October 22nd, 2015

Think Tank Debuts Photo Bag for Female Photographers at PhotoPlus Expo 2015

Lily Deanne Mezzo Chestnur on Body hires

Think Tank Photo has paired veteran bag designer Lily Fisher with Pulitzer Prize-winning photographer Deanne Fitzmaurice to create what the company is ambitiously calling “the ideal camera bags for female photographers. ”

Said bags are the Lily Deanne shoulder bag line. The bags can house pro-size camera bodies and lenses with quick access at the top through an oversized zipper opening. The front flap has a silent magnetic closures.

The exterior fabric is made with a water resistant coating and the underside has a polyurethane  coating. Pop open the bag and you’ll find polyurethane-backed Velex liner and dividers, closed-cell foam and reinforced PE board dividers.

The lineup starts with the $200 Lily Deanne Lucido, which holds one standard size DSLR with one to three lenses and accessories with room to spare for an 8-inch tablet in a dedicated compartment. If you shoot mirrorless, you can store three or four lenses, accessories and a tablet.

The Lily Deanne Mezzo ($250) holds one standard-size DSLR with mid-range zoom attached, plus two to three additional lenses. There’s also a dedicated compartment that can hold either a 10-inch tablet or 11-inch laptop.

Finally, the Lily Deanne Tutto holds one gripped DSLR with mid-range zoom lens attached and two to five additional lenses and two flashes,. Alternatively, you can stuff a standard-size DSLR with 70-200mm f/2.8 attached and two to five lenses in its main compartment and two flashes, and a 15-inch laptop inside a dedicated compartment. The Tutto will retail for $300.

Lily Deanne bags will be sold in two colors: chestnut brown and black licorice.

Lily Deanne Chestnut Hero Group hires

Lily Deanne Mezzo Licorice Interior with gear Hi Res


October 22nd, 2015

How Photographers With Huge Followings Grew Their Social Networks

Photographers looking to build their social media presence are often focused on the tactical questions of who to follow, how often to post and what networks to exploit. But according to photographers at the PhotoPlus Expo #Trending panel, the route to success in social media doesn’t follow a neat script and has far less to do with a given tactic and far more to do with honesty, positivity and having something of value to share with the world.

The panel, moderated by PDN senior editor Conor Risch, saw photographers Sue Bryce, Vincent Laforet, Jeremy Cowart and Chase Jarvis discuss before a packed house how they grew their substantial social followings–and the challenges that come with feeding a ravenous Internet.

Bryce’s approach to social media follows a basic formula that consists of 40 percent positive opinion, 40 percent knowledge-sharing, 10 percent sell and 10 percent personality–all anchored, she said, by consistency and positive intentions. Having a strictly mercenary view of your social media presence, where all you try to do is sell your followers, is a dead end, Bryce insisted. “You need your followers to be entertained and engaged,” she said.

“You have to think of how you add value,” Jarvis seconded.

For Cowart, engaging on social media begins with humility. “I don’t want to the be the guy speaking down to people on Twitter and Instagram,” he said. His advice: tend to your social presence humbly and feel free to share. “I’ve always debated whether I should share my personal life [online] and I landed on the side of sharing, being honest and real.”

If Cowart is open to sharing his personal details, not every platform earns his personal attention. “Google+ is a useless platform for me,” he said, despite the fact that he has 1.5 million Google+ followers. “I gave up on SnapChat…. I think Periscope has a long future.”

The tactics of growing a social media audience shouldn’t be the first thing photographers worry about when they go online, Jarvis noted. “It’s all about the why. Why are you doing something?” Humans naturally gravitate to a narrative, Jarvis said, so photographers with a story to tell and the patience to tell it over social media will grow their followers organically. In this game, Jarvis said, “the reality is that stamina wins.”

“If you treat [social media] like a marketing exercise, you’ve failed from the get go,” said Laforet. Of all the photographers on the panel, Laforet was the most ambivalent about social media, admitting that acquiring a large following can be a curse as well as a blessing. “The more followers you get, the less honest you can be,” he lamented.

Laforet confessed that he had grown “tired of the ever-expanding black hole” of social media and also the medium’s “lack of intonation” and emotional depth.

Bryce, however, maintained that a positive self image and positive intentions online were the wellspring of social media success. Her approach to any new technology, she said, was simple. “Will it help evolve my career? If it doesn’t, I don’t need it.” But, she warned, failing to adapt and evolve with new technology was a one-way ticket to extinction. One thing we know from nature, Bryce said, “is that if a species doesn’t evolve, it dies.”

