Credentialed access to a 4 hour concert in a 15,000-seat indoor stadium seemed like the perfect opportunity to give the Canon EOS R and
Canon RF 28-70mm f/2L USM Lens a workout while the mostly high-energy performers also got a workout.
When photographing low light action, one historically had to choose between a moderately wide aperture (f/2.8) in a zoom lens and an ultra-wide aperture (f/1.4 for example) in a prime lens.
With the RF 28-70, you can have both a wide aperture and a zoom focal length range.
While some prime lenses still have the wide aperture advantage, the RF 28-70 f/2 L lens bridges the divide and, especially from an image quality perspective, is an outstanding option for low light needs including concert photography.
The spot lights happened to be on the singer (Ledger) in this image, allowing a very clean ISO 800 with a shutter speed adequate to stop most of the motion at f/2.
Other images were captured at ISO settings as high as 6400 where the 1-stop advantage this zoom lens has over most other zooms makes a considerably bigger difference in image quality.
At concerts, the location of the action is often unpredictable and changing fast and that means focal length changes are required, ideally fitting for a zoom lens.
Yes, some prime lenses could have given me another 1-stop lower ISO setting, but I would have minimally needed multiple cameras to cover the same range and often the performers were moving so fast that the shot would have been long gone by the time the cameras were swapped.
Shooting wider and cropping later is an option, but lower resolution images are the result.
Also great for fast moving subjects was the R's touch and drag AF.
With the left hand adjusting the focal length and the right thumb moving the focus point as needed for ideal framing, the EOS R was an ideal choice.
Every shoot teaches new lessons and here are a few concert photography tips from that night.
First, if photographing with a media pass, know without a doubt which gate you are supposed to enter through and be ready to politely ask for a additional opinions when the first person(s) thinks they know the different gate you are required to enter through.
This saves walking half way around a stadium to the shipping and receiving area and waiting for a security guard to make a series of phone calls to figure out what you already knew and send you back to the other side of the stadium.
If opting to ignore this advice, strongly consider arriving at least 1 hour early.
Also if photographing with a media pass, make sure that you have a signed copy of that pass (minimally on your phone) with you because the media reps for some reason may not have your name on the list.
If offered a label with your name handwritten on it, request a lanyard because your camera strap is going to peel the label off within 10 minutes of your arrival, leaving you without the pass.
Minimally attach the label to something that avoids the peel-off risk.
While your media pass may specify where you are supposed to photograph from, the media pass may not have been updated since the 360° stage was implemented.
The specified locations may not exist and those working the show may have no clue about the topic or even how to get to the floor from the entrance level.
Arrive early enough that if the instructions do not align with reality there is time to figure out where you are permitted to go without negatively impacting the show (it is probably not being performed for you).
Oh, if the tour is promoting a 360° stage, just get a ticket and leave the camera at home.
Within seconds, the performer can be a basketball court distance away and even two cameras with complementing zoom lenses are not adequate.
Compounding the problem is that you will have backs toward you for at least 270° of the stage.
AB from B&H introduces a new series on recording audio for video, which is designed to give you all the tools you’ll need to properly record audio for your video projects. This intro gives a basic overview of topics that will be covered in detail in subsequent videos, from choosing the right mic and location to setting recording levels and fixing things in post. If you want a good, basic intro to gear, tips, and techniques, this first video is a great place to start.
B&H has everything you need to record great audio.
This bull had just lost a fight over a harem of cows and headed for the hills.
His rack was larger than that of the opponent, but the opponent's body was larger and that is where the battle strength comes from.
Capturing this image was primarily a matter of repeatedly getting out in front of the bull and properly predicting where it would enter a clearing at the right distance for the big prime lens I was using.
As you will notice from the camera settings for this image, it was quite dark when this image was captured.
The pursuit started under cloudy weather that deteriorated into light rain.
I still have one opening remaining for the September elk in rut photo tour in Rocky Mountain National Park (or get on the 2020 waiting list).
Consider joining a small group of photographers (all skill levels welcome) pursuing these awesome animals and other wildlife and landscape opportunities in this great park!
A larger version of this image is available on Flickr.
We often see beams of light created my nature but being at the right place at the right time when you're shooting portraits is tricky.
So in this video Gavin Hoey will show you how to use flash to create rays of light on a location shoot, whenever you want them.
Using a single flash fired through a small window, Gavin adds smoke to the scene in order to see the real rays of light.
He then adds a second flash to light his model and create a dark and moody urbex style portrait in a disused building.
SIGMA 120-300mm F2.8 DG OS HSM | Sports for CANON EF
This firmware corrects the phenomenon whereby it does not reflect the changes set by custom mode on SIGMA Optimization Pro.
For customers who own the SIGMA USB DOCK and applicable product listed below, please update the firmware via SIGMA Optimization Pro.
Before updating the firmware using the SIGMA USB DOCK, please ensure to update SIGMA Optimization Pro to Ver.1.5.0 or later.
Benefit of the update
It has corrected the phenomenon whereby it does not reflect the changes set by custom mode on SIGMA Optimization Pro.
This firmware makes the SIGMA MOUNT CONVERTER MC-11 compatible with the latest firmware of SIGMA interchangeable lenses, and improves the AF speed when it is used in combination with the SONY a9 or SONY a7 III and the SIGMA 135mm F1.8 DG HSM | Art.
For customers who own the SIGMA MOUNT CONVERTER MC-11, please update the firmware via SIGMA Optimization Pro by connecting it to a computer using the supplied USB Cable.
Before updating the SIGMA MOUNT CONVERTER MC-11 firmware, please ensure SIGMA Optimization Pro has been updated to Ver.1.5.0 or later.
Before attaching the updated SIGMA MOUNT CONVERTER MC-11 to the camera body, please remove the battery pack from the camera and put it back in again.
SIGMA MOUNT CONVERTER MC-11 SA-E
Benefit of the update
It has improved the AF speed when it is used in combination with the SONY a9 or SONY a7 III and the SIGMA 135mm F1.8 DG HSM | Art for SIGMA.
* For customers who own the SONY a9, please update the firmware of the camera to Ver.5.00 or later.
SIGMA MOUNT CONVERTER MC-11 EF-E
Benefits of the update
It has become compatible with the SIGMA 120-300mm F2.8 DG OS HSM | Sports for CANON EF mount, that has the latest firmware Ver.2.01.
It has improved the AF speed when it is used in combination with the SONY a9 or SONY a7 III and the SIGMA 135mm F1.8 DG HSM | Art for CANON EF mount.
* For customers who own the SONY a9, please update the firmware of the camera to Ver.5.00 or later.
This firmware makes the SIGMA ELECTRONIC FLASH EF-630 compatible with the full-frame mirrorless cameras released by Canon Inc.
and Nikon Inc..
