The Math
Feel free to skip right over this part, this is the boring part, it’s so boring I thought of putting a picture of an artistic nude shot next to it just to keep people awake. Ok, so here we go. Before you can calculate the depth of field you first must know the circle of confusion for your camera.

Don’t get too lost on me yet, for most of us digital SLR users this is  one of two numbers. For most of us with APS/APS-C sized sensors this number is 0.019948, for full frame sensors (the big Pro cameras) and 35mm film the number is 0.02501. This represents the sensor size. Again, don’t get all lost on me yet, just remember the number for your particular camera.

The first thing we need to calculate is the Hyperfocal distance, for this calculation you will need to know the focal length of your lens. the aperture you are using and the CoC (circle of confusion) for your camera.

The math to calculate the hyperfocal distance is as follows:

HyperFocal = (FocalLength * FocalLength) / (Aperture * CoC)

Thus, the Hyperfocal distance of a 50mm lens at f/2.8 on an APS sensor (Canon 30D in my case) is 146.85 feet.

Next we need to calculate the near point which is the closest distance that will be in focus given the distance bdetween the camera and the subject. The math here (yes, it gets SO much worse) is as follows:

NearPoint = (HyperFocal * distance) / (HyperFocal + (distance – focal))

This is somewhat  complicated because the focal length is in millimeters and those of us in the US are better with feet and inches still so if you want the end value to be in feet you have to do some more conversions. If we are using the same 50mm lens, at f/2.8 on an APS sensor at a distance of 10 feet (3048mm) then our HyperFocal distance is 146.85 feet (44,749.23mm), giving us a near focus point of 9.37 feet (2,856.66mm). Are we following along still? Did I lose anyone?

Alrighty then, let’s now calculate the far point distance, this is almost the same as before but using slightly different math, so here we go.

FarPoint = (HyperFocal * distance) / (HyperFocal – (distance – focal))

Without changing our values that we used before, we now know that are rear point is 10.72 feet (3,266.81mm). Take note that the near point is actually closer to you than the subject is, typically the focus is 1/3 in front of the subject and 2/3 behind the subject.

The final step is to calculate the total amount of focal distance. This is one I can even do without a calculator, we simply subtract the far point distance from the near point distance.

TotalDof = FarPoint – NearPoint

Giving our example so far we have a total depth of field of 1.35 feet (411.48mm).

Let’s get practical
Why on earth would you want to know this? The simple answer is you may not, nor may you ever care to know it. When shooting portraits, weddings, events, and pretty much anything else it really isn’t going to matter much. However, if you are the type that wants to set up a shot and have it be EXACTLY what you want, there is simply no other way to know what the camera is going to do. This is important in macro, food, and product photography. By knowing exactly where you focus points begin and end you can more accurately design and execute precise shots.

Ok, how about the easy way?
This is kind of like taking a digital photography class and having to spend a semester cooking your own B&W film, its good to know the theory before taking on the practical application. So how can we do this easier than having to pull a scientific calculator each time you want to set up a shot?

• f/Calc Spreadsheet (download) – This is an Excel spreadsheet that will do all the math for you. This was development by me and is free to use.
• f/Calc Windows and Palm App (website) If you want a simple but powerful Windows or Palm based application, f/Calc does Field of View, Angle of View, Magnification, Spot Meter, f Numbers, Depth of Field and Hyperfocal distance
• PhotoCalc for iPhone (website) – Not only does it do everything for DoF, it also incorporates a sunrise/sunset function, flash exposure calculator, and Exposure Reciprocation calculator.
• CamCalc (Market) Android App for Depth of field, field of view, focal length equivalents, flash calculations, color temp. conversion, miniatures, and sunrise, sunset.
• PhoforPho (Market) Android App with Exposure calculator, Hyperfocal calculator, DoF calculator, Timer, and Exposure compensation calculation for multiple exposures.

I know this has been a doozy of an article to read through just to get to some free or almost free (PhotoCalc is $2.99) tools to make it dead simple to do these calculation. Hopefully this will help you perfect your images help you to use depth of field to its full extent.

Canon’s new EOS Rebel T1i is packed with features, both refined and new. In addition to its admirable performance with an all-new 15.1 Megapixel Canon CMOS sensor, DIGIC 4 Image Processor, a 3.0-inch Clear View LCD with anti-reflective and scratch-resistant coating, and compatibility with the EOS System of lenses and Speedlites, the EOS Rebel T1i adds remarkable Full HD video capture at resolutions up to 1920 x 1080. An HDMI port allows for quick connections to high definition TVs and monitors for easy viewing of your stills and video. The entire operation is simple and easy even if you are a beginner. You’ll have uncompromised EOS Digital performance with power and flexibility right in the palm of your hand.

• New 15.1 Megapixel CMOS sensor with DIGIC 4 Image Processor for faster processing of fine detail and natural color reproduction, 14-bit A/D conversion for smooth color tones and gradations.
• Full HD video capture at 1920 x 1080 resolution with HDMI output for HD viewing of stills and video.
• Live View Function for stills (Quick, Live and Face Detection AF modes) and video.
• 3.0-inch Clear View LCD (920,000 dots/VGA) monitor with anti-reflective and scratch-resistant coatings for improved viewing and smudge protection.
• Auto Lighting Optimizer for superior highlight-shadow control.
• Wide range ISO setting 100-3200 (ISO expansion: 6400, 12800).
• Creative Auto goes a step beyond auto allowing control over frequently-changed settings.
• Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories.

Suggested Retail Price: $899.99

Website: http://www.usa.canon.com

Overview

I often see posts in different forums from people trying  to figure out how to provide remote power for on-location shooting. I have seen everything from picnic coolers full of electronics to generators with expensive inverters strapped on.  For the cost of building one of these picnic cooler power packs and your time to buy all the parts and assemble it, you are just as well off to spend the $349 for the Explorer XT and have a professionally built package that you know is going to work well.

Features

The Explorer XT is rated at 350 watts of  continuous power and 1200watts peak power. For studio strobes this can handle up to 2400ws. The Explorer XT is designed as a portable power source for most flash and power pack units to be used on location, away from available power.

The Explorer XT is equipped with two (2) 12V, 7Ah sealed lead acid batteries, with an auto volt-charging feature which accepts 100-240V. It also has a 14V car battery charging where an internal circuit converts the 12V/14V source to a 24V. It also has an auxiliary battery port, allowing the user to connect another battery in case you need extended battery life. Battery power level indicators with beeper and charging indicators allow you to monitor power consumption and charging status.

The Explorer XT comes with a handy carrying bag to make hauling it around easier. The bag opens on both ends to allow access to all of the ports without removing it from the bag.

Specifications:

• Power Output: 350 watts (continuous)/ 1200watts (peak)
• Number of output sockets: 2
• Battery: Two (2) 12Vdc, 7AH SLA provision for external battery pack
• Charging Voltage Input: 100V-240V / 14Vdc (car battery charger)
• Charger: Built-in
• Weight: 8.5 kg (18 lbs)
• Dimensions: 14.5″ x 5.5″ x 7″
• Available Models: 115V/60Hz (North American, Japan) 230V/50 Hz (EU, Asia-Pacific, Middle East
  230V/60Hz (Philippines)

Setup

What setup? You take it out of the shipping container and its ready to go.  The only thing you need to do is keep it charged up. According to the instructions, you should keep in plugged in even when not in use, this will keep the lead acid batteries in optimum condition as well as always being ready for use.  This was a concern of mine since a fan is running and even though the instructions say it will use a trickle charge, I wanted to know how much power draw it was really taking. Using a Kill-A-Watt to measure to power draw I found that while the system is charging (charge light is blinking) was 80 watts, wow, that would be pricey to have plugged in all the time. However, as soon as the system hit a full charge (charging light went solid) then the power draw dropped to only 6 watts, now that’s more like it as I have numerous electronics around the house that use more than 6 watts when in standby mode so keeping the Explorer XT plugged in all the time.

