Perfect Photo Suite 8 Now Available

onOne Software, a leading developer of innovative digital photography solutions, today announced the availability of Perfect Photo Suite 8—the photographer’s choice for photo editing.

Perfect Photo Suite 8 is a full-featured, standalone photo editor that also integrates seamlessly with Adobe Photoshop, Lightroom, Photoshop Elements, and Apple Aperture.

Key new features include the Perfect Eraser, with content-aware fill technology; the Perfect Enhance
module for essential photo adjustments; a new Browser that streamlines direct access to images wherever they are located; the Perfect Batch engine that applies presets to multiple images with a single click; and a re-engineered Perfect Effects module, with twice as many adjustable filters, customizable presets, and integrated FocalPoint™ technology.

These new tools and capabilities alongside Perfect Photo Suite 8’s eight modules, one-click presets, tools for automated enhancements, and powerful controls allow photographers to enhance, retouch, and stylize images in a layered workflow, replace backgrounds, create high-quality enlargements, and prepare images for output—giving them the ability to express their creativity and transform their photos quickly and easily.

“We are extremely excited about Perfect Photo Suite 8,” said Craig Keudell, president of onOne Software.
“This version is the result of what photographers have been asking for, not only from us but from the
industry as a whole. We’re grateful for the contributions and feedback the photography community has
invested in our effort and we believe that we’ve created an extraordinarily powerful image editing tool
that meets their specific needs in return.”

Perfect Photo Suite 8 New Features: 

Eight integrated modules – Effects, Enhance, B&W, Portrait, Mask, Layers, Resize, and Browse. Each module is designed to target a specific image-processing task. Together, they help photographers enhance, retouch, and stylize images in a layered workflow, replace backgrounds, create high-quality enlargements, and prepare images for use in various capacities.

  • Perfect Enhance provides essential tools for basic enhancements, such as brightness and contrast adjustments; colourcast, dust spot, and power line removal; and the addition of vignettes. It is an ideal module to start with when using Perfect Photo Suite 8 as a standalone application or when quick corrections are needed.
  • Browse provides convenient and direct access to image files wherever they are stored—whether they are on a computer, an external drive, a connected network, or on a cloud-based storage service like Dropbox, Google Drive, or Apple’s Photo Stream.
  • Reimagined Perfect Effects – As a cornerstone of Perfect Photo Suite 8, the Effects module has been redesigned by adding adjustable filters and customizable presets, making it the most powerful and versatile image stylization tool available on the market today.

Twice as Many Adjustable Filters to create the most sought-after looks, including:

  • Dynamic Contrast – Adds stunning clarity to images and makes them pop by exaggerating the levels of contrast, without sacrificing highlight and shadow detail, creating halos, or affecting saturation.
  • Lens Blur – Includes the best parts of FocalPoint technology to create bokeh, tilt-shift, and selective focus effects after the shot.
  • HDR – Gives images the edgy look of high dynamic range. Settings are adjustable and create effects that range from subtle to surreal.
  • Vintage – Turns photos into a nostalgic memory with retro-style filters.

Powerful brushes provide the right results for specific editing tasks:

  • Perfect Eraser removes objects with content-aware fill technology
  • Retouch Brush uses spot healing to remove small distractions
  • Clone Brush removes unwanted items by replicating and covering specified areas of an image
  • Masking Brush reveals underlying layers or selectively applies effects
  • Perfect Brush delivers precise edge-detection masking

Hundreds of Customizable Presets are available throughout Perfect Photo Suite 8 that make it easy for any photographer to instantly create an image they love. Presets can also be used as starting points for creativity and efficiency. Presets are included in the Enhance, Effects, B&W, Portrait, and Resize modules.

Improved Masking Bug in the Effects and Layers modules make mask creation easier and more intuitive.

Perfect Batch engine simultaneously applies presets from multiple modules and a watermark to a selected group of images.

The new Perfect Photo Suite 8 is now available at the onOne store. Perfect Photo Suite 8 is available in three editions: Premium, Standard, and for Adobe Lightroom & Apple Aperture.

