INTRODUCING THE ROGUE GRID: A 3-IN-1 STACKING HONEYCOMB FLASH GRID THAT PROVIDES 16Ëš, 25Ëš and 45Ëš SPOT LIGHTING CONTROL IN A COMPACT DESIGN

The Rogue Grid from ExpoImaging provides three honeycomb grid angles in a compact circular design weighing less than 4 ounces and measuring just 3.6” x 1.2”

Watsonville, Calif. — March 21, 2011 — ExpoImaging, Inc., which markets, designs, manufactures and distributes innovative camera accessories to the photographic market, today announced availability of the Rogue Grid, the newest addition to its Rogue FlashBender product line.

The patent pending Rogue Grid is uniquely designed to produce three different honeycomb grid angles. A 25Ëš grid and a 45Ëš grid align and stack to create a 16Ëš grid, producing three distinct levels of spot lighting control in a compact and lightweight package.

The durable Rogue Grid securely attaches to almost all standard shoe mount flashes using the included adjustable tension strap.  Weighing just 3.5 ounces, the versatile Rogue Grid comes with a small nylon pouch that stows easily in a photographer’s camera bag.

The grid’s innovative modular design allows for easy changing of grid angles or the addition of lighting gels. The Rogue Grid is designed to work with the popular Rogue FlashBender reflectors as it fits securely into the end of snooted reflectors.

“As we showed with the Rogue FlashBenders, our goal is to create innovative and   versatile tools that are durable and well-constructed,” said Erik Sowder, CEO of ExpoImaging, Inc. “The 3-in-1 Honeycomb Rogue Grid continues that mission by providing more light control while saving space in photographers’ gear bags. No other grid is this flexible or, I think, as cool-looking as the Rogue Grid.”

When attached to a light source, a honeycomb grid creates a spot of light with a gradual fall-off useful for adding dimension and depth to an image, or for highlighting important features.  When attached to an accent or background light, grids help draw attention to an object, texture, or color, and can help to create a desired atmosphere or mood.  The angle of the grid determines the size of the spot projected forward, with smaller degree grids producing smaller spots, and larger angles producing larger spots.

Pricing and Availability

The Rogue Grid is available now through ExpoImaging’s distribution partners worldwide, or online atwww.expoimaging.com, for $49.95.

About Rogue Photographic Design

Created by ExpoImaging, Rogue Photographic Design is a new line of innovative lighting equipment for small strobe lighting enthusiasts.  These versatile new lighting tools provide photographers with remarkable power to control the light from their shoe mount flashes.  More information about offerings from Rogue Photographic Design is available at www.expoimaging.com.

About ExpoImaging, Inc.

ExpoImaging, Inc., markets, designs, manufactures and distributes innovative camera accessories to the photographic market.  ExpoImaging is the pioneer in digital white balance filters and manufactures Rogue Photographic Design, Rogue FlashBenders, ExpoDisc White Balance Filters and the ExpoAperture2 Depth-of-Field Guide.  ExpoImaging is also the exclusive U.S. distributor of Ray Flash: The Ring Light Adapter.  These unique products are available at select photography dealers worldwide or online at www.expoimaging.com.

Lightroom 3.2 and Camera Raw 6.2 are now available as final releases on Adobe.com and through the update mechanisms available in Photoshop CS5 and Lightroom 3.  These updates include bug fixes, new camera support and new features for Lightroom.

New Camera Support

Canon EOS 60D

Casio EXILIM EX-FH100*

Fuji FinePix HS10

Leica S2 (DNG*)

Panasonic DMC-FZ100

Panasonic DMC-FZ40 (FZ45)

Panasonic DMC-LX5

Pentax 645D

Samsung NX10

Samsung TL500 (EX1)

Sony A290

Sony A390

Sony Alpha NEX-3

Sony Alpha NEX-5

Sony SLT-A33

Sony SLT-A55V

^*The DNG raw file format is supported in previous versions of Lightroom and Camera Raw. This update improves the color and noise profiles for these models.

