From MAC Group:
White Plains, NY USA – Today Benro announced the S PRO series of video fluid heads. S PRO is the successor to the original S series of flat base video fluid heads which grew popular among wedding filmmakers, documentarians, and other small video crews.
Built for a range of video cameras and accessories, the S PRO series supports up to 17.6 lb./8kg. Equipped with a flat base, the S PRO video heads are a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Each video head includes two accessory mounts for attaching monitor arms or audio recorders directly to the head. The S PRO also feature metal ratchet style knobs and an improved CNC machined aluminum sliding camera plate.
Built for a range of video cameras and accessories, the S8 PRO video head supports up to 17.6 lb./8kg. Equipped with a 75mm flat base with a 3/8"-16 thread, the S8 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Other features include: pan & tilt lock, continuous pan & tilt drag, 8-step counterbalance (0-7), illuminated bubble level and two 3/8"-16 accessory mounts for attaching monitor arms or audio recorders directly to the head. This allows you to attach accessories without needing a cage or rig to do so. Tilt range for the S8 PRO is +90°/-75°. The forward 90 degree tilt helps with table top setups. The S8 PRO also features metal ratchet style knobs and an improved CNC machined aluminum sliding camera plate.
Ideal for a small video cameras and mirrorless rigs with accessories, the S6 PRO video head supports up to 13.2 lb./6kg. Equipped with a 65mm flat base with a 3/8"-16 thread, the S6 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Other features include: pan & tilt lock, continuous pan & tilt drag, 6-step counterbalance (0-5), illuminated bubble level and two 1/4"-20 accessory mounts for attaching monitor arms or audio recorders directly to the head. This allows you to attach accessories without needing a cage or rig to do so. Tilt range for the S6 PRO is +90°/-75°. The forward 90-degree tilt helps with table top setups. The S6 PRO also features metal ratchet-style knobs and an improved CNC machined aluminum sliding camera plate.
Despite its small size, the S4 PRO is a versatile video head with additional counterbalance. The S6 PRO video head supports up to 8.8 lb./4kg. Equipped with a 60mm flat base with a 3/8"-16 thread, the S4 PRO is a versatile creative tool allowing you to mount the head separately on sliders, jibs, or monopods. Other features include: pan & tilt lock, fixed pan & tilt drag, additional counterbalance (1-2), bubble level and two 1/4"-20 accessory mounts for attaching monitor arms or audio recorders directly to the head. This allows you to attach accessories without needing a cage or rig to do so. Tilt range for the S4 PRO is +90°/-75°. The forward 90-degree tilt helps with table top setups. The S4 PRO also features metal ratchet-style knobs and an improved CNC machined aluminum sliding camera plate.
S PRO Heads: Common Features
This image was one of my Katmai National Park goals. I wanted a straight-on, tightly-cropped bear face image and the image shared here was my favorite from this trip.
The bear was huge. The September coat was beautiful. The pose was almost perfectly straight-on with some catchlights in the eyes. The water drops falling from the bear's snout show that it is active. No, that is not lipstick and yes, it is looking at me. Fortunately, these bears like the taste of salmon and not that of people.
I could have made use of a 1.4x extender behind the Canon EF 600mm f/4L IS II USM Lens for this image but didn't have time to install it. Fortunately, the Canon EOS 5Ds R resolution is so high that this heavy crop still has adequate resolution. A Wimberley Gimbal Head made controlling the large lens effortless and sitting on a small stool makes the time with the bears quite comfortable.
Picture yourself sitting alongside a remote creek in Katmai National Park filling memory cards while photographing these giant bears catching salmon, playing, fighting, etc. That's the opportunity I had and that is the opportunity you have in September 2020! Plan on joining me for the Brown Bear Chasing Salmon, Remote Katmai National Park, Alaska instructional photo tour.
Plan to increase your wildlife photography skills while capturing portfolio-grade images on this bucket-list-grade trip! Learn more here.
A larger version of this image is available on Flickr.
From Pam Clark (Adobe Blog):
Photoshop, now available on your iPad; Adobe Fresco available on your iPad and Windows devices; the Creative Cloud Desktop app; Adobe Aero; the new cloud documents system; and a major update to Photoshop on your desktop.
I am thrilled to invite you to join us at the beginning of something new. The official debut of Photoshop on the iPad and the cloud documents system, a major new release of Photoshop, a new AR app called Adobe Aero; Adobe Fresco on Windows; and quite a lot more.
Today marks a significant evolution of Photoshop. This includes:
For the product team, shipping our first version of Photoshop on the iPad and the cloud documents system is a huge milestone that comes after more than a year of intense work. It is a great burst of energy for us into the world. For you, the customer, this first 1.0 version is just the starting line. We plan to shape this new experience together with you, our customers.
Here’s more about the Photoshops, the cloud document system, and the associated apps that we are releasing today:
The journey begins with Photoshop on the iPad
When we started this project, it was hard for me to envision how we would reimagine the Photoshop desktop interface into a beautiful, performant experience optimized for pencil and touch on a smaller screen, while also retaining the power, depth and flexibility of Photoshop.
Photoshop on the iPad is built using the same code base as Photoshop on the desktop. This means you can open and edit the same PSD in Photoshop on your desktop or iPad without worrying about conversions, compressions, imports or exports. Photoshop on the iPad supports large files and many, many layers, just like Photoshop on your desktop, preserving your data across devices. The edits you make, whether making layer adjustments, masking, or spot healing, will produce the same results across devices because the app is powered by the same desktop engine.
One very important thing to note: This is the beginning. The first version of Photoshop on iPad is focused on compositing, basic retouching, and masking, common tasks and workflows that we know will be useful for most Photoshop users. Over time, we’ll add more capabilities and workflows as we learn more about how customers use Photoshop on a mobile device.
We plan to add new capabilities as quickly as possible on a regular cadence of releases, which will begin after MAX 2019. We’re releasing with a set of features we know all Photoshop users will need and plan to add capabilities as we see how customers use Ps on the iPad. While leveraging the same code base helps accelerate development, we’re also deeply committed to rethinking every experience for the pencil and touch screen to give you the best Photoshop experience possible no matter what environment you work in. We know we have more work to do and we encourage you to share what’s important to you after you’ve tried the product.
To orient you, the standard Photoshop toolbar is on the left, modernized for touch. Layers are on the right, modernized for a smaller screen to maximize canvas space. You can also see a detailed layers panel, just like desktop if that’s your preference.
All your work is automatically saved to the cloud using a new system we are also introducing today that we call cloud documents (details on that below). All your cloud documents are PSDs and are automatically saved across all your Photoshops and available to edit everywhere Photoshop is. So whether you flip over to check your email, head back to the home screen, or walk away from your iPad, you won’t lose your work.
We have some in-app tours and video tutorials to get you started and a new home button that takes you to where you can continue existing projects or start new ones. Currently you can export to PNG, JPEG, PSD, TIFF.
The help icon, which is the ? in the top right corner, takes you to help and community forums where we’d love for you to participate.
Today, Photoshop on the iPad is available to all Creative Cloud customers who have a subscription to Photoshop.
Cloud documents provide a streamlined method to work, share and manage creative documents across devices. This system is deeply integrated into Photoshop on the desktop and iPad, Adobe Fresco and Adobe Aero. Cloud documents enable you to work on your projects seamlessly across apps. Instead of exporting and importing files, simply connect to the internet, open your PSD from the app Home Screen and pick up where you left off. If you’ve been using Adobe XD, this workflow will be familiar as we use the same system for XD files. We are thrilled to integrate the cloud document capabilities into Photoshop and expand our support to PSDs today. (When a PSD is in the cloud, we’ve changed the extension to PSDC, “C” for cloud. It retains all the same characteristics and capabilities of an offline PSD.) Saving your creative work as cloud documents will enable exclusive benefits:
Home is easy to navigate to in Photoshop on the desktop, iPad and Fresco with similar tools and capabilities in all the apps.
Some key details about cloud documents:
Learn even more about what’s new in this version of Photoshop here.
On February 19, we will celebrate Photoshop’s 30th birthday. We now have many customers who were born after Photoshop and have never been without it. I’m so incredibly proud to be part of a product that continues to be the tool used by millions of creative people worldwide to bring their imaginations to life. Today that tool gets even better.
First, you will be thrilled with some of the improvements we’ve added using our Sensei technology of artificial intelligence and machine learning- particularly new capabilities in the Object Selection Tool and Content-Aware-Fill.