Usage

The Explorer XT is designed to be dead-simple to use. Just turn it on and plug in your devices and use them like normal.  The Explorer XT has two outlets on the front that output clean power from the Explorer XT’s internal pure sine wave inverter.  Having a top-notch pure sine wave inverter is important as it helps protect the devices that you have plugged into it. Besides just being a portable battery solution, it can also be used in between your equipment and a low-cost gas generator. At first that may not make sense, why would you need the Explorer XT if you have a generator? The issue is that low-end generators can’t handle the peak demands that studio strobe lights require and they don’t have pure sne wave inverters. By using both a generator and the Explorer XT the Explorer XT will handle the load of the strobes while the generator will work to keep the batteries charged up.

Results

The only way to really test out the Explorer XT was to hook up some strobed and start shooting. While the unit is rated for up to 2400ws, I don’t have anything near that power, nor do I need it in my home studio. I hooked up two PhotoBasics Strobelites (150ws each) and one PhotoBasics StrobeLite Plus (200ws) for a total of 500ws and started shooting away with all three lights on full power.  The Explorer XT has three charge level indicator lights, High, Mid, Low, at 225 shots the light flickered between Hi and Mid and finally went solid on Mid at 250 shots. The only difference from being plugged into the wall socket is that the recycle time dropped from four seconds to five seconds, and if I was shooting as fast as they could recycle would creep up to about six seconds. A short pause in the shooting and the recycle rate would speed up again. At 250 shots and only having drained about 1/3 of the battery charge I finally ended the test since I don’t like putting unneeded wear and tear on my lights or camera but it did show me that I can easily do most any typical shoot that I do and still have plenty of power left to also run other accessories like a blower or laptop.

I am very impressed by the performance considering the small size and relatively light weight of the unit.

Watsonville, CA (PRWEB) January 26, 2009 — ExpoImaging Inc. (www.ExpoImaging.net), developer and marketer of innovative camera accessories, including the Ray Flash Ring Light Adapter, ExpoDisc Digital White Balance Filter and the ExpoAperture2 Depth-of-Field Guide, today announced that it is now the exclusive U.S. distributor of Honl Photo Professional Products.

Developed by veteran photojournalist David Honl, The Honl Photo Speed System is a collection of lightweight, durable and affordable light modifiers for shoe-mount flashes including an assortment of grids, snoots, reflectors, gobos and gels. With retail prices ranging from $9.95 to $29.95, these practical tools were designed to universally fit all shoe-mount flashes without the use of annoying adhesives. As photographers increasingly take advantage of the power and flexibility of modern portable shoe-mount flashes, the Honl Photo Speed System allows them to affordably bring studio-style lighting effects into the field.

“With more than two decades of professional experience, David Honl’s work has been published worldwide,” said Erik Sowder, president of ExpoImaging. “David developed and field tested the Speed System while traveling on assignment under very challenging conditions. We firmly believe that there are no similar products available that are more practical or easy-to-use. And we are pleased that David recognized our sales and marketing success and chose ExpoImaging to be his exclusive U.S. distributor. We look forward to representing these innovative and unique lighting products.”

The Honl Photo Speed System consists of:
· The Honl Speed Strap: a simple, non-slip velcro strap that wraps around the flash head and attaches and removes in seconds. The Speed Strap avoids rubber bands, tape and sticky residue, and universally fits any shoe-mount flash. The Speed Strap provides a large wraparound surface area to quickly attach Speed Grids, Speed Gobos/Bounce Cards, Speed Snoots or Honl Gels. The Honl Speed Strap retails for $9.95.

· Honl Photo Speed Grids (patent pending): weighting just 3 oz and available in 1/4-inch and 1/8-inch grid, the honeycomb-like cells narrow the beam of light from a portable flash unit, producing a small circle of light on a subject. Perfect for dramatic lighting effects, Speed Grids fit any shoe-mount and most handle-mount portable strobes and attach quickly and easily to a Speed Strap. Honl Photo Speed Grids retail for $29.95.

· The Honl Photo Speed Gobo/Bounce Card: a versatile gobo made of black ballistic nylon on one side and white polymer on the other. The black side can be used to keep light from flaring into a lens when using a flash as a background or hair light. The white side can be used as a bounce card. Utilizing two gobos, photographers can create a barn door setup. The Honl Speed Gobo/Bounce Card attaches quickly with a Speed Strap. The Honl Photo Speed Gobo/Bounce Card retails for $14.95.

· The Honl Photo Speed Snoot/Reflector (patent pending): available as a 5-inch “Shorty” or 8-inch “Regular”, this snoot is constructed of black, ballistic nylon with a gray interior that produces a soft falloff. The snoot can be shaped to concentrate the light from a shoe-mount flash for dramatic cinematic lighting or opened-up to use as a flash bouncer/reflector. Ideal in a variety of settings, from basic portraits to dramatic background lighting, the Speed Snoot/Reflector attaches and removes in seconds using a Speed Strap. The Honl Photo Speed Snoot/Reflector retails for $29.95.

· The Honl Photo Gel Kit: colors strobes to correct for tungsten, fluorescent or daylight lighting environments or adds artistic color effects to images. These superior quality gels are pre-cut and have attached strips of velcro to secure quickly to a Speed Strap, and can be used in conjunction with Honl Snoots, Gobos and Grids. The usable gel area is 2.5 inches by 4 inches (approx. 64mm by 102mm) and can be trimmed to fit individual strobes. The Honl Photo Gel Kit retails for $29.95.

“We feel fortunate for the opportunity to partner with ExpoImaging,” said David Honl. “We chose to work with ExpoImaging because they’re good at marketing and they have a great reputation in the industry. We look forward to a long and mutually beneficial business relationship.”

The addition of the Honl Photo line further solidifies ExpoImaging’s position as a leading supplier of unique and exciting products that meet the needs of photographers at all levels.

Honl Photo Professional Speed System Products are now available at photo dealers nationwide and online by visiting www.ExpoImaging.net.

About ExpoImaging, Inc.

ExpoImaging Inc. markets and develops innovative camera accessories and is the pioneer in digital white balance filters. Ray Flash: The Ring Light Adapter, Honl Photo Speed System, ExpoDisc Digital White Balance Filters, and the ExpoAperture2 Depth-of-Field Guide are available at select photography dealers worldwide, or online at www.ExpoImaging.net.

###
David Griffin
Matter Communications — Providence
401-351-9504 (direct)
508-648-1176 (mobile)
dgriffinmatter (AIM)
david@matternow.com
www.matternow.com

• R-Strap Camera Strap Courtesy of BlackRapid
• Fast Track Photographer Audiobook courtesy of Esquire Photography
• Dojo Wedding Tools Presets for Lightroom
• Dojo Power Tools Presets for Lightroom

All together this is about a $200 prize package.

Example from Roberto Valenzuela

Example of Converging Lines from Roberto Valenzuela

Contest Rules

Please get this right so you do not get disqualified. To enter your image into the contest, upload it to your Flickr account. You will need to be a member of the Camera Dojo Flickr Group and then you can add your image to the Group photo pool. You must tag your image with the words Contest and Lines. This will allow me to find them easily.

You must only upload images that you took yourself. We will post the winner’s pictures on CameraDojo.com but you will retain all copyright to the image. We suggest you have a watermark on your images as well. The deadline for entries is Feb 28th 2009 and the winner will be named on the following podcast.

Here are a few other examples:

Current Entries

With Extreme 24.5-Megapixel Resolution, Processed Image Files Exceeding 138 MB, Five Frame-per-Second Burst Speed and Nikon Core Technologies, the D3X Ushers in a New Level of Image Quality

MELVILLE, N.Y. (Nov. 30, 2008) - Nikon Inc. today announced the D3X, an FX-format digital SLR featuring extreme 24.5-megapixel resolution and superb low-noise capabilities, which provides professional photographers with commercial-quality image performance in a familiar and extraordinarily versatile D-SLR form factor. In conjunction with the groundbreaking Nikon FX-format D3, the D3X tops off a collection of flagship level, rugged, professional caliber digital single lens reflex cameras engineered to excel in all types of professional photographic disciplines from photojournalism and sideline sports, to commercial in-studio applications.

