Canon and Sony News for Mar 2018 (Page 4)

This week, Julieanne Kost gives three tips for navigating documents in Photoshop.

B&H carries Adobe Photography Plan subscriptions.

by Sean Setters

Before we delve into the different techniques for capturing focus stack images, it's important to understand why focus stacking is an important tool, especially in regards to macro photography. Focus stacking allows you to gain more DOF (depth of field) so a larger portion of your frame can be in sharp focus. Your DOF is determined by the relationship between format size (full frame or APS-C), focal length, aperture and focus distance. Macro photography, especially as magnifications of 1.0x (or greater) are achieved, necessitates focusing on very close subjects, which in turn produces a very shallow DOF even at relatively narrow apertures.

For instance, using a Canon EOS 5D Mark IV and an EF 100mm f/2.8L IS USM Macro lens set to f/5.6 with a subject distance of 11.8" (the lens' minimum focus distance), your DOF would be approximately 0.08" (2.03 mm). Switch out the 5D Mark IV for an EOS 7D Mark II and the DOF would change to 0.05" (1.27 mm). Note that if a 7D Mark II were used and the framing remained identical between the two cameras, the APS-C 7D II's DOF would be greater than the full frame 5D Mark IV's (see FOVCF).

With such a shallow DOF at f/5.6, why not just use a much narrower aperture to gain more DOF? There are two main reasons. The first is that even if you used f/16 with the 5Ds R under the shooting conditions listed above, your DOF would only increase to 0.23" (5.84 mm) which still won't be enough DOF to cover your subject under a lot of macro shooting conditions. And the second (probably more compelling) reason is that the cameras listed above have DLAs (Diffraction Limited Apertures) of f/6.7 and f/6.6, respectively. Noticeable sharpness and contrast penalties are incurred when using apertures significantly narrower than a camera's DLA, so shooting at f/5.6 allows you to obtain the sharpest image within your DOF.

In short, focus stacking allows us to obtain exactly the DOF we desire in a scene while maximizing sharpness at the same time (assuming an aperture wider than the camera's DLA is used).

Now that we've established why focus stacking is important in regards to macro photography, let's dive into ways you can capture the images necessary for focus stacking.

A perennial favorite for macro shooters is the use of a focusing rail to move the camera forward/backward at set intervals. Focusing rails are typically adjusted by rotating a screw on which the camera platform sits (or otherwise the platform freely slides along the rails until clamped into position) with markings provided to make precise interval shooting a breeze.

Move the camera forward so that the new plane of sharp focus overlaps with the previous shot and activate the shutter button. Repeat as necessary until the desired DOF has been captured.

If you prefer an automated solution, Cognisys, Inc.'s StackShot Automated Macro Rail can be programmed to do the work for you.

Note that if your macro lens features a tripod ring, you could attach an inexpensive macro plate (one with scaled markings) to the tripod ring and manually slide the camera, clamp, shoot and repeat to capture your focus bracket. This approach isn't as convenient and won't likely be as precise as using a geared macro rail, but it is much less expensive.

One issue that you may run into when using macro rails is that your perspective changes as you move the camera. However, most focus stacking programs are designed to properly align source images even with the perspective change.

Variable Focus, Fixed Camera Position

For this technique, the camera is mounted to a solid support system (typically a tripod) and images are taken as the lens' focus distance setting is changed to move the plane of sharp focus forward or backward. This can either be done manually by very carefully and minutely rotating the focus ring in between shots or the process can be automated through various camera remote platforms (CamRanger, CamFi, DSLR Controller). For the sample image atop this post, I used the Canon EOS 5D Mark III and EF 100mm f/2.8 USM Macro (and some extension tubes) to capture 17 RAW files while manually adjusting focus from the nearest in-focus element to the farthest.

Varying focus does not lead to perspective change. However, if the lens exhibits focus breathing (many do), the scene will be framed slightly tighter or looser as focusing is adjusted throughout the imaging sequence, making details larger or smaller in the frame. This change isn't typically an issue for most focus stacking programs.