The home screen looks different because we’ve added things like access to cloud documents. We also have a “What’s new” tour so you can very easily see what we’ve added to each release as we are now constantly shipping new capabilities.
We’ve cut out steps to navigate through multiple panels and dialogs by repackaging top tasks into a central location. These properties are shown contextually for the given content selected. This includes:
We’ve also added new quick action buttons to accelerate common tasks. For example you can now one-click to remove background or select subject while in the pixel layer properties panel or quickly convert text layers into a frame or shape.
Preset Panels: Swatches, Gradients, Patterns, Shapes and Styles
Preset workflows have received a complete overhaul. These improvements make up some of the all-time top requests across all customer types. You get:
Don’t like the changes? The familiar legacy presets can still be accessed and loaded via the contextual panel menu item “Legacy presets.”
Object Selection Tool
This tool has been promoted to the top spot under the magic selections tool icon. We use Sensei AI machine learning to enable you to automatically select single, multiple or parts of objects in an image; speeding up complex selections.
Select subject Select Subject gets better edges, is faster on a Mac and we’ve reduced the size of the Sensei AI machine learning model on disk without reducing quality so we can also run it on Photoshop on iPad and achieve identical results on both platforms (this feature coming to iPad soon).
We’ve added three ways to identify where in your image you want it to look for source pixels as fill content.
Smart Object Convert to Layers
Convert a Smart Object back into its component layers to fine-tune your designs—and do it all in one place, without having to switch between document windows. Right-click any existing Smart Object and use the menu item ‘Convert to Layers’ to unpack the layers.
This is a specific response to requests from some of our power users and we worked very closely with them to get it right.
Now you can take better advantage of the depth maps coming out of your camera. You can set a focal point to choose what to blur and keep in focus (foreground, background, etc). We’ve also made it speedier with GPU improvements.
Transform Warp Enhancements
We’ve added much more flexibility and control to transform warp with the ability to drag with bezier curves. We’ve added preset grids: 3×3, 4×4, 5×5 defaults. You can also create your own custom-sized grids (20×4 for example) and add and move your own new gridlines and anchor points.
There’s also a new keyboard shortcut (option/alt). This supports multiple undos to remove gridlines as you add them. And you can shift/drag to select multiple points for more control over creative warping.
32-Bit HDR Images
We’ve added adjustment layers for curves and brightness / contrast for 32-bit images.
Consistent Transform Behavior
You spoke. We listened. Proportionally transform multiple layers, regardless of the type, without using Shift. However, if you prefer the legacy behavior, simply click the link in the transform option bar to revert back to legacy behavior (all layers free transform by default). With a single click, you can set up Photoshop to your preferred transform behavior.
Smart Object and Layer Comp Tracking
Now save the variation of a Layer Comp within a Smart Object to save time from manually setting each variation.
And So Much More
…Document tab improvements, native animated GIF support, better handling of scratch disks out of space…
Here are some comparisons to get you started:
Please remember to support us by using our links for all of your shopping needs and by sharing the site with others!
From the Adobe Photoshop YouTube Channel:
Here’s a sneak peek at an intelligent, Adobe Sensei-powered feature headed to Photoshop soon. Meredith Stotzner shares how the new Object Selection Tool speeds up your selection workflow by snapping to the object you want to select using machine learning technology.
Here is the Rokinon SP 85mm f/1.2 Lens vs. Canon EF 85mm f/1.2L II USM Lens comparison. Of course, the Canon RF 85mm F1.2 L USM Lens is Canon's best 85mm lens (it's awesome). Here is that comparison.
Try all of the other 85mm comparisons available.
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From the DJI YouTube Channel:
Introducing DJI’s most compact and portable drone yet. At just 249 grams, the ultralight Mavic Mini delivers a 30-minute max. flight time, 4km HD video transmission, and powerful safety features. Capture every vivid detail in 2.7K Quad HD video and enjoy simplified recording and editing with the new, hyper-intuitive DJI Fly app. Whether you’re trekking through the mountains, enjoying a day at the beach, or just lounging in your own backyard, Mavic Mini was made to elevate the experience.
Create your own comparisons.
This lens currently has an instant rebate of, depending on the mount version, up to $160.00.
Take To The Skies With Mavic Mini, DJI’s Lightest And Smallest Foldable Drone
The ultra-light Mavic Mini makes drone flight easier and safer than ever
October 30, 2019 – DJI, the global leader in civilian drones and aerial imaging technology, today opens a new frontier in drone possibilities with the DJI Mavic Mini, an ultra-light folding drone designed to be the everyday FlyCam. Weighing just 249 grams, Mavic Mini is portable, easy to fly, designed for safety and perfect for everyone who wants to experience the fun of flying.
Mavic Mini builds on the technological innovations in DJI’s renowned series of folding Mavic drones, from the original Mavic Pro through Mavic Air and Mavic 2, to pack professional-quality drone features into the lightest possible frame. That puts Mavic Mini in the safest drone category, which in many areas exempts it from regulations that apply to other, heavier drones. Drone pilots must always understand and follow local laws and regulations.
Mavic Mini’s high-grade camera captures compelling footage in high definition, and its new DJI Fly app’s suite of creative features seamlessly transforms photos and videos into professional-quality productions. Its enhanced, stable flight performance provides more opportunities to explore using one of the longest flight times for a drone of its size. Users can unleash their imagination with Mavic Mini’s exciting accessories, including a DIY Creative Kit and a 360° Propeller Guard for added safety.
“To design a drone as lightweight, compact yet capable as Mavic Mini was one of the most challenging projects we’ve ever tackled at DJI,” said Roger Luo, President, DJI. “Distilling top-of-the-line features into a palm-of-your-hand drone is the culmination of years of work, and we are ecstatic to bring a new class of drone to the DJI lineup. Mavic Mini’s long flight time, ultra-light weight and high-quality camera makes it DJI’s everyday drone – and most importantly, it’s easy to fly, no matter your experience level with drones.”
Portable and Safe
Mavic Mini is the smallest and lightest DJI drone ever made, and is the perfect creative tool for life’s daily adventures, whether seeing your everyday world from a new perspective or capturing incredible views of your getaways with friends and family. Mavic Mini incorporates DJI’s renowned safety technology, including geofencing to help drone pilots avoid restricted areas; AeroScope remote identification to help protect sensitive locations; built-in altitude limits; and automatic return to the launch point if the drone loses connection to the controller or reaches critically low battery level.
Mavic Mini is the first DJI drone to weigh below 250 grams, which aviation regulators around the world consider to be safest category for drone flight. In many countries, drones below 250 grams are considered safe enough that they can be used in new and exciting ways. Users should consult their country’s drone laws and regulations to learn more about what they can do there with Mavic Mini.
An Optimal Flight Experience
Created to be the drone for everyone, even those new to drones, Mavic Mini is simple to operate and fly using the dedicated remote controller. The ultra-light design and high-grade motors provide Mavic Mini with up to 30 minutes of flight time, giving users with more time to explore and capture content. A Wi-Fi transmission signal delivers stable control and an HD live feed for a clear, confident flying experience. GPS receivers and downward visual sensors detect the ground below Mavic Mini, enabling precise hovering, stable flying and accurate landing both indoors and out.
Quality Content Captured with Ease
Mavic Mini offers pilots the ability to capture high-quality footage including 2.7K video at 30 frames per second, 1080p at 60 frames per second, or 12-megapixel photographs using the 1/2.3-inch sensor. A three-axis motorized gimbal supports and stabilizes the camera, ensuring the footage is smooth and cinematic, making it perfect for sharing on social media.
