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 Monday, September 4, 2017

From the Profoto YouTube Channel:
Photographic legend meets ballet’s enfant terrible. Albert Watson’s painterly eye and mastery of light, and Sergei Polunin’s astonishing physicality were ably assisted by the Profoto Pro-10. And the result? Extraordinary imagery we were proud to be a part of. Watch the BTS to learn from one of the great masters of photography.
B&H carries Profoto gear.
Post Date: 9/4/2017 5:22:31 AM CT   Posted By: Sean
 Saturday, September 2, 2017
How to Process Solar Eclipse Exposure Bracketed Images – A Simple HDR Technique Like scores of others, you (probably) and I photographed the solar eclipse this year. While partial solar eclipse images are easy to process (simply make them bright without blowing the red channel), the total eclipse images when bracketed, are in a different league in terms of complexity. So, like me, you are probably now asking, "How do I process the exposure-bracketed total eclipse pictures?" While there were many articles teaching us how to photograph the eclipse, those telling us how to process the images we captured during totality are scarce.
A great solar eclipse photography strategy is to extensively bracket exposures during totality, when the corona becomes visible. While the corona is relatively bright just outside the edges of the moon, it becomes very dim far away from the sun. Of course, with the sun being 93 million miles away, the word "far" takes on a significant meaning.
While I hoped I could simply load a set of bracketed-exposure images into my favorite HDR software (Photomatix or Photoshop) and be finished, the results returned were not acceptable to me for a couple of reasons. The primary problem was that the software did not properly align the moon (it moves across the frame in subsequent images), creating ghosting and still did so even if I pre-aligned the moon in each image. I could have overlaid the moon from a single frame, but ... I still wasn't satisfied with the overall look of the results.
In the end, after numerous trial and error attempts, I settled on an easy, relatively fast way to merge the results in Photoshop as my solution. Note that there are many techniques that can be used to process a stack of bracketed total solar eclipse images, so don't think this is the only option. But, this technique is easy and it produces a nice result.
Hopefully you captured your images in RAW format for the highest quality and in that case, processing those RAW files into 16-bit TIFF format is the first step needed.
Next, the images need to be loaded into layers in Photoshop. I use Adobe Bridge for this task, browsing to the folder the files are located in, clicking on the first of the series and shift-clicking on the last to select them all. Then select the "Tools" menu, "Photoshop", "Load files into Photoshop Layers ..." and a new Photoshop document will open with all of the images stacked in layers.
Unless you were using a tracking mount, the moon disk will need to be aligned in the layers. I simply moved each layer into identical position. Click on the layer and move it using the move tool. Toggle layer visibility of the image containing the targeted moon position for use as a guide and use the arrow keys to slide the layer being adjusted into position.
Once the images are properly aligned, crop the image as desired. Trimming away the missing edges and centering the sun was my decision.
Next, Order the layers from top down in darkest to brightest sequence. Because I set up the camera to shoot brackets from darkest to brightest (using three custom modes), this sequencing happened automatically for me.
Select the first/top layer and shift-click on the second-to-last layer. With all except one layer selected, reduce the layer opacity using the "Opacity" box at the top of the layers palette. Try starting at 20% and adjust to taste from there. I suggest keeping the image on the bright side at this point.
Making the opacity adjustment (likely) immediately produced an image that looks decent, but one ready for some contrast adjustment. Click on the top layer and create a new adjustment layer. The adjustment layer type you should select depends on your Photoshop skill level, but it needs to be a contrast-adjusting layer type that you are comfortable with, curves being the most powerful and levels being very easy. Use the adjustments the selected tool offers to bring life into the image. If using curves, try selecting two points to create an S-curve that darkens the darks colors and brightens the light (though likely only slight brightening is needed if the layer opacities were set low enough). If using levels, try reducing the mid adjustment slider. You may find that adding multiple adjustment layers is helpful. The beauty of adjustment layers is that they are non-destructive and can be created or deleted at any time.
