Why you need To Be A Guerrilla Travel Photographer-And How To Become One [part 2]

This post is the 2nd in a 2 part series by Tony Page from Travel Signposts. See part 1 here.

 Lac Brienz, Switzerland. I used my wife, Helen, to provide a splash of accent colour and point of interest to what would otherwise have been a peaceful, but basically boring scene (guerrilla travel photographers always employ all the resources at their disposal...). Now it has a story to it, an emotional component.
Don’t Forget the Foreground
Want a killer landscape shot? Make sure you’ve got a striking foreground. Now in most cases, the foreground will not be the main subject of your image, and really serves as a kind of frame to emphasise the depth of your composition. One of the big advantages of using an ultra wide angle lens is the dramatic perspective you can get between a relatively close foreground and the rest of the scene while still keeping everything sharp. But you can still use this principle even if your lens is not so wide, although you have to be more careful about depth of field — stop down!
And Don’t Forget The Other Two…
The best landscape photographs have clearly a defined foreground, middle ground and background. I’ve emphasised the foreground because that’s the one that people usually miss out when they’re taking photos of an impressive landscape. Everyone usually gets the sweeping background, that’s often the first thing that strikes them when they look at a scene. But it’s equally important to have a strong middle ground to avoid a feeling of emptiness in the centre of your shot (unless that’s what you want, of course, the middle ground in the shot above is deliberately empty to emphasise the feeling of expansiveness).
So you’ve got a foreground, you’ve got the middle ground, and you sorted out a fine background. Okay, what’s your photo about?

 Monet's Lily Pond at Giverny, France. There are several visual elements in this image which draw your attention, but there's no doubt what the photo as a whole is about.
Well, what’s your photo about?
“Er, er, well, it’s a landscape shot, in Spain, I thought it was quite pretty…”
Dong! Sorry, wrong answer, you fail, you are the weakest link, goodbye!
With landscape photos, it’s quite easy to take a technically competent photograph about nothing. Attractive wallpaper. Don’t let this happen to you. The landscape in front of you may be beautiful, but you must have a focus to your picture, a clear subject so that anyone looking at your image can instantly say “this is a shot of a mountainous forest landscape in the Ardennes” or “this is a viaduct spanning a valley in Yorkshire” or the like. All right, they don’t have to be able to tell that it’s in the Ardennes or in Yorkshire, but you get my drift.
Your subject can actually be the light itself, “shafts of sunlight breaks through the storm clouds onto the fields”, or the weather, “a heavy downpour streams down the mountainside”, just so long as the subject of your photograph is clearly evident. If the person looking at it has to think twice about what your image is about (we’re not talking about your interpretation of the subject), it’s not strong enough.
When you’re shooting groups outside in sunny weather, even with friendly light, you may find it difficult to get the lighting right on everyone’s face. In harsh midday light, it’s even harder! The best way to solve this problem is to turn everyone round with their backs to the direction of the sun, and use fill-in flash to balance the light. The same goes for shooting inside, with awkward artificial lighting. Of course, you’ll come in relatively close and the light source won’t be included in the picture.

Get Them Up Close and Personal

When you’re doing a shot like this, when the emphasis is on the people in the photo as opposed to the surroundings, make sure that you get everyone to really squeeze together, especially their heads. Preferably, their heads should be virtually touching. Although they’ll feel strange, and it may cause a few giggles, you’ll find that the result will be immeasurably better than if you leave them to pose at the distance they themselves would normally select. Try it, you’ll see what I mean. It helps to break the ice and get a relaxed shot, too!

Make Them Look Up To You
Another trick I’ve found useful, especially when the group is quite sizeable, is to shoot from a higher viewpoint and get everyone to look up at you. You don’t have to get up too high, maybe a nearby low wall or a few stone steps, or if inside simply stand on a chair. This is helpful in avoiding people blocking each other, because you can be sure that later everyone will be looking for his or her own face!

Keep Up the Chat
As with individuals, always remember to keep talking when you’re photographing groups. You have to keep them amused and happy — it doesn’t matter if they think you look or sound stupid, as long as you get the shot.

Close-Up Food Shooting
Food shots make great memories, but not many people remember to take them! When you’re shooting your close-ups with a point-and-shoot, don’t go too close to the food, and pay especial attention to this when you’re sitting at the table, or you’re liable to burn out your highlights. You want to use your zoom to frame the plate tightly, so if necessary stand up. Another way to do this is to photograph the plate of the person sitting across the table from you. If you have a diffuser on your camera flash, this will help no end.

Although I like to have as much of the food in focus as possible, you’ll often find that you are shooting at large apertures, which coupled with your use of zoom leaves you with quite shallow depth of field. Actually, this is currently very fashionable in professional food shots, just make sure that the first food element is in focus and let everything beyond the back of the plate (or closer) go soft. If you’re using flash, and find you have too much depth of field, just use a bigger aperture (f/2.8 is good) to get the desired effect.

Brand Your Shots
Take at least one shot that uses the branding devices employed by the restaurant or cafe to show where you are. These can be menus, paper napkins, coasters, plates, coffee cups or even sugar sachets with the establishment’s name on them. Just incorporate them into your composition.
You can also get good shots of “local” dishes at buffets; there is usually a wide range of food and the situation is often more relaxed. The arrangement and decoration can also provide interesting elements if you’re lucky.

Red Wine Trickery
Here’s an old pro tip about shooting wine. Red wine is always too dark in photographs as it is, so as you’re not in the studio, the easiest way to get over this is to — shock, horror — dilute it with water. You should easily be able to see your finger through the glass.

The Golden Rule of Shooting Food in Restaurants
Now if there’s one golden rule when you’re shooting food in restaurants or cafes, it is to BE QUICK! One very good reason for this is because you obviously want to shoot the food before you start eating it, and hungry people tend to get impatient when delicious fare has been placed in front of them. So get an idea of the way you’re going to compose your shot before the food arrives. If I’m honest, there have been some occasions when I’ve joyfully tucked into my food, before realising a little too late that I had meant to photograph it…
The best time to shoot night shots is at twilight. At that time, the sky still has some blue in it and the city lights have already come on. It’s obviously best if you use a tripod and cable release, as this opens up a whole range of shots to you that would be impossible without it. If you haven’t a tripod with you, you’ll have to make use of walls, lampposts and other supports, because the exposures will certainly be slow, unless you’re shooting brightly lit shop windows and the like.

