Canon Expands Rebel line with new DSLR
Canon U.S.A., today introduced its new flagship model for the company’s popular Rebel DSLR line: the Canon EOS Rebel T2i DSLR. The camera is ideal for the photo enthusiast looking for a camera they can grow into as well as a backup camera for the Canon shooting pro. The Rebel T2i offers 18-megapixels resolution for still images and can also capture full HD video at 1080p.
- Front of the Canon EOS Rebel T2i
- Rear of the Canon EOS Rebel T2i
The Rebel T2i offers a wide range of impressive features including an ISO range of 100-6400 (expandable to 12,800), a 63-zone Dual Layer Metering System, and Canon’s proprietary DIGIC 4 Imaging Processor. For the Rebel T2i, Canon developed a new 18MP CMOS sensor. The camera also offers 3.7 fps continuous shooting for stills, an expanded ± 5 EV exposure compensation range as well as a number of user-selectable Canon image processing features, including tagging of RAW files, and in-camera optimization of JPG files.
Other features include: Canon’s Auto Lighting Optimizer to enhance shadow detail and add contrast to “flat” scenes, Highlight Tone Priority adding up to one stop of detail in bright highlight areas, Peripheral Illumination Correction for automatic correction of vignetting, High ISO Noise Reduction with four user-selectable settings, and Long Exposure Noise Reduction applied to exposures one second or longer.
The camera has a 3-inch LCD. The EOS Rebel T2i Digital SLR camera is the first EOS model to support SDXC memory cards. The camera also incorporates such features that photographers are used to seeing in a Rebel: Live View, a built-in pop-up flash, and the EOS integrated cleaning system, as well as compatibility with Canon EX-series Speedlites and Canon EF and EF-S lenses. The EOS Rebel T2i Digital SLR camera is also compatible with Canon’s new BG-E8 battery grip and new RC-6 wireless remote control for both still images and video capture.
The video capture in the Rebel T2i allows for manual exposure control, selectable frame rates and an external mic input, for added flexibility. Photographers can also capture video in standard definition with the camera. Adding a new pro-level feature for EOS cameras, the Rebel T2i includes an Auto ISO function that works in all Creative Zone exposure modes including Manual where users can set a limit to the highest ISO the camera will use, enabling them to retain the lighting and look they desire for a scene. By setting an Auto ISO range, videographers can retain dark shadow areas and avoid blowing out highlight areas in a scene while still retaining the benefit of automatic ISO adjustments. The Rebel T2i DSLR captures video in both NTSC (US system) and PAL (European system) standards at selectable frame rates.
The camera also features Canon’s new Movie Crop mode, whereby you can get an additional 7x magnification when shooting SD video; this is done by the camera cropping the image directly from the CMOS sensor.
Canon expects to ship the EOS Rebel T2i to dealers in early March. Estimated retail price for the camera, body only is $799.99; and MSRP of $899.99 for the kit version that includes the Canon EF-S 18-55mm f/3.5-5.6 IS zoom lens. For more information about Canon, check the website at www.cusa.canon.com.
Product Review: ExpoImaging’s Ray Flash Ring Flash Adapter
By Diane Berkenfeld
The Ray Flash is an adapter that fits over the head of your DSLR’s accessory flash and turns your flash into a ring flash. The Ray Flash uses the power of your flash—redirected through the adapter’s body—onto your subject. The Ray Flash has a center diameter of 4 1/8-inches and can accommodate most professional 35mm interchangeable lenses.
A range of models are available so you’ll want to check the ExpoImaging website for your DSLR/flash combination to see which one will work for you. The reason behind this is that there are differences in the height of different models of flashes sitting on various camera bodies. Originally the Ray Flash was designed to work with Canon Speedlites (580EX and 580EX II) and Nikon Speedlights (SB800 and SB900) but they will work with a range of other camera/flash combinations including cameras/flashes from Olympus and Sony; as well as flashes from Metz and Sigma.
The question is, when so many camera manufacturers and some lighting equipment makers make dedicated ring flashes, why would you go with an adapter instead? Price. The price ranges start at around $225 to $400 or so for dedicated ring flashes from camera makers and companies including Sunpak and Sigma; and upwards of $1,000 to $1,800 for ring flash heads from companies like Lumedyne, DynaLite, Comet, and Elinchrom. The ring flash heads average 3,000 watt seconds (w/s) of power. And if you own a lighting system that isn’t compatible, you’re out of luck—unless you’re willing to go out and spend thousands of dollars more for a full system of lights.
But when you’re looking for portability, a smaller unit is necessary. Street price for the Ray Flash is $199. which is a less than the cost if you were going to go out and buy a dedicated ring flash. And, by design, you’re getting more versatility out of your equipment, since you can most likely use a flash you already own.
