There are times when virtually every photographer or videographer could make use of a small, lightweight, easy-to-use table top tripod. Like that time you were on holidays and missed that spectacular sunset in fading light. Or, that unique angle shot that would have added a lot of production value to a client video, but your regular gear was too big and bulky to get into the tight spot needed to capture it.
Our friends at NeroTrigger, the talented team of engineers that created the multipurpose high speed camera trigger that we had fun reviewing previously, is planning a new and much improved tool that can be controlled by smartphones or tablets. To get this new and exciting product called MIOPS to the market, the company is inviting you to join them on Kickstarter and save a few bucks before it is officially released.
After we’ve published our series on recommended settings for Nikon D600 / D610 and D800 / D800E DSLRs, we received a lot of requests from our readers to provide similar information for Canon and Sony cameras. While using someone else’s camera settings is probably not the best way to achieve the best results in every situation, we understand that many different menu options can be rather overwhelming for those who are just starting out. Therefore, the below information is provided as a guide for those that struggle and just want to get started with a basic understanding of important menu settings.
I am a big supporter of the “get to know your gear” opinion. I strongly believe that the more you use something, the better you learn to take full advantage of the strengths of that particular piece of equipment, and the better you learn to manage its shortcomings without even thinking about it. To a point where they just disappear, in fact, and make the statement that gear does not matter as truthful as it is. Gear does not matter (to an extent), but knowing it and liking it does. This, I think, it the crucial link between equipment and photography itself.
She posed atop a sand dune with wind-gnarled cypress trees clinging to a rocky precipice in the distance. She was nude of course, and sitting on a bedpan. A dead pelican lay at her kelp-entwined feet. In one hand she held a nautilus, in the other the most sensuous bell pepper that had ever grown. As I adjusted my 8×10’s tilts and shifts she gave me that glance – just 1/60th of a second, but in that moment I knew there would be more tilting and shifting later as her aperture and my shutter speed would dance in perfect rhythm. I stopped the lens down to f/64, then…I woke up.
As smaller, lighter gear grows ever more popular – some mirrorless systems, while capable of delivering brilliant results in knowing hands, weigh half as much as DSLR systems – it is only natural for smaller bags to get more popular as well. Already you can see retailers and online stores offering a wide array of “for mirrorless cameras” bags and the selection will only grow wider. Even though I haven’t bought into a mirrorless system (yet), I, too, was on a lookout for a small, unassuming bag. The main requirements were simple: it had to look like anything but a camera bag and thus also work as a simple shoulder bag when needed; it had to be small, yet big enough to fit a mirrorless body with a couple of small lenses and, until such a time arrives, big enough to fit a D700 camera with a 50mm lens attached; and, if at all possible, accommodate my Mamiya RZ67 – not a small camera, mind you – and a roll of film for those quiet evening walks in the old city.
One of the countless things I that love about the United Kingdom is the rich historical heritage to be found within our borders. The recent history of our civilisation can be experienced through the hundreds of stately and historical buildings and homes available to the public for visiting.
For many photographers there comes a time when investments in equipment (other than buying cameras, lenses, and lighting) becomes necessary for the growth and profitability of their business. Depending on the nature and volume of their work purchasing equipment such as large format printers, laminators and trimmers can make economic sense.
As the following photos indicate, printers are mechanical beasts and when buying one we need to plan ahead for the inevitable repairs. We don’t usually think of this type of issue up front when buying camera bodies or lenses, but it is an important one for large format printers.
Many photographers have been buying expensive wide gamut monitors in order to take a full advantage of their ability to display over a billion of colors. What many do not realize, is that their actual workflow is most likely limited to just 16.7 million colors due to software and hardware limitations. How does one achieve a true 10 bit per channel, or 30 bit workflow? What are the advantages and is it worth the effort? To answer these questions, I decided to dig into the 30 bit photography workflow in detail and explain its advantages, disadvantages and also discuss its future.
I am a professional wedding photographer and I end up editing thousands of images for my clients. While there are lots of wedding photographers who outsource their post-processing to free up their time, I am a believer in editing my own photos. In order to make my job easier, I tend to look for shortcuts and tools in Lightroom itself, which I use extensively. I’d rather do everything in one program than switch back and forth between Lightroom and Photoshop. You do not have to be a wedding photographer in order to take advantage of these tools in Lightroom. You can use these techniques wherever they are applicable. Below are some of the tools you may not be using to edit your photos.
1) Straightening Tool – Perspective Correction
There will be times when you come back with photos that have a tilted horizon, making the composition look awkward. Perhaps you held the camera wrong or simply did not pay attention to framing at the time of taking the picture. Either way, you can fix this issue in Lightroom by using the straightening tool, which is located under the Histogram and looks like a perforated rectangle. Or you can simply press the “R” button on your keyboard to activate the Crop Overlay Menu in the Develop Mode. When you activate the Crop Overlay, the image you are working on will be framed with a cropped edge. While you can hold the corners of the photo and twist and turn it as much as you want, fixing the horizon can be much more calculated and easier than that.