Professional Photographer Magazine Web Exclusives

Nikon D800 Preview

2012-02-07T12:38:21Z

Prior to the official launch of the 36-megapixel Nikon D800, Lindsay Silverman of Nikon came by the Professional Photographer office to let us have a quick hands-on demonstration with a “ready for production” prototype. While we were not allowed to keep any of the shots we made with the prototype, we are able to share our immediate impressions.

Physicality and ergonomics:

The first thing you notice is the size of the camera. Without the optional grip with extra batteries and vertical release, it feels like a slightly beefed up version of the now venerable D700. Without actually sitting a D700 down beside it, the body felt roughly the same height and length but slightly deeper and maybe a little heavier.
In FX (Nikon’s full-frame mode) approximately 100 percent of the vertical and horizontal image area can be seen through the viewfinder with camera control information in the surrounding black bezel.
The control layout on the back of the camera, in the menus, and on the right hand side of the pentaprism is another evolutionary step from the D3 to the D700 to the D7000. New on the camera’s back side is a separate button for activating live view. There is a switch around the button to go from Live View for stills to video mode. The meter patterning control (Spot, Matrix, and Center-weighted) is now a smaller crown-type switch surrounding the AE-L / AF-L lock button.
The controls on the top deck to the left of the pentaprism are different with a couple more options, again not a huge change, but the goal is to make more of the controls that photographers are likely to use physical rather than menu driven.
On the front of the camera, the focus mode switch has been simplified to just two options, auto-focus and manual focus.
The D800 uses the same EN-EL15 battery as the D7000. This will make life easier if you use the APS-C format D7000 as a second camera.
As with the recently announced D4, once again Nikon goes with a mixed media card strategy: CF (Type I up to UDMA-7 compliant CompactFlash) and one SD. The SD slot can handle standard SD, SDHC, and SDXC memory cards.
For tethered shooting there is a USB 3.0 connection. Why they did not go with a faster FireWire 800, Thunderbolt, or gigabit Ethernet connection (as with the D4) is anyone’s guess, but unless they know something that we commoners don’t know that isn’t great news for Mac computer users. But you can stream an uncompressed feed to an external drive through the high-resolution HDMI output if there is no media in the camera. The HDMI-ported signal can be viewed on an external monitor in parallel with the live view controls on the camera’s 3.2-inch (diagonal) 921,000 dot LCD.
The built-in electronic level now has an indicator for pitch (fore/aft) as well as lateral leveling, and these are both now visible in the viewfinder as well as on the rear LCD.

Image Quality:

To state the obvious, the D800 and D800E have lots of resolution—36.3 megapixels to be exact—in a 7,360 x 4,912 pixel array spread over a 24x35.9mm Nikon-engineered CMOS sensor. Put another way, this FX camera has 50 percent more detail-gathering resolution than the highest resolution small-format DSLRs to date, the Nikon D3X, Canon ESO-1Ds Mark III and EOS 5D Mark II and Sony Alpha A700, A900 and A77. More pixels means you can print larger or at higher resolution for standard sizes without interpolating, and you can also crop and retain image quality. If you photograph products or landscapes, or are just not are worried about moiré patterns, the slightly more expensive, limited edition D800 E variant with its less aggressive anti-aliasing filter may be more to your liking.

The native sensitivity range starts at ISO 100 and goes up to 6400 with two “Hi range” boosts. Hi-1 takes you to 12,800 and Hi-2 takes you to 25,600. There is also an ISO 50 equivalent Lo-1 setting. Image processing is done through Nikon’s EXPEED 3 processing engine. To rapidly push all of this information through the EXPEED 3 system, Nikon is using a 16-bit data pipeline with a 14-bit analog to digital (A/D) conversion. Output can take the form of 12 or 14 uncompressed; losslessly compressed, or lossy compressed NEFs, plus RGB TIFFs and JPEGs. There are three smaller format options available as well: a 5:4 ratio, a 1:1.2 “crop” and 15.4-megapixel resolution Nikon DX (APS-C) format. Full-frame continuous frame speed is 4 frames per second.

Shooting characteristics:

The D800 sports an “enhanced” Multi-Cam 3500-FX AF processing system matched with 51 AF sensor points, 15 of which are cross-type sensors. The autofocus range is said to be good down to -2 EV, light so dim that at ISO 100 it would take a 4-second exposure at f/1.4 for a subject to be rendered as medium gray. The system is optimized to recognize and lock on a human face even as it moves across the frame. In our brief tests it did this very well. One of the methods this is accomplished is by tying the AF system to the new 91,000-pixel sensor used by the new 3D Color Matrix Metering III system. By comparison, the D700’s 3D Color Matrix Metering II system used a 1,005-pixel sensor.

Video quality:

Judging by the video we were shown, this is the best looking digital video we have seen out of a DSLR, no rolling shutter problems, terrific dynamic range, and very solid blacks.

Pricing and availability:

Nikon has set the MSRP for the D800 at $2,999.95 and the D800E’s MSRP at $3,299.95. The D800 should start showing up on shelves by the end of March with the D800E variant available starting in mid-April.

Wrap Your Mind Around Warp: Adobe After Effects CS5.5 Warp Stabilization

2012-01-12T20:21:06Z

By Jack Reznicki

Mid-number software upgrades rarely impress me. When Adobe’s Creative Suite had an inter-number upgrade, from 5.0 to 5.5, I was expecting just the usual bug fixes and minor adjustments. But buried in After Effects is a real “WOW!!” feature I would expect in a whole-point release. This new feature should really amaze and wow video shooters and the vast army of still shooters venturing into the video realm. The name for this feature, Warp Stabilization sounds like a feature you’d hear in an old Star Trek episode. “Captain, the Wrap Stabilization has seized up! She can't hold on much longer!”

Warp Stabilization is just Adobe’s name for a feature that takes shaky video footage and, well, stabilizes it to look like you used a Steadicam or shot the scene with your camera mounted on a dolly. It really doesn’t sound like much until you see it in action. Then your jaw drops. To me this feature alone is worth the total price of After Effects. The first video here is the raw footage, and the video embedded below it is the stabilized version.

What really blows my mind is not just what it does, which is amazing and magical, but the fact that it’s so automatic and simple. It’s drag and drop. There have been ways to stabilize shaky sequences before, but you had to know what you were doing, you had to find a fixed point, play with the parameters, input numbers. It took a lot of time, skill and praying. With CS 5.5, you drag and drop Warp Stabilization adjustment into the video sequence and After Effects does it all in a shockingly easy and fast way. No entering numbers, moving sliders, or looking up complex steps in the manual. It analyzes the footage on its own, and then processes the clip in the computer’s background, so you can continue working on something else, like more photo editing, web surfing, or solitaire. No waiting for spinning beach balls or slow status bars.

While it’s at it, fixing your shaky take behind the curtain, it also fixes another inherent problem prevalent with DSLR footage—the cursed rolling shutter artifacts.

]]> Rolling shutter artifacts happen because DSLRs, with their large sensors, do not capture every frame all at once. It actually scans the image as it captures motion. So while the top portion is captured, it’s a tiny bit later when the bottom portion is captured. So if you move or pan the shot quickly during capture, or run it through most current stabilization applications, you’ll really notice the rolling shutter artifacting. The effect on straight lines reminds me of how in grammar school we would hold a pencil loosely between two fingers and move it up and down until the optical illusion made the pencil look like it was made of rubber. Objects in your video have that same rubbery look when you have a rolling shutter issue.

Warp stabilization in After Effects CS 5.5 has a checkbox that lets you correct the rolling shutter issue when you stabilize the shot. Basically the same technology and algorithms that look at the frame before and after to remove the shakes, does the same for a rolling shutter in removing that rubbery look.

So if you’re a wedding shooter and you only have enough time to get your Canon 5D switched to video and handhold it for a great moment in the wedding on video, but it’s a bit shaky (and unprofessional looking), you now have a solution. Now you know that your handheld movements can be easily straightened out perfectly later on and look like you have rock steady hands. Of course it will not fix the drastic camera movement when Uncle Charlie jarred you as he jumped in front of you to get his snapshot. There is a limit. But it’s amazing just how much it can stabilize.

When you have a clip that needs stabilization, you need enough image around the subject so the scaling doesn’t cut into your subject. In the past, stabilizing usually meant cropping into the frame or ending up with black patches around the frame as the software tilted and shifted the frame to stabilize the shot. The amazing thing about warp stabilization is that with the new technology at hand, like content aware fill, warp stabilization will “create” the parts of the image frame to fill in the black areas with image content. Amazing. In video-speak, what we still photographers call cropping is called scaling. Here's an example of the video stabilized, but not scaled. You can see in the black areas that appear on the sides just how much the camera was moving.

I also ran into a difficult difference in language use when it came time to get the video clip out of After Effects. While we photographers will normally look for save as or export, what you need to do is place the file in the Render Queue and process it.

I can go on and on about how amazing this feature is, but as the old Russian proverb says, seeing it once is worth a thousand explanations.

Here's what the video looks like when you have the software lock the background in place.

Two Bags to Gear Up and Go: Chrome Niko and Lowepro Pro Messenger 180 AW

2012-01-12T17:25:19Z

By Joan Sherwood

I prefer camera bags designed for a moderate amount gear that you can carry and maneuver around with without knocking lamps off the furniture every time you turn around. The Lowepro Pro Messenger 180 AW and the Chrome Niko fit that bill, and provide a lot of features that are important when you want to travel or explore a city while carrying lean, and when you have a shoot that doesn't require a suitcase full of gear. My big requirements are comfort, security and light weight.

At first glance, I thought the Chrome Niko was going to be one of those bags that only guys and chicly flat-chested women could wear comfortably, and that it would never even look right on me, but I was wrong. I found out that by lengthening the seat-belt style sling strap, it hangs rather nicely. Much better than other sling bag styles I’ve tried. It sits comfortably, low on my back, with the padded section of the strap hanging across my shoulder where it should, and the metal buckle components falling just below my clavicle. It weighs 2.3 pounds, compared to the Lowepro’s 3.4 pounds, and it feels like half of that is in the buckle. For security, the Niko has buckles that cross over the main zipper to foil theft while you’re wearing it in crowded spaces, and a waterproof main zipper to keep out rain, though it also makes it a little more difficult to unzip.

The Niko has the smaller capacity of the two. By my own measurement, the main compartment is 11x8x5. You could carry a DSLR with lens, an extra lens and a speedlight flash comfortably with no problem. The top compartment could hold an extra flash, water bottle, or modern necessities like a phone or backup drive. The top compartment is the only easy-access exterior pocket. There is a flat, water-protected pocket on the main interior for memory cards. The Velcro placement on the side straps makes them suitable for only the slimmest of tripods, better for holding a light rain jacket really.

The Niko construction is a bit stiff and the shell padding is formidable. It comes with the standard, Velcro-attach padded dividers that most camera bags have.