The foundation of the enhanced performance of the D3X is its FX-format, 24.5-megapixel (6048 x 4032) CMOS sensor providing commercial, high fashion, fine art and landscape photographers with the extreme resolution, dynamic range, color depth, detail and sharpness that clients demand. Whether creating catalogs, magazine covers, billboards or gallery prints, the large 5.49-micron pixel size and high signal to noise ratio produces vibrant images with breathtaking image fidelity while reducing lost highlights and shadows, and ensuring smoother tone reproduction with minimized noise. With full resolution shooting speeds of up to five frames-per-second (fps), and 14-bit files, that when processed are approximately 138 MB, the D3X offers today’s photographic artists an extreme level of performance and versatility ready for demanding assignments in the studio or on location.

“In 2007, the 12.1-megapixel FX-format D3 delivered groundbreaking digital SLR image quality, coupled with incomparable high ISO, low noise performance and high-speed handling. In doing so, the D3 broke photographic barriers, enabling photographers to work in ways never before possible,” said Edward Fasano, general manager for Marketing, SLR Systems Products at Nikon Inc. “Now, the new 24.5-megapixel FX-format D3X D-SLR provides the extreme resolution and high dynamic range capabilities needed to meet the extraordinary needs of photographic disciplines such as high fashion, commercial advertising and fine art. The D3X delivers this remarkable capability while fitting seamlessly within the Nikon system, taking full advantage of Nikon’s world-renowned collection of NIKKOR lenses and Speedlights.”

Image Quality Takes Center Stage
To re-emphasize the importance of image quality above all else, the D3X delivers an incredible level of digital SLR performance to provide photographers with extremely high resolution, exceptional dynamic range, phenomenal total gradation and outstanding color reproduction. Image files can be recorded as TIFF, JPEG or NEF (RAW) formats in either 12- or 14-bit compressed or uncompressed formats, and recorded to UDMA compatible CompactFlashâ„¢ cards for optimum speed. Photographers can save image files directly to the dual card slots as overflow, backup, or as separate file formats to different cards. Building on the D3X’s flexibility, users have the creative option to shoot in the 5:4 crop mode with 20.4-megapixel resolution, the ideal format for creating 8 x 10-inch portraits. While using DX-format lenses, faster continuous shooting of up to seven frames per second can be achieved at a resolution of 10.5 megapixels.

The exceptionally low noise of the D3X is essential to any professional commercial application, and it provides photographers with an ISO range of 100 to 1600, expandable to 50 (Lo-1) and 6400 (Hi-2). The ultra smooth tones and lack of grain at ISO 1600 as well as at low sensitivity settings result in smooth, natural skin tones and exacting detail that, before the D3X, required larger and far costlier studio-bound camera systems.

Advanced Technologies, Meticulously Executed
In a commercial setting or on location, imaging professionals need high performance in both speed and processing. The Nikon D3X can shoot at up to five fps at full resolution or up to seven fps in DX crop mode, allowing photographers to catch the split-second difference in a model’s expression or capture all of the action in a sequence. Just like the D3, the D3X achieves a start-up time of a mere 0.12 seconds and a shutter release time lag of 0.04 seconds.

The D3X’s speed, as well as high levels of performance, leverages Nikon core technologies including a newly enhanced EXPEED™ Image Processing System, specially designed for the D3X to provide superior image quality, faster processing speeds and lower power consumption. This advanced system is able to achieve extremely precise color reproduction for a broad spectrum of hues, in addition to vivid saturation and smooth gradation. What’s more, Nikon’s advanced noise processing function is engineered to minimize noise at all sensitivities and operate seamlessly without interfering with other image color parameters.

The D3X also features Nikon’s exclusive Scene Recognition System, which continuously analyzes information from the 1,005-pixel RGB light sensor, to further refine auto exposure, auto white balance and autofocus calculations. This results in flattering portraits and awe-inspiring landscapes that portray accurate color and fine details. Nikon’s exclusive 3D Color Matrix Metering II helps ensure accurate exposures, even in the most challenging lighting conditions. Instantly evaluating each scene before capture, input data from the system’s sensor is automatically referenced against an internal database of more than 30,000 images derived from actual photographs to calculate correct exposure values. Active D-Lighting, used in combination with 3D Matrix Metering II, helps to determines proper exposure, and creates realistic contrast while compensating for lost shadows and highlights. Prior to shooting, users can choose from Extra High, High, Normal, Low or Off settings, as well as an Auto mode.

Additionally, the D3X features Nikon’s exclusive Multi-CAM 3500FX focus module, with 51 AF points, 15 cross type sensors and 36 horizontal sensors that easily track and lock onto moving subjects, delivering the same fast and accurate AF performance that helped make the D3 immediately successful. Users can select any of the AF points, making it easy to consistently attain accurate focus right on a subject’s eyes, frame after frame. Additionally, three AF-area modes – Single point, Dynamic-area AF and Auto-area AF – are available to maximize the use of the 51 focus points by selecting the most suitable one to match subject conditions. AF is also available in one of two Live View modes optimized for the studio, including a phase detection handheld mode and a tripod mode. This feature allows the user to zoom in up to 27x on the LCD screen to ensure critical focus. While in Live View, the graphic indication of a virtual horizon is also available, making it easier than ever to confirm camera orientation.

To further ensure each photographer’s ability to balance their personal style, Nikon’s Picture Control System enables users to adjust their images to pre-set parameters such as Standard, Neutral, Vivid and Monochrome that apply tweaks to image sharpening, tone compensation, brightness, overall tone and saturation. Photographers have creative control over these image parameters with the use of up to nine available customizable presets.

Synchronizing Both Form and Function
Engineered for real-world functionality, the D3X retains a rugged shell with moisture, dust and shock resistance that has become a hallmark of flagship Nikon D-SLRs, while preserving the usability and ergonomics that allow the camera to remain an extension of the photographer’s vision. Attention to detail goes so far as to include a self-diagnostic shutter system that is tested to exceed 300,000 cycles for maximum durability and longevity. The camera’s body also maintains the resilient magnesium alloy construction and form factor of the D3, promoting consistent Nikon system synergy.

A bright and accurate viewfinder offers 100 percent coverage with 0.7x magnification. The body also houses Nikon’s acclaimed 3.0-inch super density LCD screen, now relied upon by so many photographers. The high-resolution 920,000-dot screen is viewable at wide angles up to 170 degrees, and will allow photographers to quickly zoom in to confirm critical focus. Users can also output the video signal to an external display via HDMI to allow client viewing. Thanks to incredibly efficient internal circuitry, the D3X can capture up to 4400* shots per single charge of the camera’s Lithium ion battery.

System Strength Withstands the Test of Time
The D3X is fully compatible with Nikon’s Creative Lighting System (CLS) to give photographers a mobile lighting solution that is easy to manage. To further enhance mobility, the D3X is compatible with Nikon’s GP-1 GPS receiver to gather information such as latitude, longitude, altitude and date of shooting. Photographers can easily shoot tethered via USB, or use the WT-4a wireless transmitter to send images wirelessly when speed and mobility are essential. D3X users will also enjoy the system strength of more than 50 genuine NIKKOR lenses that provide outstanding sharpness and high resolution across a broad range of focal lengths.

Price and Availability
The Nikon D3X will be available at Nikon Authorized Professional Dealers starting December 2008, and will be available for an estimated selling price of $7999.95.**

* Based on CIPA Standards
** Estimated selling price listed is only an estimate. Actual prices are set by dealers and are subject to change at any time.

