Canon Announces New DSLR, Pro Lenses & Extenders

By Diane Berkenfeld

With Canon Expo happening next week in New York City, one had to wonder whether or not there would be any photography announcements coming this week from the company. The answer is a definite yes! Canon today introduced the EOS 60D DSLR, a replacement to the EOS 50D. The camera is designed for advanced amateurs but we’re sure to see it show up in the gear bags of pro shooters too. Canon also introduced four pro lenses and two tele-extenders. The lenses include new 300mm f/2.8 and 400mm f/2.8 prime telephoto lenses—pro glass for sure, with hefty price tags.

eos60d_hand product shot for picture-soup.com announcement article

The 18MP EOS 60D is Canon's first DSLR to utilize a vari-angle LCD.

The EOS 60D is Canon’s first DSLR that utilizes a vari-angle LCD. The 3-inch LCD can be tilted up or down for ease of use when shooting stills or video. Ideal for capturing very low-angle or overhead shots that would otherwise be hard to compose.

The EOS 60D offers 18MP of resolution, utilizing an APS-C sized image sensor, and utilizes Canon’s proprietary DIGIC 4 image processor. Other features include a new 9-point AF system, Canon’s pro-level iFCL Metering System, and a frame rate of full resolution images up to 5.3 frames per second. ISO range is 100-6400 expandable to 12,800. Images are recorded to SD media, and the camera can utilize the newer SDHC and SDXC media cards. The camera also features a built-in pop-up flash with integrated Speedlite Transmitter that can control up to two groups of off-camera Speedlights.

The camera also features a number of EOS “firsts” including a new Multi-Control Dial which offers streamlined camera navigation. Responding to customer requests, the EOS 60D also features a locking mode dial, which makes camera operation more secure by preventing inadvertent changes to the photographer’s selected shooting mode. In-camera RAW image processing features let you edit in-camera, producing optimized JPG files without effecting the RAW data. This feature lets you process Picture Style, White Balance, Color Space, High-ISO Noise Reduction, and more. The EOS 60D also offers a new image resizing function which lets you downsize full resolution JPGs for display on HDTVs or for quick uploading to the web. The downsized image file is saved along with the original high-resolution file.

Canon also added new creative filters, which have been incorporated into the Canon PowerShot point and shoot cameras for some time. These artistic filters let you create a second “filtered” JPG file leaving the original RAW or JPG file unaffected when used applied to a captured still image. The four creative looks include soft focus, grainy B&W, “Toy Camera” and Canon’s Miniature Effect which simulates the look of a tilt-shift lens.

In addition to its new still capture capabilities, the EOS 60D features Full HD video capture at 1920 x 1080 resolution with selectable frame rates of 24p, 25p or 30p. Native 24p recording helps videographers achieve a more cinema-style look for their footage without the need for post-processing. The EOS 60D camera’s movie mode also includes manual controls for exposure as well as manual audio levels in 64 steps, much like the latest firmware update for the EOS 5D Mark II HD-SLR. Standard Def. video can also be captured

An in-camera movie editing feature has also been added to the camera. The EOS 60D also includes Canon’s Movie Crop mode, which allows you to achieve 7x magnification when shooting SD video. When using this mode, the camera crops the image directly from the CMOS sensor at full SD resolution.

The Canon EOS 60D DSLR camera is scheduled to hit store shelves in late September. MSRP for the body-only is $1,099. The camera will also be offered in a kit version with the Canon EF-S 18-135mm f/3.5-5.6 IS zoom lens at an estimated retail price of $1,399. The Canon BG-E9 battery grip accessory is expected to ship at the same time with an estimated price of $270.

New Pro Lenses and Tele-Extenders

Canon also introduced four new L-series lenses and two tele-extenders for the pro. They are the EF 8-15mm f/4L Fisheye USM lens, EF 70-300mm f/4.5-5.6L IS USM lens, and two fast prime lenses: EF 300mm f/2.8L IS II USM and EF 400mm f/2.8L IS II USM super-telephoto lenses; and two new tele-extenders: Canon Extender EF 1.4x III and Extender EF 2x III.

Immediately noticeable to Canon shooters is the fact that these new L-series lenses feature a more neutral white tone than earlier lenses. This new shade of white will be used for all future Canon L-series lenses.

Canon EF 8-15mm f/4L Fisheye USM lens

Canon EF 8-15mm f/4L Fisheye USM lens

According to Canon, the EF 8-15mm f/4L USM is the world’s widest fisheye zoom lens. It delivers 180º diagonal angle of view images for all EOS DSLR cameras whether they utilize a full-frame image sensor or the smaller APS-C sensor. The lens provides 180º circular fisheye images for full-frame EOS cameras. Both still photographers and cinematographers are sure to love this new lens.

The Canon EF 8-15mm f/4L Fisheye USM lens is expected to be available in January 2011 for an approximate retail price of $1,400.

Canon EF 70-300mm f/4-5.6L IS USM lens

Canon EF 70-300mm f/4-5.6L IS USM lens

The EF 70-300mm f/4-5.6L IS USM lens is the ideal telephoto zoom lens for advanced amateurs. An updated optical image stabilization system compensates for camera shake up to an equivalent of four full shutter-speed steps, a full step improvement compared to earlier EF 70-300mm lenses.

The Canon EF 70-300mm f/4-5.6L IS USM lens is expected to be available toward the end of October for an approximate retail price of $1,500.

Canon EF 300mm f/2.8L IS II USM lens

Canon EF 300mm f/2.8L IS II USM lens

The Canon EF 300mm f/2.8L IS II USM is the sixth generation of the Canon 300mm f/2.8 lenses that first appeared in 1974. This lens features a lighter weight, improved Image Stabilization, and enhanced durability. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation. Canon has enhanced the durability of this lens by using more magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches. Additionally, a new security slot attachment has been included on this lens to allow a wire-type security lock to be easily affixed, a great safety feature for professionals shooting from high vantage points above arenas and crowds.

The Canon EF 300mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $7,000.

Canon EF 400mm f/2.8L IS II USM lens

Canon EF 400mm f/2.8L IS II USM lens

Ideal for the professional sports photographer, Canon’s EF 400mm f/2.8L IS II USM is the fifth generation in Canon’s 400mm f/2.8 series and the successor to the current EF 400mm introduced in 1999. The new lens is lighter than its predecessor. The Image Stabilizer provides an equivalent of approximately four full shutter speed steps of shake compensation. Canon has enhanced the durability of this lens by using more magnesium alloy and titanium for lens barrel components, together with weather sealing for all exterior joints and switches. The new security slot attachment has also been included on this lens as well.

The Canon EF 400mm f/2.8L IS USM lens is expected to be available in December for an approximate retail price of $11,000.

Canon Extender EF 1.4x III & Canon Extender EF 2x III

The Canon Extender EF 1.4x III & Canon Extender EF 2x III are direct replacements of the current extenders offered by Canon. They have been designed to provide faster autofocusing and improved AF precision with compatible EF lenses. Each extender features a newly developed microcomputer that increases AF precision when the extenders are used with a IS Series II EF super-telephoto lens.  Both extenders are equipped with rubber gaskets and seals to enhance weather resistance.

The Canon Extender EF 1.4x III & Canon Extender EF 2x III are expected to be available in December for an approximate retail price of $500 each.

For more information, go to www.cusa.canon.com.

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Nikon Announces new DSLR and Four Lenses Today

By Diane Berkenfeld

An editor’s job is never done, and today—which at the time I’m writing this—is only about 40 minutes old is no exception. Scouring the internet while watching TV late yesterday I came upon a mention of a possible new camera introduction by Nikon. Intrigued, I decided to go onto the Nikonrumors.com website and found not only a DSLR was expected today, but four lenses as well. Figuring that no leaks would appear so close to midnight, I checked the Nikonusa.com and Nikon.com websites regardless. At 12-midnight exactly I was finally rewarded when the pages I’d seen on both sites updated to include the D3100 and four new lenses.

nikon.com screengrab for picture-soup.com article

Notice the screenshot on the left, captured at approximately 11:00pm, Wednesday, August 18 and the lonely area at the bottom right corner. Now look at the screenshot on the right, which was taken at 12:01am on Thursday, August 19, revealing the addition of the D3100 to Nikon's lineup of DSLRs. These screenshots were captured off of the Nikon.com website.

Drumroll please… The brand new equipment includes the D3100 DSLR body and AF-S DX 55-300mm f/4.5-5.6G ED VR, AF-S 28-300mm f/3.5-5.6G ED VR, AF-S 24-120mm f/4G ED VR and AF-S 85mm f/1.4G lenses.

nikon camera photo d3100 for picture-soup.com article

Newly announced Nikon D3100 DSLR with the 18-55 kit lens attached.

14MP D3100 DSLR

The D3100 is designed as an easy-to-use and affordable camera by the press release Nikon distributed at 12:01am. The camera features a DX-format CMOS sensor with14.2MP in resolution, full HD video capture and the new EXPEED 2TM image processing engine. The camera offers photographers full time AF in Live View and D-Movie mode—and according to Nikon, it is the first DSLR offering full time AF while shooting video.

Other features of the D3100 include an 11-point AF system, ISO range of 100 to 3200, expandable to 12,800, an enhanced Guide Mode that offers step-by-step assistance for newbie DSLR users, a 3-inch LCD, and Face Detection that can lock focus on a whopping 35 faces, among other features. The D3100 records images to SD media and is compatible with the SDXC memory card format. The camera also supports use of the Eye-Fi wireless media card.

Like other Nikon cameras, the D3100 incorporates such proprietary Nikon technologies as Active D-Lighting, Nikon’s Scene Recognition system, in-camera Retouch Menu, and more.

The D3100 features Nikon’s Integrated Dust Reduction System, and a shutter tested to 100,000 cycles.

The camera features a Quiet Shutter Release mode, which allows photographers to be as unobtrusive as possible, as it reduces the sound of the mirror flipping up and down while shooting.

