Just posted: Canon EF 16-35mm f/4L IS USM Lens Review
Warning: Reading this review may create a very strong desire to add this lens to your kit. Read with caution.
Other Canon EOS 6D On-Camera Tutorial Videos
By Sean Setters
I bought an EOS M back when retailers were slashing prices on Canon's mirrorless kits. Since then, I have really enjoyed having a compact camera capable of capturing high quality images. However, the camera has been relegated to fulfilling the needs of a "vacation camera" in my kit. Last week, that all changed.
That's when I installed a Magic Lantern nightly build on my EOS M. With Magic Lantern installed, the EOS M makes a great time-lapse camera. It's small, easy to set up and quiet. You also don't have to worry about the wear and tear of your mirror mechanism (because, coincidentally enough – there isn't one!). These features make time-lapse shooting with an EOS M ideal; unfortunately, time-lapse photography is not possible with an EOS M without a little help.
The fact is that no Canon DSLRs or mirrorless APS-C sensor cameras have a built-in intervalometer. Instead, Canon offers a wired controller to fill that roll – the oddly named TC-80N3. Unfortunately, the EOS M doesn't have the E3/N3 port necessary for triggering the camera via a wired controller.
But that's where Magic Lantern comes in. It gives you a built-in intervalometer (as well as a boat-load of other features). The intervalometer is fantastic and full of customizable options. On the downside, the nightly build I tried out isn't quite ready for prime time. The Magic Lantern menu sometimes disappears from the screen for no apparent reason while trying to change values or simply navigating the menu. But with a little patience and a little more persistence, the Magic Lantern firmware can really increase the usefulness of Canon's all-but-forgotten entry into the mirrorless market.
Using an EOS M loaded with Magic Lantern, an EF 17-40mm f/4L USM, Viltrox EF-M to EF/EF-S Adapter, B+W Circular Polarizer, B+W .6 ND filter and a tripod / ball head, I was able to create the time-lapse for the following video (watch full screen in HD for best results):
Yes, I know the video is cheesy. But it's safe to say that a more significant project could easily be augmented by something so simple as a time-lapse captured by an EOS M. If I had installed Magic Lantern on my EOS M a little sooner, I probably wouldn't have wasted 400 shutter clicks on my EOS 7D shooting this behind-the-scenes time-lapse. So even though it might not be stable enough for a final release, it still might be fun (and useful) to play around with in its current state.
Disclaimer: If you install Magic Lantern, you do so at your own risk. The-Digital-Picture.com (or the Magic Lantern team, for that matter) is not responsible for damage due to use of non-OEM firmware.
By Sean Setters
First off, let me admit something up front – I'm not a big fan of most of the HDR images I see. Most of the HDR images I come across look too unrealistic or simply too over post-processed for my taste. But there are times when creating an HDR image makes a lot of sense. Indoor architecture is probably one of my favorite uses of HDR imagery.
A few months ago my friend told me about a location in town that I was completely unaware of. Last week I finally made a point to go see it. I brought my EOS 5D Mark III, Rokinon 14mm f/2.8 and a tripod.
The location, "The Arcade," turned out to be a building right in the middle of my hometown with a foyer that seems as if it were transplanted from a bygone era. As I would later find out, the building is now over 100 years old and was added to the National Register of Historic Places in 1979.
The bottom floor was beautiful, but the second floor view seemed to provide an even better vantage point for a picture. Stained glass skylights allowed some of the midday sun to peek through the ceiling, but overall the light was pretty dim on the second floor. The extremely bright light coming from the 1st floor doors at the end of the foyer also presented a problem when using longer shutter speeds to expose the scene.
The extreme difference between highlight and shadow in the scene made it a good candidate for HDR photography. I set my tripod-mounted 5D Mark III to record a bracketed exposure (5 shots) and later post-processed the image with Google's HDR Efex Pro 2 plugin for Photoshop CS6.
In post-processing, I left the front doors fairly blown out because the brightness tended to draw the my eye to the center of the image (although I did dim its reflection on the floor). In my opinion, the blown out area also makes the exposure seem a bit more believable overall. And while it's an HDR image, it doesn't scream "HDR!!!" to me. And I think that's why I like it...
"When using your EOS camera you may occasionally get an error code or message appearing on the camera’s LCD screen. Most of these errors can be quickly and easily resolved – the various EOS error codes and messages are described below with information that should assist you in resolving your issue."
Check out all the Error Codes and Tips on the Canon Professional Network.
Nikon Europe has posted a behind the scenes look at the fashion images shown in the photostream:
I was very anxious to get my hands on this lens. With well over 1000 shots captured with it so far, I am now loving this lens and expect it to become one of my most-used lenses. The 16-35 f/4L is very sharp across the frame, AF is very fast and extremely accurate and IS works very well.
Here are a couple of relevant comparisons:
Completion of the full review is my current highest priority.
Thank you for purchasing and using our products.
We are pleased to inform you the SIGMA 120-300mm f/2.8 DG OS HSM F/CANON Firmware Update is now available.
This firmware update allows you to use the SIGMA USB DOCK with the SIGMA 120-300mm f/2.8 DG OS HSM F/CANON. If you have the products mentioned below, please start up SIGMA Optimization Pro and then operate lens firmware update.
Applicable products: SIGMA 120-300mm f/2.8 DG OS HSM S013 F/CANON
Benefits of this firmware update:
Please update to SIGMA Optimization Pro Ver1.2 before operating firmware update of SIGMA 120-300mm f/2.8 DG OS HSM S013 F/CANON.
From Nikon USA:
With Extreme Resolution, Powerful Video Features and Enhanced Performance, the New Nikon D810 is the Essential Asset for Pro Photo and Video Applications
MELVILLE, NY – Today, Nikon Inc. announced the D810, the next benchmark in D-SLR image quality for professional photographers and cinematographers. The D810 features a brand-new 36.3-megapixel, full-frame FX-format sensor without an optical low pass filter (OLPF) for extreme resolution and staggering dynamic range. Bolstered by Nikon’s EXPEED 4 image processing engine, the D810 delivers enhanced response and performance for a wide variety of photographic, cinematic and broadcast disciplines. Whether photographing weddings, fashion or landscapes, shooting documentary-style cinema or video for broadcast, this is the one D-SLR that provides the ultimate in versatility and capability.
“Once a user experiences the intense level of fine detail they are able to render using the immersive resolution of the D810, it will be hard to imagine a project without it,” said Masahiro Horie, Director of Marketing and Planning, Nikon Inc. “When coupled with the amazing imaging capabilities of NIKKOR optics, the D810 becomes a powerful storytelling tool to create images and broadcast-quality video with unprecedented detail, dynamic range and sharpness.”
Nikon’s Greatest Image Quality Yet
The Nikon D810 is the pinnacle of D-SLR image quality, continuing to rival medium format cameras thanks to a variety of Nikon technologies engineered for professional image capture. At the core of the D810 is a brand-new, 36.3-megapixel FX-format (7360 x 4912 resolution) CMOS sensor that lets photographers wield the benefits of extremely high resolution, with rich tonality and a broad dynamic range. This super-high resolution gives professionals the power to capture with stellar sharpness, make massive prints or crop liberally with confidence. The OLPF has been removed to maximize the potential of every pixel, resulting in outstanding resolution and sharpness, yielding images that render subtle details with striking fidelity.
Image quality further benefits from the application of Nikon’s exclusive EXPEED 4 image processing engine, which also provides enhancements to overall performance while suppressing instances of false color and moiré. Photographing in the field or in the studio, users will see the difference with the ability to create stunning images with unprecedented clarity in gradation rendering, expanded dynamic range and high accuracy white balance. Additionally, EXPEED 4 enhances noise reduction performance, and helps to achieve a wider ISO range, from 64 to 12,800, to improve low-noise image capture in a variety of lighting conditions. The ISO range is also expandable from 32 (Lo-1) to 51,200 (Hi-2) letting the photographer shoot with maximum fidelity under studio lighting or confidently capture a faintly-lit wedding reception or other subjects in even the most challenging light.
Nikon has also implemented a myriad of new features aimed at improving overall image quality for all types of photographers. Nikon’s Advanced Scene Recognition System with the 91,000-pixel 3D Color Matrix Meter III provides unbelievably balanced exposures in difficult scenes. The system analyzes each scene to recognize factors such as color, brightness and human faces with startling precision to determine what type of subject a user is shooting. The system then compares all the data using an image database to adjust exposure, AF, auto white balance, i-TTL flash control and enhances subject tracking.
Further enhancing the D810’s image quality, a “Clarity” setting has been added to the available Picture Control adjustment parameters, which adjusts mid tones to enhance details within an image. To help preserve the most amount of detail in shadows and highlights, the new “Flat” Picture Control Profile is now available. This Picture Control Profile allows both photographers and filmmakers to get the widest tonal range out of their cameras for maximum flexibility in post processing. For further customization of Picture Controls, users are now able to make adjustments in .25 step increments for the maximum level of custom color, saturation and brightness levels. Additionally, the D810 employs a new highlight-weighted metering option, which detects the brightness in a scene and determines optimum exposure, preventing blown-out highlights, which is ideal for stage and performance capture.
Video Features Fit for Production
The D810 has powerful video features that make it a valuable tool for any production environment. Whether a user is looking for manual control for pro video application or portability and lens selection for episodic broadcast, the D810 delivers a truly cinematic experience with a wide range of professional-oriented features:
Accuracy and Speed
With the ability to brandish the results of such staggering resolution, accuracy and precision become paramount as the need for razor-sharp focus is critical. The D810 renders every subtle detail and nuance in epic clarity, with the enhanced Multi-Cam 3500-FX AF sensor module that utilizes new AF algorithms for fascinating precision, even in challenging light. The focus system also has 15 cross-type AF sensors for enhanced accuracy, and works with the Advanced Scene Recognition System to provide accurate face detection even through the optical viewfinder. The camera also utilizes 11 cross-type sensors that are fully functional when using compatible NIKKOR lenses and teleconverters (aperture value up to f/8), which is especially useful for wildlife photography. In addition to normal, wide area, face tracking and subject tracking modes, the D810 also features the new Group AF mode for enhanced accuracy, even while tracking subjects.
Despite the D810’s immense imaging power, it will astound with its rapid response and speedy performance, thanks to the implementation of the EXPEED 4 image processing engine. The addition of EXPEED 4 allows for an overall 30% boost in performance, as well as a faster burst speed and enhancement to overall energy efficiency. Now the D810 is capable of shooting at 5 frames-per-second (fps) at full resolution and 5:4, 6 fps in DX or 1.2x modes, (15.4-megapixel, 25.1-megapixel, respectively), and 7 fps in DX mode (15.4-megapixel), with battery pack. For full workflow versatility, the D810 also gives users the option to shoot in full resolution 14-bit RAW/NEF file format or the new RAW Size Small format. This 12-bit file format is half the resolution and approximately 1/4 the file size of full RAW files, for increased flexibility when speedy downloads are desired or memory space is at a premium.
Refined Controls and Construction
From all day in the studio to an extended assignment in the field, the D810 has been engineered for superior comfort and operability. When looking through the wide and bright viewfinder with 100% coverage, users will see shooting data displayed on an organic EL display element for maximum visibility. The viewfinder now also features a prism coating for enhanced clarity. In addition, the grip has been refined for comfort and ergonomics, and the “i” button has been added for quick access to common mode-dependent settings.
Both photographers and videographers will clearly see the benefits of the new high-resolution (1229K-dot) 3.2-inch LCD screen, which makes it simple to check focus, review images or compose a scene. The color space of the LCD screen can now also be fully customized, a feature that is useful for matching monitor or print calibration settings. Using the high-resolution LCD screen, users can also activate the new Split Screen Display Zoom function. This new mode magnifies two separated points on the same horizontal line, making it easier to confirm the two points are both level and in focus; a true advantage for architecture, industrial and landscape photographers.
Inside the durable magnesium alloy structure of the D810 improvements have also been made, including the use of a redesigned mirror sequencer / balancer unit, which minimizes vibration during shooting to increase sharpness during multiple frame bursts. Additionally, the electronic front curtain can now act as an electronic front shutter when using live view or first composing through the optical viewfinder in mirror-up mode. This new feature is useful to attain exacting sharpness when shooting slow-shutter landscapes or astrophotography. The shutter unit has also been tested to 200,000 cycles for years of maximum reliability. For further durability, the body of the D810 has been thoroughly sealed and gasketed to resist the elements, reinforcing this camera’s role in extreme production environments.
Superior System Support
Such extreme resolution requires that no compromise be made on glass, and NIKKOR lenses are the perfect choice to complement the D810. With more than 80 FX and DX-format lenses available, NIKKOR lenses offer the ultimate in image quality with sharpness and faithful color representation that is second to none. To light a scene imaginatively, the D810 has a built-in flash and is compatible with Nikon's acclaimed Creative Lighting System, including a built-in Commander mode for controlling wireless Speedlights. The MB-D12 battery grip is also available to give users both extra grip and extra power when it is needed most.
For wireless control, the D810 is compatible with a full range of Nikon’s remote systems, including the new wireless remote system with the WR-1 to trigger the camera remotely. This system uses radio frequency rather than infrared, eliminating the need for line of sight communication.
Nikon will also be making a Software Developers Kit (SDK) available in the near future for the D810. This SDK will give third party developers the resources needed to create applications and enhance the flexibility of the D810.
Robust New Software Suite: Nikon Capture NX-D
Capture NX-D is Nikon’s new software for processing and adjusting RAW images captured with Nikon digital cameras. Capture NX-D is a free software application that will replace the current Capture NX 2 program, and adds interface and performance enhancements. In addition to RAW images, the program can also be used to adjust JPEG and TIFF files. This new software will support many functions needed by professional photographers, including batch image processing, filtering and an enhanced user interface with a variety of displays and floating palettes that are ideal for multiple monitors. Additionally, photographers will also have the ability to adjust parameters including exposure and white balance in RAW files, and can adjust tone curves, brightness and contrast, as well as functions for correcting lateral color aberration and vignetting in JPEG and TIFF files. The software also features a new “sidecar” format, which retains and saves the adjusted image as a separate file.
Nikon will also make available at no charge the new Picture Control Utility 2 software. This new software allows users to create custom Picture Control profiles, which can be easily loaded into the camera.
Price and Availability
The Nikon D810 will be available in late July for the suggested retail price (SRP) of $3,299.95. The MB-D12 battery pack is currently available for $616.00 SRP. The new Capture NX-D software package will be available mid-July for download at no additional cost.
Additionally, Nikon will be offering two kits designed for videographers and filmmakers; the D810 Filmmaker’s Kit consists of the D810 body, AF-S NIKKOR 35mm f/1.8G, AF-S NIKKOR 50mmm f/1.8G, AF-S NIKKOR 85mm f/1.8G lenses, 2 additional EN-EL15 batteries, ME-1 Stereo Microphone, Atomos Ninja-2 External Recorder, and Tiffen 67mm and 58mm Variable Neutral Density Filters (8-Stops). For stop motion applications, the D810 Animator’s Kit features the D810 body, AF-S Micro-NIKKOR 105mm f/2.8G ED VR lens, EH-5b Power Adapter, EP5B Power Supply Connector and Dragonframe Stop Motion Software plus Dragonframe USB Keypad Controller.
Adoption of ebonite resin for an elegant look and feel that creates a unique and rich texture over time
TOKYO - Nikon Corporation is pleased to announce the release of the Soft Shutter Release AR-11, developed for use with the Nikon Df FX-format digital SLR camera.
The AR-11 is an optional accessory that may be attached to the camera by screwing it into the release socket on the camera's shutter-release button. Adoption of ebonite resin for the top surface of the AR-11 allows users to enjoy a soft and light feel when pressing the shutter-release button. Ebonite resin creates a unique and rich texture over time that melds with the finger. It is often used in high-end fountain pens and the mouthpieces of wind instruments such as saxophones and clarinets.
The combination of adoption of a material with a soft and light feel for the AR-11, and the utilization of a magnesium alloy for the elegant body and large metal mechanical dials, excellent in their ability to offer simple visual confirmation of settings, for the Df increases the superior look and feel of the camera as a precision instrument. Users can further increase their enjoyment of owning the Df with the texture and operational feel of their own camera that changes according to the way they use it.
I'm just back from a 10-day photo trip to St John, USVI. St John is an extremely beautiful island and landscape photography was intended to be a major component of my trip, but I found myself highly challenged in this regard. I'll share more about the primary reason for this challenge later, but lack of color in the sky at sunset was another challenge.
My St John, USVI photo gallery is predominated by blues and whites. While the Caribbean blue water under full sun is probably my favorite color, one of my goals for the recent trip was to capture some new colors from this island. Nine evenings of chasing sunsets resulted in pics from only one night with color worthy of sharing.
It had been a long, hot day of hiking and I was tired. Analyzing the sky, I decided to go light with only the Canon EF 24-70mm f/4 L IS Lens and Canon EF 70-300mm f/4-5.6 L IS Lens and a single Canon EOS 5D Mark III body. I guessed that these two lenses would cover my entire range of needs for the balance of the evening. What I didn't plan adequately for was the sky completely exploding overhead, leaving me seriously focal length limited on the wide end. While I captured many images of the cropped sky show, I wanted the bigger picture.
There was no time to hike back to get the Zeiss 15mm f/2.8 ZE Lens from the SUV, so I took the next-best alternative – I captured a few panoramic photos that, when stitched together, frame nearly all of the color in the sky that night. Using completely manual settings, I captured overlapping images (overlapping by at least 1/3) and later stitched them together using Photoshop's Photomerge tool. Containing nearly 100 megapixels, this panoramic image has many good crops available in it. I can decide what a print will look like later.
In the end, a colorful sunset helps accomplish the new color for St John goal.
Seamlessly transfer, organize, sync and share photos from smartphones, tablets and PC's anytime, anywhere
MOUNTAIN VIEW, Calif., June 24, 2014 — Eyefi , the global leader in digital camera connectivity, today announced that more than 300 digital camera models now include Eyefi Connected functionality. In achieving this milestone Eyefi Connected is by far the most widely adopted technology for connecting digital cameras to a wireless SD card, providing customers with the easiest and most capable connectivity solution on the market.
Eyefi Connected firmware is embedded into cameras enabling them to instantly detect when an Eyefi SD card is inserted. This functionality allows the photographer to control the wireless features using the in-camera menu options to seamlessly transfer pictures to their smartphone, tablet or PC, wirelessly. Eyefi Connected cameras also include features such as the ability to power toggle the WiFi radio, select when photos transfer and advanced power management to maximize battery life.
Eyefi Connected has been adopted by virtually every digital camera manufacturer, including Canon, Nikon, Sony, Fujifilm, Panasonic, Casio, Ricoh, Pentax, JVC, Olympus and Panasonic – representing nearly 100 percent of all digital single lens reflex (DSLR) cameras sold in 2014.
"Our research shows that even with the explosive growth in mobile photography, many consumers still rely on digital cameras for important picture-taking occasions and special events," said Alan Bullock, associate director of connected imaging trends at InfoTrends. "Eyefi brings WiFi connectivity to nearly any digital camera and with Eyefi Connected technology built-in to most cameras, Internet connectivity is a seamless part of the camera's function."
This achievement coincides with the one year anniversary of Eyefi Mobi – the company's flagship product offering. In April, the company launched Eyefi Cloud, making Eyefi Mobi the world's first WiFi SD card to automatically transfer photos from the camera to the cloud, making every picture instantly accessible, anytime, anywhere—to enjoy, curate and share securely and privately.
"Eyefi Connected is one of the most important benefits we offer our camera partners and consumers," said Matt DiMaria, CEO of Eyefi. "When combined with Eyefi Mobi and Eyefi Cloud, photographers can enjoy the full power and quality of their digital cameras with the convenience of their smartphone, tablet or smart TV".
Canon EOS 6D On-Camera Tutorial Videos
Fashion photographers, this one's for you!
We’ve partnered up with Breed, an online community of fashion photographers, for our latest guide, Breaking Into Fashion Photography. Inside, get tips to market yourself right, establish your brand, approach photo buyers, and find work.
In this new guide, you’ll also learn:
Also get advice from experienced fashion photographers like Lindsay Adler, Melissa Rodwell, Jonathan D Pryce and the founders of Bello Mag who have learned important lessons along the way on growing a successful fashion photography business.
From Profoto's YouTube Channel:
On June 18, Profoto and photographer Jared Platt did a live webinar on how to shoot dramatic night portraits. Jared brought a B1 Location Kit and a selection of Light Shaping Tools to take some portraits of piano rock star Kevin Burdick.
Please see the changes to the “Identification Procedure” section below regarding criteria for affected serial numbers. The identification method has been enhanced to include the first digit in the identification procedure in order to more precisely identify affected products.
Thank you for using Canon products.
Concerning the EOS 5D Mark III digital SLR camera, when the LCD panel illuminates in extremely dark environments, the displayed exposure value may change. Canon has concluded the investigation of this phenomenon, and this announcement informs you of our findings as described below.
In extremely dark environments, if the LCD panel illuminates, the displayed exposure value may change. However, based on the results of extensive testing this change in exposure value will not noticeably affect the captured image.
The phenomenon described above may occur in Canon EOS 5D Mark III Digital SLR Cameras whose first and sixth digits of the serial number are as set forth below.
Serial Number: [XnnnnNnnnnnn]
"X"="0" and "N"="1" or "2"
"n" represents any digit.
Examples of affected serial numbers are: "0nnnn1nnnnnn" or"0nnnn2nnnnnn"
Under almost all shooting conditions (including dark environments) this phenomenon will not affect your captured images. However, if you would like Canon to inspect your camera, we will provide this service free of charge upon request beginning in mid-May. Please contact Canon using the information below to request service.
This information is for residents of the United States and Puerto Rico only. If you do not reside in the USA or Puerto Rico, please contact the Canon Customer Support Center in your region.
Please register the EOS 5D Mark III. By registering, we will be able to notify you via email when service updates are available. If you already registered, please ensure you are opted-in to receive the notification.
Customer Support Operations
Canon U.S.A., Inc
Contact Information for Inquiries
Canon Customer Support Center
Phone: 1-800-OK-CANON, 1-800-652-2666
For additional support options: www.usa.canon.com/support
Just posted: FocusMaker DSLR Focusing Tool Review
Want to add some dramatic focus pulls to your DSLR video? The FocusMaker might be just what you're looking for...
While this video focuses on the Canon EOS 6D, the basic information on Auto Exposure Bracketing (AEB) is applicable to all of Canon DSLRs (although functionality and controls may vary).