For customers who own the SIGMA FLASH USB DOCK FD-11 for CANON and NIKON and applicable products listed below, please update the firmware via SIGMA Optimization Pro.
SIGMA ELECTRONIC FLASH EF-630 for CANON
Benefits of the update
It has become compatible with the EOS R and EOS RP mirrorless cameras.
* To update the firmware, the SIGMA FLASH USB DOCK FD-11 for CANON mount which is updated to Ver.1.01 is required.
SIGMA ELECTRONIC FLASH EF-630 for NIKON
Benefits of the update
It has become compatible with the Z7 and Z6 mirrorless cameras.
It has corrected the phenomenon whereby it shows overexposure on the slave side when it is used for wireless shooting.
* To update the firmware, the SIGMA FLASH USB DOCK FD-11 for NIKON mount which is updated to Ver.1.01 is required.
Before updating the SIGMA ELECTRONIC FLASH EF-630 firmware, please ensure SIGMA Optimization Pro has been updated to Ver.1.5.0 or later from the download page below.
The firmware update will take approximately 3 minutes to complete.
Upper Saddle River, NJ - MAY 21, 2019 - The Lastolite Panoramic Background is a collapsible 13’ (4m) wide, 7’5” (2.3m) high background that folds down neatly into its own carry case and fits easily into a car.
Weighing only 19.8lb (9kg), it’s ideal for busy image-makers on the move.
The background is completely self-supporting and can be set up in minutes.
The structure comprises three individual aluminum framed sections, connected together with a hinge clip to allow the background to be set up flat to lean against a wall or with the side frames folded in to create a wraparound effect.
The Chroma Key Blue cover simply clips to the aluminum frame and creates a taught, seamless surface.
The background is ideal for live stream and post-production keying projects.
Its impressive 13' width creates enough working area for multiple camera angles and subjects.
Although the brushed fabric is incredibly non-reflective, the height and width combined is enough to place the subject(s) at a good working distance from the background eliminating risk of any color spill from the Chroma Key Blue surface.
Whether you are shooting a single person, a larger group or even products, the Lastolite Panoramic Background offers ultimate versatility.
The wider format allows the image-maker to introduce props and accommodate animated poses from the likes of dancers or athletes.
The Chroma Key Blue now sits alongside the highly successful Chroma Key Green, Black, White, Granite and Limestone versions.
All models are available at select Authorized Lastolite Dealers.
Peak Design Unveils The Next Generation of Camera Tripods
New Travel Tripod Promises to Redefine Product Category for Years to Come
San Francisco, CA (May, 2019) – After multiple award-winning bag releases, Peak Design, the worldwide leader in crowdfunding and everyday carry solutions, is proud to disrupt yet another product category—the camera tripod.
More than four years in the making, Peak Design’s newest release, Travel Tripod, is a ground-up reexamination of camera tripod design to produce the world’s most portable, packable, and easy-to-setup tripod for professionals and first-time tripod owners alike.
Peak Design directly addressed their biggest rub about traditional tripods: spatial inefficiency and unnecessary bulk.
Peak Design’s goal was to eliminate the dead space within a tripod, an ever-present inefficiency that often doubles or triples the effective diameter of a packed tripod.
Peak Design engineers reworked Travel Tripod’s legs and center column to nest perfectly together in order to achieve a total packed diameter of just 3.25 inches—roughly the diameter of a water bottle.
The result is a tripod that deploys to 60 inches tall while taking up less than half the volume of its competitors.
“During my travels in 2008 I began wondering why on Earth my tripod was so big. The thing was full of negative space and knobs, and I felt like something designed for portability could do much better,” commented Peak Design CEO, Peter Dering.
“I quickly realized that anything short of a complete design overhaul would fail to meet my criteria of the perfect travel tripod.
It took years of development but the outcome is a camera tripod that seamlessly integrates into all aspects of travel and adventure.”
Travel Tripod is among the quickest-to-deploy and most intuitive to use tripods on the market. Peak Design developed a system of non-inverted legs that rapidly deploy along an aligned system of locking cam levers. With three swift hand movements, the legs can be fully extended and ready for action.
Peak Design also optimized the Travel Tripod ball head to operate more fluidly than traditional tripod heads while still prioritizing spatial efficiency.
Travel Tripod eliminates bulky and confusing knobs with a single adjustment ring for simple and smooth 360-degree adjustment.
Peak Design’s proprietary quick-release plate technology facilitates lightning-fast camera attachment—easily accommodating a full frame DSLR with telephoto lens—and is compatible with Peak Design carrying equipment and with Arca Swiss tripod dimensions.
Furthermore, Travel Tripod’s ball head measures just 3.25 inches in diameter, keeping it aligned with the packed profile of the tripod’s legs for exceptionally compact carry.
In addition to a thorough rethinking of a tripod's architecture and user interface, carefully considered material choices and construction techniques provide the stability and vibration dampening demanded by avid photographers.
A builtin universal phone mount, bubble-level, hook for counterweights, and included soft case round out a packed feature list that fans of Peak Design have come to expect.
Available both in carbon fiber and aluminum legs (MSRP: $599.95 // $349.95) the Travel Tripod will launch on KickStarter (peakdesign.com/ks) for a pre-sale discount beginning May 21, 2019.
The tripod will then be available for purchase online at peakdesign.com and through major retailers in time for the 2019 holiday season.
Canon USA has posted information
about the RF lens control ring click stop removal service being offered.
Note that the price seems reasonable considering the significant disassembly required for this service.
From Canon USA:
What is the Control Ring's Clicking Sound Modification Service?
Canon’s control ring’s modification service offers RF lenses and Control Ring Mount Adapter EF-EOS R owners the opportunity to remove/reapply the control ring's clicking sound.
Why might this be needed?
The click action of the control ring allows the user to have a sense of how much it is being turned. However, if used during video shooting, the sound of the control ring operation may be recorded.
Control Ring Mount Adapter EF-EOS R
*Tax and freight fee are NOT included *All pricing is subject to change
Customer Support Operations
Canon U.S.A., Inc.
Contact Information for Inquiries
Canon Customer Support Center
Phone: 1-800-OK-CANON (toll free) 1-800-652-2666
For additional support options: usa.canon.com/support
The timing was perfect for a visit to Ricketts Glen State Park.
The new beech tree leaves were coming out with their light spring green color looking great.
It had rained a significant amount the prior day and the forecast was for rain all of this day.
Waterfalls, of course, thrive on rain, rain saturates the landscape, rain requires clouds and clouds ensure even lighting, and also helpful is that rain keeps the (smarter?) potential park visitors at home and out of images.
On this day, I had the Falls Trails completely to myself until I was hiking out near dark.
Rain also makes photography a bit more challenging.