The Nikon D3100 D-SLR gives users the ability to capture Full HD, 1080p resolution movies, in cinematic quality 24p video clips, or shoot at 24 or 30 frames-per-second at 720p. Movies are recorded in the H.264 AVCHD codec (.mov file) format. The camera can be connected to HDTVs via the HDMI port, for viewing of both movie and still images.

Pricing and Availability

The D3100 D-SLR camera outfit, including the AF-S Nikkor 18-55mm f/3.5-5.6G VR kit lens, is scheduled to be available at Nikon Authorized dealers beginning in mid September 2010, at an estimated selling price of $699.95.

Lenses Too

Nikon also announced the addition of four new lenses to the Nikkor line—one DX lens, designed for the smaller DX image sensor and three lenses designed for use with both the full frame FX and smaller DX format sensors.

Nikkor AF-S DX 55-300mm f/4.5-5.6G ED VR lens for picture-soup.com article

Nikkor AF-S DX 55-300mm f/4.5-5.6G ED VR lens

The AF-S DX 55-300mm f/4.5-5.6G ED VR

The AF-S DX 55-300mm f/4.5-5.6G ED VR is an ideal complement to the kit lens that is available with DSLRs such as the newly announced D3100. Additional features include a Tripod Detection Mode, which allows users to keep VR image stabilization activated and automatically compensates for minute vibrations when mounted on a tripod.

Additionally, a High Refractive Index (HRI) lens element is implemented to keep the lens compact while offering high contrast even at maximum aperture. The optical construction consists of two Extra-low Dispersion (ED) Elements that effectively minimize chromatic aberration, even at the widest aperture settings.

Nikkor AF-S 28-300mm f/3.5-5.6G ED VR lens for picture-soup.com article

Nikkor AF-S 28-300mm f/3.5-5.6G ED VR lens

AF-S 28-300mm f/3.5-5.6G ED VR

The AF-S 28-300mm f/3.5-5.6G ED VR is Nikon’s first FX-format lens with a 10.7X zoom range for both enthusiasts and pros. The lens has an equivalent focal length of 42-450mm when attached to a DX-format DSLR.

It’s optical formula includes two ED glass elements that effectively minimize chromatic aberration, even at the widest aperture settings, and three Aspherical Lens Elements that virtually eliminates coma and other aberrations at wide aperture settings as well.

This lens also incorporates an M/A Focus Mode Switch that enables quick changes between manual and autofocus operation, and Internal Focus (IF) providing fast and quiet autofocus without changing the length of the lens while retaining working distance through the focus range.

AF-S 24-120mm f/4 G ED VR

Nikkor AF-S 24-120mm f/4 G ED VR for picture-soup.com article

Nikkor AF-S 24-120mm f/4 G ED VR lens

The AF-S 24-120mm f/4 G ED VR zoom lens maintains a constant maximum aperture of f/4 throughout the entire zoom range. The 24-120mm f/4 also features two ED elements, three aspherical lens elements, a M/A Focus Mode Switch, Internal Focus and Nano Crystal Coat to reduce ghosting and flare for greater image clarity throughout the entire frame.

AF-S 85mm f/1.4G ED

Nikkor AF-S 85mm f/1.4G lens for picture-soup.com article

Nikkor AF-S 85mm f/1.4G lens

The AF-S 85mm f/1.4G ED is an ultra-fast classic portrait prime lens boasting amazing picture quality, high performance and the ability to create dramatic background effects (bokeh). The AF-S 85mm f/1.4 is optimized for edge-to-edge sharpness on both FX and DX-format D-SLR cameras, and features two focus modes, M/A (manual-priority autofocus) and M (manual) to further enhance versatility and adapt to a shooters needs.

Additional features include Internal Focus (IF) that allows the lens to focus without changing the barrel length, Nano Crystal Coat to reduce instances of ghosting and flare, and a rugged construction build to endure aggressive field use.

Pricing and Availability

The AF-S Nikkor DX 55-300mm f/4.5-5.6 VR lens has an estimated selling price of $399.95; the AF-S Nikkor 24-120mm f/4 G ED VR has an estimated selling price of $1049.95; the AF-S Nikkor 28-300mm f/3.5-5.6G ED VR zoom lens has an estimated selling price of $1,299.95; and the AF-S Nikkor 85mm f/1.4G has an estimated selling price of $1,699.95. These four lenses will be available starting in September.

For more information, please visit www.nikonusa.com.

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Canon Announces 7DSV DSLR for Studio Photographers

canon 7D dslr for picture-soup.com article

Canon U.S.A. has announced a new studio version of the popular 7D DSLR. Today the company introduced the EOS 7DSV (studio version), which is designed for school and event photography. The camera was also introduced with a new optional Canon barcode solution. The EOS 7DSV DSLR Camera features four levels of “locking” camera controls. By giving administrators the ability to “lock” the camera, unwanted features can be disabled. This would give a studio the ability to ensure each photographer’s work is reliable and repeatable.

The camera has four different “lock” levels allowing administrators to enable the appropriate level of camera functionality for any studio operation. Custom functionality is also achieved through each level by unlocking individual features according to operator-specific needs. This complete level of control is guarded by a daily password preventing anyone with a different vision from changing the camera settings and disrupting the overall project and workflow.

