Where there is smoke, there may be drifting!
Kinetic friction expert Ryan Litteral leaves a plume of smoke behind his high-powered Formula Drift car while painting new lines on the street.
When shooting a fast-moving subject at a relatively long shutter speed (for panning blur), the sharp image rate is typically low.
Increasing the number of keepers is the Canon EOS 90D's fast 10 fps continuous shooting speed, a highly-welcomed upgrade from the 80D.
In this example, I was evaluating the 90D AF system's ability to select the desired focus point using Auto AF point selection (all 45 AF points active) and ability to select the correct focus distance with a fast-moving subject.
The results were very good with the AF point switching nicely while I attempted to track the car in the viewfinder.
A larger version of this image is available on Flickr.
Can the Canon EOS M6 Mark II with the optional EVF-DC2 electronic viewfinder be used to capture fast action moving from side-to-side?
While the EVF has a slight display freeze when each image is captured, I was able to keep up with the drift cars while using this one.
Highly advantageous for capturing sports action is this camera's 14 fps continuous shooting rate and the latest version of Canon's Dual Pixel CMOS AF is also very high-performing, up to this task.
How does this little camera handle larger lenses such as the Canon EF 70-200mm f/2.8L IS III USM Lens used for this image?
Canon's latest tiny M-series cameras are surprisingly easy to use with larger lenses such as this one and the Canon EF 100-400mm f/4.5-5.6L IS II USM Lens I was using to photograph action on the track.
As when using DSLR cameras, the left hand controls the lens and the right grips the camera.
There is not as much grip real estate on the M models, but the design provided is adequate for this use.
A larger version of this image is available on Flickr.
The rear tires on a Formula DRIFT (Formula D) car do not last very long and when there are only a few fast-moving cars participating in the action, short photo opportunities followed by long breaks become the schedule.
The safe method of photographing this and similar subjects is to use a fast shutter speed, freezing the action for a sharp image.
However, frozen action does not (usually) ideally convey motorsports action.
Thus, I opted for shutter speeds long enough to result in a low success rate.
While I promptly deleted a lot of my images, I only needed a few images from this event and I wanted them to have a very strong panning blur.
That plan worked.
Using a circular polarizer filter often brings substantial improvements to photos taken mid-day and a
Breakthrough X4 CPL was used for this capture.
To get a longer shutter speed under bright sunlight without going to an extremely narrow aperture (diffraction being the issue), a 2-stop neutral density filter was stacked behind the CPL to block additional light.
Because the gear being introduced and evaluated at this event was unknown prior to arrival, I chose to take a set of large-sized filters along with a stack of step-up filter adapter rings to provide versatility
and one was used for this image.
This is Dustin Miles turning right to go left and leaving tire on the track.
The Canon EOS 90D with its fast 10-fps continuous shooting rate is a great choice for capturing fast action.
A larger version of this image is available on Flickr.
A Lamborghini Huracan AND a Kelly Moss Porsche 911 in the same garage?
Those two cars are worth about as much as all of the camera lenses below the Conowingo Dam on a fall weekend.
Yes, this is a dream garage and yes, there was drooling.
With a 2.5-mile Michelin Raceway Road Atlanta just outside, my only question was "Where are the keys?!"
On this big day of test shooting, the Canon EOS 90D performed superbly, as its heritage leads us to expect.
This is a superb general-purpose camera choice and while this particular scene did not challenge it, the subjects outside on the Michelin Raceway Road Atlanta track provided a greater challenge, one which the 90D also met.
A larger version of this image is available on Flickr.
The background typically consumes a large portion of the image and what it looks like matters.
When the background is a bright red Lamborghini Huracan, the background begins to vie with the subject for attention, at least for us car guys and gals.
In this scenario, I gave the M6 II's AF system full control, selecting servo AF mode with face and eye detection.
With the camera very impressively handling the task of following the model's face and eyes, I could concentrate fully on composition and that was especially helpful when shooting in awkwardly low positions such as this one.
A larger version of this image is available on Flickr.
In this video Gavin will show how to combine low-cost LED bulbs and flash in a small home studio.
Normally when Gavin is shooting in his small home studio the lighting he uses is some kind of flash, it's really versatile and bright, but today he's actually going to do a shoot where he balance's flash and LED and combines different lighting types.
New AF 18mm F2.8 Full Frame Compact Lens for Sony E
Surprisingly Small but Super-Wide
(New York, New York) August 29, 2019 – ROKINON has announced its new AF 18mm F2.8 Full Frame Lens for Sony E mount that is optimized for portability, compactness, and ergonomic handling.
It is ROKINON's fourth compact lens designed specially for Sony mirrorless cameras that is surprisingly capable for its size.
At 5.12 oz in weight and 1.99" in length, it is the most compact, lightweight, and affordable super-wide angle full frame lens for Sony E mount.
The 18mm focal length provides a rectilinear 100.1° super wide angle view that is especially suitable for landscape, interior, architectural, and night sky applications.
For Sony APS-C sensor cameras, the focal length is equivalent to 27mm with a 76.2° field of view.
Optically, the lens is made up of nine Ultra Multicoated elements in eight groups.
Eight specialized lens elements (3 Aspherical, 2 High Refractive Index, and 3 Extra-low Dispersion elements) combine to minimize distortion and ensure high image sharpness, clarity, and contrast.
The internal focusing design of the ROKINON AF 18mm utilizes a STM (Stepless Motor) for quiet, smooth and precise autofocusing to 9.8".
This also prevents both changes in length and front element rotation to enable easy use of 58mm polarizing and other filters that require precise positioning.