Because the edges of the moon become brighter as the exposure becomes increases, the edges of my moon were not as crisp as I liked. Also, Baily's Beads were one of my favorite aspects for the solar eclipse and they were only found in the images captured just before C2 and just before C3. So, I incorporated an additional layer into the top of my layer stack and used a layer mask to make only the lunar disk and Baily's Beads visible. This means a black mask (use CTRL-I with a newly-created mask selected), with the desired visible attributes painted white (I used the paint brush). Another option for sharpening the moon is to duplicate one of the existing layers (CTRL-J), likely a darker one, giving it a 100% opacity and a layer mask with only the lunar disk made visible.
A technique that can be used to bring out some contrast in the corona is via Photoshop's High Pass filter. There are a number of ways to do this, but here is one of them:
Select and combine all layers by clicking on the topmost layer, shift-clicking on the last and pressing CTRL-E. Then copy the combined layers to the clipboard by press CTRL-A to select the entire image and then pressing CTRL-C to copy it. Next, undo changes until one step back past the layer-combining step. Select the top layer and press CTRL-V to paste in the copied combined layer.
With the new layer selected, desaturate it by pressing CTRL-SHFT-U. Implement the High Pass filter selecting from the menu: "Filter" > "Other" > "High Pass...". From the High Pass filter dialog, adjust the radius until it seems like the results will work well, with a low value being good for sharpening hard edges such as the border of the moon and a high value being good for adjusting overall image contrast, such as the corona.
The next step is to change the blending mode of the High Pass layer to "Overlay" by using the blending mode drop-down list founds at the top of the layer palette. The opacity of the High Pass layer can be adjusted to reduce the amount of effect and a mask can be used to hide undesirable portions of that layer. You can create a second or even third High Pass layer if you think it will help.
Adjust individual or smaller groups of layer opacities is another step that can be taken to optimize the final appearance.
For the total solar eclipse HDR image shown here, I combined eight 1-stop-bracketed exposures (out of 14 captured) using opacity values of 100% on the bottom (the brightest frame), 25% for the next three up, 20% for the next three up and 30% for the darkest layer on top. The top layer has a layer mask that allows only the center of this frame to show with a strongly-feathered border creating a natural transition to the layer below (one click in the center with a very large, totally-soft paint brush tool selected).
With so many options available, you may decide it worthwhile to create multiple versions of your HDR image and that is a great idea. You worked hard to prepare for and capture the solar eclipse, so having multiple images processed differently simply increases the reward.
Try this technique and let us know how it works for you! If you like it, share it with others. If you know how to improve it, share that with us. I may update this article as feedback comes in, so ... it might be worth stopping back to read it again later.
A larger version of this image is available on Flickr.
 Friday, September 1, 2017
Want to know what happens when you don't take the proper precautions to safeguard your (or your rental company's) gear when photographing an eclipse? If so, you will find the latest LensRentals Blog post to be quite illuminating.
In their latest blog installment, LensRentals shows us rental gear returned with holes burned into sensors, damaged mirror box assemblies and melted aperture blades.
See the entire post on the LensRentals Blog.
Post Date: 9/1/2017 12:15:18 PM CT   Posted By: Sean
Strength of Lexar Brand Combined with Longsys’ Consumer Storage Dedication Enables Continued Support to Existing Lexar Customers as well as Exciting New Growth Opportunities
SHENZHEN, China and SAN JOSE, Calif (Aug. 31, 2017) – Longsys, a world leader in consumer flash storage, today announced that it has acquired the Lexar trademark and branding rights from Micron Technology, Inc. The Lexar brand has long been recognized as a leading brand for high-performance, high-reliability removable storage solutions for a wide variety of applications, such as the professional photography market. This acquisition provides assurance to existing Lexar customers that the solutions and support they have come to expect from Lexar branded products will continue to be available. Additionally, the market reach and product breadth provided by Longsys promises to expand the Lexar customer experience into new market segments and geographies.
