When it comes to ultra wide-angle lenses, the Nikkor 14-24mm f/2.8G is an outstanding choice, thanks to its top notch corner to corner sharpness, amazing colors and superb performance throughout the focal range. The lens has become a legend, outperforming most ultra wide-angle primes on the market in terms of resolution. As I have revealed in my in-depth Nikkor 14-24mm f/2.8G review, even Canon shooters have been using this lens with adapters since it is so good (and I have seen Sony A7/A7R users with this lens as well). The only downfall of the 14-24mm is its lack of a lens filter, which makes it impossible to use regular circular polarizers and filter holders. Thanks to the popularity of the lens, a number of manufacturers developed larger filter holder systems that allow mounting both polarizing and rectangular filters (such as neutral density and graduated neutral density filters). One such manufacturer is FotodioX, which developed the most popular filter system for the lens, the WonderPana FreeArc, which I am reviewing here. Although the review sample I received is for the Nikon 14-24mm lens, the FotodioX WonderPana is in fact available for a number of lenses from different manufacturers. For example, those that shoot with the Canon 14mm f/2.8L II lens can also use the same system using slightly different adapters.
The battery grip has to be the most overpriced accessory in photography. Think about it – it’s a plastic/composite case filled with batteries and a few switches – that’s it. How come a Nikon MB-D12 costs $399 and the batteries aren’t even included? The Nikon D3300 body costs a bit more and it comes with a battery (and a 24mp sensor + EXPEED 4 processor, etc. etc). Heck, for 50 bucks you can buy a similarly-sized plastic case filled with batteries and switches that has 16 programmable modes, multiple movable parts and will do a heck of a job massaging your back when you are in pain, post-processing those wedding photos from the couple that will probably get divorced before you are done. So why use a battery grip?
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 feel 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 compressed image format that was designed for the web in mind. It applies lossy compression algorithms to reduce massive images from 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.