This compact wide-angle optic is designed with a metal mount and glass strengthened composite material to reduce weight while increasing durability.
The ROKINON AF 18mm F2.8 Full Frame Compact Lens for Sony E is expected to be available in early October with a MSRP of $499.00.
It will include a removable petal-shaped hood, lens caps, and a custom fitted case.
Most (all?) states that collect sales tax (most do) require you to pay the tax yourself (use tax) when the retailer does not collect sales tax and (most) businesses honor this requirement.
Today, most retailers (including B&H) are required to collect the sales tax due.
With Payboo, B&H collects the tax and then provides an immediate credit for the same amount as the tax.
It's a big deal.
I bought a lens a couple of days ago and saved $72 — I'm now getting a big discount on everything I buy from B&H.
What is the catch? Pay the bill in full before the due date to avoid the usual high credit card interest rate.
Mark Wallace explains his solutions for mounting lights, viewfinder, and microphones to his mirrorless camera.
He also goes into detail on how you can customize your own rig so it's perfect just for you.
Mark also explains how he uses the Tether Tools Case Relay Power System to make sure his camera, lights, and EVF never run out of power.
Tamron has released a teaser campaign alerting consumers of its plan to release four new mirrorless lenses.
Considering the optical performance of its latest lens releases, there's good reason for mirrorless shooters to get excited about these impending announcements.
The SIGMA Corporation is pleased to announce that SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports and SIGMA 70-200mm F2.8 DG OS HSM | Sports have won EISA Awards 2019-2020.
SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports
Name of Award: EISA TELEPHOTO ZOOM LENS 2019-2020
The SIGMA 60-600mm F4.5-6.3 DG OS HSM | Sports is a unique 10x zoom lens with a super-telephoto reach of up to 600mm.
Its optical design delivers sharp images across the zoom range while ensuring maximum correction of chromatic aberration.
It features an Intelligent OS system that delivers a reliable image stabilization effect of 4 stops, allowing sharp images to be obtained handheld.
In addition, the Hyper Sonic Motor provides fast, accurate autofocus.
The weather-resistant construction incorporates magnesium alloy, which ensures durability and enhances portability.
Should you require even greater reach, the lens can be combined with one of SIGMA’s teleconverters.
SIGMA 70-200mm F2.8 DG OS HSM | Sports
Name of Award: EISA PROFESSIONAL TELEPHOTO ZOOM LENS 2019-2020
Part of SIGMA’s Sports line of telephoto lenses, the 70-200mm F2.8 DG OS HSM | Sports is the new flagship that meets the needs of professional photographers.
The optical design provides excellent resolution from center to corners, while eliminating chromatic aberration.
The large aperture ensures smooth bokeh – ideal for portrait photography.
Dust- and splash-proof construction means you can use the lens in challenging conditions.
SIGMA’s Hyper Sonic Motor makes autofocus fast and quiet, while the Intelligent OS system provides sharp images when using longer shutter speeds.
As with all recent SIGMA lenses, many settings can be customized via the SIGMA USB DOCK.
I am not aware of this cascade having a name, but I always find it photo-worthy.
It is hard to go wrong with a series of lines leading into the bottom of the frame and the leading lines in the rock are the big draw to this location.
Camera height is something a photographer usually has some control over, at least within their physical reach ability or the height of their tripod if such is being used.
When photographing flat water (pond, lake, ocean, slow-moving river, etc.), a higher camera position will often provide a higher percentage of the frame being filled with water than a lower camera position IF a similar overall scene framing is used.
For example, photographing an ocean from a standing position with a level camera will result in far more water percentage in the frame than doing the same while lying down at the edge of the water due to the angle of view across a flat surface.
Often, supporting that big IF requires that the camera angle be changed and camera angle also plays a role in determining how much of the frame is filled with water.
A downward-tilted camera can include more water than a level camera.
The key is to find the right balance for the scene you are photographing and there may be multiple right answers.
Work with a scene until you can find no more camera positions that work well.
Then move on.
The small waterfalls seen here do not qualify as flat water, but there is still a lot of near-flat water in this scene.
The right balance for this image was using an ultra-wide-angle focal length positioned with enough downward angle to show a significant amount of water and low enough to gain the right perspective to emphasize the foreground rock lines.
I don't always take the time to photograph this cascade, but especially with the wet rock bringing out strong color (saturation aided by a circular polarizer filter), I couldn't resist stopping on this day.
A larger version of this image is available on Flickr.
Grand Rapids, MI USA, August 15, 2019 – X-Rite Incorporated, global leader in color science and technology, is now shipping the new i1Photo Pro 3 Plus, a spectral color measurement solution specifically designed for professional photographers who print on challenging textured and glossy photo media looking for the most accurate color in their RGB print workflows.
i1Photo Pro 3 Plus combines the new i1Pro 3 Plus spectrophotometer and i1Profiler software to deliver the ultimate professional level color management for displays, projectors, scanners RGB printers and cameras.
Current profiling solutions are limited in their ability to measure textured, rough, or uneven surfaces and cannot accommodate various material thicknesses.
Many devices do not have the resolution required to ensure the highest color quality when printing detailed patterns, metallic effects, or photography images.
This leads to costly color errors and re-work which impacts a photographer’s bottom line.
New in the i1Pro3 Plus spectrophotometer:
Larger 8mm aperture supports new materials and substrates used in digital printing.
Polarization Filter (measurement condition M3) that reduces specular highlights and shadows to provide “better blacks” and richer colors on rough surfaces and glossy medias, like canvas prints and fine art photo papers.
High Brightness Measurement up to 5K NITs for ultra-bright displays.