 Edinburgh Castle lit up for the famous Annual Tattoo. A slow exposure, 1/10 second, handheld but resting my elbows on the seat in front.
Exposing At Night
City Skyline: Don’t Burn Out
The tricky thing with night shots tends to be the exposure. If you’re taking a shot of a city skyline, simply taking an overall exposure reading will probably overexpose your shot, as the large expanse of dark areas will fool your camera into burning out the highlights. So in this case, you’re probably going to have to use exposure compensation to reduce your exposure a little. Fortunately, since you’re not paying for film and can check things immediately on your LCD, you can adjust your image to your own taste.
By the way if you are taking a skyline, if you can get a river or other stretch of water in front of it, you’ll get some great reflections that can really lift your shot. This also goes for decorative pools in front of floodlit statues or other tourist sites.

Bright City Lights
On the other hand, if the city lights and brightly lit areas are closer and you point your camera at them, it’s almost certain that your shot will be underexposed as your camera will work out the exposure based on those highlights. Try focusing slightly off to one side of the lights and use that exposure. If this doesn’t look good, you may find you have to increase your exposure compensation by +1 or +2.
[CAPTION: Traffic streams along the river freeway outside the Kremlin in Moscow. Taken from inside a coach, you can see the bus clock at the top left, on a Nikon E995 (yes!).]

White Night Balance
As far as your white balance is concerned, you’ll have to experiment. Surprisingly, I’ve found that the auto setting on my Nikon and Canon often produces acceptable results when shooting at night. You can have quite a mix of light in your shot, and although you might start with an incandescent setting, this won’t necessarily get you the best results. I’m often glad to be shooting in raw format!
You should note that sodium lights (orange) and some mercury vapour lights (bluish white) produce an incomplete spectrum, so cannot be properly filtered or balanced to give true colours; fortunately you see less of them of late (the use of mercury vapour lamps for lighting purposes will be banned in the European Union in 2015). Nowadays, halogen lights are popular for shop window displays, and you’ll frequently get a good result on your auto setting.

That’s all I have space for here, but please share your own experiences and tips below. In any event, I hope I’ve encouraged anyone who ever thought “these travel techniques are all very well, but I simply would never have the time for them” to realize that they’re not alone, and that there are other ways of photographing on the road.

Cynics have said those who can, do, and those who can’t, take photographs. Guerrilla Travel Photographers believe that on holiday you can do both.
So, lock and load, and good shooting…

Tony Page is a professional photographer and writer. View his work at Travel Signposts. Tony will be launching a new eBook in the coming days.
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Why you need To Be A Guerrilla Travel Photographer-And How To Become One

A Guest Post by Tony Page from Travel Signposts.

You know, as a Guerrilla Travel Photographer I often find myself thinking that some people who give us advice about taking photographs when we’re traveling need a reality check.
Okay, a lot of their advice is fine in an ideal situation, but the problem is we’re usually not in an ideal situation. There’s a lot of difference between the ideal when you’ve got plenty of time and the reality when you haven’t, and people don’t place enough emphasis on the latter.
Most of us are forced to be Guerrilla Travel Photographers by necessity. We can only fantasize about having all the time in the world to think about our shots, to wait for the right light, to choose different viewpoints, to have cooperative and colourful model talent, to try different technical approaches, all with a supportive crew behind us to carry our bags, bring us cool drinks, and mop our brow.
OK, I’m exaggerating, but you know what I mean. In the words of an immortal Australian,
“Tell ‘im he’s dreamin’!”
For most of us, although we love taking photographs when we are on the road, it is not the only thing competing for our attention. Lots of us have significant others, children or friends who while appreciating our hobby, are not committed to it in the same way we are. So we have to take our chances when we can, “seize the moment” and take advantage of any opportunities that come our way. We have to be Guerrilla Travel
Photographers.

Let’s have a bit more photographic how-to advice with an aggressively practical spin, that starts off with the assumptions that the light’s wrong, the subject’s difficult, we don’t have any time and we’re not using the latest and greatest gear. Sound familiar? Because that’s the likely reality for most of us.
And that’s what this post is all about …travel photography in a real world! In this and tomorrow’s post, I’ve put down a few guerrilla travel photography basics that I hope will start you thinking. And if you’ve got a few tips that will help, please share them in the comments. Good shooting!
It’s always worthwhile finding out something about the places you’re going to travel to before you leave home, whatever your reason for taking photographs. Obviously, you’d have to do more research if you were going to write a feature about the destination, but even if you are just travelling on holiday, getting some idea of the kind of things you might be photographing can be very useful and save a lot of time.

Where to Get Your Information
You already know the broad outline of places that you will be visiting, but you may have some flexibility as to the time. If so, it’s a good idea to check whether there are any festivals or special events going on at your destinations; these can often provide rewarding photo opportunities. Look up the local tourist boards on line, they often have calendars of events many months in advance, and travel websites frequently highlight upcoming festivals and other points of interest.
Even if you are not going on an organised tour, it can be worthwhile to check out tour itineraries covering the places you’re visiting: they will give you a good guide as to potential tourist sites and activities in which you may be interested. For Europe, have a look at Insight Tours, Globus and Trafalgar.

 Gondolas near St Mark's Square, Venice. Visit the Tourist Office, it's just to the right of this shot. Photos like this from Travel Signposts give you an idea of what's available to shoot.

Get a Sneak Preview Before You Go
It’s also helpful to have an idea of what things look like before you’re standing in front of them. Get some ideas of what other photographers have thought was interesting by looking up your destinations on the big stock sites, like Getty or Corbis. Some travel websites also have galleries of photographs that can be helpful; for example, Travel Signposts has over 23,000 images of European and Mediterranean subjects designed to show you what places are really like, as opposed to simply glamorizing them.
I’m not suggesting that you copy these shots, but they will give you some idea of the different viewpoints and interesting features of your potential photographic subjects. This will really save you time when you finally get there, and as a guerrilla travel photographer, time is one of your most valuable commodities.
Before we get any further, let’s put another myth to rest. Some photographers seem to have a sort of macho belief that if you don’t use manual settings somehow you aren’t a REAL photographer. What a load of old cobblers! The only time I use manual settings is when I can’t get the camera to do what I want automatically. In many cases, I am quite happy to let the camera do the calculations while I concentrate on creating the image.

 Fish outside a Bosphorus restaurant, Istanbul, Turkey. Canon Ixus 400, automatic flash.

