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.
As my photography and video business has grown, so too has the amount of gear that I bring to client shoots. This is especially true when doing video work. Since I am a ‘solo-shooter’ and never work with a crew, I was finding it more and more cumbersome to load, unload and transfer my gear. I began looking for a cost-effective, flexible solution. When I discovered the Pearstone PSL-3S 3-Step Photographer’s Ladder with Wheels, I knew it was the ideal tool for the job.
I’ve always wanted a small camera backpack that gave me easy, quick access to my camera gear. I’ve owned camera backpacks in the past, but they were bigger (and heavier) and I had to take them off of my back in order to get my gear out. When I got a chance to review the Ruggard Triumph 45 Sling Bag, I took it, hoping I could find a nice bag that I could carry around town with me for more casual photography.
Let’s face it. Flashes are expensive. Wouldn’t it be great if you could purchase a new flash and only spend half of what a new flash typically costs? I’m a Nikon shooter and already have two SB-800s, but another flash can sure come in handy when shooting with off-camera flash at a wedding reception. When I got the Bolt VX-710N, that’s exactly what I had in mind for it, but I decided to go ahead and try it as an on-camera flash as well.
About a year ago, I reviewed an Impact background (Impact reversible muslin background). Out of curiosity, I decided to grab another one. This time instead of one that was reversible, I chose the Impact Crushed Muslin Background in Grey Mist. What’s the difference you might ask? Let’s just see…
Sometimes when I travel or just have a portrait session in town, I don’t want to bring all of my camera gear with me. At times like this, I’ve always thought it would be really nice to have a smaller bag I could bring along and leave my big bag at home. Enter this shoulder bag from Ruggard… big enough to hold a body and a few lenses but not so big that it becomes just as heavy as my normal camera bag.
Many years ago I bought a Nikon 55mm macro lens. This was an older, manual focus lens. It came with an older extension tube that did not communicate with the camera, meaning that any lens that was attached to it lost all communication with the camera, meaning it also became a manual focus lens. Worse yet, newer Nikon AF-S lenses that do not have an aperture ring weren’t usable at any aperture besides completely stopped down.
I really liked the idea of having an extension tube for more regular use, so I was always interested in trying extension tubes that would communicate with my camera and that I could use with all of my lenses. When I came across this set, they seemed like exactly what I was looking for. Will they find a permanent home in my camera bag or will they have a place in storage gathering dust next to my old extension tube?