Advanced Features Created to Inspire
The new DJI Fly app is intuitively designed, simplifying the flying and content capturing experience so that pilots of all skill levels can make the most of Mavic Mini. Dedicated tutorials are included to help new pilots learn about flying, and pre-set editing templates add a new level of creativity to the footage. New pilots can choose to fly in Position (P) mode for basic operation, more experienced pilots can unlock more capabilities in Sport (S) mode, and content creators can choose CineSmooth (C) mode to lengthen braking time for smoother shots and more cinematic footage. Pilots can also choose from several pre-programmed flight maneuvers known as QuickShots. Simply tap the desired mode and Mavic Mini will automatically create stunning, cinematic content:
Get Creative with New Accessories
Exciting and unique accessories allows pilots to get the most out of their Mavic Mini. Customers can choose from options including:
Detailed information on these accessories can be found here: www.dji.com/mavic-mini
Price and Availability
Mavic Mini will be available for pre-order beginning October 30 at store.dji.com, flagship stores and authorized retailers and partners. Mavic Mini will come in two purchase options, the standard version which includes Mavic Mini, remote controller, one battery, extra propellers and all necessary tools and wires for $399 USD. Or the Mavic Mini Fly More Combo which includes all of the components from the standard version with the addition of the 360° Propeller Cage, Two-Way charging Hub, three batteries in total, three sets of extra propellers and a carrying case for the price of $499 USD. Mavic Mini will begin shipping on November 11. Accessories for Mavic Mini will be available for pre-order beginning October 30. For additional information on both Mavic Mini and its accessories, please visit: www.dji.com/mavic-mini
DJI Care Refresh
DJI Care Refresh is now available for Mavic Mini. For an additional $39 USD. DJI Care Refresh offers comprehensive coverage as well as up to two replacement units within one year. Receive your replacement even sooner with DJI Care Refresh Express. DJI Care Refresh also includes VIP after-sales support and free two-way shipping. For a full list of details, please visit: https://www.dji.com/service/djicare-refresh
Mavic Mini Wi-Fi system has a maximum range of 4 km when unobstructed, free of interference, and FCC compliant. Maximum flight range specification is a proxy for radio link strength and resilience. Always fly your drone within visual line of sight unless otherwise permitted and check local laws and regulations in the region being operated.
Camera Control Pro 2 v.2.29.1
Changes from Version 2.28.2 to 2.29.1
Download: Camera Control Pro 2 v.2.29.1
Changes from Version 1.5.3 to 1.6.0
Download: Capture NX-D v.1.6.0
Changes from Version 1.3.3 to Version 1.4.0
Download: ViewNX-i v.1.4.0
Changes from Versions 1.8.1 to 1.9.0
Download: Wireless Transmitter Utility v.1.9.0
Changes from Version 2.4.2 to 2.4.3
Download: Picture Control Utility 2 v.2.4.3
After getting to the Vessel, located in Hudson Yards near the Jacob Javits convention center in Manhattan, New York City, getting in is the next step (though photographing the exterior of this structure is also fun) and getting in requires a ticket. Vessel Tickets are free, but they must be sourced for a particular entry time slot. Tickets are available online, beginning 14 days in advance, and on site (though they can sell out). Reasonably-priced Flex Pass tickets are available up to 6 months in advance and permit one-time entry at any time on that day. If making a big effort to get to this location, it might be worth spending a bit to get this ticket.
Once inside, plan on walking a LOT of steps with 2,500 of them available in 154 flights connected to 80 landings. Even when circling the Vessel at the same level, one must go down and up stairs almost continuously.
From a compositional perspective, the higher the shooting position (the more stairs you climb), the more that stairs and landings are seen in the compositions (as you are inclined to shoot more downward at higher levels). The lower the shooting position, the more that the copper color and reflections tend to be seen. The hexagonal shapes created by the flights of stairs and landings appear largest when photographed with a level camera. A wide range of focal lengths can be used, but ultra-wide-angle focal lengths are really fun to use here. The 15mm focal length was not too wide and I would have used wider if I had it available (the Canon EF 11-24mm f/4L USM Lens would be especially fun here).
Note that this is a "Tripods and selfie sticks are not permitted" location. I didn't have a problem with the selfie stick limitation but would have much appreciated having a tripod to work from. A small amount of (sloped) space available on hand rails enabled use of a Really Right Stuff TFA-01 Ultra Pocket Pod and that along with a BC-18 Microball worked very well, though very close attention was required to ensure the rig did not tip over the edge. There is a conventional round handrail throughout the structure, but it is lower than the sloped edge rail, making the RRS clamp I had along unworkable due to the obstructed view.
I love symmetry in compositions and while this structure makes symmetry available, it is a challenging pursuit. My advice is to frame the scene as symmetrically as possible or make it look like you didn't try to do so. Either can look great, but a nearly symmetrical image can appear sloppy. Centering the camera on a landing (watch the floor and railing tiles for centering clues) and ensuring that it is level is a good start to obtaining symmetry. Fine-tuning may still be required and even if great care is taken in the field, fine-tuning may still be required during post production.
This location can be photographed at any time of the day. However, the later the night got, the more I liked the results. The black sky allowed reflections on the structure to pop. Aircraft (a police helicopter is landing in this image) and vehicle lights can be streaked through the frame after dark. Fewer people were visiting and the longer exposures permitted by the darkness allowed the people still there to be erased via their movement. Using strong ND filters is a good mid-day option for obtaining long exposures. Especially on the higher levels, there are vibrations from people walking, especially when going up and down stairs. Long exposures can be surprisingly sharp when the vibrations are a short percentage of the overall exposure.
Another strategy for removing people from the composition is to capture multiple images, later blending them to show portions of the frame without people. Perhaps visiting on a bad weather (think cold, rain, etc.) weekday might gain solitude. Additional options include embracing the naturally occurring people and taking someone along that you want in your photo (environmental portraits).
If the sun is visible, capture it peeking through the structure using a narrow aperture to create a star effect (wide aperture lenses often work best for this). I planned to capture the sunset in the background on this afternoon but ... heavy clouds canceled that show.
The elevator rails will likely end up in your wide-angle images, so use them compositionally. Try centering the rails and also angling them through the side of the frame. Observe the buildings in the background varying as the structure is circled. Give consideration to what they look like in the composition. The blue lights shining upward from the bottom of the structure can be utilized in the frame. In this case, a narrow aperture turned them into a rather wild-looking bright blue star.
I managed to spend 4 hours at the Vessel before a phone call pulled me away from the fun. The take-home from this shoot was very good and it was difficult to select one image to share.
The image I've chosen here simply would not be the same if captured at 16mm. I carried the Canon EOS R and RF 15-35mm F2.8 L IS USM Lens, the only combination I ended up using, along with some other options in a MindShift Gear BackLight 18L. This backpack was perfect for this need.
A larger version of this image is available on Flickr.
SB-5000 Firmware v.14.004
Changes from Firmware Version 14.003 to 14.004
Download: SB-5000 Firmware v.14.004
Changes from Firmware Version 1.02 to 1.03
Download: WR-1 Firmware v.1.03
From the TamronVids YouTube Channel:
Pro Photographer Teal Garcia uses her Tamron 35mm F/1.8 model F012 to photograph timeless, intimate family photos.
The 10mm full frame focal length angle of view is extraodinarily wide.
Please remember to support us by using our links for all of your shopping needs and by sharing the site with others!
Portland, OR – Lensbaby – makers of award-winning lenses, optics and accessories for photographers & videographers announces today the availability of the new Color Expansion Pack for its groundbreaking OMNI Creative Filter System by Lensbaby launched in June, 2019.
“Color is a key element to establishing mood. These multi-color crystals, films and gels allow you to inject a vast range of different tones to dramatically or subtly change the mood in your scene,” says Craig Strong, Lensbaby Chief Creative Officer and Co-Founder. “Color Expansion Pack tools let you paint in a wide range of colors and reflections, channeling the look of expired film, light leaks and more. The same scene and framing can have a completely new feel and mood depending on which Color Pack tools you mount to the front of your OMNI Filter.”
The OMNI System is the simple, unique and elegant solution to shooting through handheld objects. It offers control and repeatability when shooting through crystals and other objects engineered by Lensbaby to create distinct and compelling in-camera effects. The unique, professional-grade system is unlike anything currently on the market and geared to work on existing manual and autofocus prime and zoom lenses. This is the second expansion pack offered for the OMNI system. More will be offered in 2020.
The Color Expansion Pack includes a vast array of tools to organically introduce color and mood into imagery. It includes two multi-color crystals, two sets of multi-color films, one set of color gels and a diffraction film that creates crisscross rainbows.
The Color Expansion Pack will be available for pre-order on October 24, 2019 and will be available for demonstration at PHOTOPLUS 2019 in New York City through October 26. The OMNI Color Expansion Pack retails for $59.95. The OMNI Creative Filter System retails for $99.95 and the Crystal Expansion Pack retails for $49.95.
Color Expansion Pack Details
The Color Expansion Pack includes the following Effect Wands and Filters in a custom-designed pouch:
From the RØDE Microphones YouTube Channel:
ntroducing the NTG5 location sound shotgun microphone, a new addition to the best-selling RØDE shotgun microphone range.
Featuring a groundbreaking acoustic port design providing a superior progressive wave interference, ultra-lightweight construction and crystal clear, broadcast-grade sound, the NTG5 is a revolution in shotgun microphone design aimed at the professional user.
Key features of the RØDE NTG5 include:
The RØDE NTG5, the perfect location recording mic.
