From the Russell Brown Vimeo Channel:
In this tutorial I will demonstrate a classic technique to match colors in Adobe Photoshop. I discovered this technique in the beginning of time and it is still just as helpful today. This technique uses the RGB, grayscale channels to adjust colors within an image.
According to a recent press release, Canon is planning on purchasing roughly 14 million of its own shares – at an estimated cost north of $450 million dollars (50 billion yen) – with the "...aim of improving capital efficiency and ensuring a flexible capital strategy that provides for such future transactions as share exchanges."
The stock acquisition is scheduled to take place June 1 through July 14, 2017.
Note: At Canon's current stock price ($34.79 USD at the time of this article), they would only be able to purchase 12,976,343 shares with a 50 billion yen investment. [Sean]
The Canon Digital Learning Center has posted two in-depth articles on the newly announced EOS C200:
The Production Brief covers many of the features found in the C200, including the detached touch-screen monitor, built-in dual rotary ND filter and 4-channel audio. The Post-Production Brief covers available recording formats including Cinema RAW Light.
by Sean Setters
With a moderate temperature and sparse clouds overhead, I set off with the goal of photographing a local marsh with my infrared converted Canon EOS 7D and EF-S 10-18mm f/4.5-5.6 IS STM. I was particularly interested in photographing the dormant trees often found in such locations. After a little exploration, I found an area behind an apartment complex that seemed perfect. The marsh was mostly dry and featured obvious walking paths used by nearby residents.
The dry marsh featured dozens of dormant trees which I intended on photographing as my primary subjects, using the wide, flat marsh and blue sky as a backdrop. However, I photographed several trees but was unsatisfied with my results.
And then I started thinking about my composition. A good landscape image needs to have a distinct foreground, middle and background, or else it needs an element that guides the eye through the composition. When photographing the trees with an ultra-wide angle lens, the images had a distinct foreground and background, but the lack of an element clearly connecting the two – guiding my eye through the scene – resulted in boring photographs. With that revelation and a fresh set of eyes looking at the scene, I began searching for ways to connect the foreground and background in the composition. The answer appeared just beneath my feet.
The curved pathway that snaked through the scene seemed ideal for leading a viewer's eye through the image. If the path had been straight, it wouldn't have had the same effect. But with a gentle S-curve running from the foreground through the middle part of the image, the resulting composition (including interesting clouds) proved to be my favorite shot from this outing. Of course, the image doesn't feature one of the trees I was so anxious to photograph, but... the trees aren't going anywhere, so I'll likely try again another day.
From Canon UK:
United Kingdom, Republic of Ireland, 31 May 2017 – Canon Europe, world leader in imaging solutions, today announces the launch of the EOS C200, the latest addition to the esteemed Cinema EOS range. Offering exceptional creativity and flexibility, the new 4K compact digital cinema camera is perfect for a broad range of imaging professionals.
As the first Cinema EOS camera to support the new RAW recording format – Cinema RAW Light – the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0 card.
Capability drives creativity
The EOS C200 features Canon’s 4K Super 35mm CMOS sensor with an effective pixel count of 8.85MP, along with the newly developed Dual DIGIC DV6 image processors. As a result, it can deliver Cinema RAW Light recording at 4K DCI 50P internally to a CFast 2.0 card. It can also deliver 4K UHD recording at 150Mbps, and 2K or Full HD at 35Mbps to SD cards in MP4 format.
Supporting up to 15-stops of dynamic range with Cinema RAW Light and up to 13-stops of dynamic range in MP4 (Canon Log / Log 3), the camera is perfect for capturing highlight and shadow details.
The EOS C200 is also capable of delivering both slow and fast motion recording at up to 120fps with no crop in Full HD/MP4, ideal for those wanting creative slow motion capture.
An ISO range of 100 to 102,400 guarantees excellent performance, even in difficult lighting conditions, such as when quickly switching between locations. The built-in optical ND filters of up to 10 stops provide further flexibility and convenience, allowing filmmakers to shoot in bright light and expand the depth of field control.
Advanced operability and ergonomic design
Built for professionals and ideal for single shooters, the EOS C200 features an advanced AF system that provides reliability and accuracy when shooting 4K, as well as a touch screen LCD panel for filmmakers to easily select their subject. For those who need to switch effortlessly between several subjects in a single shot, the Dual Pixel CMOS AF enables smooth AF operation whilst the Manual Focus Assist Function, Face Detection with Face Priority and Face-Only options provide greater creative focus control.
The EOS C200’s lightweight body of just 1.4kg is designed for comfortable hand-held shooting and will benefit those who are filming for long periods. The compact size also makes the camera suitable for mounting onto a drone or gimbal.
Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder - the EVF-V70.
Cinema RAW Light for next generation workflows
Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access. This format can also be processed using a Canon application, Cinema RAW Development.
Support for Cinema RAW Light is also scheduled for EDIUS Pro, Grass Valley’s editing software, during 2017. Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X.
Future Firmware upgrade
Canon’s XF-AVC video format will be available with a future firmware upgrade. This upgrade is free of charge and is planned to be available from 1H 2018.
EOS C200 key features:
So. Burlington, VT – May 30, 2017 – LPA Design, manufacturers of PocketWizard Photo Products, the global leader in reliable wireless control of cameras, flash lighting and light meters, announces the new FlexTT6 Transceiver for Canon – the latest in PocketWizard’s flagship TTL radios. With new under-the-hood technology, it is compatible with the Canon 5D Mark IV, 1D X Mark II, 80D, 77D, T7i and T6 cameras, along with Canon’s 600 EX II-RT and 430 EX III-RT flashes. It is legacy compatible with more than 20 additional Canon cameras and flashes. The FlexTT6 addresses faster camera sensor speeds and is future-proof for next generation camera releases. The new FlexTT6 includes all the features and reliability as the FlexTT5, such as TTL, HSS and PocketWizard’s patented HyperSync technology.
“Owners of newer Canon cameras can now access the remarkable wireless TTL technology pioneered and patented by PocketWizard,” comments Karen Marshall, CEO of LPA Design. “Our engineering team was able to conquer the challenges presented by faster camera sensors with this hardware solution.”
The FlexTT6 is forward, backward and cross-compatible with the PocketWizard family of wireless radios. This includes compatibility with the FlexTT5 as a receiving radio, as well as the entire line of Plus radios, the MultiMAX, MiniTT1, AC3 ZoneController and Control TL receivers.
“We remain focused on the essential value and reliability of the PocketWizard family of wireless gear for our photographers. Add the FlexTT6 to your gear bag, get your flash off your camera and you are ready to shoot with new and older Canon cameras supported by your PocketWizard wireless radios”, said Marshall. “Our customers also tell us that in an increasingly overcrowded 2.4 GHz smart device world that our unique 344 MHz (FCC) and 433 MHz (CE) radios cut through the wireless clutter delivering reliability every shot,” said Patrick Clow, Manager of Customer and Technical Support.
Patented HyperSync technology allows photographers to shoot at higher sync speeds, over power the sun, stop action, and control both ambient light and flash at the same time. HSS allows for shooting wide open apertures (up to 1/8000th) in bright sun with speedlites for amazing lighting effects.
“At PocketWizard we’re here for one reason, to create and support products that allow you to take your best image every time,” added Clow.
The new FlexTT6 for Canon will be available at retail and on line in the US and Canada starting June 8, 2017.
From Nikon USA:
Whether Exploring New Heights on the Slopes or Diving Off-Shore, Share-Worthy Images and Videos Are Easily Captured with the COOLPIX W300
MELVILLE, NY – Today, Nikon Inc. introduced the new COOLPIX W300, a rugged compact camera designed to capture and share high-quality images and 4K UHD video of any adventure with ease. The waterproof, shockproof, freezeproof and dustproof W300 is well-equipped with intuitive features to chronicle an action-packed excursion, whether a user is hiking, camping, skiing or relaxing on the beach. The W300 makes it easier to shoot in the moment with an improved grip and handling, a large 3-inch LCD display and a 5x optical zoom NIKKOR lens with an exceptionally wide field of view. Furthermore, the W300 allows users to seamlessly share their latest adventures with built-in Wi-Fi3 and Bluetooth2 via the Nikon SnapBridge app1.
