Nikon Announces New D3S Digital SLR

posted in: Nikon Gear | 0

AVAILABILITY UPDATE! (November 27, 2009) Amazon have the Nikon D3S in stock and is shipping!

Pre-Order Nikon D3S 12.1 MP on Amazon

October 14, 2009

TOKYO – Nikon Corporation is pleased to announce the introduction of its newest FX-format digital SLR flagship for fast response and high light sensitivity: the Nikon D3S.

Standing on the shoulders of the world-renowned D3, the Nikon D3S takes the potential of Nikon’s proprietary FX format to incredible new levels designed to meet or exceed a professional’s high standards.

The D3S delivers ISO 200 to ISO 12800 as standard, with the excellent noise control and wide dynamic range that the D3 is famous for. This provides photographers of any discipline with additional latitude to achieve quality images in most lighting situations. When needed, ISO sensitivity can be expanded from Lo 1 (ISO 100 equivalent) up to Hi 3 (ISO 102400 equivalent), making a significant difference in extremely low-lit shooting scenarios and other situations where faster shutter speeds or more depth of field is required. In a first for an FX-format flagship, the Nikon D3S incorporates the HD-quality D-Movie function, letting users take full advantage of the wide dynamic range and high ISO performance, including the breakthrough High-Sensitivity Movie mode.

The D3S’s D-Movie also offers compatibility with an external stereo recording microphone, as well as convenient in-camera editing functions such as the ability to select the starting or ending points in order to trim D-Movie footage, as well as the option to save selected movie frames as JPEGs. The Nikon D3S shoots approximately 9-frames-per-second high-speed continuous shooting in FX format and 11 fps in DX format, with a buffer twice the size of the D3’s. These features, along with a 0.04-second* shutter release time lag and improved AF accuracy work seamlessly for lightning-fast responses. Various improvements in ergonomics, operation, and reliability, such as image sensor cleaning, will help photographers focus on shooting under any conditions. When combined with state-of-the-art NIKKOR lenses and the Nikon Total Imaging System, which includes Nikon Speedlights, wireless transmitters and various software, the D3S delivers exceptional quality and versatility for an unprecedented variety of professional and personal assignments. * Based on CIPA Guidelines.

Pre-Order Nikon D3S 12.1 MP on Amazon

Nikon D3S Feature Highlights

ISO performance: ISO 12800 as standard, expandable to ISO equivalent of 102400 (Hi 3)

Professional photographers can now rely on ISO 200 to ISO 12800 as the professional standard of image quality for their assignments — an incredible advantage when shooting indoor sports, stadium events at night, dimly lit spot news or any other shooting situation where light is limited and Speedlights are not applicable. Shooting at ISOs as high as 12800, the Nikon D3S can take commercial-quality, tack-sharp images in low light at action-freezing shutter speeds — a capability that will open a new world of photographic opportunities. When needed, the D3S expands to the amazing ISO equivalent of 102400, still revealing colors and details even in extremely low-lit places where human eyes may find it difficult to discern objects. This exceptional low-noise performance also applies to D-Movie capture, which creates new potential for multimedia projects and assignments.

Large pixel pitch: the 12.1-megapixel FX-format advantage

The Nikon D3S‘s image sensor has been completely redesigned from the one utilized in the D3. This new sensor’s inner structure has been further optimized, with the pixel count and large pixel pitch maintained for even greater latitude in high ISO performance. As a result, the D3S captures and renders light in ways that no other ordinary digital SLR cameras have yet achieved, with a significantly higher signal-to-noise ratio and a wide dynamic range for unmatched image quality for both still images and movies throughout the broadened ISO sensitivity capabilities.

NikonD3Stopview

Pre-Order Nikon D3S 12.1 MP on Amazon

New and improved D-Movie function

From well-lit scenes to extremely low-lit situations, the Nikon D3S‘s D-Movie mode delivers unique versatility. The newly refined D-Movie offers HD quality (1,280 x 720 pixels) Motion-JPEG movies at 24 fps. By controlling the aperture from the widest f-stop to the smallest, the large FX-format sensor renders low-noise images with beautiful bokeh effects from a large selection of NIKKOR lenses. High-Sensitivity Movie mode allows users to shoot at up to ISO equivalent of 102400 in places too dark to see clearly with their own eyes. D-Movie footage is easy to trim in-camera by simply selecting the starting or ending point. An extra bonus for sports and spot news photographers is the ability to save selected movie frames as JPEGs for immediate print and web publishing needs. The Nikon D3S has both an internal monaural microphone and an external stereo microphone input, enabling higher fidelity audio recording.

Image sensor cleaning: assured protection

Another important improvement from the D3 is the employment of the Image Sensor Cleaning function, which generates vibrations at four specific frequencies to optimize dust removal. This function can be set to operate automatically when the camera is turned on and off, or manually.

