The Canon EOS R was cause for some internal controversy here at Kolari Vision. After all, we’re in the middle of The Great Mirrorless Camera War. Tensions are bound to rise, turning brother against brother, camera tech against camera tech, and photographer against photographer. Despite this, I will do my best to describe the form factor and internal construction of the EOS R in a fair and unbiased manner.
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Our brand new Nikon Z7 full frame mirrorless camera arrived at the office this week, and we immediately got down to business. Four years ago, Sony fired the first shot of this battle with the A7 and continued to release one iteration after another, each improving on the last, and did so completely unanswered by the competition until August 23rd of this year when Nikon announced the Z7 and the Z6. Based on the popularity of our last teardown where we took the A7R III all the way down to its sensor, we’ve decided to provide model-by-model coverage of the full-frame mirrorless wars by showing you what’s under the hood.
The Godox AD400 Pro is the newest portable all-in-one strobe from Godox. It’s basically a 400Ws version of the AD600 Pro. It has a few design differences and a little less power, but basically an identical feature set.
I’ve been playing with the AD400 Pro over the last couple of weeks to see how it handles and how it compares to some of the other portable strobes in the Godox product range.
I’m a great fan of prime lenses. They are faster and sharper than zooms (at least the zooms that I can afford). Plus, they force me into being more creative and they bring out my problem-solving side, because they limit me with their fixed focal length. When I travel, I always bring them and pack a kit lens just in case. I almost never use it.
But recently, I was forced to travel light. And I mean, super-light: I was only able to bring one lens attached to my camera body. I love primes and almost always use them – but this time I screwed a kit lens onto my Nikon D7000. The lens is a Nikkor 18-55mm f/3.5-5.6G and it’s rather crappy when compared to my primes. But in this article, I’ll explain why I chose it and why, sometimes, your kit lens may actually be the best choice.
Nothing beats the smell and feel of a heavy summer rain. Well, okay, maybe only the epic lightning that sometimes follows it. If you want to capture the photos of that nature’s light show, Hank Schyma has some pro tips to share with you. In this video, he’ll give you some tips and tricks how to make amazing photos and videos of lightning and make it as awe-inspiring in your work as it is in real life. Or maybe even more.
Landscape photography by moonlight can provide a different way of producing wonderful and mesmerizing photographs in both color and black and white. The mood conveyed in moonlight photography can be quite different than in other lighting circumstances.
Photographing by moonlight has its own set of challenges. But with a few setting and technique adjustments to your normal shooting routine, it can produce outstanding results.
I put the new Sony A7III mirrorless camera through its paces for the features and functions we need to shoot the night sky. Sony’s A7III camera has enjoyed rave reviews since its introduction earlier in 2018. Most tests focus on its superb auto exposure and auto focus capabilities that rival much more costly cameras, including Sony’s own A7RIII and A9.
For astrophotography, none of those auto functions are of any value. We shoot everything on manual. Indeed, the ease of manually focusing in Live View is a key function.
Yes, it’s possible. I did indeed capture what you see above in one shot. Although some of the Internet seems to disagree, it’s true. What you see above is the Milky Way, the moon, Mars, Saturn, an iridium flare, and lava from the Kilauea Volcano of Hawaii. I took this image during my visit to the Big Island of Hawaii in September of 2016 to document the 61G lava flow. I never imagined I’d walk away with such a scene, but the camera gods were watching over me that day. So, before this image gets torn apart by those who think it’s not real, I’d like to present the RAW image to you below. This image was shot on a Nikon D810 with a Nikon 14-24mm lens. Settings were F2.8, 25” at ISO 2500.
Equipment cards for use in the studio or on-set can be expensive. REALLY expensive. Of course, those carts often need to hold hundreds of thousands of dollars worth of equipment. For a small studio or low budget set, though, you don’t need to go to such expense. There are many other alternatives out there that can work just as well that you can customise for your own needs.
In this video from the guys at The Film Look, we see how they organise their own DIY equipment cart. Based off a standard $69 utility cart, it’s very functional after a little tweaking and customisation. And it allows you to keep all your kit organised on set so that you know where everything is, as well as give you a mobile tabletop for gear you’re using.