October 21st, 2015

Canon Intros imagePROGRAF PRO-1000 Inkjet Printer

imagePROGRAF PRO-1000 _ With EOS CameraCanon has pulled back the curtain on the new imagePROGRAF PRO-1000 large format inkjet photo printer at PhotoPlus Expo 2015.

The PRO-1000 features a 17-inch print width and a new print head, inkset and imaging processing engine. It’s a successor to the Pixma Pro-1.

First, the print head. It’s 50 percent larger than the Pixma Pro-1, with more nozzles too (18,432 for each of the 12 channels.) Canon says the larger heads boost print speeds while maintaining high resolutions. The head also uses a real-time ink ejection system which helps to maintain a consistent print head temperature to limit clogging. The PRO-1000 will also better cope with ink clogs when they do happen thanks to a built-in sensor that checks for clogs and then automatically boosts the pressure on the remaining nozzles to maintain print quality and speed. When the print is finished, the print head will clear the clog.

The PRO-1000 accepts the new LUCIA PRO 11-color pigmented ink system with a Chroma Optimizer that delivers a 19 percent larger color gamut than the Pro-1. The inks deliver an L value of 1.5, according to Canon, and will be sold in 80ml tanks. There’s automatic switching between photo and matte black inks.

The printer features a two-way vacuum paper feeder to keep media flat and even. It accepts cut sheet media up to 17 x 22 inches and fine art media up to 0.7mm thick. There’s also a built-in densitometer for calibration. According to Canon, the calibration is sensitive enough to ensure color consistency between two PRO-1000 models of under a Delta E of 2 when printing on Canon media.

Among the new software available for the printer is an Accounting Manager, which helps users keep track of consumable costs such as ink and media. Users can manually enter the cost of ink and paper to determine print margins and analyze print-related expenditures.  Canon says the program won’t actually be ready to ship with the printer, but will be available in Q1, 2016.

Rounding out the feature set, you’ll enjoy Wi-Fi connectivity and Apple AirPrint compatibility.

The imagePROGRAF PRO-1000 ships at the end of the month for $1,300 and is available for pre-order now. The 80ml ink cartridges cost $60 while the Chroma Optimizer will set you back $55.

imagePROGRAF PRO-1000 _ View of Ink

October 21st, 2015

Fujifilm Launches XF35mm Lens and Teleconverter

XF35mmF2_black_flatFujifilm fans will have a new lens to acquire and/or covet come November. The company introduced the FUJINON XF35mmF2 R WR on the eve of PhotoPlus Expo.

The XF35mm has a maximum aperture of f/2 and a 35mm equivalent focal length of 53mm. It’s weather sealed in eight places to resist dust and moisture and can be used in temperatures as cold as 14 degrees F.

The new lens uses an internal focusing system and a stepping motor for quiet, speedy AF. Fujifilm says the lens clocks in with an AF speed as fast as 0.08 seconds. A pair of ED glass elements help reduce lateral and axial chromatic aberration while Nano-GI coatings keep ghosting and flare to a minimum.

Fuji is also introducing a new teleconverter, the XF1.4 TC WR, for use with the FUJINON XF50-140mmF2.8 R LM OIS WR lens. Fuji says the teleconverter will also work with a select number of future lenses in the company’s roadmap, including the yet-to-ship FUJINON XF100-400mm.

As the name suggests, the XF1.4X extends the focal length of the XF50-140mm by a factor of 1.4x, making it a 70-200mm equivalent lens. You’ll lose an f-stop in the process, but the converter is weather and dust resistant so it’s a good match for the similarly durable X-T1 camera.

The teleconverter will ship in December for $450.

Tele Converter 1.4X_flat

October 20th, 2015

Leica SL: Full Frame Mirrorless Arrives on Eve of PhotoPlus

Leica SL_Leica APO-Vario-Elmarit-SL_90-280_ASPH_front

After an obligatory circuit on the Internet rumor mill, Leica made it official, launching the new Leica SL full frame mirrorless camera on the eve of PhotoPlus Expo.

The SL features a 24-megapixel full frame sensor similar to the one found in the Leica Q. It offers a native ISO range of 100-50,000 and has no optical low pass filter to coax out that much more sharpness.

Thanks to the Maestro II image processor, the SL is able to blaze away at 11fps at full resolution with autofocus fixed at the first frame. With a 2GB buffer, the SL can store up to 33 14-bit RAW images or 30 JPEG+RAW before slowing down.

The SL focuses using a contrast AF system with 49 focus points. There’s an option for touch focusing, face detection and continuous modes. Shutter speeds range from 1/8000 sec. to 30 minutes and the shutter has been rated for 200,000 cycles.

Leica SL_back

Another hallmark of the SL is what Leica is calling its “EyeRes” viewfinder, a class-leading 4-megapixel EVF with a refresh rate of 60 fps. There’s also a fixed 3-inch touch screen display with a scratch resistant and anti-glare coating.

Much like the Q, the SL is built from a solid aluminum block. It’s weather sealed, too.

In contrast to the Q and previous Leica models, the SL’s video functionality takes a big step forward. It can record cinematic 4K (4096×2160) at 24fps and UHD (3840×2160) at either 25 or 30fps. Full HD video can be recorded up to 120 fps. A 10-bit, 422 file can be output to external recorders via an HDMI output and there’s a V-Log L profile for capturing a more desaturated file for post process color grading.

The SL has slots for two  SD cards with an option for simultaneous recording of images to both cards. The primary card slot supports the fast UHS-II SD card spec.

Leica SL_CU_2

New Lenses

Joining the SL will be several new SL lenses. First up will be the Vario-Elmarit-SL 24-90mm f/2.8-4. In 2016, Leica will add the SL 90-280mm f/s.8-4 and the Summilux-SL 50mm f/1.4. In addition to the new lenses, all lenses for the Leica T camera system can be used on the SL without an adapter. There will be adapter solutions for mounting Leica S, M and R system lenses and third party lenses as well.

The SL ships on November 16 for a body-only retail price of $7,450. It is available for pre-order now. The 24-90mm lens will set you back $4,950.

Leica Vario-Elmarit-SL 24-90_ASPH_front_lenshood

Leica Summilux-SL 50mm_ASPH_top (1)


October 19th, 2015

Elinchrom Adds Hi-Sync with New Transmitter, Quadra Flash Head



Elinchrom is introducing a new EL-Skyport Transmitter that lets photographers control and visualize power settings across their lights directly as well as delivering hi-sync shooting for a range of Elinchrom lights.

The new Skyport HS transmitter will be available for Canon and Nikon cameras (a Sony model is also in the works). It features a visual interface that displays the power setting of your Elinchrom lights with the ability to control individual levels and modeling lamp output from the unit.

The new transmitter also supports Hi-Sync technology. Elinchrom’s Hi-Sync mode is similar to the company’s HyperSync technology but in a form the company promises will be easier to use. Hi-Sync delivers flash sync speeds up to 1/8000 sec. and is able to overpower the sun using 424W/s flash heads from 20 feet away

The display’s backlighting adjusts to remind you of what mode you’re shooting in–green for normal sync and red for speed mode.

Additional features include:

  • 20 frequency channels
  • integrated AF illuminator
  • mini USB port for firmware upgrades
  • one touch quick-lock mechanism
  • 656 foot outdoor range, 196 feet indoor range
  • accepts two AA batteries

The new transmitter works with the past three generations of Elinchrom flash units including the EL- Skyport Transceiver RX module for Style RX, Digital RX, and Ranger RX systems, and the integrated EL-Skyport modules for the BRX, D-Lite RX, ELC Pro HD, and ELB series. The Skyport HS adds synchronization capability and two-way control to all Elinchrom lights with EL-Skyport capability.

The transmitter will arrive in November for $250.




Joining the new transmitter is a new Quadra HS flash head, which is compatible with the new ELB 400 and previous Quadra packs. Weighing in at 0.62 pounds, the flash head supports Elinchrom’s HS technology and offers an output of 424 W/s. It also features a daylight balanced 50W equivalent LED modeling lamp.

Below are some sample images provided by Elinchrom.


© Tristan Shu

© Tristan Shu

© Tristan Shu

© Tristan Shu


October 15th, 2015

Iraqi Photographers Launch Ambitious Group Project About Millions Displaced by War

© Hawre Khalid / Metrography

© Hawre Khalid / Metrography. January 27, 2015, Kirkuk, Iraq: Abdullah Hazbar from outside his tent. Abdullah was wounded by Iraqi war planes’ bombing when he left his village with his family.

Metrography, an agency founded in 2009 to represent and train Iraqi photojournalists, yesterday launched a website for an ambitious group project that emphasizes the human cost of the ongoing war in Iraq and the greater Middle East, which has entered a new phase since the rise of the Islamic State (ISIS) in 2014. “Map of Displacement” tells the stories of 12 families and individuals who are among the 1.5 million internally displaced people who have flooded into the Kurdistan region of Iraq since ISIS began to claim territory and terrorize civilian populations in the country.

The site aims to give people outside of Iraq an understanding of how conflict has effected “the real victims of the war, which are not the people who go fight it but are the people that are caught in-between,” explains Metrography editor in chief, Stefano Carini. It’s a particularly poignant story as refugees from Afghanistan, Syria and elsewhere are struggling for asylum Europe and other countries around the world. Before people become refugees, most are displaced internally by conflict, Carini notes. “This is the story of every single person that is displaced. All the Syrians, all the Afghans that are now traveling to Europe, at first they were internally displaced people.” Read the rest of this entry »

October 14th, 2015

PDN Parent Company Acquires HOW Graphic Design Events

Today Emerald Expositions, the parent company of Photo District News, Rangefinder, PhotoPlus Expo and WPPI, announced the acquisition of HOW Design Live, the largest graphic design conference and expo in the nation, and the HOW Interactive Design Conference series. “HOW is an institution in the graphic design industry and Emerald looks forward to continuing to deliver highly inspirational and educational events to this growing professional community,” said David Loechner, Chief Executive Officer of Emerald, in a statement.

Below is the full press release detailing the acquisition. Read the rest of this entry »

October 9th, 2015

Taking the Pentax 645Z to Black Rock Desert

Sponsored by Ricoh Imaging America

In July, we ran a PDNPulse story about Erica Kelly Martin, a portrait photographer with a love for medium format. Martin transitioned to digital medium format with the Pentax 645Z, calling it “a dream tool” thanks to its 51.4-megapixel CMOS censor, intuitive interface, and sturdy, weatherproof body.

Martin put the camera through its paces at Black Rock Desert, Nevada, during Burning Man last month. She stayed the full week of the annual festival, which is known to take place during unpredictable desert weather. We asked her to report back on the performance of the 645Z—Martin says, “[It] fared beautifully.” She used the camera in cold early mornings and in hot afternoons, and through temperamental dust storms and high winds (though not during complete white-out weather, she notes). She says: “I didn’t even really need to clean it when I got back. I just wiped the dust off and used the built-in sensor cleaning. In contrast, my 35mm DSLR has dust embedded under the rear screen glass that I have no idea how I’m going to clean.”

Each day, Martin bicycled around the playa with two 645Z bodies and lenses, one in her backpack and one slung around her with a Black Rapid Strap for quick shooting. She says one of her favorite shots from the week was taken in the interior of the “Totems of Confessional” installation chapel, where a confessional booth is set up for Burners. “The interior of the chapel was practically dark, and I couldn’t really see into the booth,” Martin recalls. She upped the ISO to 2,400 (the 645Z can reach up to 204,800 extended ISO) and used the articulated rear screen to frame her shot, so as not to disturb the confession. “Although a bit noisy,” she says, “the amount of details, particularly in the shadows, is astonishing.”

Check out some of Martin’s photos below.

All photos © Erica Kelly Martin

©EricaKellyMartinSkydivers©EricaKellyMartinSunrise©EricaMartinMedusa ©EricaMartinMorningMeditation ©EricaMartinOK ©EricaMartinOutsideTotemofConfession ©EricaMartinR-Evolution


October 8th, 2015

Visit the 4K Filmmaking Challenge Winner’s Gallery

The winner’s gallery for the first 4K Filmmaking challenge, presented by PDN and Samsung, is live. Congratulations to the grand-prize winner, Evan Mann of Otherworldly Productions, who will receive $2,500 and a Samsung NX1. Read about him in the digital edition of our special 4K Filmmaking supplement (out now with the November issue of PDN) here. Watch his winning video, “This Mountain” below.

The work of all of the finalists can be viewed at www.4kfilmmakingchallenge.com/Winners001.shtml. Each video was filmed on the Samsung NX500.

This Mountain from Evan Mann / OWP Denver on Vimeo.