiling. With the centered framing, the camera must be positioned precisely below the subject in the exact center of the frame. Often aiding in finding this exact position are tiles and other structural elements that help indicate where the center of the floor is.
I had another aid in this case. The gold-colored subject dead center in the frame is a chandelier that hung far below the ceiling. When I saw the gold chandelier centered in the blue and gray area of the ceiling behind it, I knew that the camera was perfectly centered.
Centered, however, did not mean squared. The Really Right Stuff TVC-34 Carbon Fiber Tripod and BH-55 Ball Head were especially helpful for this part of the endeavor. I wanted as much of the ceiling in the frame as possible, so I fully retracted the tripod legs, which, with the precise construction of this model, meant that the tripod was level. Similarly-precisely-constructed is the BH-55 ball head and with the stem fully against the bottom of one of the drop notches, the camera was directed straight up.
With the camera centered and angled straight up, only final adjustments were needed. The camera still needed to be rotated within the notch (adjust the camera so that it is visually straight up to get started) and then I simply rotated the tripod on the ground, keeping the camera in its centered location, until the viewfinder showed that it was squared with the ceiling. Yes, panning adjustments could have been made using the head's panning feature, but rotating the camera around the head moves the camera slightly from its centered position, meaning that the tripod would need slight repositioning anyway. So, I simply adjusted the tripod position to begin with. Using a Canon Angle Finder C made finalizing the absolute straight-up framing much easier (as would a vari-angle LCD).
Focusing with this manual-focus-only lens was simple. I turned the focus ring to the slight detent/bump at the infinity focus mark and everything in the frame was in focus. The 11mm depth of field is huge at normal subject focus distances and this haptic-feedback setting works for a large number of uses, including with wider apertures than the one used here.
I left the cathedral quite impressed with the Irix 11mm f/4 Firefly Lens. The angle of view it provides is amazing and my first impression is that image quality is very good, especially for the very low price of this lens.
A full review of this lens is planned for the near future. A larger version of this image is available on Flickr.
The New Flagship G1 X Mark III PowerShot Camera Features the Largest Imaging Sensor Ever in a Canon Point-and-Shoot Camera
MELVILLE, N.Y., October 16, 2017 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced a new flagship addition to its acclaimed G-series of premium compact cameras, the Canon PowerShot G1 X Mark III. Lightweight and portable without sacrificing the very best in Canon digital imaging technologies, the new G-series flagship features a 24.3- megapixel* APS-C CMOS sensor and Canon’s revolutionary Dual Pixel CMOS AF (Auto-Focus) technology, both firsts for a Canon point-and shoot compact camera offering.
“As we continue to evolve the popular Canon PowerShot G-series line, we remain committed to incorporating both our latest innovations and the features photographers are looking for in an advanced, compact camera,” said Yuichi Ishizuka, president and COO, Canon U.S.A. “With the new PowerShot G1 X Mark III, users will appreciate the quality and overall performance made possible using a APS-C sensor, alongside upgraded capabilities that can enable the capture of amazing photo and video, even in lowlight conditions.”
Ultimate in Compact Image Quality
The new Canon PowerShot G1 X Mark III offers dramatic improvements from the series’ previous flagship, the PowerShot G1X Mark II, headlined by a larger, 24.3-megapixel APS-C CMOS sensor, resulting in fantastic image quality in both stills and video. This dramatic sensor upgrade pairs with a wide-angle 24-72mm (3x zoom) lens with Optical Image Stabilization featuring a wide f/2.8-5.6 aperture to allow for maximum brightness and increased sharpness in images and an ISO range of 100-25,600. This provides users with the versatility to shoot in low-light scenarios like a dimly lit restaurant which can frame subjects with beautiful background blur.
Technology commonly found in Canon DSLRs and advanced cameras has now arrived for the first time in the PowerShot G-series, as the G1X Mark III will feature Canon’s acclaimed Dual Pixel CMOS AF system. This feature, popular amongst enthusiast and professional users, provides extremely fast and smooth autofocus capabilities across nearly the entire focal plane, allowing for more creative compositions when framing a subject away from the center of a shot.
Versatile and Intuitive Operation
Dust and water resistant, the Canon PowerShot G1 X Mark III is a compact and powerful imaging companion ready for a variety of challenging shooting scenarios. Designed for enthusiast and professional users, it offers a host of useful features to help inspire creativity and improve operability. These include:
2.36 million dot Organic LED Electronic Viewfinder provides customization options to match nearly any shooting style or scene
Touch & Drag AF allows for intuitive operation linking the Electronic Viewfinder and touch panel monitor to quickly adjust focus targeting without looking away from the viewfinder, or using Smooth Zone AF to effortlessly track subjects with the touch of a finger.
3.0 inch Vari-angle Touch LCD Monitor helps capture the perfect shot from a variety of challenging angles, including overhead or low-angle shooting.
The G1 X Mark III is capable of fast continuous shooting up to approximately 7 frames per second (fps), or up to 9fps with AF fixed – working easily with Dual Pixel CMOS AF to track even the most fleeting of subjects with ease.
A New Shutter Release function offers a sophisticated sense of operation, similar to high-end EOS models, providing a comfortable hold during continuous shooting
Canon Technologies Worthy of a Flagship
With technology ranging from HD video capabilities to the latest in connectivity features, the G1 X Mark III is versatile enough to achieve high-level performance on the go. Additional features include:
Instantly connect to a smart device via built-in Wi-Fi, NFC or Bluetooth to facilitate easy sharing with friends and family or utilize the Camera Connect app to shoot remotely.