Don’t Be Scared Of Auto Modes
Although a point-and-shoot camera is more limited when it comes to shooting modes, for example aperture priority or shutter priority, careful use of the various screen modes provided can help you get your shot. I rarely use only manual settings on my DSLR, tending to leave the camera on shutter priority for casual shooting, to minimise camera shake and freeze subject movement.
I also make use of the program mode; many people don’t realise how flexible this can be. With Nikon cameras and many others, if you don’t like the particular aperture/shutter combination selected, you can simply adjust the exposure value by dialling in the aperture or shutter speed you fancy and the camera will adjust the exposure accordingly. No need to switch to aperture or shutter priority at all.

Learn To Use Exposure Compensation
One manual control it’s useful to know about is how to adjust exposure compensation. On point-and-shoots, it’s often only reached by menu if it’s there at all, but in DSLRs it’s usually on a dial or wheel. I’ll mention some ways I use this later, but basically you set it to artificially increase or decrease your exposure to make up for mistakes made by your camera’s meter, when it is fooled by the light reflected from a beach or snow, for example.

 Lagoon at twilight, Raratonga, Cook Islands. Canon Ixus 400.

White Balance: Don’t Chop and Change
As far as colour balance is concerned, while it is true that the auto balance setting on some cameras is not too accurate in mixed light, you won’t go far wrong in most circumstances you will meet when traveling if you just leave it on auto. Of course, it’s easy to make adjustments later if you’re shooting in raw format, and even with point-and-shoots, broad adjustments for example, for a cloudy day or tungsten light, can provide acceptable results. But if you start switching it around every few minutes you’re going to buy yourself some grief when you’re on the road shooting guerrilla style.
The great advantage of shooting in the studio is that you can control the light. Unless you’ve got a lot of time, you can’t pick and choose your light when you’re traveling. If I had to pick the greatest challenge I find myself facing while photographing on the road, it would have to be trying to create great images with the wrong lighting conditions.

The Problem with the “Golden Hours”
You’ve probably heard about the “Golden Hours”, the hour just after sunrise and the hour just before sunset, when the light is particularly flattering for photography. The problem is, there are an awful lot of hours in between when most of us will need to take some photographs! What’s more, if you’re shooting in Europe in summer, don’t forget that sunrise can be before 5 a.m. and sunset around 10 p.m. – that’s quite a spread.

 Temple of Hatshepsut, Egypt: The pattern of the people is reminiscent of a Lowry painting, and retaining the intensity of the light captured the atmosphere - can you feel the heat?

Only Mad Dogs and Englishmen Go Out In the Midday Sun
Harsh, contrasty sunlight can be the bane of the travel photographer, but it’s no use bemoaning the fact that you should be shooting four hours later when four hours later you’ll be 100 km away. The same goes for dull weather; as a rule grey skies and rain make it more difficult to get interesting images, especially in cities with all those grey buildings.
Where you do have the choice, it is helpful if you can split your photo shooting into two sessions at the beginning and towards the end of the day to take advantage of the better light. However, for many of us on vacation that’s frankly impossible. That’s why we have to take our chances as guerrilla travel photographers!

At Noon, a Polarising Filter Is Your Friend
Harsh overhead light at midday is not all bad news, however. Polarising filters work best when the light is at 90° to the subject. Consequently, they are at their most effective in intensifying colour when the sun is overhead. So slap on the polariser, look for subjects with strong colours and create your compositions accordingly. Any shadows will drop out, of course, but think CSI Miami/Ken Rockwell vivid colour schemes rather than subtle shades and you won’t go far wrong.  And if you’re a point-and-shooter, it’s quite possible to hold a polarising filter in front of your lens (if a bit awkward), or just try shooting through your Polaroid sunglasses (that’s a real guerrilla photography tip).
Those deep shadows can also be used creatively to create striking graphic compositions. You can even do portraits, remember that great shot of Marlon Brando’s bald head coming out of the shadows in “Apocalypse Now”?

This post will be continued tomorrow where Tony will share another 4 tips for being a Guerrilla Photographer. 
Tony Page is a professional photographer and writer. View his work at Travel Signposts. Tony will be launching a new eBook in the coming days (stay tuned on Sunday for details).
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Droste Effect – Photoshop

I an earlier blog post I introduced Pixel Bender a new extension for Photoshop CS4 and CS5 from Adobe Labs. In this post I’ll show you a filter which lets you create a Droste effect with an image. The filter is free to download and once it is installed you can apply it from inside Pixel Bender. It was created by Tom Beddard who is author of a lot of really wonderful filters – you can see more of them here.
The Droste effect is an image effect named after a Dutch cocoa company called Droste. In 1904 it produced packaging for its cocoa product showing a woman carrying a tray with a box of cocoa and a cup on it. A small version of the package appeared on the cocoa box on the tray and so on – each version of the image being successively smaller than the last.

To create the Droste effect you must first have Pixel Bender installed so, if you don’t, visit my earlier post to learn where to find it and how to install it. Then, you’ll need to download the Droste filter from: http://tinyurl.com/pbdroste.

Unzip the folder and copy the .pbk file to your Program Files\Adobe\Adobe Photoshop CS5\Pixel Bender Files folder. Restart Photoshop and the Droste filter will be in place.

Start with an image that is square with some element of interest centered in the middle of the image. I chose a flower against a neutral background – start with something simple as you learn how the filter works – then plan to use a more complicated image later on.
Make a note of the size of the image by choosing Image > Image Size and write down the image width and height.
There is a physical limit to the size images you can use with Pixel Bender which is 4096 x 4096 so make sure your image is smaller than this. I suggest you start with smaller images still as they render faster.
To run the filter, choose Filter > Pixel Bender > Pixel Bender Gallery and select Droste from the dropdown list. If you have used the filter previously, hold Alt (Option on the Mac) and click on the Reset button to reset the filter settings.
Set the Size [0] and Size [1] sliders to match the width and height of your image – my image is 530 x 530 pixels.
By default, you should see a typical Droste file image with straight edges.

To turn the straight edges into a curved spiral, deselect the TransparentInside checkbox.
If the image is off center, the spiral will look askew at this point. To change the center point of the image and align it with the center of the spiral, adjust the centerShift [0] and [1] sliders – each of these operates in a different dimension. Adjust the center of the image until the spiral looks correct.
To adjust the placement of the final image, use the Center [0] and [1] sliders.

If you do not have an image spiral that completely fills the image area you will see some black background color outside the spiral. You can control the color used for this background by setting the BackgroundRGBA values. The [0] setting controls the Red value, [1] controls Green, [2] controls Blue and [3] controls the opacity of the background. The default is that all sliders are set to 0 and the Opacity slider to 1 which gives the black color. You can view the current background by setting Levels to 2 and the LevelsStart value to 1. Then create your own background color and, when you’re done, increase the Levels value to back up again to around 7.

To make the spiral tighter or looser, adjust the RadiusInside value. Set it to a very small value to get a small number of loops and to something like 50 to get one with lots of loops. The default setting is 25.

Decreasing the OutsideRadius twists the spiral more tightly. The default value of 100 makes the spiral looser.
Periodicity is the number of times the image repeats in each loop of the spiral. If you set this to 2 the image will be repeated twice per spiral – the Default value is 1.

The Strands value sets the number of loops in the spiral. If you set this to 2 you will have two interlocking spirals and if you set it to three you’ll get three strands/spirals and so on.

Other interesting effects include using the RotatePolar value. By setting it to, 90 as shown here you will get different spiral loops on the screen. Having done this, you can then select RotateSpin to adjust the effect.

If you enable HyperDroste then adjust the FractalPoints value, you will create an image that is reminiscent of a fractal style image.

If desired adjust the Zoom value to zoom into the design.
Use RotateSpin and RotatePolar with FractalPoints and HyperDroste to fine tune the effect.
When you have a design you like, click Ok button to apply the Droste effect to your image.
Once you know how the controls in the Droste filter work you’re ready to apply it to a more complex image.
To get best results, start with a square image with something of interest in the center and make sure to set the image dimensions in the filter before working with the other sliders.

Helen Bradley is a Lifestyle journalist who divides her time between the real and digital worlds, picking the best from both. You can view her site at helenbradley.com. She writes and produces video instruction for Photoshop and digital photography for magazines and online providers world wide. She has also written four books on photo crafts and blogs at Projectwoman.com.
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Photoshop CS5: Oil Painting with pixel Bender

One of the cool new tools of Adobe Labs is Pixel Bender. This free extension lets you one of a series of filters that with the extension to your images in Photoshop CS5 will apply. But that's not all-Adobe also offers a simple interface for Pixel Bender, which allows you to create your own filters. As a result, build a community around Pixel Bender filters with custom made users to share with others. In this post I'll show you how to get started with Pixel Bender.

You will find the pixel Bender extension here: http://labs.adobe.com/downloads/pixelbenderplugin.html.Make sure that the version that corresponds to your operating system and version of Photoshop CS5 (32 or 64-bit). enlargement is a. mxp file, and you need to install Adobe Extension Manager.

You can install the extension by double-clicking the file with Adobe Extension Manager.If you are running Windows Vista or Windows 7, you must use the Adobe Extension Manager run as administrator.So, from the start menu, locate the entry Adobe Extension Manager, click the right mouse button and select run as administrator. the reason for this is that the extension be placed in a folder available only if you must have administrative privileges. If you try to manually start the program, choose file > Install Extension, and then locate and select the extension that you just downloaded.
Accept the license terms, and the extension will automatically be installed in the correct Photoshop CS5-program folder.
When you are finished, close the extension manager, Photoshop close and open it.

Pixel Bender will not work on images larger than 4096 x 4096 so your image resizing, if necessary. If you want, you can add an image to a smart object converted before you apply a filter.
With pixel Bender-open an image and select filter > Pixel Bender > Pixel Bender Gallery.Here you will see a list of filters in the drop-down list box that are looking at CircleSplash. Select the filter oil paint and then adjust the settings.Styling, you can change the length and angle of the brush strokes – the larger values best look.Clean the softness of the effect is adapted and usually looks good on about 7 or 8. Colorization more or less, you can apply color to the image.BrushScale changes the size and the length of the dark brush strokes-a small value indicates dun lang lighter brush strokes and a larger value shorter thick dark brush strokes. BrushContrast will the contrast of the brush strokes and probably better can be left on a value of 1.
In short, adjust the sliders until you get a result that you want.If you are not sure how a slider affects the image drag it all the way to the left or right to see the effect. from there.
When you are finished, click OK to apply the result to the image. Unlike most filters those images to look like an oil painting painting to convert, this is a good in identifying edges in the image, so that the painting looks more realistic.

Helen Bradley is a lifestyle journalist who her time between the real and digital world, choosing the best of both. you can display for its Web site at helenbradley.com. She writes and produces video instruction for Photoshop and digital photography for magazines and online providers worldwide. She wrote four books on Photo crafts and blogs on projectwoman.com.

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Cosina Announces (f) and (k) adapters for Sony NEX

Cosina Voigtländer has announced branded adapters to connect to Nikon F and Pentax k-mount lenses with Sony NEX-5 and NEX-3 camera bodies. They offer only a mechanical connector between the lens and body, so only lenses with a manual aperture ring will be completely compatible. Priced at ¥ 19,800 (~ $ 235), the f-mount adapter is currently available, while the Pentax version shipping from October 10, 2010 will start.
By clicking to learn about the site Cosina (in Japanese) and a list of compatible lenses.
Click here for more information on the website (in Japanese)
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Redrock Micro releases microEVF to DSLRs

Redrock Micro Video accessory maker has announced the electronic viewfinder microEVF video-enabled DSLR 's. The device attaches to the hot shoe and is compatible with a camera with a HDMI output during recording. It features a 1.2 m dot LCD display with LED backlight promising low power consumption and the flexible eye-piece in different directions can be moved. The external viewfinder can also be used in conjunction with multiple external monitors. The microEVF will be priced at $ 595 and the release date, which is yet to be confirmed.

Press release:

Ultra Compact, high definition EFF sets default size, performance and price
Hollywood, CA september 2010: Redrock Micro, the recognized leader in affordable professional film accessories, announced today the new patented RedRock microEVF electronic viewfinder for HDSLR cameras.This is the first electronic viewfinder designed from the ground up specifically for HDSLRs, compact, lightweight design, better resolution and incredible affordability.
The popularity of HDSLRs like the Canon 5 D MKII animations for video and photography has skyrocketed in recent years, but the camera body is not ideal for video. the first generation of monitoring solutions available – attaching an optical viewfinder on the back of the camera LCD screen – severely placement of the viewfinder and camera body to reduce and prevent the use of additional displays for the assistants of the camera or the members of the Board of Directors. The new RedRock microEVF is an external electronic viewfinder, which is connected to the camera body and can be placed anywhere to maximize your comfort and stability and it may form part of a multi-monitor solution. The microEVF uses a customized state-of-the-art illuminated led mounted in an attractive, ergonomic body.

Main features of the microEVF are:
A full-color HD viewfinder designed specifically for the needs of the compact, lightweight HDSLR cameras. The microEVF weighs less than 6oz. ultra high resolution 1.2 m dot display that is higher than the Canon EOS camera behind LCDLED backlight maintains clear sharp picture with minimal power consumptionElectronic help features that will be announced closer to the production releaseInfinitely configurable options to the microEVF exactly where desiredLow energy consumption of a full day around the clock display with a built-in battery lasts mounting
"We feel it's time for a better approach of HDSLR camera surveillance," said James Hurd, Chief revolutionary for Redrock Micro."The microEVF meets this need with an elegant and compact solution that is not only affordable, but also a high standard for features and performance."
The microEVF compliments also-of-the-art camera teams by working with external monitor, such as a monitor for the assistant cameraman, and for a driver or video village. The microEVF is compatible with any video camera that HDSLR or the HDMI output during recording. HDSLR cameras known to be compatible, the Canon 5 D MKII, Canon 7 D Canon 60 D, Canon T2i, 1 Canon 1 d MKIV, Nikon D3s, Nikon D300s, D3100 and D7000.

PRICING AND AVAILABILITY OFmicroEVF's amazing priced at $ 595. availability is not yet announced. for more information, visit www.redrockmicro.com/evf

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ACDSee Pro enters beta for v4 for PC and Mac v1. 4

ACD Systems has announced beta versions of the ACDSee Pro image workflow software for both Mac and PC. The forthcoming beta version 4 for PC features view metadata and management of tools to speed up the workflow, as well as improved support for geotagging and improved raw conversion. In the meantime, a beta version 1. 4 for Mac now available.
PC users click here to signup to beta test ACDSee Pro 4
Mac users click here to download the beta test ACDSee Pro 1.4

Press release:
Fall 2010 public beta testing begins on the next generation of ACDSee Pro software and also provides improved processing and display capabilities
VICTORIA, British Columbia – after successful redesign of the ACDSee professional photography workflow software last year, ACD Systems International Inc. is aimed at extending the application of the fast and flexible capabilities even further with the launch of the beta test version of ACDSee ™ Pro 4 this fall. the company expects that thousands of professional photographers to participate in the period of ACDSee Pro 4 beta and feedback in the development process, similar to the 10,000 testers who helped shape the current version.
"The highest themes that we constantly from our users hear during the beta testing running to save time and customize workflow so that which, in turn, top priorities for Pro 4 will be," said Cam Carmichael, product manager for ACD Systems. "Beta testing is the best way to gather feedback in order to ensure that our promise of a fast and flexible workflow tool at a tremendous value to remain. "
ACDSee Pro 4 beta testing, will open this fall, photographers are invited for the evaluation of these new features:
Workflow-acceleratedAdditional metadata
Metadata Working Group compliance.New, workflow acceleration tools for viewing and managing metadata. greater interoperability of metadata.

Map view with Geotagging
New map view is available in the management and view mode. Map view gives users the ability to easily geotag items, view items on the map, use the map to groups of files for further steps of the workflow, select it and use the map to the images displayed in the view mode.
Better raw processing
Improved performance and quality of the raw processing
Improved processing of all image files
Larger color space for the best possible colour retention. improved performance and usability improvements.Vignette correction. chromatic aberration correction and defringing.
Availability
ACDSee Pro 4 beta testing will launch in Fall 2010.
Press release:
The latest beta of ACDSee Pro for Mac, which has been tested by 10,000 photographers, introduces the non-destructive editing, and an improved graphical user interface (GUI)
VICTORIA, British Columbia – beta testing of ACD Systems International ACDSee Pro Photo Manager ™ for the Mac is heading into its final stages and introduces professional photographers to one of the most powerful features of the software: non-destructive editing.
1.4 Beta downloads of ACDSee Pro for Mac, which is a workflow system faster all-in-one photography photographers, are now available., so far, more than 10,000 Mac users have participated in the beta program and feedback in 153 forum topics have offered to developers of the ACD Systems. the final version is scheduled for release in early 2011.
"This latest beta phase is an opportunity for photographers to test the features which will ACDSee Pro for Mac is a powerful workflow tools, in particular the non-destructive editing capabilities," said Tarjin Rahman, product manager for ACD Systems. "Testers will edit images without the need for new files, which is a huge time saver. "
Other notable additions to the 1.4 beta include:
An improved graphical user interface for the process of links can easily copy and paste of the institutions of the processing of one image to another. Metadata is compatible with the MWG (Metadata Working Group) and supports IPTC Core, extended and IIM. support for XMP sidecar car filesA custom metadata window for the presentation of a specific set of data that are most important to the user.
Between the beta 1.trial period and the final release date early 2011, Simon Tipler, project manager for the ACD Systems, said the developers of the company will be implementation of feedback on user roles and accomplishments in the workflow process streamlining with a view to adapting it, and quality control.
"We know that photographers who use the Mac systems are eagerly anticipating Pro for Mac because they are an integral part of its development," said Rahman. "They will be happy when they see the final product. "
Pricing and availability of
ACDSee Pro for Mac is in beta-testing. the full version of the product is expected to be in early 2011. at that time, ACDSee Pro for Mac will be available for purchase at $ 169.99 (USD) and a 30-day free trial by visiting www.acdsee.com.

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Phase One provides protection investment plan

Phase One has announced a guaranteed trade-in arrangement for customers wishing to upgrade to newer products. Within six months a new product is launched, existing customers can to 90% of the original purchase price of digital backs received and up to 50% by camera bodies and lenses.
Press release:
Helps clients Secure their investment
COPENHAGEN, 29 september 2010-Phase One, a leading provider of medium format digital camera systems, today announced an unprecedented new product investment protection plan.
Effective immediately, Phase One provides customers with security in connection with the purchase of a product of Phase One.Now customers best-in-class investment protection be ensured if they wish to upgrade to future Phase One innovations and new products to be launched in the coming years.
Eligible customers who have purchased their products from an authorized Phase One partner want to upgrade to a new product within a period of six months after the official launch, are guaranteed to receive:
90% of the original purchase price against each new Phase One digital back launched at a higher price within a period of 18 months from the date of original purchase.50% of the original purchase price against each new Phase One camera body launched at a higher price within 24 months from the date of original purchase. 50% of the original purchase price against each new Phase One or Schneider-Kreuznach lens for the Phase One 645 camera platform launched at a higher price within 24 months from the date of original purchase.
"Engineering and development is the biggest investment of Phase One," said Henrik O. Håkonsson, CEO and Chairman of Phase One. "And we are eager to reward customers who trust us and invest in our products.As a result of this loyalty & Investment Program, we invite them the benefits of our passion for technical breakthroughs to drive and delivering the best possible products on the market. "
Phase a professional camera equipment is available only through authorized partners worldwide. Phase One for more information, including the performance of the protection scheme for the purchase of a fully configured camera systems, see the partner closest to you:
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Kingston releases 600 x CompactFlash card

Kingston has announced the Ultimate 600 x (90 MB/s) UDMA CompactFlash memory card with a capacity of 32 GB and 16 GB. The fastest CF card of a company to date, it complements HD movie recording capabilities and continuous shooting speed of the newest UDMA-capable DSLRs. Kingston joins the list of manufacturers of 600 x cards including a 64 GB version of SanDisk.
Press release:

High speed, high-capacity media Supports UDMA mode 6; addition performance of high-end digital SLR cameras
Sunbury-on-Thames, United Kingdom-28 september 2010-- Kingston Digital Europe Ltd, a subsidiary of Kingston Technology Company Inc., the independent world leader in memory products, today announced the release of its Ultimate CompactFlash (CF) memory card. 600 x CompactFlash Ultimate 600 x supports UDMA mode 6 and offers read and write speeds of up to 90 MB/s as a result of which the fastest card Kingston Technology in support of high-end digital cameras and other devices.
"600 x Kingston Ultimate CF cards are ideal for photographers who shoot in burst mode. for example, if you are in a situation such as a marriage or sporting event which the ability to quickly consecutive images can make the difference between the perfect photo to capture or just missing," said Steve Hall, EMEA product development manager of flash, Kingston Technology "we are pleased to receive the map 600 x CompactFlash our family of products that are also of the Ultimate 266 x and 133 x Elite Pro ™ cards Add."
Results for the Kingston Ultimate 600 x CF is available with a capacity of 16 GB and 32 GB in support of the large size when shooting in RAW mode or HD video. And in combination with UDMA mode 6 enabled cameras and readers, the speed of 600 x writing of data to and read from the map at a faster pace than the previous generations of cards.For added peace of mind includes the Ultimate CF-600 x free, downloadable data recovery software from MediaRECOVER ®.
Kingston CompactFlash Ultimate 600 x cards (part #: XXGB-CF-U3) are supported by a lifetime warranty and 24/7 live technical support.
Kingston CompactFlash Ultimate presents new features/specifications:
Capacity *: 16 GB, 32 GB dimensions: 1.43 "x 1.68" 0 "(36.4 x 42.8 mm x 3.3) — CF Type I Speed **: 90 MB/s read, 90 MB/sec write recovery utility: data recovery software download from MediaRECOVER (compatible with Windows/Mac) Business-temperature: 32 ° to 140 ° F (0 ° to 60 ° C) storage temperature:-4 ° to 185 ° F (-20 ° to 85 ° C): standardized complies with CompactFlash Association specification standards Easy: plug and play guaranteed: limited lifetime warranty economic: auto sleep mode, the duration of the battery of the system some of the listed capacity on a Flash storage device is used for formatting and other functions and thus is not available for data storage. as such, the actual available capacity for data storage is less than what is displayed on the products. go to Kingston's Flash Guide at for more information, visit/flash_memory_guide.
** Mileage may vary on host and device configuration.EmailPrintPost commentNews-discussion
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Leica M9 Neiman Marcus Edition announced

A special edition of the Leica M9 Rangefinder is in Dallas on the basis of the luxury shop Neiman Marcus Christmas fantasy gifts list. The 50-piece of ostrich-leather limited edition costs $ 17,500 and is located next to the other specialist gifts, including a life-size gingerbread Playhouse & her houseboat, and a $ 6000 ukulele.

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Press release:

Limited Edition camera only available through the Neiman Marcus Christmas Book
Allendale, NJ (October 5, 2010)-Leica Camera AG is pleased to be included in the 84th US edition of the Neiman Marcus Christmas book as one of the coveted Neiman Marcus "Fantasy Gifts." The Leica M9 Neiman Marcus Edition will be available in a limited edition of 50 pieces exclusively through the Neiman Marcus Christmas book.
With exquisite craftsmanship and premium digital technology is this gift just one of the best cameras in the world.Limited to a global circulation of only 50, the Leica M9 Neiman Marcus Edition the only camera that combines the classic Leica M shooting experience with State-of-the-art digital technology and luxury design. the rugged Leica M body and matching Summicron-M 35 mm F2.0 ASPH lens are perfectly finished in black and chrome, and the body is covered with luxury brown ostrich leather upholstery with a matching ostrich leather strap.The world's smallest is's digital rangefinder camera with a full-frame 18 megapixel sensor and interchangeable lenses ultra high resolution images. the high resolution 2.5-inch LCD screen is protected by sapphire glass of the coverage.
The Leica M9 is a real connoisseur camera for photographers who value ultra-precise manual focus and enjoy the personal control of the creative process. each instance has a number and your gift can be personalised with an engraved signature.
A full range of Adobe ® Photoshop ® Lightroom ® 3 digital editing software, a personal letter from the CEO of Leica Alfred Schopf and certificate of authenticity (COA). the Leica M9 Neiman Marcus Edition can personally be delivered by a person skilled in the art, Leica photography, including a private training and orientation session to the new photographers to the full experience of Leica (only available in the continental U.S.).
For more information about Leica, http://www.leica-camera.com/ or www.facebook.com/leicacamera.
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Aptina Announces CMOS sensors for DSLR's and compacts

Photokina 2010:Developer Aptina sensor has a 16Mp APS-C CMOS sensor capable of full 1080p HD video at 30 fps. The MT9H004 sensor uses the company latest DR-pix technology becomes more signal/noise ratio under low-light conditions, delivering better quality at high ISO pictures. The sensor is capable of producing full resolution images at 10 FPS and is intended for use in the DSLR. The company also has a 14mp CMOS sensor with full 1080p HD video recording capabilities for compact and hybrid cameras announced. Both sensors are planned to mass production in the first quarter of 2011.
Press release:

New Imaging Sensor provides maximum SNR on lighting of the scene and ISO Speed conditions (MT9H004)
San Jose, CA, September 21, 2010-Aptina, the leading innovator of CMOS imaging technology, today announces its powerful, versatile APS-c size 16 Megapixel (MP) MT9H004 image sensor.The new sensor MT9H004 designed specifically for the image quality of professional photographers, and offers high sensitivity, low dark current and low readout noise to 16MP still image recording of 10 frames per second. To make use of the latest in dynamic company response (DR) pixel technology innovation, called Aptina ™ DR-pix ™ technology, delivers new APS-C size image solution an increase in dB signal-to-noise ratio (SNR) in low-light conditions without the performance in environments with high light, where a Max SNR of 47dB. The new solution from aptina is also offers advanced features, such as live video support, and breath-taking view 1080p/30 fps high-definition (HD) video recording.
Until recently, the performance and image quality requirements for DSLR camera applications an obstacle for most standard CMOS image sensors.With its unique pixel technological innovations is the new MT9H004 aptina is an attractive alternative for applications in this growing market. in fact, an analyst firm TSR treasure CMOS image sensor for the DSLR market shipments to be 12.5 million in 2013, 4 million in 2007, with a lot of this growth comes from the new compact mirrorless segment of the market.
"Designed by our design center from Japan to the highest image quality, our new APS-c size sensor delivers the maximum signal/noise ratio in all scene lighting and ISO speed conditions," said Junichi Nakamura, Director of the Aptina Japan Design Center. "The positive reception of our sensor that had received the following texts from the DSLR camera makers underlines the SNR and international scene dynamic range performance we have been able to achieve."
"For our new high-performance APS-c size 16 Megapixel CMOS image sensor, the possibility of the DSLR camera in the next few years is huge," said Sandor Barna, General Manager of the Business Unit of the Aptina Camera. "Our new sensor is only the first step in our attempt to a prominent position in this exciting market. "
Aptina DR-pix technology
Aptina is the innovative approach to improving the performance in low light without compromising image quality uses a dynamic reaction pixel, called Aptina DR-pix technology.Aptina DR-pix-technology combines two modes in the design of one pixel-get low conversion mode for large cargo treatment capacity in bright scenes and get a high conversion mode with high sensitivity and low read noise for low-light scenes. the result is a sensor, such as 16MP MT9H004 of the company, which has the best noise performance as possible on all ISO speed conditions.For more information, please visit the Web site at Aptina http://www.aptina.com/news/press/aptina_takes_a_bold_new_step_into_dslr_market_with_new_aps-c_format_16mp_image_sensor/www.aptina.com/products/technology/aptina_dr-pix.jsp
Availability
Sampling now, the new 16MP MT9H004 Aptina image sensor available in a package of 116-pin CLCC. mass CYQ1 production is scheduled for 2011.
Press release:
High speed solution for Digital Still camera with full High Definition 1080p/60 fps power
San Jose, CA, September 21, 2010-Aptina, the leading innovator of CMOS imaging technology, introduces the latest addition to the growing portfolio of the company for high-quality image sensors. image sensor of The 14 MT9F002 megapixel (MP) integrates the company's latest technology Aptina ™ A-PIX ™, pixel, resulting in an increase of almost 25% in low-light sensitivity (CCD-equivalent of a 35 mm camera), and greatly improved, high-quality still image recording during service previous 14MP image sensor.
The high speed sensor MT9F002 combines an improved 1.4-micron pixel with advanced features, such as electronic image stabilization (MER) and digital adjustments. the new sensor also has full HD (1080p/60 fps) video capabilities and flexible, high-Speed interface options, including four-lane HiSPi ™ (pixel high-speed serial interface) and parallel or four-lane MIPI ®. of these functions and possibilities, the MT9F002 solution enables a new generation of hybrid digital camera (DSC) products, differentiated mainstream solutions. The Aptina announcement comes the Photokina 2010 international trade fair in Cologne begins.
The newly enhanced Aptina MT9F002 builds on the success of the company MT9F001, the industry's first CMOS 14MP specifically for point-and-and hybrid cameras. improvement of both the original design of the sensor and the company 1.4-micron pixel showing Aptina commitment to innovations from the lab customer products quickly.
"The level of the performance of this sensor has exceeded our expectations and those of our customers," says Sandor Barna, Vice President and General Manager of the Group of consumers camera on Aptina. "With the improvements we have integrated in this pixel sensor with our innovative technology, we offer the performance requirements of our customers. "
Availability
The Aptina MT9F002 sampling begins in October in limited quantities. the sensor is available in a 48-pin iLCC package for HiSPi and parallel or bare die for MIPI. mass CYQ1 production is scheduled for 2011.

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Firmware updates from Panasonic releases TZ10 and kid-tough ® FP3, FP1 and FP2

Panasonic has released firmware updates for the Lumix DMC-TZ 10, DMC-FP1 and FP2 DMC DMC FP3 digital compacts. Version 1. 2 for the TZ10/ZS7 of the camera GPS measuring speed has been improved. The latest firmware version for FP1, FP2 and FP3 improves the performance of the function for removing red eyes. The updates are downloaded from the website of Panasonic.
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Adobe announces Photoshop Elements 9

Photokina 2010: Adobe has released version 9 of the Photoshop Elements image editing software. Both the Windows and Mac versions feature an updated Spot Healing Brush tool (copied from the Photoshop CS5 Content Aware Fill tool), improved Photomerge options, and direct upload tools. The Gallery "that were previously only available with the Windows version is now included for Mac OS. The software is now available at a retail price of $ 99. 99, and American users can also install the Photoshop elements 9 "plus" in an additional amount of $ 49. 99 per year, with the addition of 20 GB of online storage and backup facilities. The company has also version 9 of the Premiere video-editing software for Windows, which for the first time for Mac users.
Press release:

San Jose, California, September 21, 2010 —Adobe Systems Incorporated (Nasdaq: ADBE) today announced Adobe ® Photoshop ® Elements 9 software for Windows ® and Mac photo, offers a complete solution for everyone who wants to organize, edit, create, and share of extraordinary photos.Using the latest version of the No. 1 selling consumer photo editing software, Adobe provides powerful new technology to every consumer to equip with the ability to quickly and easily, professional results.
"The Photoshop brand is to create pioneering imaging magic for 20 years, and Photoshop Elements makes all that magic for mere mortals accessible for almost a decade," said Kevin Connor, Vice President of product management for Digital Imaging, Adobe. "The Content Aware fill technology introduced with Photoshop CS5 is one of the most exciting developments ever, so we are happy to allow it to be accessible to photo and video enthusiasts in this latest version of the elements can. "
Image Intelligence for Easy editing Photoshop Elements 9 uses powerful technology to even the most complex (s) found for everyone to make feasible. Custom version of Photoshop CS5 the celebrated Content Aware fill feature, content intelligence in the spot Healing Brush tool to analyze what's going on in the picture, and quickly-clutters or repairs pictures (such as removing of tourists from a busy scene or an obstruction, such as a telephone pole) with the swipe of a Magic brush, fill in the background. intelligence is a synthesis of the same content to missing pixel data makes a beautiful panorama of multiple photos, without leaving any holes or spaces.
In addition, the new style contest Photomerge boring photos dramatically changes by analyzing the characteristics of each photo, such as contrast or color tone, and qualities automatically applied on another photo, allowing users to easily create a photo style replication. several new guided edit options users step by step through the process of the reaching of cool effects such as out of bounds edit an element of a photo seem to jump of the page in 3D, create pop art masterpieces or retouching easily via the function for perfect portraits created. in addition, users can now access to layer masks for composition rich photos layers.
Organization Made Easy
For the first time is the popular Photoshop Elements Organizer available on the Windows and Mac platform, so that users can quickly organize, locate, and view photos and video clips from one convenient location. The auto-Analyzer takes the work of finding the best photos by automatically searching for a user collecting pictures and assign a tag based on quality, such as lighting, focus, and contrast. recognition of the people also people tags automatically, so you can quickly and your favorite people more intelligent over time as it teaches names relate them to the specific faces.
Share photos virtually anywhereAfter users their photos look better than ever before, they have different sharing options, including posting photos directly to Facebook or one-of-a-kind interactive online albums with animated templates.In addition, users can share their memories with personalized photo creations like scrapbook pages, photo books, calendars, and cards that can be easily printed from home or via online print service providers. the workspace for flexible picture users will have full control over how their photo books, automatically gain access to all editing features of Photoshop Elements directly in layout mode, or posting photos in the design a form template.
Adobe Photoshop Elements plus 9For added convenience, now Photoshop Elements 9 Windows and Mac users have the ability to pay the purchase and the, which offers 20 GB of storage space for the automatic online back-up and sharing (up to 15,000 photos or 4 hours of DVD-quality video), as well as deliveries of new tutorials, clip art, and interactive online templates is directly sent to the desktop software. a benefit for all users of Photoshop Elements is virtually anywhere, anytime access to photos and videos online or through certain mobile devices on Photoshop.com.
Pricing and availability ofAdobe Photoshop Elements for Windows and Mac 9 is now available on http://www.adobe.com/ and also available at stores such as Amazon.com, Apple (Mac only), Best Buy, Costco, FRY 's, new egg, Office Depot, Office Max and Walmart soon will be. Photoshop Elements 9 Windows and Mac is available for a suggested retail price of US $ 99.99, and the users can purchase plus from within the product for us $ 49.99/year. plus it's available in the US alone.
Information about the other language versions, as well as the pricing, upgrade and support policies for other countries is available at www.adobe.com/go/photoshopelements. free visit training videos on Photoshop Elements, Adobe TV on http://tv.adobe.com/.
* Source: the NPD Group/Retail Tracking Service (april 2002 to March 2010) on the basis of the unit sales (US only).

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Datacolor announces SpyderChekr camera calibrator

Photokina 2010: Datacolor has announced the SpyderChekr color reference tool. The device consists of a set of 48 color tiles and calibration software, which allows photographers camera color profiles and generate more accurate white balance of the camera. The results can then be applied to a on the basis of software programs such as Adobe Photoshop, Lightroom and camera raw workflow. SpyderChekr is available as a stand-alone product or as a bundle with the company SpyderCube color balance device recommended retail prices for $ 129 and $ 169 respectively.
Press release:

Offers photographers accurate color balance in the digital workflow
Lawrenceville, NJ and Photokina (4.1, Booth E010/F019 of the House)-21 september 2010-Datacolor ® (http://www.datacolor.com/), a global leader in color management solutions, introduces SpyderCheckr ™, a new color reference tool that allows photographers to obtain consistent, accurate color within a standard raw processing workflow, execution of precision in the camera-white balance, how to create custom camera calibration and inclusion of references to known colors.SpyderCheckr features 48 scientific designed color tiles in a wide range of spectral profiling neutral colours and easy-to-use software that allows photographers to consistent and predictable color control from capture to edit.
Datacolor SpyderCheckr captures accurate color when shooting and easily results in the digital workflow of a photographer with raw import software. coherence with State-of-the-standardised colour planes and of easy-to-use calibration software that lets photographers create custom profiles camera, reduces the SpyderCheckr post production time due to the fact that the color correction of trial and error. by color to correct automatically as part of the workflow of the input image, the SpyderCheckr take the guesswork out of precision color balance.
"Every camera and records color model in a different way, so that an easy-to-use color reference tool is essential for the account of these variations," said Christoph Gamper, Vice President, Consumer Business Unit. "Color management with SpyderCheckr in the State of the inclusion of a digital workflow, photographers can ensure consistency and accuracy of day to day as well as from camera to camera. "
Characteristics of the Datacolor SpyderCheckr are:
Line color control raw workflow program, give a default color for each camera and post production time objective and neutral gray grey driveway for the in-camera-white balance and Visual neutrality comprehensive skin Show samples for portrait and fashion photography sustainable, environmentally-friendly Self construction for easy transport and use, with replaceable text field goals, a fall in first-in-class tripod mount and an innovative built-in blur indicator strip that a warning message is displayed for the purpose of inserts to replace Easy-to-use software that works with Adobe Lightroom, Photoshop elements, and camera RAW for the production of calibration presets that directly into a digital workflow fit
"Using SpyderCheckr I am now accurate calibrations for each of my camera settings, ensure that my raw import software will interpret the color data with the true color reproduction," said the professional photographer John Blaustein. "With its intuitive user interface, calibrations are generated in less than five minutes, which allows me to easily change the camera calibration for my particular needs "
Introduced today the Datacolor SpyderCheckrPro, a bundle package in which the SpyderCheckr together with the Datacolor SpyderCube for the custom white balance, neutrality data of different light sources and correct highlight and shadow detail. This pocket size RAW calibration tool eliminates the need for traditional cards of 18% gray and includes a black trap for shadow detail section for absolute black and white.Together, and SpyderCube SpyderCheckr offer a comprehensive solution for camera and scene color control.
Availability and prices
Datacolor SpyderCheckr and SpyderCheckr Pro are available at a suggested list price of $ 129.00 and $ 169.00 respectively www.datacolor.com/spyder or at participating resellers. pre-orders for SpyderCheckr SpyderCheckr Pro and start today with his official worldwide launch of 21-26 september 2010 take place at Photokina in Cologne, Germany. an introduction to video is available at SpyderCheckr www.youtube.com/watch?v=kv7k5_f3em8w.
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