Simultaneously measure M0, M1 and M2 in a single pass to account for optical brighteners so photographers can quickly predict how colors printed on optically brightened substrates will look under different lighting conditions.
New LED illuminant that improves device reliability. The i1Pro3 Plus allows for four measurement conditions (ISO 13655 M0; M1: D50; M2: UV Excluded, M3Polarized).
Transmission scanning support for backlit materials.
Longer scanning ruler to support wider charts.
New X-Rite iO Table
In addition, X-Rite announces a new i1iO Automated Scanning Table that supports the i1Pro 3 Plus hardware.
This hands-free test chart reader offers automated color profiling on a variety of substrates with reduced risk of color measurement errors.
It is ideal for color perfectionists who want to speed up and automate the measurement process and eliminate manual strip reading.
The new i1iO table can be used with a variety of materials including canvas, textiles, ceramics, corrugated, etc.
and supports materials up to 33mm thick, with the optional z-axis spacer.
It also supports transparencies and backlit materials.
Additional i1Pro 3 Plus Solutions:
In addition to i1Photo Pro 3 Plus, X-Rite is now shipping these new i1Pro 3 Plus solutions:
i1Basic Pro 3 Plus - includes monitor calibration and quality control for monitors and printers
i1Publish Pro 3 Plus - includes CMYK+ printer module and all features of i1Photo Pro 3 Plus
No other company brings the level of color science and commitment to color accuracy than X-Rite. The i1Photo Pro 3 Plus is just the latest in a series of unparalleled solutions developed by Color Perfectionists for Color Perfectionists who print.
From beach vacations and pool-side getaways, to hiking trips and camping expeditions, the family-friendly COOLPIX W150 was made to capture one-of-a-kind moments on every adventure
MELVILLE, NY – Today, Nikon Inc. announced the U.S. retail availability of the COOLPIX W150, the latest rugged yet family-friendly compact digital camera.
Thanks to being both waterproof and shockproof, the COOLPIX W150 allows users to easily capture and share unforgettable moments on every adventure, vacation or get-together.
The W150 boasts an extremely easy-to-use design, sharp image quality and variety of unique scene modes, making it a great travel camera for the whole family.
With a 13.2-megapixel image sensor, 3x optical zoom and full HD video recording, the COOLPIX W150 offers the flexibility to easily capture both stunning still images and Full HD videos, wherever life takes a person.
Even those who have never used a camera will immediately be comfortable snapping shots due to the simple menu system, 2.7-inch 230-k dot LCD screen and Target Finding autofocus, which allows for easy detection and focus on the primary subject.
Built to capture memories, the COOLPIX W150 is waterproof up to 10m (33 feet), shockproof from 1.8m (6 feet) and freezeproof up to -10°C (14°F).
Additionally, the COOLPIX W150 is equipped with a variety of scene modes and editing functions, allowing users to explore their creativity and create fantastic photos, even underwater.
Users can also seamlessly upload to their phone wirelessly for sharing, all with the Nikon SnapBridge app.
Price and Availability
The COOLPIX W150 in white will be available in the U.S. in early September 2019 at a suggested retail price (SRP)* of $169.95.
TOKYO - Nikon Corporation (Nikon) is pleased to announce that its full-frame mirrorless camera, the Nikon Z 6, and its high-performance standard zoom lens, the NIKKOR Z 24-70mm f/2.8 S, are the recipients of the EISA Camera of the Year 2019-2020 and the EISA Professional Standard Zoom Lens 2019-2020 awards, presented by the Expert Imaging and Sound Association (EISA).
Reasons the Nikon Z 6 was selected as the EISA Camera of the Year 2019-2020 (EISA comments)
With the Z 6 (released in November 2018), Nikon has made a superb camera with sensational handling and robust build quality that delivers excellent images in almost any shooting situation.
Its autofocus system includes Eye-Detection AF, allowing accurate focus wherever the subject is placed in the frame.
The large and sharp electronic viewfinder provides a truly accurate preview of how your images will turn out, while in-body image stabilization helps keep your pictures sharp with every lens you can use, including F-mount DSLR optics.
Quite simply, this is the best all-round camera that serious photographers can buy right now.
Reasons the NIKKOR Z 24-70mm f/2.8 S was selected as the EISA Professional Standard Zoom Lens 2019-2020 (EISA comments)
The NIKKOR Z 24-70mm f/2.8 S (released in April 2019) is a fast, professional standard zoom lens for the Nikon Z mount system.
Solid and robust, it employs Nano Crystal Coat and the new ARNEO Coat to reduce flare and ghosting, while the front and rear elements have a fluorine coating to repel dust, oil and moisture.
Thanks to a customizable control ring the photographer can easily adjust the aperture or exposure compensation, while an OLED panel on the barrel displays aperture, focus distance or focal length.
With stunning optical performance that combines high resolution and attractive bokeh, this lens is the perfect partner for the Nikon Z series.
August 15, 2019, Saitama, Japan - Tamron Co., Ltd. (President & CEO: Shiro Ajisaka), a leading manufacturer of optics for diverse applications, announces the presentation by the European Imaging and Sound Association (EISA) of its EISA Awards to two Tamron lenses; 17-28mm F/2.8 Di III RXD (Model A046) for "EISA WIDE-ANGLE ZOOM LENS 2019-2020" and 35-150mm F/2.8-4 Di VC OSD (Model A043) for "EISA BEST BUY ZOOM LENS 2019-2020".
Tamron has been honored with EISA Awards for 14th consecutive years and has been recognized with two awards each year for the past three years.