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The shiny chrome quick-release buckle is what makes the bag eye-catching and ups the cool factor. Chrome says the buckle doubles as a bottle opener, but I didn’t try that for myself. The bag works sling-bag style—keep the strap on your shoulder and sling the bag around to your front to access the contents. The heavy clips over the zippers, if you have them secured in place, may make getting a bigger DSLR and lens out of the bag a slower process than you would like. With smaller cameras, like MIL models, it’s a breeze.

The Lowepro Pro Messenger 180 AW is a bigger, heavier bag than the Chrome Niko, but I like it better for comfort and access. The exterior material looks and feels like soft canvas, but it’s a modern performance fabric made of spun polyester. The movable shoulder pad on the strap is easy on the shoulder, and it has a gripping coating on the underside that I appreciate for times when I don’t want to put the strap over my head.

This bag has a lot of features that I love. For security, you have the Lowepro AW all-weather cover tucked in a discreet Velcroed pocket on the bottom front and attached with a ribbon tether so you won’t lose it, and it won’t blow away. For security, you have two modes of fastening the top flap with Lowepro’s FlexFlap Design. Extended, it attaches with four Velcro points, two of them large, so no one will be able to flip that up without making a lot of noise when it’s secured. When you don’t want it to make noise, you can tuck up the flap extension, and it closes with magnets sewn into the flap and bag.

I like the grab handle on top, but if you don’t, you can take it off. The back exterior pocket doubles as a trolley sleeve if you open its bottom zipper, and you can’t get handier than that. The front pocket only zips halfway down, so it won’t flop open and spill contents.

The interior pocket has generous space. A comfortable 10x10.5x5-inch capacity by my own measure (Lowepro’s stated specs are larger). There’s a half-pocket on the interior back, and the interior side pockets—particularly suitable for holding flashes—have Velcro closures and smaller pockets inside each for smaller items you don’t want to get buried in the bottom. The front exterior (under flap) pocket has additional pockets and a key holder. The exterior side pockets are expandable, though they’re held closed with an unobtrusive elastic piece, and they will hold a standard-size water bottle. It does bother me when a water bottle pocket isn’t big enough to actually hold one.

There’s no tripod strap or holder, but the extended flap is so long that you could place one across the top of the bag and secure it under the flap if need be. You could easily stuff a lot of camera gear in this bag, and Lowepro even suggests the front pocket for holding an extra DSLR body, but that’s pushing it.

I love the durable yet soft feel of the exterior material, and non-rigid side padding that lets it lie flatter against my body if it’s not chock full of equipment. The Pro Messenger also comes in 160 and 200 sizes.

Lowepro Pro Messenger 180 AW: $209.99; Street price as low as $170.

Chrome Niko: $95.

Words of Experience, a Review of "Sketching Light" by Joe McNally

2012-01-12T16:25:20Z

By Ellis Vener

“Sketching Light: An Illustrated Tour of the Possibilities of Flash”
By Joe Mc Nally
Part of the series, “Voices That Matter,” published by New Riders Press

Read an excerpt from “Sketching Light"

Every well-known successful photographer you can think of knows how to use light to tell stories. By “well known” and “successful,” I don’t mean someone with thousands of friends and followers on social networking sites, I mean photographers who make their living and reputation by working for real-world clients. You likely have your favorites; mine are Dan Winters, Gregory Heisler, Matthew Jordan Smith, Nick Knight and Joe McNally. Perhaps no one on my list is as broadly influential as Joe McNally, mostly because he has successfully taken on the challenge of using social networks and teaching what he knows through seminars, workshops and books.

Fortune has favored McNally with resilience and a great sense of self-deprecating humor. He seems to approach assignments big and small with equally intense levels of preparation, energy and flexibility. Fortunately for us, he brings these traits to his fourth how-to book, “Sketching Light: An Illustrated Tour of the Possibilities of Flash” (New Riders Press).

In this lighting cookbook, McNally provides abundant recipes and results, complete with copious notes, diagrams and “war stories.” These are not the kind of lighting formulas that mandate placing Light A with Modifier X at a 32-degree angle to the left, slightly above and 6 feet from the subject, and placing Light B with Modifier Y here or there with specific key-to-fill-to-accent ratios—you get the point. Instead, McNally gets you to thinking about how to generate and use light to help the story you want the photograph to tell, and to make that story engage with the viewer’s imagination. Even if you think you already know a lot about lighting, I bet you’ll pick up more than a few good ideas from “Sketching Light.”

And really, the book really isn’t so much about how to make nice with light, but how to live. In the first lines in the introduction, he writes:

The key word on the cover of this book is not “flash,” or even “light.” It’s the word “possibilities.” Because that is, at its core, what this book is about. It isn’t about pictures that already exist. It’s about what might be possible to create, in terms of pictures, if you experiment with light.

]]> That sets up a theme that characterizes McNally’s career: looking for possibilities. The “Things I Think I Know” chapters (which might more accurately have been titled “And Tonight We Improvise!”) are my favorites. There are seven of these, with titles like “Risking ‘No’” and “I Thought the Lights Would Be On.” Whether or not you know first-hand the highs, dives and gut-wrenching twists that are part of being a working photographer, you will especially appreciate the chapter, “How Do You Get Fired from LIFE?”

As the first staff photographer hired by Life magazine in 23 years, McNally gets to make some really great photos in some very interesting places. Then, three years later, at the very moment he’s picking up one of the most prestigious awards in journalism, the Alfred Eisenstaedt Award for Journalistic Impact (for his photo essay “The Panorama of War”), he and only a handful of others in the room knew a hard secret: He’d been fired the week before. On that he writes:

Whatever good thing you have going as a shooter, understand this: It will evaporate, deteriorate, get worse, or just shrivel up and blow away. Fun, huh? The life of a shooter is driven by passion, not reason. This is not a reasonable thing to do … In this life of uncertainty, it is, however, absolutely certain that some bad stuff’s gonna happen to you.

What follows are some really good ideas on how to deal with the peaks and pits of life in general.

Although not a “Things I Think I Know” chapter, in the chapter “A Couple of Joes,” McNally gets to the heart of why his type of straightforward narrative photography matters:

It is interesting being a shooter. The pictures you make are like a connect-the-dots game that becomes the line of your life, as real and vibrant as the lines on your face and hands. We tell stories with our pictures. In turn, our pictures tell our story—what we did, and how well or poorly we did it, and, very significantly, if we stuck with it.

Can you think of anything more to ask of a life spent making photos? I can’t.

See “Here’s Sunshine Up Your Skirt,” an excerpt from Joe McNally’s “Sketching Light: An Illustrated Tour of the Possibilities of Flash,” and another excerpt, “Of Frosted Glass and Dirty Windows,” in the March 2012 issue of Professional Photographer.

Here's Sunshine Up Your Skirt! An excerpt from Joe McNally's "Sketching Light"

2012-01-09T15:11:11Z

Read the Professional Photographer review of “Sketching Light”

Every once in a while, you try something on a wing and a prayer, and you get a picture that works. You gave it just about zero chance of success when you put the light out there, and then it’s so absurdly first-frame simple, you have one of those “coulda had a V8” moments back at the LCD. Which, of course, you then try to cover up by assuming a knew-it-all-along look, a confident nod, and a quiet, murmured, “Think I’ll just shoot a few more of these.”

I was on the main plaza in pre-dawn Venice, which is the only time of day that beautiful, historic place is not a sea of backpacks and a jumble of accents and languages. The sun was up and light was bounding out on the waterways, but I was struck by the cool, beautiful nature of the ancient arches, where open shade still ruled.

When trying to work simply and influence a scene with just one small flash, open shade can be your best friend. You don’t have to stress the light by fighting the high, hard sun, and the muted tones introduce the possibility of effectively influencing the color palette of the scene without bringing in movie grip trucks.

This setup was, as I indicated above, crazy simple. I used the little plastic floor stand that comes with the SB-900, put a full CTO warming gel on the light, took off the dome diffuser, and zoomed the flash head to 200mm so the light spread would remain pretty tight, and placed it out there on the ancient stones of the plaza. The zoom feature helps in directing the light right to the dancer, and also keeping floor spill to a minimum. As worn as they are, the tiles on the plaza will pick up light and reflect it pretty well, so if your light is zoomed wide and splashes everywhere, you got a problem. Zooming the light tight sends it where it needs to go—to the dancer—and minimizes the telltale photon path on the floor. A hint of light works fine. A big, blown highlight is not okay. Nuking the floor is always a concern, obviously, when you actually place the light down there. I didn’t need to employ this tactic here, but a couple of simple swatches of gaffer tape on the floor side of the flash head, serving as cutters or flags, works really well, as shown here.

I just happened to have a ballerina with me. I’d suggested dancers to the group I was shooting with, and it was a notion they embraced vigorously. Bringing a dancer onto the Plaza Venezia in dawn light is definitely stacking the deck in your favor, kinda like flying in a sure thing, but it’s a good thought when seeking subjects for flash portraits. It’s certainly better than wandering the streets hoping an ancient drunk with an interesting hat stumbles into a beautiful highlight. (Unless, of course, you’re street shooting and looking for happenstance. Different mission altogether.)

]]> Repetitive columns and telephoto lenses are made for each other. The lens perspective stacks up the gray pillars nicely, making for a seemingly endless graphic pattern, into which you drop the tutu-clad dancer. The light is off to camera left, outside the columns. One would think that line-of-sight TTL goes out the window. Time for PocketWizards and manual control!

Certainly that would be a valid and doable approach, one with almost certain return, unless the radio fails. But they never do that, do they? (Knowing smiles here.) But I didn’t have a radio with me. So that option went away. What I did was rely on TTL, line-of-sight technology. I strung together three SC-29 cords, thus linking my commander SU-800 with the hot shoe of the camera. A hard wire, in other words. Given the coiled nature of these cords, you can really stretch that commander flash out there a considerable distance from the camera’s POV. I asked one of our group to do me a favor and walk that commander straight out to the left of camera until it saw the main light, sitting on the deck about 50 or 60 feet from the master flash. No trigger troubles at that distance and in that quality of muted ambient light.

So, two units, but only one flash for the exposure. Commander SU-800, handheld, 20 feet to camera left, and one remote SB-900, sitting on the ground, to the left of the subject, firing in between the stone columns. No light mods, no stands. That’s it; that’s the basic physical setup. As I said, simple. But the key to the photo really wasn’t so much the placement of the light, or the color (as important as they were). It was all about maintaining a richness of exposure, and making sure the beautiful scene was a stage for the ballerina—just like in the theater, with the SB-900 as her spotlight.

When most digital cameras, as sophisticated as they are, look at a vista like this, they basically overreact by trying to expose for everything out there; they reach into shadows to bring forth pixels you don’t necessarily want to see. They’re not making a mistake or doing anything wrong. They’re just expressing the souls of the engineers who made ‘em. They’re industrious, these genius cameras of today. They’ll work like the devil to render detail in the whole frame if you allow them to. They are not acquainted with the old expression, “Let a sleeping shadow lie.” They don’t know from mood, or subtlety. If it’s there, they go after it and try to snap it to attention, exposure-wise.