Add the barcode solution and customer data is linked directly to the image file. This is highly desired by school photographers but can also be beneficial to forensic and medical photo workflows as well as event and even catalog photography.

Once the barcode option is enabled, customer, organizational, patient and/or other data will be embedded directly into the image file’s EXIF data by scanning a barcode for easy identification when reviewing the completed work. While shooting, the actual reading of barcodes can be easily managed and, based upon each person’s workflow, the critical task of file management is accomplished with less risk of error. Upon completion, a visual confirmation will appear on the camera’s rear LCD screen.

“We know professional photographers are constantly searching for ways to simplify the workflow process,” said Yuichi Ishizuka, executive vice president and general manager, Consumer Imaging Group, Canon U.S.A. “With the addition of the new EOS 7D Studio Version camera, professionals and business owners can be confident that data management will be streamlined and they can focus on the current task at hand.”

The EOS 7D Studio Version kit includes Canon’s WFT-E5A unit, which along with the optional barcode reader can scan and seamlessly manage image and customer data through a “wired connection”. A wireless system configuration is also possible through Canon’s BU-30 Bluetooth adapter. Existing WFT-E5A units require a firmware update to work with Barcode functionality. According to Canon, this firmware update will need to be done at a Canon USA Factory Service location. However, once you choose this option, the ability to read and embed GPS data will no longer function.

The EOS 7D and EOS 7DSV feature 18MP resolution utilizing an APS-C sized CMOS image sensor and Canon’s proprietary Dual DIGIC 4 image processors. The cameras utilize a 19-point AF system, Live View, ISO range up to 12800, and new iFCL Metering. The 7D/7DSV can also capture full HD video. Ruggedly built, the cameras utilize a magnesium alloy body that is dust- and weather-resistant; and the shutter durability is guaranteed up to 150,000 cycles. The cameras are compatible with over 60 Canon EF and EF-S lenses, in addition to other EOS system accessories.

The new EOS 7DSV Barcode Kit (EOS 7DSV and WFT-E5A with firmware change) will carry an estimated selling price of $ $2,599. The EOS 7DSV Body only will carry an estimated selling price of $1,829. Both are available by special order through select Canon authorized dealers.

The following Barcode Scanners are compatible; Honeywell 3800, Honeywell 3820, for scanning via bluetooth and Honeywell 4600, for scanning 1D and 2D barcodes.

Email all inquiries and questions regarding Canon’s EOS 7D Studio Version DSLR or Canon’s Barcode Solution to ProSolutions@cusa.canon.com.

For all other information, go to www.cusa.canon.com.

— Diane Berkenfeld

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Book Review: Photographer’s Survival Manual, A Legal Guide for Artists in the Digital Age

photographer's survival guide book cover, picture-soup.comBy Diane Berkenfeld

Books abound that cover photography techniques, as do coffee table tomes showing off pretty pictures. Few books however, are written on one of the most important subjects a photographer needs to learn about—the law as it applies to photography.

Lark Photography Books (www.larkbooks.com), a division of Sterling Publishing, just released Photographer’s Survival Manual, A Legal Guide for Artists in the Digital Age (ISBN 978-1-60059-420-5). The book was written by professional photographer Jack Reznicki, and Ed Greenberg, a lawyer who specializes in copyright law and represents many top pros in the business. Readers of Photoshop User magazine may be familiar with Reznicki and Greenberg writing on the subject. They authored a column entitled “The Copyright Zone” in that magazine.

The authors explain what copyright is, what exactly is copyrightable, how to go about registering your copyright with the U.S. Copyright Office; valuable information on pricing, contracts and invoicing, and much more.

One of the most important features of the book is that the authors dispel some of the myths surrounding copyright and photography, as well as photography and the use/need for model releases.

And, considering the subject matter, you might be inclined to think the book is a dry read, but it offers up information in a readable and easily understandable manner. Case studies are included, as is an entire section devoted to registering your copyright with the U.S. Copyright Office electronically. Did you know that you’re charged almost double for copyright registration if you use snail mail as opposed to using the electronic filing system?

The authors also include model/property releases that can be adapted to your uses, as well as valuable information that should be included in contracts and invoices to protect your work.

Copyrighting your images is not just for commercial and advertising photographers, but wedding and portrait shooters too. In fact, if you make your living (or part of your income) through photography, you should be registering your images with the Copyright Office. Do yourself a favor and buy Photographer’s Survival Manual, A Legal Guide for Artists in the Digital Age. It will be the best $24.95 you spend.

For more information, go to The Copyright Zone blog at www.thecopyrightzone.com. The website for the U.S. Copyright Office is www.copyright.gov.

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Teaser: Photoshop CS5 Extended's Content Aware Fill

By Photoshopman a.k.a. Gary Small

Hi everyone! Well, I know the buzz is on with the announcement by Adobe of CS 5! As one of the people privileged to work with the beta/pre-release of Photoshop CS 5 Extended, I can tell you it’s an amazing upgrade. There are not only a bunch of new tools and features, but most of the tools and functionality of Photoshop across the board have been greatly improved. It’s like a whole new program!