“For those experiencing a once in a lifetime vacation or adventure, the COOLPIX W300 is an exciting rugged and lightweight camera option, offering an advanced feature-set that delivers stunning image quality, improved handling and advanced performance to easily capture fast-action moments and 4K UHD video,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc.
Handle Rugged Situations: The Durable Nikon COOLPIX W300
Featuring a 16-megapixel CMOS back-side illuminated (BSI) sensor, the COOLPIX W300 captures life’s adventures in stunning quality, even in low-light. Built to withstand even the toughest outdoor elements, the robust COOLPIX W300 offers a waterproof (100ft. / 30m), freezeproof (14F / -10C), dustproof and enhanced shockproof (7.9ft. / 2.4m) camera body that any outdoor enthusiast could appreciate. Whether exploring underwater or venturing out in a snowstorm with gloved hands, the adventurous photographer will feel confident capturing moments with ease due to the camera’s increased grip area and ergonomically improved shutter button placement.
The W300 is the ideal companion for exploring remote areas, as users can pinpoint precise locations using the built-in GPS to recall exactly where that stunning image of a hidden natural wonder was captured. Additional outdoor-friendly features include the ability to go off the beaten path with Points of Interest (POI) and mapping functions, as well as an altimeter and depth gauge. The camera also has a dedicated button to activate an LED light for illumination, and a new Active Guide function to easily display location and altitude data at a glance.
Additionally, with built-in Wi-Fi and Bluetooth connectivity, images can transfer automatically to a photographer’s smart device so that family and friends can instantly view vacation highlights. When connected, users can also operate the camera remotely with a smart device to capture new perspectives and explore their creative potential.
Capturing Incredibly Stunning Images and 4K UHD Video
The COOLPIX W300 allows the user to get close to the action with a 5x optical zoom wide-angle lens (f/2.8-4.9) and 10x dynamic fine zoom for detailed images from far-away distances, even in challenging light. The camera’s hybrid VR technology provides up to three stops of compensation to capture sharp images and smooth 4K UHD (3840×2160/30p) videos, great for when snorkeling or rock climbing. Additional video features include a variety of creative functions, such as time-lapse and superlapse recording to offer a unique perspective of once-in a lifetime adventures.
Price and Availability
The COOLPIX W300 will be available in Summer 2017 in orange, yellow and black for a suggested retail price (SRP) of $389.95.
Nikon COOLPIX W300 - B&H
From Nikon USA:
MELVILLE, NY – Today, Nikon announced three exciting new wide-angle NIKKOR lenses to give a diverse array of users’ brilliant image quality and maximum versatility whether shooting vast landscapes, architecture, interiors, events and many other wide-angle applications. The new ultra-wide zoom and lightweight DX-format AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR is an excellent value for budding shutterbugs and novice shooters looking to explore a wide-angle point of view, while the new AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is an FX-format circular fisheye zoom lens for photographers and content creators who desire a truly unique perspective. Lastly, the new AF-S NIKKOR 28mm f/1.4E ED is a superior prime lens that provides professional and advanced photographers the ultimate in wide-angle image quality. Both the AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED and AF-S NIKKOR 28mm f/1.4E ED are the latest additions to the Gold Ring Series of NIKKOR lenses, a mark identifying Nikon’s premium lens offerings.
“Nikon continues to push the limits of optical excellence, while making new perspectives more attainable than ever before with our latest wide-angle NIKKOR offerings,” said Kosuke Kawaura, Director of Marketing and Planning, Nikon Inc. “Whether a photographer is a novice learning the art of landscapes, an enthusiastic video creator or a working professional shooter, Nikon now makes the wide-angle perspective achievable for everyone.”
The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – Ultra-Wide Zoom Lens That’s Compact and Portable
The new NIKKOR 10-20mm is an ultra-wide-angle DX-format zoom lens that opens new perspectives and possibilities for those new to photography, and is ideal for shooting travel and scenery, real estate, large group portraits or vlogging. This new lens combines superior image quality and an attainable price to give consumers wide-angle versatility with a lens that’s remarkably compact and lightweight.