From Canon USA:
Understand how the Auto Exposure Bracketing feature works and how to customize it for your shooting needs. For more information, click here.
MiniTT1 & FlexTT5 for CANON
TTL support for the 1D X, 6D, 70D – Beta Version 6.686
A major breakthrough in firmware development has enabled full TTL compatibility with modern mid- and high-end Canon cameras: the Canon EOS-1D X, 6D, and 70D are now fully supported on the ControlTL platform. Future cameras will be added *much* more quickly as a result of this breakthrough. Please help us put this firmware through its paces, and tell us what you find. Click here for Canon 6.686 release notes.
MiniTT1 & FlexTT5 for NIKON
COMING SOON! Support for the latest mid- and high-end Nikon cameras such as the D4s, D610, Df, and D7100 will be ready for public beta testing soon. Watch our Facebook and Twitter feeds for the announcement.
Preorder the lens today ensure you get your lens ASAP.
Update: Our contact at B&H has informed us that the retailer expects to have this lens in stock and ready to ship on Tuesday (with all preorders shipped by then).
Camera Raw 8.5 is now available as a final release for Photoshop CS6 and Photoshop CC. This release provides new features including new preview controls, the ability to modify graduated and radial filters, and a new visualization mask for graduated and radial filters. In addition, this release also includes bug fixes, support for new cameras and new lenses. DNG Converter 8.5 is provided for customers using versions of Photoshop older than Photoshop CS6.
As mentioned here, updates to Camera Raw 8 for Photoshop CS6 only include new camera support, lens profile support, and bug fixes. The new features listed in the release notes are only available in Photoshop CC.
New Camera Support in Camera Raw 8.5
New Lens Profile Support in Camera Raw 8.5
|Canon||Sigma 50m F1.4 DG HSM A014|
|Canon||Sigma 18-200mm F3.5-6.3 DC MACRO OS HSM C014|
|Canon||Tamron 16-300mm F3.5-6.3 Dill VC PZD MACRO B0163|
|Nikon||Nikon 1 NIKKOR VR 10-30mm f3.5-5.6 PD-ZOOM|
|Nikon||Nikon AF-S DX NIKKOR 18-300mm f/3.5-6.3G ED VR|
|Nikon||Sigma 50mm F1.4 DG HSM A014|
|Nikon||Sigma 18-200 F3.5-6.3 DC MACRO OS HSM C014|
|Nikon||Tamron 16-300mm F3.5-6.3 Dill VC PZD MACRO B016N|
|Nikon||Tamron SP 150-600mm F5-6.3 Di VC USD A011N|
Bugs Corrected in Camera Raw 8.5
Customers using the Sony RX100 M3 and capturing images at ISO 125 may find the default rendering in ACR and Lightroom too dark. This is a known issue and we are working to improve this in a future update.
For those in the United States, our Independence Day holiday is only 2 weeks away. This represents one of the best opportunities we have to capture an epic scene with the grandure of a fireworks display.
From the Canon Digital Learning Center:
"Fireworks are one of the most inspiring and photogenic, yet challenging subjects, to capture. And unfortunately, this is one of those shooting situations where fully automatic exposure and focusing may not help. However, with these tricks up your sleeve, a few accessories and a willingness to experiment, you'll capture amazing fireworks photos this Fourth of July!"
Check out the entire article over at the Canon Digital Learning Center.
Also be sure to check out Bryan's own Fireworks Photography Tips.
Yet Another Tip from T-D-P: Use a tripod and mulitple exposures (blended in Photoshop) to create the scene with background/sky detail.
Last year my father and I [Sean] spent Independence Day in Metropolis, IL. The town had a fireworks display right on Ohio River.
We arrived at the event location rather early. I set up a tripod-mounted EOS 7D + EF-S 17-55mm f/2.8 IS USM and attached a shutter release cable for easy shooting. I took several exposures to ensure I had the framing I wanted. I also loved the color of the sky and was happy to capture a few images of it.
