Color grading is one of the most powerful tools you have when it comes to elevating your images and video. One of the most frustrating and intimidating things about working with color is that it can often feel tedious and un-intuitive. Video editors often employ physical editing panels when color grading their work and now Tangent, one of the leading makings of video editing hardware have brought support for Capture One Pro 10 to their system.
A new month brings a new Sony announcement, or at least that’s the way it seems to be going as of late. I’m not complaining. The company has been noticeably scrappy for the past two years in an attempt to take over the interchangeable lens camera market, largely based on releasing innovation after innovation one right after another. Today’s announcement brings a satisfying completion to the “trinity” of G Master full-frame lenses with the FE 16–35mm f/2.8 GM, along with a new ultra-wide-angle G Series lens, the FE 12–24mm f/4 G. I had a chance to shoot with both lenses yesterday, so read on for my initial findings.
It's been a good while since I've bothered reviewing any gear, so when presented with a bevy of manufacturer booths at a conference I was speaking at in St. Louis recently, I decided it was time to once again test some equipment and babble about it a little. In this case, I pitted the brand new Sigma 135 f/1.8 Art against the year-old Zeiss 135 f/2 Milvus, because why not.
There has been a ton of excitement drummed up around the Sony a9, and today, there seems to be another reason to anticipate the camera's release. A Japanese camera tester posted a video of the camera's eye-tracking autofocus in action, and the results are highly impressive.
When it comes to using camera gear, our carrying and mounting systems are truly paramount to being efficient in many shooting scenarios. While many brands have attempted to perfect a “one-size fits all” system, only one in my opinion hits the nail on the head for all my needs. In his latest video, fellow YouTuber and Sony shooter, Jason Vong, agrees with me that the Peak Design system flat out works. Individually the products are great and high quality, but used together they provide a seamless experience found with no other product line on the market.
There is nothing quite like observing wild animals in their natural habitat from the back of a jeep on a game drive. Whether you are on the market for a camera for your upcoming safari trip, or need help getting the most out of your existing camera on safari, then read on.
Let us take a moment of silence to respect the venerable 70-200mm lenses in our midst. The workhorses that they are have kept many a working professional with their rent happily paid, and many a serious amateur smiling at their results. The collection of several useful focal lengths, 85mm, 135mm, and 200mm, plus everything in between and a fast aperture of f/2.8 has made it the go-to lens for many. Up until recently, it was all but missing from the Fujifilm X System lens lineup as Fuji focused on creating spectacular primes one after another. But, Fujifilm rectified that with their announcement of the XF 50-140mm R LM OIS WR lens in September of 2014.
A while back I reviewed the Platypod Max and recently had a chance to test out the new Platypod Ultra and Multi Accessory Kit. The Platypod system is a must have for any tripod-wielding photographer and is relevant in a limitless number of applications. It's a staple in my kit and gets more use than a tripod in my commercial, event, and journalism work. Here's the latest piece of gear you didn't know you needed to enhance your photography and video work.
Fuji is, at this point, the last major manufacturer to not have TTL, high-speed sync, and wireless control support from most major lighting manufacturers. Profoto and Elinchrom have now made wireless remotes specific to Canon, Nikon, Sony, and Olympus. Fuji, even with their new medium-format monster, the GFX 50s, has yet to get such love from the lighting community. While I can imagine that something is in the pipeline from these manufacturers for Fuji, nothing is certain and many of us need something to work with right now. Enter the Nissin Air system.
Phase One announced today their new, first-of-its-kind 101-megapixel achromatic medium format digital back. The IQ3 100MP Achromatic, which is manufactured without a Bayer filter, does not record any color information which allows “all available light to be captured unaltered and unobstructed.”
With the introduction of new features such as TTL, HSS, HS, and the likes, flash manufacturers have been forced to develop a different remote for each camera brand. Profoto has its Air TTL system for Sony, Canon, and Nikon, but was lacking micro four third systems compared to Elinchrom. It’s now a thing of the past with the release of the Air TTL-O remote.