Like all NIKKOR lenses, the new AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR provides advanced optical technologies for stellar image quality in any light, whether shooting a sun-drenched coastal vista, tight spaces or the night sky. The lens features the equivalent of 3.5 stops1 of Vibration Reduction (VR) performance, to help capture sharp images while handheld or in challenging light. Additionally, it utilizes Nikon’s Pulse Motor technology for super-fast and whisper quiet AF operation- which is especially useful when recording video. The optical formula contains three aspherical elements for excellent image quality with minimal distortion even at the widest focal length.
This is a versatile lens that not only excels at shooting expansive horizons, but also offers a remarkably close working distance that’s useful for images or showing up-close details when making product-related videos or how-to content. To get closer to capture small objects with big details, the lens has a close minimum focusing distance of only 8.6 inches (0.22 meters), bringing small objects to life in glorious size.
AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED – Circular Fisheye for Photographers and Content Creators
Nikon’s first fisheye zoom gives photographers and filmmakers an FX-format lens with the look and feel of a circular fisheye and the versatility of a full-frame fisheye, all in one lens. The new lens design provides a creative circular 180-degree vertical / horizontal angle of view on full frame cameras, and zooms to a non-circular fisheye view (180-degree diagonal angle of view) on the long end of the focal range. The lens can also be used on DX-format cameras for a distinctive point-of-view and extreme wide-angle applications. When looking to push creative boundaries, the intriguing perspective from a fisheye lens should be considered to provide a distinct look to your photos and videos, such as a dramatic emphasis on a subject or an extremely wide interior point of view.
The AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED is also the latest in Nikon’s Gold Ring Series of premier lenses and features a next-generation design for high-resolution Nikon DSLR cameras. Made for advanced photographers and creators, this durable lens is constructed of lightweight magnesium alloy, and employs internal focusing (IF) to retain its compact size, even while focusing. It is also Nikon’s latest lens to use an electromagnetic diaphragm for consistent exposure during high speed shooting, or smooth exposure control while capturing video.
The optical formula of the Fisheye NIKKOR 8-15mm consists of three ED elements to reduce chromatic aberration, while two aspherical lens elements minimize coma, even at the widest aperture, and enable a more compact lens size. Additionally, the front lens element is coated with Nikon's non-stick Fluorine coat to help resist dirt, fingerprints and smudges, while Nikon’s exclusive Nano Crystal Coat helps reduce ghost and flare.
AF-S NIKKOR 28mm f/1.4E ED – The Latest in The Gold Ring Series of f/1.4 Primes in the NIKKOR Line
The new AF-S NIKKOR 28mm f/1.4E ED is Gold Ring glass that provides maximum versatility for outstanding definition and sharpness regardless of shooting scenario. With a fast f/1.4 maximum aperture and nine blade rounded diaphragm, it affords a shallow depth of field with gorgeous bokeh and stellar low light performance, making it a great choice for shooting low light landscapes, interiors and events.
The superbly balanced and solid body is composed of lightweight magnesium alloy, and features dust and water drop resistant sealing to withstand the elements, combined with a fluorine coating to resist dirt and smudges. The optical construction of the lens is engineered for the best possible wide-angle image quality. It consists of 14 elements in 11 groups, with three aspherical elements that virtually eliminate coma, aberration and distortion, with two ED glass elements that minimize chromatic aberration. The lens also uses Nikon’s Nano Crystal coat to reduce instances of ghosting and flare.
The new AF-S NIKKOR 28mm f/1.4E ED is a welcome addition to Nikon’s stable of impressive f/1.4 primes that give professional photographers and creators the highest levels of image quality and performance, which also include; The AF-S 24mm f/1.4G ED, AF-S NIKKOR 35mm f/1.4G, AF-S NIKKOR 58mm f/1.4G, AF-S NIKKOR 85mm f/1.4G and AF-S NIKKOR 105mm f/1.4E ED.
Price and Availability
The Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED will be available immediately for a suggested retail price (SRP) of $1249.95. The AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR and AF-S NIKKOR 28mm f/1.4E ED will be available in late June for a suggested retail price (SRP), $309.95 and $1999.95, respectively.
