Their day job primarily involves harassing the herd bulls, but the satellite bulls will also fight each other. These two young Rocky Mountain National Park bulls seemed to be sparing vs. having an all-out battle.
To keep the eyes of both bulls in the sharp plane of focus, a side-on position was taken. A low shooting position gives the elk a larger apparent stature and increases the background distance, letting it go strongly blurred.
This fight took place early in the day. With limited light, an all-action-stopping shutter speed required a very high ISO setting. I opted to shoot with a slow shutter speed to avoid the high noise levels. This decision reduced the keeper rate, but often a small number of great images is better than many mediocre ones, and I had a nice quantity of sharp images from the fight.
That said, the ISO 4000 setting yields a noticeable amount of noise. Subject detail, such as hair, hides noise better than evenly colored areas, such as the smoothly blurred background. Strong noise reduction destroys details, but it is especially helpful for removing noise from a blurred background.
So, this image was processed once with weak noise reduction and once with strong noise reduction. The two images were loaded into photoshop layers, with the subject-selected mask hiding the strong noise reduction layer. The subjects retain details (and noise) and the background appears similar to a low ISO setting. A similar tactic can be used in Lightroom.
A larger version of this image is available here.
A wind storm hit Death Valley National Park the previous day, leaving Mesquite Flat Dunes filled with untracked ripples. It was the kid-in-the-candy-store scenario.
The Canon RF 24-70mm F2.8 L IS USM Lens on a Canon EOS R5 was an optimal choice for the dunes. While focal lengths outside this range had compositional opportunities, the 24-70mm angles of view enabled emphasis on the close subjects while keeping the background details relatively large in the frame.
Of course, the 52mm focal length selected for this composition is not optimal for keeping near-to-far details in focus. The R5's focus bracketing feature was the solution to that problem.
With focus bracketing enabled, the smallest increment specified, and the number of shots set far above what was needed (the camera automatically stops at infinity), the R5 proved itself foolproof, automatically delivering the complete required range of sharp focus bracketed images at nearly a 100% rate (except when I impatiently picked up the tripod before the stack was finished to hurry on to the next composition).
With that strategy implemented, my task was easy. Walk up to a scene, select the composition, position the focus point on the closest subject (the closest sand), and press the shutter release with the 2-second self-timer enabled.
My first focus stacking pass for this image was in Photoshop. This process is easy. Here is how to focus stack using Photoshop:
That mindless process usually works great. However, I wasn't satisfied with the result in this case, so I manually stacked the images using layers masks.
A larger version of this image is available here.
My family and I wish you a very Merry Christmas! As always, we hope that your Christmas season is filled with great meaning, great memories, and of course, great images.
The Christmas tree is a core of our family's traditions, and it seems that our Christmas tree adventure always has a story.
After putting the tree up, I always vowel to get a smaller tree the next year. By the next year, the tall tree issues are forgotten, but the space available for the tree is remember, and the girls pressure to go big. After getting away from carrying the tree behind the SUV, moving it to the roof, hitting things alongside of the road are no longer an issue.
However, hitting the garage door when returning home is a concern. That risk didn't materialize, but making the tree stay upright was a real concern.
This year, the girls picked a tree with about 4 or 5' of the bottom branches trimmed off (likely sold for greens, such as for wreaths). That meant I couldn't clearly discern the tree's height above the bare trunk. And, it seemed to grow a couple of feet on the ground.
When trees get that tall, the trunk becomes thick, which equates with heavy. With help, I managed to get the tree upright and moved into position.
Hours later, my daughter said "Oh!" "Oh!!!" OOOh!!!!! The extra exclamation points reference the decibel level of her exclamations.
Yep, the tree fell over. Fortunately, no decorations were yet attached. Unfortunately, about 2 gallons of water dumped onto the floor. Fortunately, a large piece of plastic caught a lot of that water.
The tree you see here is tied to the wall with fishing line. It is 20lb test line for those of you who are fishermen. It is also about 20 years old, probably the same age as the tree.
Our Christmas tree represents a huge amount of work (mostly for my girls), and the results of their effort deserve preservation in a high-quality image. After photographing the annual Christmas tree in the same location for over 25 years (I unsuccessfully lobbied for a new location this year), I have a few go-to shots dialed in.
An ultra-wide-angle focal length usually gets the selection. In addition to fitting the tree and surrounding space in the frame, this angle of view makes the room appear big, creating a more dramatic look.