Panoramic Shot Mode functionality allows users to easily capture panoramic photos, simply be swinging the camera while shooting either vertically or horizontally.
Capture Full HD 1080/60p Video with high ISO speed shooting and smooth accurate focus when used alongside Canon’s Dual Pixel AF technology, while 5-axis movie IS helps reduce the effect of camera shake when shooting handheld
Easily capture picturesque Time-Lapse Movies with intuitive settings that help determine intervals and exposure
The Canon PowerShot G1 X Mark III is scheduled to be available in November 2017 for an estimated retail price of $1,299.00. In addition the Canon Lens Hood LH-DC110, Waterproof Case WP-DC56 and Deluxe Leather Case PSC-6300 for the PowerShot G1 X Mark III will be available for an estimated retail price of $59.99, $499.99 and $99.99 respectively.
A beautiful specimen of one of my favorite animals sings one of my favorite songs under my favorite lighting conditions in Rocky Mountain National Park.
I was recently privileged to spend a week chasing Rocky Mountain elk around Colorado with a big lens.
For this trip, I based in a small rental cottage just west of Estes Park, CO.
Each morning before daylight, I drove the short distance Moraine Park on the east side of RMNP.
Upon arrival at the park's huge meadow, I pulled over, turned off the SUV and listened for the awesome sound of elk bugling.
With the large number of these animals located in and around the huge Moraine Park meadow, locating a bull was not often a problem.
However, it didn't take long to figure out that multiple bulls bugling in close proximity made for the best action during this peak rutting period.
Upon locating a number of bulls (and when the 7:00 AM park service meadow curfew lifted), I began to approach the targeted animals from the direction the sun was going to rise.
While the majority of the other photographers simply photographed from along the road, I found that hiking into the meadow, often 1/2 mile or more, produced a higher number of images I liked.
Reasons for the better images including the ability to approach at a better light angle, better alignment of the background and the option to get a better height with an eye-level camera position generally being preferred.
While I came away from this trip with thousands of keeper-grade elk images, it has been difficult to select down to just a few standouts to share with you.
Here is why this one stands out to me:
First, the sun had just crested the mountain behind me, meaning that this was the warmest-colored light the meadow would see.
That light was from directly behind me, meant that shadows were minimized and the low sun angle easily created a strong catchlight in the elk's eye, adding some life to the subject.
With clouds shading the background, the sun-lit subject becomes even more eye-catching.
That I can almost hear the body position is yet another reason.
With the large, symmetrical antlers laid back and the mouth wide open, this elk is obviously bugling.
The side-on body position with the head turned just slightly toward the camera usually works ideally.
Some frost and golden grasses surrounding the elk with some fall colors in the strongly-blurred background round out the reasons this image became one of my favorites.
A larger version of this image is available on Flickr.
We shoot pictures with the best intentions of printing and distributing them, making art or books, or even just updating family photos… I’m certainly guilty of filing folder after folder away on external hard drives to be revisited ‘when I have more time.’ Even diligently doing all of the aforementioned things, there are still mountains of images that never see the light of day. A fresh approach to printing can inspire you to output more images, different types of images, and provide a perfect jump-start for your creativity. Here are some simple and delightful alternative photographic processes that will inspire you to get your images on paper.
One great thing about the digital revolution is that it made high quality photography accessible to a large number of people. A bad thing about the digital revolution is... well, the same.
With so many people pursing photography as a career or a side job, it can be extremely difficult to get a foot-hold even in your own local market. It's certainly understandable why other local photographers could be perceived simply as competition, and therefore, interactions with those photographers avoided.
However, the photographers living around you can be great assets. Let me explain.
A couple of years ago I moved from middle Tennessee to Savannah, Georgia. I lost all of the regular clients that I had built up over a lifetime of living in a relatively small town. Not long after moving here, however, I met a local Savannah photographer who invited me to join a closed Facebook group comprised of photographers in the area.
At first, I didn't really see much of a point in joining, but I soon did. I eventually learned of multiple local Facebook groups devoted to photography, each organized for slightly different goals (I'm now a member of 3 of them). Benefits of joining the local photographers' Facebook groups included:
Photographers frequently have "destashes," selling off props from their studios. Want inexpensive newborn outfits for photo shoots? Done.
Photographers oftentimes share suggestions on places to shoot and may even offer to lend equipment if you're in a pinch.
Photographers will regularly advertise second shooting or filmmaking opportunities for weddings they've agreed to cover.
And last but not least, photographers will routinely refer clients to other photographers in the area when they can't service an interested client's needs.
I've personally gotten a couple of jobs from referrals generated by one of the local photographers' Facebook group (one with a well-known broadcasting company, no less). If you find photographers referring clients regularly in your area's photographers' Facebook group, you may want to set your Notifications to "All" so you can be the first to respond to availability inquiries.
Those living in moderately populated areas are more likely to have already-established photography groups on social media, although, like Savannah's, they may be closed. Therefore, you may need to attend popular events in your area to find other photographers who are already a member of such groups (it's pretty easy to strike up a conversation about photography). And if you find that there isn't a Facebook group for photographers in your area, start one. It may take time for your community to grow, but the benefits will most likely be worth the effort.
Of course, Facebook isn't the only way to socialize with other photographers. Even many small towns have photography clubs that meet on a monthly basis, and joining a photography club can have many of the same benefits of Facebook groups (though with less immediate, widespread communication). Regardless of you method of touching base with other photographers in your area, doing so can be very beneficial from a social – and economic – perspective.