Nikon AF-S NIKKOR 28mm f/1.4E ED – B&H | Wex Photographic
Nikon AF-S Fisheye NIKKOR 8-15mm f/3.5-4.5E ED – B&H | Amazon | Wex Photographic
Nikon AF-P DX NIKKOR 10-20mm f/4.5-5.6G VR – B&H | Amazon | Wex Photographic
From the Adorama YouTube Channel:
In this episode Mark Wallace demonstrates three ways to add light to interior room to match the bright light from the sun. After watching this tutorial you'll be able to balance the light so your interior shots look natural with the light from outside. Mark shows how you can use a speedlight, a small off-camera flash, and even a fully manual studio setup.
Note: Instead of using high-speed sync, you can also use ND filters to reduce the shutter speed required for a proper exposure to arrive at a shutter speed at or below your camera's max flash sync speed. [Sean]
Before we address the need for off-camera flash, it's vital to understand why investing in any flash – whether it be an on-camera shoe-mount flash or a studio strobe – is worthwhile. While beautiful, natural, soft ambient light is ideal, many times circumstances don't line up with pre-scheduled portrait sessions. With a flash (or multiple flashes) in your kit, you gain the ability to create the ideal light wherever and whenever you need it.
Now let's say you have invested in a shoe-mount flash. However, with the shoe-mount flash mounted to the camera's hot shoe and pointing forward, you find your portraits don't look quite right. There's a good reason for that. Think of it this way – how often do you view the world with a bright, small sized light emanating from your forehead? My guess is... not often (outside of you spelunkers out there).
When you view the world day in and day out, light is usually generated from many different sources, and therefore, it comes from varying directions (but as we established, rarely from your forehead). One way to change the size and direction of your camera mounted flash's output is to swivel the flash head and bounce the light off of a nearby neutral colored wall or ceiling. For flash owners, this is the first and easiest step to improving the look of images taken using [on-camera] flash. But unfortunately, bounce flash is not a panacea. Sometimes there isn't a nearby surface suitable for bouncing your flash, and other times you may want more control over the light than this option permits.
Now let's consider positioning the flash in a location other than the camera's hot shoe. With the flash off-camera, more natural looking portraits can be created compared to portraits utilizing on-camera (especially bare, pointed forward) flash. With a huge array of light modifiers available, each influencing your flash's light quality in a unique way, the possibilities for creative, compelling and professional looking imagery are endless.
In the next installment in this series, we'll take a look at the various types of off-camera flashes and studio strobes.
Other Photography Lighting 101 Posts
Capture NX-D 1.4.5
Changes from Version 1.4.3 to 1.4.5
Download: Capture NX-D 1.4.5
Changes from Versions 1.2.4/1.2.5 to Version 1.2.7
Download: ViewNX-i 1.2.7
Changes from Version 2.24.0 to 2.25.0
Download: Camera Control Pro 2.25.0
Changes from Version 2.2.2 to 2.3.0
Download: Picture Control Utility 2.3.0
Changes from Firmware Version 1.1 to 1.2
Note: Users of iOS 10.2 will also need to upgrade the SnapBridge 360/170 app to the latest version, which supports iOS 10.2.
Download: Nikon KeyMission 170 Firmware v.1.2
For customers using SONY a9 (ILCE-9) camera
Thank you for purchasing and using our products.
We have found that the combination of SIGMA MOUNT CONVERTER MC-11 (SA-E and EF-E) and some of SIGMA's interchangeable zoom lenses may not focus precisely, if it is attached to SONY a9 (ILCE-9), released by SONY in May in 2017. When using AF-S mode and shooting in telephoto range, it could occasionally display the shot is in focus, although it may not properly be focused on the subject.
We apologize for the inconvenience experienced by customers who use these products. We are now investigating the phenomenon and will make a further announcement on the website shortly.
We appreciate your continued support for our company.
For further information, please contact your nearest authorized SIGMA subsidiary / distributor.
The Nikon Europe YouTube Channel has added several videos aimed at educating beginner photographers.
