Canon and Sony News for Jul 2016
From Venus Optics:
Featuring an ultra-wide 122° Angle of View and weighing only 1.34 pounds, this is also the world’s *fastest 12mm lens for full frame cameras. It is now on Kickstarter.
Anhui China, Jul 30, 2016 – Venus Optics, the camera lenses manufacturer who had previously launched several unique lenses including a Wide Angle Macro Lens & a Smooth Trans Focus Lens, is pround to introduce the world’s widest f/2.8 Lens, Laowa 12mm f/2.8 Lens for full frame cameras.
The new Laowa 12mm f/2.8 Lens features a close-to-zero optical distortion, allowing photographers to take landscape/architecture shots with straight lines retained. Featuring a widest angle of view (122°) ever built with a f/2.8 lens, the Laowa Lens is an ideal lens for a variety types of photography. From landscape, architecture, interior, travel to the most important one, astro photography. The combination of ultra wide-angle and fast aperture makes this lens a perfect tool for creating impressive milky way shots.
The Laowa 12mm f/2.8 Lens is designed for photographers for everyday use and hence the weight and size has been controlled to the minimal. The lens weighs only 1.34 pounds (0.6kg) and has a front diameter of 77mm. Venus Optics also offers a filter holder which is designed to fit 2 pieces of 100mm filters and 1 piece of Circular Polariser.
The lens incorporates with 16 elements in 10 groups optical design, including 3 pieces of Extra-Low Dispersion elements and 2pc of Aspherical Elements. This design not only delivers an outstanding image sharpness and controls the distortion to the minmal, but also controls the chromatic aberration at its lowest level. A floating design is also adopted to ensure a good performance even in the closest focusing distance (0.18cm). The enclosure of the lens is fully made of metal to strengthen its durability. Canon EF, Nikon F, Sony E, Sony Alpha and Pentax K mounts are available.
Laowa Magic Shift Converter
Along with the new Laowa 12mm f/2.8 Lens, Venus Optics also announces the Laowa Magic Shift Converter which is able to enlarge the full frame image circle through the 4pcs of elements inside the converter. The enlarged image circle provides sufficient image field for lenses shifting by a maximum of 10mm without vignetting. It will transform the Laowa 12mm f/2.8 Lens (DSLR mount) into a 17mm f/4 Professional Shift Lens with +/- 10mm shift capability for Full-Frame E-mount cameras. It is a perfect tool for professional architectural photography. The principle is explained in below diagram.
Pricing and Availability
The Laowa 12mm f/2.8 lens will firstly be available for backing via Kickstarter from July 30 (EST Time) onwards. It will then be available for purchase at authorized distributors and resellers from Sept 2016 onwards. The recommended retail price without tax is USD $949.00.
The Laowa Filter Holder & Laowa Magic Shift Converter will be available at authorized distributors and resellers from October onwards. The recommended retail price without tax is USD $50.00 and USD $300.00 respectively.
According to the Egami Blog, Tamron has patented a 10-24mm f/3.5-4.5 VC optical design.
Patent Details
- Published 2016.7.11
- Filing date 2015.1.8
- Focal Length 10.303 15.199 23.483
- F-number 3.6 - 4.1 - 4.6
- AOV 111.70 - 86.59 - 62.07
- Anti-vibration (third group)
- Inner focus (rear group of the first group)
B&H carries the current, non-VC version of this lens.
by Sean Setters
There are few simple joys in life that surpass witnessing a beautiful sunrise, a fog-laden valley or a majestic mountain with snow-capped peaks. However, to capture the magnificence of the outdoors, there are a few accessories that every landscape photographer should have at hand.
1. Circular Polarizing Filter
If I had to pick the most important landscape accessory, the venerable circular polarizer would be an easy choice. Not only can a circular polarizer give you rich, dark blue skies, but it can also allow you to dial in just how much surface reflection you want in water scenes. No other item on this list will have as much of an impact on your landscape photography than a CPOL. If you want better landscape photos and it's not already part of your kit, make a CPOL your next photography purchase. Our particular favorites are B+W XS-Pro circular polarizers. Their rims are wide enough to use standard lens caps but not too wide to cause vignetting.
2. ND Filter(s)
Sometimes captivating landscape photographs require longer-than-normal exposures times. Want blurred water in your waterfall pictures? How about clouds streaking across the sky? Unless the ambient light is relatively low, you'll need a neutral density filter to restrict the amount of light reaching your camera's sensor.
ND filters come in two basic flavors – solid and variable. Solid NDs have been around for decades and feature a fixed opacity. The opacity rating can be a bit confusing, though. For instance, an ND that blocks 10-stops of light can be listed as a "10-stop filter," "3.0 filter" or "ND1000." Just for the sake of clarification, here's a reference table below:
| Stops | x.x | NDx |
| 2 | 0.6 | ND4 |
| 4 | 1.2 | ND16 |
| 6 | 1.8 | ND64 |
| 8 | 2.4 | ND256 |
| 10 | 3.0 | ND1000 |
So why isn't a 10-stop ND referred to as an ND1024? Your guess is as good as mine.
In addition to solid ND filters, variable ND filters are also available. The benefit of a variable ND is that you can dial in the exact amount of density you want for a specific need. That means a typical variable ND filter can replace a 2-stop, 4-stop, 6-stop and 8-stop filter thereby reducing the amount of gear needed for a given landscape adventure. The downside is that variable ND filters are thicker than their solid ND counterparts and may cause strong vignetting (especially on wide-angle lenses).
When it comes to solid ND filters, Breakthrough Photography's X4 filters came out tops in Bryan's tests. As for variable NDs, Singh-Ray makes some of the best, but they are extremely pricey (and even that may be an understatement). I own the Singh-Ray Vari-N-Duo, a combination variable ND and circular polarizer, and love it. However, its width makes it impossible to use at wide focal lengths without hard vignetting. If I were in the market for a variable ND right now, I'd probably pick up the B+W XS-Pro ND Vario MRC-Nano. It's still pricey, but compared to the Singh-Ray, a definitely more wallet-friendly.
Before we get off the topic of ND filters, let's address the issue of color casts. Most ND filters will introduce some sort of color cast in your image. To counteract this, shoot a properly exposed test image of a color calibration target (like the X-Rite ColorChecker Passport Photo) in the same light as your landscape and calibrate colors in post processing.
3. Lightweight Tripod and Head
While just about any focal length can be advantageous for landscape photography, very few photographers will prefer carrying around big white supertelephoto lenses for landscape use. As such, a landscape-oriented tripod can be smaller and lighter with a low-to-moderate load capacity. We generally prefer to purchase a tripod with a maximum load capacity at least twice what we intend on using on the tripod to ensure optimal stability. For my own general landscape use, that translates to a tripod with a load capacity rating of around 15 lbs.
How'd I arrive at that number? Well, my typical landscape setup includes a gripped 5D Mark III with an L-bracket and an EF 17-40mm f/4L USM with the hood attached. That combination tips the scales at 4 lb 10 oz (note including the weight of any filters being used). While that may be a "typical" setup, I want the tripod to be able to support my 70-200mm f/2.8L IS as well (should the focal range be desired), and that combination weighs in at 7 lb 8 oz.
Arguably the three most important factors for choosing a tripod for landscape use are size, weight and load capacity. While there are many great landscape vistas within a short walk from available parking, the vast majority of breathtaking views require at least some hiking to reach. As such, the benefits of a lightweight, compact tripod seem to be augmented with each step required to arrive at your ultimate destination.
When it comes to lightweight, compact, high-quality tripods, Gitzo Traveler and Mountaineer carbon fiber tripods are hard to beat. Unfortunately, they feature a price tag that may be difficult to justify unless you consider landscapes to be a primary photography interest. Other tripods you may want to look at in this market are the Benro Travel Angel, Oben Travel and Manfrotto Manfrotto 190go!-series tripods.
As travel tripods are not designed with ultimate in load capacities in mind, you don't necessarily need the highest-spec'd head on top of it. While the Arca-Swiss Monoball Z1 is our favorite ball head, it's anything but lightweight. Considering that my needs above dictated a tripod with a load capcity in the neighborhood of 15 lb, putting a ball head on top which can support 130 lb may be the definition of "overkill."