I was wearing Gore-Tex clothing (boots, pants, and jacket) that kept me completely dry.
At least dry until I overheated a bit while hiking up out of the canyon at a fast pace with quick-drying clothing resolving that problem quickly after I was back in the car.
I carried a large umbrella to work under (awkward but very helpful) and had a microfiber cloth readily available to wipe water drops from the front of the lens.
When shooting waterfalls, a microfiber cloth is often needed regardless of the rain situation.
Note that nano-coated filters are easy to keep clean and easily worth their additional cost on days like these.
The camera and lens were in an inexpensive rain cover that I was evaluating and that is now on the to-replace list as it was not "waterproof",
leaving the camera and lens wet enough that a towel was needed (get a LensCoat RainCoat).
This is an example of when weather sealing can save the day.
I've mentioned that I rely on my tripod for personal support at times and this was one of those.
Working up onto this ledge over wet rocks was not easy and a Really Right Stuff TVC-24L Carbon Fiber Tripod saved me from a serious fall when my footing broke loose.
The ledge position meant that the lower tripod legs were planted rather far below me, making every inch of the "Long" length of this tripod very useful.
Saving my images by cutting reflections and increasing saturation was a Breakthrough Photography circular polarizer filter.
Had I forgotten this filter, I would probably have just turned around and gone home.
Overall, it was a great day in Ricketts Glenn SP.
I'll likely be sharing more of the images captured on this day at some point.
With 24 named waterfalls, including some of the most photogenic falls around, Ricketts Glen State Park is waterfall photography heaven.
I spent over 45 minutes capturing a variety of compositions of this falls alone and finally forced myself to move on, leaving some options for another day.
If you are interested in photographing with me here, I need to know.
This will likely be the destination for an upcoming waterfall photography workshop!
A larger version of this image is available on Flickr.
The RF lenses slated for delivery later this year promise at least equal to the impressiveness of the ones we already have available.
More EOS R camera models are promised, including pro models.
You Should Buy a Canon R-Series Mirrorless Camera Now If
You want to start taking advantage of the RF lenses and/or want to keep your kit optimized to the best-available lenses. If a lens you want to use now to is available in an RF mount version, this is a good time to consider buying into the R system.
You want the advantages of an electronic viewfinder, including clear, focused-to-your-eye image preview and review in bright daylight, and don't mind the EVF disadvantages, including a brief video pause when an image is being captured.
You want incredibly-low-light AF capabilities.
You want improved AF accuracy with third party lenses.
You want to learn how to use the mirrorless models. While the learning curve is not big, the fun of learning something new is.
You primarily photograph landscapes, street, still life, family and events.
You want the benefit of eye-tracking focus, especially useful with wide aperture lenses.
You want to reduce the size and weight of your kit.
You want to take advantage of the up-to-$500 rebates currently available.
You Should Wait to Buy a Canon R-Series Mirrorless Camera If
You primarily photograph sports and wildlife. The EOS R's frame rate is mediocre and a brief EVF video pause during each image capture makes tracking erratic-moving fast action challenging. The Canon EOS-1D X Mark II or the
Canon EOS 5D Mark IV are currently better choices for capturing fast, erratic action.
You don't see any advantages to the EOS R-series camera and RF lens system over what you are using now. If nothing about the new cameras and lenses interests you, stay with a DSLR.
You require an economy kit lens with a native RF mount. I expect an inexpensive RF kit lens to show up at some point, but ... an adapted EF lens is currently the best low-cost option for a general-purpose zoom lens.
You require ultra-high resolution. We do not yet have a Canon EOS 5Ds R-equivalent resolution option available in the R-series. The EOS R's 30.3 MP resolution is very high, but getting higher resolution in a Canon R-series camera requires waiting.
You require dual memory card slots.
You require IBIS (In Body Image Stabilization). Of course, most of the RF lenses have either an ultra-wide aperture or image stabilization reducing the need for stabilization in-camera.
Current video capabilities are not adequate.
Note that there will always be a new camera model coming.
How long it takes to get here is a key component to decision-making and with the manufacturers not sharing their future plans, that component is an unknown and a lot of years of current model usage could potentially be had before an alternative arrives.
New models usually bring new features that are useful, at least to some, but they also typically have higher price tags, at least higher than a similar model being replaced or higher than a model positioned lower in the lineup.
New models make no difference to how current models perform – a camera owned today will continue to perform the same tomorrow.
If you can make use of a current model now, now is a good time to get that model.
This is the application you've been waiting for! No, it is not April Fools Day. Now you can wear pictures of the grandkids on each finger!
MELVILLE, NY, May 14, 2019 – Look down – how are your nails looking? Is it time for a new set? No problem – Canon has you covered! Eliminating the need to visit your local nail salon, Canon U.S.A., Inc., a leader in digital imaging solutions, introduces printable nail stickers for select PIXMA series printers. Now, you can refresh your manicure in the comfort of your own home.
With a quick download of the Canon Nail Sticker Creator App*, users of compatible iPad®, iPhone® and Android™ mobile devices, and Canon PIXMA TS9521C, PIXMA TS9520, PIXMA TS8220 and PIXMA TS702 Printers can select from an assortment of 200 designs and have access to newly uploaded designs four times per year, or create their own nail art** within the app. When using the Canon Printable Nail Sticker sheets, the nail sticker design of choice will print onto a precut sheet of stickers placed on the printer’s multipurpose tray, and can be peeled off and adhered to the user’s nails. After a quick filing of the edges and application of a top coat to seal the design(s) – the mani is complete!
"With the launch of printable nail stickers, we are excited to provide our customers with another reason to expand their printing needs and let their creative expression flourish right on their fingertips,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
The new Canon Printable Nail Sticker sheets (twelve stickers per sheet) are available two per pack and initially, will be available exclusively on the Canon Online Store for $12.99 per pack***. For more information and the full list of product specifications, visit https://shop.usa.canon.com/shop/en/catalog/glossy-paper.
We are never fully satisfied with the products we make.
We always strive to take steps forward, whether they be baby-steps or strides.
That is why we not only will create ground-breaking products, but we'll also continually evaluate and improve those products, as we have done with the launch of Profoto A1X, the A1’s new and improved sibling.
It has a little more of everything that made its predecessor a success.
An even more powerful battery, faster recycling and Sony compatibility are some of the 30+ updates that we have made to the product.
Or put in other words – more when it matters.
Because in photography, there are no second chances.
An image might present itself for a second, and then it's gone, so you can't afford to be fiddling with batteries or waiting for the flash to recharge - you've got to be ready.
That's why the new Profoto A1X has up to 450 full power pops per charge, and lightning-fast one-second recharge time, so you'll never miss a shot.