I have had the hardest time dealing with camera bags over the years, from my first backback that got so heavy I couldn’t lug it around anymore to my uber cool Airport International 2.0 which is great for big jobs but what about when I want to go a little lighter? My old backback is too large, and my Airport International is too big, and my Modulous Speed Belt can’t hold enough nor is appropriate when traveling. So what does that leave? Fortunately, Think Tank Photo’s Mike Sturm has come to the rescue. Mike is the designer responsible for the newest and coolest backpack design from Think Tank Photo, the revolutionary ShapeShifter.

Why is the ShapeShifter so cool?
The problem with most camera bags is that they are designed for particular purpose, either trying to be lightweight and carry minimal equipment or being big enough to carry a large amount of gear. The ShapeShifter is designed for both, in expanded mode it can carry a couple of full size DSLR bodies, a few large pieces of glass, a good amount of accessories, AND a 17″ laptop.

Ok great, you can haul a bunch of stuff with you and your laptop easily, so what, the bigger rollers from Think Tank Photo allow you to do that easily enough. What is different with the ShapeShifter is that oncd your camera gear comes out (possibly moved to your Speed Belt) you can pull a zipper around and compress the backpack down to about three inches thick with your laptop still in it.

Features include:

• It can be compressed to 3 inches in width once your equipment is removed.
• Dedicated neoprene pockets for 2 pro size DSLR’s, 70-200 2.8, 24-70 2.8, wide angle 2.8, and strobes.
• Holds up to a 17” laptop in rear compartment.
• Front pocket organizers for your digital essentials.
• It can carry tripods and monopods.
• The Pro Speed Belt can be attached and quickly released.
• After your gear is removed, you can continue to carry your laptop and accessories, but in a much smaller package.

Who is the ShapeShifter for?
Since neoprene equipment bags inside the ShapeShifter don’t provide a lot of padding, the ShapeShifter is certainly not the best solution for travelers if there is any chance that your bag may have to get checked as luggage. For domestic flights the ShapeShifter is a great solution since domestic flights allow for a carry-on bag and a personal item such as a camera bag or laptop case. Since the ShapeShifter can hold you basic gear as well as your laptop you should always be able to carry it on and stuff it overhead or even under a seat.

Sports photographers who want an easy way to get their gear down onto the field but then want to compress the bag so there is a smaller profile to interfere with other photographers and easier maneuverability.

For photographers that use a modular belt system, you can remove most of your gear and still keep a few accessories and flashes in the backpack and still compress it to save space.

Any photographer that has to carry a laptop around safely as well as a decent selection of gear but doesn’t need a large backpack just to carry the laptop after the gear is taken out.

How well does it work?
I am super impressed with the versatility of the Shapeshifter already and have had it less than a week. I can carry a good selection of equipment comfortably and securely. The first day I got it I packed it up for a wedding with my Airport International Roller keeping the lesser used equipment and spares locked safely away, I could keep a small amount of gear with me at all times. The next day I took off to shoot a protest rally and loaded up with lenses and strapped my tripod onto the back. Out in the sun for a couple of hours all the extra shoulder and back padding made very comfortable to haul around a day pack of gear. A few days later I needed to make a day trip to San Fransisco to give a talk and I wanted a minimul set of gear along with my laptop. Even with a camera body, flash, several lenses, and my laptop I was able to compress the Shapeshifter down to the smaller size making it very easy to walk through the airports, take the BART into downtown, and walk to the convention center. Without the Shapeshifter I would have taken a large laptop case and probably not have taken any camera gear, or I would have taken a small camera bag that could hold a body and one lens. Thanks to the Shapeshifter I was able to take a 30D with battery grip, a 17-40 lens, a 24-70 lens, a 12-24 lens, and a 70-300 lens, and a 580 EX II. I could have taken some larger glass but then I wouldnt have been able to compress the bag down as much. Also in the Shapeshifter is the power supply for the laptop, a Zoom H2 audio recorder, and Jobo DSLR tripod.

The Shapeshifter isn’t going to be for everyone as there are some people who take too much gear everywhere they go and while the Shapeshifter can hold a decent amount of gear, it certainly can’t hold as much as the roller cases from Think Tank Photo. But if you need mobility and a roller is too inconvienent, the Shapeshifter is a great solution.

The bottom line
It didn’t take long for me to be a complete convert to the Shapeshifter for most of the assignments that I do although there are certain situations when I would rather have my larger roller with me. For the typical day assignment, for traveling, vacations, business trips, sports shooting, and many other situations, the Shapeshifter will be loaded up and hanging off my back.

The Think Tank Photo Shapeshifter backpack is scheduled for released in December of 2008 with a price of $249 US. If you have a photographer in the family that needs something like this, the Shapeshifter is an excellent Christmas gift.

Review Points

Setup
There is basically no setup of the Shapeshifter, open the zippers, load your equipment, adjust the straps, and off you go. If you want to use the monopod/tripod straps they are included inside the bag and will need to be attached to the outside before use. I keep the short sider attached at all times and when I am not using the long adjustable side I detach them and put them into a pocket in the bag to keep them out of the way.

Features
The Shapeshifter is like no other bag available today, loaded with more pockets than you would imagine and the ability to hold large equipment and compress down for smaller gear as well as having a padded laptop area that can take a 17″ laptop, the Shapeshifter is the ultimate in photographic mobility. Pockets galore! There are more pockets in this thing than you can count. The quality of the construction is simply incredible, I have full confidence this bag is going to last for many years.

Usage
Your biggest issue with the Shapeshifter is going to be deciding on what pocket of the dozens of available are you going to put your accessories in. Obviously this large number of pockets, holders, built-in bags, etc was built for someone with a better memory than me because there are so many places to put things you may well forget where something is. I am certainly a big fan of the Shapeshifter now and have taken it around to show all my friends.

Results
Sure, you can get a camera backpack on eBay for $30 and you may even be happy with it, but the ones I have bough have fallen apart, had the shoulder straps break, and are big and bulky. At $249 the Shapeshifter is not cheap, but neither is the contruction quality. Camera bags of this caliber are not designed for the budget-minded hobbiest, these are serious tools designed with professional photographers in mind. If you want to spend once on a backpack that will outlast several cheap ebay bags and you want to be sure you are not going to have zippers pop, seams break, and have it wear out prematurely then the Shapeshifter is the right choice.

Product Review Scorecard

Product Page: http://thinktankphoto.com/shapeshifter
Company Page: http://thinktankphoto.com

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Think Tank Photo Shapeshifter Camera Bag from Kerry Garrison on Vimeo.

Three new lenses – The Composer^TM, The Muse^TM, and

The Control Freak^TM – feature the Lensbaby Optic Swap System

On September 23, 2008, Lensbaby, LLC (formerly known as Lensbabies, LLC) is launching an entire new system of selective focus lenses at the Photokina tradeshow in Cologne, Germany (Hall 5.2 C021).

Three new Lensbaby lenses – The Composer^TM, The Muse^TM and The Control Freak^TM, – make up the new line of products.  Each features the new Lensbaby Optic Swap system. The new Muse and the new Control Freak replace the current Original, Lensbaby 2.0, and Lensbaby 3G lenses, which will be phased out immediately.  With the Composer, Lensbaby introduces a completely new lens, based on a ball and socket configuration that delivers smooth selective focus photography with unparalleled ease of use and greater precision.

All Lensbaby lenses provide photographers with a new way to control depth of field by bringing one area of a photo into sharpest focus with that Sweet Spot^TM surrounded by graduated blur. By bending the Lensbaby lens, the photographer moves the sharp area around the photo for customized creative effects.

The Composer

The new Composer retains its position after being bent and is easy to use even with one hand.  Photographers do not squeeze the lens to focus, but can simply tilt the lens to a desired angle and then focus with a barrel focusing ring.  The Composer stays in the desired bent position without requiring a locking mechanism and features the new Lensbaby Optic Swap System.  The Composer’s barrel focusing ring has a unique design that becomes more sensitive (requiring greater rotation to move the optic in and out) as you approach infinity, making it easer to focus on subjects from 10 feet to infinity.