There seems to be an outstanding ultra-wide-angle lens choice introduced each year, and I seldom capture the tree photo with a lens previously used for that task. The Sony FE 14mm f/1.8 GM Lens got the call in 2021. Sony FE 12-24mm f/2.8 GM Lens captured the Christmas 2020 tree, the Canon RF 15-35mm F2.8 L IS USM Lens captured the 2019 tree, and, going a bit narrower for a different look, the Canon RF 28-70mm F2L USM Lens took in the 2018 tree.
I didn't look at my lens choice from prior years before choosing this year's lens, had the new Sony Alpha 7R V to work with, and the Sony FE 14mm f/1.8 GM Lens was the perfect match for this year's job.
At this time of the year, I know that I need to take pictures between 5:15 and 5:25 PM to have a touch of dark blue sky color showing through the windows with the exposure balanced for the Christmas lights inside. No, I can't remember this time from year to year, but a calendar item reminds me (and EXIF information from the prior year's photos can be referenced).
F/16 images from any current digital camera, and especially from cameras with ultra-high pixel density, show a slight softness due to diffraction. However, I like the starburst effect that narrow apertures, such as f/16, create from point light sources, such as the candles in the windows. Because the a7R V pixel density is so high, I opted to open up to f/11 this year. The FE 14 still creates nice diffraction spikes from the point light sources at this aperture, and the a7R V produces noticeably sharper details at f/11 than at f/16.
With only the tree and other decorative lights on, the exposure needs to be long — 25 seconds at f/11 and ISO 100. The exposure duration means that only a few images can be captured during the perfect deep blue sky time.
Long exposures also mean that the tree ornaments must be still to avoid motion blur, and the floor vibrates when walked on, making the ornaments swing. One person walking across the room at the wrong time could eliminate one or two exposures from that short period. Thus, the photo day is (usually) selected for when I am home alone at the right time.
The vertical lines in the windows (or sometimes a wall unit) on the right side of the frame look best when running parallel to the edge of the frame. Thus, a camera position leveled for both tilt and roll is usually selected. In this case, the Sony FE 14mm f/1.8 GM Lens especially impresses with its lack of geometric distortion (no correction was applied to this image), rendering the vertical lines straight.
I am fortunate to have a range of tripods to work with, and holding the Sony Alpha 7R V and FE 14mm f/1.8 GM Lens combination steady indoors is not a support challenge. However, when shooting on carpet, I prefer a tripod with some weight (or spikes) to press into the carpet fibers, decreasing movement. The Really Right Stuff TVC-34L Mk2 Tripod and BH-55 Ball Head handled this job nicely.
With that, another Christmas tree photo is in the archives.
A larger version of this image is available here.
Just completed: Canon EOS R6 Mark II Review
At some point, I have to call this review finished. Still, I'll likely continue to update it.
Please share!
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Rent the Canon EOS R6 Mark II from Lensrentals.
Lensrentals has shared their always-interesting annual top rented cameras and lenses list.
Let me introduce you to your new favorite event, portrait, and indoor sports lens, the Canon RF 135mm F1.8 L IS USM Lens.
There are several reasons for this prediction.
The first is the focal length. The 135mm angle of view is narrow enough to encourage subject distances that create pleasing portrait perspectives, even for full-frame headshots. This angle of view also keeps the lens out of their personal space, staying distant enough for subjects to remain comfortable.
The ultra-wide aperture is another reason for this lens to be a favorite. The F1.8 aperture combined with high-performing image stabilization keeps shutter speeds up and ISO settings down for sharp, low-noise results. F1.8 combined with the medium telephoto focal length can create a strong background blur that makes the subject stand out from an otherwise distracting background.
If those two reasons are not sufficient for you, the image quality delivered by this lens will be. Even the preproduction lens produced outstanding image quality.
This mariachi band member performing at a low light event was a perfect subject for this lens and the Canon EOS R6 Mark II behind it.
"Lightweight and ideal for journalism, audio for video, and documentary applications, the M3 MicTrak from Zoom is a camera-mounted, combination shotgun microphone and recorder, with two internal shotgun mics that can switch between hyper-focused supercardioid (90°) or wider bidirectional (180°) modes at the press of a button. Thanks to dual AD converter circuits inherited from the pro F-Series recorders, no gain adjustment is necessary, and the M3 captures quality audio in 48 kHz / 32-bit floating point for crisp sound without clipping."