Which focus stack capture technique should I use?

As a lens's maximum magnification is only achieved at its minimum focus distance, moving the camera position will enable you to achieve the lens' max magnification throughout your image sequence. Also, manually moving the camera via a macro focusing rail can enable you to capture a more precisely spaced set of images compared to manually varying focus (automated systems would likely be equal in that regard).

A focusing rail will not work as well for scenes with a lot of depth as your camera's travel distance will be limited to the length of your rail. In those cases, varying focus will be your only option. If you are on a limited budget and want to give focus stacking a try, the variable focus method doesn't require an investment in specialized equipment, making it much easier to just hit the ground running when the inspiration strikes.

Which focus stacking software should I use?

There are a few programs dedicated to focus stacking and at least a couple of general image editing programs have a focus stacking feature built-in. I decided to try three of them with the same stack of images to see how they compared.

• Adobe Photoshop CC
• Affinity Photo
• HeliconSoft Helicon Focus

To capture the stack images, I used the variable focus technique, manually adjusting focus between shots. Here's what the nearest focused and farthest focused shots looked like in the 20 shot sequence at f/5.6:

Each of the programs used did a decent job assembling the in-focus areas of the focus stack, but there were some notable differences. Photoshop seamed to do a great job assembling the in-focus areas, but it didn't handle the transitions to out-of-focus areas very well, especially in regards to areas showing depth. Affinity Photo seemed to do a better job handling the areas that troubled Photoshop, but it produced noticeable halos throughout the image.

It's important to note that Photoshop and Affinity Photo have very limited (if any) focus stacking options to allow for tailoring the stacking algorithm to best suit a given set of images. Affinity Photo provides no customization options for focus stacking while Photoshop CC gives you the option of Automatically Aligning the source images (highly recommended) in the Scripts/Load Files Into Stack dialogue box and provides two checkmark options – Seamless Tones and Colors and Content Aware Fill Transparent Areas – in the Edit/Auto Blend Layers/Stack Images dialogue.

On the other hand, Helicon Focus provides three separate algorithms for stacking – Weighted Average, Depth Map and Pyramid. And if you choose Weighted Average or Depth Map, you can choose specific Radius and Smoothing settings. The Radius setting adjusts how large of an area is analyzed around each pixel. Low Radius settings enable fine details to be better resolved, with an increased risk that halos will appear in the image. The Smoothing setting dictates how the in-focus to out-of-focus transitions will appear, with higher settings enabling a softer transition.

In the end, I liked the Helicon Focus Weighted Average result best, and with the ability to adjust its algorithms' variables, Helicon Focus will likely prove most adept at producing pleasing focus stacking results. But if you already own Photoshop CC or Afffinity Photo, give their focus stacking features a try to see if they work well for your needs.

Just posted: Canon TS-E 135mm f/4L Tilt-Shift Macro Lens Review.

It's a lot like the Canon TS-E 90mm f/2.8L, and that's a very good thing.

The Canon TS-E 135mm f/4L Tilt-Shift Macro Lens is in stock at Amazon | Canon Store | Beach Camera | eBay.

This lens is expected soon at B&H | Adorama | WEX.

From the B&H YouTube Channel:

This video is designed to get you started in the world of headshots VERY EFFECTIVELY with minimal equipment. First you’ll learn how to set up your speedlite for on-camera as well as off-camera wireless use. You’ll also learn many styles of lighting that can be achieved with just one simple Speedlite. We’ll cover several different light modifiers, how their characteristics vary and why to use one modifier vs. another.

In this week’s episode of Lightroom Coffee Break, Benjamin Warde categorizes photos using the Metadata Painter.

B&H carries Adobe Photography Plan subscriptions.

Just posted: WD My Passport Wireless SSD Review.

Among other interesting information in this review is the result of this device repeatedly falling 6' onto concrete.

