From the B&H YouTube Channel:
In this jam-packed and fun seminar Fashion/Celebrity photographer Frank Doorhof
guides you through many tips that will make your photo-shoot go from ok to WOW without breaking the bank. Frank talks about using light more creatively, using props, but most of all how to style your sessions and coach the models to get that one expression and tell that story that will make your shots stand out.
Post Date: 9/10/2014 11:00:24 AM CT Posted By: Sean
By Sean Setters
I tend to see the world in a 2x3 ratio frame. That's how my camera captures the world, so that's how I'm accustomed to framing the world in my imagination (with the exception of panoramas).
I also tend to like tighter shots rather than wider framed shots. I like seeing more detail in my subjects rather than the surroundings. Generally speaking, that's just fine. However, the value of an extra-wide environmental shot should not be underestimated.
The biggest reason? Facebook. Many of my clients these days are wanting images that can be used in a multitude of ways, whether they be for conference promotion, marketing material, business cards, social media or their own business websites. The aspect ratios required for these uses vary considerably. Therefore, you have to keep in mind that your 2:3 ratio image may need to be cropped down to a 1:1, 16:9 or 851:315.
851:315 – huh?
Yep, that's right – 851:315. That's a very thin strip of your 3:2 image. But right now, it's an extremely prevalent aspect ratio – thanks to Facebook. Facebook's cover photo is exactly 851x315 pixels. Not only that, but you have to take into consideration other issues like how much real estate the profile picture takes up on the left side of the cover photo. Check out this Facebook Cover Photo Size Helper
for more details.
I was specifically thinking about the Facebook cover photo requirements when shooting the image for Stamps Design Group
at the top of this post. On the whole, it works well at a 2:3 ratio image. But it also works well when cropped down to the aspect ratio of the cover photo:
Yes, you lose a lot of content – the beautiful brick in the top and the scale model in the bottom portion of the image are gone – but the impact is still there when cropped down.
So keep in mind – when shooting for clients, be sure to grab an extra wide shot so that it can work well in a variety of different aspect ratios, including the almost-panoramic 851:315 aspect ratio.
Post Date: 9/10/2014 8:51:31 AM CT Posted By: Sean
Samyang Europe announces the upcoming Autumn release of the full-frame Samyang 12mm f/2.8 ED AS NCS Fisheye lens. The lens will be officially introduced during Photokina in Cologne on September 16th 2014.
Samyang 12mm f/2.8 ED AS NCS Fisheye is a bright, super wide-angle fisheye lens designed especially for full-frame cameras. It offers the image area in 24 x 36mm format and the diagonal angle of view of 180 degrees. In terms of the optics, it is one of the most advanced "fisheye” lenses. The product's sophisticated optics consists of 12 lens elements arranged in 8 groups. This includes three elements made of low dispersion ED glass and two aspherical lens elements to ensure perfect image depth and minimized chromatic aberration. Samyang 12mm f/2.8 ED AS NCS Fisheye is the third lens of the brand (along with 10mm f/2.8 and 12mm f/2.0) with highly effective nanocrystal anti-reflection NCS coating applied together with standard UMC coatings. Because of these advanced coatings and its fast aperture (f/2.8) the lens can be used as a perfect tool in diverse lighting conditions, as it provides great focus, high contrast and natural color reproduction even when used wide open. The premiere of Samyang 12mm f/2.8 ED AS NCS Fisheye is like a dream coming true for professional photographers and filmmakers who seem to have an increasing demand for this type of lenses since the release of 8mm and 7.5mm models, which are considered to be the best "fisheye" lenses on the market.
You will have an opportunity to take a look at the pre-production copy of the new lens on the Samyang stand (hall 2.1, A-025) during the upcoming Photokina 2014 in Cologne. The visitors will be also able to test two other recently introduced lenses: Samyang 50mm f/1.4 AS UMC and Samyang V-DSLR 50mm T1.5 AS UMC.