“The Composer introduces a new level of ease and precision to selective focus photography,” said Craig Strong, Lensbaby president and co-founder.  “We developed the Composer because our photographers are interested above all in creating powerful, interesting photos. With its greatly enhanced ease of use and more reliable results, the Composer will make it more intuitive for photographers to realize their personal creative visions.”
The Muse replaces the Original Lensbaby and Lensbaby 2.0 lenses while being very similar in appearance and functionality. Photographers will still focus by compressing the lens and move the sweet spot by bending the flexible lens tubing.  The key update for the Muse is its new Lensbaby Optic Swap System.

The Control Freak

The Control Freak updates the Lensbaby 3G by adding the Lensbaby Optic Swap System.  With The Control Freak, photographers compress to focus, bend to move the sweet spot, and then push a button to lock the lens in place.  Once locked, photographers can adjust the fine focus with a barrel focusing ring and fine tune the tilt by rotating its three metal posts.

“While we expect the new Composer, with its smooth and precise operation, to be our most popular lens, we continue to offer the Muse and the Control Freak because each photographer has their own shooting style. The Muse is for photographers who shoot fast and loose and The Control Freak is best for shooters who have a step-by-step approach,” said Strong.

All three lenses – the Composer, Muse, and Control Freak – feature the Lensbaby Optic Swap System and will ship with one optic installed. Additional optics are available as optional accessories.  When a photographer wants to change the optic in their Lensbaby, they will simply pop the optic out and drop in a different optic using an Optic Swap Tool supplied with the new optic.  Each optic has different features and image qualities, allowing photographers to choose the look that fits their creative style.

Optic Swap System

At launch, the Lensbaby Optic Swap System will include four interchangeable optic options:

1)      Double Glass: A 50mm multi-coated optical glass doublet that is the same optic that was in the Lensbaby 2.0 and Lensbaby 3G lenses. Retail price: US$85.00

2)      Single Glass: a 50 mm, updated, uncoated optical glass singlet similar to the optic that was used in the Original Lensbaby. At f/2, the Single Glass Optic is one full stop brighter (2x as bright) than the previous Original Lensbaby Optic. Retail price: US$35.00

3)      Plastic: a 50 mm f/2 plastic singlet that maximizes blur and diffusion in a dreamy way that Holga^TM and Diana^TM camera lovers will especially appreciate. Retail price: US$35.00

4)      The Pinhole/Zone plate: an optic cup with an f/177 aperture hole to allow for pinhole photography and an f/19 Zone plate opening.  Users can slide a toggle inside the optic to change to back and forth between Pinhole and Zone plate mode, allowing further artistic exploration.  Retail price: US$35.00

The first three optics listed above are all 50mm fixed focal length.  They all feature magnetically levitating interchangeable aperture disks that allow aperture settings from f/2 to f/22.

The Single Glass, Plastic, and Pinhole/Zone plate optics will be sold individually as well as in an Optic Boxed Set to retail for $95.00.

Lensbaby President and Co-Founder, Craig Strong, stated, “Lensbaby photographers tend to be very creative. The new Lensbaby Optic Swap system will give photographers greater freedom to take photos that reflect their unique visions.”

Strong continued, “With the new Composer lens and the Lensbaby Optic Swap System, photographers will be able to choose a lens body that fits their bending style: fast and loose, smooth and precise, or step by step. Then photographers can choose an optic that expresses their individual artistic vision.”

Product Pricing and Specs:

The Composer – Smooth and Precise

• Priced at US$270
• Ships with the Double Glass optic installed (a multi-coated optical glass doublet)
• Features the Lensbaby Optic Swap system
• Focal Length: 50mm
• Focus Type: Manual
• Features a unique barrel focusing ring that becomes more sensitive (requiring greater rotation to move the optic in and out) as you approach infinity, making it easier to focus on subjects from 10 feet to infinity.
• Aperture Type: Interchangeable levitating aperture disks
• Apertures: f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22
• Minimum Focus: about 18″ (46cm) / Maximum Focus: Infinity
• Size/Weight: 2.5″ (6.35cm) high x 2.5″ (6.35cm)  wide  / 5.5 oz (155.9g)

The Muse – Fast and loose

• Priced at US $150 with the Double Glass optic installed; US $100 with the Plastic optic installed
• Ships with either the Double Glass optic installed or the Plastic optic installed.
• Features the Lensbaby Optic Swap system
• Focal Length: right around 50mm
• Focus Type: Manual…Fingertip, actually
• Aperture Type: Interchangeable levitating aperture disks
• Aperture: f/2, f/2.8, f/4, f/5.6, f/8
• Minimum Focus: approximately 12″ (30 cm) / Maximum Focus: Infinity and beyond
• Size/Weight: 2″ (5.08cm) high x 2.5″ (6.35cm) wide / 3.7 oz. (104.9g)

The Control Freak – Step-by-step

• Priced at US$270
• Ships with the Double Glass Optic installed
• Features the Lensbaby Optic Swap system
• Focal Length: 50mm
• Focus Type: Manual/Fingertip, with barrel fine focus
• Aperture Type: Interchangeable levitating aperture disks
• Aperture: f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, f/22
• Minimum Focus: approximately 12″ (30 cm) / Maximum Focus: Infinity
• Size/Weight: 3″ (7.62cm) high x  3″ (7.62cm) wide / 5.7 oz. (161.6 grams)

About Lensbaby

Lensbaby, LLC (formerly Lensbabies, LLC) is a Portland, Oregon based manufacturer and marketer of award-winning selective focus SLR camera lenses.  Lensbaby was launched in February 2004 by Craig Strong, a professional photographer and the inventor of the patented Lensbaby selective focus SLR lens.  Lensbaby sells to photographers all over the world through its website, www.lensbaby.com, by calling 877-536-7222 / 971-223-5662, at tradeshows, in leading photo retailers and through a growing global network of international distributors.

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Press Release:

Canon brings HD moviemaking and 4fps shooting to its PowerShot super zoom series

United Kingdom / Republic of Ireland, 17 September 2008: Canon today supercharges its PowerShot digital compact camera range with two powerful new models: the 10 Megapixel PowerShot SX1 IS and PowerShot SX10 IS, which jointly replace the PowerShot S5 IS.

Both raise the benchmark for compact zooms with an outstanding 20x wide-angle (28mm) optical zoom, with USM and VCM for fast, silent, zooming. The  PowerShot SX1 IS offers a revolutionary series of features never seen before on a Canon compact camera – a 10 Megapixel Canon CMOS sensor, 4 frames per second continuous shooting, and full HD movie capture – while both cameras use Canon’s new DIGIC 4 processor for fast performance and richly detailed, clean images in a wide range of shooting situations.

Unbeatable reach
With a Canon 20x wide-angle (28mm) optical zoom lens, the PowerShot SX1 IS and PowerShot SX10 IS tackle everything from long-range telephoto shots to sweeping landscapes. Canon’s Ultrasonic Motor (USM) combines with Voice Coil Motor (VCM) technology for near-silent operation and the speed for sports or wildlife subjects. And thanks to Canon’s optical Image Stabilizer – which now offers a 4-stop advantage – camera shake blur is avoided even with the zoom fully extended.

10 Megapixel power
The PowerShot SX1 IS and PowerShot SX10 IS feature resolutions of 10 Megapixels, capturing all the necessary detail for poster-size prints or creative cropping in post processing. A Canon CMOS sensor allows the PowerShot SX1 IS to shoot full-resolution JPEGs at speeds of up to 4fps – making it a powerful, pocket-sized tool ideal for capturing fast-paced action sequences.

High Definition moviemaking
For the ultimate in visual quality, the PowerShot SX1 IS delivers 1080p (30fps) High Definition video – ready for instant playback on any HDTV via a built-in HDMI connection. The PowerShot SX10 IS offers fun, spontaneous VGA movie shooting. Movies on both cameras are enhanced with CD quality stereo sound, optical zooming and Face Detection Technology; and if extra reach is required, the PowerShot SX1 IS includes Canon’s Advanced Tele-Converter for an extra 2x zoom with no loss in movie quality.