One of the best ball heads for travel tripods is the Acratech GP-ss Ballhead with Lever Clamp. Reasons why we like it: 1) it's lightweight at 0.84 lb, 2) has a load capacity rating of 25 lb, 3) features an Arca-style lever release clamp on top and 4) is compatible with tripod legs which fold up beyond the ball head (relatively common with travel tripods) and 5) it looks really cool. Ok, so that last benefit doesn't really matter from a landscape perspective, but still...
With lower load capacity requirements, there are many ball heads that can fill the role of a travel head. Weighing in at only 1 lb, the Oben BC-126 would be a lower-end but quite reasonably spec'd option.
Of course, if reduced size and weight are not important for your landscape photography needs, any high quality tripod and ball head will work.
4. Hiking Backpack
When it comes to choosing a backpack for landscape photography, there are a few things to keep in mind:
- How much gear will you want to travel with? This includes cameras, lenses, filters, miscellaneous accessories and a tripod.
- Does the backpack have a waistbelt? The longer you plan on traveling with the pack, the more advantageous a good padded waistbelt becomes. Be sure that the waistbelt sits on your hips at a comfortable spot for supporting your camera gear load.
- How easy is it to access the camera? Some backpacks allow you to access gear without fully removing the pack. Most require removal for access to gear.
- Is the backpack capable of handling inclement weather? Is a rain cover included?
- How is the tripod attached? Some may prefer side-mounting while others will prefer the more even weight distribution afforded by straps running along the back of the pack.
Note: Site visitor Mark suggests the Olivon PodTrek Backpack is a great option for smaller amounts of gear. Simply attach the pack to your tripod, throw it on your shoulders and get going!
5. LCD Viewfinder Loupe
This is one of those items that you can't imagine living without after you've added one to your kit – an LCD Viewfinder Loupe. Whether focusing at 10x Live View or checking an image preview on the LCD screen, the loupe blocks out all extraneous light so that you see things clearly. While we certainly advise using the histogram to aid in determining exposure settings, being able to see the LCD without glare can help you get a better sense of the tones in your image and how they relate to one another.
My particular favorite LCD viewfinder loupe is the Hoodman Compact HoodLoupe Optical Viewfinder for 3.2" LCD Screens which I use with a 5D Mark III and 7D Mark II. I like it because it works well and compacts down into a relatively small space.
Well, that's our Top 5 Landscape Accessories. Was there another piece of gear that deserved to be included but wasn't? Let us know in the comments.
Site Visitor Suggestions:
- Weather Protection - Manfrotto E-702 PL Elements Cover (thanks Niklas)
From Canon:
Firmware Version 1.0.4.1.00 incorporates the following update:
- Adds Canon Log 3.
- Reduces Canon Log 2 noise in dark areas.
- Enables magnification to be used even during recording.
- The following features are enabled when these lenses are attached: CN7x17 KAS S/E1*3, CN-E18-80mm T4.4 L IS KAS S or CN20x50 IAS H/E1:
- Enables autofocus using the Dual Pixel CMOS AF function. (Not applicable to the CN20x50 IAS H/E1 lens)
- Enables the joystick on the camera's grip unit to be set to operate the zoom.
- Enables control of iris to be set to manual operation, and control of focus, zoom and iris using the separately-sold Remote Controller RC-V100.
- Enables automatic aperture and push auto iris functions.
- Enables retrieval of metadata, such as the model name and the focal distance of the lens attached, and display of metadata on the camera.
- Enables Dual Pixel Function when these lenses are attached: CN7x17 KAS S/E1 lens, CN-E18-80mm T4.4 L IS KAS S lens or any of the EF cinema prime lenses.
- Adds peripheral illumination/chromatic aberration correction for the following lenses:
- COMPACT-SERVO lenses: CN-E18-80mm T4.4 L IS KAS S
- CINE-SERVO lenses: CN20x50 IAS H/E1
- EF lenses: EF 35mm f/1.4L II USM, EF 50mm f/1.8 STM and EF-S 18-135mm f/3.5-5.6 IS USM.