Unfortunately (but predictably), the event staff waited until it was completely dark to start the fireworks display. As there were very few ambient light sources around, the framing I intended was quite meaningless – the setting simply would not be visible in the exposures containing the fireworks (at the lower ISOs I was hoping to use). But then I had an epiphany...
I shot about 70-80 images of the fireworks with an exposure that left me with completely black background but with good looking fireworks bursts – f/8, 4-6 seconds, ISO 200.
After the fireworks were finished I sorted through them and picked out the best sky/background exposure and my favorite fireworks burst images. I used the Lighten blend mode for the fireworks images and layered several on top of my base image. The end result appears at the top of this post.
In hindsight, I should have captured several varying exposures of my base image so that I could have retained detail in the trees and water (through blending the various images). But otherwise, I was happy with how it turned out.
And technically speaking, you could do this in-camera using the EOS 1-series, 5D Mark III or 6D's Mulitple Exposure feature. However, I prefer the post-processing method as it reduces the complexity of capturing images during the event.
Questions or commnets? Additional tips? Leave them in the comments section below.
From the Canon USA YouTube Channel:
Understand, and learn how to customize and operate, the EOS 6D's in-camera Multiple Exposure Shooting feature. For more information, click here.
Note: Multiple exposures can be a lot of fun. I was testing out the feature on my 5D Mark III during the fall season when I created this:
If you have a camera with the multiple exposure feature and you've never used it, there's no better time than now to start exploring the creative possibilities!
From Red Giant:
AVCHD and Canon XF Support. Faster Import. PluralEyes Integration.
June 19, 2014 – Today, Red Giant released BulletProof 1.2, an update that brings more camera support and other improvements to its footage backup and review tool.
BulletProof has been updated to support the AVCHD and Canon XF formats, two mainstays of the industry. In addition to the existing support for Canon and Nikon DSLRs and GoPro cameras, BulletProof now includes support for Panasonic and Sony DSLRs, and for the Canon C-series and XF-series cameras.
BulletProof is designed to solve several challenges that, since the DSLR revolution, have plagued shooters, both on set and right before post-production. One of those is the issue of simple, secure and reliable backup.
BulletProof, which boasts robust automated backup and verification tools, allows shooters to do what they are already doing, but with confidence. Once the camera card is in the card reader, BulletProof creates copies of your footage and verifies them to ensure a perfect duplication. In addition, while the footage is being backed up, the shooter can use BulletProof’s GPU-accelerated playback tools to review the footage and make sure they got the shots they need.
Also new to BulletProof is a highly-requested feature called “Add Mode” - a reference mode that speeds up the import process by cataloging media that has already been copied to disk.
While BulletProof's features start with back-up and review of footage on set, it also addresses the next area of pain in the shooter’s process - preparing the footage and notes for post-production. BulletProof includes powerful tools for tagging, adding metadata, notes, in and out points, and even suggested color correction to the footage - all to help bring the shooter’s intention over to the timeline. These features can be used right on set or once the shooter gets back to the edit suite.
In addition, BulletProof is now integrated with PluralEyes 3.5, Red Giant’s automated audio/video sync tool. One of the editing industry’s most popular tools, PluralEyes literally saves hours or days of audio/video syncing work, with the touch of a button. BulletProof now makes the process even more fluid by sending the footage over to PluralEyes in an organized way, so that you can sync your footage immediately. Once synced, PluralEyes sends the footage directly to the editing timeline, ready for editing.
The combination of these two products together allow the shooter to work with the confidence that comes with knowing that their footage will make it home safe, sound and in sync.
Pricing & Availability:
BulletProof 1.2 is available now for $199. It is a free upgrade for existing users of BulletProof 1.0 and 1.1..
From Adobe's YouTube Channel:
In this video, Julieanne takes a close look at several feature enhancements and refinements made to Photoshop CC that give you powerful tools for creating your designs and working with your images.