A fortunate event took place a couple of weeks ago – my wife Lola lost the eyecup from her Nikon Df camera (see our in-depth review of the Nikon Df). She wasn’t sure how, but it most likely just got unscrewed while she was busy photographing a wedding. Why fortunate? Because I started to look for a replacement, something I have never done before. Indeed, those eyecups usually stay attached securely on cameras and practically never come off, so this was the first. During my search, I came across the Nikon DK-17M magnifying eyepiece – something I have seen before, but never cared to use. As I was ordering the replacement eyecup for the Df (and I was getting the superior “Anti-Fog” version), I decided to also get the DK-17M and give it a try. Since I enjoy using the Nikon Df with older Nikkor prime lenses, I thought it would be a good idea to try it with those manual focus lenses. When the package arrived, I mounted it on the Nikon Df that already had Lola’s favorite Nikkor 50mm f/1.8G lens attached and I was immediately blown away! The 1.2x magnification made the viewfinder appear much larger and I could see everything so much clearer, that I wondered why I had never even tried one of these before. After a couple of days of using the DK-17M, I ordered a few more for each of our cameras and now I cannot imagine using my DSLRs without these handy little magnifiers!
Being a professional photographer, I constantly deal with a large flow of photographs that need to be imported, processed and backed up as part of the workflow process. Although I do everything I can to keep several copies of my photo library on different computers and storage devices, it is still a lot of data to keep track of continuously. Every time I revisit my backup strategy and make changes to it, whether by altering the process or introducing new software or hardware, the thought of potentially losing all of my images scares me to death. Years of hard work, client files and resulting terabytes of data make me nervous whenever I think about potential failures and disasters. Taking backups off-site is not something one can easily do continuously and transferring gigabytes of freshly photographed RAW material to the cloud is not only impractical, but can also get quite costly. And despite our attempts in keeping multiple copies of data at home or in our business offices, what if a real disaster takes place? Floods, tornadoes, hurricanes and fire could strike any time and can be very costly to recover from. What if you had a storage solution that offered fire and water protection, with the capability to withstand temperatures up to 1550°F and protect data from floods up to 10 feet deep, submerged fully in water for 3 days straight? What if this storage solution offered scalability, incredibly fast performance and RAID-level protection utilizing the best of the breed platform? That’s where ioSafe products come in, which are specifically built for protection against such disasters. These unique solutions are powered by the award winning Synology DSM, the platform that I have been a fan of for the past few years.
When providing high resolution images to our clients, or uploading images to this website, I often extract JPEG images between 70%-85% quality. Although some photographers often do extract their images at 100% quality, I rarely felt the need to do it, since file sizes get outrageously big, while the differences in quality are too small (and often impossible) to notice. I recently came across an interesting product by JPEGmini called “JPEGmini Pro“, which is specifically targeted at photographers like me that are looking for a good way to save space without losing image quality. By design, JPEG is a pretty compressed image format that was designed for the web in mind. It applies compression algorithms to reduce massive images in other formats like TIFF and offers the ability to use different compression levels. So when I first looked at JPEGmini Pro, I wondered how different it was compared to the JPEG engine used in Adobe Photoshop and Lightroom, the two programs I use the most to extract images. In this review, I will be exploring the Lightroom version of the JPEGmini Pro, which seamlessly integrates into my workflow without adding any complexity or unnecessary overhead.
In the past we have been using a self-sealing cutting mat, Olfa knife, and a steel edge safety ruler to do all of our custom trimming of posters and prints. Fortunately the vast majority of our work has not required any custom trimming since we design all of our standard posters around 17” (43.18 cm) roll paper, and posters come off our printer trimmed to size and ready to ship.
Years ago after I purchased my first larger lens, a 300 f/2.8, I used it on a tripod with a ball head but it didn’t take me long to realize that this set up was less than ideal. If you shoot frequently with longer telephoto lenses, a gimbal head belongs in your kit. Shooting with a gimbal mount allows more freedom and mobility with the camera/lens than a ball head and it gives your arms a rest from hefting the load. On the other hand, for the price of all the gear you have purchased, you do at least get a free upper body workout. When using a ball head to support a large lens/camera combo, the weight sets on a pedestal on top of the ball head lending itself to having the ball loosen a bit and the lens flopping over. A gimbal allows you to move the gear right to left and up and down all while balanced so as to require minimal effort to maneuver the system as you track your subject. Gimbals can be either side mount or low swing arm/cradle type systems. The side mount gimbals tend to minimize materials and thus size and weight, while the low swing arm/cradle system tends to be larger and heavier with the advantage of being a bit easier to mount and balance. There are also full gimbal heads which will pan both vertically and horizontally and there are gimbal attachments that only tilt in the vertical dimension while relying on a ball head for horizontal panning.
After more than two years since the successful launch of the Nikon D800 and D800E cameras, which shook up the photography industry with the high resolution 36.3 MP full-frame sensor, Nikon finally introduced an update to the cameras and combined the two into a single camera body. Although the new Nikon D810 has the same 36.3 MP resolution as its predecessors, it features a new sensor with an expanded native ISO range and comes with significant improvements to camera features, performance and ergonomics. In this review, we will take a closer look at these improvements and compare the performance of the D810 to other Nikon cameras.
The majority of my videography and photography work is with industrial clients, and I almost always find myself shooting onsite in warehouses, factories, and other indoor venues. In many of the buildings in which I shoot, lighting can consist of a mix of technologies such as high intensity discharge (metal halide, high pressure sodium, mercury vapour, low pressure sodium), fluorescent, and LED. To further complicate things sometimes facilities have had physical expansions and specific parts of a building can be illuminated by a mix of lighting sources. Rather than pull out the few, remaining hairs I have left on my head when having to deal with all of these variables, I try to simplify my shooting by bringing my studio lights with me and creating as much wide angle, controlled light as possible.
Like many photographers and videographers, I’ve found that there have been times when I really could have used a small, highly portable, adjustable light source. This most often occurred when I shooting close-up still images or video clips of industrial machinery where I couldn’t get my regular studio lighting to fit into cramped quarters. I began looking for a solution and came upon the Genaray LED-7100T On-Camera Light.
While I do a fair amount of still photography, the majority of my client work is shooting video with my DSLR and mirrorless cameras. When buying tripods and heads I need to consider their functionality from both perspectives. As I recently added a camera jib to my video equipment arsenal, I started seriously considering a heavier capacity tripod and head. My current tripods, which are capacity rated to 17.6 lbs. (8.8 Kg), were falling a bit short in terms of providing the degree of stability that I need when shooting video. And, my existing fluid video head wasn’t quite able to provide the stability I needed when using my slider kit loaded with my D800 and a heavy FX lens. I also felt that a taller tripod would allow me to get the most out of my camera jib by capturing higher, more dramatic video scenes.
Although the Canon 6D has now been out for almost two years, I never had a chance to review it. Since the new Sigma 50mm f/1.4 Art series lens was initially available only for the Canon mount, I requested the Canon 6D with the lens from our trusted partner B&H Photo Video. My aim was to review both, as I had been planning to review the 6D for a long time now. Ever since I reviewed the Canon 5D Mark III, our readers have been asking us to test out other Canon DSLRs, including the 6D. So this was a good opportunity to catch up, although quite late. Well, better late than never, I guess! Instead of covering everything in much detail though, I will be mostly summing things up based on my three month experience with the camera and feedback from others – I don’t think there is a need to spend a lot of time on this, especially after the camera has been in the market for so long and reviewed by so many people.