New Lens Profile Support

Lens Mount	Lens Name
Apple	Apple iPhone 4 (back camera)
Canon	Canon PowerShot S90
Canon	Canon EF-S 18-200mm f/3.5-5.6 IS
Canon	Canon EF-S 55-250mm f/4-5.6 IS
Canon	Canon EF-S 60mm f/2.8 Macro USM
Canon	Canon EF 14mm f/2.8L II USM
Canon	Canon EF 24mm f/1.4L II USM
Canon	Canon EF 50mm f/1.2L USM
Canon	Canon EF 50mm f/1.8 II
Canon	Canon EF 75-300mm f/4-5.6 USM
Canon	Canon EF 100mm f/2.8 Macro USM
Canon	Canon EF 100mm f/2.8L Macro IS USM
Canon	Canon EF 100-400mm f/4.5-5.6L IS USM
Canon	Canon EF 300mm f/4L IS USM
Nikon	Nikon AF-S DX NIKKOR 16-85mm f/3.5-5.6G ED VR
Nikon	Nikon AF-S DX Zoom-NIKKOR 17-55mm f/2.8G IF-ED
Nikon	Nikon AF-S NIKKOR 16-35mm f/4G ED VR
Nikon	Nikon AF-S NIKKOR 50mm f/1.4G
Nikon	Nikon AF-S Zoom-Nikkor 17-35mm f/2.8D IF-ED
Nikon	Nikon AF NIKKOR 35mm f/2D
Nikon	Nikon AF NIKKOR 50mm f/1.4D
Penax	smc PENTAX-D FA645 55mmF2.8AL[IF] SDM AW
Penax	smc PENTAX-FA645 33-55mmF4.5AL
Penax	smc PENTAX-FA645 35mmF3.5AL[IF]
Penax	smc PENTAX-FA645 45mmF2.8
Penax	smc PENTAX-FA645 45-85mmF4.5
Penax	smc PENTAX-FA645 55-110mmF5.6
Penax	smc PENTAX-FA645 75mmF2.8
Penax	smc PENTAX-FA645 80-160mmF4.5
Penax	smc PENTAX-FA645 MACRO 120mmF4
Penax	smc PENTAX-FA645 150mmF2.8[IF]
Penax	smc PENTAX-FA645 150-300mmF5.6ED[IF]
Penax	smc PENTAX-FA645 200mmF4[IF]
Penax	smc PENTAX-FA*645 300mmF4ED[IF]
Penax	smc PENTAX-FA645 300mmF5.6ED[IF]
Penax	smc PENTAX-FA645 400mmF5.6ED[IF]
Samsung	Samsung EX1
Samsung	Samsung 18-55 f/3.5-5.6 OIS
Samsung	Samsung 30mm f/2
Samsung	Samsung 50-200mm f/4-5.6 ED OIS
Phase One	Schneider LS 80mm f/2.8 (For 645DF System)
Nikon	SIGMA 17-50mm F2.8 EX DC OS HSM (Nikon mount)
Nikon	SIGMA APO 70-200mm F2.8 EX DG OS HSM (Nikon mount)
Sony	Sony E 18-55mm F3.5-5.6 OSS (For NEX System)
Sony	Sony E 16mm F2.8 (For NEX System)
Canon	TAMRON 18-200mm F/3.5-6.3 DiII A14E
Canon	TAMRON 18-250mm F/3.5-6.3 DiII A18E
Canon	TAMRON 18-270mm F/3.5-6.3 DiII VC B003E
Canon	TAMRON 28-200mm F/3.8-5.6 Di A031E
Canon	TAMRON 28-300mm F/3.5-6.3 Di A061E
Canon	TAMRON 28-300mm F/3.5-6.3 Di VC A20E
Canon	TAMRON 55-200mm F/4-5.6 DiII A15E
Canon	TAMRON 70-300mm F/4-5.6 Di A17E
Canon	TAMRON SP 10-24mm F/3.5-4.5 DiII B001E
Canon	TAMRON SP 17-50mm F/2.8 DiII A16E
Canon	TAMRON SP 17-50mm F/2.8 DiII VC B005E
Canon	TAMRON SP 180mm F/3.5 Di MACRO 1:1 B01E
Canon	TAMRON SP 200-500mm F/5-6.3 Di A08E
Canon	TAMRON SP 28-75mm F/2.8 Di A09E
Canon	TAMRON SP 60mm F/2 DiII MACRO 1:1 G005E
Canon	TAMRON SP 70-200mm F/2.8 Di A001E
Canon	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272EE
Nikon	TAMRON 18-200mm F/3.5-6.3 DiII A14N
Nikon	TAMRON 18-250mm F/3.5-6.3 DiII A18N
Nikon	TAMRON 18-270mm F/3.5-6.3 DiII VC B003N
Nikon	TAMRON 28-200mm F/3.8-5.6 Di A031N
Nikon	TAMRON 28-300mm F/3.5-6.3 Di A061N
Nikon	TAMRON 28-300mm F/3.5-6.3 Di VC A20N
Nikon	TAMRON 55-200mm F/4-5.6 DiII A15N
Nikon	TAMRON 70-300mm F/4-5.6 Di A17N
Nikon	TAMRON SP 10-24mm F/3.5-4.5 DiII B001N
Nikon	TAMRON SP 17-50mm F/2.8 DiII A16N
Nikon	TAMRON SP 17-50mm F/2.8 DiII VC B005N
Nikon	TAMRON SP 180mm F/3.5 Di MACRO 1:1 B01N
Nikon	TAMRON SP 200-500mm F/5-6.3 Di A08N
Nikon	TAMRON SP 28-75mm F/2.8 Di A09N
Nikon	TAMRON SP 60mm F/2 DiII MACRO 1:1 G005N
Nikon	TAMRON SP 70-200mm F/2.8 Di A001N
Nikon	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272EN
Pentax	TAMRON 18-200mm F/3.5-6.3 DiII A14P
Pentax	TAMRON 18-250mm F/3.5-6.3 DiII A18P
Pentax	TAMRON 28-200mm F/3.8-5.6 Di A031P
Pentax	TAMRON 28-300mm F/3.5-6.3 Di A061P
Pentax	TAMRON 70-300mm F/4-5.6 Di A17P
Pentax	TAMRON SP 10-24mm F/3.5-4.5 DiII B001P
Pentax	TAMRON SP 17-50mm F/2.8 DiII A16P
Pentax	TAMRON SP 28-75mm F/2.8 Di A09P
Pentax	TAMRON SP 70-200mm F/2.8 Di A001P
Pentax	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272EP
Sony	TAMRON 18-200mm F/3.5-6.3 DiII A14S
Sony	TAMRON 18-250mm F/3.5-6.3 DiII A18S
Sony	TAMRON 28-200mm F/3.8-5.6 Di A031S
Sony	TAMRON 28-300mm F/3.5-6.3 Di A061S
Sony	TAMRON 55-200mm F/4-5.6 DiII A15S
Sony	TAMRON 70-300mm F/4-5.6 Di A17S
Sony	TAMRON SP 10-24mm F/3.5-4.5 DiII B001S
Sony	TAMRON SP 17-50mm F/2.8 DiII A16S
Sony	TAMRON SP 180mm F/3.5 Di MACRO 1:1 B01S
Sony	TAMRON SP 200-500mm F/5-6.3 Di A08S
Sony	TAMRON SP 28-75mm F/2.8 Di A09S
Sony	TAMRON SP 60mm F/2 DiII MACRO 1:1 G005S
Sony	TAMRON SP 70-200mm F/2.8 Di A001S
Sony	TAMRON SP 90mm F/2.8 Di MACRO 1:1 272ES
Canon	Zeiss Distagon T* 3,5/18 ZE
Canon	Zeiss Distagon T* 2,8/21 ZE
Canon	Zeiss Distagon T* 2/28 ZE
Canon	Zeiss Distagon T* 2/35 ZE
Canon	Zeiss Makro-Planar T* 2/100 ZE
Canon	Zeiss Makro-Planar T* 2/50 ZE
Canon	Zeiss Planar T* 1,4/50 ZE
Canon	Zeiss Planar T* 1,4/85 ZE
Nikon	Zeiss Distagon T* 2/28 ZF.2
Nikon	Zeiss Distagon T* 2/35 ZF.2
Nikon	Zeiss Distagon T* 2,8/21 ZF.2
Nikon	Zeiss Distagon T* 2,8/25 ZF.2
Nikon	Zeiss Distagon T* 3,5/18 ZF.2
Nikon	Zeiss Makro-Planar T* 2/50 ZF.2
Nikon	Zeiss Makro-Planar T* 2/100 ZF.2
Nikon	Zeiss Planar T* 1,4/50 ZF.2
Nikon	Zeiss Planar T* 1,4/85 ZF.2
Canon	Canon EF-S 10-22mm f/3.5-4.5 USM**
Canon	Canon EF-S 17-55mm f/2.8 IS USM**
Canon	Canon EF-S 18-55mm f/3.5-5.6 IS**
Canon	Canon EF 17-40mm f/4 L USM**
Canon	Canon EF 70-300mm f/4-5.6 IS USM**
Nikon	Nikon AF Nikkor 50mm f/1.8D**

