We’ve all seen Eric Pare’s DIY light tubes for light painting, but these ones from Adam Rahn at DroiMedia are a little bit different. These ones are designed for video. They’re to emulate lights like the Quasar Science and CAME-TV tubes. These DIY options are relatively inexpensive, easy to build and allow you to customise them to your own shooting needs.
With the number of selfie deaths on the increase with new ones happening almost every week, you’d think people would get smart and figure out that taking dangerous risks for social media just isn’t worth it. Apparently not. A woman has been reportedly been banned for life by Royal Caribbean Cruises after posing for a selfie on the wrong side of the balcony safety rails outside her room.
A year or so ago, I wrote a blog post on why I switched from Nikon to Sony. A few people asked why I didn’t move to the Nikon mirrorless system. And the answer was simple, I didn’t want to risk shooting a wedding with a single memory card slot.
I shoot RAW to both cards at every wedding. And have a rigorous backup process once home too. I know lots prefer to have their backup as Jpeg, but if my main card failed, I’d still want to have the RAW files. That’s just personal choice. I just believe that shooting a wedding with no real-time backup whatsoever, is irresponsible when there’s no real need to.
It’s over a year since it was first reported that Photoshop was coming to the iPad, promising pretty much the complete version of the software you get on the desktop, but for your Apple tablet. Now, Photoshop CC for iPad is almost ready to be launched but according to a report on Bloomberg, it has some key features missing.
High speed sync flash is typically associated with shooting outdoors. You’re in the bright light, and you need to take your shutter past your camera’s sync speed in order to overcome the bright outdoors and bring it under control. High speed sync lets you keep using flash beyond these speeds. But there are times when you might want to use them indoors, too.
In this video, Gavin Hoey shows us why we might want to use high speed sync in the studio or other indoor settings and how to use it to get the shots we want.
Maps are wonderful things. They don’t just let us figure out how to get from here to there, but they can also provide context, especially in travel videos. They let the viewer see how far we’ve gone, or get an idea of the surrounding area, or one of a million other reasons you might want to put a map in your video.
Fortunately, thanks to modern technology, doing this is now easier than ever. In this video, Jason Boone walks us through one way to create them using Google My Maps and Google Earth Studio to create an image sequence you can bring into your video editor.
It’s only just been announced, but The School of Photography was lucky enough to be the first to get their hands on the new Olympus OM-D E-M5 Mark III in the UK, so they’ve posted a review video. In it, they put the camera through its paces, testing the camera for both its photography and video abilities, exploring the new features on a model shoot.
It’s been a while since Olympus announced the OM-D E-M5 Mark II, which was already a pretty solid little camera. But now, Olympus has announced its successor, the 20-megapixel Olympus OM-D E-M5 Mark III, with improved stabilisation, 4K UHD and DCI video, a new EVF and improved weather sealing. Like the Mark II, the Mark III is available in black or silver. There’s no word on whether we’ll see a Titanium version yet.
Tokina’s line of 11-16mm f/2.8 lenses for APS-C DSLRs have been pretty regularly recommended for years. They weren’t perfect, but they were rather good for what they cost. Tokina has now announced an update to this lens, in the form of the new Tokina atx-i 11-16mm f/2.8 CF for both Nikon and Canon.
The new lens promises increased clarity and sharpness as well as greater contrast, coatings to prevent flaring and ghosting and aspherical and low dispersion elements to combat chromatic and other aberrations.
The problem for many photographers making the move to video is that there’s generally a lot more gear, and most of it’s much bigger than the gear they’ve been using for photography. Especially if they work on location, and particularly when it comes to lighting. Well, Lightcore is here to help fix that. At least the lighting part.
Being funded through Kickstarter, Lightcore is a 5800 lumen LED light that’s smaller than a speedlight, and offers flicker-free operation even at 1% power shooting 120 frames per second. It claims the equivalent combined power of 8 60 Watt tungsten incandescent bulbs, and offers a CRI of 97+.