A few months ago I wrote about Pixsy, a new online service, which promised to facilitate the process of dealing with copyright infringement. I have since been invited by the folks at Pixsy to give their Beta software a run through. After a few weeks of testing I am ready to share my opinions on this unique service!
The calendar just turned its pages to 2015. We have tiny and versatile cameras like the GoPro Hero 4 filming 4K video, camera companies making 50-megapixels DSLRs, and artists making mind-blowing stop-motion/hyper-lapse/time-lapse films. So why is it still so hard for artists and big brands to easily connect to collaborate on photo and video projects?
It's already been a couple weeks since Serif announced the release of the Affinity Photo beta. I, along with literally thousands of others, have downloaded the program and started putting it through its paces, trying to fit it into my own personal workflow. In this little first impressions review I'll focus on Affinity Photo as a raw converter, a basic retouching platform, and put it up against the big dogs: Affinity versus Lightroom, and Affinity versus Photoshop.
I haven't had the Meike MK-DR750 Battery Grip and Wireless Remote for long, but I can already tell I'm definitely keeping it. Not only does it fit well enough and do everything as promised, but it also comes with a wireless 2.4GHz (not infrared) remote control that can trigger the Nikon D750 to which it's attached. Meanwhile, Nikon's grip costs upwards of $350, and their wired remote cable release timer clears the $150 mark. Naturally, there have to be a few caveats for a grip and remote package to come in at an astoundingly low $80, but I was hard pressed to find any at all.
With companies like Profoto and Elinchrom offering an increasingly broad range of self-contained strobes, Broncolor was no doubt feeling left out with its predominantly pack and head oriented lineup. That’s all changing now with the release of the new Siros strobe; a compact, wall powered, feature rich and wallet friendly flash unit.
Thunderbolt docks have always been something that I've wanted, but haven't absolutely needed. The $300-$500 price range of these little all-in-one boxes didn't spark urgency in my search for the perfect dock either. Given a little time for the excitement (and price) of Thunderbolt-related technology to die down a bit, however, the prospect began to grow more interesting. An improvement on their previous dock, CalDigit's $200 TS2 seemed to be the perfect connection dreambox at the right price. So how did reality fare against expectations?
The Venus 60mm f/2.8 2:1 Macro lens has many wondering if the relatively small price tag ($379), coupled with the intriguing 2x magnification and 14 blade aperture, is as good of a deal as it seems. Macro photographer Thomas Shahan was sent one of these lenses to try out, and his results look promising.
Since launching their two mobile photography lenses last year, the Moment team in Seattle has been working hard to improve other aspects of the mobile photography experience. They have revealed their newest creation, the Moment Case, which works in conjunction with their mobile app and current two lenses. With the Moment team’s success with using Kickstarter on their last project, they have decided to turn back to the site to fund the Moment Case as well. The best part is, it’s available for order as of today, and lucky for me I had the pleasure of being the sole individual outside of the Moment team, to test the prototype case prior to today’s launch. However, it’s currently only available for the iPhone 6, which is making me wish I didn’t pick up the 6+ a few months back.
The CASE remote is a wireless device that creates a mobile hotspot attached to your camera, providing you with live-view connectivity on your mobile device. One can easily control shutter triggering, HDR, focus stacking, time-lapse, and photo transfers from your iPhone, Android, or tablet. Fstoppers had the opportunity to give this device a spin and here's what we thought.
As the old adage goes, it’s not the gear, it’s the photographer that takes a good photo. While this is generally true, is there something to be said about $20,000 worth of Broncolor lighting gear? I mean a flash of light is a flash of light, right? Or is it?
Accomplished Forth Worth, Texas-based wedding photographer, Hiram Trillo recently turned his attention to another craft, namely leather work. His newly-opened company, Trillo and Son, specializes in creating high-quality, pass-it-down-to-your-grandkid, small-batch camera straps designed with the working professional in mind. I had the opportunity to spend the better part of a month with a trio of these straps, a Warhol in cognac, a Bresson in natural leather, and a Capa in oak.
Joey L. is a photographer best known for his stunning personal work creating portraits of the peoples of Ethiopia, India, Indonesia, and other exotic places of the world. He uses studio lights on-location to achieve his unique and dramatic look for his portraits of these exotic people. Consequently, he is frequently asked about what lighting gear he takes with him for those kinds of shoots. Recently, Joey made a video and blog post outlining three major options for portable studio lighting for photographers with varying budgets who want Joey L.-esque studio lighting on the go.
As a professional photographer I have always been curious about the art of videography since the two seem to go hand in hand, but I have never made the jump to shooting my own content because I was always quite unsure of where to start. I wanted to quickly learn the basics and start shooting right away. I’m a visual learner, and I figured a crash course in an online tutorial would be my best bet, but searching for tutorials scattered across Youtube seemed tedious. Recently Jared Polin, better known as Fro from FroKnowsPhoto released a comprehensive guide to shooting video using a DSLR called The FroKnowsPhoto Guide to DSLR Video.
The recently released Samsung NX1 totes a promising list of specs: 4K video at 24fps recorded to the new H265 codec, 1080p at 60fps, 28MP stills, 205 phase detection AF points, Wi-Fi, and Bluetooth. However, none of that matters if what comes out of the camera looks like crap. Fortunately, Andrew Reid over at EOSHD got his hands on the new camera to put it through its paces and the NX1 turns out to be quite the performer. In his tests he compares footage from Samsung’s newest flagship body to other heavy-hitting video-shooters such as the Panasonic GH4 and Canon 5D Mark III, and the Samsung proved that it can hold its own with the big boys. Take a look at the footage and see for yourself.