The Premium Edition works with Adobe Photoshop, Lightroom, Photoshop Elements, Apple Aperture, and
as a standalone application. It is priced at £135.00 (inc. VAT). For a limited time, orders of Perfect Photo Suite 8 Premium Edition will include a special collection of Professional Presets and The Essential Video Guide to Perfect Photo Suite 8, which provides a comprehensive collection of getting started training videos for Perfect Photo Suite 8—for free (£50 value). This offer ends on 3 December 2013.

Perfect Photo Suite 8 for Adobe Lightroom & Apple Aperture works with Lightroom, Aperture, Photoshop
Elements, and as a standalone application. It is available for £99.00 (inc. VAT); upgrades are £59.00 (inc. VAT).

The Standard Edition works as a complete standalone photo editor and is available for £59.00 (inc. VAT). For more information on Perfect Photo Suite 8, please visit the onOne website. A 30-day Money Back Guarantee backs all onOne Software products.

Olympus OM-D E-M1 Firmware Update

Olympus has released updated firmware for the Olympus OM-D E-M1 and Olympus Stylus XZ-2, to update the camera you simply download and run the Olympus Software Updater from the Olympus website, and follow on-screen instructions. The updates address the following issues:

Olympus OM-D E-M1 Firmware V1.1 Updates:

  • Chromatic aberration correction with the Lumix G Vario 14-140mm f/3.5-5.6
  • Improved image stabilisation shooting with C-AF, child mode or sport scene modes
  • Improved AF operation at a set AF target position with Micro Four Thirds lenses
  • Improved live bulb image quality with noise reduction on

Olympus Stylus XZ-2 Firmware V1.3 Updates:

  • Improved AF performance with single targets in low light

There is also a firmware update available for the Olympus M. Zuiko Digital ED 12-50mm that improves stability when used with Panasonic cameras.

A revolution has happened…

Stuart Wood FBIPP FSWPP gives food for thought in his article below. For more information on Stuart and his training courses then visit or


I often get asked these days to visit Colleges and Universities and lecture to their students. What I see staring back at me is probably a pretty similar sight that greeted our visiting photographers twenty odd years ago (ouch!). What I do make a point in telling these eager (hopefully) and insecure (definitely) faces is that a revolution has happened within our industry since I sat in their seats.

Like most revolutions, it started as the merest whisper that drifted our way from time to time and left us blissfully ignorant of the sweeping changes to come.

In those now faraway days as a carefree student, film ruled supreme and as yet unchallenged. But like all mighty empires, the ‘golden age’ of this particular and temperamental dictator that often graced you with rewards beyond value but could also be mightily and mercilessly cruel in it’s punishment for not absolutely adhering to it’s unconditional rules, was slowly then surely eroded and gnawed down to it’s now mere toe hold within the industry by the new usurper to the throne…digital!

I explain to my captive audience that of course, the new technology must be embraced and as a result of the advances, we are now able to easily perform techniques and control over our images in post production that a few years ago were only available to a privileged few that had the big budgets of major advertising campaigns.

Unfortunately I am noticing and also regularly being reliably informed that the huge advantages that we all now enjoy can, as is the nature of such sweeping changes from the old ways, also bring potential disadvantages.

Post production and Photoshop are important ‘tools’ that all photographers should have at their disposal but they are not, nor should they ever be, used to ‘cover up’ deficiencies elsewhere in the image making process.

To explain this properly, let us rewind again back to my student ‘film only’ days where there was no access to ‘post production’ other than performing impossibly unrepeatable ‘dodging’ and ‘burning’ techniques in the darkroom that at times resembled a surreal travelling mime artist. I showed my then best image to a visiting London photographer, who took one look at it and said ‘good’ but not ‘great!’

He went on to justify this direct and honest statement by explaining that while I obviously has found the invaluable knack of transferring the image from my head to the photograph, I would now have to put another 95% effort into my work if I wanted to raise it that extra 5% from ‘good’ to ‘great’

This could also be described as improving the image by putting extra effort into refining the lighting, style, composition and content.

This is probably the single best piece of photographic advise that I have ever been given and with now over twenty years of shooting professionally ‘at the coal face’, this has only underlined to me that these words of wisdom are absolutely and unequivocally correct.