I was going to write a long article, covering all the new features, but since I know many of you are dying to see what’s new as quickly as possible, I decided to put out a few teasers a little at a time, just to whet your appetites. I’ll try to publish as many as I can as quickly as I can.

So on that note, here is the first installment—what I think is by far the best new feature in Photoshop CS 5: Content Aware Fill.

Content Aware Fill is like the Patch Tool on steroids. I won’t even attempt to explain the technology behind it (because frankly I don’t understand it myself!), but the way it works is incredible. Let’s say you have an object, or even a person, or just about anything (trees, cars, telephone poles, exit signs) that you want to remove from a picture. In the past, it would take hours of Cloning, Healing, and Patching. Along comes Content Aware Fill, and reduces the work to mere seconds.

Here’s a nice outdoor scene with a bride and groom by a bridge. I love the scene and would like to re-use it, or make a background image out of it. But I need to get rid of the bride and groom to do so. All I have to do in Photoshop CS 5 is select the bride and groom (I used the Lasso tool to make a loose selection), then either hit the Delete key (if you’re working on the Background layer), or go to the menu and click Edit>Fill. Then in the dialog box that pops up, click the drop down box and select Content Aware and then click OK. Then watch what happens.

Gary Small picture-soup.com

Original image of the bride and groom. Photo © Gary Small.

gary small picture-soup.com

Photoshop CS5 Extended screenshot of the selection around the bride and groom. Photo © Gary Small.

gary small picture-soup.com

The final image, after Photoshop CS5 Extended worked its magic with Content Aware Fill. Photo © Gary Small.

It doesn’t always work perfectly, but in almost all cases, Photoshop analyzes the surrounding area and fills in the selection appropriately, to make it look like the object (or people) selected are replaced with the scenery they were standing in. In the same example, I used Content Aware Fill to fill in the patch of white sky in the upper left corner. It was much faster than cloning the trees or using the patch tool and with better results too!

My next installment will talk about the new “Refine Edge” command, and as a bonus, we’ll see how I combined the two to make a completely new picture in under 30 minutes! Stay tuned!


• Gary Small a.k.a. Photoshopman is a Professional Photographer, Photoshop Guru and master of color management. Check out his work at www.jsmallphoto.com.

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Pentax medium format digital camera is now a reality

The Pentax 645D, just announced, is a 40MP medium format digital camera. Pentax had long been in the medium format film business, but this is the first medium format digital for the company.

For years, photographers, journalists and rumor mills have been mulling over whether Pentax would be reentering the world of medium format cameras with their first digital model. Well, debate no longer, because Pentax has joined the digital medium format game. Yesterday, Hoya Corp. Pentax Imaging Systems announced the Pentax 645D, a 40MP medium format digital camera.

The camera will be utilizing a 40MP CCD sensor with a physical size of 44mm x 33mm, and no low-pass filter. The camera will be compatible with the majority of existing smc PENTAX 645 interchangeable lenses. Processing of images will be done by Pentax’s proprietary Prime (Pentax Real Image Engine) II.

The camera was designed to be durable, a feature seen in many of the Pentax 35mm DSLRs. The 645D is made with a main frame created out of magnesium-steel alloy with a diecast aluminum chassis; the two LCD panels, (one on the back panel, one on the camera’s top) are covered with tempered glass plates for extra protection. The camera’s 70 seals will keep dust and other nasties out. A newly designed shutter is said to withstand as many as 50,000 shutter releases. On the inside, the camera will utilize the Pentax DR (Dust Removal) II mechanism to keep dust off the image sensor.

Other features of the camera include the ability to shoot RAW (PEF/DNG), JPG, and RAW + JPG, (for a 40 megabyte 14-bit RAW file size); a newly designed 11 point Safox IX+ wide-frame AF sensor, 77-segment multi-pattern metering system, dual SD/SDHC memory card slots, ISO range of 200 – 1000 expandable to 100 – 1600, TTL, exposure compensation +/- 5 f/stops, shutter speeds from 1/4000 of a sec. to 30 seconds plus bulb, self timer, interval, multiple exposure and other modes, custom image function, HDR functionality, dynamic range expansion, digital level, automatic compensation of distortion and lateral chromatic aberration with the D FA 645- and FA 645- series lenses, copyright credit attachment on image files, compatabiltiy with the SDM (Supersonic Direct-drive Motor) autofocus mechanism inside SDM lenses, and much more.

The camera features a 3-inch LCD and HDMI terminal. PENTAX Digital Camera Utility 4 software package will come with the camera. To see the full press release, go to www.pentax.jp/english/news/2010/201008.html.

We can’t wait to get our hands on this baby, however at this time, there are no plans to bring the camera to the U.S.

—Diane Berkenfeld

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The Importance of Professional Photography

Basso is on your side ? edis ruoy no si ossaB

Commentary & Photo By Claudio Basso

There are so many options in photography today that consumers have a difficult time deciding where to spend money and where to save it, leaving them with the question, “When do I need a pro or an artist and when can I just use my point and shoot?”