“We are very honored to acquire the Lexar brand,” said Huabo Cai, CEO of Longsys Electronics Limited. “Lexar has built a great brand name and our vision is to make it even greater. Existing customers can rest assured that the innovative solutions and excellent support that they have experienced from Lexar will continue. The mission to make Lexar the go-to brand for high-performance removable storage continues, and we will expand upon it to offer even more compelling solutions as the age of wireless and big-data impact the consumer storage markets.”
Longsys has been focused on flash storage for over 18 years and provides a broad portfolio of solutions. Its embedded storage brand FORESEE is leading in the market in China and growing rapidly on a worldwide basis. The company develops complete solutions, including software and hardware, which is key to innovation and deploying leading-edge flash technologies, such as 3D NAND. Longsys currently sells over 100 million flash-based products to the market on an annual basis. Lexar customers will benefit from the strategy and company culture of Longsys, including innovation, stability, strict quality control, localized and customized support and services, and a consumer storage focus.
Longsys envisions continued growth in the removable storage market, as many industry trends impact the consumer, including big data, wireless, and Quality of Service (QoS). Virtual reality, 8K video, automotive infotainment, video surveillance and drones are all examples of emerging applications expected to drive demand for high-performance, high-reliability removable storage. Longsys, with its focus on consumer storage, innovation, quality and reliability, is uniquely positioned to offer Lexar products and services to help solve these complex problems and provide solutions the market will demand.
B&H carries Lexar memory cards.
Category: Lexar News
Post Date: 9/1/2017 11:26:14 AM CT   Posted By: Sean
These charts, especially that from the TS-E 135mm f/4L, should make you say "Wow!" Find all of Canon's current TS-E lens MTF charts along with some other models in comparison format here:
Canon TS-E 50mm f/2.8L Tilt-Shift Macro Lens
Canon TS-E 90mm f/2.8L Tilt-Shift Macro Lens
Canon TS-E 135mm f/4L Tilt-Shift Macro Lens
Perhaps now we know why these lenses are priced are so high.
Preorders for All New Canon Products
Canon EF 85mm f/1.4L IS USM Lens - B&H | Amazon | Adorama | Wex Photographic
Canon TS-E 50mm f/2.8L Macro Tilt-Shift Lens - B&H | Amazon | Adorama | Wex Photographic
Canon TS-E 90mm f/2.8L Macro Tilt-Shift Lens - B&H | Amazon| Adorama | Wex Photographic
Canon TS-E 135mm f/4L Macro Tilt-Shift Lens - B&H | Amazon | Adorama | Wex Photographic
Canon Macro Twin-Lite MT-26EX-RT Flash - B&H | Amazon | Adorama
Canon EOS M100 - B&H | Amazon | Adorama | Wex Photographic
Posted to: Canon News
Post Date: 9/1/2017 8:33:51 AM CT   Posted By: Bryan
Sony a7R II-captured Image quality, vignetting, flare and distortion test results along with specs and measurements have been added to the Sony FE 85mm f/1.4 GM Lens page.
With the new Canon EF 85mm f/1.4L IS USM Lens being announced, it seemed an appropriate time to take a look at the Sony alternative.
The Sony FE 85mm f/1.4 GM Lens is in stock at B&H | Amazon | Adorama | WEX.
Posted to: Sony News
Post Date: 9/1/2017 8:19:10 AM CT   Posted By: Bryan
 Thursday, August 31, 2017
We have added a very-interesting MTF chart comparison to the Canon EF 85mm f/1.4L IS USM Lens page (scroll down to the image quality section).
These charts give us some indication as to how the new 85 f/1.4L IS lens' image quality stacks up to several other lenses, including the Canon EF 85mm f/1.2L II USM Lens, Canon EF 85mm f/1.8 USM Lens, Sigma 85mm f/1.4 Art Lens and more.
