Let me preface this article by stating that this is based on educated rumors. Late in September, the rumor mill was flying with speculation about Samsung shutting down its Digital Camera Division and the NX line in particular. This was sad news because many photographers throughout the industry have found that they really like the NX cameras and their price point values. Samsung officials responded stating that this was just a rumor and that the camera division was very much alive. Well, this week, several factors seem to be hinting to the contrary.
Film photography has made a comeback! Some would argue that just like Dre, its been here the whole time. But over the past few years, the aesthetic and cache of film photography has made a strong presence in the zeitgeist of contemporary digital photography. In this entertaining short film by Maison Carnot called "Disassembly," we see how to take an old non-functioning film camera and bring it back to life through a complete disassembly and repurposing of the old gear.
With some lengthy upcoming trips for personal work, I have been doing some research into ways to keep my photographs and video footage backed up in the field. One of these trips involves a three-week stint in remote villages. A particular concern on this trip is data loss; so, I have been working to create a backup system that is durable and can run without access to mains power. Today, I will share my solution with you.
If you've ever used a GoPro in the water, you know that just about as soon as you get in, the lens can start to fog up. This is because the air inside the GoPro is relatively warm and gets warmer when using the camera; thus, as soon as you combine this with a colder outside environment, such as water, the camera is cooled and water droplets begin to condense on the inside of the housing. While GoPro makes anti-fog inserts, they aren't exactly cheap at $15 per pack. In this video, Ho Stevie! shows you how to use a simple roll of paper towel to make anti fog inserts for your GoPro.
At some point every photographer uses a backdrop of some sort. The problem is that they are usually large, heavy, and cumbersome. Hanging them can be a bit of a pain and mounting hardware can get pricey especially if you are dealing with multiple backdrops. Jay P. Morgan of the Slanted Lens offers up 3 simple DIY solutions for mounting backdrops that will save you time, money, and headaches.
Despite making cameras that so many people love, Nikon seems to be suffering a severe camera parts shortage at a number of its repair facilities for certain cameras. While these tend to be older cameras like the D7100, others are still in production, like the F6 (which has been the same camera since its release in 2004). Still, many professional, pro-sumer, and hobbyist photographers rely on these tools every day. Such lengthy or indefinite wait times for repairs are unheard of and could severely hurt the company's reputation as a brand of professional imaging.
A couple of weeks ago, Elinchrom released the Skyport HS, a new iteration of the very old and rudimentary Skyport. The Skyport HS seems to have everything a strobist could hope for, from the laser grid to focus in low-light conditions to the Hi-Sync mode. This new radio trigger is a welcome addition to Elinchrom's product line. At least, it is on paper. The Swiss company was kind enough to lend me a unit before it was even released so that I could play with it and review it for you.
As recently as yesterday, we've seen all kinds of articles comparing various cameras' qualities to one another, pixel-peeping to see which one edges out the competition by a razor-thin margin. You can put your magnifying glass away, however, and trade it in for a beer as you sit back and watch a real comparison. Photographer Jim Goldstein took the pleasure of comparing two of Canon's top-of-the-line DSLRs from different time periods: the 5DS R and the Canon D2000.
While there are obviously no strict rules about what lenses a photographer should buy, my curiosity was piqued recently, when legendary Glamour Photographer Jarmo Pohjaniemi (Playboy, Shoot The Centerfold) announced he was headed to Santorini with a pair of Canon EF 11-24 f/4L USM lenses. I assumed he was going to shoot landscapes (after all, it’s Santorini), but his answers when I asked were far more interesting than that.
Last month we had the three highest megapixel cameras by Nikon, Sony, and Canon in our office, and we filmed a pretty polarizing review pitting them against each other. Many viewers pointed out an unfair bias in our studio test so we redid the test again using the same lens on all three cameras. We then asked our readers to pick the best looking image from the 3 cameras without telling them which camera took which photo. The results from this test were pretty alarming.
Each week, we get contacted by a range of different companies asking us to review their products. Normally, we don't accept the majority of these products, but for your entertainment, we've decided to review every single one of these products in some sort of entertaining (and unfair) way. Today, I got the BOOMR camera strap in the mail and put it through a stress test.
Having the right gear for the job is essential in being able to handle the barrage of lighting scenarios that a wedding photographer will encounter on each outing. I, like many others, am constantly thinking about the next piece of gear. What lens, what camera, or what lighting system will allow me to take higher quality images and provide a better experience to my client? This led me to think, what do I really need to shoot a wedding? I mean in reality, to walk out my door and provide my bride with the images she expects, what are the bare essentials I really need?