- Enhances menu operations so that settings related to resolution/color sampling, etc. are retained to the extent possible when changing recording settings such as the frame rate.
- Supports ACESproxy (ACES 1.0).
- Alleviates the black-dot phenomenon that appears in the periphery of high-brightness light sources.
- You cannot perform the firmware update using CFast 2.0 cards. Please use a commercially available SD/SDHC/SDXC memory card that is 64MB or more for the firmware update.
- Firmware version 1.0.4.1.00 is for updating Cinema EOS C300 Mark II cameras running firmware version 1.0.0.1.00 - 1.0.3.1.00. If your camera's firmware is already version 1.0.4.1.00, it is not necessary to update the firmware. Once the camera is updated to the latest version, it cannot be restored to a previous version.
- For further information, please refer to the latest version of the unit's Instruction Manual that is released with the firmware update.
Download: Canon EOS C300 II Firmware v.1.0.4.1.00
B&H carries the Canon EOS C300 Mark II Cinema Camera.
Image quality results from the Canon EOS 5Ds R have been added to the Canon EF 400mm f/5.6L USM Lens Review.
This lens is looking sharp. Let's look at some comparisons:
Canon 400mm f/5.6L vs Canon 300mm f/4L IS with 1.4x
Canon 400mm f/5.6L vs Canon 400mm f/2.8L IS II
Canon 400mm f/5.6L vs Canon 300mm f/2.8L IS II with 1.4x
Canon 400mm f/5.6L vs Canon 100-400mm f/4.5-5.6L IS II
Canon 400mm f/5.6L vs Canon 70-200mm f/2.8L IS II with 2x
B&H has the Canon EF 400mm f/5.6L USM Lens in stock with a $70.00 instant rebate and 4% reward.
According to the Egami Blog, Tamron has patented the optical forumla for a 20mm f/2 VC.
This lens would make a very interesting addition to Tamron's recent releases, notably the 35, 45 & 85mm f/1.8 VC primes. A 20mm f/2 prime with VC would compete strongly against the Sigma 20mm f/1.4 Art (and Nikon 20mm f/1.8G ED, for that matter) as many will gladly give up a 1-stop aperture advantage to gain built-in stabilization.
Description of Patent*
- Patent Publication No. 2016-126279
- Published 2016.7.11
- Filing date 2015.1.8
- f/ = 2.05
- Rear focus
- Anti-vibration (a part of the first group)
* Some specifications have been omitted here due to translation concerns.
From Nikon:
Fast, prime mid-telephoto lens delivering the large, smooth and beautiful bokeh and edge-to-edge rendering
TOKYO - Nikon Corporation is pleased to announce the release of the AF-S NIKKOR 105mm f/1.4E ED, a fast, mid-telephoto fixed focal length (prime) lens that is compatible with Nikon FX-format digital SLR cameras.
The AF-S NIKKOR 105mm f/1.4E ED is a fast, mid-telephoto fixed focal length (prime) lens with which a focal length of 105mm, a maximum aperture of f/1.4, and AF capabilities have been achieved. The 105mm and f/1.4 specifications achieve a shallow depth of field and large bokeh, enabling photographic expression that makes the most of the impressive cropping of a scene and optimal compression effects.
This lens was developed based on the design concept that is, "three-dimensional high fidelity". Thus, it is capable of more natural 3D reproduction of three-dimensional subjects on the two-dimensional fields that are photos, as well as large and beautiful bokeh characteristics, that provide smooth alteration of bokeh as the distance from the focus position increases. These characteristics enable rendering with a natural sense of depth in portraits and images of still objects.
On the other hand, landscapes are reproduced with superior resolution all the way to the edges of the frame, even at maximum aperture, for extremely sharp and clear rendering. Superior point image reproduction capabilities ensure rendering of points and sharp points for very little distortion or bleed with the pinpoint light sources in night landscapes. Night landscapes are sharply reproduced.
In addition, three ED lens elements that provide compensation for chromatic aberration have been adopted, Nano Crystal Coat is utilized for effective reduction of ghost and flare, the lens is equipped with an electromagnetic aperture mechanism that enables stable exposure control, even with high-speed continuous shooting, and highly durable fluorine coat, which effectively repels dust, water, grease, and dirt, has been adopted.