Update: Please note that I have corrected a mistake in the Sigma chart interpretation.
The demand for this Canon lens is very high - preorder early to be assured of the earliest acquisition (perhaps it could be an early Christmas present to yourself)!
The Canon EF 85mm f/1.4L IS USM Lens is available for preorder at B&H | Amazon | Adorama | WEX.
Posted to: Canon News
Post Date: 8/31/2017 12:39:09 PM CT   Posted By: Bryan
From DJI:
August 31, 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, has introduced two new drones, the Mavic Pro Platinum and Phantom 4 Pro Obsidian and announces the ‘Sphere’mode for the Spark at IFA 2017 in Berlin.
“DJI continuously look for ways to improve its products and introduce new features, many of which are the result of the positive feedback and requests we received from customers around the world,” said Paul Pan, DJI Senior Product Manager. “Starting with our Osmo Mobile Silver handheld stabilizer, DJI has been expanding its product variations to meet the different lifestyles and needs of consumers. Similarly, we’ve done the same with two of the most iconic DJI drone products, the Mavic Pro and Phantom 4 Pro. The Spark’s newly added ‘Sphere’mode will also introduce a new way for people to experience the fun of aerial photography.”
The New and Improved Mavic Pro Platinum
The DJI Mavic Pro Platinum takes all of the advanced features of the Mavic Pro which revolutionised personal flight and builds on them. It is ideal for travellers, amateur photographers and outdoor sports enthusiasts.
With an 11 percent gain in flight time taking it up 30 minutes coupled with a 60% noise power reduction, the Mavic Pro Platinum provides the best portable drone experience yet. Additionally, the drone’s compact and powerful body has also been created with an attractive platinum coloured shell.
The increased flight time and quieter operation has been achieved by integrating new electronic speed controllers (ESC’s) and freshly designed propellers which are also compatible with the current Mavic Pro.
Furthermore, pilots of the DJI Mavic Pro Platinum benefit from a portable, powerful and easy-to-use camera drone that features a 4K stabilised camera, 4.3 mile (7km) range, innovative FlightAutonomy technology to sense obstacles up to 49ft (15m) away and a range of intelligent flight modes that make it extremely fun and easy to fly.
DJI Spark: Capture Stunning ‘Sphere’ Panorama Images
Spark is an easy-to-use, fun-to-fly mini camera drone that lifts off from the palm of your hand to capture and share those special moments on the go. Spark is the first consumer drone that users can control by hand gestures alone, whether it's sending it up and away, taking a selfie or shooting a video, or calling it back.
With the newly introduced Sphere mode in the Panorama photo feature, users now have more ways to enjoy the Spark and can easily produce a panoramic photo with a fisheye lense effect. This ‘Sphere’can then be shared directly to social media sites, some of which already support interactive images. The new feature will be included soon in the forthcoming DJI GO 4 mobile app and Spark firmware updates.
This mode joins the following recently announced firmware updates which allow Spark users to get the best flying experience with easy to use photo and video functions:
  • A new gesture to start and stop video recording
  • Enhanced QuickShot video features for more cinematic control
  • A 180-degree photo shooting mode and improved photo image resolution
  • Full integration with the DJI Goggles
  • Optimization of the PalmLaunch function for better stability after takeoff
  • Improved control accuracy under the QuickShot Dronie mode
DJI Phantom 4 Pro Obsidian: The professional drone photographer’s perfect tool
The iconic Phantom 4 Pro drone which made professional aerial imaging easier for everyone is back with a new professional appearance; a sleek matte-gray Obsidian colour shell featuring a magnesium, electroplated and anti-fingerprint coated gimbal which requires a higher standard manufacturing technique.
For professionals who demand excellence while capturing images and video for a commercial client or documenting a wedding, the Phantom 4 Pro Obsidian has a large 1” CMOS sensor and a 4K 60fps recording capability to ensure a professional outcome in any situation.