Let’s talk for a second about the magic of photography. It allows us to live eternal, bringing back a moment, or a face, over and over again, far into the future, even after our journey here on Earth has ended. In past centuries this was achieved by master painters. Leaders and aristocrats spent serious money to commission their portrait from the best artists.

The artists, on the other hand, often celebrated their spouses with a beautiful painting. The emotion generated by the whole process was powerful, just think of La Tosca or the movie The Girl with a Pearl Earing. Even the Master Photographers followed the tradition with wonderful images of their loved ones.

Why is a Professional Portrait Important for Business?

What happens when you arrive at a party or walk into a trendy bar or restaurant? People “check you out” and in the first few seconds they build an opinion. Be it right or wrong it is a common behavior across the world. That says a lot about the power of your first impression.

The Power of Your First Impression

It is more powerful than your business card, the titles next to your name and your resume, all combined together. Your first impression will determine who will talk to you and who won’t.

The same thing happens when people see your picture, online and off, the Power of First Impression applies in all its majesty. You know you need a portrait of yourself, particularly in your work environment. Now you have a choice. You can go to a cheap photographer and be done in ten minutes and probably end up saving money but getting a generic, cheesy or boring image. Alternatively you can go to an artist, someone who has the ability to tell a story with one image, your story.

No matter what your brand is—“Eco Friendly,” “Reliable Real Estate Agent,” “Mean Executive,” “Rebellious Intellectual,” or anything else—your portrait can and should project your unique brand. If you don’t have a professional portrait done by a true artist, you literally are missing the chance to let a picture speak 1,000 words about you. In this age of social networking, this becomes even more important because you need your portrait to be consistent across all platforms that your image is visible on. What if you had an excellent corporate shot and then your next potential employer Google’s you to find you on Facebook with an image shot by your child at home?

What About Personal Portraits?

“Hey my husband and son have good digital cameras and Photoshop, why should I spend the money in getting a professional portrait to send to family and friends for the holidays?” some might ask. Now remember one thing. It is true that anybody can snap a photo and also that today’s digital technology can help. But think carefully before you choose, if you buy Microsoft Word does that make you a writer? The following card we made explains it very clearly:

A good portrait is not a picture of you, it’s a representation of your being. It is not a frame of your forms, it’s a confession of your soul.

Let’s think about this past Thanksgiving holiday. We get up, dress up, and visit family, eat turkey and all the other good food, drive home, go to sleep. Next morning we wake up, have coffee and go to the bathroom. After that we realize it’s all gone, the cycle is completed, and all we have left is the value of the time spent with loved ones, the rest just decays.

If time is the most valuable of our resources, wouldn’t you want to have a tool that allows you to stop it? Right… Let’s say pause it and rewind it?

That is the job of photography. Now think of what you are interested in conserving for posterity, your forms or your soul? The answer will direct you either to Sears or to an artist. Either way I wish you satisfaction and happiness with the results.

What About Point & Shoot Cameras?

I am currently sponsored by Canon and I shoot with their top camera, the EOS 1Ds Mark III, an amazing piece of engineering, which sleeps comfortably in the gear bag with all its related equipment. While it is not that difficult to take it out and get it going for a picture, I do not have it hanging around on a table collecting dust. This means that most of the times when there is a cute situation happening, most of the times with one of our pets, I miss it because of the time required to set up and shoot.

Then the Camera Gods created the point and shoot. Good quality, easy to operate, does not require a bag full of lenses and stuff, can sit around and it takes two seconds to get ready to shoot. I have one and I love it! It shoots darn good images and it fits in my jacket pocket when I go out. I push that baby to the max and I am amazed at what I get out of it. It is also discreet and does not call for attention in a public situation so I don’t have to explain what I do for living. So I am a big supporter of the point and shoot. I strongly recommend you to get one of those little cameras, you will be blown away by the results.

While I always carry one around, because you never know when you’ll stumble upon a photo opportunity, I would never use it on a job because it would limit my array of tools. For instance, I enjoy driving a Cabriolet around town—it’s a dream. I don’t own one but I would not use it for a 3,000-mile road trip. My students always look at me with wide eyes when I say that and someone usually asks: “But Claudio the point and shoots are the cameras that the amateurs use to outbid us on jobs…”

The so called Spray & Pray photographers, those that go out, shoot a million images—hey it’s cheap—in the hopes of getting a good one. I have nothing against them, everybody needs a chance and we live in a free country. What I think the market deserves is more education for clients so they understand what each job entails and then they can make educated decisions. Let me give you another example. Ladies you carry lipstick and powder in your purse, because you never know, right? For most occasions that is enough to get you back to your diva level. Now would you carry your entire collection of makeup with you, say, when you go out to dinner? Obviously not, that is what I mean. There is a tool for every job.

What is the Best Approach Then?

I do not own the truth, all I can do is offer you my knowledge regarding all the options you have available so that you can make educated decisions. Ultimately the decision is yours. And don’t worry. Nobody has the right to judge you. Those who do probably are those that don’t even have the guts to pick up a camera and shoot.