The scene, though, doesn’t need to be exposed, really. It just needs to be there. The result you wish for here is just as faded and worn as the old rocks themselves. They are quiet—background music if you will—while the vibrant youngster of a dancer, dressed in shocking pink, is the crescendo.

Hence the mechanics of this image read out to be –2 EV using Aperture Priority mode on the camera. Those two stops of underexposure give me the right tonality. For me. Not the camera. The camera don’t know. I have to give it direction here, and drive it to a place where, if it could talk, it would probably start debating me. “Are you sure you wanna do this?” Yes. I wanted the scene to be muted. By doing this I’m following that time-honored principle of getting the available light right, then mucking about with the flash.

And, in this instance, via the mechanism of line-of- sight TTL, I’m able to muck about with the flash pretty easily, just by viewing the results at camera, and asking the VAL holding the commander unit to adjust accordingly. This particular flash exposure worked out in relatively even fashion, with 0.0 compensation at the flash, given the fact that it was already subdued by the –2 EV at camera. The nice thing about working this way is not having to constantly walk to the light to adjust it. With wireless technology, you can effectively signal the light from the camera to do your bidding. It doesn’t always work, but when it does, yowza! Makes your life easier as a shooter, which is something I’m all for.

The 70–200mm lens is set at 130mm, and I am handholding an exposure of f/7.1 at 1/40th of a second. It seemed a reasonable combination to produce a bit of depth of field, and enable me to handhold the lens effectively. There is no magic to those numbers, by the way. I never go into a situation thinking f/7.1. An f-stop like this is still an alien setting to me. It’s basically what was once referred to as a strong 5.6 or a weak 8. When working Aperture Priority, I let the camera speak, then I do the hair-splitting with pieces of f-stops and in-between shutter speeds. My main concerns were getting the image sharp and keeping a bit of depth. The only reason these numbers are special is because they worked at this particular time, for this particular scene.

As always, I wish I had shot some more, but I was happy enough with the final result. As you can see, genius here didn’t start out thinking about lighting her backside. We started with a couple fairly classical dance poses and, compositionally, I wasn’t happy with her placement relative to the columns. It was working alright, but I was almost at the point of hoofing it down there to direct her a bit better and re-position the light, when I thought of having her stretch and adjust her pointe shoes. [Title page image.]

To me, this move is always touchingly, awkwardly beautiful. When a ballerina wearing a classic, sharp tutu does this, she looks a bit like a duck doing a surface dive. The back end of the tutu snaps upward like a fan and, depending on the material, it often takes light quite well. Here, the shape mimics the overall shape of the archway, which works.

And, if I told you I planned this, I would be a liar. On location, with a camera in your hands and just a few frames to shoot, some things, like f/7.1, just happen.

Wacom Inkling Adds Flourish and Saves Time

2012-01-04T19:46:59Z

By Betsy Finn

The Wacom Inkling is a real pen that captures your pen strokes on any paper. When you’re done drawing or writing, just plug the receiver into your computer, access the image, and edit as desired in Photoshop or other image-editing application.

The Wacom Inkling pen and receiver (clipped onto paper).

While it may have more appeal for graphic and illustration artists, I immediately thought of ways the Inkling could be used practically in a photographer's business, too. I could use it to take notes during client consultations, marking areas of a proof the client wants fixed or sketching notes for a wall collage, all of which could be stored digitally with the client's other information and image files. On the client side, I thought the Inkling would be a great tool for personalizing portraits. For instance, I could have my clients sign their name for their wallet-size portraits, or write a note to put into their wedding album. It all sounds good in theory. My next step was to put it into practice and see how well the Inkling would work for my ideas.

To begin, clip the receiver to your paper, and push the power button. Every time you clip/unclip the receiver, it starts a new drawing. There’s also a button on the receiver you can push to start a new layer while you are drawing. These layers are saved into the image and can be exported to Photoshop as layers. When you first turn on the receiver, it displays a red light that switches to green once the pen is active.

]]> Once the receiver is on, turn on the pen by pushing the button on its end. As with the receiver, a green light indicates that the device is all set.

Below you’ll see a sample framing sketch that I did with the Inkling. This is very similar to something I would create while working with a client. Note that everything looks great except I’m missing the first letter of Jane Doe’s name (more on that issue later). I do use a small-town framer, so I typically send sketches like this to them to process client frames. Rather than having to scan in the order or remake it in Photoshop, I could simply input the client info onto a new layer, and send the plain layout sketch via e-mail. I love it when technology makes my life simpler.

I also made up an example to show you how you could use the Inkling to personalize client portraits. Take one standard client signature created with the Inkling, superimpose it over the image, add a few effects and voilà: an extremely personalized senior portrait with a flourish that was so much easier than trying to find a font that would be just right. And again, I lost no time in scanning and optimizing a signature.

The data recorded by the Inkster is captured as a .wpi image file, and you’ll have to install the Inkling Sketch Manager to view these images. Fortunately, the interface includes a convenient Open in Photoshop button for Photoshop users, and you can export to any other image format. You can also edit, optimize and scrub images individually before sending them to another application. I didn’t have much use for that feature though.

There are a few drawbacks. I wish the receiver clip could fit on more than a few sheets of paper – it would be nice to attach this to the top of a clipboard. Additionally, the pen takes a few seconds for its signal to start recording. I found that my first letter was frequently missing from the digital version. I worked around that by scribbling a little in a corner prior to creating the actual drawing. And finally, it would be nice if the drawings were rendered as .png files or something other than .wpi files. The sketch management software is handy, and I appreciate that it will export the files to Photoshop, but it would be nice just to drag and drop rather than having to open two programs.

Overall, the Inkling performed beautifully. I enjoyed using it, and it was immensely more convenient than drawing on paper and scanning into the computer. This tool has potential to be a huge timesaver.

The Inkling comes in a snazzy carrying case, which holds the pen, receiver, spare ink cartridges and USB cable; it also doubles as a charging case (the mini USB port on the outside allows you to charge the devices inside). It is compatible with both Windows (7, Vista, XP) and Mac (10.4.0+). Currently available from Amazon.com, the Inkling retails for $199.

Betsy Finn, Cr.Photog., CPP, has a portrait studio in Dexter, Michigan (BPhotoArt.com); she shares tips and ideas for photographers at LearnWithBetsy.com.

Care and Repair for Your Equipment

2011-12-20T16:21:10Z

What can you do when your camera fails? Pro manufacturers offer member services for repairs and loans.

By Theano Nikitas

Few professions are more equipment-dependent than photography. Yet regardless of how well you maintain your gear, things can go wrong. In addition to back-up equipment, you should carry the number of the nearest photo rental service. If you’re a professional photographer, there are some other solutions not only for emergencies, but for year-round peace of mind.

We spoke with three of the major camera manufacturers about their programs and services for full-time professionals. It might the perfect time to check them out. If you are a PPA member who has opted in to receive the $15,000 of equipment insurance from PhotoCare, that policy would serve as a secondary policy to these plans and could be used to assist with additional expenses related to covered losses.

Image courtesy of Canon Professional Services

Canon USA

The recently revamped Canon Professional Services (CPS) is a three-tier program, beginning with a no-cost entry level. The program is now based on a point system that, according to CPS, is more pro-centered than the earlier program. Each piece of professional gear is assigned a number of CPS points, which cumulatively determine the photographer’s tier of coverage. Qualifying gear includes a long list of camera bodies, lenses, camcorders, flash, wireless transmitters, battery grips and the new PIXMA Pro 1 printer. Most of the EOS line of camera bodies qualify, from the EOS-1Ds Mark III (10 points) through and models such as the 60D (4 points) and older bodies. Lenses and extenders range from 2 to 16 points, with accessories like wireless transmitters at 1 to 2 points each. You’ll find the list of qualifying equipment on the CPS website, along with a list of products that qualify for repair.

Free membership at the Silver level requires 10 CPS points. Benefits include a CPS website profile and program info, CPS ID card and PIN, event support, 24/7 phone support via exclusive member hotline, and repair turnaround of three to five days.

]]> Gold membership, which CPS Program Manager Joe DeLora says has the most value for the average photographer, requires 20 CPS points and an annual membership fee of $100. In addition to the perks above, Gold members get an EF lens workbook, a rear/body cap set, a camera strap, a discount on Canon Live Learning workshops, tradeshow services (Canon sponsors a CPS lounge with clean and check services at PhotoPlus, Imaging USA, WPPI and other events), an equipment evaluation loan (a try-before-you-buy service) and product loans, three-day repair turnaround, two free clean and checks, a 30-percent discount on repairs, and free return shipping.

For the ultimate in service and even faster turnaround, CPS offers the Platinum level, for a minimum of 50 points and an annual membership fee of $500. That includes a gift, priority equipment evaluation loan, two-day repair turnaround, a service loaner, six free clean and checks, a 60 percent discount on repairs, and free round-trip, expedited shipping.

The event support benefit is particularly valuable for photographers who cover events such as U.S. Open golf tournaments, Indianapolis 500 races, NASCAR, and the Iditarod, where CPS technical consults, clean and checks and loan equipment are available to Gold and Platinum members. Says DeLora, "We're an insurance policy for pros. If an editor sends a photographer to the Super Bowl, the editor doesn't want to hear that he didn't get the shot" because of equipment problems.

CPS is available in a number of countries outside of the U.S.A.

cps.usa.canon.com

Image courtesy of Canon Professional Services

Nikon

Membership in Nikon Professional Services (NPS) is free for full-time professional photographers who meet certain criteria. They must own at least two professional camera bodies and three professional Nikkor or DX Nikkor lenses. Qualifying camera bodies include D3/X/S, D2HS/XS, D700, D300/S and even the F6 AF 35mm SLR, and the D2H, D2X, D200 and D7000 are accepted as backup bodies. In all, some 155 lenses qualify as well.

To apply, write to Nikon Professional services on your company letterhead describing your photographic work, and request an application. You need to be sponsored by a current NPS member, who will verify that you're a full-time photographer, and you must furnish tear sheets of work published in the last 12 months.

Membership gets you access to an 800 number linked to dedicated NPS staffers. Says Bill Pekala, Nikon general manager of professional and technical services, Nikon will "pull out all the stops" to helps its members. "If [the first person] can't answer the question, the member is moved up to tier 2, and then to the next step" to accomplish whatever needs to be done. There are also seven tech reps around the country whose primary job is to take care of NPS members. If the rep can't find a workable solution, says Pekala, he'll personally take over, even if it takes calling a Nikon engineer in Tokyo.

Expedited repair service is another benefit, with a guarantee of return in 10 days or less. On average, Nikon makes the repair in less than three days. To streamline the process, members should include a filled-out form that's available online with the equipment. You can specify the maximum amount you will authorize to pay for the repairs, or request an estimate.

Says Pekala, if you're shooting and something goes wrong, call the hotline. If you need to send in the camera for repair, Nikon will provide a loaner of equal or better quality, and attempt to do so overnight, before your camera even reaches the shop. You keep the loaner until you get your repaired product is returned.