**These lens profiles were in the previous release but have been updated to address quality concerns.
NOTE: The Pentax, Tamron and Zeiss profiles are the result of collaboration between Adobe and the respective lens manufacturer.

Lightroom 3.2 Release Notes

• Direct publishing to Facebook and SmugMug is now available
• Tethered capture now supports the Leica S2
• A larger list of corrected issues has been included as part of the Lightroom 3.2 Release Candidate notes. Additional issues have been address in the final Lightroom 3.2 update:

Fixed authentication issues that could be experienced with the Facebook publish collection

Adressed performance issues that could occur while reviewing images in Loupe view

Corrected several Adobe Photoshop Elements upgrade issues

Corrected a file renaming bug involving date or time fields

Export with watermark will now function correctly when choosing the Limit File Size option

Camera Raw 6.2 Release Notes

• Scroll bar arrow performance has been improved
• Fixed: Slow Scrolling could occur when working with the Mac Trackpad and a multiple image selection
• Full screen performance issues have been addressed

You can use the Adobe or Photoshop updater or download the update installer at http://www.adobe.com/downloads/ ]]> http://cameradojo.com/2010/08/30/adobe-photoshop-lightroom-3-2-and-camera-raw-6-2-now-available/feed/ 2 Lightroom3_Box http://cameradojo.com/2010/04/29/podcast-80-talking-with-bryan-o%e2%80%99neil-hughes-photoshop-cs5-product-manager/ http://cameradojo.com/2010/04/29/podcast-80-talking-with-bryan-o%e2%80%99neil-hughes-photoshop-cs5-product-manager/#comments Fri, 30 Apr 2010 04:01:26 +0000 KerryG http://cameradojo.com/?p=1957 We managed to score the perfect guest for today, Bryan O’Neil Hughes. Bryan is the Product Manager for Photoshop CS5 that is available for immediate purchase and download by the time you read this. Bryan talks about many of the new features that are available in the brand new Photoshop CS5. The most common ones include:

• Content Aware Fill/Healing
• Merge to HDR Pro
• Noise Reduction Improvements
• Refine Edges Improvements
• Puppet Warp
• Lens Correction Improvements
• Brush Engine Enhancements
• Mini Bridge

Bryan also mentions some major enhancements to the sharpening tool which hasn’t been mentioned anywhere else before.

Call in to leave a question for future shows at (888) 436-8647

Show Host

Kerry Garrison

http://kerrygarrison.com Twitter Facebook FriendFeed

This podcast is also available on iTunes.

• Apple’s iPad – http://apple.com
• New Drobo FS – http://drobo.com
• Zosh.com – http://zosh.com
• OpSound.org – http://opsound.org
• Lightroom 2.7 – http://adobe.com
• Lightroom 3.0 Beta 2 – http://labs.adobe.com
• Adobe CS5 Launch – http://adobe.com
• Selecting a Printer and much more!

Call in to leave a question for future shows at (888) 436-8647

Show Host

Kerry Garrison
http://kerrygarrison.com Twitter Facebook FriendFeed

This podcast is also available on iTunes.

• Canon EOS 550D (Digital Rebel T2i/ EOS Kiss X4 Digital)
• Kodak Z981
• Leaf Aptus-II 8
• Leaf Aptus-II 10R
• Mamiya DM40
• Olympus E-PL1
• Panasonic G2
• Panasonic G10
• Sony A450

Release Notes

• Slideshow playback on Windows could cause Lightroom and/or the computer to crash. This has been corrected in Lightroom 2.7
• In Lightroom 2.7 the camera raw cache limit was increased to 200GB

There are many cool features to talk about here.  Let’s look at them one at a time. The first and most obvious of new features is the display on the front of the drive.  This is called the “Smart display custom e-label”, and it is a very cool new feature.  Those who are familiar with the newest line of My Book Elite 1TB, 1.5TB & 2TB and My Book Studio 1TB, 1.5TB & 2TB recently introduced for the desktop will be familiar with this new feature.  It allows you to both label the drive with a 12 character description and to monitor the status of the drive, including available space and security status… even when the drive is unplugged!  And this label lasts for up to 6 months without plugging the drive in.  The next time you plug it in, it recharges itself for up to another 6 months.  With the price of drives these days, I find that I often store client projects on a drive on a shelf for 6 months, a year, sometimes more.  With the e-label system, it is easy to see which projects you are storing.  And the WD SmartWare software that is included makes changing the label (among other things) really simple.

The next feature to discuss is interface/connectivity.  This drive is the Mac drive for a couple of reasons… most importantly being the connection options.  This drive has the option of both USB 2.0 and Firewire 800 connections directly on the drive, and Firewire 400 adapter to connect to machines without Firewire 800 connections.  This gives you just about every possible connection you could need to get to your data.  The included cables are short (15″ or less), but that is all that is needed to connect to your MacBook.

Security is the next great feature, and it ties right into the software that comes with the drive.  The WD SmartWare software mounts to the desktop the first time you connect to the drive.  Setup is easy through this very well designed application.  You can set up the drive, the label, the security and even backup options through this software.  Once you assign a password to the drive, the password is required every time you plug the drive into a Mac.  This is a great option and makes you feel good knowing that if someone acquires your drive, they will not be able to get to your data.

This screen shows the settings options for the drive.  As you can see, you simply type the label in, choose a normal or inverted display, and save the label settings.  From here, you can choose other options to set up including sleep timer, diagnostics, virtual CD and other options.  The software is clean and easy to understand.

The WD SmartWare software has built in backup software.  It analyzes your drives(s) and allows you to select which folders you wish to back up and restore.  The design is very graphical and seems very easy to grasp and understand.  With the limited time we have had this drive, there has not been the time needed to dig into the use of this application.  But we do intend to look more at it at a future date.

The next feature to talk about is performance.  We wanted to get a feel of just how fast this drive is for backup and use.  We did some basic speed tests around the FireWire 800 and USB connectors, and we compared it to another commercial, portable USB drive that we commonly use.  It was a simple test where we drug a folder full of 450 different 20 to 40MB RAW photos to the drives and tested the performance.  This folder was 11GB in size, and should represent a typical copy that photographers would go through in backing up their data.  The results were good and about as we would expect.

The testing was not “milspec” or overly thorough, but very real world.  We took this new WD My Passport 640GB drive and tested both of it’s connectors and then tested a year old 120GB external drive that has served us very well over the past year.  This is about as real world as we can get in this amount of time.  Yea, yea, not a fair comparison to an older drive, etc., but the numbers are still true and comparable.  And beyond these numbers, I think we are chasing too small of details.

The WD My Passport Studio drive is small, but large in storage.  It is versatile and comes with great software.  It has features offered on no other drives available today (e-label).  It comes with a 3 year warranty backed by one of the largest and most reputable drive manufacturers on the market today.  What else could you want in a drive to trust your valuable photos and video?

Available March 1st, 2010 at retail stores like Best Buy, and click the links here to see reviews of this product and purchase the 320GB, 500GB or 640GB My Passport Studio.

Score Card (scale of 1 to 5)

You can visit Western Digital’s website here.

• Canon EOS 1D Mark IV
• Canon EOS 7D
• Canon PowerShot G11
• Canon PowerShot S90
• Leaf Aptus-II 5
• Mamiya DM22
• Mamiya DM28
• Mamiya DM33
• Mamiya DM56
• Mamiya M18
• Mamiya M22
• Mamiya M31
• Nikon D3s
• Olympus E-P2
• Panasonic DMC-FZ38
• Pentax K-x
• Sigma DP1s
• Sony A500
• Sony A550
• Sony A850

Release Notes:

• Camera Raw 5.6 and Lightroom 2.6 provide a fix for an issue affecting PowerPC customers using the final Lightroom 2.5, Camera Raw 5.5 and DNG Converter 5.5 updates on the Mac. The issue, introduced in the demosaic change to address sensors with unequal green response, has the potential to create artifacts in highlight areas when processing raw files from Sony, Olympus, Panasonic and various medium format digital camera backs.
• The Lightroom 3 beta has not been updated with this new camera support. If you’re working with one of these newer cameras and the Lightroom 3 beta, please use the DNG Converter 5.6 to convert proprietary formats to DNG files that can be used in the Lightroom 3 beta.

Download at: http://www.adobe.com/downloads/updates/

• Canon EOS 500D (EOS Rebel T1i)
• Epson R-D1x
• Hasselblad CF-22
• Hasselblad CF-22MS
• Hasselblad CF-39
• Hasselblad CF-39MS
• Hasselblad CFH-22
• Hasselblad CFH-39
• Hasselblad CFV
• Hasselblad 503CWD
• Hasselblad H2D-22
• Hasselblad H2D-39
• Hasselblad H3D-22
• Hasselblad H3D-31
• Hasselblad H3D-39
• Hasselblad H3DII-22
• Hasselblad H3DII-31
• Hasselblad H3DII-39
• Hasselblad H3DII-39MS
• Hasselblad H3DII-50
• Kodak EasyShare Z980
• Nikon D5000
• Olympus E-450
• Olympus E-620
• Panasonic Lumix DMC-GH1
• Sigma DP2

To download Camera Raw 5.4, go to http://labs.adobe.com/wiki/index.php/Camera_Raw_5.4.

So, what can you do with these? Here are some images from some of our beta testers:

Photo courtesy of Sipper Photography

Photo courtesy of Sipper Photography

Photo Courtesy of Black Diamond Productions

Photo Courtesy of Black Diamond Productions

To order these or other Lightroom presets, check out our Dojo Tools page (link).

Vanguard Supreme 53F

We have looked at different types and styles of camera bags but the Vanguard 53F isn’t your normal camera bag. The Supreme 53F is a hard-sided case more at home in the cargo compartment of an airplane than it is being used as a daily equipment hauler. While other companies selling hard cases have been around for many years, Vanguard has a lot to live up to. Let’s take a look at at the Supreme 53F and see if Vanguard has succeeded in building a better mouse trap.

53F with Handle Extended

Overview

Vanguard’s Supreme line of cases are watertight and airtight up to a depth of 15 feet, dustproof, virtually indestructible, resistant to corrosion, and can withstand extreme climate variations.  All of the Supreme cases are design to withstand temperature variations from -40° to 203°. The Supreme cases have quick release latches that are easy to use, and the comfort grip handle is ideal for carrying heavy equipment. With pad lock receptacles on each case, they are ideal for airline travel.