DIGIC 4: intelligent processing for better photos
The PowerShot SX1 IS and PowerShot SX10 IS both feature Canon’s new DIGIC 4 image processor. As well as ensuring ultra-fast operation and superb, low-noise images, DIGIC 4 drives several intelligent technologies that make great photos easier than ever.

People shots benefit from improved Face Detection Technology, which even detects faces positioned at an angle to the camera, or in profile. Face Select & Track tracks a specific subject even more accurately, while a new FaceSelf-timer function – which automatically triggers the shutter shortly after a new face enters the frame – makes group shots and self-portraits easy.

Canon’s improved Motion Detection Technology delivers fantastic, sharp results by registering camera and subject movement, then automatically adjusting ISO to prevent image blur. Blur is further guarded against by new Servo AF, which continuously adjusts focus on subjects moving towards or away from the camera.

DIGIC 4 also powers Canon’s new i-Contrast feature, which brings out great, natural-looking detail in dark areas of pictures – without blowing out lighter areas.

Total Control
For the ultimate creative precision, the PowerShot SX1 IS and PowerShot SX10 IS offer full manual control over both aperture and shutter speed. A Multi Control Dial offers fingertip access to all key settings. Plus, compatibility with a range of accessories – including Canon’s professional Speedlite EX flash units – extends creative potential even further.

Also included with the PowerShot SX1 IS is Canon’s WC-DC300 controller, which allows wireless control of shooting and playback. This is ideal for tripod shots at slow shutter speeds, or any situation where keeping a distance from the camera is preferable.

“Both of these cameras offer exceptional imaging possibilities,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “In particular, the PowerShot SX1 IS genuinely redefines what a compact digital camera can do. This kind of power and versatility must be experienced to be believed.”

Pricing & Availability
The PowerShot SX1 IS is available from December priced at £519.99 / €679.99 RRP inc VAT
The PowerShot SX10 IS is available from October priced at £359.99 / €469.99 RRP inc VAT

Features at a glance:

• 20x wide-angle (28mm, f/2.8) optical zoom with optical Image Stabilizer
• 10.0 Megapixels
• Canon CMOS sensor for full resolution continuous 4fps shooting (PowerShot SX1 IS)
• Full HD (1080p, 30fps) movies plus HDMI output (PowerShot SX1 IS)
• DIGIC 4 for outstanding images and fast response times
• Shooting modes include full manual control
• Great people shots with Face Detection AF/AE/FE/WB plus Face Select & Track and FaceSelf-Timer
• Targets every possible cause of blur with High ISO Auto, optical Image Stabilizer, Motion Detection Technology and Servo AF
• Auto Red-Eye Correction in shooting and playback
• i-Contrast boosts brightness and retains detail in dark areas
• 2.5” vari-angle LCD II with wide viewing angle plus electronic viewfinder (PowerShot SX10 IS)
• 2.8” widescreen vari-angle LCD II with wide viewing angle (PowerShot SX1 IS)
• Multi Control Dial and customizable My Menu
• Smooth, 30fps VGA movies (PowerShot SX10 IS)

• 21.1 Megapixel Full-frame CMOS sensor, 14-bit A/D conversion (16,384 colors/each of 3 primary color), wide range ISO setting of 100-6400 (expandable L: 50, H1: 12800 and H2: 25600).
• Full HD Video capture at 1920 x 1080 resolution for up to 4GB per clip with HDMI output for HD viewing of stills and video.
• Next generation DIGIC 4 Image Processor for faster processing of fine detail and color reproduction as well as reduced image noise.
• High performance with 3.9 fps continuous shooting, new shutter with a durability of 150,000 cycles and improved weather-resistant body.
• Live View Function for stills (Quick, Live and Face Detection AF modes) and video.
• 3.0-inch Clear View LCD (920,000 dots/VGA) monitor with anti-reflective and scratch-resistant coatings for improved viewing and smudge protection.
• Updated EOS Integrated Cleaning System specifically designed to work with a full-frame sensor.
• Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories.

The EOS 5D Mark II features a huge, full-frame sensor. A 21.1-megapixel CMOS sensor delivers images of up to 5616 x 3744 pixels. And since it is full-frame, all lenses will deliver the angle of view they would on a 35mm camera without a conversion factor. This comes in handy especially when shooting with wide-angle lenses. For the flexibility to shoot in even the most dimly lit situations, the EOS 5D Mark II offers Canon’s highest ISO sensitivity to date, ranging from 100-6400 (expandable to ISO L: 50, H1: 12800 and H2: 25600). Thanks to improved noise reduction technologies, images shot even at highest sensitivity will be remarkably smooth.

The Canon EOS 5D is slated to ship towards the end of November 2008 at an expected street price of US$2699 in the U.S.

First off you need to realize that studio flashes like the PhotoBasics StrobeLites are not automatic like the on-board or accessory flash on your camera. A studio light doesn’t know what you are trying to do and will not adjust itself for the camera settings you have dialed in. You also need a means of firing the lights off when you press the shutter, all that and more will be covered in this article.

Connecting the lights to your camera

PC Sync port on Canon 30D

The first thing we need to do is to connect the lights to your camera, for this we are going to need what is called a PC Sync port. On most Canon DSLR’s the PC Sync port is on the left side of the camera under a rubber flap. In the image here you can see the PC Sync port and the end of a PC Sync cable. In my typical setup I will have the main light plugged into the PC Sync port to fire it and the other lights will automatically fire at the same time because they have a built-in optical slave that will fire the flash when another flash is detected. Since this happens far faster then the mechanical shutter, the effect is that all of the lights fire at exactly the same. There is a limit of how fast the lights will sync to the camera but we will address that in a moment.

Weim Hot Shoe Adapter

If you are unlucky enough to not have a PC Sync port on your camera then you will need to purchase a hot shoe adapter. The recommended one is the Weim Hot Shoe Adapter which sells for about $50 at most places. This will got into your camera’s hot shoe (when an acessory flash plugs in) and has a PC Sync output port on it.

As I mentioned, the lights do have an optical slave so they will fire when another flash is used so you may think you can just use the flash that is built into your camera to fire off the big lights. While this will work to an extent, the problem is that unless you know how to adjust your flash’s output compensation, the flash is going to fire at a level that your camera expects will be correct for the given light, when the big lights fire along with the built-in flash, your subject will no be over-lit and the scene becomes overexposed.

Rear view of StrobeLite

The opposite end of the PC Sync cord plugs into the back of the light. In this image you can see the 1/8th inch mini plug port on the bottom right hand area of the strobe head. With the camera and the lights connected, you are all ready to take some amazing images right?

If ONLY it was that easy. Now actually comes the hard part, figuring out how to get the light set right for a proper exposure. Hang in there, it won’t hurt too much.

Getting the lighting right

Output Adjustment Dial

Nice, quality studio lights make your lighting easier right? I wish! In the last section I explained that your on-board or accessory flash will meter the scene and use the appropriate output for the exposure metering, not so with studio lights, at this point you are full manual.

On the flash will be an adjust dial to control the amount of light output. On the StrobeLites this goes from full power down to 1/4 power given you two stops of light output control. If you have a light meter and know how to use it, you have all the tools you need to get the shot right the first time. If you don’t have a light meter then you will need to continue reading.

Since I shoot with he same lights, in the same studio, with the same basic setup the vast majority of the time I know the basic light setup that will work without have to take too many test shots, I can usually get it dialed in within about three shots.  A key thing to note is that your meter in your camera is basically worthless at this point. You are going to want to shoot in manual mode otherwise the camera is going to try to adjust your settings for the metered light. In manual mode you have total control. So where should you start?