Save up to $100! The WD My Passport Wireless SSD, in a variety of capacities, is in stock and on sale at B&H.

From Irix:

If you’re still searching for something more powerful then the ND 1000 filter, then Irix has some great news for you!! This young Swiss company had released a brand new filter for their Irix Edge family.

The ND32000, with an optical density of 4.5 and incoming light reduction by 15-stops, allows the user to get an exposure time of up to five minutes on a sunny day! Therefore you can enrich your portfolio with mirror-smooth water and perfectly blurred objects in motion such as the clouds and city traffic, even under bright sunny conditions.

Thanks to high quality optical glass equipped with a special waterproof and oil repellent NANO coating, the filter’s surface is protected from stains and fingerprints and enables the use of the filter in extreme weather photo shoots.

What’s more, due to the possibility of screwing the filter onto the lens, you can be sure that each shoot made with the Irix Edge 32000 is protected from any light leakage.

The retail price for the Irix Edge filter ND32000 is 159 euros. The product will be available on sale in the next few days.

Currently the Irix Edge family consists of CPL, ND and UV filters of various diameters & made especially for Irix super thin gel filters sets.

Adorama carries IRIX filters.

With all three of the new Canon tilt-shift lenses in house, I thought I'd share the latest Canon L-Series Tilt-Shift Lens family picture.

Shown here are the:

• Canon TS-E 17mm f/4L Tilt-Shift Lens
• Canon TS-E 24mm f/3.5L II Tilt-Shift Lens
• Canon TS-E 50mm f/2.8L Tilt-Shift Macro Lens
• Canon TS-E 90mm f/2.8L Tilt-Shift Macro Lens
• Canon TS-E 135mm f/4L Tilt-Shift Macro Lens

That is one great-looking family. This set would make a sweet kit for so many uses.

This is one of the most beautifully illustrated CDLC articles I've seen in a long time. [Sean]

From the Canon Digital Learning Center:

by Erin Babnik

One of the greatest rewards of photographing landscapes is the transformative experience of being outdoors. Regardless of how well the photography goes, spending time in beautiful or invigorating environments is time well spent. Nonetheless, most landscape photographers would prefer to return from an excursion with new additions to the portfolio to show for it, and that desire can make exploring new areas seem like an imprudent expense of time. Focusing on results can lead to a creative cul-de-sac, however, sometimes causing a photographer to privilege scenes that are ‘safe bets’ instead of taking risks with unknown territory. Although playing it safe with familiar locations can bring desirable short-term results, the greatest rewards come from venturing outside one’s comfort zone and into situations that encourage personal discovery. Exploring new terrain is one of the greatest habits that a landscape photographer can form for the purposes of creative growth, not only because exploration is challenging, but also because it is exciting and extremely fun.

From Canon USA:

Association Will Help Elevate the Voices of Female and Non-binary Photographers

MELVILLE, N.Y., March 8, 2018 – In conjunction with International Women’s Day (IWD), the global day celebrating the social, economic, cultural and political achievements of women, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce their association with Women Photograph, a movement created to promote the representation of female photojournalists. Canon will work with Women Photograph to aid their travel grant program which funds female and non-binary photographers to attend workshops, hostile environment trainings, festivals, and other developmental opportunities.

Launched in 2017 and founded by photojournalist Daniella Zalcman, Women Photograph is an initiative to shift the gender makeup of the photojournalism community. A private database that includes more than 700 independent female documentary photographers based in 91 countries, any commissioning editor or organization can utilize the database for their photojournalistic hiring needs.

“I can’t think of a better way to celebrate this year’s IWD than to support an initiative that is enriching the professional advancement of female and non-binary photojournalists,” said Elizabeth Pratt, director of professional client development and support and Canon Professional Services. “Women Photograph has created a home for professional women photojournalists to showcase their work for potential clients and Canon is honored to help continue the momentum of this initiative.”