Features

The Supreme 53F is as rugged of a case as you are going to find anywhere. The case itself in extremely strong and durable with very well designed latches that lock easily and securely. The retractable handle locks into place in both the extended and retracted positions. The main handles have nice padding to make it more comfortable to carry. Internally, an O-ring helps keep the case water and dust resistant while the octagonal pluck-foam allows for almost any shape of object.

Secure Latches

• Water, air and dust tight
• Resistant to 264.5 pounds weight pressure
• Automatic pressure equalization valve
• Padded handles
• Metal lined padlock holes
• Waterproof name tag
• Locking travel handle
• Two layers of thick pluck-foam

Specifications

• Inside dimensions: 22” x 17 3/4” x 7 7/8”
• Outside dimensions: 24 3/4” x 20 1/2” x 9 1/2”
• Weight: 22.93lbs

Usage

Rubberized Handles and Pressure Relief Valve

The 53F is nice and big, too big for carry-on luggage on an airplane but not too big to be considered oversize for regular check-in luggage. The wheels roll smooth on flat surfaces but are too small to work well off-road or and in grass.  With two layers of foam included, you could have two levels of regular camera gear or remove one for larger items like studio strobes. The travel handle locks securely when retracted so you don’t have to worry about it coming out when it is being shipped.

Results

Having used other hard cases that are similar, the others just don’t stack up to the Supreme 53F. The latches are the best I have seen on cases of this type and the padded handles make it more comfortable to pick up when loaded. Knowing that when the case is closed my gear is safe from water and dust because of the integrated O-Ring gives you piece of mind. The only thing I would change if I could is the thickness of the pluck-foam. The 53F comes with 2 very thick sheets of foam but I would prefer 3 or 4 thinner sheets for more versatility but that is just being picky. It’s not everyday that you need a super rugged hard case, but when you do, the Vanguard Supreme series of cases is as good as it gets and with a street price of around $230, you get quite a case for the money.

Big Roomy Case

Product Review Scorecard

Author: Kerry Garrison

• Nikon D3X
• Olympus E-30

This update also includes preliminary support for the recently announced Epson R-D1x (and R-D1xG).

The Lightroom 2.3 update includes several bug fixes.

FIXES originally provided in the Lightroom 2.3 Release Candidate

• In the Windows 64-bit version of Lightroom an sFTP upload process could cause Lightroom to crash.
• Slideshows could return to the first image randomly during playback.
• A memory leak could cause Lightroom to crash while attempting to process files with local adjustments.
• Canon EOS 5D Mk II sRAW files could process with artifacts in Lightroom 2.2.
• Lightroom 2.2 could cause disc burning to fail for Windows customers.

FIXES new to the final version of Lightroom 2.3

• Attempting to undo(CTRL-Z) a single step in Lightroom 2.2 on Windows could cause a series of previous actions to be undone.

Lightroom 2.3 now provides language support for the following additional languages:

• Chinese (Simplified)
• Chinese (Traditional)
• Dutch
• Italian
• Korean
• Portuguese (Brazilian)
• Spanish
• Swedish

Mike talks about the possible future for plugins and for OnOne Software and hints at possible tools for the Apple iPhone and for dealing with video from new cameras such as the Nikon D90 and the Canon EOS 5D Mark II.

Mike also is giving away a copy of the Plugin Suite 4 which contains the following plugins:

• Genuine Fractals 6 Professional Edition
• PhotoTools 1.0 Professional Edition
• Mask Pro 4.1
• PhotoFrame 4 Professional Edition
• PhotoTune 2.2
• FocalPoint 1.0

This is a $499.95 value!! To be entered to win we have a little scavenger hunt to solve. First off, go to http://ononesoftware.com and find the page for the Plugin Suite 4, Figure out why you need plugins, and from there, find the 10 word slogan. When you have found it, send an email to contest@cameradojo.com with the subject “OnOne Software Contest” in the subject and the answer and your name in the body of the email. Entries must be received by 5pm on Friday the 13th of March, 2009 and will be announced on the podcast that airs on March 17th.

Be sure and check out the OnOne Software blog (http://www.ononesoftware.com/blog/) and the OnOne Exchange (http://www.ononeexchange.com/)

OnOne Software: http://ononesoftware.com

Show Hosts

Kerry Garrison (http://kerrygarrison.com)
David Esquire (http://esquirephotography.com)

This podcast is also available on iTunes.

• Nikon D3X
• Olympus E-30

There are several bug fixes in this update :

• In the Windows 64-bit version of Lightroom an sFTP upload process could cause Lightroom to crash
• Slideshows could return to the first image randomly during playback
• A memory leak could cause Lightroom to crash while attempting to process files with local adjustments
• Canon EOS 5D Mk II sRAW files could process with artifacts in Lightroom 2.2
• Lightroom 2.2 could cause disc burning to fail for Windows customers

Additional Languages
Lightroom 2.3 now provides language support for the following additional languages:

• Chinese (Simplified)
• Chinese (Traditional)
• Dutch
• Italian
• Korean
• Portuguese (Brazilian)
• Spanish
• Swedish

The translation effort for these languages is over 90% complete in this release. We appreciate your feedback as we complete this work so that we can ensure that the final release provides a high quality update for all of these new languages. If you find a translation error or problem with these new language versions please report them here: Bug Report Form

Notes on the Additional Languages

• Localized help is not yet available for these additional language versions
• The new language versions cannot be installed simultaneously with the English/French/German 2.3 RC build

1. Fixes a malfunction that in rare occurrence causes a low battery indication to be displayed when using the EF 85mm F1.2L II USM lens. Depending on the battery check timing of the camera, the battery level displayed on the camera’s LCD data panel may shows Battery will be exhausted soon or Battery must be recharged, even though the battery capacity is sufficient.
2. Fixes a malfunction that in rare occurrence causes an Err 06 Self Cleaning Sensor malfunction to appear on the camera’s LCD monitor and LCD data panel, even when the Self Cleaning Sensor Unit is operating normally. This message may appear depending on the timing of when the camera is switch to the ON position.
3. Fixes a malfunction that prevents correct colors from being printed when direct printing. RAW images captured using the camera’s custom Picture Styles (Emerald, etc.), which have been downloaded from Canon’s Web site and registered under User Def. 2 or User Def. 3.
4. Modifies the level of subject brightness that causes the AF-assist beam to fire when using an external Speedlite.
5. Enables an external flash connected to the camera’s synchro terminal to fire even when the camera’s built-in flash is popped up.