The bright viewfinder image of this fast fixed focal length (prime) lens is advantageous not only because it reduces stress for more comfortable shooting, but also it enables hand-held capture of dimly lit scenes.
The AF-S NIKKOR 105mm f/1.4E ED, which embodies the "three-dimensional high fidelity" concept, responds to the demands of professional and advanced amateur photographers pursuing their own imaging intent with a variety of photographic scenes. It is capable not only of impressive portraits and photos of still subjects that beautifully utilize the large and smooth bokeh characteristics, but also daytime, evening, and night landscapes that exhibit superior resolution all the way to the edges of the frame, and excellent reproduction of point images.
Primary Features
- A lens that utilizes Nikon's latest exclusive optical design to offer a focal length of 105mm, a maximum aperture of f/1.4, and to be equipped with AF capabilities as well
- The "three-dimensional high fidelity" NIKKOR lens design concept enables rending of the large and beautiful bokeh with gradual transition from the focus position increases and a natural sense of depth
- Superior optical performance with high resolution even in the peripheral areas, sharp rendering of distant subjects even at maximum aperture, and high reproduction capability of point light sources
- Adoption of ED lens elements that compensates for chromatic aberration, and Nano Crystal Coat, which effectively reduces ghost and flare
- Equipped with an electromagnetic aperture mechanism that enables stable exposure control, even with high-speed continuous shooting
- Highly durable fluorine coat that effectively repels dust, water, grease, and dirt applied to the outer surfaces of the two lens elements at either end (front and rear) of the lens
Official Sample Pictures (1280 x 854px)
B&H has the Nikon AF-S NIKKOR 105mm f/1.4E ED available for preorder.
From NIkon:
TOKYO - Nikon Corporation is pleased to announce that total production of NIKKOR lenses for Nikon interchangeable lens cameras reached one-hundred million* in June of 2016.
NIKKOR's history began in 1932 with Nikon's (then Nippon Kogaku K.K.) registration of the NIKKOR trademark, soon followed in 1933 with the release of Aero-Nikkor aerial photographic lenses. In 1959, Nikon released the Nikon F SLR camera as well as its first NIKKOR lenses for Nikon SLR cameras including the NIKKOR-S Auto 5cm f/2.
The NIKKOR brand
NIKKOR is Nikon's brand of photographic lenses. The NIKKOR name arose from adding "r"—a common practice in the naming of photographic lenses at the time the name was established—to "Nikko", the Romanized abbreviation for Nippon Kogaku K.K., the original name used when the company was established.
The entire length of the road that leads to the release of new NIKKOR lenses, from initial design and development to production and final inspection, is managed in accordance with Nikon's exclusive and exacting quality standards, which support high-quality NIKKOR lenses that respond to the strict demands of users.
Nikon's lineup of NIKKOR lenses currently consists of more than 90 types of lenses, including fixed focal length (prime) lenses covering ultra-wide-angle to super-telephoto angles of view, fisheye lenses, zoom lenses, Micro lenses, and PC-E lenses that support a wide variety of applications, as well as 1 NIKKOR lenses for Advanced Cameras with Interchangeable Lenses.
Nikon has launched the NIKKOR.com global branding site, which spreads the appeal of NIKKOR lenses around the world with a wide variety of captivating contents, including photo and video galleries containing works recorded with NIKKOR lenses, video interviews with lens designers, and much more.
Nikon F mount, running parallel to NIKKOR lenses for more than 50 years
The mount used by Nikon for its SLR cameras and interchangeable lenses in the more than half a century that has passed since Nikon released its first SLR camera in 1959, the Nikon F, has been the Nikon F mount. Since the introduction of the Nikon F mount in 1950, a bayonet mount has been adopted, stainless steel, known for its superior durability and corrosion resistance has been used, and the mount's basic design foresaw the increase in lens diameters. Throughout its history, the cutting-edge technologies of the time, including aperture control and autofocus, have been adopted for the F mount, and we will continue to do so, ensuring support for the latest digital cameras and lenses.