Using the Ray Flash

(l. to r.) Installing the Ray Flash on a flash is quick and easy. Just slip it on, and turn the locking mechanism (on the top of the Ray Flash) to secure the adapter to the flash.

(l.) Final image; (r.) Close-up in Adobe Lightroom. Note the distinctive Ring Light highlights in the eyes. Photos © Diane Berkenfeld.
You will lose one stop of light from your flash by using the Ray Flash adapter. Because of the design, you can still use TTL modes with the Ray Flash adapter. Depending upon your shooting situation, though, you may want to use the flash on manual instead of TTL, to compensate for the light loss. A locking mechanism secures the adapter to your flash head, so it won’t slip off. And there is no change in color temperature.

Another example of the soft lighting from the Ray Flash. Photo taken with the Ray Flash on a Sigma EF 530 DG Super flash, Nikon D300s. Photo © Diane Berkenfeld.
The lighting from a ring flash is distinctive—virtually shadowless lighting on the front of the subject with a soft halo of shadow around the edges. The further away your subject is from the background, the harsher the shadow behind the subject will be. With other lighting methods, it is usually the opposite, in that you’ll get softer shadows the further your subject is from the background.
The Ray Flash, or any ring flash for that matter is ideal for Macro photography, however you can use the Ray Flash for wider compositions such as portraits too.
I tested out the Ray Flash (model #RAC 175-2) with a Nikon D300s body, AF-S DX Nikkor 18-200mm F/3.5-5.6 G lens and Sigma EF 530 DG Super flash. I also decided to try it out with the Lensbaby Composer and Fisheye optic on the D300s and the Sigma flash.
Using the Ray Flash adapter is very easy, it just slips over the head of the flash. I had no problems using it, in fact, when using the Nikkor lens, I held the D300s body with my right hand, and zoomed the lens with my left. When I tried taking photographs with the Lensbaby, which was much shorter than the Nikkor, I found it a little more difficult to shoot, but not impossible. Because I was using the Fisheye optic, I could see the back of the Ray Flash adapter in the viewfinder. For the image of Mardi Gras beads (below) that I shot with the Fisheye Lensbaby, I actually liked the circular crop that I ended up with.

(l.) This image was captured with the Lensbaby Composer on a Nikon D300s, using the Fisheye optic. The black ring is the back of the Ray Flash - visible because of the Lensbaby's shallow physical size and Fisheye's wide field of view; (r.) Final cropped image, exposure adjusted slightly, bringing out the blacks. The outline around the circle was created in Photoshop. If you look really closely you can see the reflection of the Ray Flash in the highlights. Photos © Diane Berkenfeld.
If you’re looking for an economical ring flash lighting solution the Ray Flash adapter might be right for you.
For more information, go to the website www.expoimaging.com.
Fuji launches film-based medium format folding camera
Fujifilm announced yesterday that it will launch the GF670, a professional medium format folding camera in the U.S. at PMA 2010 later this month; with product expected to ship in Q2. For photographers who still love shooting film, this is good news. The GF670 will take 120 and 220 roll film, allowing photographers to shoot either 6×6 or 6×7.
The camera features a Fujinon EBC 80mm lens, coupled rangefinder, exposure compensator, and aperture-priority automatic and manual exposure modes. Other features include a hot shoe, PC sync connection socket, electronic Leaf shutter with shutter speeds ranging from 4 seconds to 1/500 of a second including Bulb. Because the camera uses a Leaf shutter, flash sync is available at all shutter speeds.
According to the website Camerapedia.org, the camera was produced through a partnership between Cosina/Voightlander and Fujifilm—the Fujifilm version is the GF670 and the Voightlander version is the Bessa III. The cameras were first shown as prototypes at various tradeshows during 2008.

Pictured above is the Voightlander Bessa III, an almost identical sibling to the Fujifilm GF670. Images of the Fuji model were not available as of press time.
“Even as we continue to see advances in pro digital cameras, many photographers still have a passion for the art of traditional film photography and Fujifilm is committed to providing solutions that foster that creativity,” said Kayce Baker, director of trade marketing, Imaging Division, Fujifilm North America Corp. She added: “There is a segment of studio, portrait, and landscape photographers who find that medium format film is the perfect solution for their businesses because of the unique look that film offers.”
For more information, go to www.fujifilmusa.com.
We can’t wait to try it out and will bring a full review of the GF670 to Picture-soup.com in the future.
— D.B.
Rumors lead way to product launch as Apple debuts iPad
Apple today introduced the 9.7-inch iPad, a “revolutionary” device for browsing the web, reading and sending email, enjoying photos, watching videos, listening to music, playing games, reading e-books and much more. The iPad features a responsive high-resolution Multi-Touch display lets users physically interact with applications and content. The iPad is just 0.5 inches thick and weighs just 1.5 pounds—thinner and lighter than any laptop or netbook. iPad includes 12 new apps designed especially for the iPad, and will run almost all of the over 140,000 apps in the App Store. The Wi-Fi model iPad will be available in late March, the 3G model will be available in April.

Vertical and Horizontal views of the new iPad.
“iPad is our most advanced technology in a magical and revolutionary device at an unbelievable price,” said Steve Jobs, Apple’s CEO. “iPad creates and defines an entirely new category of devices that will connect users with their apps and content in a much more intimate, intuitive and fun way than ever before.”
iPad features 12 next-generation Multi-Touch applications. Every app works in both portrait and landscape, automatically animating between views as the user rotates iPad. The Multi-Touch interface gives users the ability to use an almost full-size “soft” keyboard. Images can be imported, and organized as albums; audio can be played through iTunes; and movies, TV shows and YouTube videos can be viewed in High Def. Users can also read through the pages of an e-book downloaded from the new Apple iBookstore.
Launched with the iPad is the new Apple iBooks app for iPad, which includes Apple’s new iBookstore. The iBookstore will feature books from major and independent publishers.
Apple also introduced a new version of iWork for iPad, a desktop-class productivity suite designed specifically for Multi-Touch. With Pages, Keynote and Numbers users can create formatted documents, stunning presentations with animations and transitions, and spreadsheets with charts, functions and formulas. The three apps will be available separately through the App Store.
iPad syncs with iTunes just like the iPhone and iPod touch, using the standard Apple 30-pin to USB cable so users can sync all their contacts, photos, music, movies, TV shows, applications and more from a Mac or PC. All the apps and content downloaded on iPad from the App Store, iTunes Store and iBookstore will be automatically be synced to your iTunes library the next time the iPad is connected with the users’ computer.
The iPad features a stunning 9.7-inch, LED-backlit display, with an ultra-wide 178 degree viewing angle. The intelligent soft keyboard pioneered on iPhone takes advantage of iPad’s larger display to offer an almost full-size soft keyboard. iPad also connects to the new iPad Keyboard Dock with a full-size traditional keyboard.
iPad comes in two versions—one with Wi-Fi and the other with both Wi-Fi and 3G. iPad includes the latest 802.11n Wi-Fi, and the 3G versions support speeds up to 7.2 Mbps on HSDPA networks. Apple and AT&T announced breakthrough 3G pre-paid data plans for iPad with easy, on-device activation and management.
Other features: built-in storage uses flash media; built-in 25Whr rechargeable lithium-polymer battery that is rechargeable via USB or AC adapter; inputs/outputs include dock connector, headphone jack, built-in speakers and mic, and Sim Card tray (on the 3G model).
Optional accessories include the iPad Keyboard Dock, iPad Case, iPad Dock, iPad Camera Connection Kit and iPad USB Power Adapter.
iPad will be available in late March worldwide for a suggested retail price of $499 for the 16GB model, $599 for the 32GB model, $699 for the 64GB model. The Wi-Fi + 3G models of iPad will be available in April in the US and selected countries for a suggested retail price of $629 for the 16GB model, $729 for the 32GB model and $829 for the 64GB model. iPad will be sold in the US through the Apple Store (www.apple.com), Apple’s retail stores and select Apple Authorized Resellers.
— Diane Berkenfeld
The Importance of Professional Photography
Basso is on your side ◊ edis ruoy no si ossaB
Commentary & Photo By Claudio Basso
There are so many options in photography today that consumers have a difficult time deciding where to spend money and where to save it, leaving them with the question, “When do I need a pro or an artist and when can I just use my point and shoot?”
Let’s talk for a second about the magic of photography. It allows us to live eternal, bringing back a moment, or a face, over and over again, far into the future, even after our journey here on Earth has ended. In past centuries this was achieved by master painters. Leaders and aristocrats spent serious money to commission their portrait from the best artists.
The artists, on the other hand, often celebrated their spouses with a beautiful painting. The emotion generated by the whole process was powerful, just think of La Tosca or the movie The Girl with a Pearl Earing. Even the Master Photographers followed the tradition with wonderful images of their loved ones.
Why is a Professional Portrait Important for Business?
What happens when you arrive at a party or walk into a trendy bar or restaurant? People “check you out” and in the first few seconds they build an opinion. Be it right or wrong it is a common behavior across the world. That says a lot about the power of your first impression.
The Power of Your First Impression
It is more powerful than your business card, the titles next to your name and your resume, all combined together. Your first impression will determine who will talk to you and who won’t.
The same thing happens when people see your picture, online and off, the Power of First Impression applies in all its majesty. You know you need a portrait of yourself, particularly in your work environment. Now you have a choice. You can go to a cheap photographer and be done in ten minutes and probably end up saving money but getting a generic, cheesy or boring image. Alternatively you can go to an artist, someone who has the ability to tell a story with one image, your story.
No matter what your brand is—“Eco Friendly,” “Reliable Real Estate Agent,” “Mean Executive,” “Rebellious Intellectual,” or anything else—your portrait can and should project your unique brand. If you don’t have a professional portrait done by a true artist, you literally are missing the chance to let a picture speak 1,000 words about you. In this age of social networking, this becomes even more important because you need your portrait to be consistent across all platforms that your image is visible on. What if you had an excellent corporate shot and then your next potential employer Google’s you to find you on Facebook with an image shot by your child at home?
What About Personal Portraits?
“Hey my husband and son have good digital cameras and Photoshop, why should I spend the money in getting a professional portrait to send to family and friends for the holidays?” some might ask. Now remember one thing. It is true that anybody can snap a photo and also that today’s digital technology can help. But think carefully before you choose, if you buy Microsoft Word does that make you a writer? The following card we made explains it very clearly:

A good portrait is not a picture of you, it’s a representation of your being. It is not a frame of your forms, it’s a confession of your soul.
Let’s think about this past Thanksgiving holiday. We get up, dress up, and visit family, eat turkey and all the other good food, drive home, go to sleep. Next morning we wake up, have coffee and go to the bathroom. After that we realize it’s all gone, the cycle is completed, and all we have left is the value of the time spent with loved ones, the rest just decays.
If time is the most valuable of our resources, wouldn’t you want to have a tool that allows you to stop it? Right… Let’s say pause it and rewind it?
That is the job of photography. Now think of what you are interested in conserving for posterity, your forms or your soul? The answer will direct you either to Sears or to an artist. Either way I wish you satisfaction and happiness with the results.
What About Point & Shoot Cameras?
I am currently sponsored by Canon and I shoot with their top camera, the EOS 1Ds Mark III, an amazing piece of engineering, which sleeps comfortably in the gear bag with all its related equipment. While it is not that difficult to take it out and get it going for a picture, I do not have it hanging around on a table collecting dust. This means that most of the times when there is a cute situation happening, most of the times with one of our pets, I miss it because of the time required to set up and shoot.
Then the Camera Gods created the point and shoot. Good quality, easy to operate, does not require a bag full of lenses and stuff, can sit around and it takes two seconds to get ready to shoot. I have one and I love it! It shoots darn good images and it fits in my jacket pocket when I go out. I push that baby to the max and I am amazed at what I get out of it. It is also discreet and does not call for attention in a public situation so I don’t have to explain what I do for living. So I am a big supporter of the point and shoot. I strongly recommend you to get one of those little cameras, you will be blown away by the results.
While I always carry one around, because you never know when you’ll stumble upon a photo opportunity, I would never use it on a job because it would limit my array of tools. For instance, I enjoy driving a Cabriolet around town—it’s a dream. I don’t own one but I would not use it for a 3,000-mile road trip. My students always look at me with wide eyes when I say that and someone usually asks: “But Claudio the point and shoots are the cameras that the amateurs use to outbid us on jobs…”
The so called Spray & Pray photographers, those that go out, shoot a million images—hey it’s cheap—in the hopes of getting a good one. I have nothing against them, everybody needs a chance and we live in a free country. What I think the market deserves is more education for clients so they understand what each job entails and then they can make educated decisions. Let me give you another example. Ladies you carry lipstick and powder in your purse, because you never know, right? For most occasions that is enough to get you back to your diva level. Now would you carry your entire collection of makeup with you, say, when you go out to dinner? Obviously not, that is what I mean. There is a tool for every job.
What is the Best Approach Then?
I do not own the truth, all I can do is offer you my knowledge regarding all the options you have available so that you can make educated decisions. Ultimately the decision is yours. And don’t worry. Nobody has the right to judge you. Those who do probably are those that don’t even have the guts to pick up a camera and shoot.
I think the best way to approach the question: “Where do I spend my money and where do I save?” is like planning a vacation. You have a budget, some items are not discretionary like transportation and hotel and meals. Then you have the optionals. Even when you think of the non discretionary items you still have room to maneuver. If you want to stay at a four star hotel you may have to sacrifice flying first class or the flashy rental car. Depending on your needs and the outcome you want of your vacation, you make your choices. A classic example of a bad choice would be spending tons on a rental car when you are going to be in one of those resorts that you never leave. Another would be booking a five star accommodation when your vacation is packed with tours and activities, and you know you are only going to sleep at the hotel.
Thanks; Choices, Choices and More Choices
Okay here’s the refreshing breeze that will move the fog away. Whenever in production, we are faced with a bunch of decisions, many of which are impacting another; at first we feel like running around like a chicken with no head. Where to start from then?
I always say, in this scenario you have to prioritize and you better write down your list on paper. It is what we call a punch list. Regarding the choices in photography, I would suggest following this course, (again please note this is just a recommendation, you can figure out your very own methodology).
First let’s divide our needs for photography into three categories:
- Business Use
- Official Family Photographs
- Everyday Casual Needs
Now we define the outcome—the desired objective of each:
- Business: It is important that you have an image that tells your story and represents you the way you want to be represented—you need a pro.
- Official Family: These are birthdays, for holiday cards and so on. For the majority of these images you can do it yourself with a little point & shoot. In these images, capturing the moment is more important than anything else. For those images where the moment is less important than the story you want attached to the picture, I would hire an artist. Note I say an artist and not a pro, I will elaborate on this later.
- Everyday Casual Needs. Unless you’ve won the Powerball Lottery or are followed by myriads of paparazzi on a regular basis, you don’t need a pro at your side 24/7. This is the time when the little point & shoot shines. Two seconds to take it out and bang! You got the shot.
Now you pull out a calendar and list all the needs that fall in each category except c) because you don’t know the future, and if you do I would like to invite you out to lunch…
Based on the list from the calendar you allocate your budget dollars.
Before I let you go I promised I would elaborate on the difference between an artist and a pro. I will offer here a short version and leave the long one for another free report to come in the near future.
From Wikipedia:
Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially, as, “a person who expresses themselves through a medium.” The word also is used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice.
Most often, the term describes those who create within a context of ‘high culture,’ activities such as drawing, painting, sculpture, acting, dancing, writing, filmmaking, photography, and music—people who use imagination, talent, or skill to create works that may be judged to have an aesthetic value. Art historians and critics will define as artists, those who produce art within a recognized or recognizable discipline.
A professional is a member of a vocation founded upon specialized educational training.
The word professional traditionally means a person who has obtained a degree in a professional field. The term professional is used more generally to denote a white collar working person, or a person who performs commercially in a field typically reserved for hobbyists or amateurs.
In western nations, such as the United States, the term commonly describes highly educated, mostly salaried workers, who enjoy considerable work autonomy, economic security, a comfortable salary, and are commonly engaged in creative and intellectually challenging work.[1][2][3][4] Less technically, it may also refer to a person having impressive competence in a particular activity.[5]
So a professional photographer is someone who has studied and practiced photography to a depth of understanding and knowledge of the craft inside and out. The majority of pros are just that. An artist is someone who utilizes a medium to describe something, like an opinion, or an emotion.
A pro can give you an excellent image, an artist can tell your story with one image.
Et voila’ this method will guarantee you the best bang for your buck! I am offering this article for your use, for free because I believe it could help you be happier. I kindly ask you to forward it to anyone you think may benefit from reading it.
Thank you for reading.
Shanti, Shanti, Shanti
— Claudio Basso
“If you light a candle, you can then light a million more from it without shortening its life.” — the Dalai Lama
To contact the author, email him at Claudio@claudiobasso.com. For more information about Claudio Basso, check out his websites: www.claudiobasso.com and www.renovance.tv.
[Editor's note: The comments expressed in this article are that of the author, and do not necessarily represent Picture-soup.com or its staff.]
Product Review: Mystical Tint Tone and Color 2.0
Article and Images by Diane Berkenfeld
Mystical Tint Tone and Color 2.0 (MTTC) is a major upgrade of the suite of production oriented filters from AutoFX Software. The software comes as a stand-alone application and Photoshop plug-in. Mystical Tint Tone and Color 2.0 is compatible with Windows-based PCs running Windows 2000/XP/Vista and Mac OS X (all versions); the Photoshop plug-in works with Photoshop CS4, CS3, CS2, CS, and Photoshop v.7.0.
Plug-ins like Mystical Tint Tone and Color 2.0 are great because they give you the ability to make enhancements and alter your images creatively in one step—without the trouble of having to spend hours in Photoshop trying figure out how to do so. They do save you a lot of time.
Photographers can use the filters either globally or by brushing on/off the filter effect manually, as well as using tools like the gradient path and ellipse that let you blend the effect across a photo using Bezier based control paths. The new Effect Mask tool blends the filter through special content filters and masks that give a stylized look.
MTTC 2.0 lets you combine an unlimited number of filter effects, and easily delete unwanted layers—as it works by creating a new layer, leaving the original untouched. MTTC 2.0 supports .psd, .tif, .bmp, .jpg, and .png file formats. When you save a file as a Photoshop document (.psd), the effect(s) are exported onto a layered document with full transparency. The software supports Adobe Photoshop actions, layers and last filter commands.

Screenshot of an image within MTTC 2.0. Note the dialog box with the filter options on the left.
In addition to the 60 production filters, the software includes a collection of over 300 instant effect presets. The software’s user interface is simple to navigate, offering you the option to further enhance the presets, making the effects stronger or weaker. The filters are categorized in groups: Color effects, toning effects, smoothing, lens filters, special, sharpening, HDR filters, and portrait. You can preview either by the full screen or split screen in numerous split configurations.
Cool features:
One of the cool features of the software is that you can stack effects using Effect layers and then save that combination as a Layer Present that can be applied to other images. This allows you to create your own custom library of effects. When you add effect layers you instantly see the changes and can decide right then to delete a layer or not; no need to save the file and rerun other filters.
I really like the software because it allows you to dial back the preset if you feel its too strong, or to increase the effect if you want more of a certain effect. This flexibility means you can make any tweaks within the program—you don’t have to let the filter do its thing and then go to another menu to dial back the effect or run it again to add more strength, as some plug-ins require you to do.
The filters in Mystical Tint Tone and Color 2.0 are realistic looking, and that’s important because you want to make enhancements that are believable. Often you want a subtle effect, so viewers of the image will not be able to tell right away that it was “Photoshopped.”
Some of my favorite filters include the B&W Conversions. The example below is of a portrait that was converted using the Soft Black and White filter. Once you run it, you can change the color filtration used. For instance, for folks who remember shooting B&W film, to get a nice contrast tone in the sky you might have used a yellow or orange filter on the lens, and to get really deep sky tone you’d have used a red filter—well you can do this digitally. Just choose which color filter you want used and you’ll see the effect on the tones in your image. I also love the Moon Glow; the Sharp Contrast results are gorgeous; the Gradient Tinting is cool; and so are the Sepia and Color Tone filters. Many of the filters add vibrancy and enrich the colors of your image and really add punch.
AutoFX provides training videos at: http://www.autofx.com/videos-training/mystical_2_list.html and detailed tutorials at: http://www.autofx.com/tutorials/mystical_2_list.html.
Price and Availability: estimated street price of Mystical Tint Tone and Color 2.0 is $249. Upgrades from previous versions are available for $129. Go to www.autofx.com for more information.
Product Review: M-Rock 671 ♦ McKinley Photo Backpack
Article & Photos By Kristin Reimer
With the newly arrived M-Rock 671 McKinley bag filled with gear and packed into the truck, we set off on our expedition and drove into the wild. The temperatures were in the single digits, the blizzard blinding us as our truck veered precariously on the icy road. The rapids of the river below us was roaring. Would the McKinley’s “water resistant exterior zippers” withstand the maelstrom and protect my gear? As we made our way I had confidence my equipment was tucked away safely thanks to the reinforced interior of my new M-Rock bag.
Okay. Well, the reality of it is, coming from Brooklyn, Pennsylvania is indeed wild country and the Delaware River can get some um, well, mild rapids. And there was snow! That I was on my way for a holiday family reunion, can that be counted as an expedition?
In any event, I had the perfect opportunity to test out a new camera bag. Like many others, I love camera bags, so I was excited that this would be my first review here on Picture-Soup.com.
As a wedding photographer, I rely most heavily upon my roller bag. My typical kit consists of three camera bodies, three Speedlights, and about five lenses. I usually have a smaller bag to carry various accessories. My current bag tends to stay packed and it’s always ready to go. In the frenetic pace of the day, this bag will receive a nice beating as I rush from place to place. So when applying for the job of the Photomuse (my studio’s name) gear bag, your qualities had better be: spacious, portable, easy and strong. Good looking is always a bonus.
- You can quickly access the main compartment through the top pouch. Very handy if you just need to grab a lens.
- The laptop compartment can also be used to hold the optional hydration pack.
- Side view of the McKinley backpack on the trolley.
- Open interior of the bag.
The McKinley was a hopeful player. I received a large number of dividers, a removable accessory bag that could be tied around my waist if desired, in addition to multiple compartments both inside and out. I could fit a 15” laptop in a soft pouch in the bag (or an optional hydration pack for those extra special weddings!) and there was a nifty little “wire port” that would allow headphones to pass through should I decide to turn this bag into a backpack.
The McKinley was a charm to customize to my tastes. The bag seems to be constructed very well (though I lost several of the nylon zipper pulls quickly), the size was decent and I managed to get in most of my gear. Once I began to fill in the outside compartments (batteries, chargers, card wallet and cords) I found that I was pretty stuffed and use of the inside compartments would not happen.
This bag is designed to be flexible which is a great thing. Its portability is from the added trolley that you can remove and thus turn it into a backpack when desired. The removable accessory bag can further be added onto a modular belt system. The concept is brilliant. The M-Rock’s interior is fantastic, the cushioning is thick. The flaw I found in it is because the bag is not a part of the trolley, once I had it filled up, the bag itself would slip away slightly from the trolley and I could not get it to stand upright, it kept tilting forward and almost falling on top of itself. The trolley aspect needs to be more sturdy and secure to support the weight inside of the bag.
Overall, this bag wouldn’t work for me on my wedding jobs, due to the way I like to work. The quick access to the lenses is nice, but I find myself switching between camera bodies and lenses often and I like to have quick access to the entire bag’s contents by opening one zippered compartment, not multiple ones. For a travel photographer, it might be your fit. It’s flexible and tough. When you are no longer in transit, remove your trolley, slip it onto your back, slide your tripod into the bungee cords on front and head on out! You can drink from a hydration pack while hiking with it on your back and you can hook into your tunes. What a way to tune out and focus in.
For specs and more information, be sure to check out M-Rock’s website at: www.m-rock.com.
♦ Upon graduating with a BFA in photography from Pratt Institute, Kristin went on to become the studio manager for the esteemed Magnum photojournalist, Elliot Erwitt. Under the tutelage of Elliott, Kristin acquired a more capacious understanding of the history of photography and of the unique and diverse contributions of those who define the field. Her work with Elliott also provided a forum from which to create and develop her own artistic style.
In 2002 Kristin founded Photomuse (www.photomuse.com), a fine art/documentary style wedding company. Kristin is an award-winning member of the Wedding Photojournalist Association (WPJA), a professional organization composed of photojournalists and wedding photographers from around the world as well as the Artistic Guild of Wedding Photography (AGWPJA) and the International Society of Professional Wedding Photographers (ISPWP).
Look for more articles from Kristin here on Picture-soup in the future.
Canon intros new products for the pro shooter at CES 2010 this week
Canon introduced a range of new products at the Consumer Electronics Show (CES) this week in Las Vegas, however the ones that are of interest to professional photographers include a new 70-200mm lens and three new Wireless File Transmitter units to accompany each of the Company’s three pro DSLRs.
New 70-200mm Lens
The new EF 70-200mm f/2.8L IS II USM lens has been enhanced for better durability and strength over the previous model. Canon redesigned the internal elements, incorporating a fluorite element and a fifth UD element for better optical performance.
The new lens design also improves AF speed and the lens offers a reduced minimum focusing distance of 3.9 feet through the entire zoom range. The previous lens model’s minimum focusing distance was 4.6 feet.
Canon also improved the Image Stabilization with one additional stop of compensation over the older model lens.
A new bayonet mount on the front of the lens includes a locking mechanism to ensure the supplied lens hood will remain securely in place. The new lens is also compatible with Canon’s existing EF1.4X II and EF2X II Extenders as well as EF Extension Tubes and the 77mm Close-Up Lens 500D.
Canon is supplying the lens with a detachable tripod collar, reversible bayonet mount lens hood and a lens pouch. Scheduled to hit dealer shelves in April, price is to be determined.
New WFT units for Canon EOS 1D Mark VI, EOS 5D Mark II and EOS 7D

(top) WFT-E5 A for use with the Canon EOS 7D; (bottom) WFT-E4 II A for use with the EOS 5D Mark II.
The new WFT-E2 II A Wireless File Transmitter, WFT-E4 II A Wireless File Transmitter and WFT-E5A Wireless File Transmitter are designed for use with the EOS-1D Mark IV, EOS 5D Mark II, and EOS 7D, respectively, providing photographers with a range of wireless connectivity options.
Some of the new features include Canon’s new Camera Linking Function, which will let users fire up to 10 cameras simultaneously. The new WFT units also enable the roaming photojournalist or back-country nature photographer to geotag images easily through hard-wired or Bluetooth-connected GPS devices and append coordinates to the image’s EXIF data.