Excerpt from the Award Citation of the EISA Jury
EISA WIDE-ANGLE ZOOM LENS 2019-2020
17-28mm F/2.8 Di III RXD (Model A046)
The Tamron 17-28mm F/2.8 Di III RXD is an affordable large-aperture wide-angle zoom for Sony full-frame mirrorless cameras.
Designed to complement the firm’s 28-75mm F/2.8 Di III RXD, it features a similarly compact, lightweight design and weather-resistant construction.
It’s a really strong performer in terms of image quality: resolution and contrast are excellent for its class, while the optical system assures outstanding colour accuracy with minimal chromatic aberration.
The lens employs a silent and fast stepping motor for autofocus, making it very suitable for both stills and video recording.
EISA BEST BUY ZOOM LENS 2019-2020
35-150mm F/2.8-4 Di VC OSD (Model A043)
The Tamron 35-150mm F2.8-4 Di VC OSD is a standard zoom lens for Canon and Nikon full-frame DSLRs.
Its somewhat unusual zoom range, combined with a minimum focus distance of 45cm, makes it particularly well suited for portraits, ranging from environmental studies to close-ups.
Thanks to its compact size and light weight it is also a perfect travel companion.
It offers an unusually fast aperture for such a range, from f/2.8 at wide-angle through to f/4 at the telephoto end.
The lens incorporates Tamron’s Dual Micro-Processing Unit system, which assures optimal autofocus performance and effective vibration compensation, allowing for sharp handheld shots.
SANTA ROSA, CALIFORNIA – Easy to pack and even easier to access, the Urban Access Backpack from Think Tank Photo enables you to get to your gear quickly – whether on the run or in the studio.
Access panels on both sides allow you to sling the backpack left or right to access your camera gear without taking off the backpack.
The rear-panel provides complete access to your gear when working directly out of the bag, so you can see all your gear at one time.
Available in two sizes, the Urban Access 13 fits one ungripped DSLR or Mirrorless body with lens attached up to a 24–70mm f/2.8, 2–4 additional lenses including a 70–200mm f/2.8 detached, a 13” laptop, plus personal gear.
The Urban Access 15 fits one ungripped DSLR or Mirrorless body with lens attached up to a 70–200mm f/2.8, 3–5 additional lenses, a strobe, a 15” laptop, plus personal gear.
A center tripod mounting system balances even large tripods securely while still allowing access to your gear.
The plush harness is shaped for all day comfort and fit, and includes load lifters, a removable waist belt and sternum strap.
The harness system also features a luggage handle pass-through for efficient travel.
Plus, premium-quality materials coated in DWR, magnetic buckles and YKK RC Fuse zippers provide durability and ensure longevity.
A seam-sealed rain cover is also included.
Inside, a unique divider system can be configured for access on either side based on the photographer’s preference.
The back panel features an internal, dedicated laptop sleeve for ultimate security and protection.
A top compartment and internal organizer pockets give you quick access to filters, batteries, memory cards, etc.
Collapsible water bottle pockets on both sides and tuck-away tripods straps make for a clean, streamlined look.
“The Urban Access Backpack delivers unprecedented gear access in a stylish, modern design,” said Doug Murdoch, Think Tank CEO and Lead Designer.
“The combination of dual-side and back-panel access means that your gear is readily accessible when you see your shot.”
Two quick side-access panels with full-access rear panel
Dedicated laptop pocket
Front tripod attachment secures a small or large tripod with deployable cup
Access a 70–200mm f/2.8 attached without taking off your bag (15 only)
Deep front pocket fits a light jacket
Robust shoulder harness with load-lifters help to adjust the weight of the pack
Removable sternum strap and waist belt
Luggage handle pass-through
Top compartment fits snacks and personal gear
Expandable water bottle pockets on both sides
Customizable divider system
Top compartment mesh pockets help keep small items organized
Internal organizer pockets give you quick access to filters, batteries, cards, etc.
Seam-sealed rain cover included
Urban Access 13 Backpack
Nikon D750 with 24–70mm f/2.8 attached, 70–200mm f/2.8, 16–35mm f/2.8, flash, and a 13” laptop
Canon 5D with 24–70mm f/2.8 attached, 70–200mm f/2.8, 14–24mm f/2.8, 105mm f/2.8 macro, and a 13” laptop
Sony a7rIII with 24–70mm f/2.8 attached, 70–200mm f/2.8, 16–35mm f/2.8, 13” laptop and 90mm f/2.8 macro
Urban Access 15 Backpack
Nikon D750 with 70–200mm f/2.8 attached, 24–70mm f/2.8, 14–24mm, f/2.8, 105mm f/2.8 macro, 35mm f/1.4, SB900 strobe, and a 15” laptop
Canon 5D with 70–200mm f/2.8 attached, 24–70mm f/2.8, 16–35mm f/2.8, 100mm f/2.8 macro, 1.4x teleconverter, 600EXIIRT strobe, and a 15” laptop
Sony a7rIII with 70–200mm f/2.8 attached, 24–70mm f/2.8, 16–35mm f/2.8, 90mm f/2.8 macro, HVL-F43M strobe and a 15” laptop
Durable water-repellant (DWR) coating with polyurethane backed fabric for superior water-resistance
Urban Access 13 Backpack
10.2” W x 13” H x 5.5” D (26 x 33 x 14 cm)
12.2” W x 18.9” H x 9” D (31 x 48 x 23 cm)
9.2” W x 13” H x 0.8” D (23.5 x 33 x 2 cm)
Urban Access 15 Backpack
11.4” W x 14.6” H x 5.5” D (29 x 37 x 14 cm)
13.4” W x 20.4” H x 9” D (34 x 52 x 23 cm)
10” Tablet Pocket:
9.8” W x 14.1” H x 0.8” D (25 x 36 x 2 cm)
Rarely does photographing wildlife subjects (and human ones also) at eye level not work well.