The Phantom 4 Pro Obsidian offers intelligent performance and a powerful imaging system for any serious drone photographer.
Price and Availability
With a retail price of 1,119 GBP (1,299 EUR), the Mavic Pro Platinum will begin shipping in September. The Mavic Pro Fly More Combo will be available at a later date with a retail price of 1,459 GBP (1,599 EUR). Phantom 4 Pro Obsidian will retail for 1,589 GBP (1,699 EUR) and will be available in September at authorized dealers worldwide.
Category: DJI News
Post Date: 8/31/2017 11:27:56 AM CT   Posted By: Sean
by Sean Setters
Aside from the Rebel T6, all of Canon DSLRs currently produced feature Multi-Shot Noise Reduction (MSNR). With the feature enabled, your camera takes a burst of 4 images which are combined and output to a JPEG file with less visible noise compared to a single exposure.
Unfortunately, there are many downsides to using MSNR. For a good overview of those downsides, let's take a look at a couple of paragraphs from Bryan's review of the 5D Mark IV:
Multi Shot Noise Reduction (MSNR) is one of the additional in-camera options available in many of the latest EOS models including the 5D IV. MSNR merges information from multiple (four) exposures taken in a full-frame-rate burst into a reduced noise image. The concept makes a lot of sense. MSNR generally provides a remarkable one stop or more of noise reduction, but ... I still have not found a compelling use for this feature.
The downsides to Multi Shot Noise Reduction include: MSNR is currently available only with JPG output (I would like to see this feature added to Canon's Digital Photo Pro software for RAW capture processing – perhaps as another HDR preset). Multi-Shot Noise Reduction is not so useful with moving subjects (or with a moving camera). Long exposure NR, Dust Delete Data, Multiple Exposure and HDR Mode must be set to off to enable MSNR. The 5D IV reverts back to Standard NR in Auto/Basic zone modes, during video recording, in Bulb mode and when the camera is powered off. Flash is not supported in MSNR mode. After the 4 shot burst is captured, the camera remains "busy" for a noticeable period of time while processing the merged image. So, while this feature is a nice idea, its limitations make it less useful in real-world applications. I am far more likely to use a low ISO setting with a longer exposure when shooting stationary subjects from a tripod.
Fortunately, with several of Canon's upper-level DSLRS, there's a slightly better way to accomplish the same goal. It involves many of the same compromises as Multi Shot Noise Reduction, but instead of being limited to JPEG output, you can output a RAW file instead.
Before I go any further, it's important to know exactly which of Canon's DSLRs this information applies to:
  • EOS-1D X Mark II
  • EOS-1D X
  • EOS 5D Mark IV
  • EOS 5Ds R
  • EOS 5Ds
  • EOS 5D Mark III
  • EOS 6D
  • EOS 6D Mark II
  • EOS 7D Mark II
  • EOS 80D
The secret is to use your camera's Multiple Exposures feature and set the Multiple Exposure Control Method to "Average." By setting the desired number of shots to 9 (the max), noise in the combined image will be greatly reduced.
The best part about using this technique is that it enables reduced noise to be captured in a RAW file rather than JPEG. However, drawbacks of using this method include:
  • Tripod use is required, especially as there is no option to align the images in-camera.
  • Any subject that moves during the 9-image capture duration will be blurred.
  • You must first shoot a base image before selecting the Multiple Exposure options, as designating a base image is required. Therefore, there will be delay between the first image and the following 8 images.
  • In-camera lens profile corrections are not supported.
With the drawbacks listed above in mind, you may be wondering what situations would benefit from using the Noise Reduction through Multiple Exposure technique. Here are a few ideas I came up with.
  • If photographing a lighted sign that lights up sequentially (as if being handwritten), and there is only a small portion of time when the sign is completely illuminated. If you were to use a longer shutter speed, the illumination of the sign may not be even. However, if you time your 9 shots when the sign is completely illuminated, you can avoid the uneven brightness.