OPTIA
While developing the latest optical technologies and commercialization of products utilizing these technologies, Nikon continues its work in the research and development of means of evaluating optical performance. In 2013, Nikon began development and deployment of OPTIA, a device for measuring all forms of aberration occurring with photographic lenses that was originally developed as a means of measuring aberration in IC steppers and scanners, as well as a dedicated image simulator that is used with OPTIA. OPTIA and the dedicated image simulator are still used to evaluate and verify NIKKOR lens characteristics today.
In addition to resolution, camera lens performance is indicated by such characteristics as blur (as known as "bokeh"), reproduction of textures, and sense of depth. The application of OPTIA's aberration measurement to Nikon lenses has always had a very high reputation.
The image simulator (software) developed alongside OPTIA enables simulation at the design stage that is equivalent to actual photography with lens prototypes. Consequently lenses can be developed with greater control over not only resolution, but also a wide variety of lens characteristics.
Adoption of the new design concept formulated with the use of OPTIA and the image simulator will enable more effective development of high-performance lenses with unique characteristics, and allow Nikon to provide customers with interchangeable lenses that offer new forms of value never before seen.
One of the lenses designed using OPTIA is the AF-S NIKKOR 105mm f/1.4E ED, released today. This lens embodies the "three-dimensional high-fidelity (superior reproduction characteristics)" design concept that represents Nikon's ideal with more natural three-dimensional reproduction of three-dimensional objects on the two-dimensional field known as a photograph. It enables photos with a natural sense of depth and in which the primary subject is impressively rendered, while expressing beautiful bokeh characteristics that change gradually as the distance from the focus position increases.
Nikon will celebrate its 100th anniversary in 2017. Nikon will continue to develop high-quality, appealing products that exceed expectations with more advanced technologies and even stricter quality control, and to offer the services our users need.
*Interchangeable lenses for Nikon SLR cameras and Nikon 1, Advanced Camera with Interchangeable Lenses
B&H carries Nikon Nikkor Lenses.
From Adobe:
Lightroom CC 2015.6.1 and Lightroom 6.6.1 are now available. The goal of this release is to provide additional camera raw support and address critical bugs that were introduced in previous releases of Lightroom.
Thank you for all your feedback and passion for Lightroom.
New Camera Support in Lightroom CC 2015.6.1 / 6.6.1
- Fujifilm X-T2
Customer reported issues resolved
- App-managed color management on Mac in Lightroom CC 2015.6 / 6.6 resulted in incorrect colors when printed
- Uncompressed DNGs files converted from Fuji X-E2 RAF source images were unreadable
- Errors that prevented customers from creating a panorama from two HDR DNG source images
- An issue that resulted in high memory usage while in the Develop module
- Issue that prevented the SmugMug Publish Service from working properly
- Prevent unnecessary resync of collections to Lightroom mobile after an update
- Occasional app freeze on import
- Fixes for native Full Screen mode on OS X
- Drop down menu position issue with high resolution screen
- Import destination folder is not disclosed/shown after every import
- Import grid blank with iOS devices
Installation Instructions
Please select Help > Updates to update to the latest version.
B&H carries Adobe Photography Plan subscriptions.
Image quality results from the Canon EOS 5Ds R have been added to the Canon EF 300mm f/4L IS USM Lens Review.
Here are some comparisons you might find interesting:
Canon EF 300mm f/4L IS vs. Canon 300mm f/2.8L IS II
Canon EF 300mm f/4L IS w/ 1.4x vs. Canon 100-400mm f/4.5-5.6L II IS
Canon EF 300mm f/4L IS vs. Canon 100-400mm f/4.5-5.6L II IS at 300mm
Canon EF 300mm f/4L IS vs. Canon 200mm f/2.8L II w/ 1.4x
EOS 5Ds R results from the Canon EF 400mm f/5.6L USM Lens are coming soon. The 300mm f/4L IS plus 1.4x vs. 400mm f/5.6L comparison is always a good one.
B&H has the Canon EF 300mm f/4L IS USM Lens in stock w/ a 4% reward.
From Adobe:
Today we’re proud to introduce the newest member of the Lightroom family: Lightroom for Apple TV.