Bull elk are very large animals, but when they bed down, a standing position may yield a downward camera angle.
While I don't always mind a downward camera angle, it is frequently not my first choice.
So, when they go down, consider taking the camera down with them.
A lower position increases the likelihood of catchlights showing in the eyes.
It was raining lightly during much of the time I spent with this bull.
There are a lot of benefits for photographing wildlife under cloudy skies, but such images typically have relatively low contrast and often respond nicely to a small contrast increase during post processing.
A slight saturation increase is another adjustment that frequently helps images captured under heavy clouds.
There are now two openings remaining for the September elk in rut photo tour, one for each week.
It's not too late for you to join a small group of passionate wildlife photographers pursuing these awesome animals and the beauty of RMNP.
Photographers at all skill levels are invited to join!
Updates are available today for Lightroom Classic and Adobe Camera Raw, our two desktop-centric photography applications. These updates focus on performance and improving your workflow.
GPU Accelerated Editing
Lightroom Classic and Camera Raw
Lightroom Classic and Camera Raw take advantage of the more powerful graphics cards (GPUs) while editing, providing a smoother and more responsive experience. GPU acceleration is more pronounced with larger resolution monitors (4k and above) as well as with more powerful GPUs.
PNG export support
Lightroom Classic and Camera Raw
The PNG file format is a popular uncompressed file format often used on the web. Lightroom and Camera Raw have supported importing and opening PNG-based files for some time, and now you can export your photos as PNGs.
Library Module Improvements
As part of our on-going effort to improve speed and performance in Lightroom Classic, significant improvements were made to the Library module while browsing folders.
Color Labels for Collections
Color labels have long been used in Lightroom Classic as a way to quickly visualize different groups of photos and recently we made it possible to add color labels to folders. In this update, we added the ability to also add color labels to Collections. Find what you’re looking for faster by adding color labels to collections, collection sets, and smart collections.
Batch Merge for HDR, Panoramas, and HDR Panoramas
Batch processing is a great way to speed up your workflow by helping you gang up processor-intensive efforts and letting your computer do the heavy lifting without having to wait for each task to be done.
The August release of Lightroom Classic makes it possible to batch process HDR and panorama merges.
To batch merge, first make a stack of each HDR or pano that you want to merge (make sure that you’re selecting like stacks, all HDR or all pano merges, without mixing up the two types).
Then, select each stack you want to merge and select the appropriate option from the Photo > Photo Merge menu.
New Features Throughout the Lightroom Ecosystem
The August releases for Lightroom, our cloud-centric photography ecosystem, include the ability to recover deleted photos, improvements to the in-app educational tools released in May, as well as improvements to search.
Recover Deleted Photos
Lightroom for Mac, Windows, iOS, Android, ChromeOS, and lightroom.adobe.com
Discover posts were introduced in the May 2019 release and allow you to see the edit process applied to a photo.
Now you can turn those edits into a preset that you can apply to any of your photos.
Tap to open a Discover post and then tap on the three-dot menu at the top-right and select Download as Preset.
You’ll be able to find that new preset named after the Discover post within your preset library.
Improved Search Options
Lightroom for iOS, Android, and ChromeOS
Three new auto-complete search tools were added to Lightroom for iOS, Android, and ChromeOS (these tools were already available in Lightroom for Windows and Mac) making it easier than ever to find the exact photo you’re looking for.
You can now search for photos shot with a specific focal length, for raw, HDR, or pano photo types, and for images that include a depth map.
To use, start typing “focal length:”, “type:”, or “depth map:” and the search auto-complete will let you pick from the available options in your catalog.
Lightroom for Android and ChromeOS
In addition to being able to copy and paste edits to a series of photos, you can now select a range of photos and adjust the metadata of all of the selected photos.
You can change the title, caption, copyright, star rating, and flag status for all selected photos at once.
This functionality is being worked on for iOS and will be made available as soon as possible.
Adobe Camera Raw 11.4
The August 2019 release of Adobe Camera Raw (version 11.4) rolls out new features - enhanced GPU support to accelerate editing of images and edge-aware editing in 360-degree panoramas.
This release also adds support for new cameras and lenses and fixes several issues.
Latest cameras added in August 2019
Canon PowerShot G5 X Mark II
Canon PowerShot G7 X Mark III
Hasselblad X1D II 50C
Leica V-LUX 5
Panasonic LUMIX DC-GX880
Sony A7R IV (ILCE-7RM4)*
Sony RX100 VII (DSC-RX100M7)*
*Denotes preliminary support
Latest lenses added in August 2019
Min ACR plug-in version required
Min LR version required
Min LR Classic version required
Canon RF 24-240mm F4-6.3 IS USM
Canon RF 28-70mm F2 L USM
Canon RF 35mm F1.8 MACRO IS STM
Canon RF 50mm F1.2 L USM
Canon RF 85mm F1.2 L USM
Nikon NIKKOR 28mm f/2.8 AIS
SIGMA 35mm F1.2 DG DN A019
SIGMA 45mm F2.8 DG DN C019
Sony FE 200-600mm F5.6-6.3 G OSS
Sony FE 200-600mm F5.6-6.3 G OSS + 1.4X Teleconverter
Sony FE 200-600mm F5.6-6.3 G OSS + 2X Teleconverter
Lavalier GO is a professional-grade wearable microphone designed for use in a wide range of applications.
The 3.5mm TRS connector is designed to pair perfectly with the RØDE Wireless GO and most recording devices with a 3.5mm TRS microphone input.