Canon Professional Services will host a Women Photograph Workshop at the Canon Customer Experience Center in Orange County, CA in December. Dates and details will be provided by Women Photograph.

“Canon is an ideal strategic partner as we ensure that our industry’s chief storytellers are as diverse as the communities they hope to represent,” said Daniella Zalcman, founder and director of Women Photograph. “So much of breaking into the photojournalism industry relies on networking and professional development events that can be prohibitively expensive and the generous support from Canon will help our photographers access these resources.”

For more information about Women Photograph or to learn more about the travel grant program and the upcoming workshop, log onto: https://www.womenphotograph.com/.

B&H has the new Sigma Art Lenses for Sony E available for preorder.

Now Available for Preorder in Sony E-Mount

• Sigma 14mm f/1.8 DG HSM Art
• Sigma 20mm f/1.4 DG HSM Art
• Sigma 24mm f/1.4 DG HSM Art
• Sigma 35mm f/1.4 DG HSM Art
• Sigma 50mm f/1.4 DG HSM Art
• Sigma 85mm f/1.4 DG HSM Art
• Sigma 135mm f/1.8 DG HSM Art

From BlackRapid:

A Public Service Announcement from BLACKRAPID

COUNTERFEIT HARDWARE WARNING: USE OF NON-BLACKRAPID HARDWARE VOIDS WARRANTY

Protect Your Equipment and Your Warranty -- Check Your Hardware Today! It has recently come to our attention that some retailers are bundling our straps with non-BLACKRAPID branded parts and accessories. Our warranty specifically states that the use of any non-genuine parts or accessories from other brands could cause damage to the ConnectR or FastenR and voids the warranty.

However, depending on how these retailers choose to list these products, it may not always be obvious that customers are not receiving genuine BLACKRAPID parts. One of the biggest offenders is the non-genuine fastener, made to look like our patented FR-3 or FR-5 FastenR products. The inferior knock-off fasteners are prone to thread wear and/or breakage, which can cause the camera to drop, or the fastener can snap off and get stuck inside the camera’s tripod mount.

Non-genuine parts can also cause abnormal wear and tear on the strap and other hardware, causing the genuine BLACKRAPID parts to fail due to this abnormal strain. We take the safety integrity of our products very seriously. Our products go through intense design planning and weight / durability testing over an extended period of time. All our parts and materials are designed to work together to properly support your camera under normal conditions.

One-Year Warranty
We always want to do the right thing for our customers, and we go out of our way every day to exceed customer service expectations. We guarantee the quality of all BLACKRAPID products with our one-year warranty against craftsmanship defects. However, we cannot be responsible for the performance – or lack thereof – of non-genuine BLACKRAPID parts and accessories, and the use of such parts will necessarily void the warranty.

If there is ever any question as to the authenticity of your current hardware or any hardware you may consider purchasing, please contact Customer Relations at customerrelations@blackrapid.com and we would be more than happy to assist.

Trade-In Program Also check out our Trade-In Program http://www.blackrapid.com/tradein-program if you have an old, damaged, or worn-out strap that you'd like to trade in for a brand new BLACKRAPID strap at a substantial discount. We'll even allow you to trade in your sling style strap from another brand! ~ The BlackRapid Team ~

B&H is an authorized BlackRapid products retailer.

From Think Tank Photo:

We have just released Version 3.0 of our popular Modular Belt System, with improved access speed and ease while accommodating for today’s gear. The Modular Belt System moves weight from your shoulders to your waists for more comfortable all-day carry. Many of the new pouches are expandable to fit pro-sized lenses with hoods in the shooting position.

The newly added Camera Clip Adapter V3.0 belt attachment for the Peak Design Capture Clip, SpiderLight and SpiderPro camera clips allows the clip to rotate on any Think Tank belt for better workflow. Using Think Tank’s patented rotate or lock technology, photographers can lock down their pouches or rotate them freely around the belt when kneeling, sitting or running.