  • If photographing a moderately busy street scene, but you do not want pedestrians or traffic in the image. You can easily time your images so as not to include pedestrians or traffic in the final image.
To get a better understanding of just how significant the noise in your RAW images can be reduced using this technique, download the full resolution 7D Mark II ISO 12800 single exposure and 7D Mark II ISO 12800 multiple exposure files and compare the noise for yourself. The RAW files were processed identically (except for white balance) in Adobe Camera RAW with no noise reduction applied before the JPEG conversion. Note that the sample images were not taken under circumstances where this technique would be especially beneficial, as a longer shutter speed could easily have been used (they are only used for noise reduction demonstration purposes).
Tips for Using Multiple Exposures (Average) for Noise Reduction
  • As previously mentioned, the best noise reduction will result from the combining highest possible number of shots (max 9)
  • With Multiple Exposures set to Function and Control Priority (On:Func/Ctrl), the source files will be saved along with the final combined result. However, if using continuous shooting, the burst rate will be significantly reduced.
  • With Multiple Exposures set to Continuous Shooting Priority (On:ContShtng), the source files will not be saved (only the final result) but continuous shooting will operate at a normal-for-the-circumstances rate.
  • You can get similar results in post processing by combining separate exposures in Photoshop CC by using File/Scripts/Statistics and stacking your images using "Mean."
While the technique may not be feasible under a wide variety of situations, the noise reduction benefits will certainly be worthwhile in the specific situations where this technique can be employed.
Can you think of more situations where this technique might be useful and advantageous? Let us know in the comments.
Posted to: Canon News
Post Date: 8/31/2017 9:10:23 AM CT   Posted By: Sean
From DJI:
Threat Identification Reward Program Will Address Software Concerns
August 28, 2017 – DJI, the world’s leader in civilian drones and aerial imaging technology, is establishing a “bug bounty” program to reward people who discover security issues with DJI software. The DJI Threat Identification Reward Program is part of an expanded commitment to work with researchers and others to responsibly discover, disclose and remediate issues that could affect the security of DJI’s software.
“Security researchers, academic scholars and independent experts often provide a valuable service by analyzing the code in DJI’s apps and other software products and bringing concerns to public attention,” said DJI Director of Technical Standards Walter Stockwell. “DJI wants to learn from their experiences as we constantly strive to improve our products, and we are willing to pay rewards for the discoveries they make.”
The DJI Threat Identification Reward Program aims to gather insights from researchers and others who discover issues that may create threats to the integrity of our users’ private data, such as their personal information or details of the photos, videos and flight logs they create. The program is also seeking issues that may cause app crashes or affect flight safety, such as DJI’s geofencing restrictions, flight altitude limits and power warnings.
Rewards for qualifying bugs will range from $100 to $30,000, depending on the potential impact of the threat. DJI is developing a website with full program terms and a standardized form for reporting potential threats related to DJI’s servers, apps or hardware. Starting today, bug reports can be sent to for review by technical experts.
The DJI Threat Identification Reward Program is part of a renewed focus on addressing concerns about DJI product security, including new efforts to partner with security researchers and academics who have a common goal of trying to improve the security and stability of DJI products. DJI is also implementing a new multi-step internal approval process to review and evaluate new app software before it is released to ensure its security, reliability and stability.
DJI has not previously offered formal lines of communication about software issues to security researchers, many of whom have raised their concerns on social media or other forums when they could not determine how best to bring these issues to DJI’s attention.
“We want to engage with the research community and respond to their reasonable concerns with a common goal of cooperation and improvement,” Stockwell said. “We value input from researchers into our products who believe in our mission to enable customers to use DJI products that are stable, reliable and trustworthy.”
Category: DJI News
Post Date: 8/31/2017 7:04:20 AM CT   Posted By: Sean
From the Nikkei Asian Review:
Automation makes manufacturing at home more competitive
TOKYO -- Canon plans to have a new camera plant in Japan up and running by 2019 as it moves more production back home, relying on factory automation to lower the cost of domestic operations.
The Japanese electronics maker will acquire 300,000 sq. meters of land for a digital camera factory in southern Japan's Miyazaki Prefecture as early as September. The plant will be Canon's first new camera factory in this country since 2010, and will feature labor-saving assembly lines of the sort Canon is installing across its Japanese facilities to make domestic production cost-competitive. Total costs are projected to be around 20 billion yen ($181 million).
The facility will take over production of single-lens reflex cameras formerly manufactured at another Miyazaki plant. Canon will eventually consider bringing production of some compact digital cameras now made overseas back to Japan as well. The company produced 56% of its cameras and other offerings in this country in the year 2016, and plans to raise that figure to 60%.
Read the entire article on the Nikkei Asian Review.
Posted to: Canon News
Post Date: 8/31/2017 6:58:38 AM CT   Posted By: Sean
From Pelican:
Up To 40% Lighter and 45% Deeper for the Perfect Fit
Torrance, CA— August 15, 2017 - Pelican Products, Inc. (Pelican), the global leader in the design and manufacture of high-performance cases, today set another benchmark for the segment with the launch of three new deeper cases in the re-engineered, up to 40% lighter, Pelican Air Case line.
Since 1976, the classic Pelican Protector Case has been the go-to protective case solution for millions of professionals and consumers worldwide. As a part of the innovative and lighter Pelican Air case line, the three new cases, 1557, 1607 and 1637, continue Pelican’s relentless quest to offer users more versatility, portability and durability.
“Our engineering team consistently explores how to deliver innovative and meaningful new solutions,” said Stephan Corti, President, Pelican Products Commercial and Government Division. “The Pelican Air case line is a major transformation, designed to maintain Pelican’s signature concept of high-performance durability while cutting the weight out.”
The entire Pelican Air case line, constructed of lightweight HPX2 resin, is available in nine travel-ready sizes, in both long and, now, deep options. With over 13” of depth available, the new cases provide room for fragile and valuable equipment, such as drones and cinema-grade cameras. Pelican Air cases continue to be the gold-standard of premium equipment protection while remaining 40% lighter and now 45% deeper. All Pelican Air cases are available in black, yellow, orange, and gray.
Available configurations offer the choice of four unique interior options to meet almost any performance needs
  • The TrekPak Divider system (not available with 1607 or 1637), feature durable, waterproof, closed-cell foam laminated to corrugated panels to provide a fully customizable and precise protection grid without wasting space.
  • The Classic Pick N’ Pluck Foam offers a manually customizable solution for fast and simple protection with pre-scored foam to fit almost any equipment.
  • The Padded Divider configuration includes infinitely customizable, protective, padded dividers with Velcro so users can change their equipment organization scheme on a moment’s notice.
  • The No Foam configuration allows a blank slate for custom interior solutions.
“I couldn't wait to customize my Pelican Air case with the TrekPak system,” said Roy Pena, fire photographer, Bakersfield, CA. “I was able to fit all my camera gear in its own tailored compartment. When you're shooting action shots, like a fire in the heat of the moment, you have to rush in to get the shot. If you don't know exactly where the right gear is, you miss it".
The new 1607 and 1637 cases have wheels, roll tested over 914 meters. The line’s newest products boast classic Pelican case features including a watertight O-ring gasket, a crushproof and dustproof exterior, stainless steel hasp protectors, rubberized, over-molded handles and proven tough double-throw latches. Each Pelican Air Case meets the same performance tests (impact, drop, submersion and high and low temperatures). Pelican Air cases are also backed by the company’s legendary lifetime guarantee of excellence.
B&H carries the following:
Category: Pelican News
Post Date: 8/31/2017 6:53:28 AM CT   Posted By: Sean
 Wednesday, August 30, 2017
For those that want more than just a lens coffee cup, B&H now carries a set of coasters that stack to resemble an 85mm f/1.2L lens.