For most of my pictures I start with the following basic settings:

ISO: 200
f/Stop: 11
Shutter Speed: 1/200th second

In fact, those are the exact settings I used for the previous pictures in this article so far. Why these particular settings? For one, I like shooting at ISO 200, I like the results I get at that speed, f/11 is my normal aperture setting unless I am going for a particular depth of field effect. That leaves two ways to adjust the amount of light I need. I can either adjust the shutter speed or adjust the light output of the flash. You may think that you may want to go with a faster shutter speed to make sure you dont introduce any camera blur but in most cases you can’t shoot any faster than 1/200th or 1/250th depending on your lights/camera combination. With the PhotoBasics StrobeLites and a Canon 30D, I have never had an issue at 1/250th but I like the extra margin of safety of using 1/200th. Let’s take a look at what happens if you shoot faster.

Out of Sync Image

The image shown here was shot at 1/640th of a second, while this would be perfect safe if I was using the Canon 580 EX flash, the StrobeLites cannot sync with the camera at that speed so what happens is that the strobe went off too late causing the image to be partially cutoff by the closing of the shutter mechanism. Because of this issue we are limited to speeds of 1/200th or less so I usually will stick it at 1/200th and be done. That leaves adjust the light output higher if I need more light or using a lower output or a slower shutter speed if I need less light. Knowing that the only things I will need to adjust are my light output or shutter speed I have really reduced my possible settings from a handful down to basically one, and its either shutter speed or light output.

Since most of my shots are product shots, the lights are generally pretty close to the objects so I will start at a very low power output of the flash, if its too bright at the lowest setting and I am already at 1/200th of a second the only way to cut down on the light being captured is to move to a smaller aperture setting like f/22. If the light isn’t enough I can just reach up and dial in more light or use a slower shutter speed.

With a little practice and a handful of confidence, you will be getting your lighting dialed in within a few shots. Take your picture and then look at the histogram of the image on your LCD of your camera to double-check the exposure. If its too dark, bump up the light, if its clipped out, dial down the light. Nothing will beat just a bunch of practice with your own lights/camera/lenses/environment to get you familair with how your lighting setup will work the best and soon you too will be able to get it dialed in perfectly within just a few quick test shots.

Author: Kerry Garrison

New plug-in for Photoshop® and Aperture™ incorporates
U Point® technology for precise selective sharpening

Las Vegas, NV — September 4, 2008 (Photoshop World, Booth #321) — Nik Software today announced the latest version of its popular Sharpener Pro photographic plug-in for use with Adobe® Photoshop® and Apple® Aperture™. Designed for professionals and photo enthusiasts, Sharpener Pro 3.0 is the most advanced and powerful sharpening solution for photographers, eliminating the guesswork typically required for achieving superior and consistent results.

Now featuring Nik Software’s patented U Point technology, Sharpener Pro 3.0 enables photographers to selectively sharpen objects within their images. U Point powered Control Points are easy to use and offer precise control over sharpening intensity without the need to create complicated selections and layer masks.

“Sharpener Pro 3.0 has been dramatically improved with a range of new features, including powerful creative sharpening tools, a soft proofing option, and integrated U Point technology,” said Michael J. Slater president and CEO of Nik Software. “This new version of Sharpener Pro offers the most comprehensive tools for optimally sharpening images for any output device while also offering photographers the complete control they expect,” Slater concluded.

Key Features

• New U Point Powered Control Points—Enables precise, selective sharpening control
• Updated Output Sharpening—Provides the ultimate control to create perfectly sharpened images on all devices and media types such as display, inkjet, continuous tone, half tone, and hybrid tone
• New Creative Sharpening—Enhances fine details and textures with new structure, focus, and local contrast tools for drawing attention to desired areas within the image
• New Industry-First Sharpening Soft Proof—Allows detailed inspection of sharpening results on screen before printing, eliminating costly test prints
• New Output Presets—Enables custom settings to be saved for consistent, professional results
• Updated RAW Presharpener—Retains and enhances sharp details within images without amplifying noise and other artifacts
• Updated Powerful Selective Tool (Photoshop only)—Enables the use of Photoshop’s brush tools to paint in sharpening selectively
• New Smart Filter Support (Photoshop only)—Provides compatibility with Adobe Photoshop’s Smart Objects enabling adjustments to sharpening after Sharpener Pro has been applied
• New Multi-Image Support (Aperture only)—Provides compatibility with Aperture’s multi-image support, allowing photographers to easily copy and paste settings between images to maintain consistency

Pricing and Availability

Sharpener Pro 3.0 will be available in September for electronic delivery directly from Nik Software (www.niksoftware.com) in four languages (English, French, German, and Spanish) and will be available through specialty camera retailers in October of 2008. A complete list of resellers may be found at www.niksoftware.com/resellers.

The suggested retail price of Sharpener Pro 3.0 is $199.95. Upgrades from any previous version are available for $99.95. Sharpener Pro 3.0 installs as a plug-in for either Adobe Photoshop or Apple Aperture 2.1 and is available for Windows and Macintosh operating systems, including Vista and Leopard. For more information about Sharpener Pro 3.0, including video tutorials showing the software running within Photoshop and Aperture and a free 15-day fully functional trial version, please visit www.niksoftware.com/sharpenerpro.

About Nik Software

Nik Software, Inc. is a privately held company that develops software solutions for the growing digital imaging and photography markets. Established in 1995, Nik Software has become the recognized leader in digital photographic filter development and produces award-winning technology and software products for digital photography and imaging professionals including U Point® technology (www.upoint.com), Dfine®, Viveza™, Color Efex Pro™, Silver Efex Pro™, and Sharpener Pro™ software.

I have been a fan of Wolverine products for almost four years now and my trusty Wolverine FlashPac was in need of an upgrade. Not that the FlashPac didn’t do it’s job, its just that it was pretty slow and didn’t have a display that could be used to view the images. Without hesitation I turned back to Wolverine to see what they had available and I found the new ESP Digital Photo Album and Multimedia Player. While the full name may be a bit long, it does convey a lot more of the ESP’s features as well as being a card reader, external hard drive, and FM radio.

Overview
The ESP is an incredible multimedia device that can handle most all of your portable multimedia needs from listening to MP3′s, watching videos, playing a photo slideshow, or listening to FM radio. While many people will love all of those features, from a photographers point of view the most important things to me are the ability to do backups of my compact flash cards in the field, review the pictures on the device, and to have a portable device to show potential clients a slideshow of my work. The ESP does all of these tasks quite well and at a price that won’t make you wonder why you didn’t just buy a nice laptop instead.

Top view of the ESP

Features
As already mentioned the ESP has a multi-function card reader that can either make backups to the internal hard drive of the ESP or when connected to your computer’s USB port your cards will appear of drives that you can access directly.

• Store and View Thousands of Photos

• • Download images directly from any digital camera without a computer
  • Use it to backup and carry all your digital images
  • Display JPEG, Bitmap, Tiff, Text and RAW images (most popular SLR Cameras)
  • Print directly to printers

• Store and Play Thousands of Songs

• • Supports five music Formats: MP3, WMA, OGG, WAV, AAC (MP4-audio) & CDA
  • Easy, drag and drop music files from your computer and play them instantly

• Store and Play Hundreds of Hours of Video

• • Supports: MPEG-1, MPEG-4, WMV9 and Xvid

• Built-in FM Radio

• • Listen and RECORD your favorite talk shows or music from any FM Radio Station
  • Scan and preset up to 18 different Radio Stations

• Plugs to TV and Stereo System

• • With the included Video/Audio cable connect the ESP directly to any TV or Projector
  • View a slide show of your favorite photos or watch recorded videos on the big screen
  • Connect to a stereo system to enjoy and share your music collection

Setup
The setup of the ESP is quite simple, it comes with both an AC adapter and a USB cable, be sure and plug it in until fully charged before using it the first time, after that the simple to navigate menu system walks you through everything you need to know.

“The ESP was a lifesaver for us at a fashion shoot when the assistant left the CF cards back in the car. With the ESP we would fill up a card, tell everyone to take a five minute break, dump the cards to the ESP and get right back to shooting.” – David , Esquire Photography

ESP Controls

Usage
The ESP’s operating system is very simple to use and works the way I would expect it to, when I insert a card it pops up and asks me what I want to do with it, I select backup and it just starts working. The main controls consist of the “joystick”, a menu button, and the ESC button.