EXPEED: Nikon’s comprehensive approach to quality digital images

Nikon’s fast, comprehensive, and energy-efficient approach to in-camera image processing maintains the rich initial data’s integrity through 14-bit A/D conversion and a 16-bit image-processing pipeline, which shows the enormous creative potential inherent in the NEF (Nikon Electronic Image Format). Combined with Nikon’s FX-format sensor, the Nikon D3S produces an exceptional tonal range and minimized tone jumps. Users can expect more accuracy with difficult color combinations such as skin tones and strong reds in the same frame without over-saturation, plus finer tonal gradation in highlights, even with extremely bright subject matter.

Lateral chromatic aberration reduction: edge-to-edge sharpness

The D3S corrects color fringes caused by chromatic aberrations that, in some instances, can appear at the edges between differing subject elements. Because lateral chromatic aberrations are corrected regardless of lens type — whether telephoto, wide-angle, non-CPU and other types of NIKKOR lenses — this important aspect of the Nikon D3S contributes substantially to the highly refined, edge-to-edge image integrity that professionals demand.

Active D-Lighting: rescuing tone in highlights and shadows

Nikon’s Active D-Lighting automatically regulates the dynamic range of high-contrast scenes, pulling out shadow details and preserving highlights while maintaining proper contrast. The Nikon D3S allows photographers to choose from six Active D-Lighting settings, including the newly added Auto and Extra high, as well as High, Normal, Low and Off. You can also bracket Active D-Lighting strength levels up to five frames and select the best rendition afterwards.

Picture Control: custom-tailored tone and color

Picture Control helps you define the look and feel of your images by custom-tailoring sharpness, saturation and other parameters to match your creative intentions. The D3S comes with four pre-installed Picture Control profiles, which can be fine-tuned and saved as new custom Picture Control profiles that match your personal shooting style or particular shooting conditions. These profiles can easily be copied to additional cameras.

Speed and readiness throughout the workflow

The Nikon D3S optimizes workflow speed and fluidity throughout the entire shooting process. Start-up time is approx. 0.12 seconds* and release time lag is minimized to approx. 0.04 seconds*, exactly as fast as the D3, but the D3S’s increased buffer memory is twice as large as that of the D3’s. In addition, the D3S’s autofocusing, image processing, memory card access and recording, USB interface and optional wireless transmitter all work together to keep professional photographers focused and moving forward. And for sport and spot news photographers, many of the D3S’s JPEG files are print-ready with little or no post-production: an extra edge when time is short. * Based on CIPA Guidelines.

9-frames-per-second* shooting rate in FX format, 11 fps* in DX crop

The D3S’s continuous shooting rates are impressive, but what makes them truly unique is that the Nikon D3S‘s powerful stepping motor allows for a steadier delivery of fast continuous shooting speeds at a wider range of aperture settings than lesser cameras can achieve. Professionals will now have greater control and fewer limitations when creating the images they desire. With the DX crop, photographers can also add a 1.5x picture angle and a faster frame rate to their arsenal. Furthermore, the factory-installed buffer memory is twice the capacity of the D3, dramatically increasing the power of continuous shooting. * Based on CIPA Guidelines.

Scene Recognition System: enlightened accuracy and intelligence

Nikon’s exclusive 1,005-pixel RGB sensor precisely reads brightness and color information to raise the overall accuracy of AF, AE, i-TTL flash control and auto white balance to new heights, thanks to the Scene Recognition System. The NikonD3S‘s AF delivers superb subject tracking and subject identification performance. Highlight analysis used for AE reproduces brightness faithful to what your eyes see, and light source identification makes auto white balance uniquely precise and reliable.

51-point AF: fast and accurate subject acquisition The D3S‘s strategically positioned 51 AF points deliver faster focus, even with quick and/or erratic subject movement. The 15 cross-type sensors in the center of the frame maintain the same outstanding performance with any AF NIKKOR lens f/5.6 or faster. There are four Dynamic-area AF options, including 51 points (3D-tracking), which accurately follows your subject by shifting focus points using color and brightness information from the Scene Recognition System. This gives users an extra advantage when composition is important but your subject’s movement is extremely erratic. Single-point and Auto-area AF modes are also available.

Sophisticated AE with highlight analysis

Nikon’s exclusive 3D color matrix metering II is highly praised for its outstanding performance and faithful exposure results — even in complex, unforgiving lighting conditions. The D3S takes accurate exposure further, using highlight analysis from the Scene Recognition System and then carefully selecting from a database containing information from over 30,000 actual shooting situations.

Informed auto white balance

Leading professionals often note that Nikon’s auto white balance exhibits remarkable results, even in challenging conditions with mixed light sources. With the D3S, auto white balance makes even further progress. Professionals can expect white as truly white in a wider variety of settings.