Note that certain specials are valid only by using promo code PPEBH19 during checkout.
In this video, Meredith Stotzner demonstrates a few helpul tips for adding text in Photoshop.
From the Adorama YouTube Channel:
Branding has a lot to do with psychology and consistency. Do you know what your brand colors are saying? Are you the same person on every platform? Discuss branding with Vanessa Joy and wedding industry expert Kaleigh Wiese (who is currently rebranding Vanessa's wedding business!) and find where you need to make adjustments in how you're being perceived.
Get 10 Questions to Ask Your Clients here.
Our solar system's smallest [official] planet, Mercury, will be traveling between Earth and the Sun on November 11, 2019, providing us photographers an excellent opportunity to once again drag out those solar filters we acquired for the full solar eclipse of 2017. The complete transit will be visible from South America and the eastern United States, but a partial transit will be visible from every part of the continental US as well as Europe and Africa.
If you don't have a solar filter, now might be a good time to get one as, in addition to the Mercury transit, there will be another full solar eclipse visible to much of North America on April 8, 2024.
For more information on the upcoming transit of Mercury, check out EclipseWise.
From the Mac Group:
White Plains, NY USA – The Benro 3XS and 3XS Lite gimbals revolutionized the way that smartphones were able to be used to create incredible content on the go. With a long battery life and collapsible gimbal arms, they allowed everyone to capture quality professional content in landscape mode or shake free vertical shots for social media game. The Saramonic SmartMic features a compact directional capsule that lets creators focus on sound in front of the mic, while rejecting sound from behind and on the sides – making it ideal for focused shots. Plus, an integrated swivel enables creators to point it directly at the sound they want to capture. This swivel makes it simple to switch between interview and vlog style shots.
By combining the ultra-compact and lightweight SmartMic with the folding design of the Benro 3XS and 3XS Lite, you can take your high-quality content capturing rig with you anywhere that you go. “Combine the Benro 3XS or 3XS Lite gimbal with the Saramonic SmartMic to record high-quality audio directly to a smartphone, and content creator's storytelling will be taken to a whole new level,” remarks Jan Lederman, MAC Group President.
3XS + Mic Kit
3XS Lite + Mic Kit
Photo Competition Challenges Photographers to Provide “Images of Heroism” for a Chance to Win Pelican Gear
Torrance, CA, – October 15, 2019 – With a long history of providing protective cases for both photographers and first responders, Pelican Products today announced its Portraits of Protection photo competition. This program brings these two communities together to immortalize heroes who’ve stepped forward in the face of danger.
Pelican invites photographers to submit photos of either heroism in action, or the faces of heroes, and post on Instagram tagging @pelicanprofessional, #PortraitsofProtection, and #PelicanPhotoContest for a chance to win. Each month, the most moving and visually interesting photos will be selected as winners and featured on Pelican Products’ social media channels. The winning photographers and heroes photographed will each receive their choice of $500 in Pelican gear. “At Pelican, we recognize our products are put in critical situations with first responders that require them to perform every time. There is a sense of responsibility that goes into every product we make,” said Lyndon Faulkner, CEO of Pelican Products. “Our hope is that we receive images from these skilled photographers that serve as a daily reminder to our team, of the responsibility they accept every time they walk through the door, and to honor these real-life heroes.”
Portraits of Protection corresponds with Pelican’s charitable giving program, ‘PELICAN PROTECTS – Supporting the Heroes Who Protect Us’, in alignment with its continued support of first responders and related causes.
Portraits of Protection contest details are available online here and entries will be accepted now through January 14, 2020.
Lawrenceville, NJ – October 17, 2019 – Datacolor®, a global leader in color management solutions, is providing all Spyder5 users with an upgrade of their software for monitor calibration. Datacolor will continue to ensure full compatibility with the latest operating systems for customers using the Spyder5 sensor. This is in compliance of new industry standards with the Apple operating system, which will no longer support 32-bit applications with the Catalina macOS 10.15 version. The Spyder5 software upgrade is free for all users and can be downloaded from the Datacolor website.
Datacolor’s current monitor calibration solution - SpyderX, is 64-bit compatible. SpyderX is Datacolor’s fastest, most accurate and easy-to-use color calibration sensor, providing photographers, designers and videographers with the ultimate confidence and control over their creative vision.
Lensrentals recently used their custom-designed MTF machine (Olaf) to find the highest resolving lenses available. For those that like to geek out over optics, the blog post (linked above) will be interesting and – as usual for articles authored by Roger Cicala – entertaining. Here are a few snippets from the article:
A couple of years ago, a testing customer asked us to find which lenses could get maximum resolution from a 150-megapixel sensor. Many people assumed that the highest resolving lenses at standard resolutions would be the highest resolving lenses at higher resolutions. Assumptions are the dark matter of the internet; we can’t see them, but we know they account for most of the mass.See the entire article at the Lensrentals blog to see which lenses made the cut this time around, then read more about those lenses here.
There was no photo or video lens that could resolve 200 lp/mm wide-open. (Our standard for ‘resolve’ was an MTF 0f 0.3; an MTF of 0.2 was borderline. There’s some evidence to support those cut-offs, but someone could argue them. Wait, this is the internet. Someone WILL argue them; it’s what someone lives for.)
The best results were for the Zeiss Otus 85mm f/1.4 lens at f/4. A few other lenses (Zeiss 135mm f/2 APO-Sonnar; Sigma 135mm f/1.8 DG HSM Art; Zeiss 55mm f1.4 Otus) were acceptable at f/4 in the middle portion of the image.
Two years later, that customer asked us if we knew of any other lenses that they should consider. There’ve been a lot of lenses released since we did these tests, and some of those lenses fit the criteria for possible ‘ultra-high’ resolution; primes with focal lengths of 85mm or more. The manufacturers are obviously making these lenses with at least moderately higher resolution cameras in mind. So perhaps some of the newer lenses would resolve ‘ultra-high’ frequencies better than some of the older lenses we had tested.
So we checked some new lenses all the way up to 240 lp/mm, something sufficient to make a 200 megapixel FF camera worthwhile. To be clear, this is NOT coming to a camera near you anytime soon; it’s a research project. But if the researchers are making such a sensor, it makes sense they want to know which lenses would get the best results from the sensor.
From Dave Etchells, Founder of ImagingResource.com:
I first had the idea for Imaging Resource almost 24 years ago, and I've been actively working on it for about 22 years now. I officially launched the site with the first handful of reviews in April of 1998, and it's been a spectacular run ever since. I'm proud that some of our first readers are still with us, and we've accumulated many more along the way. Personally, I've been blessed beyond measure by the site, my co-workers and the entire photo industry; it's one of the nicest industries in the world, with remarkable unstinting support, camaraderie and positive feelings all around.We would like to wish Dave great things in whatever endeavors he embarks upon next.
Now though, nearly 22 years later, we're coming to an end of that road, although it's possible that the site and brand might continue, with a greatly trimmed-down staff. I hope that'll be possible, and there may be a few ways to make it happen, but it'll require committed support from both readers and manufacturers to bring it to pass.
From the Adorama YouTube Channel:
If you use flash in your photography you might be aware that the shutter speed plays a vital role in controlling the amount of ambient light that's captured in an exposure. Usually when shooting in a studio, the cameras maximum flash sync shutter speed is fast enough to control the ambient light but if you love shooting with fast glass and wide apertures you need to master HSS flash aka high speed sync flash.
In this video photographer Gavin Hoey explains why and when HSS flash is helpful and then goes on to share his simple tips and tricks to make setting up HSS flash really straightforward. Once Gavin has everything ready he uses the set-up to shoot some eye catching portraits of a medieval knight!
MELVILLE, NY, October 10, 2019 – Your activity of choice should not limit you on your quest to #RECtheWorld – from jumping on a trampoline, biking down a mountainside, screaming on a roller coaster or feeling the beat at a music festival. Down for just about anything, Canon U.S.A., Inc., a leader in digital imaging solutions, is excited to announce the IVY REC Clippable Outdoor Camera. Made to go anywhere while capturing those larger-than-life moments – this new camera is made for adventure.
Great for the outdoors, the clippable and wearable design allows users to wear it on a belt or bag and the clip doubles as a viewfinder – eliminating the potential to crack a screen. Simple to use with one click capture for both photos and videos, the IVY REC pairs with the optional Canon Mini Cam app. When paired with a compatible mobile device2 such as a smartphone, you can keep informed about important settings including battery life of the IVY REC camera, remaining image capacity for the MicroSD card, video recording resolution (720p or 1080p)3, and image size. You can also use the app as a live viewfinder to capture photos and videos, and even use it as a remote shutter with a timer. For photos and videos, the app lets you wirelessly transfer them to your compatible mobile device to print and share. The go-anywhere camera is also waterproof4, shockproof5 and lightweight.