Source: http://web.canon.jp/imaging/eosd/eos40d/eos40d-firmware-e.html

Have you ever imported some RAW files and when you first open the image in Lightroom the image is vibrant and looks great and then all of a sudden the image switches to something that is less sharp and the colors are all bland? If you have seen this phenomenon, what you are seeing initially is the embedded JPEG image being displayed first and then the on-screen image changes to the RAW sensor data image. The reason why there is a difference is that the JPEG images have had your camera settings applied to them before being saved. With Canon camera, this is usually Standard, Faithful, Landscape , Neutral, and Portrait. Other camera brands have similar types of basic settings. Many people complained that the JPEG image was often very nice and it took a lot of work to get your RAW images to look as good as the JPEG image.

To solve this, Lightroom needed to have a way to understand what the cameras where doing to the images. Initially, you could use the camera calibration controls to dial in some default settings, but this was really inaccurate and rather a pain to use. Shortly after Lightroom 2.0 came out, Adobe came out with the first beta versions of the camera profiles. These profiles were actually based on the characteristics of the different cameras and can be used to very quickly get your image looking better right from the beginning.

Sometimes the effect is more subtle

For some people who still shoot JPEG instead of RAW, one of the complaints about RAW is that it takes longer to process RAW images to get them look good. Lightroom 2.2 with camera profiles solves this problem quite nicely. You can easily create a camera profile preset (or download ours here) and use them as an import preset so that it is applied to every image as you are importing them. Applying the Standard profile during import will get the vast majority of your images looking almost identical to what you would get from saving the image as a JPEG.

Beta Profiles

If you have installed the beta profiles, you can go ahead and remove them using the following instructions specific to your operating system.

Go to the following folder (based on your operation system) and delete anything with the word “Beta” in it’s title. Then restart Lightroom and all should be good in the world again.

Mac: /Library/Application Support/Adobe/CameraRaw/CameraProfiles
(note: the Library folder for Macintosh HD, not your user account)

Windows 2000 / XP: C:Documents and SettingsAll UsersApplication DataAdobeCameraRawCameraProfiles

Windows Vista: C:ProgramDataAdobeCameraRawCameraProfiles

Video Demo

Adobe Photoshop Lightroom 2.0 Camera Calibration from Kerry Garrison on Vimeo.

Author: Kerry Garrison

• Canon EOS 5D Mark II
• Canon PowerShot G10
• Panasonic DMC-G1**
• Panasonic DMC-FX150**
• Panasonic DMC-FZ28**
• Panasonic DMC-LX3**
• Leica D-LUX 4**

Adobe has also fixed a few bugs that were introduced with the Lightroom 2.0 release:

Lightroom 2 Bugs – Fixed

• Images rendered from the Slideshow export process produced a jagged effect on hard edges relative to the quality of normal JPEG export
• Increased the number of characters allowed in Web gallery labels beyond 150 characters
• Catalogs with hundreds of root (top level) folders caused very slow launch times
• Drag and drop to move a subfolder to a different folder showed the incorrect photos in the grid
• Print Sharpening produced edge artifacts in certain conditions
• Density defaulted to 100 percent for initial stroke regardless of position of slider
• The  Adjustment brush created blocky, straight edges to brush strokes under certain conditions
• Lightroom could become unresponsive when using the graduated filter under certain conditions
• It was possible to lose the ability to edit an adjustment brush setting after applying a graduated filter with hidden pins
• Turning auto-mask on produced a lag in Lightroom performance in when applying the adjustment brush
• Print to JPEG functionality produced a low resolution image when printing photos with panorama aspect ratios
• Extended characters in a folder name caused Edit in Photoshop functionality to fail
• Smart collection did not respond to changes in custom metadata
• Enabling auto-mask produced a lag in performance in when applying the local adjustment brush

Lightroom 2 Enhancements

• Camera profiles are now available in the Calibration panel in the Develop module.  These profiles are designed to provide different interpretations of raw capture.

**With the release of Camera Raw 5.2 (and upcoming Lightroom 2.2 release) there is an important exception in our DNG file handling for the Panasonic DMC LX3, Panasonic DMC FX150, Panasonic DMC FZ28, Panasonic DMC-G1 and Leica D-LUX 4. In this release the native, proprietary files from these cameras can only be converted to linear DNG files. A linear DNG file has gone through a demosaic process that converts a single mosaic layer of red, green and blue channel information into three distinct layers , one for each channel. The resulting linear DNG file is approximately three times the size of a mosaic DNG file or the original proprietary file format.

This exception is a temporary solution to ensure that Panasonic and Leica’s intended image rendering from their proprietary raw file format is applied to an image when converted DNG files are viewed in third party software titles. The same image rendering process is applied automatically in Camera Raw 5.2 and in Lightroom 2.2 when viewing the original proprietary raw file format.

In a future release Adobe plans to update the DNG specification to include an option to embed metadata-based representations of the lens compensations in the DNG file, allowing a mosaic DNG conversion. In the interim Adobe recommends only converting these files to DNG to allow compatibility with third party raw converters, previous versions of the Camera Raw plug-in or previous versions of Lightroom.

Adobe.com. (Mac, Win)

A common complaint of female photographers is that photo backpack shoulder harnesses are designed for average-sized men. The shoulder straps on the StreetWalker have been specifically engineered to fit a wider range of sizes for both genders.  Women in particular will appreciate the StreetWalker’s very narrow and vertical profile, especially when combined with the shoulder harness design.