Nikon sets up shop at about 60 events a year--the Triple Crown, major golf tournaments, major news events, college football, Baltimore Grand Prix and shuttle launches, to name a few. NPS sets up loan and repair centers and, depending on the venue's requirements, will make services available for non-Nikon shooters, too. "Sometimes in order to be on premises, we have to treat credentialed photographers the same as NPS members," says Pekala. They'll do blow-off cleaning on Canon equipment, but not wet cleaning, as they do for NPS members. While the loan conditions are more tightly controlled, it's not out of the question for a Canon shooter to try out Nikon equipment at an event.

Of course, NPS brings its staff of repair techs to trade shows as well, including Imaging USA and PhotoPlus. They'll set up a room for NPS members as a venue for clean and checks (bring your NPS member card). You might even get a glimpse at the latest Nikon equipment. NPS is available in some 30 countries. For a calendar of NPS-covered events, go to nps.nikonimaging.com/event_support.

nikonpro.com
nps.nikonimaging.com (global services)

Olympus

Olympus Global Professional Service (OGPS) features many of the benefits offered by Canon and Nikon. There's no fee to become a member, but to qualify, photographers must be full-time working professionals who derive at least 80 percent of their income through photography. Of course, you have to own Olympus pro gear, such as the E-5 and Super High Grade Zuiko Digital lenses.

To join, you fill out an application that's available online, and include the serial numbers of equipment you own. You must mail it to the company along with a letter on your company letterhead requesting OGPS membership, proof of your membership in other professional photographic organizations and a list of clients or professional references. The package must also include tear sheets or links to published work.

Members have access to a dedicated toll-free technical support hotline and priority access to an E-System specialist.

Olympus doesn't specify turnaround for repairs, but OGPS members do get priority. There's no discount for repairs on equipment that's out of warranty. In some circumstances, Olympus offers an equipment loan while the member's gear is being repaired. Olympus also makes loans for equipment evaluation, although, only with deposit charged to the member's credit card.

Members have access to service in countries outside the U.S.A.

olympusamerica.com/cpg_section/oima_slr_ogps.asp

Behind the Scenes

I recently visited Canon’s Service and Support facility in Chesapeake, Va., for a first-hand look at the CPS headquarters. From the darkened lens room, where lenses are tested for focus accuracy, to the aisles of equipment ready to ship at the request of Gold and Platinum members, the facility and staff were impressive.

In the lens room, precision tracks line the floor to ensure that a lens can be tested at its optimal distance, special AF charts hang on the walls, and software that identifies anomalies is in use. That’s only one aspect of the lens testing done during focus and alignment fixes.

Image courtesy of Canon Professional Services

A similar process is done on camera bodies, using charts (each AF system has a specialized chart) and software to assess and correct AF function. The camera’s exposure, color, shutter and other mechanics are also evaluated. Basically, anything the factory can do can be done at the Canon Service and Support facility.

As we toured the facility, I observed technicians working intently disassembling cameras and lenses for cleaning and repair. At one table where a technician was repairing a telephoto lens with sand damage, I was amazed at how all the tiny screws and parts were perfectly organized and ready to be reassembled when the repairs were completed. —T.N.

Damon Tucci's Essential Techniques for Location Lighting, Part 2

2011-12-09T14:15:36Z

By Damon Tucci
All images ©Damon Tucci

Want to achieve a beautifully lit image in any conditions? Master three lighting techniques and you can make it gorgeous anywhere.

In today’s fast-paced world of photography, you have to produce on demand, no matter what the conditions may be. This is especially true for wedding photographers. You can’t change the date of the shoot, so you must be able adapt to ever-changing lighting and weather conditions.

But whether you’re a portrait or wedding photographer, time is money; the more efficiently you can use your surroundings and enhance the light, the more effectively you can deliver above average consistent results. We practice and perfect our capture and lighting strategies so that we can tackle any assignment. We know them backward and forward so that we can implement them seamlessly.

Three lighting techniques should be part of any modern photographer’s repertoire: the use of available light, off-camera flash, and video light techniques.

Available light techniques revolve around working in open shade and using a reflector to accentuate and shape the light on the mask of the face. I use Radio Poppers and Nikon SB800 flashes for my off-camera flash and employ the camera’s high-speed sync capabilities to transform any average scene into a very dramatic one. Video lights enable us to capture images in modern hotels and subtly light the subject’s face without overpowering the background. This method is very fast and what you see is what you get (WYSIWYG).

In these two examples, you can easily see how good dim hotel lighting can look when you add a video light.

I was covering a wedding at the Waldorf Astoria in Orlando, and I was very attracted to the lighting fixtures in this restaurant. By borrowing the videographer's light, I was able to get my shot in three mintues.

I could not get the light right in her face, so I asked her to look down at her flowers, thus creating a cool full-length image that shows off her dress and provides an establishing shot of the wedding venue. I used a Nikon D700 with a 24-70mm lens at 38mm, and the exposure is 1/60 second at f/2.8, ISO 1250.

I chose the setting below to capture an image for a different hotel.

I had an assistant hold a Lowell id-light off camera, up and to the left, to light the mask of her face.

I used the Nikon D700 with 24-70mm f/2.8 lens, this time at 24mm, exposing for 1/60 second at f/2.8, ISO 800.

Look for more examples of Damon Tucci's location lighting in the February Wedding Issue of Professional Photographer magazine.

Damon Tucci has been a professional photographer in Central Florida for the past 20 years and has photographed over 2,500 weddings. His award-winning work has been published in Professional Photographer, Rangefinder, Studio Photography and Design, InStyle Weddings, People, Brides and a host of other publications.

Come learn from Damon Tucci at Imaging USA, January 15-17

In My Head: Tapping into the Photographer Mindset
Tuesday, Jan. 17, 3:00-4:30 p.m.
Want to create beautiful images anywhere, anytime? Who doesn’t? Join celebrity wedding and portrait photographer Damon Tucci to learn a methodology and mindset for producing exceptional images on demand. He will delve deep into the psyche of the photo creation process to show you how simple it can be … if you have the acute understanding of timing and technique that he’ll share! You’ll also learn about modern posing and lighting techniques, including off-camera speed lights, available lighting, strobe and video. Come learn Damon’s tried-and-true formula (and reap the benefits).

Perfect Layers Is A Workflow Game Changer

2011-12-02T16:06:44Z

By Stan Sholik

Perfect Layers from onOne Software is destined to be as much of a workflow game-changer for photographers at all levels as Adobe Photoshop Lightroom has turned out to be. Installed as a stand-alone application or as a plug-in for Lightroom or Apple Aperture, Perfect Layers provides much of the layer and masking functionality for which Photoshop or Photoshop Elements was needed in the past.

I count myself among the many photographers who resisted using Lightroom when it was first released, and now I find myself using Lightroom for most of my editing and raw conversion. I have come to regret the times I must leave Lightroom and open Photoshop in order to blend in a better sky in a landscape photo or swap a head in a group shot. With Perfect Layers, these changes and many more are possible within Lightroom and Aperture, and within Perfect Layers itself when you open it as a stand-alone application.

While Perfect Layers performs many layer and masking functions, it is not a total replacement for Photoshop. Perfect Layers can’t create text layers, vector masks, layer styles (darn, no drop shadow), adjustment layers, paths, alpha channels, Smart Objects, layer groups or clipping paths. And if you created a file in Photoshop with any of these attributes and tried to open it in Perfect Layers, Perfect Layers opens a flattened copy of the file. Otherwise, Perfect Layers opens layered PSD files. It also saves the layers you create while using Perfect Layers in the native Photoshop PSD file format that you can open in Photoshop, Photoshop Elements or again in Perfect Layers.

For photographers who don’t own or have sworn off of Photoshop or Photoshop Elements, you can use all of the capabilities of Perfect Layers as a stand-alone app or through Lightroom or Aperture, and save the finished image as a flattened TIFF or JPEG file rather than a PSD. You will lose all of the layer information of course.

Creating toned images with a texture overlay from a color capture only takes a couple of minutes in Perfect Layers. I selected a color image and created a virtual copy in Lightroom. I converted the virtual copy to a contrasty monochrome image in Lightroom and exported it to Perfect Layers. Then I added a color fill layer for toning and imported a texture. After adjusting both to my liking I saved the image back to Lightroom. In Lightroom I added a vignette and exported the image. ©Stan Sholik

]]> Perfect Layers installs seamlessly, but it does require some pretty substantial computer hardware to operate smoothly. The system requirements listed in this article should be considered absolute minimums. On my 2.4 GHz iMac with 4GB of RAM, there is a noticeable lag in response. On my 3.2 GHz i7-970 Windows computer with 12GB of RAM, responsiveness is far better, but still more sluggish than that of Lightroom itself. However, I’m still working through some issues with Perfect Layers and my Intuos4 tablet in Windows 7. No problems on the Mac.

The most important hardware requirement is a video card with OpenGL 2 support and an up-to-date driver for the card. Perfect Layers uses OpenGL 2.0 extensively for processing the image previews and speeding overall operation. My iMac video card supports OpenGL 2, but only has 128MB of RAM, one factor in its sluggish operation. My Windows video card supports OpenGL 3.1 and holds 1GB of RAM, both contributing to greater responsiveness. Check your computer and update your video driver if the present driver doesn’t support at least OpenGL 2.

Of the series of images I shot of these models, the client liked one on the left best, except that the model on the left had her eyes closed. I found a similar shot (center) where she had her eyes open and exported both to Perfect Layers from Lightroom (below). ©Stan Sholik (click for large view)

I adjusted the opacity of the top layer (above) and saw that the eyes didn’t line up well. Using the transform tool in Perfect Layers (below), I rotated the top image slightly to better position the eyes.

After painting the eyes in (above), I saved the image back to Lightroom and removed the foreground obstruction (below).

From Lightroom, access Perfect Layers from the File > Plug-in Extras menu after selecting the files you want to layer. From Aperture, access Perfect Layers from the Photos > Edit with Plug-in menu or by right-clicking and selecting Edit with Plug-in. If you are using Perfect Layers as a stand-alone application, open images with the File > Open command. The selected images open with the largest image as the bottom layer. If all the images are the same size, they will open in whatever order Lightroom or Aperture sends them, usually alphabetically. Once they appear in the layers panel, drag the layers up or down to reorder them if needed, just as you would in Photoshop.

If you use Photoshop, the interface will look familiar. The main toolbar is docked to the upper left of the interface. It contains six tools: the transform and trim tools, the masking brush and masking bug, the pan tool and the zoom tool. The center of the interface shows the image in the active working area. To the right of the image are the three tool panels: the Navigator and Loupe panel, the Layers panel, and the Masking panel. Many of the keyboard shortcuts are identical to those used in Photoshop. A list of keyboard shortcuts is found in the Help menu.

I never really liked the way the sky turned out in this HDR image (above). I opened it in Perfect Layers, and then opened another sunset image with a more interesting sky.

Using the transform tool in Perfect Layers, I adjusted the sky image so that the clouds were where I wanted them. I then painted out the areas of the cloud image I didn’t want. When I saved it back to Lightroom and examined it closely, I saw that there were some areas around the buildings that I could have done better. I opened the image in Photoshop and found that both layers of the Perfect Layers image were there, along with a layer mask for the clouds image. I did some painting with a very small brush on the layer mask at 200% magnification. That magnification isn’t available in Perfect Layers. The final result is below.

The onOne Software website contains a wealth of tutorials demonstrating what Perfect Layers can do. There are just a couple of really noteworthy elements of Perfect Layers that deserve mentioning. The first is the implementation of blending modes.

In Photoshop, basic blending modes is often used like a hit and miss operation. You select one, wait for the image to redraw, adjust the opacity and if it doesn’t do what you need, you try another one. If you go to the FX feature for Blending Options, you can see a live preview and do more sophisticated blends, but many users aren't aware of that. Perfect Layers makes it much simpler—as you mouse over the available blending modes, you preview the effect on the image in the active working area. No more guesswork and a real timesaver.

Another noteworthy feature is the Perfect Layers trim tool. The Perfect Layers trim tool is a crop tool that operates only on the active layer. This allows you to crop a section of one image and create picture-in-picture layouts. If only there were drop shadows to make picture-in-picture more 3-dimensional.

The final noteworthy element I found in Perfect Layers is the MaskingBug. A not-so-distant cousin of the Focus Bug in onOne Software’s FocalPoint software, the MaskingBug allows you to easily create vignettes or soft gradient masks when blending images.

There is much more in Perfect Layers than I can cover here. It truly is a must-have program if you find yourself moving from Lightroom to Photoshop to do straightforward image blending, compositing or texture overlays. It represents a major improvement as well as a simplification in workflow for many photographers.

Perfect Layers is available in a 30-day trial version from onOne Software at www.ononesoftware.com. The introductory price is $99.95, which will increase to $129.95 after the introductory period. Owners of Perfect Photo Suite 5.5 are entitled to a free copy of Perfect Layers by downloading the Perfect Photo Suite 5.5.3 update.

Stan Sholik is a commercial and advertising photographer in Santa Ana, Calif., specializing in still life and macro photography. His fifth book, “Nik HDR Efex Pro After the Shoot,” for Wiley Publishing, is now available.

Best of Bags Guide

2011-12-01T14:02:00Z

By Robyn Pollman
All Images © Robyn Pollman, buttonsandbowsphotography.com

Epiphanie
*emera
ONA
Jill-e
Jo Totes
Kelly Moore Bag
Dre Hartmann Camera Bags
THEIT

Give yourself a present this holiday season with one of these stylish, go-anywhere camera bags guaranteed to suit your taste and budget.

The rules for my bag-tests were simple. I selected camera and electronic equipment I owned and used frequently both for personal and professional photography. With the exception of iPad / e-reader sleeves and laptop pockets, I did not fill any exterior or interior pockets with additional items. I only filled each bag’s interior compartment. In order to create additional storage space (exactly how I would carry the bag and contents for personal use), I did not always use all of the removable protective padding included with each bag.

Everything shown photographed in the “what fits” image had to not only fit inside the bag, but also allow the zipper on the bag to close* – and each bag had to remain closed and stay closed when worn on my shoulder.

*The Kelly Moore Posey, would not zipper shut with the gear shown inside. However, it did close via the magnetic top-flaps when extended.

My test equipment included:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon 80-200mm f/2.8D
Nikon SB-800
Lensbaby 2.0
Apple iPad2
Speck iPad2 FitFolio Cover
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap
Lomography Diana F+ Medium Format Camera
Holga 120SF Medium Format Camera

Epiphanie

Maile Wilson has been a professional photographer for fifteen years. Maile designed Epiphanie bags to be practical enough to use during a photo session but versatile enough to bring to a ballet recital, concert, or a girls weekend out. Epiphanie bags are a stylish and functional way to transport your camera everywhere you go, without the need to wrap your camera in a hand towel, sweatshirt, or diaper before shoving it in your purse.

Clover – Shown in Grey and Camel

My favorite feature: When I shoot studio sessions, I just toss my bag wherever it lands and get to work. This bag is large enough to hold all my gear and then some, it’s sturdy enough to take the abuse I dish out, and pretty enough to go out shopping with me afterwards.

Exterior is made of water-resistant, high quality synthetic leather. Interior is crafted with extra padding for maximum equipment protection. Velcro panels can be adjusted and moved to any position for maximum customization and flexibility. Also includes removable padded cross-body strap for extra support. Bag features two exterior pockets, one with zipper. Clover has a zipper top closure, with one zippered interior pocket.

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap

Measures: 18 x 6.25 x 13” – $184.99

Lyric – Shown in Plum and Mustard

My favorite feature: This is the perfect “hug your body” bag – with the cross-body strap you can easily wear Lyric while you shoot with your gear always at your fingertips.

Exterior is made of water-resistant, high quality synthetic leather. Interior is crafted with extra padding for maximum equipment protection. Three Velcro panels can be adjusted and moved to any position for maximum customization & flexibility. Includes two removable straps, including a padded cross-body strap for extra support. Lyric has three exterior pockets (including one to accommodate iPad), and one interior pocket with zipper.

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon SB-800
Lensbaby 2.0
Apple iPad2
Abie Designs camera strap

Measures: 13 x 4 x 15” – $154.99

The Ginger - Shown in Slate Blue

My favorite feature: The bag is deceptively large – it could hold quite a bit without feeling like you were carrying all that much.

Exterior is water-resistant, high quality synthetic leather. Interior crafted with extra padding for maximum equipments protection. Velcro panels can be adjusted and moved to any position for maximum customization & flexibility. Removable cross-body strap with padding for extra support, four exterior pockets with zippers, one netted pocket for easy access to batteries, memory cards, etc., and one interior pocket with zipper.

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Abie Designs camera strap

Measures: 14 x 8 x 10”. $164.99.

The Lola - Shown in Black

My favorite feature: The bag is sturdy and well-padded – so your gear is well-protected without advertising what your stylish handbag has inside.

Exterior is water-resistant, high quality synthetic leather. Interior crafted with extra padding for maximum equipment protection. Velcro panels can be adjusted and moved to any position for maximum customization and flexibility. Removable cross-body strap with padding for extra support, two exterior pockets, and one interior pocket with zipper.

Held:

Nikon D700 body with grip
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Abie Designs camera strap

Measures: 14 x 8 x 12”. $164.99.

The Paris - Shown in Purple

My favorite feature: With the amount of electronics and camera equipment this bag can hold, it would be a perfect carry-on.

Exterior is water-resistant, high quality synthetic leather. Interior crafted with extra padding for maximum equipment protection. Velcro panels can be adjusted and moved to any position for maximum customization and flexibility. Removable cross-body strap with padding for extra support, one exterior pocket, and one interior pocket with zipper.

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap

Measures: 18 x 6 x 11”. $184.99.

The Stella - Shown in Pink

My favorite feature: Even when loaded, it was very easy to get gear in and out – and also zipper closed.

Exterior is water-resistant, high quality synthetic leather. Interior crafted with extra padding for maximum equipment protection. Velcro panels can be adjusted and moved to any position for maximum customization & flexibility. Removable cross-body strap with padding for extra support, five exterior pockets with zippers, and one interior pocket with zipper.

Held:

Nikon D700 body with grip
Nikon 85mm f/1.4D
Nikon SB-800
Lensbaby 2.0
Abie Designs camera strap

Measures: 14 x 8 x 8”. $164.99.

*emera

Designer Nathiya Prahnadi learned how to use a camera to do product shots for her jewelry business, Pineapple Seed. After being fed up with stashing her camera in her purse, and unable to find a bag that didn’t look like a box, she used her background in product development and FIDM (Fashion Institute of Design and Merchandising) degree to make her own camera bag. *emera bags are well-designed and constructed to be user friendly with contents easily accessible.

Circle Print Tote

My favorite feature: The coated canvas won’t spot or stain if you need to set your bag down – it’s truly resistant to weather and the elements.

An ideal merger of function and style, this is the Circle Print canvas designed to store and protect your professional photo gear. Worry not about your prized DSLR, your pricey lenses and sensitive power supply stuff.

Water-resistant PU coated canvas with soft leather straps and trim
Zipper top for security
Quick-access outside pockets for phone, keys, ID badge and emergency mints
Generous interior zip pocket for very important accessories
Large interior compartment for iPad, magazines, and file folders
Modular Velcro dividers create seven padded, customizable compartments
Durable canvas interior lining
Small metal feet help protect the bottom of the bag

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap

Measures: 15 x 11 x 6” – $169.00

Green Messenger

My favorite feature: Good things come in small packages and this messenger lets you pack the essentials safely without breaking your back (or the bank).

There are times when you don’t need to carry a standard sized bag. A short trip, for example - or if you’re just toting a small camera, an iPad and a little lunch. Enter the Messenger, economic in stature yet generous in stash-ability. It has four flexible padded compartments and a deep inside zip pocket. Wear it across the body courier-style to keep your hands free.

Water-resistant PU coated canvas with soft leather straps and trim
Comfy shoulder pad on the strap
Top flap whips closed and stays closed thanks to magnetic buttons
Flap has zipper pocket roomy enough for a small notebook
Wide back pocket – ideal for your phone
Interior zip pocket for passport, tickets, and snacks
Modular Velcro dividers for flexible organizing
Durable canvas interior lining
Small metal feet help protect the bottom of the bag

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon SB-800
Abie Designs camera strap
Lomography Diana F+ Medium Format Camera

Measures: 10.5 x 9 x 4.5” – $129.00

ONA

Tracy Foster launched ONA with a simple vision: to offer style-conscious photographers and photography enthusiasts camera bags and accessories that complement their life and style. Each ONA camera bag is handcrafted from premium materials and designed to blend the functionality of traditional camera bags with contemporary styling. ONA camera bags are produced in limited quantities to ensure that an unparalleled level of attention is paid to every detail.

The Union Street – Shown in Smoke

My favorite feature: These bags live up to their philosophy and have style in abundance – the design is beautiful and the attention to detail is impeccable. (My husband wants one and he doesn’t even own a DSLR!)

The Union Street is a sleek alternative to the ubiquitous, boxy camera bag we know all too well. Made with fine cotton canvas that’s been infused with wax to enhance its strength and durability, the bag is designed to hold everything you need for a day on the go. The interior is lined with soft protective padding and includes 5 removable, customizable dividers plus a removable divider for your laptop.

Handcrafted with premium Waxwear
Leather detail and base
Classic tuck-lock closure
Antique brass hardware
Adjustable shoulder strap

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon SB-800
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap

Measures: 16.5 x 11 x 5" – $279.00

Jill-e

Jill-e Designs has been designing bags for the last five years, realizing that the power of function and fashion can be captured in one bag. Jill-e was created to answer the need for every photography lover looking for the perfect bag to carry their gear safely and securely with a little bit of flair to match their creative style. Jill-e designs their collections using only the finest materials including top grade leather, durable, dependable hardware and stylish details.