Using just these three simple controls you can manage everything on the system. The “-” and “+” buttons control volume. The only other control is the power button on the right side as well as a lock control to keep the power from coming on accidentally.

At the bottom you can see a small mic port for doing audio notes and near the top are the LED indicator lights.

The has an optional docking station that can also be used for capturing video and audio from remote devices. Since I don’t have a use for that right now I didn’t get one yet to see how that works.

ESP Menu System

The menu system is an icon driven system with easy-to-read captions to help you navigate. Pushing left/right or up/down on the directional pad will move you from application to application and then pushing in will select the item. The Menu key will give you a list of available options from wherever you are while the ESC key will back you out one step at a time.

The main thing to keep in mind is that images that are backed up from a memory card are found in the Backup application instead of the Pictures application. You have to specifically copy images into the Pictures folder for them to be viewed there. This is a great way of having a photo slideshow of images without getting confused as to what images are from your current photo shoot.

What I actually like to do is to backup my images to the ESP and then if I have time, review them for focus issues or just for being a bad image, I can delete them right from the ESP and save time later when importing the images into my computer.

ESP playing video

For client meetings, I also created a couple of really nice slideshows using Proshow Gold and output them formatted properly for the ESP. Let me tell you, the image shown here does not do the ESP justice, the screen may only be 320×240 but the slideshows and pictures look fantastic on it. So far, everyone that has seen the slideshow videos on the ESP have been very impressed.

The ESP has a bunch of other features that I could spend a few more pages writing about but they really don’t have much appeal to me, these include the mp3 player, the FM radio, the audio recorder, and the Tetris-like game that is included. While those are nice add-ons, they really aren’t the main reason a photographer is going to want the ESP.

Tested Transfer Speeds (1gb of data)

Reader to Computer    3:31 minutes
Reader to ESP    3:43 minutes
ESP to Computer    1:44 minutes

Why the ESP?
Why would I choose the Wolverine ESP over the Epson P-5000? The simple answer is a cost/benefit analysis blows the Epson out of the running. For almost twice the price of the Wolverine ESP, the Epson P-5000 offers basically a nicer screen. When the folks at Wolverine decided to make a new device, they interviewed tons of photographers and asked them what they would like to see that would compete against the Epson units and the top answer was that they wanted a much more affordable device even if it meant having a lower resolution LCD display.  If I am going to spend $800 for a portable media device, its going to be a new laptop, not a small box I throw into my camera bag and use mostly as an external drive and card reader. Coming in at $329, the ESP is much more affordable and does it’s job exceptionally well. It’s a nice upgrade from my old FlashPac in terms of functions and download speeds which is a nice bonus as well.

What’s in the box
In the box you will find the ESP unit itself along with the nice quality carrying case along with the user documentation and CD, AC charger, USB cable, Audio/Video cable (to connect to TV), and Earphone.

Summary
The Wolverine ESP competes nicely against other units offering similar features and at a price that doesn’t give you sticker shock. The base features do exactly what they are supposed to do while there are enough extras to add even more value to the package. I don’t leave for a shoot without my ESP in my bag and often will be making my backups of my cards on the drive home. With my old Flashpac I would have to be quite far away to actually finish a large backup on the drive home but now it takes a fraction of the time.

Final results:

Website: Wolverine Data
Author: Kerry Garrison

We are happy to announce the release of our updated presets for Adobe Photoshop Lightroom. The Dojo Essentials package now contains a few more presets and the existing presets have been tweaked slightly and compatibility with Lightroom 2.0 has been added. As before, the Dojo Essentials is a free set of Lightroom presets.

Our second package, the Dojo Power Tools has gained a few new presets as well and several issues with existing presets have been fixed and compatibility with Lightroom 2.0 has been added to these presets as well.

To learn more about our presets for Adobe Photoshop Lightroom, please visit our Presets Page.

Do I need to know this?
If you are always using your flash in automatic modes, you may never need to know much about guide numbers but in manual modes, if you don’t have a flash meter, understanding how guide numbers work can be a powerful tool in helping you to get your lighting setup faster. Many older flashes even have built-in guides to help you calculate the aperture setting for a given distance.

Using the guide number to determine aperture
At the end of this article is a link to an Excel preadsheet that will do much of the work for you as well as containing the guide numbers for a handful of popular flash heads. First off you should understand the math behind it and how to read the guide number information for your own equipment.

Some flash devices will simply have a single guide number value while others may have different numbers at different ranges and even ISO settings so you need to pay attention when reading the guide number. Let’s take a look at a typical flash setup. A Canon 580 EX II flash has a listed guide number of 191, if we divide the guide number by the distance in feet we should get a good estimate of the aperture to use. In this example we will use a distance to the subject of 30 feet.

Guide Number / Distance = Aperture
191/ 30 = 6.3

The closest aperture setting on my Canon 30D to that is f5.6 so that would be an appropriate aperture to use if I was using ISO 100. If I was using a higher ISO number then I could use a smaller aperture. The following chart shows the multiple factor for common ISO speeds:

ISO Multiplier Table
ISO 100: 1.0
ISO 200: 1.44
ISO 400: 2.07
ISO 800: 2.99
ISO 1600: 4.30
ISO 3200: 6.19

To expand on the previous calculation, we can add in the ISO to give us more aperture options. Using the same guide number and distance while adding the ISO, let’s see how this affects our aperture setting:

(Guide Number / Distance) * ISO Multiplier = Aperture
(191/ 30) * 1.0 = 6.3
(191/ 30) * 1.44 = 9.1
(191 / 30) * 2.07 = 13.1
(191 / 30) * 2.99 =19.0

The most common question now is how to determine the distance to your subject without measuring it with a tape. Most lenses will have a distance readout that will show you the distance to your subject once you focus on it. Just press your shutter half way down while aiming at the subject, take your finger off the shutter, and then look at the distance readout. We aren’t aiming at hyper-accuracy here since the aperture settings in your camera aren’t going to exactly match the calculations but we are trying to get as close as possible and avoid a lot of trial and error. Using this information you should be able to get your light dialed in much faster than just by guessing.

Determining Maximum Flash Distance
Using a similar method we can also determine the maximum distance your flash can be effective at, this is extremely useful when trying to determine if you can light up a person on a stage from the back of an auditorium for example. The calculation for this is the guide number divided by the f/stop, and again the ISO value can be used here as well. In this example we will use the guide number of a Canon 580 EX II (58) and an f/stop of 5.6.

(Guide Number / f/stop) * ISO = Max Distance
(191/ 5.6) * 1.0 = 34′
(191 / 5.6) * 1.44 = 49′
(191 / 5.6) * 2.07= 70′
(191 / 5.6) * 2.99 = 102′

Since the f/stop and the ISO determine how much light enters the camera, you see how using a larger aperture (lower number) and a higher ISO can really affect the range of your flash. Let’s compare the difference between f/5.6 and f/2.8 as an example:

GN 191@ f/5.6 100 ISO = 34′
GN 191 @ f/5.6 200 ISO = 49′

GN 191 @ f/2.8 100 ISO = 68′
GN 191 @ f/2.8 200 ISO = 98′

These calculations will help you determine if a long distance shot is even possible or if you need to bring in additional light. If you are too far from the subject for your light to be effective, you could place your light closer to the subject and fire it with a wireless trigger, this would allow you to shoot from a distance but get the desired light effect.

Summary
I know this can seem a little intimidating at first but understanding these concepts will help you get your lighting technique under control much faster and help make sure you can get the shots you want. You can even use the calculations to build a custom “cheat sheet” for your particular flash that can print out and keep as a handy reference. The spreadsheet that we have made available for you has both the f/stop and maximum distance calculators but has a second worksheet that will create the cheat sheet for you by simply changing the guide number on the first line to match your flash device’s output.

Calculation Spreadsheet [ Download ]

Author: Kerry Garrison