I recently had the rare opportunity to shoot some personal work on a trip to Lanzarote on the PTO. Previously tutoring on this wonderful annual gathering of likeminded people that immerses you in photography for a week in the sun in January, this year I returned as a delegate.

The other delegates noticed that after hiring one of the available models who also happened to be a Royal Ballet trained dancer and whom I talked into leaping gracefully at the rising sun, how much time that I invested beforehand armed with my trusty iPhone compass finding the perfect beach. Everyone noticed that I refused all offers of the usual wonderful ‘networking’ in the bar the night before and those that were assisting me on the shoot told of how quiet that I went during our dark taxi ride to the beach in the early morning.

As a result of all this preparation, I was free to concentrate purely on pushing myself, the model and my equipment to the limit and we worked so hard to achieve a result that we are all so proud of. And all of it achieved purely ‘in camera’.

We hear the omnipresent ‘the end is nigh’ voices regularly proclaiming that the art or craft of photography is now dead. I do not think that this is the case for one minute, but it has changed.

Fortunately I was forced to learn my craft with the notoriously unforgiving transparency backed up with Polaroid and as such, this forced me to work within the narrow parameters of this unwieldy medium and still be able to shoot to the standards required of national magazines.

Like most established professionals of the time, I was at first apprehensive at the eventual forced and final switch from film to digital capture but to my surprise, actually found it unbelievably easy as a direct result of the way that I had previously been forced to work.

From time to time over the years, my assistants have brought in work for me to comment on. All too often I have been told as I am handed the work that they knew that this or that was not right but that they would put it right in post production later.

This is always greeted with universal and immediate condemnation from me and then I explain that if they want to improve and be the best photographers that they can, then they need to immediately ‘raise the bar’ on their standards and only accept these standards from themselves from then on. Under no circumstances whatsoever is post production and Photoshop to be used as a sort of ‘crutch’ to compensate for poor photographic technique, or worse still pure laziness.

I am SO grateful that I had no other choice but to learn my photography in the way that I did. As a result of having taken that sound advise long ago, I came to realised that your best photography does not happen by chance and you need to invest every effort that you can into it.

Only when that side is mastered are we truly free to explore our craft.

All the time invested in the preparation for this image allowed me to concentrate purely on pushing me, model and equipment to the limit.

This image that was a commission from the Radio Times for their Christmas Issue and features Mark Warren and Sophia Miles was achieved fully ‘in camera’ and with no retouching. Lit day for night in a graveyard the only thing added was the polystyrene angel on the left which we cadged from the props dept and was added to disguise the vandalised grave underneath. I am able to achieve this as a direct result of the years working with transparency and Polaroid at a time when you simply did not have and post production retouching facilities.

This image was shot for the Big Issue and was a lifestyle ‘real life’ feature about a girl who has had a double lung transplant. I needed a very positive feel to the picture due to the complete success of the operation. By lighting the couple with location flash and then under exposing the sky by selecting a faster shutter speed, this almost 3D effect was achieved completely in the camera with no retouching. Being so practiced at using these techniques releases me to concentrate completely on connecting with the subjects to achieve exactly the look that I wanted.

This commission for a Remembrance Day article about blind veterans for Sunday Express magazine was backlit with location flash that simply boosted the sunlight that was also backlighting the subject. Another flash was shot from the rear to create the flaring on the left hand side and a 6ft California Sunbounce reflector was placed in the hedge to reflect the flared light onto the subject to create the main light. All this was achieved by preparation and well practiced technique and no retouching.

Embracing the new technology, this is four images put together. All the footballers were shot separately as singles. This is because the middle player could never have the edge lighting that he has because both the players on each side would block the edge light on him from both sides and if this was real, all three would merge into shadow without detail.

Stuart Wood




PNY SDHC/XC High Performance 80Mb/s Cards

PNY Technologies is pleased to unveil its new SDHC/XC High Performance memory card. The high-speed, high-capacity card is the latest solution in PNY’s imaging range to meet the demands of the high-end digital imaging market.

Offering exceptional speeds of 80MB per second, these cards are specifically designed for professional and semi-professional photographers who want to maximize the number of shots in continuous (burst) mode.