The three new StreetWalker backpacks are:

• StreetWalker — This slim, lightweight backpack will hold a Pro Size DSLR with 70-200 2.8 attached and hood in position. It includes a monopod/tripod mounting system, a contoured harness and air channel for increased comfort, and lots of pockets and organizers for customization.
• StreetWalker Pro — This backpack is designed for a Pro Size DSLR with up to a 400 2.8 attached, or a 70-200 2.8 attached and hood in position. It also includes the monopod/tripod mounting system, the contoured harness and air channel, and lots of pockets and organizers.
• StreetWalker HardDrive — This backpack will hold most 15″ laptops and a Pro Size DSLR with 70-200 2.8 attached and hood in position. It also includes the monopod/tripod mounting system, the contoured harness and air channel, and lots of pockets and organizers.

The StreetWalker backpacks were designed by veteran camera bag designer Lily
Fisher.  “First and foremost  these lightweight backpacks give photographers quick access to their gear while allowing them to maneuver easily through crowds,” said Fisher.  “Additional benefits are the slim profile and adjustable sternum straps.  These backpacks also offer a unique benefit to women photographers, which is that the shoulder harness has been designed to  fit our unique body types.”

Specifications:

StreetWalker
Internal Dimensions:  8.5″ W x 16″ H x 5.5″ D  (22 x 41 x 14 cm)
External Dimensions:  9.5″ W x 17″ H x 6″ D (24 x 43 x 15 cm)
Weight:  2 lbs – 2.8 lbs (0.9kg – 1.3 kg) (Varies based on accessories used)
Price:  $139.00

StreetWalker Pro
Internal Dimensions: 9.5″ W x 16.5″ H x 7″ D (24 x 42 18 cm)
External Dimensions: 10″ W x 17.5″ H x 7.5″ D (25 x 45 x 19 cm)
Weight:  2.6 lbs – 3.4 lbs (1.2kg – 1.5kg)  (Varies based on accessories used)
Price:  $159.00

StreetWalker HardDrive
Internal Dimensions: 11″ W x 17″ H x 6-7″ D (28 x 43 x 15-18 cm)
External Dimensions: 11.5″ W x 18″ H x 8.5″ D (29 x 46 x 22 cm)
Weight:  3.6 lbs – 4.4 lbs (1.6kg – 2kg)  (Varies based on accessories used)
Price:  $179.00

Source: Think Tank Photo

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.

Support for the following cameras has been added in this update. Visit the Camera Raw page for a complete list of supported cameras.

• Canon EOS 5D Mark II
• Canon PowerShot G10
• Panasonic DMC-G1*
• Panasonic DMC-FX150*
• Panasonic DMC-FZ28*
• Panasonic DMC-LX3*
• Leica D-LUX 4*

The Camera Raw 5.2 plug-in is not compatible with versions of Photoshop earlier than Photoshop CS4, versions of Photoshop Elements earlier than Photoshop Elements 6, or versions of Adobe Premiere Elements earlier than 4.0.

The latest updater for both Windows and Mac can be found at http://www.adobe.com/downloads

The new versions are:

• Digital Photo Professional 3.5.1
• EOS Utility 2.5.1
• Picture Style Editor 1.4.1
• WFT Utility 3.3
• Canon RAW Codec 1.4

To access the updaters, click here, then select your operating system from the Drivers / Software Selection pulldown menu.

[Via Rob Galbraith]

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

—-

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

Adobe has released Lightroom 2.1 and Camera Raw 5.1 along with the DNG Converter 5.1. Lightroom 2.1 has been in a release candidate state for several weeks and has some improvements and fixes over the initial 2.0 release. Both Lightroom 2.1 and Camera Raw 5.1 include camera support for the following new models:

The beta versions of the Camera Profiles and DNG Profile Editor on Adobe Labs have also both been updated.  The Profile update includes additional profiles and incremental improvements to the previous beta profiles.  The DNG Profile Editor update includes minor enhancements.

Lightroom 2.1 (Mac, Win)
Camera Raw 5.1 (Mac, Win)

To find out about the other shows at Personal Life Media, please go to http://personallifemedia.com, you can also catch some of my favorite shows from there in the podcast player widget in the sidebar.

Show Links
http://canon-usa.com

http://thinktankphoto.com

You can listen to this podcast now using our player widget in the right hand sidebar

This podcast is also available on iTunes.

• 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.

Pretec CF 233X and 333X CF cards use metal housing and ruggedized construction to provide extensive ruggedness making the card resistant to impact and shock – at least 10 times more durable than a typical CF card. With the green concept of reuse, recycle and reduce in mind, Pretec 64GB CF cards can be configured or reused to make a 256GB SATA or IDE SSD, the highest capacity 2.5” SSD in the world so far, by using Pretec Q-SATA, a patent-pending technology of flexible, scalable and modular SATA/PATA design based on up to 4 CF cards. This technology provides ultimate flexibility and ease of use, especially for those needing both CF cards and SSDs.

Pretec 233X and 333X CF cards will be demonstrated together with high performance digital cameras from Leaf, a business unit of Eastman Kodak and a world-renowned industry leader in providing cutting edge digital photography solutions, whose AFi professional camera was recently awarded “Product of the Year” at the Photoforum exhibition in Russia. The new Leaf AFi-II system delivers the fastest shooting speeds of any camera in its class, with a practically unlimited burst depth. These speeds are enabled by advanced communication and CF technologies and Leaf Capture software. “Leaf and Pretec share a similar vision -to offer cutting edge technologies and unique products with unparalleled performance and to provide our customers with exceptional quality and satisfaction,” said Seth Greenberg, Leaf Marketing Director. “We are pleased to have chosen Pretec as our exclusive storage partner at Photokina 2008 and to witness the excitement as Pretec breaks the CF card speed and capacity world records.”

Pretec 233X 64GB and 333X 32GB CF cards with suggested retail price of $399 and $630 are slated to start delivery by Photokina 2008, and 233X 100GB and 333X 50GB are expected to start shipping by the end of 2008.

About Pretec
Pretec™ (http://www.pretec.com) offers a complete spectrum of small form factor memory cards and card readers such as CF, SD/MMC, USB Flash Drive, and wireless communication devices for digital imaging, mobile communication, and industrial flash markets. As the 2nd company in the world to offer CF cards since 1995 and the company to create CF I/O and SD I/O cards since 1998, Pretec has consistently demonstrated the highest capacity flash cards in the world: such as CF 3GB, 6GB, 12GB, 16GB, 24GB, 48GB and SD 4GB, SDHC 8GB and 16GB; the fastest flash card in the world: such as CF 80X and 333X, SD 133X, USB 166X, and SSD (IDE/SATA) 400X. With more than 200 patents granted or filed, Pretec has also been offering the smallest USB flash drive in the world with unique technology: such as i-Disk Tiny (“Best Gear of 2003” by TIME Magazine) and i-Disk Diamond; the most reliable flash card in the world: such as rugged PCMCIA, rugged CF card, and i-Disk Bulletproof, a water-proof, fire-proof, and bullet-proof USB flash drive.

*For more information, please visit www.pretec.com
*Note:i-Disk, i-Disk Tiny, i-Disk Diamond and i-Disk Bulletproof are trademarks of Pretec. All other trademarks mentioned herein are recognized as the property of their respective holders

Apple Releases Camera Raw 2.2
Adobe Releases Camera Raw 4.6 Release Candidate
Leica M8 Firmware 2.00
Sony Alpha Firmware

Lightroom 2.1 Available on Adobe Labs
http://labs.adobe.com/wiki/index.php/Lightroom_2.1

Lightroom Web Gallery Module
http://cameradojo.com/2008/09/23/lightroom-web-gallery-modulelightroom-web-gallery-module/

Canon EOS 5D Mk II
http://cameradojo.com/2008/09/16/canon-announces-eos-5d-mark-ii/

Canon Powershot G10 IS
http://cameradojo.com/2008/09/16/canon-powershot-g10-is-camera-announced/

Canon Powershot SX1 IS
http://cameradojo.com/2008/09/17/canon-powershot-line-in-sx1-is-with-1080p-video/

Sunny 16 Rule
http://cameradojo.com/2008/09/18/the-sunny-16-rule-in-photography/

Guest on the Digital Photography Show
http://digiphoto.thepodcastnetwork.com/

This podcast is also available on iTunes.

• Fuji Finepix IS Pro
• Nikon D700
• Nikon D90
• Nikon Coolpix P6000

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.

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

Features

The official feature list is show here, we will dig into more of these later on:

• New 15.1 Megapixel CMOS sensor with improved noise reduction, wide range ISO 100-3200 (H1: 6400, H2: 12800), 14-bit conversion for smooth color tones and gradations.
• Next generation DIGIC 4 Image Processor for faster processing, 6.3 fps up to 90 JPEGS using UDMA CF cards; 60 consecutive JPEGS or 16 RAW using standard CF cards.
• 3.0-inch Clear View LCD (920,000 dots/VGA) with multiple coatings for improved viewing and smudge-resistant protection.
• Enhanced Live View shooting includes Face Detection Live mode.
• 9 cross-type high-precision sensors for accurate target subject acquisition and diagonal center cross-type AF point with f/2.8 and faster lenses.
• New Lens Peripheral Illumination Correction setting to automatically even the brightness across the image.
• Updated EOS Integrated Cleaning System with a fluorine coating for better resistance to dust.
• Creative Auto goes a step beyond full auto with on screen setting display.
• HDMI (High Definition Multimedia Interface) output for displaying full high-resolution images on a High Definition TV.
• Compatible with over 60 Canon EF/EF-S lenses and most EOS System accessories.

The new sensor

As expected, a new sensor is built into the 50D that improves the light gathering ability by using bigger micro lenses over each pixel. Effectivily this will give you 1 to 1.5 stop of better noise reduction allowing you to shoot at ISO 3200 and have images that have noise that is closer to what ISO 1600 looks like on the 40D. Like the previous 20,30,40, the 50D is an APS-C sized sensor giving is a 1.6x crop factor and delivers images at 4752w x 3168h pixels. The integrated cleaning system is also claimed to work better than the one built into the 40D.

The new processor
The next generation of the Digic processor, the Digic IV is debuted in the 50D. This new processor is claimed to be 30% faster than the Digic III and provides a plethora of new features.

• Full size RAW (15.06 megapixels), sRAW1 (7.12 megapixelss) and sRAW2 (3.76 megapixels)
• Three levels of High ISO Noise Reduction
• Three increments of Auto Lighting Optimizer
• Peripheral Illumination Correction – This is a vignette control based on profiles of Canon lenses
• ISO 100 – 3200 is standard along with extended ISO of 6400 and 12,800
  

Better Storage

Although many of us were hoping for dual card slots, the 50D still sports a single Compact Flash slot although support of UDMA makes for faster read/write speeds.

Better LCD

The LCD on the rear has been improved with more resolution giving you 920,000 pixels which now gives you even great clarity than previous models. The Live Mode provided through the read LCD has also been improved with two types of autofocus now available including a simple quick mode that toggles the Live View off while the camera performs the focus and Live autofocus that uses contrast detection like we saw possible when using DSLR Remote Pro for tethered shooting. Like many new point and shoots, the 50D now has face detection when using the Live Mode autofocusing.

Shipping and Price

The EOS 50D is supposed to be available sometime in October at $1,399. As the camera gets closer to the release date I am sure more information will become available, especially from some of the sites that get pre-production units to test.

For a detailed hands-on preview of the 50D, check out: http://www.dpreview.com/previews/canoneos50d/

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