Lavalier GO is designed to perform excellently in any broadcast application.
Featuring a discreet 4.5mm omnidirectional microphone, it delivers crystal clear audio in all environments and is incredibly forgiving when it comes to placement on talent, allowing for greater flexibility in fast-paced situations.
A foam pop shield is supplied to minimise wind noise and vocal plosives (hard ‘b’, ‘t’ and ‘p’ sounds), as well as a durable mounting clip with in-built cable management for quick and easy rigging.
It also features a hard-wearing Kevlar reinforced cable, designed to withstand the rigours of any shoot.
Broadcast-grade lavalier microphone with 3.5mm TRS jack.
High-quality omnidirectional condenser capsule.
Durable, hard-wearing Kevlar reinforced cable.
Optimised for use with the RØDE Wireless GO.
Includes pop shield, mounting clip, and carry pouch.
Have you ever returned from a shooting location to find you had what could have been a good composition if you would have moved about 4 feet to the left or right?
I know I have.
It has happened to me more than once.
I have good news for you.
Photoshop has this Content-Aware Fill tool that can work wonders on situations just like this!
You may have already seen the content-aware fill tool and used it many times.
The technology behind the tool is in many other assets within Photoshop like the Clone Stamp Tool, the Content-Aware Move Tool, and the Patch Tool (to name a few).
While I am sure the technology is sophisticated, it is effortless to use.
In this example, I use Content-Aware Fill to patch an area of the composition that never existed.
Yep, I moved the image to the right, and that empty white space was filled in with grass, clouds, and even a finished road path.
Photoshop’s Content-Aware Fill uses data from around the image to replace the white space.
It is similar to the healing brush or even the dust removal tool in Lightroom.
It assesses the environment it is replacing and looks for pixel data that is similar to it.
Sounds too good to be true, right?
Well, it can be if you understand that you will also need a bit of help fixing the areas it replaces.
In today’s tutorial, I will show you how I use this technique to fix poor compositions and show you how to use the Clone Stamp Tool to repair the wonky-bits.
Today we're joined by Aaron's mom as he teaches her how to edit childhood photos in Photoshop! Learn how to make some quick and easy photo fixes like cropping, removing distractions, removing red eye, and recreating film noise. You'll also learn a little bit about Aaron and his family along the way!
Are you just getting started in the world of audio recording? Today we're going to help you translate some of the words and phrases you may come across when recording and editing. AB takes you through some of the most common lingo and gives you some tips for getting started in audio recording and editing. Are there other words or phrases you've come across that you need help with? Let us know in the comments.
Revenue and Operating profit dropped ¥24.0B and ¥9.7B, respectively, YoY due to sales volume reduction in entry/mid DSLR cameras and FPD lithography systems, etc.
Q1 OP resulted in ¥9.3B, 51% down YoY, yet proceeding accordingly to the full-year forecast.
Buy-back of 6,667,200 shares was conducted at approx. ¥10.0B from May 10 to June 20, 2019, which accounts for approx. 1.7% of the outstanding shares.
Q1 YoY Change:
The unit sales of the high-end full-frame camera increased mainly in Europe and US thanks to a growth in sales of ML camera. However, revenue dropped, impacted largely by the reduced sales of entry/mid DSLR cameras in Asia including China.
In addition to the sales impact above, the initial development cost for new ML camera lenses suppressed the profit.
The operating profit for Nikon's Imaging Business fell 15% year-over-year.
TTL (Through-the-Lens) makes shooting a breeze.
Point the camera at your subject, set the exposure values in-camera and the amount of light hitting your subject is dynamically determined by a pre-flash emitted by your TTL-enabled light before each shot.
Unfortunately, using TTL has notable drawbacks, as illustrated in the video above.
When shooting in a studio or under very controlled conditions, using manual flash settings will ensure consistent exposures throughout the session.
Alternately, when shooting under circumstances with quickly changing ambient light and/or subject-to-flash distances, the benefits of TTL will be very much appreciated. [Sean]
Up next in the Performers Series, Joe McNally goes behind-the-scenes with Las Vegas showgirl Joli Irvine to document all the glamour on stage and organized chaos backstage.
“There’s a lot of performance experience that I’m photographing here on stage.
That’s what I’m trying to capture – the feeling and glamour of the stage; the performer right before the lights go up and the crowd starts cheering.”
From photographing low-light moments to stunning portraits, Joe utilized the #mirrorless #Z7 high resolution 45.7MP sensor to capture the fine details.
My favorite camera mode is manual mode.
But, when lighting conditions are changing rapidly, it is often helpful to get the camera involved in the decision-making process via auto exposure.
When using auto exposure, most often I'm still using manual mode, but with auto ISO being selected.
In auto exposure modes, the camera must be able to guess the proper exposure, or close enough that the result can be adjusted to perfection during post-processing without detriment to image quality (increased noise for example).
When photographing deer, a subject rather neutral in relative brightness, in their natural environment, the camera often gets the auto exposure right.
Wildlife photography is usually very challenging, involving unpredictable action and fast camera work, and having the camera take care of the exposure can make the difference between getting a great shot and getting nothing.
With the exposure being determined by the camera, I can focus on getting the shot.
When the camera can guess the exposure with good accuracy and auto ISO in manual mode is being used, the shutter speed alone can be rapidly changed as needed to produce a sharp image.
For example, if an animal that has been in fast motion (requiring a fast shutter speed) pauses and stares at something while motionless, a quick roll of the top dial can increase the exposure times to allow lower ISO settings be taken advantage of.
One thing I need to focus on is not getting too close to my wildlife subjects.