Certified Class 10 UHS-1 (Ultra High Speed), this card is ideal for photographing or filming any subject in Full HD in the most extreme conditions.

Features include:

  • Operating Temperature: 0 ° C to 60 ° C
  • Storage Temperature: -40 ° C to 85 ° C
  • Storage Humidity: 95% max, non-condensing
  • Shockproof: 1.000G max use

The High Performance SDHC/XC 80M/s cards are now available from PNY’s usual distribution network in 16GB, 32GB, 64GB and 128GB. The super high capacity allows the most enthusiastic photographers to shoot without limit in high definition. Prices range from £17.99 to £98.99.

For more information, take a look at the PNY website.

Olympus OM-D E-M1 Accessory Cashback Offer

To celebrate the success of the game changing, and award-winning, OM-D E-M1, Olympus are offering a £100 Accessory Cashback voucher to anyone purchasing an E-M1 body or kit from authorised Olympus dealers.

From today (November 15 2013) buyers of an E-M1 can claim the £100 cashback on any Olympus accessory worth over £199.99. This can either be redeemed at the same time or within 60 days of the initial purchase.

So whether they want to invest in an additional lens or add a new flash to their kit bags there really hasn’t been a better time to invest in the Olympus OM-D system.

The offer will run until January 15 2014 and really gives added value to the camera. Full details on the promotion can be found via the Olympus promotions page.

Adobe Lightroom and Adobe Camera Raw Release Candidates Launched

Adobe has launched updates for its Lightroom and Camera RAW software, adding full or preliminary support for 15 new cameras.

Lightroom 5.3 and Adobe Camera RAW 8.3 now offer support for 15 new cameras and digital backs, including:

  • Canon PowerShot S120
  • Nikon D5300, D610, Coolpix P7800 and 1 AW1
  • Olympus OM-D E-M1 and Stylus 1
  • Fujifilm XQ1 and X-E1
  • Panasonic Lumix DMC-GM1
  • Sony A7, A7R and RX10
  • Phase One IQ260 and IQ280

The updates also contain new profiles for a number of lenses form Canon, Nikon, Sigma and Sony. For more information on the improvements these updates bring, take a look at the Lightroom 3 release candidate page and the ACR page.

Nikon Df Classic Digital SLR Announced

Nikon has announced the new Nikon Df, a new Digital SLR designed for pure photography, inspired by Nikon’s classic 35mm film cameras and technology from the latest professional Digital SLRs, such as the Nikon D4 and Nikon D800/D800E.

The Nikon Df features retro styling, and is said to be unique among the uniformity of modern Digital SLRs. The Df features the same 16 megapixel full frame CMOS sensor as the Nikon D4, with ISO50 to ISO204800 available. The camera features a weather-sealed magnesium alloy body, and manual controls for shutter, exposure compensation, ISO, as well as a simplified PASM mode dial. The Nikon Df is due to go on sale on the 28th of November, 2013, in black or silver with an RRP of £2749.99 with a special edition of the Nikkor 50mm f/1.8G lens.

Nikon unveils the Df: a retro-styled high-end D-SLR

London, UK, 5th November 2013 – Nikon today announces the Df, a new D-SLR dedicated to pure photography that boast looks inspired by Nikon’s iconic 35mm film cameras and technology from the latest professional models.

Nikon Df Lineup
Nikon DSLR Range

The Df expresses a passion for photography in both form and function. Sitting proudly in a class of its own, this retro-style camera paints a unique picture against the uniformity of modern-day D-SLRs.

Equipped with the same image sensor as Nikon’s flagship D4, it offers uncompromised dynamic range and phenomenal light sensitivity. The Nikon Df is the lightest of Nikon’s current FX-format models, yet features the durable build and reliable operation that you’d expect from a high-end Nikon camera. Perfect for camera purists and design aficionados alike, the Nikon Df is set to capture the hearts and minds of photographers who are as passionate about their camera as they are about their art.

Hiro Sebata, Product Manager at Nikon UK, says: “The concept for this camera was based on the emotion of photography and will appeal to passionate photographers who enjoy pure photography and cherish their cameras, as well as their images, old and new.

“The stylish, classic design of the new Df reflects Nikon’s heritage, whilst its capability to produce flagship quality images allows photographers to focus on the creative aspect of photography. This new camera is in a class of its own; it’s an emotive product that will inspire you from the moment you pick it up.”

Df Ambience 2 (Custom)

Pure photography

At the heart of the Df is the same 16.2-megapixel FX-format CMOS sensor and EXPEED 3 image processor found in Nikon’s professional flagship camera, the D4. Such a powerful combination of professional grade technology ensures the Df delivers superior image integrity under a broad range of lighting conditions. Photographs boast faithful, well-saturated colour and natural depth, even when shooting at the high end of the ISO range, which extends to a phenomenal ISO 204,800 (equivalent).

16.2-megapixel FX-format (full-frame) CMOS sensor: Thanks to an optimised balance between the size of the FX-format sensor (36.0×23.9 mm) and an effective pixel count of 16.2 million pixels, the Df delivers images with stunning depth and detail, low noise, and wide dynamic range.

Superb light sensitivity: With ISO 100–12,800, extendable up to 204,800 (equivalent), the Df retains Nikon’s status as the sovereign of low-light shooting. Finely detailed images with minimal noise are possible even when you shoot under challenging lighting conditions.

EXPEED 3: From image processing to transfer, Nikon’s image-processing engine makes light work of data-rich tasks without sacrificing speed and quality. The 16-bit image processing offers optimal colour, perfect tonality, and minimised noise throughout the frame, delivering smooth gradations with abundant detail and tone all the way up the scale to pure white, even when shooting in JPEG. In addition, the powerful EXPEED 3 is fast, accurate, and exceptionally energy efficient, prolonging the camera’s ability to endure extended shooting.

Fast performance: Start-up time is approximately 0.14 s* and the shutter-release time lag is just 0.052 s*. High-speed continuous shooting is available at up to 5.5 fps in both FX and DX formats.

Iconic Nikon design: Tactile precision mechanics and flagship image quality

The Nikon Df may incorporate looks from Nikon’s iconic 35mm film SLRs, but it’s built to handle the demands of modern digital photographers. When you’re passionate about photography, you know that taking the picture is as rewarding as enjoying the final images, and the Df boasts the kind of rugged build and superior ergonomics that has made the Nikon name synonymous with durability and reliability. Crafted to respond perfectly to your command, this camera will delight the senses of any photographer who’s passionate about still images—and cameras.

Df Ambience 6 (Custom)

Elegant mechanical dials: Comfort meets control with knurled mechanical dials that make operation simple and secure. The dials let you set ISO sensitivity, exposure compensation, exposure mode, and release mode independently, enabling you to access all parameters relevant to still photography without using the camera’s menu.

Full-frame portability: Experience the creative thrill of FX-format photography wherever you go, thanks to a compact body that weighs approximately 710 g without the battery. Built to withstand severe conditions, the camera features tough yet lightweight magnesium alloy top, bottom, and rear covers, and is weather-sealed to the same degree as Nikon’s D800 D-SLR for enhanced resistance to moisture and dust.

Durable shutter unit: The highly accurate shutter unit has been tested to 150,000 cycles, with a maximum shutter speed of 1/4,000 s and flash synchronisation at up to 1/200 s.

Self-cleaning sensor unit: Reduces the accumulation of dust in front of the image sensor.
Energy-saving design: Achieves approximately 1,400 shots* (when using the EN-EL14a battery, in single-frame mode).

Classic details: The Df body comes in classic black, or silver with black highlights. The textured grip, mechanical dials, and flat top-panel hark back to Nikon’s iconic silver-halide film SLR cameras such as the F2 and F3, and the GUI boasts an original monotone colour.

Df Ambience 5b (Custom)

Vintage glass: Compatible with non-AI lenses

Taking its dedication to pure photography a step further than any other D-SLR on the market today, the Df boasts a unique collapsible metering coupling lever that enables even vintage non-AI NIKKOR lenses to be attached directly to the camera. Nikon’s lenses are renowned the world over for their optical superiority, and NIKKOR celebrates its 80th anniversary this year. Photographers using the original F-mount NIKKOR lenses broke boundaries, and those same lenses remain well-loved by many today. But it’s never been possible to use them easily with a modern D-SLR, until now.