The Lens Changers V3.0 feature one-hand drawstring closures that secures lenses, wide-mouth opening for quick one-handed access, and outer stretch pocket provides space for a lens cap. In addition to new versions of the existing Lens Pouches, the brand-new Lens Changer 150 V3.0 accommodates a 150–600mm f/5–6.3 lens with hood reversed. The Lens Changers include:

• Lens Changer 15 V3.0
• Lens Changer 25 V3.0
• Lens Changer 35 V3.0
• Lens Changer 50 V3.0
• LC75 Pop Down V3.0
• Lens Changer 150 V3.0

Lens Pouches V3.0 offer a wide variety of essential features. The new Flash Mob V3.0 is a belt pouch for DSLR flashes with attached diffuser. The Hubba Hubba Hiney V3.0 beltpack/shoulder bag hybrid includes removable dividers and is a versatile lightweight solution for carrying a small camera kit, lenses or accessories. The new Lens Pouches include:

• Little Stuff It! V3.0
• Stuff It! V3.0
• R U Thirsty? V3.0
• Slim Changer V3.0
• Speed Changer V3.0

The Skin Lens Changers are lightweight compressible modular pouches that hold a wide variety of lenses. The Skin pouches include:

• Skin 50 V3.0
• Skin 75 Pop Down V3.0
• Skin Changer Pop Down V3.0

The new Modular Essentials Set V3.0 includes four of the most popular modular pouches. Photographers get the R U Thirsty? water bottle pouch free compared to buying each component separately. The set includes the Lens Changer 50 V3.0, LC75 Pop-Down V3.0, Speed Changer V3.0, and the R U Thirsty? V3.0.

Modular belts and harnesses have also been upgraded. All belt edges are padded for comfort and support and the adjustable buckle prevents the belt from loosening yet is easy to resize. The new belts and harnesses include:

• Thin Skin Belt V3.0 (S-M-L)
• Pro Speed Belt V3.0 (S-M)
• Pro Speed Belt V3.0 (M-L)
• Pro Speed Belt V3.0 (L-XL)
• Pixel Racing Harness V3.0

The new accessories include:

• Camera Clip Adapter V3.0

Think Tank Photo has the Modular Belt System V3.0 Components in stock and you'll get a free gift when using our links for your purchase ($50.00 minimum purchase required).

From Venus Optics:

Featuring a small lens barrel, lightweight design and extended working distance, the new Laowa lens provides an extreme macro photography option for DSLR & Mirrorless cameras.

Anhui China, Mar 27, 2018 – Venus Optics, the camera lenses manufacturer who had previously launched a number of unique macro lenses (60mm f/2.8 2:1 Macro & 15mm f/4 Wide Angle Macro), is proud to add another member to their macro products line, the Laowa 25mm f/2.8 2.5-5X Ultra-Macro Lens.

The new Laowa 25mm f/2.8 provides a magnification range from 2.5:1 to 5:1 and offers a flexibility for photographers to capture macro subjects with different sizes. The 8 elements in 6 groups design with 1pc of low-dispersion element, creates an outstanding image sharpness across different magnification and greatly reduces the chromatic aberrations and color fringing. The wide focal length gives a relatively deeper depth of field than lenses with longer focal length. This feature is particular essential for photographers who can then stack less images for achieving even sharpness across the frame.

Dedicated solely to macro applications, the lens is carefully designed with an extended working distance (40mm @ 5x) & small lens barrel. This design is aimed to provide sufficient room for lighting reaching the subjects. The lens weigh less than 400g and the compact size make it suitable for shooting both in the field and in the laboratory.

An optional rotating tripod collar is also released for photographers to benefit from mounting the lens onto tripods and compose at different angles.

Canon EF, Nikon F, Pentax K & Sony E mounts are available for order through authorized resellers. The suggested retail price (tax excluded) in United States is $399.00 USD. Pricing varies in different countries.

The new lens will be available to try in the UK Photography Show Birmingham during 17-20 March 2018.

B&H carries Venus Optics lenses.