Approx. 100% frame coverage

The D3S’s large prism gives you the FX-format visual advantage when you shoot. Not only is the viewfinder image larger and brighter, the focusing screen is also carefully designed to help you more intuitively sense sharp focus, be it manual or autofocus.

Superior durability For the reliability professionals demand, the shutter of the D3S has been tested for up to 300,000 cycles in fully assembled cameras under rigorous conditions. The ruggedly constructed D3S employs a strong yet lightweight magnesium alloy for its body, exterior cover, chassis and mirror box. Furthermore, a comprehensive series of O-rings and other specialized seals, combined with additional Nikon engineering, protect the D3S against invasive moisture, dust and even electromagnetic interference.

Twin CF card slots

The D3S lets you designate each card slot for certain tasks: record two full CF cards of data sequentially for a large amount of storage, record the same data onto two cards (backup), record RAW and JPEG simultaneously onto separate cards, and transfer data from one card to another. You can also designate the slot for data-heavy D-Movie recording.

Long-life battery

The D3S uses an EN-EL4a rechargeable battery. Power consumption and power management systems have been engineered for greater operating efficiency, so you can expect long battery life, shooting up to 4,200 images* per charge. * Based on CIPA Standards. E

asy-to-access Live View mode

The dedicated Live View button gives you instant access to two Live View modes: Tripod mode for accurate AF operation and Hand-held mode for more versatile shooting angles. The speed for Contrast-detect AF in Tripod mode has also been improved for enhanced practicality.

Quiet Shutter-release mode for nonintrusive shooting

Photographers can select “Q” on the release mode dial to substantially reduce the sound of the camera’s mirror-down during shooting. This is particularly useful when shooting in restrictive conditions such as when photographing theatrical performances or wildlife.

3-in., approx. 921k-dot color, 170° viewing angle LCD monitor

The Nikon D3S‘s large, high-resolution LCD monitor delivers bright, crisp image playback with up to 27x enlargement for immediate and precise image confirmation. Each LCD is covered with scratch-resistant tempered glass and individually calibrated and fine-tuned at the factory to ensure consistent performance.

Additional Nikon D3S Features

Newly added image area of 1.2x crop (30 x 20) format with approx. 8.4 megapixels Multiple exposure operation that can be repeated by designating the function to the bracketing button Electronic virtual horizon that is available in Live View shooting Extended menu banks that store up to four combinations of exposure mode, shutter speed and aperture value Versatile in-camera Retouch Menus, including RAW processing to enhance your images without using a computer Compatible with HDMI (High-Definition Multimedia Interface) output. Type C connector (mini size) is employed. With the optional GPS Unit GP-1, location information such as latitude, longitude, altitude and time are automatically recorded to each image’s EXIF data. The Time Adjustment feature, which adjusts your camera’s time zone, is also available using the GP-1. Especially useful for group assignments that require several D3S cameras to be synchronized. Exclusive Nikon Software — Nikon Transfer and ViewNX software packages (supplied) for a range of basic photo browsing and editing operations; Capture NX 2, Camera Control Pro 2, and Image Authentication Software (all optional) enable more advanced operation and image editing.

Pre-Order Nikon D3S 12.1 MP on Amazon

Photos at City Park in New Orleans

posted in: Photography, Prints for Sale | 0

Click ImageI took two great (!) pictures last week at City Park in New Orleans. I love the spanish moss which is always great to shoot backlit!

Did you know that the Spanish moss that hangs on trees of tropical America and the Southern states, (also called Florida, southern, or long moss), it’s not a true moss but a member of the pineapple family, and it’s used for stuffing furniture and as a packing material?

These 2  photographs (square format) have been added in the gallery named “In and Around New Orleans” at my e-commerce site www.nolaPIC.com.

Click ImageAvailable as a 10″x 10″ or 20″x 20″ for the US.  To purchase this or other high quality open edition prints please visit: www.nolaPIC.com

Photos taken with  Canon EF 85mm f1.2L II USM and a Canon EOS 5D Mark II.

To see  more New Orleans photography and purchase high quality prints please visit www.nolaPIC.com

Canon EF 85mm f1.2L II USM Autofocus Speed Test

posted in: Photo Gear, Photo Tips | 0

Since I were once worried myself about the Canon EF 85mm f1.2L II USM AF speed and I hate reading charts and numbers, (they do not really tell me how a lens performs in the real world) I have finally found the time to do a quick and empirical autofocus speed test, using the lens coupled with a Canon EOS 5D Mark II body. This quick animated gif may help people making up their minds and fork out the hard earned $ once and for all.
The Canon EF 85mm f1.2L II USM AF speed is indeed slower than “regular” Canon L Ultrasonic lenses, but fast enough for the average user and even faster than I actually thought… really! Considering that the autofocus on the Canon EOS 5D Mark II it’s quite old and slow ( the camera shoots at only 3.9 frames per second) the quick test showed and confirmed that you can be assured you can achieve decent AF results, I would be very interested in seeing a similar test done with a Canon body with a much faster autofocus and fps like the 1DM3 or even with the new Canon 7D since its newly re-designed autofocus . The images were shots wide open at 1.2 by the way, so you know they have been shot at the shallowest DOF possibile. The SUV is approximately moving at 45 MPH and I used the center AF which is its only cross point. The animated Gif is slowed down a bit so you can see the focus is dead on.