Newly Added Videos
My time in Jasper National Park was short and there was no time for on-location scouting. I needed to rely on my pre-trip planning and my research led me to make Cavell Lake one of my early AM location priorities. The prospect of Mt Edith Cavell and Angel Glacier reflecting in Cavell Lake appeared a sure-thing for a keeper image. A beautiful mountain reflecting in a calm lake is a sure recipe for a great image and this location's combination was definitely above average in that regard.
The sun hits the side of these mountains visible here in the morning, meaning that the morning timing choice was ideal. The interesting clouds were ... a gift. You just can't plan for clouds like these and being there is what increases the odds.
To reach this location, I parked at the Tonquin Valley Loop trailhead (just past the Hi-Mount Edith Cavell Wilderness Hostel) and followed the trail until reaching the foot bridge at the north end of Cavell Lake. The photographic opportunities there could entertain me for ... a very long time. Unfortunately, I didn't have a lot of time and I quickly selected some compositions to capture.
While this particular image is on the busy side, I loved the high latitude flora and wanted to capture it along with the scene. For a variation from the same location, check out this Mt Edith Cavell picture captured lakeside the lake just farther into this frame.
I had a few lenses with me, but the Canon EOS 5Ds R and Canon EF 16-35mm f/4L IS USM Lens combination were what I used all morning. They are both awesome.
This is a modest HDR blend of two images, primarily pulling the sky down the tone curve slightly to show detail in the clouds.
The Canon USA YouTube Channel has released yet another round of videos featuring its Explorers of Light.
New Canon Explorers of Light Videos
Previously Published Canon Explorers of Light Videos
From the Canon Digital Learning Center:
by Rudy WinstonRead the entire article on the Canon Digital Learning Center.
Today’s digital SLR cameras usually have two distinct Autofocus systems — what we now think of as traditional AF you get through the optical viewfinder; and (usually) a separate AF system for focus using the LCD monitor to view your scene, when shooting with Live View or recording video. They’re very different:
Usually relies on a totally separate AF sensor for focus detection, and always uses what’s called Phase Detection technology.
Live View and video AF:
Uses pixels on the actual camera imaging sensor to read focus information. Early systems simply read blurriness or sharpness off the image sensor; this is called Contrast Detection AF. (This is still used in some competitive brand interchangeable-lens cameras.) More sophisticated systems utilize individual pixels, or groups of pixels, on the image sensor and make comparisons of data to detect when a subject is focused or not…this approach is also called Phase Detection.
We’ll discuss the many advantages that traditional through-the-viewfinder AF systems offer in this series of AF articles. But before we dive in, it may be helpful to have a quick understanding of how AF has typically worked in our SLR cameras since these systems were introduced back in the mid-1980s.
It's a slow news day, so let's have a little fun. Can you guess the lighting setup for the self-portrait shown above incuding the number of lights, their positions and modifiers used (including colored gels)? Hint: There were 3 individual gels used, but none of them were CTB (blue).
Click on the image to download a higher resolution version (looking closely at catchlights in the eyes can provide clues to lighting).
Post your guesses in the comments. I'll reveal the lighting setup around 4:00pm Eastern Time unless someone makes a correct guess, at which time I'll confirm the setup.
Lighting Setup Answer
Several of the commenters got very close in their guesses on the setup. As some guessed, the camera's white balance was set to a value to render un-gelled flashes very blue. As I only wanted one flash in the setup to be warm, shifting the white balance saved me the trouble of having to gel three different lights with CTB gels.
There were actually 4 flashes/monolights in the scene. The main light came from Canon Speedlite 580EX flash diffused by a small 16" softbox camera left. It had (2) full CTO gels on it (1 to offset the camera's white balance setting, the other to add warmth). I felt that the 16" softbox was just too big for what I wanted, so I ended up draping a black t-shirt over most of it and leaving a strip about 2" wide uncovered along the edge.
The fill light camera right was provided by a 580EX bounced into a white umbrella (with black backing). This light was gelled with a 1/2 green gel and positioned so that any shadows cast on the background would fall outside the composition (even when left in the original 2:3 ratio). The fill light is what's responsible for illuminating the background (white/collapsible).
The rim lights (camera left and right, behind subject) were monolights fitted with gridded strip boxes. They were ungelled. They appear as different colors because each of the rim lights is mixing with a different colored light from the front.