“We have learned a lot about the IVY customer since we launched our first IVY product over a year ago –their unique shopping habits and what’s important to them when it comes to consumer technology products,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “We’ve worked tirelessly to implement this knowledge into the next generation of IVY products, the IVY REC, offering the younger generation consumer the opportunity to go where the moment takes them and capture them in an instant.”
The Canon IVY REC comes in three colors: Riptide (Blue), Avocado (Green) and Dragon Fruit (Pink) and is scheduled to be available in October 2019 at an estimated retail price of $129.99.
NEW YORK, Oct. 11, 2019 -- B&H Photo is pleased to share the announcement of the new Zhiyun Tech WEEBILL-S Handheld Gimbal Stabilizer. Touted by Zhiyun-Tech as the "Tiny Giant," it features motors that are 50% more responsive and have 300% more torque than previous gimbals. This allows the WEEBILL-S to remain small and lightweight, while supporting DSLR and mirrorless cameras without reaching the limits of the gimbal's motors—all of which makes it easier to operate the gimbal for extended run times with more flexibility in shooting.
The built-in OLED screen can display a variety of adjustable parameters such as: Motor Strength, Follow Speed, Smoothness, and Deadband (helps prevent unwanted gimbal movements). These adjustments can be made directly on the WEEBILL-S without using the downloadable app. A built-in auto-tune function will tune the WEEBILL-S to mounted camera, providing the most efficient use of power and allowing your WEEBILL-S to run up to 14 hours on a set of interchangeable 18650 batteries, and the WEEBILL-S can power select cameras. Your camera mounts via the two-in-one Manfrotto/Arca-Swiss quick-release plate, while newly designed axis locks make balancing your camera faster and easier. The gimbal supports a full-range POV mode, Vortex mode (for 360-degree barrel rolls), Go mode for extremely fast action, PF mode (pan follower), F mode (follower), which has all axes follow your movements, and L mode, which allows you to mimic jib shots. Additionally, the Zhiyun ZY Play iOS/Android mobile app enables Panorama, Timelapse, Motion Timelapse, and Long Exposure Timelapse shooting.
An optional Image Transmission module mounts directly under the quick-release plate and transmits video signals up to 1080p30, allowing you to livestream from your gimbal. It works not only as a transmitter, but, incorporating a motion sensor, it allows for precision control. The second supported mobile app, ViaTouch 2.0, takes advantage of this, allowing you to connect with your smartphone, camera, and gimbal together electronically so you can adjust settings and control your set up from a smartphone. When coupled with the SmartFollow 2.0 module, sold separately, you can track objects precisely from your smartphone, without needing to mount your smartphone on your gimbal. The WEEBILL-S supports up to three devices wirelessly, including smartphones, tablets, and monitors. A third app, Sync Motion, interfaces with the Image Transmission module and allows real-time monitoring plus synchronous motion control for an immersive FPV experience.
From Nikon USA:
Nikon Also Announces the New MB-N10 Battery Pack: Enhances Battery Life and Adds Additional Grip for Nikon Z 7 and Z 6 Users
MELVILLE, NY – Today, Nikon Inc. announced the fastest NIKKOR lens ever made, the new NIKKOR Z 58mm f/0.95 S Noct lens. The 58mm Noct is a one-of-a-kind lens that pays homage to the extraordinary optical legacy that the previous Noct-NIKKOR 58mm f/1.2 lens established, while demonstrating the superiority and potential of the Nikon Z Mount. Created for the most discerning photographers, the new Noct lens is an exclusively manual focus prime lens with an incredible maximum aperture of f/0.95 for a truly dramatic depth of field and next-level low light performance.
The NIKKOR Z 58mm f/0.95 S Noct is in a class of its own, offering low light ability and extreme sharpness that excels in the hands of a capable creator. From stunning portraits to landscapes or astrophotography, all images are rendered beautifully thanks to its vast depth-of field control, seductive bokeh and superb point-image reproduction.
“This is why the Z mount was created. The Noct is a testament to Nikon’s commitment to optical innovation driven by more than a century of expertise,” said Jay Vannatter, Executive Vice President, Nikon Inc. “We promised a new dimension of optical performance for the Nikon Z series and NIKKOR Z lens lineup, and by announcing our fastest NIKKOR lens ever made, the NIKKOR Z 58mm f/0.95 S Noct, we are making this claim a reality.”
The NIKKOR Z 58mm f/0.95 S Noct joins as the apex to the ever-expanding series of S-Line lenses, which also includes the recently announced NIKKOR Z 24mm f/1.8 S and NIKKOR Z 85mm f/1.8 S, all hailed for their sharpness and optical performance.
A LEGENDARY LENS REBORN
The original Noct-NIKKOR 58mm f/1.2 was released in 1977, its name said to be derived from “Nocturne.” Made for nighttime photography, this lens became renowned for its ability to reproduce point light sources as point images. The design of the new Noct lens evolves with the most advanced optical technology for photographers and videographers, boasting an immense f/0.95 maximum aperture, staggering low light ability and enticing bokeh characteristics.
The NIKKOR Z 58mm f/0.95 S Noct implores an extensive depth of field, producing elaborate bokeh and blur characteristics with good continuity for more compelling, three-dimensional imaging. Even when the distance between the subject and the background are insufficient, the new 58mm Noct lens can still capture sharp images with beautiful background blur due to the reproduction of an extremely sharp focus plane and vast shallow depth of field. Additionally, shooting point light sources at maximum aperture would normally produce sagittal coma flare. However, with the new Noct lens the causes of sagittal coma flare are eliminated across the entire frame with point light sources being reproduced as tack-sharp point images even at the peripheries, for clear and crisp night landscapes and astronomical shots.
A lens like the new NIKKOR Z 58mm f/0.95 S Noct is possible today because of the large Z mount, which allows for more light capture and faster data sharing between lens and camera, as well as improved flexibility for lens optics and design. The new Noct lens also boasts a large-diameter ground aspherical lens element crafted from the finest glass with outstanding surface accuracy, providing a higher refractive index that would otherwise be unobtainable. This pro-level lens is constructed with an optical formula consisting of 17 elements in 10 groups, ensuring a well-balanced lens that delivers incredibly sharp results.
Like the NIKKOR Z 24-70mm f/2.8 S lens announced earlier this year, the NIKKOR Z 58mm f/0.95 S Noct lens includes an ARNEO Coat, which provides anti-reflection performance to combat incident light reaching the lens surface from a vertical direction. Alongside the Nano Crystal Coat, which effectively reduces incident light from a diagonal direction, the new Noct lens can capture clear and sharp content with minimal ghosting and flare effects across a wide variety of backlit situations that are normally challenging. Additionally, the NIKKOR Z 58mm f/0.95 S Noct includes a lens information panel allowing photographers and videographers to confirm aperture, focus distance and depth of field at a glance. Users will also enjoy the increased number of functions that can be assigned to the lens Fn button, matching the Fn1/Fn2 buttons on both the Z 7 and Z 6 cameras. Additionally, an electromagnetic diaphragm mechanism is incorporated, providing stable aperture control even during continuous shooting. The fluorine coat of the new Noct lens acts as a dust, dirt and moisture repellent coating.
In addition to the refined and durable exterior design, the NIKKOR Z 58mm f/0.95 S Noct offers excellent operability and a feeling of precision in hand. The focus ring enables accurate manual focusing, allowing for the appropriate amount of torque and a large rotation angle, even for the extremely shallow depth of field afforded at f/0.95. The new Noct lens also adopts a control ring, where functions like aperture setting, and exposure compensation can be assigned. Furthermore, the inside of the lens hood is felt-lined, delivering clear rendering by effectively preventing light reflection inside the hood.
THE NEW MB-N10 BATTERY PACK FOR THE NIKON Z 7 AND Z 6
The new MB-N10 battery power pack is an optional accessory for both the Nikon Z 7 and Z 6. The battery pack significantly enhances battery life and adds an additional hand hold, providing photographers and videographers even more freedom and comfort when using the Z 7 and Z 6. The battery pack is designed to hold two EN-EL15b batteries (sold separately), effectively increasing the number of shots possible and movie recording time by approximately 1.8X, based on CIPA standards. The MB-N10 offers the same weather sealing and modern design of the Z 7 and Z 6, plus it will support USB charging.
