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Posts Tagged ‘July’

Pentax FA* 50mm F1.4 SDM AW lens shipping in July for $1199

29 Jun

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First announced last October, Ricoh is ready to ship the HD Pentax-D FA* 50mm F1.4 SDM AW, a weather-sealed fast prime for the company’s full-frame DSLRs. The lens has 15 elements in 9 groups: one anomalous dispersion and three aspherical. A newly developed SDM ring-type motor has 7.5x as much torque as previous models in order to move all of that glass quickly and smoothly. As the lens uses an electromagnetic diaphragm, it is fully compatible with only the K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 or K-S1.

HD and Aero Bright II coatings reduce flare and ghosting while a Super Protect coating on the front element should help repel dirt and precipitation. The lens is sealed against dust and moisture and weighs in at 910g / 2lbs. The 50mm F1.4 has nine rounded aperture blades, and a minimum focus distance of 40cm / 15.6″. The maximum magnification is 0.18x.

You’ll be able to pick up the FA* 50mm F1.4 SDM AW in late July at an MSRP of $ 1199.

Official samples:

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Press Release:

RICOH ANNOUNCES AVAILABILITY OF HD PENTAX-D FA? 50mm F1.4 SDM AW STAR-SERIES LENS

First model in new generation of high-performance K-mount lenses delivers exceptional imaging performance and superior dependability in a wide range of shooting conditions

WEST CALDWELL, NJ, June 28, 2018 ?Ricoh Imaging Americas Corporation today announced the availability of the first model in its new generation of PENTAX Star series lenses, the HD PENTAX-D FA?50mm F1.4 SDM AW. This large-aperture, prime lens delivers stellar imaging performance and maximum light transmission—the hallmarks of the acclaimed Star series line—and is the perfect companion to any K-mount digital SLR camera including the full-frame PENTAX K-1 and new PENTAX K-1 Mark II models.

Premium-quality Star-series lenses deliver the highest performance among the PENTAX SLR interchangeable lens series, and have enjoyed enthusiastic support from PENTAX SLR camera users since the days of film. In addition to the initial design concepts of optimum image quality and large apertures for maximum light transmission, the series has embraced the additional concepts of exceptional toughness and outstanding operability, achieved through the development of a dustproof, weather-resistant lens housing. The resulting lenses provide superior dependability in wide range of shooting conditions.

The HD PENTAX-D FA?50mm F1.4 SDM AW lens delivers exceptional resolving power from the center to the edges of the image field, even when set to open aperture. The lens incorporates state-of-the-art PENTAX-developed lens coating technologies — including the new Aero Bright Coating II for exceptionally low reflectance and high-grade high-definition (HD) Coating — that enable it to produce extra-sharp, high-contrast images free of flare and ghost images. The lens’s dustproof, weather-resistant body also makes it extremely dependable and durable for shooting in demanding outdoor conditions. Its PENTAX K-mount covers the image circle of a 35mm-format full-frame image sensor.

The new lens is the first produced following Ricoh’s extensive review of standards for the top-of-the-line Star series. Engineers evaluated a variety of approaches to minimize aberrations and deliver the highest image quality. The HD PENTAX-D FA?50mm F1.4 SDM AW lens is designed to deliver optimum imaging performance with all compatible camera bodies, including next-generation digital SLRs.

| Key Features |

  1. New-generation, high-performance Star-series lens with large F1.4 maximum aperture

This lens has been developed as a new-generation member of the high-performance Star series — a lineup designed to deliver extra-clear, high-contrast images with edge-to-edge sharpness while keeping aberrations to a minimum. The lens, which is the result of an extensive review of traditional Star-series standards, provides greatly improved resolving power, which enables it to deliver excellent imaging performance even with more advanced, next-generation camera bodies. Developed as the first model of the new-generation Star-series lenses, the new lens boasts an extra-large F1.4 maximum aperture, useful with many different subjects in a range of applications, including portraiture with an effectively de-focused (bokeh) background, and handheld shooting of indoor scenes. It provides exceptional image quality even at open aperture, as well as outstanding performance at close ranges.

  1. State-of-the-art optical technology

The lens is treated with PENTAX-developed Aero Bright Coating II — a lens coating developed using a state-of-the-art nanotechnology process. It consists of a silica aerogel layer with a uniform porous structure over a regular multi-coating layer that reduces surface reflections across a wide wavelength range and produces crisp, high-quality images.

By coupling this advanced lens coating with the high-grade, multi-layer HD (high definition) Coating, average reflectance in the visible ray spectrum is reduced to less than 50% compared to conventional multi-layer coatings. As a result, the lens effectively reduces flare and minimizes ghost images even in demanding lighting conditions, such as backlighting. The lens incorporates three super-low dispersion glass elements and one aspherical element to effectively compensate for chromatic and spherical aberrations, enabling it to produce brilliant, high-contrast images with edge-to-edge sharpness. Since distortion is minimized even at a focusing distance of approximately one meter, the lens produces crisp, distortion-free images over the entire focusing range, from the minimum focusing distance to infinity.

  1. Dustproof, weather-resistant construction

Developed as an AW (all weather) model, this lens features a dependable dustproof, weather-resistant body with eight special seals to prevent the intrusion of water and dust into the lens interior. When paired with a PENTAX weather-resistant digital SLR camera body, it forms a durable, reliable digital imaging system that performs superbly in demanding conditions — even in rain or mist, or at locations prone to water splashes or spray.

  1. Newly developed ring-type motor

This lens features a newly developed ring-type SDM (supersonic direct-drive motor), which generates as much as 7.5 times the torque as the SDM installed in previous-generation lenses. This enormous driving power assures a smooth, high-speed shift of the heavy, multi-element rear lens group during focusing operation.

  1. Other features

?Nine-blade, round-shaped diaphragm produces a natural-looking de-focus (bokeh) effect up to an F2.8 aperture setting, while minimizing the streaking effect of point light sources

?A minimum focusing distance of 0.4 meters, effective for capturing images with a de-focus effect

?Electromagnetic diaphragm-control mechanism,* for flawless, high-precision exposure control during movie recording

?SP (Super Protect) coating to keep the front surface free of dust and spots

* This mechanism is available when the lens is mounted on a PENTAX K-1 Mark II, K-1, K-3 II, K-3, KP, K-70, K-S2 or K-S1 camera body.

| Pricing and Availability |

HD PENTAX-D FA?50mm F1.4 SDM AW will be available in late July 2018 at www.ricohimaging.com and retail outlets nationwide for a manufacturer’s suggested retail price of $ 1,199.95.

HD Pentax-D FA* 50mm F1.4 SDM AW specifications

Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 50 mm
Image stabilization No
Lens mount Pentax KAF4
Aperture
Maximum aperture F1.4
Minimum aperture F16
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 15
Groups 9
Special elements / coatings 1 aspherical + 3 anamalous dispersion elements, Aero Bright II + HD + Super Protect coatings
Focus
Minimum focus 0.40 m (15.75)
Maximum magnification 0.18×
Autofocus Yes
Motor type Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale Yes
DoF scale No
Physical
Weight 910 g (2.01 lb)
Diameter 80 mm (3.15)
Length 106 mm (4.17)
Sealing Yes
Colour Black
Filter thread 72 mm
Hood supplied Yes
Tripod collar No

Articles: Digital Photography Review (dpreview.com)

 
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Samyang officially announces 24mm F2.8 AF lens, available in July for $400

12 Jun

Just a week after we came across leaked images of the lens, Samyang has unveiled its latest Sony autofocus lens, the AF 24mm F2.8 FE.

Samyang calls the lens ‘tiny but wide’—and rightly so. This lens weighs just 93g and measures 37mm from front to back without the hood or rear lens cap. The FE mount means it works with full-frame Sony cameras, including but not limited to the A9 and A7 IIII.

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The optical design of the lens is made up of 7 elements in 7 groups. Three of the optical elements are aspherical lenses and two are high-refractive lenses. The lens also features ‘ultra multi coating’, which helps minimize chromatic aberration and undesired light dispersion.

As the leaked images suggested, the lens features a minimum focusing distance of just 0.24m/0.79ft and has a rubberized focus ring for when you want to take things manual.

The Samyang AF 24mm F2.8, which retails under the brand name Rokinon in the United States, will be available in July for $ 400.

Articles: Digital Photography Review (dpreview.com)

 
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2017 in review: a look back at July

27 Dec

July is traditionally a slow month for product announcements, and this year, the only new camera to be released was the Leica TL2. The TL2 has a higher resolution sensor, more power under the hood and a refined design. Nikon released a new 70-300mm lens and also teased its D850 full-framer, which was officially announced to great fanfare at the end of August.

There were some cool non-announcements in July, as well. A Sony a7S II beamed down 4K video from the International Space Station (which can now be explored using Google Street View), Adobe leaked what would later become the ‘new’ Lightroom CC and a NASA study pointed out the obvious: that noise from drones is worse than that of cars. Okay, maybe that last one isn’t so cool after all.

The sun finally came out in the Seattle area in July, so it was time for us to hit the streets and take some photos

The sun finally came out in the Seattle area in July, so it was time for us to hit the streets and take some photos with the latest and greatest lenses. On the ultra-wide side of the spectrum we shot with the Tamron 10-24mm F3.5-4.5, Sigma 14mm F1.8 and Panasonic’s 12-60mm F2.8-4 lenses. Our own Carey Rose also shared his experiences using the Panasonic Leica 15mm F1.7 Micro Four Thirds lens. We also took some shots with the very impressive Sigma 24-70mm F2.8 as well as the Tamron 18-400 F3.5-6.3 and medium format Fujifilm 110mm F2.

We managed to squeeze in a few reviews as well, including those for Nikon’s excellent D7500 and Fujifilm’s slightly more pedestrian X-A3. We also took a look at Fujifilm’s Instax Square instant printer, and Carey professed his love for the Olympus TG-5 rugged camera. We also took a closer look at dynamic range measurements from Canon’s EOS 6D Mark II, and Dan made mojitos.

See all July 2017 content


Nikon announces development of D850

One of the most anticipated cameras of the last year (or more) is a replacement to the Nikon D810. In July the company said that the D850 was coming and that it could capture 8K time-lapses, but that was it until the official reveal the following month.

Read full article

Nikon and Sony patent lenses for curved sensors

Nikon and Sony revealed patents on the very same day, both for possible future lens designs built for curved sensors. Only time will tell whether or not they turn into real products, but in the meantime they certainly sound very interesting. Sony’s design covers a monster 400mm F2.8 medium format lens, while Nikon’s patent describes a more modest 35mm F2.

Read more about Nikon patent

Read more about Sony patent

TSA requiring passengers to remove cameras from bags

Photo by Ralf Roletschek

The days of keeping your camera in your carry-on bag may be over in the US, as the Transportation Security Administration (TSA) is requiring passengers in standard security lines to put anything bigger than a smartphone into a separate bin. Those with PreCheck status are not affected by the change.

Read full article

Shooting stars with the Sigma 14mm F1.8 Art

Photographer Jose Francisco Salgado took Sigma’s new 14mm F1.4 DG HSM Art lens to the Badlands of South Dakota to shoot the stars. The results are pretty stunning.

View the gallery

Articles: Digital Photography Review (dpreview.com)

 
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Report: Bowens employees not paid for July, told they must continue to work unpaid

04 Aug

A bombshell of a report on PetaPixel reveals just how sudden last month’s closure of 94-year-old UK photographic lighting company Bowens has been, especially for its employees. An infuriated UK employee reached out to the photography blog to share their story, and the whole workforce of Bowens China has sent an email to the company to complain about how the process is being handled.

The UK employee, who wished to remain anonymous, expressed anger at how the liquidation has been handled, specifically citing issues with pay. According to them, “26 of the most hard working members in the UK […] were in complete shock [on July 14th] to be informed that they will be unpaid for the previous month, and will have to continue to work through a consultation process unpaid.”

The employee claims the UK crew was told they would have to continue working because they are bound by contract. Staff are reportedly considering legal action.

These claims are backed up by an email sent to Bowens and Calumet distributors by the workforce of Bowens China, and acquired by PetaPixel.

The letter claims employees of Bowens Suzhou were “suddenly abandoned” with “no July wages, no social insurance, [and] no updated information since Germany let us stop work [on the] 17th July.” The employees took to the streets and the German embassy to protest what they’re describing as “dishonest betrayal” and “bloody exploitations” by Aurelius and Calumet.

For their part, Calumet did respond to PetaPixel’s request for comment. The company sent a statement in which it re-states the reasons for closing Bowens (“the result of far reaching changes affecting its market”) before addressing the concerns in China, saying:

“As part of the decision to discontinue its operations Bowens consequently also decided to discontinue the manufacturing operations in China […] The liquidation process is handled according to all local laws and requirements and the employees will be informed in due course on next steps.”

You can read Calumet’s full statement on PetaPixel. However, DPReview has reached out to Calumet for comment as well, specifically asking Calumet to address the claim that employees were not paid for July and are contractually bound to continue working without pay.

We will update this post if and when we hear back.

Articles: Digital Photography Review (dpreview.com)

 
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Time-lapse captures thousands of fireworks going off over LA on July 4th

10 Jul

Photographer and creative director Dylan Schwartz may have shot the viral fireworks time-lapse of the year this July 4th. Over the course of three hours, Schwartz captured thousands of fireworks going off above LA from his vantage point at Mount Wilson Observatory.

Schwartz shared the story behind the timelapse with Time, telling the magazine, “Everything is spread out in L.A. To really see what L.A. does for the Fourth of July, you have to see the whole thing.” Even with this wide shot captured from 5,700+ feet above LA, Schwartz still says he only captured “a slice.”

According to Time, the final time-lapse is a composite of nearly 250GB of stills and video shot with 4 different cameras. Schwartz used a Sony a9 (he’s a Sony ambassador) with a 70-200mm lens to capture both video and stills of the widest perspective, another camera for video exclusively, and two more were shooting stills of various key locations.

Six hours of editing later, the time-lapse above was ready for posting on social media, where it immediately took off. Here’s an even closer crop posted to Schwartz’ Instagram account. Enjoy.

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Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm’s MK 50-135mm cine lens will arrive in July for $4000

03 Jun

Fujifilm has officially launched the MK 50-135mm T2.9 cinema lens aimed at emerging filmmakers, giving it a mid-July release and $ 4000/£3300 price tag. It will be available initially in the Sony E-mount, but the company says it is working on a version for its own X-mount cameras that will go on sale before the end of the year. It was first announced back in February alongside an 18-55mm T2.9.

The DSLR and CSC stills lenses that many videographers use suffer from shifting focus and centring during zooming, according to Fujifilm, and ‘breathing’ often alters the magnification of the view as focus distances change. If the background changes size in the frame as focus is being pulled, or the subject goes out of focus during a zoom, the fluidity of the sequence can be destroyed. This new lens is intended to replace these still lenses, with their unsuitable characteristics, so that photographers using small cameras can make professional-looking films.

The Fujinon 18-55mm T2.9

The new lens matches the three-ring layout and 82mm filter thread size of the existing Fujinon 18-55mm T2.9 so it should be easy to switch between the two, and with both lenses videographers will have most popular focal lengths covered. The lenses are designed to work with APS-C and Super 35mm sized sensors, so will provide similar angles of view to a 75-200mm on a full frame system.

For more information see the Fujifilm website.

Sample footage

Press release

Fujifilm launches the FUJINON MK50-135mm T2.9 telephoto zoom cinema lens with advanced optical performance, ultra-compact and lightweight design, and excellent affordability

FUJIFILM Corporation (President: Kenji Sukeno) will release the FUJINON MK50-135mm T2.9 (MK50-135mm) telephoto zoom cinema lens in July 2017. The MK50-135mm has a focal length of 50-135mm and can be combined with the FUJINON MK18-55mm T2.9 (MK18-55mm) standard zoom lens, that was released in March 2017, to form a kit that covers the most frequently-used focal lengths of 18mm to 135mm, accommodating a broader variety of conditions.

The rapid growth in popularity of movies made by emerging cinematographers in recent years, including corporate and commercial movies on the internet and other venues, has increased the opportunities for shooting movies using cinema and regular digital cameras, and it boosts demand for high-performance cinema lenses that deliver high resolution and advanced scene-depicting capability. For filming such materials, interchangeable lenses for digital cameras are often used instead of cinema camera lenses as they are more affordable and mobile. However, these lenses are designed primarily for shooting still images, and therefore prone to problems such as focus shift and optical axis shift while zooming, and so on.

In response, Fujifilm has developed the MK series of cinema lenses that resolve these issues while still offering advanced optical performance and an ultra-compact and lightweight design – all at an affordable price. The MK18-55mm that was launched in March this year has been popular among emerging cinematographers who praise it for its edge-to-edge sharpness and ease of handling thanks to its compact and lightweight design.

The new MK50-135mm is a telephoto zoom lens that covers the focal length from 50mm to 135mm. It has the maximum T-stop value of 2.9*1 across the entire zoom range, enabling to shoot with a shallow depth-of-field with beautiful bokeh. The lens is compatible with E-mount*2 cameras with the Super 35mm*3 / APS-C sensor. It incorporates the benefits of short flange focal distance*4 into optical design to the maximum extent to achieve advanced optical performance while maintaining a compact and lightweight design. The lens design is optimized for shooting movies, minimizing focal and optical axis shift while zooming and lens breathing (change of angle of view during focusing) – negative traits that are typically observed in still lenses for digital cameras. The lens also features three rings to enable manual and independent adjustment of focus, zoom and iris (aperture), all with the gear pitch*5 of 0.8M (module). The focus ring can rotate fully up to 200 degrees to facilitate precise one-handed focusing. These features make the lenses comfortable to operate.

The MK50-135mm can be combined with the MK18-55mm to form a compact and light weight kit that covers the most frequently-used focal lengths between 18mm and 135mm, accommodating a variety of subject matters including landscape, architecture and portraiture. They share the common front element diameter, filter thread and three-ring gear positions, allowing users to share the use of the same accessories such as matte box and filters. This eliminates the need to re-adjust accessory positions when changing between lenses, streamlining operations in frontline video production.

The X Mount versions of MK lenses (with the focal lengths of 18-55mm and 50-135mm) for Fujifilm’s X Series of digital cameras (APS-C sensor) are currently under development, and due to be released by the end of this year.

FUJINON lenses offered by Fujifilm have been used at movie / CM / TV production sites around the world for their advanced scene-depicting capability. Tapping into its optical design, high-precision processing and assembly technologies that have been nurtured over the years in the cutting-edge field of video production, Fujifilm will continue to expand its lens line-up to meet the diverse needs at the video production industry.

*1 T-stop value is an index that indicates brightness of a lens based on its F-stop value and transmission rate. The smaller the value, the greater amount of light the lens transmits.
*2 Lens mount format developed by SONY Corporation
*3 Super 35mm is a standard format for motion film cameras using 35mm film stock, and refers to a sensor size used in many cinema cameras.
*4 Distance from lens mounting reference plane to sensor
*5 Distance between gear teeth

1. Product name, release date, pricing
Product name: FUJINON MK50-135mm T2.9
Release date: Mid July 2017
Expected user price: GBP £3,300* (ex VAT)
*At today’s GBP/EURO exchange rate

2. Main product features
Advanced optical performance, packed into a compact and lightweight lens barrel
The MK50-135mm covers the focal length of 50mm to 135mm and when combined with the MK18-55mm standard zoom lens, they form a kit that covers 18mm to 135mm, the most frequently-used focal length in video production.

The MK50-135mm supports E-mount cameras with Super 35mm / APS-C sensor. It achieves advanced optical performance despite its compact and lightweight body, weighing just 980g, by incorporating the benefits of short flange focal distance into optical design.

The MK50-135mm has T2.9 speed across the entire zoom range which allows shooting with a shallow depth-of-field and eliminates the need to re-adjust lighting.

The MK50-135mm offers advanced edge-to-edge optical performance and low distortion*6 and is designed to match the color temperature of FUJINON HK Premier, ZK Cabrio and XK Cabrio lenses to simplify color grading*7 when using a combination of lenses.

*6 Distortion refers to a phenomenon in which an image formed through a lens becomes partially contracted or extended at the edges.
*7 Processes of correcting colors during video editing

Resolving issues associated with using interchangeable lenses for still digital cameras in video production

The front focusing group of lens elements and the zooming group of lens elements are driven independently from one another to suppress focus shift while zooming, eliminating the need to re-focus after zooming in or out. The optical and mechanical approach means there is no time lag as seen in an electrical control system.

The use of the front inner-focusing system controls lens breathing (change of angle of view during focusing) to achieve smooth focusing.

By using design and manufacturing technologies developed for FUJINON HK, ZK and XK Cine lenses, optical axis shift is minimized while zooming, eliminating the need to re-compose the shot when the angle of view is changed.

Comfortable operation as expected of a dedicated video lens
The focus ring features a rotation of a full 200 degrees to allow precise focusing even when shooting with a shallow depth-of-field.

The lens features three rings to enable independent adjustment of focus, zoom and iris. The fully manual mechanism of all three rings enable intuitive operation that often cannot be attained with electrical mechanism which typically causes time lag.

All the operation rings have a gear pitch of 0.8M, the same as all other FUJINON cine lenses, which allows the use of any standard third party accessories for video production such as Follow Focus.

The iris operation ring has a click-free seamless adjustment which enables smooth, precise exposure adjustment while also preventing noise and camera shake caused by clicking.

Standardized MK series design

The MK50-135mm shares the same front diameter of 85mm and filter thread of 82mm with the MK18-55mm,allowing users to use the same matte boxes and filters on both lenses.

The two lenses also share the same dimensions and three-ring gear positions, eliminating the need to re-adjust accessory positions when changing between them.

The MK50-135mm offers a macro mechanism with the minimum object distance*8 of 0.85m (wide angle-end), broadening the types of scenes that can be covered with a single lens.

The MK50-135mm features a Flange Focal Distance adjustment function*9 to achieve optimum camera and lens matching, bringing out the full optical performance of the lens.

*8 Distance from the image-forming plane to a subject
*9 The position of lens’s image-forming plane can be adjusted according to each camera’s flange focal distance (distance from lens mounting reference plane to sensor).

Articles: Digital Photography Review (dpreview.com)

 
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Amazon releases more details of ‘Prime Day’ event on July 15th

11 Jul

To mark 20 years since it opened its (virtual) doors, Amazon is planning a ‘Prime Day’ next week, on July 15th. Billed as a ‘global shopping event’, Prime Day will feature more deals than Black Friday for Prime members, including more than 60 deals from top camera brands. Click through for more details

Articles: Digital Photography Review (dpreview.com)

 
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Toshiba TransferJet 16GB SDHC card launches July 31 in Japan

02 Jul

Following some trade show demos, Toshiba is officially introducing a new 16GB SDHC card with TransferJet technology. The card, which looks to be available in Japan only first, is able to wirelessly transfer photos and videos from a camera to a TransferJet-compatible device. Read more

Articles: Digital Photography Review (dpreview.com)

 
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How to Photograph Fireworks: Happy 4th of July

30 Jun

The hot dogs have all been eaten and the blazing hot sun is finally setting. Time to grab your blanket and head out to your community 4th of July fireworks display. This year instead of coming back with just fond memories, grab your camera and follow these simple tips to photograph fireworks as well. Use Tripod If you’re using a Continue Reading

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24 July, 2014 – Hiking For Photographers

24 Jul

 

Want to take better landscape photographs? Get out there and find them. In this new article by Skip Spitzer, this experienced hiker explains how photographers can make the most of the hiking experience.


Available Photographic Workshops

We have a number of new workshops on offer, and a very few places in some exciting upcoming ones. Visit our Workshop page to find out more.


The Luminous Landscape – What’s New

 
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