Following the introduction of its Immerge virtual reality system, Lytro, the "light field" camera company whose consumer models we now see discounted nearly everywhere, recently left the consumer space to concentrate on and introduce its new product, Lytro Cinema. Offering a complete solution with an included server to handle the 755 megapixels of data at up to 300 frames per second (not typos), the Lytro Cinema is a new kind of too-good-to-be-true beast. But the most incredible thing about the camera? It's no lie.
Fans of Lensbaby's unique optics will be pleased to know that today, the company has announced a new lens, the Twist 60. Drawing on the resurgence in popularity of swirly bokeh effects, the lens is sure to be another interesting option for those who have recently jumped aboard the vintage optics movement.
I'm normally a huge numbers geek. I want to know every specification of every device because I believe in the power of statistics. But when it comes to hard drives, well, I just want them to work. I want ample space for my data, I want to know it's backed up without a second thought, and I want to be able to access it quickly and easily, no matter what device I'm on. Enter the Western Digital My Cloud Mirror.
Capturing a good time-lapse requires patience and precision. Normalizing exposure in changing lighting conditions is an intricate task. Similarly, knowing how your final product is shaping up during the process is difficult. One company is seeking to solve both those problems with one device.
Medium-format cameras have long been in the hands of working pros because of their combination of ease of use and incredible image quality. While large format was always the king of resolution and dynamic range, it is difficult to work with on location and cumbersome. Today, medium format is a little different. Phase One and Hasselblad have both released 100 MP options, allowing for unparalleled image quality.
Some photographers value the technical aspects of a lens above all else. Others prefer lenses that create unique, if not technically perfect photos. The Helios 40-2 85mm f/1.5 is for those in the latter camp. This lens is famous for its characteristic swirly bokeh, and in that it does not fail to disappoint.
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.