If you are shooting portraits with the Canon EOS 5D Mark II and the Canon EF 85mm f1.2L II USM
or with the Canon EF 50mm f/1.2 L USM I would strongly suggest you order and install the Canon Eg-S super precision focusing screen which only takes 2 minutes to install!

Please see my other post about it here, with details from Chuck Westfall.

Photo of London Lodge Motel in New Orleans

posted in: Photography, Prints for Sale | 0

Click image to zoom

The London Lodge in New Orleans on Airline Highway as seen in the thriller movie “The Runaway Jury” with Dustin Hoffman, John Cusack and Gene Hackman. A truly all American vintage Motel.

I just shot this great image (square) of the London Lodge in New Orleans and it has been added in the gallery named “In and Around New Orleans” at my e-commerce site www.nolaPIC.com.

This high quality photograph is available as a 10″x 10″ or 20″x 20″.

To see  more New Orleans photography and purchase high quality prints please visit www.nolaPIC.com

Louisiana and Off Shore Aerial Photography

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I have shot aerial photography in Maui for about 8 years where the wind blows hard, the helicopter shakes a lot, and constantly chasing the fast subjects on the waves makes aerial photography pretty challenging. Using an experienced pilot that can get you exactly were you want to be in rough weather (and bring you home safe) is a must! See how close I got on this shot where the pilot got so low, close to the water, that the spray from the wave wet us both since the doors on the helicopter must be removed.Canon’s IS* (Image Stabilization) can sure help with the vibrations from the helicopter but you still gotta shoot at high shutter speeds and be ready to aim! So, if you do need aerial photography in Louisiana or out of state for offshore platforms oil rigs or anything, you definitely come to the right place. Please feel free to contact me and I will be glad to provide you a quote asap with no obligation.

[mpa:id=1,header=false,desc=false] Katrina destruction after one year later
On July 27, 2006 , almost a year after hurricane Katrina hit, I went on a helicopter tour with the National Guard of Jackson Barracks in New Orleans, Allen Lottinger from the St. Charles Herald Guide, and other members of the Louisiana Press Association. As you can see from the pictures below, the damage was still there…unreal! (Thanks to Canon Professional Services and Allen Lottinger!) The images below are shot during a cloudy/rainy day, through a plexiglas window from a Black Hawk moving at 160 mph…not really the ideal conditions:).
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Fees as they relate to copyright and reproduction rights will be established in advance before a photo shoot. Please see below how pricing is calculated.

Creative Fees

Charged for creating the images; based on creativity, deadline, technical difficulty of producing the images and duration of photo shoot. Post-production is included.

Licensing Fees

Added to the creative fees according to your needs and will be based upon these factors:

  • Media (ad, book, brochure, web site etc.)
  • Size
  • Total Circulation (up to 10.000, 50.000 etc.)
  • Language
  • Distribution (worldwide/countries)
  • Duration (up to six months, 1 year, 2 years etc.)
  • industry you’re in (airline, banking, small business etc.)
  • Placement (home page, secondary page, pdf, back cover ad etc.)

Expenses

Helicopter, pilot, travel, car rental and any other expenses that may occur.

I license the rights to use the photos for the exact licensing rights that you will actually use and need; only royalty free photography allows you to use images as you please for as long as you want.*This way of pricing photography is standard and does not only apply to aerial photography.

Post-production: the files are enhanced (color balance, saturation and sharpness), delivery of images on multi platform CD or DVD in tiff format. Files will have enough resolution to be printed as murals and since they are digital you won’t have to worry about losing you original slide or negative, just back them up and be worry free!

Included Services

Post-production: the files are enhanced (color balance, saturation and sharpness), delivery of images on multi platform CD or DVD in tiff format. Files will have enough resolution to be printed as murals and since they are digital you won’t have to worry about losing you original slide or negative, just back them up and be worry free!

Additional Graphic Services

Removal of unwanted objects in image, over imposed graphics, logos, building names, street names, symbols, maps etc., overnight post-processing, custom cropping and selective blurring.