Get rest of the new Zoom M3 MicTrak Stereo Shotgun Microphone and Recorder details at B&H. The M3 is in stock and only $199.99.
The Zoom M2 and M4 MicTrak Stereo Microphone and Recorder are also just available.
Sharing a favorite image from my late summer and early fall elk photography here. The colors in this image are right out of the camera using Lightroom's default settings — I didn't create this 7x7 bull's unique orange antler color during post-processing.
The great lighting (and water drop streaks) is curtesy of a rainy day. When photographing wildlife, I always keep a LensCoat rain cover on my camera and lens. With a quality rain shell on me, moderate rain does not hinder the pursuit, and it often enhances the photos.
A larger version of this image is available here.
Noise test results (high ISO noise – not audible sounds) are now available for the Canon EOS R6 Mark II in electronic shutter mode, including exdposure variance results.
The R6 II shifts from 14-bit to 12-bit capture in electronic shutter mode. While the noise in 12-bit images appears similar to that of 14-bit images at the exposed brightness, 12-bit image noise levels are increased in brightened images.
Get the Canon EOS R6 Mark II at B&H | Adorama | Canon USA | Amazon USA | WEX
Rent the Canon EOS R6 Mark II from Lensrentals.
Tamron 20-40mm f/2.8 Di III VXD Lens firmware update version 2 is available via Tamron Lens Utility app (free) on a laptop or mobile device (using the mobile app version) connected via the lens's USB Type-C port.
Firmware Version 2 incorporates the following fixes and enhancements:
Get the Tamron 20-40mm f/2.8 Di III VXD Lens at B&H.
Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens firmware update version 3 is available via Tamron Lens Utility app (free) on a laptop or mobile device (using the mobile app version) connected via the lens's USB Type-C port.
Firmware Version 3 incorporates the following fixes and enhancements:
Get the Tamron 50-400mm f/4.5-6.3 Di III VC VXD Lens at B&H.
Tamron 150-500mm f/5-6.7 Di III VXD Lens firmware update version 3 is available for download (update lens firmware via camera body).
Firmware Version 3 incorporates the following fixes and enhancements:
Get the Tamron 150-500mm f/5-6.7 Di III VXD Lens at B&H.
On page 267 in the owner's manual, Canon reveals that the EOS R6 Mark II supports focus breathing during movie recording. The RF lens firmware updates released today support this feature.
Canon RF 14-35mm F4 L IS USM Lens firmware update version 1.0.3 is available for download.
Canon RF 15-35mm F2.8 L IS USM Lens firmware update version 1.0.8 is available for download.
Canon RF 24-70mm F2.8 L IS USM Lens firmware update version 1.0.8 is available for download.
Canon RF 70-200mm F2.8 L IS USM Lens firmware update version 1.1.4 is available for download.
Canon RF 70-200mm F4 L IS USM Lens firmware update version 1.1.1 is available for download.
These firmware updates incorporate the following enhancement:
From Tamron Japan (translated):
[Update] Firmware update for 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) for Canon
Thank you for your continued patronage of Tamron products.
On our website dated October 25, 2022, when using our lens 18-400mm F/3.5-6.3 Di II VC HLD (Model B028) with Canon EOS R7 / EOS R10 via an EF-EOS R adapter, we posted a notice that the problem occurred, but we would like to inform you that it has been improved by updating the firmware.
Points to be improved
A phenomenon in which AF may not operate properly when the shutter button is half-pressed, depending on the timing of the camera's power ON/OFF.
How to update
It is possible to update with the TAP-in Console (sold separately). If you do not have a TAP-in Console, we will update the firmware (free of charge).
Click here for details >>>
Learn more: Tamron 18-400mm f/3.5-6.3 Di II VC HLD Lens Review
Get the Tamron 18-400mm f/3.5-6.3 Di II VC HLD Lens at B&H.
Canon EOS C70 firmware update version 1.0.5.1 is available today, as promised.
From Canon USA:
Canon Introduces Multi-Feature Firmware Update for EOS C70 4K Digital Cinema Camera
MELVILLE, NY, November 16, 2022 – Canon U.S.A., Inc., a leader in digital imaging solutions, announced today a multi-feature firmware update for the EOS C70 4K Digital Cinema Camera. The batch of feature upgrades coming via a firmware update will help to improve workflow and functionality for the content creation, live production and documentarian markets. The firmware update will be available as a free download on December 8th, 2022*. Top upgrades include:
Additional upgrades of the firmware update include: