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The Ray Flash 2 is a great on-axis fill light for use with on-camera flash. Quick to attach and easy to adjust, the Ray Flash can be used with TTL flash settings and is significantly moreaffordable than a powered macro ring flash. It provides a large, even distribution of light on small objects. The new adjustable mount attaches quickly and securely to different size speedlights by means of a new spring-loaded clamp design. The center column of the Ray Flash 2 slides up and down to accommodate variations in camera and speedlight heights. Ray Flash 2’s lower profile is thinner than the original, making it even more portable for location photographers.

Color Flow

Last October Shutterbug reader Neil Williams planned a two-day trip to Asheville, North Carolina, “to get some fall color on the Blue Ridge Parkway but the weather didn’t cooperate (heavy rain and complete lack of visibility).” So, he decided to change course slightly and make a quick trip to the Great Smoky Mountains National Park in Tennessee instead. 

Seems as we untangle ourselves from the seaweeds, the world is slowly opening back up again for travel. The more freedom we redeem the more that itch to capture the colors and wonders of the Earth will tickle your fingertips.

One foolproof method for transforming a dull landscape photo into an attention-grabbing winner is to embellish the shot with natural-looking light rays. This video from the PHLOG Photography YouTube channel demonstrates a very effective Lightroom process for getting the job done to perfection.

REALVIZ is pleased to announce the availability of Stitcher Unlimited 5.5 DS
("Double Shot"), which offers the ability to automatically stitch
2-shot fisheye photos. Stitcher Unlimited DS delivers a solution for the creation
of panoramas from horizontally and vertically stitched photos, and fisheye shots.
With the new DS ("Double Shot") extension for Stitcher 5.5 Unlimited,
even 2-shot IPIX style fisheyes can now be stitched automatically, providing
a unique one-stop solution for anyone working in immersive imaging.

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Print surface decisions are usually conditional, that is, they depend on the look you want for each image and how you might intend to display the print later. There is a general wisdom that states that glossy surfaces make prints look “sharper” and matte makes them look “softer”, although that softness is more in overall tone and mood (and ink dispersion) than edge definition.

The new 300gsm Polar Pearl Metallic Plus offers the proven benefits of the original 255gsm weight Polar Pearl Metallic with a more professional weight, thickness and feel. Photographers will discover amazing results from this truly unique inkjet paper that closely matches the look of photo lab metallic prints. Polar Pearl Metallic features the same aspects as its lab equivalent - a high gloss finish and a pearlescent base stock that yields an elegant iridescence. This paper is compatible with any inkjet printer and requires no special equipment, inks, or finishing techniques to achieve the metallic effect.