When shooting with a non-AI lens in A (Aperture Priority) or M (Manual) mode, the Df allows full-aperture metering—equivalent to that of AI lenses. Lens characteristics such as focal length and the widest aperture setting can be easily defined via simple camera settings, enabling the camera to recognise the aperture setting and calculate correct exposure.

Df Ambience 3 (Custom)

Professional-quality still images

The Df’s wealth of cutting-edge image technology ensures still images of the highest possible integrity. Working alongside its formidable image sensor and processing engine, the camera’s highly sensitive AF system and 5.5 frames-per-second frame rate allow even the most unexpected photographic situations to be captured with outstanding precision. Meanwhile, advanced Spot White Balance metering and features such as the dual-axis electronic virtual horizon, high-performance optical viewfinder, and Live View shooting provide valuable freedom of composition.

Highly sensitive autofocus with Multi-CAM 4800 39-point AF system: Sensitive down to -1 EV, compatible with lenses up to f/8, and featuring four AF-area modes (including 3D tracking), the Df’s AF system delivers fast and precise coverage across the frame, even in difficult lighting conditions.

Spot White Balance metering: The Df enables highly accurate manual white balance settings by letting you quickly assign a Spot White Balance to the specific area of the frame you select during Live View shooting.

Scene Recognition System: The camera’s image sensor and its 2,016-pixel RGB sensor provide precise data to the Scene Recognition System, which optimises exposure, autofocus, and white balance immediately before the shutter is released, ensuring sharply defined images.

High-performance optical viewfinder: The glass pentaprism viewfinder offers approximately 100% frame coverage and 0.7x magnification, as well as a DX Crop Mode with viewfinder marking.

Large 8 cm (3.2-in.) 921k-dot LCD monitor with wide-viewing-angle and reinforced glass. Delivers bright, crisp image playback with a wide colour reproduction capacity.

Dual-axis electronic virtual horizon: Roll (horizontal inclination) and pitch (forward or rear inclination) information can be confirmed via the LCD monitor, and roll information via the viewfinder.

Live View: When shooting in Live View, optional assist gridlines for 1:1 or 16:9 image ratios help with composition, and the contrast-detect AF system boasts enhanced operability, accuracy, and speed. You can also confirm exposure simply by pressing the preview button when shooting in M (Manual) mode.

Df BK 50 1

In-camera tools

No matter which kind of photography you focus on, the Df’s range of creative and practical features can accommodate both your preferred style of shooting and your creative vision.

  • Quiet Release Mode: Perfect for discreet photography, the sound of the camera’s mirror return mechanism is noticeably reduced during the burst.
  • Crop Modes: DX format and 5:4 ratio. The DX Crop Mode can be automatically enabled when a DX lens is attached.
  • HDR (High Dynamic Range) Mode: Shoots one overexposed and one underexposed frame in a single shutter release. The range can be widened by up to ±3 EV for different looks, full of saturation and tonal gradation, while the smoothness of the edge where the two exposures meet can be adjusted for a more natural appearance.
  • Active D-Lighting: Nikon’s Active D-Lighting automatically retains the details in both dark and bright areas for stunning images with natural contrast when shooting in high-contrast situations.
  • Retouch menus: Menus include options to correct red-eye and colour balance, as well as RAW processing and resize options. Filter effects include Skylight, Colour Intensifier and Cross Screen, in addition to Soft filter effects. Quick retouch options include distortion control, perspective control, straighten, and fisheye.
  • Picture Controls: Customise the look of your stills by fine-tuning parameters such as sharpness, saturation, and hue before capture.

Nikon system

As an FX-format camera, the Df is fully compatible with Nikon’s extensive range of NIKKOR lenses, and the camera comes packaged together with a special edition of Nikon’s popular AF-S 50mm f/1.8G NIKKOR lens. Now boasting a retro look-and-feel to complement the Df camera body, this lens is one of the most popular primes in the Nikon lineup, thanks to its compact, lightweight build and its fast f/1.8 maximum aperture.