Jill-e is the leading manufacturer of fashionable, high performance carry bags with built-in protection…not only for cameras, but also for all of today's delicate electronic devices essential to an on-the-go lifestyle.

Bone and Red Medium Classic Collection

My favorite feature: As a graduate of the University of Oklahoma, and someone who’s heart bleeds crimson and cream, this bag is definitely Sooner-approved. I bought it for my personal collection right after it made its debut. It is large enough to use for sessions, small enough to carry as a combination camera / handbag, and the matching accessories pouch is great for flash cards and batteries.

Top grade, weather-resistant leather and fashion colors will turn heads your way.

Padded exterior walls protect your equipment and essentials
Dual zipper top entry for one-handed access to contents
Convenient back pocket converts for trolley pass-through
Adjustable dividers for interior flexibility and customization
Dual carrying handles and removable padded, adjustable shoulder strap
Matching zipper-pouch to hold personal items
External storage pockets and internal netted pocket

Held:

Nikon D700 body with grip
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap
Jill-e Zipper Pouch

Measures: 14 x 8 x 9.5" – $239.99

Laptop Valise E-GO Collection

My favorite feature: For a medium-to-large camera bag, this retains the feel of a smaller carry-all with twice the storage. The bag is not rigid so it fits snugly against your body.

For all your daily essential needs. A comfortable way to carry your laptop and camera around town or pack as a carry-on for your next on-location shoot.

Stylish and weather-resistant with durable leather trim
Padded compartment for computer, tablet, or e-reader
Top zipper closure to secure electronics and personal belongings
Pockets on all outer panels and inside zippered pocket for personal items
Interior compartments for smart phone, passport and essentials
Pouches specific for pens, cards and glasses
Key keeper and convenient ID tag
Comfortable handles with 8.5" drop

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon SB-800
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap
Holga 120SF Medium Format Camera

Measures: 15.5 x 6 x 12.5” – $169.00

Everywear Gadget Bag

My favorite feature: I love the matching protective sleeve included for tablets. It protects the device and provides more storage space than a candy-shell cover would allow.

The new Everywear Gadget Bag has the dimensions of a typical purse and is equipped with dual 9.5” drop leather carrying handles. Inside it features pro-quality padding and dividers – plus photo accessories and personal items. There’s also a protective sleeve pocket to secure a tablet, e-reader or similar device.

Stylish, high-quality, weather-resistant nylon exterior
Durable top-grain leather accent trim
Quality top zipper guards entry, makes access to your belongings easy
Padded exterior walls to protect your gear
Multiple internal and external pockets for lifestyle essentials
Task-specific and hideaway pouches for pens, glasses, personal items

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon SB-800
Abie Designs camera strap

Measures: 12 x 7 x 10" – $99.99

Jo Totes

April Johansen created Jo Totes to provide ladylike bags for women to safely carry their cameras and a lens or two on a daily basis, at photo shoots, and while traveling. Bags are designed to protect and organize while providing customizable style.

Betsy – Shown in Chocolate

My favorite feature: I’ve never seen a messenger bag that utilizes the storage space in the flap – the hidden zipper pocket on the front flap is simply brilliant and frees up so much more interior space.

With a slim design, numerous pockets, and choice of either cross-body or shoulder strap, Betsy works great for both photo shoots and day trips.

Exterior material: soft, top quality faux leather
Interior fabric: cotton
Protective foam sewn into lining on all four sides and bottom of bag
Three adjustable interior pads
Removable shoulder strap and shoulder pad
Removable and adjustable cross-body strap
Main compartment closes with a zipper
Exterior features zippered front flap with hidden pocket; large zippered back pocket; two front pockets with hidden magnetic closure

Held:

Nikon D700 body with grip
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap

Measures: 11 x 15.5 x 4" – $109.00

Rose – Shown in Pewter

My favorite feature: This truly looks like a chic, feminine handbag – it would be a perfect cross-over for a morning of shooting and an afternoon out, without first heading home to change bags.

The vintage-inspired Rose handbag features a rosette, pleated sides and front panel, and zippered pockets for your odds and ends. The vintage detail includes a durable and smooth-gliding metal zipper.

Rose makes a great day bag with protective padding for carrying your camera and an extra lens, along with your purse items, while out and about.

Exterior material: lambskin pattern, water-resistant, top quality faux leather
Interior fabric: cotton
1/2" foam sewn into lining on all four sides and bottom of bag
Five adjustable 1/2" foam pads (two with soft Velcro panels for horizontal placement)
Removable and adjustable cross-body strap
Optional-use magnetic closures on top for times when your bag is less full, or for quick-access in lieu of using zipper
8" drop from shoulder
Exterior: pleated sides; large zippered back pocket; pleated front panel
Interior pockets: two open pockets; one zippered pocket
Four metal feet to protect the bottom of the bag

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 24-70mm f/2.8G ED
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap
wallet

Measures: 16 3/4 x 11 x 6" – $89.00

The Millie - Shown in Pewter

My favorite feature: The bag snaps shut on the bottom of the bag rather than the side, so if your gear shifts even slightly outward, it won’t pop the snap open.

Smaller bag for the days you don't want to carry all your gear, but still want your camera handy. The exterior is a lambskin pattern pleated front. Bag is made of water-resistant, top quality faux leather in pewter, with black-brushed nylon interior. 1/2" foam is sewn into the lining of all four sides and the bottom of the bag for extra protection. Includes two adjustable pads made from 1/2" foam, an adjustable cross-body strap, removable shoulder pad, large zippered back pocket, and an additional large zippered pocket under front flap.

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
HTC Evo Shift 4G phone
Abie Designs camera strap

Measures: 9 3/4 x 11 x 4". $87.00.

Kelly Moore Bag

Five years ago, Kelly Moore started sketching and dreaming about having a handbag/lens bag line. As a photographer and a woman, she was always left wanting more when it came to options for a stylish, functional bag to carry equipment during photo sessions. Kelly sat down and made a wish list of everything that she wanted in a great bag, and now that wishlist has come to life!

2 Sues – Shown in Raspberry

My favorite feature: Collapsible top construction and rigid bottom construction allows the bag to hug your body while also protecting the gear inside.

The 2 Sues bag by Kelly Moore doesn’t have a front and back, hence the name. Both sides are considered the front. Bag includes two padded, removable, adjustable dividers and one padded, removable, adjustable iPad divider. The exterior walls and bottom of the bag are padded. 2 Sues comes with a shoulder pad and removable 10” shoulder straps, plus a removable long messenger strap that extends to up to 56".

Made of water resistant, man-made materials
Antique brass hardware
Side buckles
Wallet-style zip-pocket on one front for flash cards and credit cards

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap

Measures: 14 x 5.5 x 13” – $199.00

B-Hobo – Shown in Grassy Green

My favorite feature: The bag is deceptively large without feeling like it and held much more than I expected it to – a fashionable camera bag that doesn’t scream “take my Nikon, please”!

The Kelly Moore Hobo has two 4.5x5” front zipper pockets, two 4.5x3.5” side pockets, and one back 9x5” zipper pocket. The front has a small flap with hidden magnetic closure and zipper top.

Made of water-resistant man-made material
Two padded, removable, adjustable Velcro dividers create up to three sections inside for gear
Exterior walls and bottom of the bag are padded
Two straps and shoulder pad are included - one for wearing over the shoulder, and one for wearing cross-body (up to 56")
Bag stands on its own
Pearl silver hardware

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap

Measures: 15 x 4 x 10.5" – $169.00

The Kelly Boy – Shown in Brown

My favorite feature: This is my go-to bag for outdoor park and beach sessions due to its size and shape – the bag stands on its own, the contents are easily accessible, and the magnetic flap allows for a quick open/close.

The Kelly Boy Bag isn’t just for boys! (I happen to own one myself.) The bag features one large front zipper pocket, two additional front zipper pockets, two side pockets and a large 16” open back pocket with hidden magnetic closure. The messenger flap has a hidden magnetic closure to keep everything inside secure, and can hold up to a 15” laptop or iPad / e-reader.

Made of water-resistant man-made material
Three padded, removable, adjustable Velcro dividers offer up to four sections inside
Removable laptop divider
Exterior walls and bottom of the bag are padded
Adjustable strap (up to 56") with shoulder pad
Silver hardware

Held:

Nikon D700 body with grip
Nikon 24-70mm f/2.8G ED
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap
Holga 120SF Medium Format Camera

Measures: 16 x 11.5 x 4.5" – $199.00

The JuJu – Shown in Muted Teal

My favorite feature: This bag would work great as travel + camera bag – it held a camera body with grip, speedlight, three lenses, an iPad, and a 15” laptop – and still had room for a few more personal items.

The JuJu is a tank, yet still remains feminine and “pretty”. The front has a 6x6" pocket with flap and two 3x6" open pockets. Two 6x6” pockets with flaps grace the sides. And the back includes an 11" zipper pocket.

Made of water-resistant man-made materials
Two over-the-shoulder straps or one removable messenger strap (up to 60”) and shoulder pad
Five padded, removable, adjustable dividers
Exterior walls and bottom of bag are padded
Pearl finished silver hardware

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap

Measures: 11.5 x 16 x 8" – $249.99

The Mimi – Shown in Black

My favorite feature: Although I only used the iPad pocket, after packing the bag with gear, I still felt like it had enough additional storage space remaining to fill with just as many personal items.

The Mimi has two 5.5x5.5" zipper pockets on the front and a 9.5x6" zipper pocket on the back, plus an additional 11.5x9" open pocket for an iPod or e-reader.

Made of water-resistant man-made materials
Five padded, removable, adjustable dividers
Exterior walls and bottom of the bag are padded
Two over the shoulder 6.5” straps and one removable long messenger strap with shoulder pad (up to 56")
Gun metal hardware

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Apple iPad2
Abie Designs camera strap
wallet

Measures: 13.5 x 7.5 x 9" – $199.00

The Posey – Shown in Almost Black

My favorite feature: What this bag lacks in size, it makes up for in function – the front zip and snap pocket saves valuable interior space usually reserved for flash card holders and wallets.

The Posey is the convertible of camera bags – take it for a spin with the top up or down! The front features a 7.5” zipper pocket, an 8" pocket with flap, and a 7.5x7.5" compact flash and credit card holder. The back of the bag has a 13" Open Pocket that will fit an iPad or e-reader. Posey’s top closes by zipper with an additional magnetic closure.

Made of water resistant, man-made material
Adjustable messenger strap with shoulder pad (up to 56")
Silver hardware
Two padded, removable, adjustable dividers
Exterior walls and bottom of the bag are padded

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Apple iPad2
Abie Designs camera strap

Measures (flaps up): 15 x 13 x 3"
Measures (flaps down): 9 x 13 x 3" – $159.00

The Libby – Shown in Orange

My favorite feature: I love the bold color of this bag! Gone are the days of black or brown canvas. This bag has interior storage down to the equator and brightens up the dullest of winter days.

The Libby sports two 6.5x7.5" zipper pockets and one 10.5" zipper pocket on the front, two 6.5x8.5" open pockets on the sides, and one 11" zipper pocket large enough to hold an iPad or e-reader on the back. Libby will hold up to a 17” laptop.

Made of water resistant, man-made materials
Five padded, removable, adjustable dividers
One laptop divider
Antiqued brass hardware
Two 11” over the shoulder straps and removable long messenger strap with shoulder pad (up to 56”)
Exterior walls and bottom of the bag are padded

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 80-200mm f/2.8D
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Apple 15” MacBook Pro
Speck SeeThru Case for MacBook Pro
Abie Designs camera strap

Measures: 16 x 6.5 x 13.5" – $249.00

Dre Hartmann Camera Bags

The Monaco Satchel - Shown in Navy Blue with White Leather

My favorite feature: The color - it’s absolutely striking and a combo you don’t often see in camera/handbags. The ring-lock mechanism on the straps is also quite unique.

The Monaco Satchel has detachable leather top handles and an optional cross body strap for added comfort when traveling with heavier gear. There are 2 small pockets on each side of the bag, a larger zipper pocket on the rear side of the bag, and a small, deep zipper pocket on the inside of the bag. The Monaco is made of 100% luggage quality weight cotton canvas with genuine leather details.

Held:

Nikon D700 body with grip
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Abie Designs camera strap

Measures: 15.5 x 6.5 x 17.5” with top handles and 11” high without top handles. $200.00.

The Cameron Hobo

My favorite feature: The body is not rigid and easily hugs your body when carried.

The Cameron bag has detachable, padded velcro dividers, an adjustable shoulder strap, and a large outer pocket on the rear side. The Cameron is constructed of 100% luggage quality weight cotton canvas with genuine leather details.

Held:

Nikon D700 body with grip
Nikon 50mm f/1.4G
Nikon 85mm f/1.4D
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Abie Designs camera strap

Measures: 15.5 x 6 x 17.5” with top handles and 8” high without top handles. $200.00.

THEIT

The Bossi Bag - Shown in Gravel

My favorite feature: Because the padded insert and dividers are fully removable the bag can be easily converted from a camera bag to a purse, and back again!

The Bossi Bag has convenient dual carrying handles and a detachable cross body gold chain strap. The customizable padded dividers protect your gear and the fully padded insert is removable. Bag is water resistant with antique brass hardware and interior / exterior zip-pockets. The Bossi Bag has metal feet for protection and a zipper top closure.

Held:

Nikon D700 body with grip
Nikon 24-70mm f/2.8G ED
Nikon SB-800
Apple iPad2
Speck iPad2 FitFolio Cover
Abie Designs camera strap

Measures: 14 x 9 x 6”. $159.00.

Damon Tucci's Essential Techniques for Location Lighting, Part I

2011-11-09T16:41:37Z

By Damon Tucci
All images ©Damon Tucci

Want to achieve a beautifully lit image in any conditions? Master three lighting techniques and you can make it gorgeous anywhere.

Three lighting techniques should be part of any modern photographer’s repertoire: the use of available light, off-camera flash, and video light techniques.

In these two examples of off-camera light usage, you can easily see how underexposing for the ambient light and adding off-camera flash can dramatically improve the look of your image in bland lighting conditions.

Here we start behind my house against the fireplace on an overcast day. I used a Nikon D700, an 80-200mm lens at 80mm, two Nikon SB900 Speedlights and a RadioPopper to control the flash. I underexposed for the ambient light 1 to 1.5 stops at 125-second at f/5, ISO 400. The overhead Speedlight is zoomed to 85mm.

Below, I had a drab cloudy Orlando day to shoot this couple’s portrait.

By underexposing the ambient light 1 to 1.5 stops, I get a dramatic sky. I add light from the upper left with an SB800 Speedlight and use the RadioPopper and the camera's high-speed sync to make the exposure 1/2,500 second at f/4, ISO 400, to illuminate the couple.

Look for Part II in December’s Web Exclusives, and even more in the February issue of Professional Photographer magazine.

Damon Tucci has been a professional photographer in Central Florida for the past 20 years and has photographed over 2,500 weddings. His award-winning work has been published in Professional Photographer, Rangefinder, Studio Photography and Design, InStyle Weddings, People, Brides and a host of other publications.

Come learn from Damon Tucci at Imaging USA, January 15-17

microGAFFER Tape Frees You From the Massive Grey Roll

2011-11-07T21:13:36Z

By Ellis Vener

Do you need gaffer’s tape at all? Yes you do. Unlike duct tape, gaffer’s tape leaves almost no sticky residue, is waterproof, and is easy to cut and deliberately tear. At the same time it is strong and reasonably heat resistant. You might even need different colors of it.

We use gaffer tape for a wide variety of jobs, not only for taping down cables and identifying bits of gear, but also for holding props in place, marking where people need to stand, locking down focus rings (useful for aerial, macro and stitched panoramic photography) and de-linting subjects’ dark clothes. It’s also useful for making minor repairs. But, until recently, the problem with gaffer tape has been that it mostly came in long three-inch wide heavy rolls and only in black, gray, and white. We use gaffer’s tape a lot, but a single full-size roll of the stuff will last me a couple of years at least as mostly we only need small short lengths, unless we're taping down power cords. Rather than buy and carry around full-size rolls of different colors Visual Departure’s microGAFFER packages solve both the space, weight and price problem. It’s also an advantage that it comes in a range of colors.

For starters, the microGAFFER rolls are small—only 1 inch wide and 8 yards long—and come on small cores. A roll is small enough to fit a couple of them in your jeans pocket or in a small camera bag compartment. A package of four rolls is roughly the size of a 50mm Canon or Nikon 50mm f/1.4 lens and hood.

Beyond securing cables, gaffer’s tape in different colors works great to create quickly identifiable markers for different tools. You use it to know this power cord goes to this light or this remote goes with this camera, this lens hood goes with this lens, etcetera. Even if you don’t have a lot of gear, this makes for a more efficient way of working and packing up before and after a shoot.

MicroGAFFER tape kits come in four-roll packs and in two options. The monochrome packs contain two black, one gray and one white roll. The microGAFFER Fluorescent tape kits each contain one roll of really bright orange, green, pink and yellow tape. The street price for either kit is $19.95.

Background: So what the heck is a gaffer and why do they have a need for a special type of tape? On a movie or television set, gaffer is the official title for the chief electrician. This means that the gaffer (and the gaffer’s assistant, known as the best boy) and the rest of the electrical department are responsible for all of the lighting instruments, a job that includes making sure all of the electrical cables stay safely and securely connected. Grips, on the other hand, are the people responsible for setting up and rigging the lights and modifiers. The worlds of cinematography and still photography have always borrowed from each other—some tools, like collapsible softboxes, have migrated from the world of still photography to film photography, while other tools—like gaffer’s tape and C-Stands—have migrated the other way.

Steady in the Studio: Tether Tools and Tabelz Laptop Camera Stand Tables

2011-11-07T16:08:40Z

By Betsy Finn, Cr.Photog., CPP

While working in the studio, I've become very fond of my studio camera stand. Using a camera stand lets me focus on interacting with my clients, and allows me to set where the camera will be for a series of frames. If need be, I can leave the camera to adjust my client's pose without losing the in-camera composition that I had set up. The one shortcoming to working this way is what to do when you decide to shoot tethered to your computer. While many studio camera stands come with two mounting arms, it's not often you find one pre-equipped with a laptop table. So, after a little research, I found two companies that sell portable laptop stands, or tables. Both of the products I'll be discussing are designed to be installed on your tripod, camera stand, or even a light stand (depending on thread size).

The first table I tested was manufactured by Tether Tools (tethertools.com). Based on my laptop's dimensions, I opted for the Tether Table Aero Traveler (it comes in black or silver). I also received some other optional accessories, including a Secure Strap for securing the laptop to the table, an XDC Solo (external hard drive shelf), cupholder, an Aero ProPad (cushiony pad for on top of the table), and some Jerk Stoppers (tools for keeping your tethered cord securely attached to your camera and computer ports). In the image below, you'll see all these items, including an upside down view of the Aero Tether Table.

The Tether Table comes with three different mounting methods (see below). The knob at upper left is for securing the table to a lightstand (biggest hole). The other two threaded holes are for the standard tripod threads.

I found that the various accessories sold with the Tether Table were helpful in making sure my laptop wouldn't just work its way off the stand. In the image below, you can see the laptop sitting on the non-slip Areo ProPad; it is also secured by the Secure Strap (an elastic strap with hooks at the ends that hold the laptop in place). Additionally, both the front and back edges of the Tether Table have a raised lip, so if you do use this out in the field, you can use it at an angle without having to worry about losing your laptop.

]]> Finally, here's a closeup of the Jerk Stopper that keeps the camera safely tethered:

The second table I tested was created by Tabelz (tabelz.com). They offer primary tables in a variety of sizes; I got one that fit my laptop, as well as a side table and cup holder. I particularly liked the built-in slip-free surface on the table. (see parts below)

From the underside, you'll notice that the Tabelz unit is more compact. The T-shape on the underside comprises three accessory slots (I've inserted both the cupholder and side table in the image below). The accessories are secured by thumb screws. In the center of the table are two threaded holes (for both standard tripod threads).

Both the Tabelz main and side tables come with a non-slip gripping surface. I really like how this was permanently adhered to the table; even though the main table only has a raised lip at the front edge, I would be confident in the non-slip surface when using this table out in the field. The image below shows the non-slip surface, as well as the side table being used for a mousepad.

In addition to selling to photographers, Tabelz also produces units for government and military usage. So, if it will hold up under combat situations, I'm sure the Tabelz unit will do just fine for my portrait sessions.

I did use both units in the studio; they definitely enabled me to shoot tethered, and I was not worried at all about my laptop toppling off the studio stand. For pure portability, I would say the Tabelz unit might win out, as it can pack down more compactly. But, on the flip side, I know photographers will appreciate the Tether Tools unit's abilty to be mounted on a light stand, rather than just on a tripod.

I would be confident using either of these products; they were well-built, easy to use, and lived up to my expectations. While your investment will vary depending on the size of laptop table you need, the Tabelz main tables range from $64.95 to $89.95. The Tether Tables start at $175.95 for smaller tables, and a version for the iMac is also available ($229.95). Tether Tools offers a wide range of accessories for their tables; they sell an essentials accessory pack for $47.60. For more information, visit Tabelz.com and TetherTools.com.

Betsy Finn, Cr.Photog., CPP, has a portrait studio in Dexter, Michigan (BPhotoArt.com); she shares tips and ideas for photographers at LearnWithBetsy.com.

