Canon and Sony News for Jun 2015 (Page 6)
Graphic designer Jamie Spencer of SetupABlogToday has created an Adobe Lightroom CC Quick Keys Cheat Sheet that may prove useful for Lightroom customers. You can find the full cheat sheet on their website or you can simply download it here (PDF).
Adobe's Creative Cloud Photography Plan (USD$9.99 per month) is an excellent value and includes Photoshop CC and Lightroom CC.
B&H has the SanDisk 64GB Connect Wireless Flash Drive available for $52.95 with free expedited shipping. Regularly $94.95.
Product Highlights:
- Includes a microSDXC Memory Card
- Wirelessly Store, Share, Stream Content
- Preformatted exFAT for Windows
- Windows, Mac, iOS, & Android Compatible
- Supports 8 Simultaneous Connections
- Supports 3 Simultaneous Media Streams
- Wireless Range up to 150'
- USB 2.0 Connection, Charges Via USB
- Up to 4 Hours of Battery Runtime
- Wi-Fi (WPA2) Password Protection
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From Photoshelter:
Break into the exciting world of commercial photography
How should you pitch your work to agency art buyers? What’s it like working with ad agencies, or big brands on set? How can you attract commercial clients? These questions and more are answered in our latest guide, Breaking Into Commercial Photography. Dive in to discover how to begin building your client list, marketing tactics to stay relevant in an ever-changing field, and how to integrate your personal style into commissioned work.
Inside this guide you’ll find:
- What art buyers want from photographers
- How to keep your cool on set
- Marketing tactics to keep you top of mind
- How to stay true and authentic to your work
- Tips on estimating and negotiating
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When it comes to photographing waterfalls, one needs to go with the flow. Water flow that is. And spring is often when that flow is just right.
While too little flow can be detrimental to waterfall photography for obvious reasons, too much flow can also be a problem. When the water rises, features that can add to a composition (such as rocks) are often covered. Too much water flow can also result in mud-colored water. While I sometimes like tannin creating streaks and paths in the water, a photo with muddy water is not usually going to hit my favorites folder.
Start monitoring the weather (both recent and forecasted) at your favorite waterfall location and proactively plan to be there at the right time. My forecast preference often includes some rain and plenty of clouds, allowing a saturated landscape with even lighting.
After a heavy rain, B. Reynolds Falls in Ricketts Glen State Park was flowing very strongly on this mid-May day (though the needed rocks details remained exposed). The water was so loud that by the end of the day, I was ready for some quiet time in the car. My ears would have been happier during a drought, but ... my images would not have been nearly as good.
To get this particular image, I climbed down the rocks beside a small walking bridge and precariously positioned myself and the tripod legs on the strongly-sloped wet rocks just above the water. I often place the tripod in the water for such shots, but ... that only works if the water flow is not strong enough to cause vibrations in the tripod. The final composition emphasizes a balance of the features contained with most lines moving toward the center of the frame.
A larger version of this image is available on Flickr, Google+, 500px and Facebook. Also, if reading from a news feed reader, click through to see the framed image.
Roger Cicala of LensRentals has posted a partial teardown of the Tamron 15-30mm f/2.8 Di VC USD lens.
His takeaway? Tamron's latest wide-angle zoom is well built but isn't nearly as modular as most of Canon's newest lenses; fixing one at home is not necessarily recommended because of the complex nature of the lens's construction.
Check out the LensRentals Blog for the well-illustrated (and equally entertaining) partial teardown.
B&H carries the Tamron SP 15-30mm f/2.8 Di VC USD Lens (review).
It is not unusual to find double-crested cormorants drying their wings. Images of these birds doing so are often entertaining, but I am always looking for positive additional elements in my images.
The first positive additional element in this image is the still, shallow, reflective water the bird is standing in. The reflection doubles the primary subject of interest and brings in the blue sky color.
The reflection also pulls in the white and orange color of a flock of white pelicans standing in the water behind the cormorant. White pelicans are not so common in the places I frequent, so having a large flock of them behind my wing-drying bird provides me a positive additional element. That the light-colored reflection provides higher contrast on the cormorant's dark head, where the viewer's eye is to be drawn, is also positive.
The location for this photo was Ding Darling National Wildlife Refuge on Sanibel Island, Florida. The choice of the 600 f/4 L IS II Lens with a 1.4x III behind it was made for maximum reach for the 1D X (along with the superb image quality the combo provides).
I love tightly framed bird portraits, but in this case, my 1D X was focal length constrained, limited to the angle of view provided by the 840mm lens combo (unless I cropped and that option still remains). Composing good environmental bird photos is often more challenging tightly-framed portraits, but when done well, they can look great. In this example, I chose to have a clean bottom border of water and a mostly-white top border. If you follow my work, you know that I like how borders free of contrasting lines keep the viewer's eye within the frame. Beyond that strategy, I was trying to balance the elements remaining in the frame.
While that last sentence may sound easy, the cormorant was constantly changing its head angle. If the bird was looking to my right, I needed to frame farther to my right. And, vice versa. That meant that I had to either change the selected AF point very quickly or that I had to recompose after focusing. My choice here was to quickly select the AF point to one that landed on the bird's head. I made this choice over the recomposing options because I was counting on capturing more than one image before the head moved to another position.
I ended up with many keepers from this short session, but ... I think that this image is my favorite.
A larger version of this image is available on Flickr, Google+, 500px and Facebook. Also, if reading from a news feed reader, click through to see the framed image.
ISO 320
5184 x 3456px
From Nikon:
Nikon D3200 Firmware v1.04
Changes from “C” Version Firmware 1.03
- Addressed an issue that caused the memory card access lamp to light longer than normal or the message “This memory card cannot be used. Card may be damaged. Insert another card” to be displayed while the memory card was accessed.
Download: Nikon D3200 Firmware v1.04
Image quality results from the EOS 7D Mark II have been added to the Canon EF 50mm f/1.8 STM Lens review.
This lens is not performing amazingly at the widest apertures, but stopped down to f/4, it is performing very impressively for the price. B&H has the Canon EF 50mm f/1.8 STM Lens in stock.
What's the Difference? is a series of video lighting tutorials. Each episode responds to a single question. In this episode, Jared Platt compares soft light and hard light.
The entire series, including all videos, articles and lighting diagrams, is available here.
Gear Used:
- Profoto B2 250 Air TTL To-Go Kit
- Profoto B1 500 AirTTL Battery-Powered Flash
- Profoto OCF Softbox (2x3')
- Profoto Zoom Reflector 2
- Profoto Honeycomb Grid for Zoom Reflector 2 (5 Degree)
- Profoto Snoot for OCF Flash Heads
- Profoto Grid Kit for OCF Flash Heads
- Profoto Collapsible Reflector (Siler/White)
- Profoto Air Remote TTL-C for Canon
Just posted: Sigma 150-600mm f/5-6.3 DG OS HSM Sports Lens review.
Very nice lens. Hopefully, after reading the in-depth review, you will feel like you have virtually used the 150-600 Sports.
B&H has the Sigma 150-600mm f/5-6.3 DG OS HSM Sports Lens available for preorder.
"What's the Difference?" is a series of video lighting tutorials. Each episode responds to a single question. In this episode, Jared Platt compares a bareheaded off-camera flash with an umbrella deep.
The entire series, including all videos, articles and lighting diagrams, is available here.
Gear Used:
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