You might wonder why I decided to add a 1/2 green gel to my fill light. My inspiration for testing out this lighting setup came from David Hobby's recent Lighting 103 post where he discusses several of Greg Heisler's techniques for lighting with color for a more natural, seemingly organic look. Greg often adds a plusgreen gel to a CTB in order to give it a more realistic, believable (less perfectly blue) color.
I originally shot the scene with the camera set to Tungsten white balance, but I ended up pushing the white balance a little cooler in post processing to lessen the CTO's effect slightly.
From the Adobe Photoshop Lightroom YouTube Channel:
Lightroom tips and tricks in 60 seconds or less from longtime Lightroom team member Benjamin Warde.
From the Manfrotto Imagine More YouTube Channel:
Manfrotto’s new Pro Light Bumblebee bags are perfect for professional photographers and videographers who work outdoors and want a reliable carrying solution that lets them stay comfortable in the harshest of conditions, despite high temperatures, extreme cold or high humidity.
Santa Rosa, Calif. – Ideal for a casual day of shooting with a DSLR or Mirrorless system, Think Tank Photo’s slim, body-conforming TurnStyle V2.0 sling bag allow photographers to move and shoot freely. The updated version of this popular series offers a new stabilizer strap that holds the bag steady while actively shooting or tucks away when not in use. Think Tank’s sling bags’ design promotes easy rotation for rapid access to gear and accessories.
The TurnStyle 5 fits a mirrorless body plus two to four lenses, and an eight-inch tablet. The TurnStyle 10 fits a standard size DSLR plus one to two lenses, and an eight-inch tablet. The TurnStyle 20 fits a standard size DSLR plus one to three lenses, and a 10” tablet. These new version releases come in the traditional Charcoal and in a new color, Indigo Blue.
“This new version of our popular TurnStyle sling bags reinforces their reputation as the ideal ‘grab and go’ camera bag,” said Doug Murdoch, Think Tank Photo’s CEO and lead designer. “One thing we’ve learned from serving professional photographers for so long is that they always need one, pre-conformed gear kit that gives them access to their core gear. The TurnStyle is that bag.”
KEY ADDITIONAL FEATURES
Exterior: All fabric exterior is treated with a durable water resistant coating while fabric underside is coated with polyurethane for superior water resistance, YKK RC Fuse zippers, 420D velocity nylon, 550D polyspun, 320g air mesh, nylon webbing, 3-ply bonded nylon thread.
Interior: Removable closed-cell foam dividers, P210D, polyurethane backed velex liner, 2x polyurethane coated 210T seam-sealed taffeta rain cover, nylon binding tape,3-ply bonded nylon thread.
TurnStyle 5 V2.0
Interior Dimension: 6.3” W x 11” H x 3.5” D (16 x 28 x 9 cm)
Exterior Dimension: 7.1” W x 13.8” H x 3.9” D (18 x 35 x 10 cm)
Small tablet compartment: 6.3” x 8.7” x 0.4” (16 x 22 x 1 cm)
Maximum weight (with all accessories): 0.8 lb. (0.3 kg)
Shoulder strap length: 32–64.5” (includes length of product)
Stability strap length: 58.3” (includes length of product)
TurnStyle 10 V2.0
Interior Dimension: 7.1” W x 12.6” H x 4.8” D (18 x 32 x 12.2 cm)
Exterior Dimension: 8.3” W x 15.4” H x 5.2” D (21 x 39 x 13.2 cm)
Small tablet compartment: 6.3” x 8.7” x 0.4” (16 x 22 x 1 cm)
Maximum weight (with all accessories): 1.0 lb. (0.4 kg)
Shoulder strap length: 35–68.3” (includes length of product)
Stability strap length: 59.3” (includes length of product)
TurnStyle 20 V2.0
Interior Dimension: 8.3” W x 15” H x 4.8” D (21 x 38 x 12.2 cm)
Exterior Dimension: 9.3” W x 17.3” H x 5.4” D (23.5 x 44 x 13.7 cm)
Small tablet compartment: 8.1” x 10.2” x 0.6” (20.5 x 26 x 1.5 cm)
Maximum weight (with all accessories): 1.2 lb. (0.5 kg)
Shoulder strap length: 36.5–73” (includes length of product)
Stability strap length: 60” Maximum (includes length of product)
Santa Rosa, Calif. – Legendary durability and award winning comfort have made Think Tank Photo’s StreetWalker series one of the most sought-after products in the photographic world. Now Think Tank announces the new StreetWalker Rolling Backpack V2.0, featuring the ability to switch from a backpack to a roller. Also released are upgraded versions of all three classic StreetWalker backpacks. Photographers get the same comfort and quality as the original series but with new features such as increased depth for modern DSLR systems, and dedicated pockets for both tablets and smartphones.
