Nowadays, it is not unusual to hear about photographers being asked by their clients to do video work for them. For many photographers adding video to their list of services can be a bit intimidating, especially when it could entail making some investments in video-related gear. While it is certainly possible to spend many thousands of dollars on additional gear, most people wouldn’t want to put that much money at risk when first venturing into this area. If you choose gear wisely you can keep your investment at a modest level while adding a significant amount of production value for your clients.
With the release of the much-anticipated Sony A7R II, a number of our readers have been asking about the use of the camera, such as what type of photography the A7R II would be best suitable for, what advantages and disadvantages it has compared to DSLRs and how it can compete with them. Many Nikon and Canon DSLR shooters are actively looking at mirrorless cameras, not just because they are generally lighter and more compact, but also because they offer intriguing technological features that cannot be made available on DSLR cameras. The Sony A7R II is quite an attractive and unique camera, because it features a high resolution 42.4 MP back-illuminated full-frame sensor – something no other camera manufacturer offers at the moment. While Canon’s new 5DS and 5DS R cameras currently hold the resolution crown, we already know that Canon did not drastically improve dynamic range and the cameras themselves are not much different than their 5D Mark III predecessor. So aside from the new 50.6 MP sensor (see more on resolution differences below), Canon did not deliver any other innovations with those cameras, which puts the Sony A7R II in a good position in comparison. Let’s take a look at what the Sony A7R II offers when compared to modern full-frame DSLRs and the type of photography it would or would not be suitable for.
If you’re an enthusiastic still photographer who’s started to dabble with video a bit, you’ve likely run into issues with fine visual footage, but substandard audio. Crappy audio can ruin the viewer’s experience every bit as quick as lousy visuals. It soon becomes apparent that your camera’s built-in microphone records not just your subject, but also the camera’s noises (focus motors, VR, heavy-breathing operator) as well as the nearby highway, airport, dragstrip, playground or pig farm. The first step taken usually involves buying a hot shoe-mounted directional mike, AKA shotgun mike. This is great for emphasizing the sound coming from the direction the camera is pointed, but it gets not just the subject speaking or softly purring, but also the jackhammers in the construction site across the street behind your subject. It is a poor choice if you want to record dialogue. For recording talking subjects, the next step is to add a lavalier microphone system. A lavalier microphone, AKA lav, AKA lapel mic, is a tiny microphone that clips to the user’s lapel, collar, or ZZ Top beard. It is very sensitive to sound coming from very close to the microphone and not to sounds further away. Therefore it is ideal for recording the wearer’s words without too much interference from background noise.
With almost all of our cameras featuring video capabilities (I’m looking at you, Nikon Df), most of you have probably considered going beyond the occasional family video. However, like photography, video requires post-processing for best results, and the prospect of buying After Effects, Premiere Pro, and SpeedGrade just to get your toes wet is daunting for many photographers. What you may not know is that you already have a powerful video-editing program in Adobe Photoshop CC, or CS6 Extended. This is an easy way for photographers to play around with film without purchasing hundreds of dollars worth of software, and is surprisingly effective. I’m certainly not a professional videographer as my example video will show, but I have enjoyed editing a few shorts, just for fun. The two most critical aspects of editing for video (not including cuts/sequencing) are color-grading and sharpening, both of which can be done relatively painlessly in Photoshop using tools you’re already experienced with.
I was a bit disappointed by the Photo Plus Expo this year in New York, because unlike last year, I did not find a lot of innovative products to be excited about. It seemed like the exhibit floor was full of the same things we had previously seen, except this year the organizers did not allow any Chinese companies on the floor (most likely because some of them were selling the exact same products as the bigger companies at a much lower price last year). However, there were a few things that I found that got me very excited and one of them was the Lume Cube. After seeing the product, Roman and I actually went back to see it again next day to find out more about it and to snap some pictures for our readers. So what is Lume Cube and why do I think it is an innovative product? Let’s take a closer look.
Having toured across Turkey as a teenager, I have so many wonderful memories of this beautiful and historic country. I instantly fell in love and have since been wanting to go back and revisit this magical place. Earlier this week, one of our readers sent an absolutely stunning video called “Watchtower of Turkey”, filmed by Leonardo Dalessandri, who spent 20 days in Turkey traveling thousands of miles and capturing both stills and video. The resulting three and a half minute film is absolutely stunning and definitely worth watching. I decided to share this video with our readers and I hope you enjoy this masterpiece as much as I did.
Today we want to move your attention from photography matters and enjoy this short film called “How The Sun Sees You”. After watching this film by Thomas Leveritt, I smiled so hard my cheeks still hurt. I very much hope yours will hurt even more!
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.