I think the best way to approach the question: “Where do I spend my money and where do I save?” is like planning a vacation. You have a budget, some items are not discretionary like transportation and hotel and meals. Then you have the optionals. Even when you think of the non discretionary items you still have room to maneuver. If you want to stay at a four star hotel you may have to sacrifice flying first class or the flashy rental car. Depending on your needs and the outcome you want of your vacation, you make your choices. A classic example of a bad choice would be spending tons on a rental car when you are going to be in one of those resorts that you never leave. Another would be booking a five star accommodation when your vacation is packed with tours and activities, and you know you are only going to sleep at the hotel.

Thanks; Choices, Choices and More Choices

Okay here’s the refreshing breeze that will move the fog away. Whenever in production, we are faced with a bunch of decisions, many of which are impacting another; at first we feel like running around like a chicken with no head. Where to start from then?

I always say, in this scenario you have to prioritize and you better write down your list on paper. It is what we call a punch list. Regarding the choices in photography, I would suggest following this course, (again please note this is just a recommendation, you can figure out your very own methodology).

First let’s divide our needs for photography into three categories:

  • Business Use
  • Official Family Photographs
  • Everyday Casual Needs

Now we define the outcome—the desired objective of each:

  • Business: It is important that you have an image that tells your story and represents you the way you want to be represented—you need a pro.
  • Official Family: These are birthdays, for holiday cards and so on. For the majority of these images you can do it yourself with a little point & shoot. In these images, capturing the moment is more important than anything else. For those images where the moment is less important than the story you want attached to the picture, I would hire an artist. Note I say an artist and not a pro, I will elaborate on this later.
  • Everyday Casual Needs. Unless you’ve won the Powerball Lottery or are followed by myriads of paparazzi on a regular basis, you don’t need a pro at your side 24/7. This is the time when the little point & shoot shines. Two seconds to take it out and bang! You got the shot.

Now you pull out a calendar and list all the needs that fall in each category except c) because you don’t know the future, and if you do I would like to invite you out to lunch…

Based on the list from the calendar you allocate your budget dollars.

Before I let you go I promised I would elaborate on the difference between an artist and a pro. I will offer here a short version and leave the long one for another free report to come in the near future.

From Wikipedia:

Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially, as, “a person who expresses themselves through a medium.” The word also is used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice.

Most often, the term describes those who create within a context of ‘high culture,’ activities such as drawing, painting, sculpture, acting, dancing, writing, filmmaking, photography, and music—people who use imagination, talent, or skill to create works that may be judged to have an aesthetic value. Art historians and critics will define as artists, those who produce art within a recognized or recognizable discipline.

A professional is a member of a vocation founded upon specialized educational training.

The word professional traditionally means a person who has obtained a degree in a professional field. The term professional is used more generally to denote a white collar working person, or a person who performs commercially in a field typically reserved for hobbyists or amateurs.

In western nations, such as the United States, the term commonly describes highly educated, mostly salaried workers, who enjoy considerable work autonomy, economic security, a comfortable salary, and are commonly engaged in creative and intellectually challenging work.[1][2][3][4] Less technically, it may also refer to a person having impressive competence in a particular activity.[5]

So a professional photographer is someone who has studied and practiced photography to a depth of understanding and knowledge of the craft inside and out. The majority of pros are just that. An artist is someone who utilizes a medium to describe something, like an opinion, or an emotion.

A pro can give you an excellent image, an artist can tell your story with one image.

Et voila’ this method will guarantee you the best bang for your buck! I am offering this article for your use, for free because I believe it could help you be happier. I kindly ask you to forward it to anyone you think may benefit from reading it.

Thank you for reading.

Shanti, Shanti, Shanti

— Claudio Basso

“If you light a candle, you can then light a million more from it without shortening its life.”  — the Dalai Lama

To contact the author, email him at Claudio@claudiobasso.comFor more information about Claudio Basso, check out his websites: www.claudiobasso.com and www.renovance.tv.

[Editor's note: The comments expressed in this article are that of the author, and do not necessarily represent Picture-soup.com or its staff.]

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What is a select focus lens that isn’t always a select focus lens? A Lensbaby with the Fisheye Optic!

By Diane Berkenfeld

Lensbaby Fisheye Optic.

One of the newest optics for the Lensbaby Composer is the Fisheye Optic, which isn’t select focus, but it does let you capture images with 160° field of view. At its ultra-wide 12mm focal length, the Fisheye Optic is an f/4 optic with aperture disks that range from f/5.6 to f/22. To use the aperture disks, you simply unscrew the front element and switch the aperture disk with the Optic Swap Tool; the aperture disk rests just above the bottom element. The lens itself is a six element multi-coated lens. Owners of the Lensbaby Muse can utilize the Fisheye Optic with an optional adapter. The Fisheye Optic is not compatible with the Lensbaby Control Freak lens.

One of the coolest features of the Fisheye Optic is that its minimum focus is only 1.3 centimeters (that’s a half inch) from the front of the optic to infinity. This means your subject can practically lean over and touch the optic. Because your subject is so close to the Fisheye, you really get a lot of great distortion. When you place the subject further away from the camera, you end up with the image inside of a 360° circle. Depending upon how close you are to the subject, part of the circle may be cropped out of view.