Product Highlights
  • Set of Five Drink Coasters
  • Pieces Combine to Form a Replica Lens
  • Hidden Magnets Hold Coasters Together
  • Non-Slip Silicone Bottom and Top
Post Date: 8/30/2017 1:40:19 PM CT   Posted By: Sean
Canon has released firmware updates for the EOS C300 Mark II and C100 Mark II Cinema cameras. See below for details.
Canon EOS C300 Mark II / EOS C300 Mark II PL Firmware Version
Firmware Version incorporates the following fixes and enhancements:
  • When CN-E70-200mm T4.4 L IS KAS S is attached the following features are enabled:
    • Autofocus using the Dual Pixel CMOS AF function.
    • Dual Pixel Focus Guide function.
    • The joystick on the camera's grip unit can be set to operate the zoom.
    • Manual control of the iris with Camera's Control dial.
    • Control of focus, zoom and iris using the separately-sold Remote Controller RC-V100.
    • Automatic aperture and push auto iris functions.
    • Start/stop recording on the lens grip.
    • Retrieval of Lens metadata, such as the model name and the focal distance will display on the camera.
  • Allows the position of waveform monitor to be changed on the display.
  • Adds peripheral illumination/chromatic aberration correction for the following lenses:
    • COMPACT-SERVO Lens [CN-E70-200mm T4.4 L IS KAS S]
    • EF Lens [EF 70-300mm f/4-5.6 IS II USM], [EF 16-35mm f/2.8L III USM]
  • When [Face Only] is active, the icon will change from gray to white when a face is not detected.
  • When the camera is turned off the IS mechanical lock will be active regardless of the position of the switch.
  • Fixes the list of shutter speed on the display when using Browser Remote.
Download: Canon EOS C300 Mark II Firmware v.

Canon EOS C100 Mark II Firmware Version
Firmware Version incorporates the following enhancements:
  • When CN-E70-200mm T4.4 L IS KAS S is attached the following features are enabled:
    • Autofocus using the Dual Pixel CMOS AF function.
    • The joystick on the camera's grip unit can be set to operate the zoom.
    • Manual control of the iris with Camera's Control dial.
    • Control of focus, zoom and iris using the separately-sold Remote Controller RC-V100.
    • Automatic aperture and push auto iris functions.
    • Start/stop recording on the lens grip.
    • Retrieval of Lens metadata, such as the model name and the focal distance will display on the camera.
  • Adds peripheral illumination correction for the following lenses.
    • COMPACT-SERVO Lens [CN-E70-200mm T4.4 L IS KAS S]
    • EF Lens [EF 70-300mm f/4-5.6 IS II USM], [EF 16-35mm f/2.8L III USM]
  • When [Face Only] is active, the icon will change from gray to white when a face is not detected.
  • When the camera is turned off the IS mechanical lock will be active regardless of the position of the switch.
Download: Canon EOS C100 Mark II Firmware v.
B&H carries the Canon EOS C300 Mark II and C100 Mark II Cinema cameras.
Post Date: 8/30/2017 10:11:08 AM CT   Posted By: Sean
I know, you are trying to decide if it was the 28 hour round trip drive or the celestial body alignment that warped my mind. But, with the solar disk (or a portion of it) imaged against a completely black background, the composite opportunities become endless and are limited only by your own creativity.
The site's circular-crescent logo seemed to be a good design fit for the solar eclipse. So, I made a transparency template to overlay a sun image captured during the eclipse.
You likely spent a lot of time and effort to photograph the eclipse. While I will treasure some of the solar eclipse images I captured forever, there are a lot of other identically-captured images out there. But, there are not likely any that look like this one (you can be the judge of whether or not this uniqueness is fortunate). Have fun with the rewards of your efforts – spend some time being creative with the results.
Post Date: 8/30/2017 7:15:00 AM CT   Posted By: Bryan
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