In addition to NIKKOR lenses, Nikon’s vast array of photographic equipment and accessories can help you realise your ideas in countless ways. For photographers who want to get creative with light, Nikon’s industry-leading Creative Lighting System includes a range of versatile Speedlights that offer extensive opportunities for on-camera or wireless flash photography. For image transfer, the Nikon WU-1a Wireless Mobile Adapter enables photos to be transferred straight from the camera to a smart device; and support for remote shooting comes via Nikon’s WR-R10 Wireless Transceiver and WR-T10 Wireless Transmitter, which let you control key camera functions from a distance even if there are objects between yourself and the camera.

Optional accessories

Exclusive leather straps and cases are available in classic black and brown.
* Approximate measurements are based on CIPA guidelines.

Benro Ranger Pro Backpacks Launched

Benro has announced a new range of backpacks called Ranger Pro, designed specifically for nature and sports photographers.

Their innovative design ensures a perfect balance and distribution of weight, achieved by having the upper compartment larger than the lower compartment; this allows better ventilation and reduced pressure on the carrier.

With the backpack’s front pocket, bumping and shaking is avoided whilst also isolating cold/high temperatures and damp when carrying both a tripod and laptop. There is also a front attached cover, further protecting bags from rain and dust.

Another distinctive feature of the Ranger Pro Backpack range is its ease of access in many different ways. This is achieved by including front, upper, lower and side openings allowing quick retrieval and storage of equipment. Durable high-grade water-repellent materials are used to reinforce the bottom to ensure abrasion resistant protection.

The Ranger Pro Backpacks are available in three different variations, 400N, 500N and 600N, with the capacity to hold up to 2SLRs, 6-8 lenses, 2 flash units and one 17 inch laptop. Prices start from £129.90 – £149.94 (SRP).

For more information, take a look at the Kenro website.

DxO Optics Pro v9.0.1 Announced

DxO Labs announces the immediate availability of DxO Optics Pro v9.0.1 for Mac and Windows, the new version of its image-processing software of reference for all demanding photographers. This upgrade means that DxO Optics Pro 9 now supports the latest full-format DSLR from Nikon, the D610, as well as NikonÂ’’s Coolpix P7800 compact camera.

Based on DxO LabsÂ’ exclusive approach of prior calibration of equipment in its laboratories, DxO Optics Pro 9 includes unique tools for processing RAW and JPEG images: the revolutionary new PRIME denoisingtechnology, DxO Smart LightingÂ’s intelligent optimization of exposure and contrast, powerful optical and geometrical corrections, and preservation of colors and details.

DxO Optics Pro v9.0.1 benefits from the addition of new DxO Optics Modules. 250 new camera/lens combinations augment the library, which now counts nearly 15,400 available DxO Optics Modules.

DxO Optics Modules contain copious information about the characteristics of each camera and lens. This database allows DxO Optics Pro 9 to automatically correct distortion, vignetting, chromatic aberrations, and lens softness with an unrivaled level of quality.

The Standard and Elite editions of DxO Optics Pro v9.0.1 for Mac and Windows are now available in the DxO Labs online store and at photo resellers at a special discount price through November 20, 2013:

  •     DxO Optics Pro 9 Standard Edition: £79 instead of £119
  •     DxO Optics Pro 9 Elite Edition: £159 instead of £239 (Suggested retail prices, including VAT)

For more information, take a look at the DxO Labs website.

Marumi UV Haze Filters Now Available From Kenro

Kenro, the official UK and Ireland distributors of Marumi Optical have announced the availability of the full range of the new Marumi UV Haze Filters.

Specifically designed to reduce haze, these filters have been created to block ultra violet rays (UV) and are most effective for long distance photography. They’re also ideal for shooting in coastal and mountain areas in fine weather as well as providing extra protection to your camera lens.

There are 16 sizes available ranging between 37mm and 95mm, ensuring that photographers can find the perfect fit for their camera.

Managing Director of Kenro, Paul Kench commented: “These quality filters will appeal to many outdoor photographers wanting to reduce haziness or blueness in certain types of weather.”

The SRP for the filters is £11.88 to £105.36 according to size.

If you would like further information, or want to find your nearest stockist, please go to the Kenro website.