The light in the image will always be natural and beautiful thanks to the innovative round head with its soft and gentle fall-off.
Allowing you even more creative freedom, the A1X features a magnetic click-on mount for light shaping tools; there are six tools available that can be used individually or in combination with one another.
And for more flexibility still, there's a flicker-free modelling light built-in to the head, so you can see exactly what you're going to capture before you press the shutter; which is especially useful when operating off-camera or in low light situations.
The Profoto A1X features a 20-channel Air Remote with HSS and AirTTL so you'll always get beautiful and professional images fast.
And with the increased number of channels, you can be sure you won’t be interrupted at busy events or important moments.
Use TTL mode, and it's essentially point-and-shoot, the sensor will calculate the correct exposure for you.
However, switch it over to manual, and you can then fine-tune that exposure to create exactly the look and feel you want.
Ease of use has always been at the heart of every Profoto product, and the A1X is no exception.
The large, high-resolution display is incredibly easy to navigate with big, super-legible numbers.
The way we see it, the less time you spend messing about with menu's, the more time you can spend doing what you love – creating images.
And whether you're a Sony, Canon or Nikon shooter, all the light shaping possibilities of the Profoto A1X are yours to enjoy.
Whether it's the natural and beautiful light it provides, the easy to navigate and intuitive display or superior battery life and recycling time - with the Profoto A1X there's more when it matters.
Because let's face it - it always matters.
Bespoke versions for Sony, Canon and Nikon
20-channels Air Remote
Round head with soft, smooth and natural fall off
AirTTL and HSS for a beautiful professional image fast
Smart magnetic click-on mount for A1X Light Shaping Tools
New features and enhancements in the May 2019 (version 8.3) release of Lightroom Classic
You can now reduce shading, or lens cast, from your digital photos using the Flat-Field Correction feature.
Shading can occur from a variety of different lenses and can result in both asymmetrical vignettes as well as color casts introduced by certain lens characteristics.
Flat-Field Correction is available in the Library module.
To apply the correction, select all your photos in a natural interleaved order and choose Lightroom > Library > Flat-Field Correction.
You can now smoothen or accentuate details such as skin, bark, and hair with the new Texture slider.
You can adjust the Texture slider negatively to smooth skin and retain fine pore details to ensure natural-looking skin.
You can increase the Texture amount to accentuate details such as bark or hair without affecting less detailed areas, like the out of focus areas in a photograph.
Adjusting the Texture slider does not change the color or tonality in your photograph.
You can apply texture to your photos both as a global adjustment and to specific parts of the photo as a local adjustment.
To apply texture, select a photo and switch to the Develop module.
Support for new cameras and lenses
Latest cameras added in May 2019
Canon EOS 250D (EOS Rebel SL3, EOS 200D II, EOS Kiss X10)
Google Pixel 3 Front Standard Camera
Google Pixel 3 Front Wide Camera
Google Pixel 3 XL Front Standard Camera
Google Pixel 3 XL Front Wide Camera
HMD Global Nokia 9 PureView Front Camera
HMD Global Nokia 9 PureView Rear Camera
LG V40 ThinQ Front Standard Camera
LG V40 ThinQ Rear Main Camera
LG V40 ThinQ Rear Wide Camera
Panasonic LUMIX DC-G99 (DC-G90, DC-G91, DC-G95)
RICOH GR III
RICOH THETA Z1
Sony RX0 II (DSC-RX0M2)
Latest lenses added in May 2019
Canon EF 70-200mm f/2.8L IS III USM
Canon EF 70-200mm f/2.8L IS III USM +1.4x III
Canon EF 70-200mm f/2.8L IS III USM +2x III
Canon EF 400mm f/2.8L IS III USM
Canon EF 400mm f/2.8L IS III USM +1.4x III
Canon EF 400mm f/2.8L IS III USM +2x III
Canon EF 600mm f/4L IS III USM
Canon EF 600mm f/4L IS III USM +1.4x III
Canon EF 600mm f/4L IS III USM +2x III
HMD Global Nokia 9 PureView Front Camera
HMD Global Nokia 9 PureView Rear Camera
LG V40 ThinQ Front Standard Camera
LG V40 ThinQ Front Wide Camera
LG V40 ThinQ Rear Main Camera
LG V40 ThinQ Rear Telephoto Camera
LG V40 ThinQ Rear Wide Camera
HD PENTAX-DA 11-18mm F2.8ED DC AW
HD PENTAX-FA 35mm F2
Ricoh GR III 18.3mm f/2.8
SIGMA 28mm F1.4 DG HSM A019
Canon, Nikon F, SIGMA, Sony FE
SIGMA 28mm T1.5 FF HIGH-SPEED PRIME
SIGMA 40mm F1.4 DG HSM A018
Nikon F, SIGMA, Sony FE
SIGMA 40mm T1.5 FF HIGH-SPEED PRIME
SIGMA 60-600mm F4.5-6.3 DG OS HSM S018
SIGMA 70-200mm F2.8 DG OS HSM S018
Canon, Nikon F, SIGMA
Sony FE 135mm F1.8 GM
Tokina FiRIN 20mm F2 FE AF
Tokina opera 16-28 mm F2.8 FF
Canon, Nikon F
Tokina opera 50mm F1.4 FF
Canon, Nikon F
Import photos from devices using the Files section
When you import photos from storage devices, such as SD card and CF card, the photos are now selected from the Import grid’s Files section by default. In previous versions, it used to be from the Device section.
Importing from the Files section is more performant. The Files section selects the DCIM folder of the storage device where the camera saves images. If you want to select any other folder, you can do so.
Improved performance of Auto setting
Experience performance improvements when you apply Auto settings. In the Develop module, the Auto option is located next to Tone in the Basic panel.
The COOPH team wanted to bring their images to life, so we have created this video to show you exactly how we did it – using some epic Cinemagraph ideas that anyone can try! Cinemagraphs are still essentially photographs in which a small and repetitive movement is shown. They are super cool, easy to make and are sure to make your future social media posts stand out from the crowd! So, take a look at these six tips and try them out for yourself!
Note: For the mirror reflection portrait, I can't help but think the cinemagraph might have been more interesting if the focus had been on the subject rather than the subject's reflection. What do you think? [Sean]
A Creative Cloud subscription offers numerous benefits, including frequent product updates with new features and capabilities, critical bug fixes and important security updates.
We recommend all customers use the latest release of Creative Cloud for optimal performance and benefits.
Please note that going forward, Creative Cloud customers will only have direct download access (from the Creative Cloud Desktop app and Adobe.com) to the two most recent major versions of Creative Cloud desktop applications.*
Focusing our efforts on the latest two major releases of Creative Cloud applications, which the vast majority of Adobe customers are already using, will further enable us to develop the features and functionality most requested by customers and ensure peak performance and benefits across Windows and Mac operating systems.
Business customers in need of an older version of a Creative Cloud application should contact their IT Administrator to see if one is available.
*Exception: Only the most recent version of Adobe Acrobat is available for download.
With a Canon EOS Rebel SL3 (EOS 250D, EOS Kiss 10, EOS 200D II) in hand, it is time to set up the camera for use.
Following are the 32 steps I took to make an out-of-the-box Canon EOS Rebel SL3 ready for use.
Open the box, find the battery, place it in the charger and plug it in.
While the battery is charging, unpack the other items you want from the box.
Download and install the
Canon Solution Disk software on your computer, gaining support for the latest camera(s).
Canon Digital Photo Pro (DPP) and EOS Utility are the options I manually include in the install.
Attach the neck strap.
Insert the battery (after charging completes) and power the camera on.
Insert a memory card.
Set the camera's mode to Av, Tv or M (some modes provide only a small subset of available menu options).
Scroll through all of the menu tabs to configure the camera as follows:
Shooting settings, Tab 1: Image quality: Use top dial to set RAW to "RAW" and Cross Keys to set JPEG to "-" (RAW image files provide the highest quality and are especially valuable for post processing work)
Shooting settings, Tab 1: Image review: 4 sec. (or sometimes off to increase shooting speed in the field)
Shooting settings, Tab 1: Release shutter without card: Disable (only in a retail store do you want to press the shutter release without saving the image file, leaving this option enabled will burn you someday)
Shooting settings, Tab 1: Lens Aberration Correction: All options "OFF" (though Chromatic Aberration correction is a good option to leave enabled for most)
Shooting settings, Tab 4: White balance: AWB W (White) (I seldom use another white balance setting while shooting, though I often adjust modestly during post processing)
Shooting settings, Tab 4: Picture Style: Neutral with Strength = 1 (Note: the low contrast "Neutral" picture style provides a histogram on the back of the camera that most-accurately shows me blown highlights and blocked shadows on the camera LCD. I usually change the Picture Style to "Standard" in DPP after capture.)
Shooting settings, Tab 5: Long exp. noise reduction: Auto (when active, LENR captures a dark image that is used to correct the long exposure noise in the primary image)
Shooting settings, Tab 5: High ISO speed NR: Off (or Low) (noise reduction is destructive to images details - I prefer to add noise reduction sparingly during post processing)
Playback settings, Tab 1: Histogram disp: RGB (I want to see the graph for individual color channels)
Function settings, Tab 1: Format card (always format memory cards in-camera — after all contained images are stored elsewhere of course)
Function settings, Tab 1: Auto Rotate: On computer (only) (images are properly rotated when viewed on a computer, but are always oriented to fill the LCD when viewed on the camera)
Function settings, Tab 2: Date/Time/Zone: make correct for your location
Function settings, Tab 3: Beep: Disable (no one wants to hear your camera constantly beeping)
Function settings, Tab 5: Copyright information: enter as desired
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 2: ISO expansion: On (required for setting ISO to 51200)
Shooting settings, Tab 3: Photo ISO speed settings: ISO 51200 (this upper limit is only being used for testing, set to your tolerance)
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Exposure: 4: Exposure comp. auto cancel: Disable (I'll decide when exposure compensation should be canceled)
Function settings, Tab 5: Custom Functions settings(C.Fn): C.Fn I: Operation/Others: 11: Retract lens on power off (avoids having a carefully-selected focus distance reset when camera auto powers off)
Display level settings, Tab 1: Shooting screen: Standard (Guided is useful for beginners)
Display level settings, Tab 1: Menu displaye: Standard (Guided is useful for beginners)
Display level settings, Tab 1: Mode guide: Disable (Enabled is useful for beginners)
Display level settings, Tab 1: Feature guide: Disable (Enabled is useful for beginners)
My Menu: Add the first tab; Register the following options for Tab 1: Format card, Mirror lockup, Date/Time/Zone (great for monitoring what time it is), Expo.comp./AEB, Long exp. noise reduction, Sensor cleaning
(nothing in my My Menu is found on the Quick Control display as those functions are already quickly accessed)
With a lens mounted and a subject focused on, adjust the viewfinder diopter until the scene is sharp
I of course make additional menu and other setting changes based on current shooting scenarios, but this list covers my initial camera setup process.
To copy this configuration would mean that you intend to shoot similar to how I shoot - including shooting in RAW-only format.
While my setup works great for me, your best use of this list may be for tweaking your own setup.
If you can't remember your own menu setup parameters, keeping an up-to-date list such as this one is a good idea.
Anytime your camera is reset-to-factory state for some reason, such as when being serviced, you will be ready to restore your setup quickly while ensuring that you do not miss an important setting.
If you purchase another same or similar camera, you will be able to quickly set it up.
This is my second-most-used tripod with only the Really Right Stuff TVC-34L Mk2 Tripod being used more frequently.
These two tripods are practically the same except for a smaller and lighter frame, a lower weight capacity, and a lower price.
Thus, a majority of the reviews are shared.
In an unusual move earlier this year, Canon showed (some of) their cards in a development announcement.
Mock-ups of these new lenses were on display at a press event held just before that announcement and sharing some pictures from that event has been on my to-do list since.
Note that all of the images shared in this article can be clicked on to see a significantly larger version.
The lead image shows all of the 2019 RF lenses and R-series cameras.
From left to right in this image (new lens quotes are from Canon Europe) are the:
Canon RF 85mm F1.2 L USM Lens A large aperture mid-telephoto prime lens, offering the ultimate performance for advanced and professional portrait photographers.
Canon RF 85mm F1.2 L USM DS Lens (not shown, but looks identical to RF 85 non-DS): A unique high-performance lens offering a combination of beautifully smooth defocused background bokeh and a super faster aperture to produce breath-taking portraits.
Canon RF 15-35mm F2.8 L IS USM Lens Offering wide angle, fast aperture and high performance in a single package this lens is ideal for a range of uses including architecture, interiors or landscapes.
Canon RF 70-200mm F2.8 L IS USM Lens The must-have lens for any professional photographer shooting weddings, sport or wildlife. This high-speed medium telephoto zoom will be the daily go-to lens for numerous occasions.
Canon RF 24-240mm F4-6.3 IS USM Lens This compact, affordable 10x zoom is a multipurpose travel lens offering a versatile range of focal lengths and practical size and performance.
Not surprising is that the RF lenses show many similarities to each other.
The black L-zooms all feature an ideally-positioned (toward the rear of the lens, though not as far back as their EF counterparts) zoom ring and all but the RF 24-240mm lens feature a forward-positioned control ring.
The two or three rings on each lens have a differing tactile surface and the feel for each ring purpose is similar throughout the lineup with the control ring being knurled.
Notice that the RF 24-240 does not have a dedicated focus ring.
It is expected that the control ring will optionally be able to serve that function.
I was told to expect RF lens image quality to be as good or better than that of the nearest equivalent EF lens with reduced size being another benefit in some cases.
Note that the lenses shown on display boxes are lens mount-deep in their holders.
Still, we can discern some of the sizes.
I'll start with the RF 70-200 as I added a sizing prop next to it.
Canon USA was very protective of the new lens mockups the Canon Inc. engineers brought with them (we could not touch them and they used white gloves to move them), but with reluctance, I was permitted to place a phone next to the tiny 70-200.
The iPhone 7 measures 5.44" (138mm) in length.
If the phone were completely upright, it would about match the lens in length.
What if your 70-200 f/2.8 was nearly as small as your EF 16-35 f/2.8L III?
That is about the size difference we are looking at and here is a visual comparison.
I haven't seen a lens that wow'd me as much as the Canon RF 70-200mm F2.8 L IS USM Lens in a long time.
Where is the rest of the lens?
The size is so dramatically smaller that it will have an impact on the case or backpack this lens is carried in.
Interesting is that a tripod ring (hinge-removable) remains included.
Is this an indication that weight will be moving forward, justifying the ring for proper balance?
Or is the ring included because we expect a lens with these specs to have one, essentially checking the requirements box?
When the dust settles, I'll not likely care for the forward-positioned zoom ring and that this lens extends is not ideal.
But, the considerably smaller size (the smallest Canon white L lens ever) should easily make up for those downsides.
Note that this lens also has a rear-positioned control ring.
Here is a closer look at the new lenses.
Along with the RF 70-200, the RF 15-35 and RF 24-70 complete the RF f/2.8 lens "trifecta".
These two similar-sized lenses appear to be slightly longer than the RF 24-105 (the spec will likely land at around 4.5" or 114mm) and will have a width very similar to the RF 24-105.
Here is a current visual comparison with the RF 24-105.
The wide-angle lens gets a very-welcomed extra 1mm of focal length on the wide end, making 15mm available with filter threads.
It also adds image stabilization, a Canon first for full frame f/2.8 in this range.
Additionally welcomed is that this lens appears to be slightly reduced in length and perhaps even more reduced in width.
The standard professional zoom lens does not get a focal length adjustment and the size appears not dramatially reduced, but the long-awaited image stabilization feature has arrived (woo hoo!).
Only the second RF lens to be missing the red ring, the RF 24-240 relatively-affordably covers a huge range of focal length needs in a single lens, making it ideal for times when lens changes cannot be made, cannot be made quickly enough, or are simply not wanted to be made.
Still glaringly missing in the RF lineup is a value-priced general-purpose zoom lens.
The RF 24-240 is positioned to be a great lower-budget option for all-around use, but although thin, it has a length similar to the RF 15-35 and RF 24-70 which does not completely align with the compactness of the EOS RP.
Watch for at least one shorter-range option to arrive soon.
It makes sense.
Lenses are a critical component of a camera system and the right lens can make a huge difference in the results and also in the ease in which those results are captured.
Canon's new RF lens mount has obviously opened up new possibilities for lens designers and they are rolling out some of the best lenses ever.
It's a great time to be a photographer.
A great set of rebates (up to $500) makes now an ideal time to add an R-series camera to the kit.
The included Canon Mount Adapter EF-EOS R makes integration into an existing Canon kit easy.
While I have access to evaluation cameras, I decided that I wanted my own R and recently added one to the kit.
Shop Mother’s Day savings on an array of Sigma Global Vision Art and Contemporary lenses and its Mount Converter MC-11 for Sony shooters
Ronkonkoma, NY – May 9, 2019 – Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, is celebrating Mother’s Day with a special promotion, offering incredible savings on 11 Global Vision Art and Contemporary lenses and its Mount Converter.
Renowned for its uncompromising performance, Sigma’s Art and Contemporary lenses and Mount Converter help the family storyteller capture the magic moments.
Sigma Ambassador, Meg Loeks, comments on the artistry and significance in the every day, “I can't emphasize enough how important it is to document my family's story.
The little things really are the big things and capturing these every day moments is easy with my Sigma lenses.
My go-to favorite, the Sigma 35mm F1.4 Art lens, captures the emotion and depth of these passing moments in a way smart phones are not capable of.
I can effortlessly document our days while being present and close to my children, enjoying moments that unfold before me.”
Through May 20th, 2019, shoppers can save up to $150.00 USD on some of Sigma’s magic-making lenses.
Shop the Sigma Mother’s Day Sale Now.
Most photography has with one thing in common...
all the photos are taken at eye height.
But if you want to give your portraits a new look consider mixing up your shooting height.
In this video Gavin Hoey shows you how getting down low or higher up then your model can radically change the look and emphasis of a portrait.
Low level shots can change the background and emphasize the foreground and high shots can be framed to completely remove the background that you see when shooting at eye height.
After Gavin has shared his shooting tips he goes on to try out all three shooting heights while taking portraits in a field of flowers.
Watch wedding photographer and Canon ambassador Félicia Sisco, as she talks about shooting bridal portraits with the newly-released Canon RF 85mm F1.2L USM lens.
What does she look for in the perfect prime for portraits?
One of Félicia’s secrets to getting a flattering look in her images is shooting at her favourite focal length, 85mm.
"With an 85mm lens, I can do everything, close-up portraits and full-length shots".
She enjoys the versatility to shoot both unposed, spontaneous images and editorial style setups make her appealing to brides-to-be.
Félicia likes to shoot with fast shutter speeds, ideally around 1/2000 sec, so in lower light increases the ISO setting to compensate.
“Every little girl looks in the mirror and wants to look beautiful, and on the wedding day, in her bridal dress, her dreams come true..."
What are the differences between the Canon RF 85mm F1.2 L USM Lens and the Canon RF 85mm F1.2 L USM DS Lens?
Reduced light transmittance:
The Defocus Smoothing coatings in the 85mm F1.2 L DS lens will reduce actual light transmission by up to 1.5 stops, when the lens is at its widest aperture.
Defocus Smoothing effect is aperture-dependent:
The visual impact of softer-edged, out-of-focus highlights, is at its maximum when the DS lens is shot wide-open. The visual impact of Defocus Smoothing diminishes, vs. the RF 85mm F1.2 L lens, as the DS lens’ aperture is stopped-down, and essentially disappears if the lens is stopped-down several stops from wide-open.
Depth-of-field is rendered differently:
At wider lens apertures where the Defocus Smoothing effect is visible, for technical reasons, depth-of-field will appear deeper in shots taken with the DS lens, vs. identical shots taken with the RF 85mm F1.2 L USM lens.