While getting close enough to wildlife is a common challenge, being over-successful, getting too close, can sometimes be an issue.
Wildlife subjects often need some space around them in the frame, some breathing room.
Getting closer means a stronger background blur, but in this case, it meant not enough breathing room around the mule deer buck.
Fortunately, Photoshop helped me increase the canvas size, adding some background to the perimeter of this image.
Another teaching point illustrated here is the catchlight in the buck's eye.
In practically all images containing an eye, catchlights will add positively to the result, giving sparkle and life to the subject.
Catchlights can be created with flash lighting, but when photographing wildlife, the sun, or at least the bright sky, is my favorite catchlight source as it usually provides the most natural appearance.
For catchlights to happen, something bright, often the sun/sky, must be able to reflect in the subject's eye.
Think about the animal's rounded eye reflecting such and the camera angle needed for that to happen.
The subject's head position can make a difference with a raised head increasing the chances for catchlight reflections.
Your position can also make a difference.
The lower your position relative to the subject, the more likely you are to get catchlights reflecting the light source.
When the sun is the catchlight source, the lower the sun, the better the odds are that it will reflect in the eyes.
The more exposed the sky is, the better the likelihood of a reflection.
In this example, I had a catchlight.
However, with just a slight amount of the sky reflecting in the top of the deer's eye, it was a weak one.
Using an exposure adjustment layer in Photoshop, I added a mask that was entirely black (not affecting the image) except for the little catchlight and then slid the exposure adjustment slider slightly to the right to increase the brightness, affecting only the catchlight.
This tiny adjustment made a noticeable difference in the final result.
I'm always looking for an entertaining or at least unusual behavior to capture in wildlife images.
This buck's large rack added points to the entertainment factor, but its behavior was rather boring — it was mostly feeding.
While smelling the small plant is not dramatic behavior, it does speak to this animal's keen sense of smell and its ability to communicate in this way.
The huge rock behind the buck provided an out-of-the-norm background for the image and the position of the antlers allowed all of the points to be seen.
Thus, this image was my pick from this session.
A reminder: there is only one opening remaining for the September elk in rut photo tour in Rocky Mountain National Park.
While elk are our primary subject, we'll be opportunistic, taking advantage of other wildlife that avails itself as illustrated here.
Consider joining a small group of passionate wildlife photographers pursuing these awesome animals.
Photographers of all skill levels are invited to join!
Tamron is a global manufacturer of optical equipment that offers premium-quality products, Interchangeable lenses for 35mm / Digital SLR camera, Interchangeable lenses for Non-Reflex type camera, Surveillance camera lenses, FA and Machine vision lenses, Camcorder lenses, and Drone lenses and others for many different industries.
The NIKKOR Z 85mm f/1.8 S Delivers Gorgeous, Natural Bokeh and Remarkable Edge-to-Edge Sharpness for Crisp Portraits and Dramatic Video
MELVILLE, NY – Today, Nikon Inc. announced the NIKKOR Z 85mm f/1.8 S lens, bringing a fast prime with a classic medium telephoto focal length to Z series full-frame mirrorless cameras.
Ideal for headshots, fashion, wedding/event photography and tight video shots, the NIKKOR Z 85mm f/1.8 S is designed to take full advantage of the wider, brighter and faster Z mount.
This new addition to the S-Line delivers exceptional sharpness all the way to the corners of the frame, even at f/1.8, while integrating the latest NIKKOR optical technologies for intense rendering capability.
Nikon Z series photographers and videographers who want to bring striking clarity to a subject’s eyes or who demand shallow depth of field and beautiful, natural bokeh will find the NIKKOR Z 85mm f/1.8 S a welcome addition to their kit.
“The NIKKOR Z 85mm f/1.8 S lens is so sharp, yet the background blur is so natural; the incredible detail captured with this lens is nothing short of striking,” said Jay Vannatter, Executive Vice President, Nikon Inc.
“For fashion and portrait photographers, to wedding shooters and all types of videographers, now is the time to discover why the new NIKKOR Z 85mm f/1.8 will be an indispensable asset for those creatives who are familiar with the outstanding performance of the Nikon Z series.”
NIKKOR Z 85mm f/1.8 S
With the addition of the new 85mm f/1.8 S, Nikon Z series photo and video shooters now have a native Z mount option for capturing incredible portraits, fashion photography, event images, tight interview shots or B-roll footage that add emphasis to any scene.
This is also the latest lens to join the NIKKOR S-Line, representing pinnacle in optical superiority and construction.
The NIKKOR Z 85mm’s fast f/1.8 maximum aperture allows users to confidently shoot in low light and capture gorgeous, shallow depth of field that adds dimensionality and character to high-resolution images and 4K video footage alike.
Helping to provide a natural look is a lens diaphragm consisting of nine rounded blades, which produce smooth, natural bokeh that gently leads the viewer’s eye to the subject of the frame.
With the addition of Eye-Detection autofocus included in the recent release of Firmware 2.0, the Nikon Z series cameras and NIKKOR Z lenses offer even more control and capabilities when capturing stunning portraits and candids.
This lens uses an all-new optical design of 12 elements in 8 groups and features the industry-leading lens technology consumers have come to expect from NIKKOR glass.
Two Extra-Low Dispersion (ED) elements help ensure minimal aberration, while Nikon’s patented Nano Crystal Coating offers superior control of ghosting and flare.
Additionally, the high-speed Multi-Focus System realizes superior resolving power at minimum focus distance.
These cutting-edge features are protected from the elements by Nikon’s professional-grade dust and drip resistance.