Price and Availability
The NIKKOR Z 58mm f/0.95 S Noct lens will be available October 31, 2019 at a suggested retail price (SRP) of $7,999.95 and will come with a special premium custom padded case (Trunk Case CT-101), in addition to the HN-38 Hood. The new MB-N10 battery power pack will be available in November 2019, for an SRP of $199.95.
From Nikon USA:
Nikon Also Announces the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR, Two New Lenses That Deliver Incredible Image Quality and Outstanding Portability
MELVILLE, NY – Today, Nikon Inc. announced the next Z series mirrorless camera, the DX-format Nikon Z 50, along with two new companion NIKKOR Z lenses, the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR. The new Nikon Z 50 takes full advantage of Nikon’s larger Z mount, providing creators of all types with the most innovative optical system for superior image and video quality. The compact and lightweight Nikon Z 50 was made for unique individuals seeking a camera that has the speed, portability and style to keep pace and share their creative storytelling and imagination, especially when paired with the new ultra-compact 16-50mm zoom and the slim 50-250mm telephoto zoom lenses.
“The new Nikon Z 50 is a small yet capable camera that brings the best of the Nikon Z series to all kinds of creators to discover, share and engage,” said Jay Vannatter, Executive Vice President, Nikon Inc. “The new NIKKOR Z DX lenses expands the Nikon Z series to provide new creative tools for those looking to take their photo and video passions to new heights.” When a sudden case of jet-set wanderlust strikes, or if there’s an idea that just has to be shared in 4K video, the Nikon Z 50 is the unobtrusive companion that promises to help deliver content that truly stands out. This is Nikon’s first DX-format mirrorless camera, delivering a more compact lightweight system to those upgrading to mirrorless or discovering the Nikon Z mount system. The new Z 50 offers an ergonomic design, intuitive operability and the steadfast reliability Nikon is known for, but in a slimmer, lightweight and attainable body. Taking advantage of the Nikon Z mount, the Z 50 produces stunning image quality and provides optimal performance for any type of content creation, from still photography to high-quality 4K video.
SMALL ON SIZE, BIG ON FUN: The easy-to-carry, compact and lightweight 14-oz body of the Nikon Z 50 is designed with intuitive controls and an agile yet durable magnesium alloy frame. It’s effortless to carry while vlogging a vacation, hiking the backcountry or exploring a new part of town. Since it’s mirrorless, users can activate the silent shutter function for truly low-profile shooting in sensitive situations. TELL YOUR STORY, BEAUTIFULLY: A DX-format 20.9-megapixel CMOS sensor delivers superior image quality, sharpness, color and tones to document it all, even in low light. The EXPEED 6 image-processing engine helps to achieve excellent low-light performance and the highest standard sensitivity in its class1 for still-image shooting – ISO 51,200 – so users can capture high-resolution photos in challenging lighting conditions, like concerts or night street photography.
HIGH-SPEED PERFORMANCE: The camera quickly locks focus with a 209-point Hybrid AF System that enables broad coverage of approximately 87% of the frame horizontally and 85% vertically. It’s also the first Nikon DX-format camera to employ Eye-Detection AF, which makes portrait photography simple by recognizing and instantly focusing on a subject’s eyes, even if they are moving. What’s more, with fast 11 fps (with AF/AE) continuous shooting, users can keep up with fleeting moments and never miss a moment of the action.
FLIP-DOWN SELFIE SCREEN: The Nikon Z 50 features an easy to use interface with a 3.2-inch flip-down LCD touchscreen that’s ideal for selfies and vlogging. The LCD features familiar soft keys and icons, while intuitive controls make storytelling simple. Selfie Mode automatically disables all but essential controls while the LCD is flipped down, which makes it easy for the photographer to turn the camera on themselves and capture flattering photos and videos without worry of accidentally changing settings.
EPIC VIDEO FEATURES AND NEW CREATIVE OPTIONS: Sharp, vibrant 4K video is just the beginning – Experience built in 120p slow-motion, time-lapse and interval timer as well as in-camera video trimming and 20 Creative Picture Controls. These Creative Picture Controls and Special Effect modes instantly transform an image or video footage, while Scene Modes automatically adjust settings to optimize performance for beginners. For smooth footage, the camera also incorporates additional built in stabilization while shooting Full HD or 4K video.
SHARE BETTER CONTENT, INSTANTLY: Built-in Wi-Fi and Bluetooth connectivity along with support for the new SnapBridge2 version 2.6 app allows users to seamlessly share still images and videos with friends, families and followers. In addition to automatically sending gorgeous images to one’s phone, users now also have the ability to easily transfer video to their smart device quickly. The latest version of SnapBridge also supports RAW image transfer and advanced remote capture functions.
THE NIKKOR Z DX 16-50mm f/3.5-6.3 VR & NIKKOR Z DX 50-250mm f/4.5-6.3 VR – NEXT GENERATION DX-FORMAT NIKKOR LENSES
The new NIKKOR Z DX 16-50mm standard zoom and the NIKKOR Z DX 50-250mm telephoto zoom lenses are designed to complement the new Z 50, striking the balance of small size and sharp optics. The NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens is a slim zoom lens that lets users capture a wide variety of scenes, from beautiful landscapes to candid portraits. The compact telephoto NIKKOR Z DX 50-250mm f/4.5-6.3 VR lens allows anyone to go the extra distance and capture far-away subjects, like city skylines or birds in flight. When paired with the new lenses, Dual Detect Optical VR is enabled on the Z 50 to help control the effects of camera shake when shooting.
Both the new NIKKOR Z DX lenses unleash the potential of the Nikon Z mount, using the superior design flexibility made possible by the large-diameter and the 16mm flange focal distance to deliver outstanding optical performance and sharpness in a deceptively compact form factor.
In addition to achieving incredible image quality, the new NIKKOR Z DX lenses are optimized for video capture when paired with the Z 50, making them must-haves for emerging content creators. Both lenses promise reduced focus breathing, a customizable control ring for smooth control of aperture or exposure compensation, as well as fast and quiet operation. Additionally, the new lenses offer in-lens optical Vibration Reduction (VR) technology to allow for smooth recording, with camera shake compensation equivalent to 4.5 stops3 and 5.0 stops3, respectively.
Beyond these two new lenses, Nikon Z 50 users can enjoy greater variety in imaging expression by mounting any of the current lenses in the NIKKOR Z lineup. A vast selection of traditional F-Mount NIKKOR lenses is also available to shooters via the Mount Adapter FTZ, with many lenses retaining functions such as VR and AF.
Price and Availability
The Nikon Z 50 will be available in November 2019, in several configurations including body-only for a suggested retail price (SRP) of $859.95, a one-lens kit with the NIKKOR Z DX 16-50mm f/3.5-6.3 VR lens for a SRP of $999.95 or a two-lens kit with both the NIKKOR Z DX 16-50mm f/3.5-6.3 VR and NIKKOR Z DX 50-250mm f/4.5-6.3 VR lenses for a SRP of $1,349.95.
I had attempted to photograph the historic Crystal Mill twice. On the first (not very serious) attempt, a navigational error prevented success. On the second attempt, heavy rains prevailed and even the jeep service would not take me to the mill. With the end of the Rocky Mountain National Park photography workshops aligning with the normal peak fall foliage time in Marble, CO and the airline ticket price home being significantly lower one day later, I opted to make another attempt at photographing this mill and routed the itinerary through Marble one more time. This time, success was achieved.
Getting to this location requires driving a very-rough 4x4 road or a very long hike. My rental Suburban checked the 4x4 box but I was advised that it was questionably long to safely make the trip. Yes, the rental company's damage insurance coverage was in place but I still needed to be able to get to the airport and after driving up the first section of road, I opted to park the SUV in an area just large enough to clear the road. The hike remaining hike was between 4 and 5 miles and quite scenic.
This trek started mid-morning and the mill was reached at around noon. Upon paying the access fee ($10 enables access beyond the cable) and scoping out the available shot locations, it was obvious that the light would be better later in the afternoon (as expected). Also, the crowds were heavy at noon, another unfavorable aspect of photographing at this time of the day. With a very early AM flight scheduled, a very short night at the hotel was promised (about 2.5 hours of sleep) and a nap seemed like a good plan. I hiked past Crystal City, a ghost-town-like area featuring historic rental cabins and a store, and upon finding a sloped rock with my name on it, (sort of) slept for a couple of hours.