Our goal has always been to make Lightroom the one solution that you use to enjoy your photography, anywhere and to let you share your photos with anyone, anywhere, with the best possible quality. Now, with Lightroom for Apple TV that goal has become a reality on the big screen. Wow your friends, family, and clients with your favorite photos, in the comfort of your home or studio.
With this Lightroom for Apple TV release, you’ll be able to share your photos one by one in a slideshow, with the ability to stop and zoom in to see all the detail within your photo. Quickly navigate through all your photos to find that exact memory you’re looking for.
All your photos, are always available with your latest edits. In Lightroom for Apple TV, you can view and share all of your synced Lightroom photos including photos you’ve uploaded via Lightroom CC on your desktop, Lightroom on mobile, or Lightroom on the web.
Lightroom for Apple TV requires an Apple TV 4th Gen as well as a Creative Cloud subscription to login. The app can be downloaded for free from the App Store on your Apple TV, and is available right now.
We’d love to hear what you think about the app, as well as any recommendations for the future.
Thanks!
Josh and the Lightroom team
B&H carries Adobe Photography Plan subscriptions.
Getty's Director of Global Event Operations, Michael Heiman, has posted a couple of photos to his Instagram account showing the gear his team will be using to cover the Rio 2016 Olympic Games.
The Rio 2016 Olympic games are scheduled to run from Friday, August 5 to Sunday, August 21. Considering the sheer number of great photographers covering the event, a flood of captivating images is inevitable.
From the Mike Olbinski Vimeo Channel:
Blood. Sweat. Tears. Joy. That's what this spring was for me. The miles, the grind, the failing, the epic days missed, the lack of sleep, the jubilation, the friendships strengthened, and the time away from my family. And when the chasing was all done...wondering, was worth it all?
Heck yeah it was.
I had three goals this spring: Get a tornado on time-lapse, capture the best footage I possibly could, and chase as much as my schedule would allow. That ended up totalling 18 chase days. 20,000 miles driven. Almost 60,000 time-lapse frames shot. Nine total states. Hours and hours and hours of editing. All between April 15th and June 15th.
Read the rest of the video description on Vimeo.
Gear Used:
- Canon EOS 5Ds R
- Canon EOS 5D Mark III
- Canon EF 11-24mm f/4L USM
- Unspecified EF 16-35mm, 35mm, 50mm & 135mm lenses
From Makiko Yamazaki, Reuters:
Canon Inc (7751.T) cut its full-year profit forecast on Tuesday, becoming Japan's first major technology company to report a weaker outlook on the yen's surge following Britain's vote to leave the European Union.See the entire article on Reuters.com.The world's biggest maker of cameras and printers forecast group operating profit of 265 billion yen ($2.54 billion) for the year through December, from 300 billion yen estimated three months prior.
by Sean Setters
Verizon has agreed to purchase Yahoo for the paltry sum of $4.83 billion. Considering that Microsoft offered to buy Yahoo only 8 years ago for a cool $45 billion, "paltry sum" seems like a fair descriptor even if Yahoo's glory days seem far behind them.
Included in the purchase – and of special interest to our site visitors – is Flickr, the still-popular photo sharing site. While Flickr may not be the juggernaut it once was, it's a service that I still personally enjoy using on a daily basis.
Even though I have many photo sharing accounts (500px, SmugMug, Google Photos, Instagram, etc), Flickr continues to be the one I like best. It's simple to use and there are wonderful groups who enjoy aiding in one's growth in photography. And even though Flickr has seemed neglected at times over the last few years, it has steadily improved (for the most part), regaining some relevance in the process (in my opinion, of course).
However, Verizon's takeover of Flickr gives me pause. I doubt Flickr is highly profitable in its current form, so I'm concerned about what changes Verizon might bring about to better capitalize on their investment.
Ads everywhere? A higher price for Pro Accounts? Disk quota limitations placed on all members? A complete liquidation assets or shutting it down entirely? Your guess is as good as mine.
Only time will tell if I am needlessly worried or hopelessly spinning my wheels with a photo sharing service that's seen its last hurrah.
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