As with all NIKKOR Z S-Line lenses, the NIKKOR Z 85mm f/1.8 S is crafted to cater to the needs of videographers as well as image-makers.
The lens features ultra-quiet focus motors, minimized focus breathing, a customizable control ring for smooth adjustment of aperture or exposure compensation, and full compatibility with the in-body 5-axis VR found in the Nikon Z 6 and Z 7 full-frame mirrorless cameras.
NIKKOR Z S-Line
The NIKKOR Z 85mm f/1.8 S joins the superb “S-Line” of NIKKOR Z lenses.
Designed alongside the revolutionary Nikon Z mount system, S-Line lenses boast superior resolution, beautiful bokeh rendition, exceptional point-image reproduction, enhanced video recording performance and unmatched edge-to-edge sharpness, even when shooting at the maximum aperture.
Born out of Nikon’s heritage of optical excellence, the S-Line sits at the cutting edge of imaging technology and innovation and represents a new potential for image expression.
Price and Availability
The NIKKOR Z 85mm f/1.8 S will be available in September 2019 at a suggested retail price (SRP) of $799.95.
If the camera detected faces during still photography or movie recording at the settings listed below, it would in very rare instances begin to respond more slowly, display an error, or stop responding altogether.
Stills - Auto-area AF selected for AF-area mode in the PHOTO SHOOTING MENU
Stills - Face and eye detection on or Face detection on selected for Custom Setting a4 (Auto-area AF face/eye detection) in the CUSTOM SETTING MENU
Movie - Auto-area AF selected for AF-area mode in the MOVIE SHOOTING MENU
Movie - Face and eye detection on or Face detection on selected for Custom Setting a4 (Auto-area AF face/eye detection) in the CUSTOM SETTING MENU
In very rare instances, the bottoms of pictures taken with all the following settings in effect would not appear as expected:
Mode dial rotated to AUTO, P, or A
An NEF (RAW) option selected for Image quality in the PHOTO SHOOTING MENU
14-bit selected for NEF (RAW) recording > NEF (RAW) bit depth in the PHOTO SHOOTING MENU
Auto selected for Custom Setting d5 (Shutter type) in the CUSTOM SETTING MENU
Continuous H (extended) release mode selected with the release mode/self-timer button
If you photograph outdoors, now is the time to start thinking about fall photography opportunities and there are few better places to be in the fall than Acadia National Park.
Consider joining a small group of enthusiastic photographers in this bucket-list-grade location from Tue, Oct 15 through Sun, Oct 20, 2019.
Sign up now – only two spots remain open.
In this 6th video in our audio-for-video series, AB gives us a simple introduction to audio post production, highlighting the different steps of treating your audio once you’re done shooting your video.
From naming your files correctly to thinking about your final output levels, this video will give you a general sense of the common practices used to get your audio sounding just right.
Check it out!
Torrance, CA - Users no longer have to choose between the versatility of the TrekPak divider system or the protection of Pick N Pluck foam with the new Pelican Hybrid Cases.
Available as a new standard offering in either the Pelican 1510 or Pelican Air 1535 Carry On Case, the interior features both the TrekPak system and the classic Pick N Pluck manually customizable foam.
“This new, extremely versatile configuration offers users the best of both worlds and a host of new organizational options,” said John Luna, Director of Commercial/Government Product Management, Pelican Products, Inc.
TrekPak Divider System
Case owners simply need to lay out their gear the way they wish for it to appear in the case, measure and cut the divider sections, and lock them in place with the provided U-pins.
Each divider section is manufactured from a waterproof, closed-cell foam that is laminated to a rigid corrugated plastic panel.
They are light weight, strong and almost impossible to tear or shred.
Additional divider panels are available separately to switch up the layout any time.
Pick N Pluck Foam
Classic and simple Pick N Pluck foam is pre-scored and cubed for easy manual customization and offered standard in almost all Pelican case models.
Replacement foam is available separately when the interior layout changes.
The Pelican Air 1535 Carry On case is engineered with a next generation polymer construction that is up to 40% lighter than standard Pelican Protector Case brand cases, yet still stands up to the harshest conditions on earth.
It also features a removable rugged ID card holder.
Since its introduction in 2004, the Pelican 1510 Carry On case has been the industry standard for travelling with sensitive equipment that users don’t want to check in.
Its extremely tough polymer construction protects mission critical equipment in worst case scenarios.
Both cases sport a sturdy pull handle coupled with smooth stainless steel ball bearing wheels for effortless transport, a polymer O-ring for a dust and water-resistant seal, and an integrated automatic pressure equalization valve that keeps moisture out and prevents vacuum lock, ensuring the case is easier to open at any altitude.
Available in black only, both cases are backed by the Pelican Products Legendary Guarantee of Excellence.
Pelican Air 1535 Carry On case with hybrid foam MSRP is $324.95 US and the Pelican 1510 Carry On Case with hybrid foam MSRP is $299.95 US.
At B&H’s OPTIC 2019, photographer Ralph Lee Hopkins discusses the importance of patience when searching for the right shot.
Capturing powerful photos is possible when the perfect combination of variables occurs: anticipating action; being in the right place at the right time; and practicing patience.
For great images and an education on the importance of respecting nature, you should check out this video.
Lindblad Expeditions Santa Fe-based photographer Ralph Lee Hopkins is founder and director of the Expedition Photography program for the Lindblad-National Geographic alliance.
For more than 20 years, he has led expeditions from the Arctic to Antarctica and points in between.
Images from Ralph’s travels are published widely.
His work documenting conservation issues in Baja California was published in the National Geographic Traveler story, Is Baja on the Block?
A selection of his polar images was featured in the companion book to the major motion picture Arctic Tale.