For years, videographers shooting in dark situations frequently ran into the issue of a ton of noise in darks and shadows that would oftentimes make some footage difficult or impossible to use. Many have heralded the release of the a7S II with applause due to its power for video in low-light situations and even to record bursts of high frame rates in HD, so we took one into the deep recesses of an abandoned power plant in New Orleans to see how it did.
Reportage seems to be a genre where feminine qualities are seen as an obstacle rather then as an asset. I sat down with French photographer Audray Saulem who proved them wrong and listened to her experience shooting an epic race of 210 kilometers in the Sahara over 6 grueling days.
Hasselblad has launched a brand new medium format digital body, the H6D, in both the familiar 50-megapixel CMOS flavor and also in a new, 100-megapixel CMOS configuration with the same Sony sensor found in Phase One's XF IQ3 100 MP released earlier this year. The new body features an updated UI, a relatively new look and design for the first time in several generations, and a brand new lineup of updated lenses capable of shooting at up to 1/2000 of a second, with full support of the new 100 MP sensor.
New to the market is the GX8 "lite," the DMC-GX85. This is one of Panasonic's most recent mirrorless digital camera releases that comes with almost all the same perks as the GX8. The main differences between the two cameras are the lower resolution Live MOS sensor (16 megapixels versus 20 megapixels on the GX8) and a fixed EVF. Here are some of the specs the camera comes with.
Los Angeles-based photographer Zach Sutton has spent a long time doing on-location photoshoots for his business. These kinds of shoots usually involve the typical off-camera strobes on light stands and maybe an assistant to help mule equipment or adjust lighting for the photographer. However, when Sutton moved to L.A. last July, he quickly learned that this sort of on-location shoot is not allowed in the city without a proper commercial shoot permit — even if it’s ultimately for personal use. His solution for getting by light stand free looks somewhat crazy, but the end results speak for themselves.
While researching and deciding on what camera or lens to buy next, there can be a lot of banter, back and forth, and noise on opinions on what camera or lens is right for you. It is possible that some websites, influencers, or average Joe’s can hold slanted biases that may play a role in your purchasing decision, and we don’t want that. So what if I told you that there was a more objective resource to help aid your purchasing decisions? Well, I have a site to share with you: DxOMark.
When we think what defines our brand as photographers, we think of our logo, website, and even the style of imagery we create. But, everything that is related and connected to us and our company is a representation of our brand — from the way we answer our emails, interact with our clients, down to the pants we wear, the bag we carry our gear in, and the overall way we present ourselves to the world. Every detail reflects back on our company and in the end reflects back on our bottom line.
A few weeks ago, I had the pleasure of reviewing Syrp's awesome, affordable, perfectly executed Genie Mini time-lapse device. However, time-lapse photography and videography barely covers the beginning of what can be done with the New Zealand company's awesome devices. The Slanted Lens' Jay P. Morgan not only shares his entire lighting setup for a classic food shot, but also proposes some clever and welcomed case studies for how to use Syrp's devices to create better shots, not only around stars, but also around close-range subjects.
Introduced alongside the FE 70-300mm f/4.5-5.6 last week, Sony has added its own take on the “Nifty Fifty” to their lens lineup. Aimed at photography hobbyists, the FE 50mm f/1.8 will only cost $248 and gives a wide aperture option to those that may be only shooting with the FE 24-70mm f/3.5-5.6 kit lens at the moment. Here are my first impressions of the new 50mm f/1.8 after briefly shooting with the lens.
Anamorphic lenses are mostly used by cinematographers to get a ratio of 2.40:1. The cinematic look these lenses offer has become popular amongst photographers lately. While such a wide ratio is not very practical for most genres, the squeezed bokeh and the unique flare these optics create is a way to stand out amongst the competition.
If you’re looking for a little more reach with your Sony Alpha mirrorless camera, there is a new telephoto lens coming soon that you may want to check out. Sony announced plans to ship their longest E-mount focal length zoom lens, the FE 70-300mm f/4.5-5.6 G OSS, in May 2016. I had the chance to shoot with the new telephoto mounted to the 42.4-megapixel Sony a7RII, and am happy to share my thoughts on the practical-use aspects of the lens in this article.
I've never been one for artificial light in my photography, and it's an issue that many photographers come across when leaving that oh, so beautiful natural light. The struggle of having a budget to put towards lighting equipment can be daunting but shouldn't limit you in finding the best way to create the shot. In this behind the scenes look, I will go into how I created a high-end product shot using light trails, all while on a budget. Remember, this can be recreated with any camera, including an iPhone, that allows for long exposures.
First and foremost, gear is not the be all and end all. Creativity will bring the most out of the simplest of gear. We stand on the shoulders of giants now. Remember that it was only a few years ago that high ISOs were all but unusable and that once you'd shot a black and white frame, it stayed black and white. The fact remains, though, that understanding what your gear is capable of is the key to exploiting its strengths and weaknesses, which is where creativity lives. Learning a few simple things about what your existing gear is capable of will do more for your images than any shiny new purchase. Use these five simple exercises to learn more about what the tools you have can do.
This could be your once in a lifetime opportunity to buy a piece of historic glass that could simultaneously boost your hipster and geek street cred out of the stratosphere.
The Zeiss Tele-Tessar 500mm f/8 lens by Carl Zeiss AG, produced especially for the Hasselblad Electric Data Camera (HDC), is a shiny silver gem. But the particular sample RR Auction is planning to offer on April 14 is a piece of history in the truest sense. This lens has been to the moon, after all.