The Impact Soft and Natural 4 Socket 3 Light Kit is a lightweight three-softbox continuous light source for studio shooting. MSRP is $604.90, but it seems to be perpetually discounted at B&H. As I write this it is priced at $348.95. The kit comes with stands, softboxes, heads and bulbs, everything you need to get started shooting portraits except the model and background (oh yeah, and camera and photographer, d’oh).
Ever since Nikon announced the introduction of the Nikon 1 V3 back in March of 2014 the camera has been met with mixed reactions. Some of the design choices made with this camera left many photographers scratching their heads wondering what the engineers at Nikon were thinking when they put the concept for the Nikon 1 V3 together. Specifically many people questioned the use of a microSD memory card, making the EVF and grip detachable, introducing yet another new battery, and coupling the Nikon 1 V3 with a new 10-30 PD zoom that does not accept filters. As a result many people simply dismissed the Nikon 1 V3 out-of-hand and did not give it a serious look. That is unfortunate since the Nikon 1 V3 actually is a very good camera that brings a lot of new features and capabilities to the Nikon 1 system. It’s too bad that the camera did it in a three-steps-forward two-steps-back kind of way. Had Nikon not made those rather quirky design choices I think the camera would have been met with a much stronger and more positive reaction from the marketplace.
This review is for the Rolleiflex 2.8 FX Medium Format Twin Lens Reflex Camera. The Rolleiflex is an intriguing camera – a long list of inspiring and master photographers considered this camera one of their favorites. Some famous Rolleiflex camera users include Richard Avedon, Robert Doisneau, Diane Arbus, and Vivian Maier, among others.
When I’m not scratching ever upwards toward the pinnacle of the high-stakes editorial bird photography world I find it helps my bottom line to prostitute myself as an HPLS. It’s not a pretty job, but imagine how ugly the world would appear if it weren’t for the services of us Human Powered Light Stands. When were not schlepping monolights, downloading memory cards, witnessing model releases, or checking to make sure the model’s sports bra isn’t wrinkled, we’re usually found holding the Venerable Shiny Disk.
My experience with shoulder bags has not exactly been great up to this point. As much as I liked the idea of carrying equipment in a shoulder bag, that convenience of quick access, I’ve not found one that would serve the part flawlessly before. There was always something not quite right – it’s either too square or too wide, the strap – too narrow or likes to play heart-stopping jokes on you.
You probably saw the next bit coming. You may even think it to be a cliché of sorts. But, yes, I found the shoulder bag I was looking for. I absolutely adore the Seven. Whenever I use it, I am constantly fascinated by all the things it does just right. Almost as if people who actually do photography came up with the design! So I will go on and say the following: if you need a medium-sized shoulder bag for daily use, just go and buy this. Need a smaller one? Get the Retrospective 5. Need a larger one? Get the Ten or Twenty. It’s great, and I can’t see someone not liking it for all the things it does well.
It’s been bugging me that I only have a handful of decent insect photos, despite owning a macro lens primarily for that purpose. When they weren’t flying or running away from me, they were biting me, and when I tried the pop-them-in-the-fridge-to-cool-them-down trick – well, let’s just say Mr. Tarantula is still napping. I felt awful about that and vowed never to ice down a critter again unless it was a penguin with heat stroke. Still I’ve been seeing tons of great bug photos lately and it rekindled my interest. If I could just dial in the lighting, maybe I could start nailing some great macro wildlife shots.
October 16 of 2013 marks an important milestone in the history of photography, because it is the date when Sony announced world’s first full-frame mirrorless cameras, the Sony A7 and A7R. The Sony A7, being the cheaper model aimed for general use, sports a 24 MP sensor and offers hybrid autofocus, while the A7R with its high resolution 36 MP sensor is targeted at more specific types of photography including landscape, architecture, studio and product photography. Since the official release of these cameras, I had a chance to test both in 2014 as soon as they were available. However, I did not write detailed reviews for a number of reasons including native lens shortage and availability, all kinds of initial firmware bugs and lags, shutter vibrations (A7R), slow start up time, compressed RAW, terrible menu system, poor battery life and a number of other annoying issues. On top of that, 2014 was also a year of personal transformation for me, so I was incredibly busy trying to shuffle a lot of things at the same time. To put it short, my lack of time and my negative experience with these cameras contributed to reviews being put off for a later date. When Sony released the A7S a bit later, I did not see drastic changes aside from the camera sensor, so I put off reviewing that camera for a while as well. However, when Sony announced the second iteration of the A7-series, the A7 II, I immediately requested a review unit for evaluation. By then, Sony already had a few more native lenses to choose from and I had high hopes that Sony perhaps addressed many of the concerns from the original A7 in this new camera. In addition, the Sony A7 II came with in-body image stabilization (IBIS), which interested me a lot – with so many different adapters available for other lens mounts, the A7 II looked rather promising as a versatile tool that could stabilize pretty much any lens on the market. And that in itself sounded really good, so off I went with my journey to assess the new Sony A7 II.
This review is for three Impact Muslin Backgrounds and an Impact Background Support System. I have always loved backdrops and how they can convert any space into a studio. By setting up a studio backdrop, you can create a whole new feel for a shoot and they are versatile and easy to use. I chose to set these up in my living room and home office space, but if you are tight for space in your home, a garage makes a perfect studio as well.
Let’s be completely honest – other than style, leather half-cases for mirrorless cameras serve just about no purpose. It really is all about style – not protection, not ergonomic improvement, none of that. Any change in those areas is, more often than not, unintentional. A side effect. So, when talking about such an accessory, what matters most is design and quality of the product. One is only ever going to pay good money for an accessory that’s not actually that practical or sensible to own if it looks great and is made with utmost precision. Gariz, a small Korean camera accessory manufacturer few have even heard of, has its hands full, so to speak.
Last year I had a chance to test and review the ioSafe 1513+ storage unit, which I found to be an amazing device that not only provides data protection against fire, flood and other potential disasters, but also does it with superb performance, thanks to the Synology DSM architecture. With its relatively steep price, hefty size and heavy weight, the ioSafe 1513+ might not be an ideal choice for everyday backup needs though. For smaller environments with lower storage and performance needs, ioSafe also offers a much more budget-friendly option, the ioSafe 214. I have been using the ioSafe 214 for the past 4 months for my personal and business needs and I decided to review the unit and share it with our readers, based on my overall experience so far.