Rudy provides additional information worth reading, but click on the two sample images that are shared in the article for comparison purposes.
They should open in new tabs.
Then click back and forth between the two tabs while observing changes.
The first observation to make is that the DS lens produces much smoother blurred lights in the background and this is the key advantage of this lens.
While looking at those lights, you will likely notice that the non-DS lens' sample image has larger-sized blurred lights.
However, the size difference may not be related to the non-DS vs. DS designs.
Next notice the sharpness of the model's shoulders in the two images.
That the front shoulder is sharper in the non-DS lens image and that the reverse is also true may indicate that the non-DS lens was focused to a closer distance, causing the blurred lights to be larger on this account.
Portrait photographers are going to love these lenses and Rudy's "Which lens is right for you?" section should be helpful to those selecting between the two.
Canon Japan has shared a pair of RF 85mm F1.2 L USM Lens sample images.
Note the lack of color fringing in the white details and out of focus jewelry.
Canon USA also has a few sample pictures available. Click on the "Sample Images" link just above the "Features" section.
The Canon RF 85mm F1.2 L USM Lens is scheduled to be available in June and Amazon USA
has put a date of June 20th on their product page.
I don't know if that date is accurate or a complete guess, so use your discernment in that regard.
Thanks to a development announcement, we knew that the Canon RF 85mm F1.2 L USM Lens was coming.
Based on the performance of the Canon RF 50mm f/1.2L USM Lens (and all of the other RF lenses), we expected the RF 85 to be a great performer.
Based on the RF 85's price, announced in the press release earlier today, that expectation was raised to a new level.
And now, with the MTF chart strongly supporting that expectation, it is practically guaranteed that the RF 85 is going to be an amazing lens.
The New L-Series Lens is Canon’s First RF Lens to Feature Blue Spectrum Refractive Optics Helping to Greatly Reduce Chromatic Aberration
MELVILLE, NY, May 8, 2019 – Continuing the company’s commitment to providing photographers with core focal-length lenses for the EOS R Full-Frame mirrorless camera system, Canon U.S.A., Inc., a leader in digital imaging solutions, today announced the RF 85mm F1.2 L USM standard prime lens.
The fifth lens in the RF family, the RF 85mm lens provides another vital tool for photographers using the EOS R or EOS RP cameras, in particular, those shooting portrait photography.
“Optics is at the core of Canon’s heritage.
It is engrained in our DNA and the top priority when developing the EOS R Camera System around the RF mount and accompanying lenses,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc.
“Canon is very enthused to now bring the lenses we shared in the RF lens development announcement, starting with the RF 85mm F1.2 L USM.
We envision this product as being the quintessential workhorse lens for portrait photographers of all skill levels.”
The new lens features a bright f/1.2 aperture which, along with the 85mm focal length, encompasses an ideal lens for portrait photographers.
85mm is often the preferred focal length selected by photographers when shooting portraits because it provides an appropriate depth and perspective of the subject relative to the background, helping to capture high-quality imagery with beautiful and desirable bokeh.
The focal length also allows for the photographer and subject to maintain optimum distance apart to support strong communication, while not being too close.
The most unique feature of the RF 85mm F1.2 L USM lens is Canon’s proprietary optical technology, Blue Spectrum Refractive (BR) Optics that helps to greatly reduce chromatic aberrations that could occur with large aperture lenses.
The BR optical element, first introduced in the EF 35mm f/1.4L II USM, is inserted into the lens and refracts blue light between the concave and convex lenses.
This enables the convergence of the entire wavelength of light to one point, resulting in higher image quality from the center to the edges of an image.
Additional Features of The Canon RF 85mm F1.2 L USM Include:
Minimum focusing distance of 2.79 feet/0.85 meters
Customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO
One Aspheric and one UD Lens, along with BR optics help to reduce chromatic aberration
12-pin communication system
L-Series dust and weather resistant build with fluorine coating
Air Sphere Coating (ASC) helps minimize lens flare and ghosting
Pricing and Availability
The Canon RF 85mm F1.2 L USM lens is scheduled to be available June 2019 for an estimated retail price of $2699.00.
A whitetail deer's ears are extremely perceptive.
So good is their hearing that they have the practical equivalent of eyes in the back of their heads.
The buck in the foreground, with ears turned back and raised high, is essentially "watching" the buck in the background while looking the other direction.
The buck in the background is using his ears for another purpose, to communicate threat.
While his ears are also turned back, the big difference is that they are laid low.
The threatening laid-back-and-low ear position is not unique among deer and should serve as a warning to wildlife photographers if the warning is being directed toward them.
Buck in rut frequently use this communication technique with other deer.
Another communication strategy deer and other animals use is the raising of their hair.
In a moment, a buck can go from having a sleek, normal-appearing coat to appearing huge and fuzzy with every hair (thousands per square inch) standing straight out (imagine what humans could look like if we possessed that skill).
Always be looking for that something extra in your images and when photographing wildlife, communication is one such extra that can take an image to the next level.
Another extra illustrated in this image is the incoming buck's raised front leg.
This shows action.
This scenario pictured here unfolded quickly and capturing the action was the first priority.
The image that showed the best juxtaposition of the two bucks was not as well-balanced in the frame as I wished, cutting off some of the trees on the right side.
Fortunately, another image in the sequence included more of the right side of the scene and stitching the two images together allowed the full set of trees to be included, creating a natural frame.
In this video, photographer Ab Sesay explains his technique for getting maximum saturation from using gels. If you want to skip the needlessly lengthy video (not all of the meter readings taken were necessary to explain the concept or arrive at the preferred settings, but I'm sure Sekonic appreciated how many times the photographer used one of their meters), I'll cut to the chase for you – set your gelled lights to underexpose the areas they hit, and keep other light sources (such as an ungelled main light) from spilling onto that area.
Voilà, instant saturation. The more underexposed the gelled light is in your image (as long as it is still perceptible), the more saturated it is.
And don't misunderstand me; a light meter is a very handy device for studio and on-location photography and videography work. However, in this particular instance, I question the value of metering your ungelled lights just to see how much light each gel is blocking.
You can likely skip that step, attach the gels and meter them to achieve the desired underexposure (as Sesay mentions, about 1.5 stops under the main light), knowing that different gels will require different flash power levels to achieve the precise exposure you're going for.
Launching today, B&H's Payboo card comes with a very unique cost savings benefit – it will pay you back for all state sales taxes charged on B&H purchases shipped to eligible states.
Need to make a large photography gear or tech purchase? Using the Payboo card will allow you to save significantly on that purchase. Shop regularly at B&H? The sales tax savings will certainly add up over time.
Here are a few Frequently Asked Questions about the Payboo Credit Card:
What is the B&H Payboo Credit Card?