RED vs. Canon: Closing the Gap Between Cinema and Still

2011-11-07T14:28:22Z

By J.R. Hughto

Five years ago, RED announced—with what was to become their signature bravado—that they were going to release a cinema camera that would revolutionize the industry. RED made 4K (4,096x2,304-pixel format) and RAW buzzwords overnight, and they promised that their system had the independent filmmaker in mind at a $17K price point. When the dust settled, it took over a year for RED to release what actually turned out to be a revolutionary camera, the RED One, though the actual cost to get a camera ready to shoot had ballooned to nearly $50K. That $17K price point, huge by amateur standards but a bargain in the film industry where cameras cost as much as Ferraris, must have remained in company founder Jim Jannard's mind, because on Thursday night RED finally released a camera that not only made good on their technological promises but on the dollar amount. RED's new Scarlet-X, the company’s less expensive companion to their higher-end EPIC, can indeed be set up ready to shoot for right around that $17K figure, depending on how many batteries or SSDs (RED’s recording medium) you wish to purchase.

(See how RED Epic is used in a wedding video trailer from Tonaci Visuals.)

RED’s announcement of the Scarlet-X came only hours after Canon had announced their own brand new cinema camera, the EOS C300, priced very similarly to the Scarlet-X at $20K retail with a rumored $16K street price. Based on the success Canon has enjoyed with their video-shooting DSLRs, and in the wake of the announcement of the March release of their flagship EOS-1D X, the C300 is a purpose-built video camera that bears the EOS label and marks the company’s first official foray into a market segment traditionally dominated by Panasonic and Sony.

Canon wasn't satisfied with simply announcing the C300, however. They went on to explain that the C300 was the first in a new Cinema EOS brand that would not only produce video-only cameras like the C300, but also include future DSLR releases designated with the new C that represents the line. Whether this means the well-equipped 1D X or the long-awaited 5D Mark III will be the first of the breed remains to be seen. Regardless, Canon seems to be finally taking the video side of their large-sensor cameras seriously by developing well-considered and designed responses to a rapidly changing camera industry and a more technically demanding user base.

When stacking the principle competition in the price bracket against each other, what advantages do each offer? All three prominent rivals—the previously released Sony PMW-F3, the Canon EOS C300, and the RED Scarlet-X—have Super 35mm sized sensors (roughly the same size of Canon’s APS-C format in use by cameras like the 7D). The Scarlet-X seems to have stolen Canon’s thunder in large part due to their 4K RAW recording, a feature that no other camera can boast in the price class. RED CEO Jim Jannard went so far as to boast that “1080 as a concept is discontinued”; RED’s always had the best hyperbole. Jannard described the camera as a 5K stills shooter as well as a 4K cinema camera, and when configured as such it is highly reminiscent of the Pentax 67ii, that old beast of a medium-format shooter that so many 35mm shooters preferred due to its SLR styling. By emphasizing the Scarlet-X’s still photography capabilities, he both distinguishes it further from the C300 and the Sony F3, and also places it in competition with still-image-priority cameras like the EOS-1D series. In fact, the RED has been used for magazine cover shoots for Vogue, Esquire and Vanity Fair due to its capability of pulling a single, RAW frame at 4K.

]]> The Scarlet-X will have all the capabilities of its big brother EPIC with the only real drawbacks being a slightly less powerful processor, which will mean more compressed recordings (6:1 compression at 4K rather than the EPIC’s 5:1 at 5K). In essence, shooting with the Scarlet-X should produce results better than what we’ve seen coming from the RED One, which was used on such films as David Fincher’s “The Social Network,” Mike Mills’ “Beginners,” and Steven Soderbergh's “The Informant.” Of course, at nearly 200GB/hour for video recording and five to six times the cost, it doesn’t seem at all likely that the Scarlet-X will become an event shooter’s video replacement to the EOS 5D Mark II, or even the 1D-X when it arrives.

In contrast, the C300 and F3 make sense for the event shooter because they balance fantastic video results with manageable file sizes. The C300 can store 80 minutes of video on a 32GB card, and either can be used to create images good enough for the big or small screen. What is quite interesting—and also quite surprising—is that both RED and Canon have allowed the prosumer video market that averages $5K for a camera to continue to be dominated by Sony’s NEX-FS100 and Panasonic’s AF100. Both cameras offer a good deal of the quality of the C300 or F3 at a fraction the cost.

Perhaps the only bad news for those image makers looking for a stills-first camera that can also do a great job on video when needed is that the November 3rd announcement is just that—another announcement of a later announcement for a future release. Clearly, Canon has rededicated itself to making stills cameras that can compete with the far more expensive cinema cameras that are now arriving on the scene. Just as clearly, we all have to wait just a little bit longer to see what they'll have to offer.

J.R. Hughto is a filmmaker, educator, and co-founder of Clockmaker Digital, a production and post-production training and consulting firm. Hughto has advised dozens of filmmakers with budgets ranging from under $5K to over $100M. He currently teaches at the California Institute of the Arts.

Lighting Styles and Setups from "Kevin Kubota's Lighting Notebook": Kid In A Candystore and More

2011-11-03T18:00:30Z

The following is excerpted from “Kevin Kubota’s Lighting Notebook: 101 Lighting Styles and Setups for Digital Photographers” (Wiley). Look for three more informative excerpts in the November issue of Professional Photographer magazine.

Kid In A Candystore

The final image was processed in Lightroom with my Vintage 2 preset, from the Vintage Delish collection. I like the added warmth in the shadows, which feels like chocolate!

One of the best ways to get children to cooperate on a photo shoot is with good, old-fashioned bribes. Candy works really well, so why not do the entire session in a candy store and save a trip! The image I had in my mind was of this little girl sitting on the counter licking a giant lollipop. When we got there, however, the lollipops they had were not actually very giant. I knew I needed a wideangle lens to exaggerate the perspective and make the lollipop look larger than life.

The RayFlash ringlight attachment is an innovative photo tool. It fits to the front of any camera speedlight and encircles the lens. Unlike most other ringlight setups, the RayFlash is completely portable, allowing you to move about and try different angles. It also allows for normal TTL flash operation, so you don’t have to worry about adjusting the light manually. Normally, the RayFlash is used with semiwide to normal perspective lenses, but I decided to use it with a 10.5mm fisheye lens, which has such a wide angle of view that it actually shows the edges of the ringlight. I loved the effect as it felt like looking through a portal to a fantasy world of delectable treats.

A portable speedlight was placed behind the subject to add an edge light and separation from the background. A PowerSnoot from Gary Fong was used to constrain the light to a narrow beam. I balanced my flash exposure with the existing light in the shop using TTL mode on the oncamera flash and manually for the backlight. The second speedlight was triggered by the built-in optical slave, which works fairly well when in close proximity and indoors.

After taking a few images of our little lady delightfully devouring the lollipop, the candy smeared all over her face and an even better image came to light than I originally imagined. Can you say “sugar rush”?

I asked Mom to stand very close and keep an eye on her daughter in case she started to scoot off the edge of the counter. Fortunately, she wasn’t going anywhere—as long as the lollipop lasted.

The original image from the camera

Exposure Info:
10.5mm lens setting
f/4.0 at 1/160 sec. ISO 500
Exposure comp. +/– 0

Tools Used:
Nikon D300s 10.5mm f/2.8 fisheye Nikkor lens
RayFlash ringlight from Rogue Imaging
Nikon SB800 Speedlight
Gary Fong PowerSnoot

Go to the jump for two more tutorials!

]]> Picnic Party

This adorable family had one thing in common—they could levitate oranges. Just kidding. We set up this picnic scene to give them some fun props to play with, and to stylize the shot beyond the typical family portrait. The oranges instantly became playthings for the kids, and I wasn’t going to mess with a happy youngster by taking them away. Many parents instinctively try to remove anything from their children’s hands, fearing it will ruin the photograph. I urge them to let the kids be themselves and let me worry about capturing nice expressions. Fortunately, these parents were relaxed and playful as well, making for a series of great moments.

Both of these images were processed in Lightroom with my Vintage Delish presets and then passed to Photoshop for texture with Bor-Tex.

I used a wide-angle lens to create a dynamic and intimate perspective. I wanted viewers to feel they were right there, sitting on the picnic blanket with the family. The lighting comes from diffused and reflected sunlight. I asked my assistants to hold a doubled-up diffusion panel in front of the sun. This created a wonderfully soft and flattering light, allowing the kids and parents to move around freely without adversely affecting the lighting patterns.

A large silver reflector was used behind them to harness the sun in to a beautiful edge light. Mom’s hair receives a nice Hollywood glow, and dad gets the crisp edge normally reserved for a quadruple-bladed shaving razor.

Light stands could have been used instead of assistants to hold the panels, but even a slight wind would be a factor with such a large scrim, and the assistant can adjust the reflector as the subjects move about.

Being this close to my subjects allowed for fun perspectives and allowed me to interact with them much more intimately.

The original image

Exposure Info:
19mm lens setting
f/5.0 at 1/800 sec. ISO 200
Exposure comp. +1/3

Tools Used:
Nikon D3s
17–35 f/2.8 zoom Nikkor Lens
Calumet 77” double panel with diffusion fabric
Calumet 39 × 72” silver reflector panel

Up, Up, And Away

The final images were processed in Lightroom with my Snap Dragon preset, and the top of the trees was removed in Photoshop.

We were looking for a large grassy field to do a family portrait session, and one of my assistants said she had a friend with the perfect backyard. We asked whether we could shoot there, and they kindly obliged. While walking around the property, waiting for our family of four to arrive for their photo session, we noticed two giant trampolines behind the house. I immediately had the idea to photograph the family jumping on the trampoline together, which we could do after the calmer portraits out in the field. Hair tends to get a bit messy when airborne. We brought balloons for the kids to play with out in the field, and when I told the kids that I wanted them to jump on the trampoline later and hold the balloons, the young boy quickly replied, “Just like in the movie, UP!,” and I knew we were all on the same page.

I wanted the sky to be dramatic and blue behind them, with cotton-ball clouds, but it wasn’t really cooperating. It was mostly overcast, with some blue patches showing through in spots. I had to position myself so that when the kids jumped, I could get as much of the blue as possible. The existing light was not strong enough, as a main light, to freeze them midair—nor directional enough to be interesting. We added our own pseudo-sun with an extra-small Photoflex OctoDome. A single Nikon SB900 Speedlight fired through it, wirelessly triggered with the PocketWizard radio slave system. I controlled the flash power remotely from the ground, with the AC3 accessory for the PocketWizard, until I had a nice balance between sky and light on the people.

The key here was getting the flash high enough so that when they were at the peak of their jump, the light still came from slightly above them, casting natural-looking shadows. A tall, heavy-duty light stand was essential here.

It was tempting to shoot a frame each time the kids jumped up, but that would overtax the speedlight, since it was nearly at full power. If you are not careful, you can overheat your flash with rapid fire, and it will shut down until it cools, which could be longer than you have to wait.

The original image from camera

OPTIONS
A performance battery pack, either attached to the speedlight, or a monolight, would recycle faster, allowing me to shoot a frame with each jump.

Exposure Info:
17mm lens setting
f/5 at 1/200 sec. ISO 200
Exposure comp. +/– 0

Tools Used:
Nikon D3s
17–35mm f/2.8 zoom Nikkor lens
Nikon SB900 Speedlight
Photoflex Extra Small OctoDome nxt
PocketWizard TT1/TT5 transmitter and receiver
PocketWizard AC3 zone controller