New Canon EF 100mm f/2.8 Macro IS USM: The First Camera Lens Featuring Hybrid Image Stabilization

posted in: Photo Gear | 0
Canon U.S.A. Introduces Three New EF and EF-S Lenses, including The First Camera Lens Featuring Hybrid Image Stabilization
Introducing the EF 100mm f/2.8L Macro IS USM, EF-S 15-85mm f/3.5-5.6 IS USM, and EF-S 18-135mm f/3.5-5.6 IS Lenses

Pre-Order the new Canon EF 100mm f/2.8L IS USM on Amazon.com

Lake Success, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, continues its advancement of EOS lens technology with the introduction of three new EF and EF-S lenses – EF 100mm f/2.8L Macro IS USM, EF-S 15-85mm f/3.5-5.6 IS USM and the EF-S 18-135mm f/3.5-5.6 IS, lenses. The new EF 100mm f/2.8L Macro IS lens is the world’s first camera lens featuring Canon’s new Hybrid Image Stabilization (Hybrid IS) technology*, compensating for both angle camera shake and shift camera shake, up to four shutter speed steps. The EF 100mm f/2.8L Macro IS USM lens is compatible with all EOS cameras, while the EF-S 15-85mm and EF-S 18-135mm zoom lenses are designed specifically for Canon digital cameras that are compatible with EF-S lenses.**
EF 100mm f/2.8L Macro IS USM lens
The EF 100mm f/2.8L Macro IS USM lens could very well be the essential multipurpose lens for every camera bag due to its ability to capture sharp close-up images of small objects as well as beautiful portrait-length telephoto shots. The incorporation of Canon’s new Hybrid IS in this L-series macro lens allows it to compensate more effectively for camera shake during close-up shooting and marks a significant improvement for professionals and advanced amateurs utilizing macro photography for portrait, nature or wedding shoots.
New Hybrid IS Technology: Designed Especially for Macro Photography
The world’s first* optical image stabilizer for SLR cameras was introduced in the EF 75-300mm f/4-5.6 IS USM in 1995. Since then, Canon has made continual advancements in IS systems to enhance panning capability and improve compensation for camera shake. Now, in a move aimed at extending image stabilization to the macro realm, Canon introduces its Hybrid IS in the new EF 100mm f/2.8L Macro IS USM – another first for Canon and the world.
Conventional image stabilization technology is useful for reducing the effects of camera shake in non-macro shooting situations. When shooting handheld close-ups at 1x, however, camera shake makes it difficult to achieve acceptable results even with lenses incorporating conventional image stabilizers. Now, thanks to the Hybrid IS found in the EF 100mm f/2.8L Macro IS USM, Canon extends IS technology to the macro realm, making it easy to obtain clear handheld close-ups – a world first* and a definite advantage in environments where use of a tripod is not an option.
In order to combat the effects of camera shake in a macro lens, the IS system must be able to compensate for both angular camera shake and shift camera shake – problems that become more apparent as magnification increases. The effects of shift camera shake are rarely noticeable when shooting outside the macro realm, such as in landscape photography. But when shooting extreme close-ups, even the slightest amount of camera shake, either of the angular or shift variety, can adversely affect image quality.
In macro photography, shift camera shake and angular camera shake affect both the image formed on the sensor and the image shown in the viewfinder. This is especially relevant to handheld shooting at 1x, since the inability to properly compose and focus due to a shaky image in the viewfinder makes it extremely difficult to record sharp images.
Conventional image stabilizers of the type found in Canon IS lenses incorporate an angular velocity sensor (vibration gyro) to compensate for angular camera shake. Based on the amount of camera shake detected by the sensor, the IS system calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the shake. However, this type of image stabilizer can neither detect nor correct shift camera shake common to handheld macro photography.
The Hybrid IS includes an acceleration sensor in addition to the conventional angular velocity sensor (vibration gyro). Based on the amount of camera shake detected by the two sensors, a newly developed algorithm calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the two types of shake – a first in an interchangeable lens for SLR cameras and an excellent way to solve the problem of camera shake in macro photography.
Pricing and Availability
The Canon EF 100mm f/2.8L Macro IS USM is scheduled to be available at the end of September and sell at estimated retail prices of $1,049.00.

Lake Success, N.Y., September 1, 2009 – Canon U.S.A., Inc., a leader in digital imaging, continues its advancement of EOS lens technology with the introduction of three new EF and EF-S lenses – EF 100mm f/2.8L Macro IS USM, EF-S 15-85mm f/3.5-5.6 IS USM and the EF-S 18-135mm f/3.5-5.6 IS, lenses. The new EF 100mm f/2.8L Macro IS lens is the world’s first camera lens featuring Canon’s new Hybrid Image Stabilization (Hybrid IS) technology*, compensating for both angle camera shake and shift camera shake, up to four shutter speed steps. The EF 100mm f/2.8L Macro IS USM lens is compatible with all EOS cameras, while the EF-S 15-85mm and EF-S 18-135mm zoom lenses are designed specifically for Canon digital cameras that are compatible with EF-S lenses.**

EF 100mm f/2.8L Macro IS USM lens

The EF 100mm f/2.8L Macro IS USM lens could very well be the essential multipurpose lens for every camera bag due to its ability to capture sharp close-up images of small objects as well as beautiful portrait-length telephoto shots. The incorporation of Canon’s new Hybrid IS in this L-series macro lens allows it to compensate more effectively for camera shake during close-up shooting and marks a significant improvement for professionals and advanced amateurs utilizing macro photography for portrait, nature or wedding shoots.

New Hybrid IS Technology: Designed Especially for Macro Photography

The world’s first* optical image stabilizer for SLR cameras was introduced in the EF 75-300mm f/4-5.6 IS USM in 1995. Since then, Canon has made continual advancements in IS systems to enhance panning capability and improve compensation for camera shake. Now, in a move aimed at extending image stabilization to the macro realm, Canon introduces its Hybrid IS in the new EF 100mm f/2.8L Macro IS USM – another first for Canon and the world.

Conventional image stabilization technology is useful for reducing the effects of camera shake in non-macro shooting situations. When shooting handheld close-ups at 1x, however, camera shake makes it difficult to achieve acceptable results even with lenses incorporating conventional image stabilizers. Now, thanks to the Hybrid IS found in the EF 100mm f/2.8L Macro IS USM, Canon extends IS technology to the macro realm, making it easy to obtain clear handheld close-ups – a world first* and a definite advantage in environments where use of a tripod is not an option.

In order to combat the effects of camera shake in a macro lens, the IS system must be able to compensate for both angular camera shake and shift camera shake – problems that become more apparent as magnification increases. The effects of shift camera shake are rarely noticeable when shooting outside the macro realm, such as in landscape photography. But when shooting extreme close-ups, even the slightest amount of camera shake, either of the angular or shift variety, can adversely affect image quality.

In macro photography, shift camera shake and angular camera shake affect both the image formed on the sensor and the image shown in the viewfinder. This is especially relevant to handheld shooting at 1x, since the inability to properly compose and focus due to a shaky image in the viewfinder makes it extremely difficult to record sharp images.

Conventional image stabilizers of the type found in Canon IS lenses incorporate an angular velocity sensor (vibration gyro) to compensate for angular camera shake. Based on the amount of camera shake detected by the sensor, the IS system calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the shake. However, this type of image stabilizer can neither detect nor correct shift camera shake common to handheld macro photography.

The Hybrid IS includes an acceleration sensor in addition to the conventional angular velocity sensor (vibration gyro). Based on the amount of camera shake detected by the two sensors, a newly developed algorithm calculates the amount of blur on the image plane, after which lens elements in the IS are positioned to compensate for the two types of shake – a first in an interchangeable lens for SLR cameras and an excellent way to solve the problem of camera shake in macro photography.

Pricing and Availability

The Canon EF 100mm f/2.8L Macro IS USM is scheduled to be available at the end of September and sell at estimated retail prices of $1,049.00.

Pre-Order the new Canon EF 100mm f/2.8L IS USM on Amazon.com

Dreamy Bokeh, Mississippi River and French Quarter Pictures

posted in: Photography, Prints for Sale | 2
Click image to purchase a print on nolaPIC.com

To see  more New Orleans photography and purchase high quality prints please visit www.nolaPIC.com

Matassa Market French Quarter New Orleans
Click image to purchase a print on nolaPIC.com

Thanks to a very low humidy record during the past  weekend (unheard of  for Louisiana in August!), I shot a few (IMHO) great images with the Canon EF 85mm f/1.2L II USM, at the Hale Boggs Mississippi River Bridge in Luling , LA and in the French Quarter in New Orleans, LA. The small slideshow doesn’t do any justice, since the images should be really viewed at larger size to fully appreciate the feel them and the dreamy bokeh. Open edition prints are for sale and available from 8″x12″ to very large prints sized @ 20″x30″ and can be ordered and shipped in USA and Europe.

Please be sure to always check out my gallery of available images nolaPIC.com since new photos are added on a weekly basis .


Canon unveils its new PowerShot G11 Camera

posted in: Photo Gear | 0

CanonPowerShotg586x225

August 19, 2009: Canon today announces the launch of the feature packed Canon PowerShot G11, the successor to the multi award-winning PowerShot G10 – the favourite compact of professional photographers and photoagencies the world over.

Commenting on his use of the predecessor to the Canon PowerShot G11, the PowerShot G10, Gary Knight, acclaimed photojournalist and co-founder of the VII Photo Agency, said: “As a photojournalist who covers warzones, one of the main challenges I face is getting high quality images in hostile environments.

Gary Knight from VII making the Powershot G10 the ultimate street camera:

To achieve this I need a camera that offers great image and build quality without the bulk, and the PowerShot G series is perfect for this purpose. When shooting in areas of conflict, it’s important to have a compact camera in my bag that allows me to work discreetly but also provides the level of quality required to get the photos I need. The G Series excels in this respect, delivering great quality images from a compact body that is less intimidating than that of an SLR.”

Professional photographers will benefit from the Canon PowerShot G11 greatly expanded dynamic range. Canon’s new Dual Anti-Noise System combines a high sensitivity 10.0 Megapixel image sensor with Canon’s enhanced DIGIC 4 image processing technology to increase image quality and greatly improve noise performance by up to 2 stops (compared to PowerShot G10). The Canon PowerShot G11 also includes i-Contrast technology, which prevents high-light blowout whilst retaining low-light detail – ideal for difficult lighting situations.

The premium quality Canon lens delivers picture-perfect performance, offering a 5x wide angle (28mm) zoom with optical Image Stabilizer (IS). This allows handheld shots to be taken at much slower shutter speeds (4-stops) than conventional non-IS models – allowing perfect shooting in darker conditions or at a lower ISO.  Greatly reducing blur caused by camera shake, photographers can shoot at longer focal lengths and in lower light conditions without the need for a tripod.

The digital compact includes the ability to shoot in RAW format and is compatible with Canon’s Digital Photo Professional (DPP) software, ensuring that photo shoots can be easily integrated into a photographer’s workflow.

Stephen Munday, Senior Operations Director, Editorial, Getty Images, comments:  “The quality of images delivered by the PowerShot G series are so good that we use G10 images within our editorial library, and our photographers using the G series models do so because of the image quality and flexibility they provide.”

He continues, “The unpredictable nature of news photojournalism requires our photographers to get shots in all kinds of situations, and the size of the G10 allows them to do that without drawing too much attention to themselves. The low-light capabilities of the new Canon PowerShot G11 will be of even greater help in that respect, as it will allow our photographers to shoot high quality images without flash in even more situations.”

Alongside superb image quality, the compact size of the PowerShot G11 and a 2.8-inch vari-angle PureColor II VA LCD (461k dots) make it the ideal choice for professional photographers to use where an SLR is impractical or obtrusive.   The G11 is ergonomically designed for faster, accurate menu scrolling.  Analogue style dials for ISO and exposure compensation give photographers instant, familiar access to common settings and features.

“I’ve been a user of the G series since the G5” says Edmond Terakopian, photojournalist and winner of the British Press Awards Photographer of the Year and a World Press Photo award for Spot News. “Recently I’ve been using the G10 which is absolutely spot on; image quality, usability, reliability and build quality are all excellent. It’s the one camera that’s always with me, no matter where I am; whether on or off duty. I know I can rely on it to help me get the picture, no matter what.

Over the years I’ve used my G Series cameras on the occasions when assignments have needed discretion. It’s a satisfying feeling telling a picture editor that the photograph he’s just complemented was from a compact camera.”

The Canon PowerShot G11 is equipped to deal with any light condition.  Low Light mode enables photographers to shoot up to ISO 12,800 in reduced 2.5MP resolution at 2.4fps capturing brilliant shots indoors without the need for a flash, whilst a built-in Neutral Density (ND) filter decreases light levels by 3 stops allowing creative control in bright conditions.

The camera’s highest flash synchro speed has been increased to 1/2000th seconds, reducing the possibility of overexposed bright scenes.  A real time histogram displays brightness levels on the PureColor II VA LCD screen, so photographers can easily view conditions and change settings when shooting.

The Canon PowerShot G11 gives photographers the freedom to perfectly shoot fast-paced action.  Quick Shot mode takes images almost instantly after pressing the shutter, so fast moving objects are always captured, whilst Servo AF/ AE continuously adjusts focus and exposure to optimise settings when photographing moving subjects.

The Canon PowerShot G11 can be used with a wide range of Canon accessories, including the Speedlite 270EX, 430EX II and 580EX II; Macro Twin Lite MT-24EX and Macro Ring Lite MR-14EX flashes for enhanced shooting options; the Speedlite Transmitter ST-E2, Speedlite Bracket BKT-DC1 and Remote Switch RS-60E3. Underwater photographers can even team the PowerShot G11 with the specially designed Waterproof Case WP-DC34 – an underwater housing allowing full control of the camera at depths down to 40m. The PowerShot G11 includes an HDMI port so users can review images on a full HD screen via an optional HDMI cable.

Pre order the Canon PowerShot G11 on Amazon!

Need VERY interesting faces, young, cute, old, older…

posted in: Photography | 1

IMG_3916I need to update my  online portfolio.  If you are very cute, very old, very sexy, or have anything VERY interesting (i.e. tattoos, lots of freckles, etc.) shoot me an email (Canon [at] pompo.com) with a snapshot of yourself or your child. If it’s something I can use for my online portfolio, I will gladly do a free photo shoot with you and give you a cd with the best post processed images!