Upon returning to the mill, I found the crowds much lighter. The sky had filled with clouds that created an even light and clouds prevailed for most of my remaining time there. I didn't mind the even lighting that the clouds created but the clouds in the background were usually in direct sunlight, creating a huge dynamic range. After shooting many HDR captures, the clouds parted momentarily and I was able to make (only) one single image with direct sunlight hitting the mill while using this camera and lens. The cloudy sky images were nice, but this direct sunlight image was my favorite.
For this hike, I could take two cameras and two lenses in the MindShift Gear BackLight 18L. The Canon EOS R and Canon RF 15-35mm F2.8 L IS USM Lens made the cut and delivered excellently. A Breakthrough circular polarizer filter was used to cut reflections and increase saturation. a Really Right Stuff TVC-24L Mk2 Carbon Fiber Tripod and Really Right Stuff BH-40 Ball Head provided the support for this image.
A larger version of this image is available on Flickr.
Learn several very useful Photoshop tips from Adobe's Julieanne Kost.
The U.S. Government’s recent Executive Order regarding Venezuela prohibits almost all transactions and services between U.S. companies and entities and individuals in Venezuela. In order to remain complaint, Adobe will be deactivating all accounts in Venezuela, with the exception of Behance, on October 29, 2019. Customers who purchased directly from Adobe will be refunded by the end of the month for any paid, but unused services. We are working with our partners on the same. We regret the difficulties this causes our customers. We will share more details about how our operations and customer activities might be impacted, as they become available.
How long will the Executive Order be in effect?
Executive Order 13884 was issued with no expiration date – the decision to rescind it rests solely with the U.S. Government. We will continue to monitor developments closely and will make every effort to restore services to Venezuela as soon as it is legally permissible to do so.
Where can I find more information on Executive Order 13884?
You can find further information here.
You’ve charged me, when will I get my refund?
If you purchased directly from Adobe, we will refund you by the end of the month for any paid, but unused services. We are working with our partners on the same.
For more information, check out this Adobe Support page.
From Canon UK:
United Kingdom, Republic of Ireland, 9 October 2019 – Canon Inc. today celebrates a significant camera-manufacturing milestone, as production of Canon’s EOS-series silver halide (film) and digital interchangeable-lens cameras surpassed 100 million units on 20 September 2019. An EOS R mirrorless camera (released in October 2018) was the 100 millionth EOS-series camera produced.
Boasting an attractive product line-up that caters to a variety of genres, skillsets and requirements and an extensive range of over 70 EF and EF-S lenses, Canon strives to expand the boundaries of imaging expression. The EOS series has supported many users, from entry-level through to professionals over its long history, and enabled Canon to maintain the No. 1 share of the global interchangeable-lens digital camera market for 16 consecutive years from 2003 to 2018. In March 1987, the EOS series began with the EOS 650, a next-generation AF single-lens reflex (SLR) camera featuring the world’s first fully electronic lens mount. Production of the EOS series began in what was then Canon’s Fukushima plant and now takes place at a variety of locations - including Taiwan, Miyazaki, Nagasaki and the lynchpin Oita Canon – where production is now carried out under stringent product quality management. Following the release of the EOS 650, Canon went on to develop innovative products and technologies that put speed, comfort and image quality at the forefront - such as the high-end EOS-1 released in 1989 and the EOS 500, which was released in 1993 - expanding the EOS series to cater to many users, from amateur to professional.
In the early 2000s, as the pace of digital SLRs (DSLR) adoption picked up, Canon sought to create even more appealing products. The EOS series’ core concept was expanded to include “high image quality,” achieved through proprietary, cutting-edge technology such as Canon-developed CMOS sensors and DIGIC image processors. The EOS 300D - a compact, lightweight DSLR with an affordable price - contributed to the wider adoption of interchangeable-lens digital cameras, for consumers. Both the EOS 5D series and 1D series expanded digital EOS to professionals – specifically, the EOS 5D Mark II introduced DSLRs as valid means for movie capture and independent filmmaking. Whilst the establishment of the Cinema EOS System of professional digital cinematography products in 2011 extended Canon’s video technology to the B2B sphere entering the video production industry.
Canon will continue to explore new approaches, building on the success of the EOS cameras and the original EF mount, which gave photographers and filmmakers versatility when shooting - such as the 2018 launch of the EOS R System, which employs the new RF Mount. Expanding imaging areas - from still photo to the realm of video - the EOS Series across bodies and EF lenses supports a wide range of users, from entry-level through to professionals. Speed, comfort and high-image quality will all continue to be at the core concept of the EOS series, further strengthening the EOS System towards expanding the culture of photographic and video imaging.
Create comparisons keeping in mind that only max aperture openings are being shown.
SuperStore & Offices
B&H will be closed Tue Oct 8 through Wed Oct 9. We will reopen at 9am Thu Oct 10.
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Store Pickup orders placed before 7:30pm Mon-Thu will be available for pickup within 30 minutes until 8pm, same day. Orders placed after 8pm will be available the next day at 8am, Mon-Fri (Sun at 10am).
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From the B&H YouTube Channel:
New York Yankees Shortstop Didi Gregorius wants to prove that not all baseball players are created equal. The Bronx Bomber talks to B&H about his love for all things creative, from photography to digital illustration and how there is so much more to him that just being a baseball player.
From the Sports Shooter Academy YouTube Channel:
Workshop instructor Keith Birmingham conducts a hands-on class on rigging backboard and post remote cameras for capturing a unique angle for covering basketball. Thanks to PocketWizard for providing loaner gear for SSA participants to use during the workshop. The Sports Shooter Academy workshops are sponsored by Nikon Professional Services. Video shot with a Nikon Z and Nikkor lenses. Video produced by Myung J. Chun for Sports Shooter Inc.
B&H carries magic arms.
Please visit the Photography Workshops page for the latest openings.
It's time to check off another line item on your bucket list. With pleasure I invite you to join me in remote coastal Katmai National Park for 7 nights in mid-September, 2020 to photograph brown bears chasing salmon.
Arrangements have been made with a highly-respected, long-term (over 2 decades) coastal Katmai NP boat operator to host our group. After a 1-hour floatplane flight from Kodiak, AK, we will set down on a remote coastal Katmai NP bay where we will be met by a skiff and shuttled to the "Ursus", the original "Time Bandit" boat from the TV show Deadliest Catch, our home for the week. This is a solid ship that I've had the privilege of staying on and the Katmai NP bays we will be visiting are incredible (Geographic and Kukak Bays for example). While we will be boat-based (extremely convenient in this location), the skiff will transport us to the shores of the salmon streams where we will get up close and personal with the bears while photographing them. The amount of time allocated for this trip means that the ship can move from bay to bay, targeting the best salmon runs and providing variety in our images.
The September timeframe is ideal for bears looking good with new coats and a huge size, up roughly 40% from August. The lighting is softer at this time of the year with a low angle ideal that is ideal for photography. Also, the number of dark hours is adequate for a decent night of sleep while still taking advantage of the ideal lighting hours. Humpback/pink, chum/keta/dog, and sometimes sockeye/silver salmon, a bear favorite, run at this time of the year. There are no promises that we will see wolves, but this time of the year holds an increased chance of this encounter.
Plan on hanging out with a small group that shares your passion for wildlife photography in a spectacularly scenic location. Note that this is not Katmai NP's popular Brooks Falls where there is often a waiting line to get onto the observation deck.
When and Where
Thu, September 17 to Thu, September 24, 2020 in remote coastal Katmai National Park, Alaska.
Hopefully you, along with up-to-7 other participants. Sign up with your friends!
The cost for the 7-night Kodiak-to-Kodiak trip is $7,695 per person plus crew tips. Meals are included. Email me at Bryan@Carnathan.com to sign up or ask questions!
What are We Photographing?
Our primary photo subject will be brown bears. Wildlife, by definition, is "wild" and that means it is unpredictable and there can be no guarantees. That said, coastal Katmai National Park is an extremely reliable location to photograph brown bears and, as mentioned, the bears should be chasing salmon in the small streams at this time of the year.
In addition to brown bear, we could see other animals including sea otters, whales, and potentially even wolves. We will be opportunistic and take advantage of any interesting subjects that we encounter – and discovering those moments are part of the excitement. In addition to the immersive wildlife photography experience, there will certainly be opportunity for some landscape photography. The views from the boat are awesome.