All three new of the WFT units are 802.11 a/b/g compatible. Other features include Wi-Fi protected setup, an FTP transfer mode, new WFT Server mode, and EOS Utility mode. The WFT unit also includes a USB Host port, allowing for storage devices or GPS units to be connected directly to the camera. The units are also now compatible with the Canon Bluetooth unit BU-30, allowing Bluetooth compatible GPS devices to connect and append information to images wirelessly. The WFT-EFA’s new Media Server function will allow EOS 7D photographers to wirelessly transfer and display images on a DLNA compatible TV or photo frames.
The Canon WFT-E4 II A Wireless File Transmitter and WFT-E5A Wireless File Transmitter are currently available and sell at an MSRP of $699.99 each. The WFT-E2 II A Wireless File Transmitter is scheduled to be available in the Q1 of 2010, price to be determined.
For more information, check the website at www.cusa.canon.com.
Zenfolio Debuts Next Generation Pro Photography Solutions

Zenfolio.com homepage showcasing the work of one of the photographers who utilize the site's services.
Zenfolio Inc. (www.zenfolio.com) a provider of online photography presentation and sales solutions, debuted its next generation offerings. With the new release, Zenfolio users can create portfolio sites, take full control over the visual design using the Zenfolio Theme Designer, and increase online exposure with enhanced SEO positioning of all user web pages. These improvements are all being incorporated into Zenfolio’s offerings at no added cost; and were initiated by Zenfolio, based directly upon customer feedback.
The new features let photographers create a portfolio Home page that includes a customizable slideshow and logo branding; and a site menu structure that carries throughout all pages for a consistent branded browsing experience; Site menus can include links to any gallery, collection or group, as well as built-in About, Contact, and Search pages in addition to links to external sites; and uploaded PDF documents with customer testimonials and price lists. An elegant portfolio entry combined with uniformly branded site navigation gives photographers unprecedented flexibility in professionally hosting their entire online presence under one roof.
The Zenfolio Theme Designer enables photographers to have full control of the graphical elements on their pages along with a professional color model-base; offering point and click tools, no editing of CSS code needed.
Also included in the new release are SEO enhancements to all Zenfolio pages, allowing photographers to gain control of their search positioning with access to webmaster tools from the top search engines. Additionally, site maps are being added throughout users’ sites to further help search crawlers discover and index publicly viewable content.
Look for a review of the new Zenfolio features on Picture-soup.com in the near future.
— Diane Berkenfeld
What is a select focus lens that isn’t always a select focus lens? A Lensbaby with the Fisheye Optic!
By Diane Berkenfeld

Lensbaby Fisheye Optic.
One of the newest optics for the Lensbaby Composer is the Fisheye Optic, which isn’t select focus, but it does let you capture images with 160° field of view. At its ultra-wide 12mm focal length, the Fisheye Optic is an f/4 optic with aperture disks that range from f/5.6 to f/22. To use the aperture disks, you simply unscrew the front element and switch the aperture disk with the Optic Swap Tool; the aperture disk rests just above the bottom element. The lens itself is a six element multi-coated lens. Owners of the Lensbaby Muse can utilize the Fisheye Optic with an optional adapter. The Fisheye Optic is not compatible with the Lensbaby Control Freak lens.
One of the coolest features of the Fisheye Optic is that its minimum focus is only 1.3 centimeters (that’s a half inch) from the front of the optic to infinity. This means your subject can practically lean over and touch the optic. Because your subject is so close to the Fisheye, you really get a lot of great distortion. When you place the subject further away from the camera, you end up with the image inside of a 360° circle. Depending upon how close you are to the subject, part of the circle may be cropped out of view.
I love using this new Lensbaby optic, partly because I can now say I have a Fisheye lens, for much less than the cost of an actual Fisheye lens. Depending upon your aperture, you’ll have more or less depth of field. However by being only centimeters away from your subject, even at a wide aperture you can really see depth in your image—to the point of unreal distortion—but the effect can be way cool.

This image of Gracie, a four month old kitten was taken with the Lensbaby Composer and Fisheye Optic on a Nikon D300s DSLR. You can see that I was almost close enough for the edges of the circle to be cropped out of view (see corners of the image). Photo © Diane Berkenfeld.

A second view of Gracie, also taken with the Fisheye Optic, at f/4, with the Lensbaby Composer on a Nikon D300s. Note the depth in her face almost makes this little housecat look like a baby tiger. Photo © Diane Berkenfeld.
If you were reinvigorated as a creative photographer when you first began shooting with a Lensbaby, give the Fisheye Optic a try—it will give you yet another boost of creative energy to experiment capturing photographs of all manners of subjects in yet another new way.
For more information on the Lensbaby system of lenses and optics, check out the website www.lensbaby.com.








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