B&H offers customers the Payboo Card credit card through Synchrony Bank with a revolving credit limit for any B&H purchases made online, in-store, or by phone.
How does the Payboo Card benefit really work?
When you pay for B&H purchases with the Payboo Credit Card, B&H will charge the total of merchandise plus applicable fees and taxes; but we instantly issue and apply a reward on orders made in our SuperStore or shipped to eligible states right in checkout as a form of customer payment. Then, the amount charged to the Payboo Card is net of the benefit applied.
Am I paying sales tax on my purchase? Do I need to submit anything in my tax filings?
B&H will collect and remit state sales tax in accordance with state sales tax laws and regulations. So, customers do pay required sales tax and do not need to keep track or file anything separately.
Is there any limit or cap on the total amount of Payboo Card savings?
No. B&H will issue Payboo Card Savings rewards without any upper limit.
Where can I use the Payboo Card?
The card may be used to pay on our websites, on our mobile app, in our NYC SuperStore, or by phone. Payboo is only available for use at B&H (i.e. it is not a Visa, MC, Amex, DC, etc)
The tax-equivalent loyalty reward offer is not valid in Alabama, District of Columbia, Indiana, Iowa, Nebraska, North Dakota, Vermont, West Virginia, and Wyoming.
The tax-equivalent loyalty reward offer is not available on orders shipped to any jurisdiction that does not require B&H to collect and remit state and/or local sales or use tax.
See all fine print details at the bottom of this page.
When considering the addition of a mirrorless interchangeable lens camera to the kit, one of the concerns is the grip size.
When reducing the size of a camera, the grip is an easy target.
However, when the grip is made too small, the camera becomes harder to use.
I used calipers to very precisely measure the grip height from the bottom of the camera to the top edge of the useful grip area on the front of each camera, but note that there was a tiny amount of judgment to be made in the latter determination.
The depth measurement was made at the thickest part of the grip that included the finger swell area on the front.
Use the EOS 5D-series DSLR camera as a baseline to compare against.
My hand size falls between medium and large.
The Sony grip design requires that I use a pinky-under strategy.
My pinky just fits on the Nikon Z 6 and Z 7 grip and my pinky comfortably fits on the Canon EOS R grip.
If the native grip size is not large enough for you, add the respective battery grip.
For the Canon EOS R, that grip is the Canon Battery Grip BG-E22.
Though not available as I write this, the MB-N10 Multi-Power Battery Pack has been promised for the Nikon Z 6 and Z 7 cameras.
Sony a7 III, a7R III, and a9 cameras are compatible with the Sony VG-C3EM vertical grip.
These Sony cameras are also compatible with the Sony GP-X1EM Grip Extension.
While the battery grips add size and weight to cameras having light weight and small size as advantages, the grips are easily removable, offering the best of both worlds.
I have used the Canon and Sony grips and like them a lot.
I do not have an EOS RP at this time, but if someone sends me the measurements, I'll add them to this comparison chart.
The RP's grip is remarkably nice for the tiny size of this camera, but it has a pinky-under grip height with the Canon EG-E1 Extension Grip adding room for that last finger.
If you were considering the purchase of one of these camera models, now is a very good time to do so.
Instant rebates ranging up to $1,000 for Sony, $700 for Nikon, and $500 for Canon are currently available.
Please remember to use the links on this site to make all of your purchases!
Use the links in the comparison table to navigate to the camera model you are interested in.
Photographer Jide Alakja gives us 5 quick tips to create lightroom presets for your wedding work. Tip number one focuses on the orange channel and using complimentary colors to improve the skin tone you’re trying to create. Another tip suggests using vignettes to draw the viewer’s focus to the center—or focal point—of the photograph. Check out the video for additional useful Lightroom techniques.
The tips of elk antler tines are polished for a reason.
During the rut, bull elk thrash the ground with their antlers and in addition to the tine tips becoming whiter, this practice often results in grasses and other plants hanging on the antlers.
Sometimes the haystack is large enough to impede vision.
There is only one opening remaining for the September elk in rut photo tour.
Consider joining a small group of passionate wildlife photographers pursuing these awesome animals.
Photographers at all skill levels are invited to join!
When photographing a symmetrical subject, either take the time and effort to make it perfectly aligned in the frame ... or don't come close to doing so.
An image of a symmetrical subject that is perfectly symmetrically framed (or at least nearly so) usually looks great.
An image of a symmetrical subject that appears intentionally non-symmetrically framed can also look great.
It is when an image of a symmetrical subject is almost symmetrically framed that it appears you have made a mistake.
Some symmetrical subjects are far more forgiving than others.
A tile floor is typically symmetrically unforgiving and note that any geometric distortion in a lens increases the in-camera alignment challenge.
Another challenge is slight asymmetry in the subject.
This image appeared ideally aligned in-camera, but it still needed to be adjusted slightly in post-production to finish off that task.
I thought I had the image ready to go when Sean mentioned that the monument was not quite perfectly straight.
Measuring structure positions in Photoshop made it appear straight with some subject asymmetry showing at the bottom of the monument.
A tile was lifted by a noticeable amount on the right side and the left side had stone showing on the outside of the perimeter drain that was not showing on the right, both creating optical illusions of asymmetry.
I decided those fixes were needed and made some other adjustments (sometimes these small projects take on a life of their own).
After revisiting the image a couple of times, I decided that Sean was still right and adjusted rotation slightly to move the image closer to perfection.
In this image, Abe Curland of B&H is carefully aligning his shot of the Empty Sky Memorial in Liberty State Park, NJ.
The lines in tile flooring provide valuable assistance for finding center.
As reported by Petapixel, some customers are being shown a Photography Plan pricing of $19.99 per month instead of the up-until-now-normal $9.99 per month subscription fee.
The Photography Plan (which includes Adobe Photoshop CC & Lightroom CC/Classic CC) has been the same price since it was introduced in 2015, representing an excellent value to customers (not many goods and services have remained the same price over that same period of time).
I think it's safe to say that Adobe will raise its Photography Plan pricing at some point, but doubling its price in one fell swoop will leave most photographers very unhappy, especially those who were uncomfortable with subscription licensing in the first place.
Are Photoshop CC and Lightroom CC/Classic CC worth $19.99/mo? For working professionals and those serious about photography, absolutely.
However, a majority of photography hobbyists will find the increased price significantly harder to swallow, leaving them searching for non-subscription based viable alternatives, such as the free and open-source GIMP.
It remains to be seen whether or not Adobe follows through with the price doubling strategy, but if you'd like to lock in the $9.99/mo rate for some time, you can purchase 12-month Photography Plan subscription licenses right now to extend the current plan pricing.
In fact, I purchased a 12-month license last night after reading the news, and I'm considering purchasing another one.