I love using this new Lensbaby optic, partly because I can now say I have a Fisheye lens, for much less than the cost of an actual Fisheye lens. Depending upon your aperture, you’ll have more or less depth of field. However by being only centimeters away from your subject, even at a wide aperture you can really see depth in your image—to the point of unreal distortion—but the effect can be way cool.

This image of Gracie, a four month old kitten was taken with the Lensbaby Composer and Fisheye Optic on a Nikon D300s DSLR. You can see that I was almost close enough for the edges of the circle to be cropped out of view (see corners of the image). Photo © Diane Berkenfeld.

A second view of Gracie, also taken with the Fisheye Optic, at f/4, with the Lensbaby Composer on a Nikon D300s. Note the depth in her face almost makes this little housecat look like a baby tiger. Photo © Diane Berkenfeld.

If you were reinvigorated as a creative photographer when you first began shooting with a Lensbaby, give the Fisheye Optic a try—it will give you yet another boost of creative energy to experiment capturing photographs of all manners of subjects in yet another new way.

For more information on the Lensbaby system of lenses and optics, check out the website www.lensbaby.com.

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Book Review: Karen Sperling’s Painting for Photographers

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Karen Sperling's Painting for Photographers. Cover painting and design by Karen Sperling from a photo by Felicia Tausig.

Karen Sperling’s Painting for Photographers; Steps and Art Lessons for Painting Photos in Corel Painter and Adobe Photoshop, (ISBN: 978-0-9818163-0-2) is being released by Artistry Books in multiple formats, including an autographed hardcover edition, complete with a CD of source photos to use with the tutorials, bonus tutorials and brushes, and a 10% donation to charity for $149.95; print on demand softcover edition with downloadable source photos for $85.95; regular softcover edition with downloadable source photos for $39.95; and an e-book with source photos accessible from within the digital edition for $35.95. The author is the founder of Artistry Tips and Tricks, a website that educates photographers by providing tips and techniques for creating painterly images from digital photographs. She was also the author of the first manuals on Corel Painter and has penned several other Painter books as well.

Sperling uses numerous examples to illustrate the techniques including many by other photographers as before images, with her painted version as the finished images. The inclusion of the before and after images is extremely helpful, so the reader can see and fully understand the techniques that are being explained.

Sperling offers a wide range of tips and tricks, for portraits (including people and pets) and landscapes, in addition to more general techniques. This is an important focus as many professional photographers will likely be turning portraits taken of clients into paintings. For the fine-art photographer, landscapes are an important subject to tackle, and techniques for these images are also discussed in detail.

The author begins the volume with a quote by Andrew Carnegie, “If you think you can do something, you probably can.” Sperling explains that painting is 90% thought and 10% execution.

The book offers an introduction to art concepts, which is important for the photographer who may not have taken art classes in the course of their schooling; something that really is necessary to know to turn a photograph into a painting without having it look like you just ran it through a filter or plug-in in Photoshop. Such art concepts include understanding color harmony and tonal ranges.

Sperling also explains how to turn a photo into a painting. She discusses what types of images make great starting points, how to choose an image to take further; and how you can take the best parts of an image or images, while leaving out distracting elements—turning ordinary images into extraordinary pieces of art.

An entire chapter is spent on portraits, detailing body parts and how the different types of painting, acrylic, oils, watercolor, airbrush, etc. vary the look of an image. Another really helpful part of the book is the inclusion of examples from some of the portrait-painting masters, such as Degas, Rembrandt, and others.

Sperling follows a similar tone with the Landscape chapter, showing examples of how different styles of painting can alter the look of an image.

The chapter on pets is segmented into sections focusing on cats, dogs, and horses—which is helpful, as these are the more common animals that photographers will likely be working with.

The author explains the various tools that Corel’s Painter program offers users. She also explains the powerful tools that Photoshop offers the digital imager who wants to use that program. Sperling also includes shortcuts, including explaining the benefits of utilizing a Wacom pen and tablet in turning a photo into a painting because of the added control offered by the device.

Sperling completes the book with a discussion of over-painting techniques and the supplies needed to do so. Over-painting is the technique of painting with acrylic or oil paints on top of the canvas that the image has been printed upon. It is becoming a popular technique and adds an extra quality of uniqueness to images that receive this treatment.

Sperling notes that she finds painting both on the computer and with traditional paint to be more about confidence and suggests that if the reader practices and familiarizes themselves with the materials and techniques used, they’ll be more comfortable in working with these varied media. Sperling closes by bringing the reader back to her opening sentiment that, “If you think you can, you probably can.”

Creating painterly art from photographs is ideal for the professional photographer, who can use this to add a new dimension to their studio’s offerings. The guidance and education in Karen Sperling’s Painting for Photographers takes the intimidation out of turning photographs into painted masterpieces.

Check out Karen Sperling’s website at www.karensperling.com to see examples of her work. Go to www.artistrymag.com for Sperling’s Painter tutorial site.

— Diane Berkenfeld

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