I need some very photogenic and cute kids between  2 and 8 years old too.

You must be in the Metairie area (or you’ll need to drive here) and willing to sign a release form for you or your kids. Pics will be taken outdoors in Metairie or New Orleans depending on type of shoot.

Thank you in advance…I look forward to hearing from you!

My Killer Homemade Pizza Recipe!

posted in: Uncategorized | 9

 Why you may ask, are you having a pizza recipe on a photo blog?!? Well, first of all, I’m straight Italian and sick~n~tired of eating “chewing gum pizza”. Beside that, if you are into photography, chances are you might like cooking as well, since it is  a form of art. So here we go…all aboard and get ready to make your very first homemade pizza, save some money and  brag about it too!

Ingredients for two large pizza about 15-16 inches wide:
(you should really have a 16″ round pizza stone)

  1. 3 1/4 cups of unbleached bread flour is BEST (not self rising of course), Italian Bertolli Extra Virgin Olive Oil (if you don’t find unbleached bread flour use just unbleached, I use and *LOVE* King Arthur unbleached bread flour). Otherwise plain bread flour will work too.
  2. 2 table spoons of extra virgin olive oil
  3. 2 teaspoons of fine salt (best if evaporated from sea water) otherwise regular salt would do it
  4. 1 bag of active dry yeast (1/4 OZ.-7 grams)
  5. 1 pound (450 grams) of mozzarella (better if “Mozzarella Di Bufala In Water” my favorite is Whole Foods mozzarella called Ovaline, yes it comes in water) or provolone cheese sliced or chopped, otherwise try to find whole mozzarella, NOT SKIM, “Bel Gioioso” brand is fine and VERY GOOdtoo. Do not buy any hard blocks of mozzarella or you gonna be wasting your time, it has to be very soft !
  6. 1 can of Plain Hunt’s tomato sauce (15 OZ.- 425 grams)

Buy the “plainest” sauce you can find! Look at the ingredients label, all you really need is plain tomato sauce! The less ingredients in there the better the taste!

Preparation:
Put the yeast in a small bowl and add 1 and 1/4 cup of very warm water (better if bottled water!- about 110 F), mix up and let sit for about 3 minutes.
Put the flour in a large bowl and add the 2 teaspoons of salt and the extra virgin olive oil in there and mix.

Add all the water with the yeast slowly in the big bowl with the flour while mixing with a wooden spoon and add the tablespoon of extra virgin olive oil at the end. After added all the water feel free to add more if you think it needs it…or if it’s too soft add a couple of spoons of flour til the right consistency.
When the dough gets…well looks like a dough, spread a little flour on a large cutting board and Knead for 6 to 8 minutes, until you have made a smooth and soft dough. Cut the dough in half an make two balls.

Put the dough in two lightly greased bowls with olive oil so it won’t stick.
Cover the bowls with thin foil and put in warm (…quiet…place..SHHHhhhh) microwave or oven (OFF of course!)…not in the refrigerator. Let sit for 1 and 1/2 hours at least.

After spreading the sauce I drizzle about 2 tablespoons of extra virging olive oil on it and bake at 350F for 7 minutes

Baking it:
Preheat the oven at 450 F (232 C) with the pizza cooking stone in there.

Sprinkle a tiny bit of white flour on a wide piece of tin foil about 18×22 inches wide (so you can grab the pizza later on and won’t get stuck) and put a ball of dough on it. Spread it with your hands and/or roller until you get a disc about 15-16 inches wide, about 1/8 of an inch thick.

Put about 3-4 large cooking spoons of tomato sauce on it and spread…( American pizza has way TOO MUCH SAUCE!) and drizzle all over a tiny bit of extra virgin olive oli. Grab the thin foil (you may need somebody to help you, since you don’t want the thing to fold over! To prevent the thin foil from folding over hold the ends of it tight, don’t give no slack) and place it right on the hot stone and cook for 7 minutes at 450F.

Here above I got the pizza with the sauce only (and olive oil) out and added the mozzarella, plus some marinated artichokes, kalamata olives and anchovies...YUM! :) Then put in oven again for another ten minutes at 450F

Take the pizza out and spread 1/2 pound of mozzarella (or less:) on it, and other toppings you may like, ( While the pizza is out do not forget to close the oven so temperature don’t drop) and put back on the stone and cook for another 10 minutes; when one minute is left set the oven to broil – HIGH so the mozzarella gets some nice darker brownish spots.

Once the pizza is done garnish with a few leaves of fresh basil if you have the luxury of having  it in you herb garden.

To separate the pizza from the tin foil, place the pizza on the counter, let it stick out about 25% and pulling the thin foil down keep on rotating the pizza until separated from foil.