The Blackmagic Pocket Cinema Camera 4K attracted me the instant it was announced. I’d been looking at upgrading from my Nikons to something a little better suited to shooting video for a while and on paper it looked like the perfect solution. I’ve been in possession of one for a couple of weeks now, so I wanted to give you some of my initial thoughts about the camera and how I see it fitting into my workflow.
I’ve not generally been the biggest fan of backpacks. Around 16 years ago, I got a Tamrac Cyberpack 6, which I love and it’s served me well over the years. I’ve bought and borrowed other backpacks in the intervening years, but invariably I’ve hated them for one reason or another. But my Cyberpack 6 is getting a little old now, they don’t make them anymore, and my friends at Lowepro insisted that I give the new ProTactic BP 450 AW II a go.
I’ve tried a few Lowepro backpacks in the past, and they really didn’t do my back any favours. But I’d heard a lot of good things about the original ProTactics, so I decided to give it a shot. I’ve been using it for a couple of months now, and, well, I don’t hate it. In fact, I really quite like it.
During my recent visit to the USA, I decided to forego the lightweight travel tripods and go with something a little more substantial. Something that could stand up to all day use at NAB 2019 as well as trekking around the Arizona landscape.
I also needed something that would work for video. So, my tripod for this particular adventure was the Manfrotto 190X Video tripod & 500 fluid head. The ideal setup for shooting video at NAB, but some might think it a little unusual for landscape photography. For me, though, and I mentioned this briefly in a vlog I made during the trip, video tripods make the best landscape tripods. I want to tell you why.
Last month, DIYP made the visit to NAB 2019 in Las Vegas. While I was in the neighbourhood, I decided to head to Arizona for a couple of weeks after the show ended. I’ve always wanted to explore the desert, and this was my chance!
With me, I took Sigma’s “Big Three” f/2.8 Pro zoom lenses – the Sigma 14-24mm f/2.8 Art, Sigma 24-70mm f/2.8 Art and Sigma 70-200mm f/2.8 Sports. These were the only lenses I took with me and shot with during the trip, and here are some of my thoughts.
The evolution of mobile phones has been an interesting journey to follow. They started off as huge bricks of things and manufacturers were all trying to make them as small as possible for years. Then, all of a sudden, phones got “smart”, and now they seem to get bigger and bigger again every year.
This “growth” can be a pain for photographers who work on location. Giant phones are annoying in your pocket all day, scrambling around in the wilderness digging into your leg. But if you put them in your bag, then you can miss important calls and messages. That’s where Cosyspeed’s new Phoneslinger steps in.
Along with camera profiling, monitor calibration is one of the most vital things a photographer can do to ensure their work looks the way they intend it to look throughout the whole imaging process. There are various devices out there for calibrating monitors, and now a new one has been added into the mix.
Yesterday, Datacolor announced the new SpyderX Pro and SpyderX Elite, adding to their lineup of monitor calibration tools. They say it’s their fastest and most accurate calibration device to date. Well, I’ve had a SpyderX Elite here for the past couple of weeks, so let me tell you about my experiences with it.
Small compact camera technology and tiny sensors have come a long way in the last few years. This is largely due to the advancement of smartphone cameras. But the benefits that those small sensors bring to the table can also be applied to other cameras. Cameras like those which can record 3D video in a package that easily fits in your pocket. The Weeview SID 3D is one such camera, and I’ve had one for the last few weeks.
Amongst the various types of microphone that are available, a good shotgun microphone is probably my favourite. It’s certainly the type of microphone I use most often. Their design allows them to pick out very specific directional sounds while ignoring the rest of the world around them – at least, that’s the theory.
You might remember that a while ago, lighting company Aputure decided to get into the microphone business with their new “Deity” microphones. Well, Deity Microphones is now it’s own separate company and I recently received their new Deity S-Mic 2 shotgun microphone. Priced at a fairly modest $359 it’s quite the bargain if it lives up to its claims, so I wanted to put it to the test.
The Profoto A1 is the new on-camera flash. And off-camera flash. And Air remote. You can use it any way you like. For me as a photographer (mainly portraits) working on-location a lot, this is the piece of equipment I have been waiting for a long time.
So, this might not be the most objective review you have read, but hopefully interesting in some way.
I’ve reviewed the Godox XPro trigger before, a little over a year ago. Normally, I wouldn’t review the same product again just because it comes out with compatibility for a different camera system. My original review was with the XPro-C, but I didn’t review the XPro-N, XPro-F, XPro-S or XPro-O. So why am I posting a review of the XPro-P for Pentax?
Well, to put it simply, it’s kind of a big deal – at least for Pentax shooters. Pentax has traditionally had very little 3rd party flash support. It’s had some from Cactus with the whole X-TTL thing, but the recent demise of the RQ250 has left Pentax shooters with very little confidence in Cactus’ future. Other options have been iffy at best. But now there’s a new kid in town. The Godox XPro-P.