While the implied definitions of these terms vary, I see "workshops" typically laid out with a planned schedule and "tours" typically designed to put you in front of subjects at the right time. I'm calling this trip a "tour" because the primary goal is for you to get great images and we will be opportunistic in that regard, making a firm schedule difficult to implement. That said, we will spend a lot of time together and I will teach (including as we are actively photographing), answer questions (please bring many), critique images, assist in editing, etc. throughout our time together. Thus, the educational element will also be a primary part of our time together – an "Instructional Photo Tour".
In the field, we will photograph side-by-side. You taking great images home will be a primary goal, but you capturing those images yourself is important and I can best describe what you should do if I am doing it myself at the same time. This also provides the participant opportunity to watch how it is done. Your constant feedback and questions during the IPT are important and will enable me to provide you with the best experience possible.
An "expedition" is another type of immersive photography experience and this event involves multiple daily mini-expeditions. Certain is that we will have an adventure.
This will be an only modestly strenuous trip, with much of the strain dependent on the size and weight of the gear you are carrying. Sometimes the hike from the skiff to the bears will be short and sometimes we might eventually end up as far as (roughly) a mile up the streams. Thus, one needs to be in reasonable physical condition.
What is Included
From Kodiak and back to Kodiak, all food and lodging (on the boat) is provided. In the boat's current configuration, lodging is two bunks per room and two rooms per bathroom.
What is Not Included
Transportation to/from Kodiak and any lodging prior to or post trip. Note that flights to Kodiak are typically out of Anchorage.
Tips for the crew are not included.
The schedule may vary, but a typical day looks like this: We will wake up in the morning, eat breakfast, slip into waders (hip waders provided, bringing your own chest waders is a better option), board the skiff with our gear, and, along with a bear guide, will head for the streams holding both salmon and bears. Typically, we come back to the boat for lunch and go back out for another round of photography later in the day. Staying out all day is an option we can request.
Please note: travel insurance is very strongly recommended for this trip. While the operator has had "only three trip cancellations in the past twenty-two years due to weather (guests didn't schedule buffer days)", they "cannot accept liability for costs incurred due to weather or other forces of nature." They are "a small company, servicing relatively few clients each season, and the nature of [their] trip presents some variables over which [they] have no control." Safety comes first. If conditions are not safe, they don't fly. Allowing some flexibility in travel (buffer days) is highly recommended in this part of Alaska.
This trip will fall under the operator's booking guidelines as follows:
To reserve your space, a 50% deposit (not refundable unless your reserved space can be rebooked) of trip price within 10 days of verbal confirmation of your desired dates. Final payment is required 90 days prior to trip departure date. Reservations made within 90 days of trip departure dates require full payment. Credit card payments are welcome. Cancellation fees are in effect. Anyone requiring a different payment plan can ask about the Custom Pay Plan.
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Email me at Bryan@Carnathan.com to sign up or ask questions!
Camera Gear Needed
Aside from a great attitude and a strong interest in wildlife photography, you are going to need some gear and while most cameras with a telephoto lens will work fine, mid-upper-grade gear should be considered for best results from this event.
There will be times when a fast frame rate is beneficial (bears chasing salmon for example), but I will likely opt for higher resolution cameras that typically do not have the fastest-available frame rates. A DSLR camera or a late-model MILC (Mirrorless Interchangeable Lens Camera) should be in your bag.
A telephoto lens or lenses will be needed with a full-frame equivalent of at least 400mm (250mm on an APS-C) suggested and having longer focal lengths available will be appreciated at times (full frame 600mm equivalent is ideal and a 1.4x may even be appreciated behind this lens). Wide apertures are often an advantage, especially on dark days, and the wide aperture's ability to blur the background can be useful. Any telephoto lens can work, but there may be times when an f/4 or wider aperture is preferred. This is a great event to break out your big lenses for and it is also a great time to try a new one, perhaps via renting.
My current plan is to take a pair of high-resolution cameras such as the Canon EOS 5Ds R along with a 600mm lens such as the Canon EF 600mm f/4L IS III USM Lens (probably along with a Black Rapid shoulder strap to carry it with) and a telephoto zoom lens such as the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens for my primary wildlife kit. In this location, I plan to carry both setups in a MindShift Gear FirstLight 40L.
We will sit together in a line on small folding stools while photographing streamside and a strong tripod with a gimbal head is ideal. I'll leave my backpack on the ground/sand beside me (on a garbage bag to keep it clean) with the second camera and lens ready to grab when the bears get too close for the big lens (expect them to get very close at times).
Bring some basic landscape photography gear.
Bring adequate memory card capacity, enough batteries to last at least a day and enough chargers to restore that capability overnight. Bringing a laptop is highly recommended, enabling review of your images throughout the time we have together. Bring an external hard drive (or multiple of them) for an additional level of backup. Bring a flashlight.
Consider what failure of any piece of gear means for your experience and consider bringing a backup for items identified as critical.
As always, feel free to ask us for gear advice.
Weather / Clothing
The weather in Katmai in late September is typically very nice, though cool and sometimes even cold (mostly mornings and late evenings). Dressing in layers is the best plan. Rain protection may be required at times, including rain covers for camera gear while in the field.
The wildlife we are pursuing is acclimated to humans and does not seem to care what we are wearing. Thus, camo clothing is not necessary. Just in case you were wondering, bears think salmon taste much better than people.
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Contact me at Bryan@Carnathan.com.
I've just returned from an awesome 17-day trip to Colorado, hanging with some great people, and taking (more than) a few pictures. As I began unpacking, I thought I'd keep track of what I removed and share with you what was in my backpacks for this trip.
While leading photography workshops was my primary purpose for being in Colorado, I can instruct best when I am shooting myself. Those, I needed gear appropriate for what we were photographing — wildlife and landscape. As this site is also a higher priority than my personal photography, I needed to do field testing of as much new gear as possible at the same time.
Flying meant my gear was limited to what would fit in my max-airline-dimensions checked bag, a carry-on, and a personal item. My photo trip packing strategy is to put the items with the most value (both financially and for the shoot) and the items most sensitive to damage in my carry-on and personal item camera backpacks that go with me onto the plane. Unless my checked bag is under the 50 lb weight limit (it seldom is and the bag I checked for this trip registered exactly 50.0 lbs on the scale), I'm also interested in putting the densest (think metal) items in my carry-on and personal item packs (I've not yet had these bags weighed for domestic USA flights).
The MindShift Gear FirstLight 40L and MindShift Gear BackLight 18L are my current favorite camera backpacks for travel. The larger pack goes on my back with the waist belt tightened enough for the weight to be supported on my waist — not my shoulders. The smaller pack goes on in reverse direction — a front pack — with the waist belt clipped around the front of the case (to get it out of the way). Here is the list of what is (or was) in the two backpacks along with some interspersed reasoning:
Camera gear in the checked bag included:
Note that all of the links in this post lead to reviews on this site or the product pages of our affiliate retailers. Hopefully you have found this information at least entertaining and watching me carry the gear through the airport is probably even more so.
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From the Phlearn YouTube Channel:
Today we show you how to create a beautiful double exposure effect in only a few minutes! Learn how to use Levels to change a light background into a pure white background and then blend two images together using the magic of Blending Modes.
From the Adorama youTube Channel:
Join Daniel Norton OnSet as he creates an image with the look of end of day sunlight using studio lighting and some knowledge of how the “real sun” works. One trick to creating light that feels natural is to study and understand existing light. Then when the time comes that you must make it, you will be ready to create your own sun or moon as the case may be.
GoPro HERO8 Black Highlights
GoPro MAX 360 Highlights
From the Adobe Photoshop YouTube Channel:
Here’s a sneak peek into brand-new enhancements coming soon to Photoshop’s Content-Aware Fill. Find out how this Adobe Sensei-powered feature is becoming even more intelligent and more powerful.
The 5DayDeal Complete Photography Bundle 2019 Givaway promotion is now live and runs until October 3, 2019 [noon Pacific Time]. Sign up to be notified of the 5DayDeal launch and you could win one of the prizes listed below:
(15) Luminar + Aurora HDR + Signature Looks from Max Rive ($187 each)
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(1) Beats Solo 3 Wireless Headphones ($349)
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The FJ400 is the first portable 400Ws AC/DC strobe with less than 1 second recycle time at full power and 480+ full-power flashes per charge. The powerful FJ-X2m Universal Wireless Trigger is equipped with multi-brand technology that pairs with virtually any camera brand to maximize the FJ400’s full potential. With a large display and user-friendly menu, controlling TTL and HSS has never been easier.
In this video, Adobe's Julieanne’ Kost demonstrates how to create realistic and highly customizable flames along any path in Photoshop.
Canon UK has published the following firmware updates:
The firmware updates change the following: