Go behind the scenes at the lens factory in this video made by Nikon on the 80th anniversary of its Nikkor brand.

Capture One Pro 7.0.2 is a service release providing a number of bug fixes, in particular for stability, and camera support. Full release notes are attached:

• Improved stability.
• Canon tethering now supported on OS X 10.8.
• Improved support for pen tablets on Windows 8.

• Aligned use of image counts in the library tool: No counts for smart albums on Mac, no counts for groups and projects on Win.

• File support for Fuji X-Pro1, X-E1, XF1 (all preliminary).
• File support Canon EOS M (preliminary).
• sRaw and mRaw file support Canon EOS 1D X, 5D Mark III and 6D (preliminary).
• File support for Olympus XZ-2 iHS (preliminary).
• File support for Sony SLT-A57 (preliminary).
• Tethered support for Canon EOS 6D.
• Tethered support for Canon EOS M (does not support remote capture).

Download here from Phase One.

LAKE SUCCESS, N.Y., January 10, 2013 – Canon U.S.A., Inc., a leader in digital imaging solutions, announces the new CN-E14mm T3.1 L F and CN-E135mm T2.2 L F single-focal-length lenses for large-format single-sensor cameras employing Super 35mm or full frame 35mm imagers. These two new lenses join with Canon’s CN-E24mm T1.5 L F, CN-E50mm T1.3 L F, and CN-E85mm T1.3 L F primes to provide a broad line of five precision-matched, competitively priced EF-mount Cinema prime lenses that provide high optical performance levels and a choice of versatile focal lengths for a wide range of creative shooting choices. All five Canon Cinema prime lenses are part of the Canon Cinema EOS System of professional digital cinematography products, which include the EOS C500 4K/2K Digital Cinema Camera, EOS C300 Digital Cinema Camera, EOS C100 Digital Video Camera and EOS-1D C 4K DSLR Cinema Camera, and four Canon Cinema zoom lenses.

CN-E135mm T2.2 L F.

“Since our introduction to the film and television production industry back in November 2011, we have brought to market five Cinema prime lenses, two top-end Cinema zoom lenses, two compact Cinema zoom lenses, and four professional digital cinematography cameras all within 18 months,” stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. “This is a testament to the Company’s dedication to the needs of the growing and diverse universe of professionals creating 4K, 2K, and HD moving-image content for theatrical, television, and other high-resolution digital production markets. We look forward to continuing to serve these professionals with Canon Cinema EOS products designed to help them achieve their creative imperatives and commercial aspirations.”

All Canon Cinema EOS lenses integrate advanced materials and coatings to meet high optical performance levels, including 4K (4096 x 2160) production standards. Each Canon Cinema lens is equipped with an odd-numbered 11-blade aperture diaphragm, which is ideally suited to achieve creative depth-of-field manipulation and pleasing “bokeh” effects of cinematographic quality. The Canon line of five Cinema prime lenses is precision-matched for consistent and solid optical performance that minimizes focus-induced changes in the angle of view. All feature a full-frame image circle in a lightweight, compact design, and they incorporate proven Canon lens elements designed to fulfill contemporary 4K production standards. All five primes also deliver color tone and balance that matches Canon’s top-end Cinema zooms and compact Cinema zooms. Canon Cinema prime lenses are also water-resistant for severe shooting conditions and deliver the operation and reliability required in professional film-style shooting environments.

All five Canon Cinema primes feature mechanical attributes specifically designed for motion-picture production, as opposed to still photography. These strategically integrated film-style characteristics include 300 degree rotation on the focus ring for precision focus control as well as large, highly visible engraved focus scales for convenient operation. These markings appear on the angled surfaces on both sides of the barrel, making them easy to both read and to adjust the step-less focus and/or aperture settings of the lenses from behind – or from either side – of the camera. Focus markings can be switched from standard labeling to metric, and control rings are engineered to maintain the proper amount of resistance with consistent operating torque and familiar tactile “feedback” for satisfying manual control. All Canon Cinema prime lenses also share the same uniform gear positions, diameters, and rotation angles, as well as front-lens diameters, making them compatible with matte boxes, follow focus gear, marking disks, and other third-party film-industry-standard accessories. Film crews can quickly change lenses without the need for accessory gear-position adjustments or other changes to the rig setup.

 

CN-E14mm T3.1 L F

The new Canon CN-E14mm T3.1 and CN-E135mm T2.2 Cinema prime lenses – as well as the Canon CN-E24mm T1.5, CN-E50mm T1.3, and CN-E85mm T1.3 primes – are fully compatible with the Canon EOS C500, EOS C300, EOS C100 and EOS-1D C digital cinema cameras. The EF-mount design of all five Canon Cinema prime lenses provides communication with these cameras for such handy features as display of the ƒ number in the electronic viewfinder, recording of focus/zoom position and ƒ number, and Peripheral Light Compensation for more pleasing effects shots.

The versatility of image-capture options using Canon EOS digital cinema cameras can be further extended with Canon’s Super35mm top-end Cinema zoom lenses (the CN-E14.5-60mm T2.6 wide-angle and the CN-E30-300mm T2.95-3.7 telephoto) and compact Cinema zooms (the CN-E15.5-47mm T2.8 wide-angle and CN-E30-105mm T2.8 telephoto). All four are available in both EF- and PL-mount versions, as are the EOS C500 and EOS C300 cameras. Almost all of Canon’s EF Series photographic lenses can also be used with these Cinema EOS cameras, including Image Stabilized zooms, tilt-shift models, and macro lenses. All of these products are designed to contribute to the continued advancement of tools for visual storytelling and all express Canon’s continuing commitment to cinematic culture.

Pricing and Availability
The CN-E14mm T3.1 L F single-focal-length lens is expected to be available in April 2013 for an estimated retail price of $5,500. The CN-E135mm T2.2 L F single-focal-length lens is expected to be available in May 2013 for an estimated retail price of $5,200.

 

Last week I was helping out a friend with his editorial fashion shoot that he shot using Wet Plate Collodian process; by recording it on video.

I used a Red Wing Boom as a camera jib in order to get a few more camera options which is something I've been meaning to try for sometime.

As you can see it was easy to do simply by adding some basic grip equipment that most photographers would usually have on hand in their studios.

I used a: Bogen super clamp, a Manfroto magic arm, a knuckle and a 6" wall plate which I had previously drilled and tapped and attached to my Cannon HD video camera. Although anyone could just as easily use any combination of grip equipment to achieve the same thing rather than spending money on an additional piece of equipment just to perform jib movements.

For those wondering why I didn't just attach the magic arm to the end of the Boom pin by adding another knuckle, that because I use this same combination of grip as a steady cam set up so having a quick release option to from 1 to the other is a nice option.

This setup proved to work extremely well and afforded great stability; and also because the boom was on a rolling stand it allowed me to move around the studio and change elevation in nice smooth motions. A short edit of the video from this shoot will be posted in the coming days.

This week I was hired for an advertising shoot to: "Create slightly diffused southern daylight" with strobes in a rentals studio here in NYC. for a pharmaceutical campaign.

This was a fun challenge as most of the time people want straight daylight duplicated in the studio; or they hand me a tear sheet and say: "..make it look like this...". More often than not photographers and assistants will bring in HMI lights (4K or larger) onto a set and call it "Good-nuff" when attempting to duplicate a day light type of light source in the studio.

More...

Tanzania 4 Two - the video   By Claudia Hehr Photography

This summer I was invited to travel to Tanzania for 2 weeks with non-profit Artists for World Peace.
They are working with the Good Hope Orphanage in Kibosho-Umbwe to improve education, health and living standards of orphans and villagers. It was an amazing trip where I met the most incredible people and was able to document what a huge difference a group of artists can make in the lives of not-so fortunate people. I loved the opportunity to do good with what I know best - photography. This video is meant to share my experience with you. I hope you enjoy it !
If you'd like to find out more about Artists for World Peace, please visit: artistsforworldpeace.org
You can see more of my work on: claudiahehrphoto.com and the blog I set up for the Tanzania trip:
tanzania4two.com

It's been 3 days since the lights went out here in the East Village - NYC. due to a lighting strike that blew up a transformer at the Con Edison facility on 14 Street here on the east side of Manhattan. This means that most of us living below 25 street both east and west side are with out power, heat, hot water, and in some cases cell phone service. Cell service appears to be working for some networks; but for me I need to walk up town to 24th and Madison before I can get an ATT cell phone signal.  This is what we call "Camping in NYC."

Word is that we MIGHT get power back sometime on Monday next week

Last night I woke up in the middle of the night to find this bright that I'd never seen before lighting up the front of my building and the entire street. I went to the window to find that it was the full moon and a sky full of stars.  With out the lighting that typically pollutes the manhattan night sky I was looking at a pitch black sky full of star light and a bright moon on a scale that I have not seen since I was in the Kalahari dessert in South Africa 16 years ago.

For all of the negative impressions people have of NYC. I have to say that I feel safer walking around late at night on the pitch black streets of NYC. with nothing but a flash light; than I ever felt walking on the empty streets of Boston (when I lived there) at night even when those streets had street lights on. Truth is people in NYC. know how to live together and in most cases don't fuck with you unless you are causing them or others a problem.

I'v been lucky enough to be doing a studio management gig up on 28th street for the last 2 days which always me internet access, cell phone and laptop recharging and a hot shower and hot food.

Phase One officially announced the release of Capture One Pro 7, a new version of the industry standard in digital capture and asset management software that features a new processing engine and several new tools including Live View support for selected digital SLRs.

Phase One Capture One Pro 7 is available now for Mac OS X and Windows at www.phaseone.com/store for $299.

More...

Today Lexar announced the digital imaging industry’s first 256GB SDXC UHS-I memory card. The card enables 400x minimum guaranteed sustained read transfer speed and is designed for capturing, storing, and transferring high-res images and 1080p Full-HD and 3D video.

The card leverages Micron’s 128Gb, 20nm NAND flash memory process technology, and adheres to the SD 3.0 spec to reliably address the workflow needs of professional photographers and videographers.

New 32GB microSDHC and 64GB microSDXC Cards Empower Mobile Users to Quickly Capture, Play Back, and Transfer Photos, Songs, and 1080p Full-HD and 3D Videos

More...