The new StreetWalker Rolling Backpack V2.0 is so spacious, it will fit two DSLR bodies with lenses attached (including a 200-400mm f/4), and a 15” laptop. The StreetWalker HardDrive V2.0 backpack fits two bodies with lenses attached or a gripped body with a 200–400mm f/4 attached, a 15” laptop and a 13” tablet. The StreetWalker Pro V2.0 backpack fits two bodies with lens attached or a 400mm f/2.8 unattached, and a 10” table. And, the StreetWalker V2.0 backpack fits one gripped DSLR with 70–200mm f/2.8 attached, one standard DSLR with 24–70mm f/2.8 attached, a 16–35mm f/2.8, and a 10” tablet.
“With the release of the new StreetWalker Rolling Backpack and the new versions of the three classic StreetWalker backpacks, we made three of the best pro-level backpacks in the photo industry even better,” said Doug Murdoch, Think Tank Photo’s CEO and lead designer. “The one thing we’ve heard over and over since they first launched is how comfortable and durable they are. Now, with the hybrid rolling backpack and the upgraded core backpacks, we’ve integrated even more photographer feedback to expand their functionality.”
StreetWalker Rolling Backpack V2.0
StreetWalker Backpacks V2.0
StreetWalker Rolling Backpack V2.0
Internal Dimensions: 11.8” W x 19.7” H x 6.3–7.1” D (30 x 50 x 16–18 cm)
Exterior Dimensions: 12.6” W x 21.9” H x 9” D (32 x 55.5 x 22.9 cm)
Laptop Compartment: 9.8” W x 14.5” H x 0.9” D (25 x 36.8 x 2.3 cm)
Phone Pocket: 3.9” W x 7.5” H x 0.6” D (10 x 19 x 1.5 cm)
Weight: 8.2 lbs. (3.7 kg)
Internal Dimensions: 9.4” W x 16.1” H x 6.3” D (24 x 41 x 16 cm)
Exterior Dimensions: 9.8” W x 17.3” H x 7.1” D (25 x 44 x 18 cm)
Tablet: 7.7” W x 10.4” H x 0.4” D (19.5 × 26.5 × 1 cm)
Phone Pocket: 3.9” W x 7.5” H x 0.6” D (10 × 19 × 1.5 cm)
Weight: 3.3 lbs (1.5 kg)
StreetWalker Pro V2.0
Internal Dimensions: 9.4” W x 17.3” H x 7.5” D (24 x 44 x 19 cm)
Exterior Dimensions: 9.8” W x 18.5” H x 8.3” D (25 x 47 x 21 cm)
Tablet: 7.7” W x 10.4” H x 0.4” D (19.5 × 26.5 × 1 cm)
Phone Pocket: 3.9” W x 7.5” H x 0.6” D (10 × 19 × 1.5 cm)
Weight: 3.5 lbs (1.6 kg)
StreetWalker HardDrive V2.0
Internal Dimensions: 11” W x 19.7” H x 7.1” D (28 x 50 x 18 cm)
Exterior Dimensions: 11.4” W x 20.4” H x 8.7” D (29 x 52 x 22 cm)
Laptop Compartment: 10” W x 16.1” H x 0.9” D (25.5 x 41 x 2.2 cm)
Tablet: 8.9” W x 11.9” H x 0.4” D (22.5 × 30.3 × 1 cm)
Phone Pocket: 3.9” W x 7.5” H x 0.6” D (10 × 19 × 1.5 cm)
Weight: 4.5 lbs (2 kg)
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