The market release date for the new lens and its retail price will be announced at a later date.
Post Date: 9/10/2014 6:48:10 AM CT Posted By: Sean
allows you to trade in your old iPhone for Amazon credit. It's definitely something to consider if you've got your eye on the new Apple iPhone 6
Post Date: 9/9/2014 3:04:11 PM CT Posted By: Sean
has select Canon Photo Paper products
on sale. Right now would be a great time to stock up on printing paper! Canon Photo Papers on Sale
Post Date: 9/9/2014 2:23:00 PM CT Posted By: Sean
This announcement from last month flew under my radar. Better late than never! [Sean] PORTLAND, Ore, – August 19, 2014
– Lensbaby, one of the world’s leading makers of creative-effects camera lenses, today announced the availability of the Sweet 50, a 50mm selective-focus optic compatible with the Lensbaby Optic Swap System for DSLR, mirrorless and motion picture cameras.
The Sweet 50 optic is a 50mm selective focus optic with a 12-blade adjustable aperture ranging from f/2.5 through f/22. Along with controlling depth of field, the aperture controls the size of the sweet spot of focus. The Sweet 50 is part of the Lensbaby Optic Swap System and is mounted to the DSLR, mirrorless or motion picture camera via the Composer Pro lens body. Product specs:
Pricing and availability
- Manual focus
- Curved field of focus optic (creates a spot of focus surrounded by blur)
- Two multi-coated glass elements in one group
- Minimum focus distance: 15 inches
- Maximum focus distance: Infinity
- 46mm front threads
- Compatible with Lensbaby Composer Pro, Muse, Control Freak and Scout lens bodies
The Sweet 50 will be available on September 16 at Lensbaby-authorized photo specialty stores worldwide. It will sell for $299.95 (MSRP) with the Composer Pro lens mount or $119.95 (MSRP) for the optic only. B&H
carries the Lensbaby Sweet 50 optic
Post Date: 9/9/2014 1:54:35 PM CT Posted By: Sean
(via BigValueInc) has the Canon EOS Rebel T5 DSLR with EF-S 18-55mm IS II Lens
available for $389.99 with free shipping. Compare at $499.00. Note:
The camera deal listed here is not advertised as coming with a Canon USA warranty and is likely a grey market item.
Post Date: 9/9/2014 1:43:06 PM CT Posted By: Sean
From ZEISS: OBERKOCHEN/Germany, 09/09/2014
– This year during the IBC in Amsterdam (September 12-16, 2014) ZEISS will present another highlight for discerning cinematographers at its booth 11.F50: prototypes of a servo unit for the high-end ZEISS Compact Zoom CZ.2 cine lenses.
With the CZ.2 15-30/T2.9, CZ.2 28-80/T2.9 and CZ.2 70-200/T2.9, ZEISS has set new performance standards for cine zooms. Equipped with an exchangeable mount (IMS), the CZ.2 lenses can be used flexibly on virtually all current and future camera models. The full-frame cine zooms (36x24mm) are suitable for HDSLR cameras, as well as for professional HD video and cinema cameras. All lenses in the ZEISS Compact Zoom family already correspond to 4K production standards.
With the new modularly-built ZEISS Servo Unit which will be shown in Amsterdam, cinematographers can leverage all of these advantages for situations when there is no direct access to the lens, for example on a crane, on rails or a Russian Arm. The servo unit also supports the comfortable operation of the zoom when using a shoulder camera, thus allowing the ZEISS Compact Zooms to be used conveniently for reportages.
The ZEISS Servo Unit was specially designed for the three ZEISS Compact Zoom CZ.2 lenses and can be flexibly used with all three of them. The user-friendly surface of the cine zooms enables them to be operated manually and, if desired, with follow-focus systems or the new ZEISS Servo Unit attached. The main unit controls aperture and zoom through powerful electric motors. A sensitive rocker switch allows for smooth zooming as well as fast changes in the image crop. An integrated iris motor enables the automatic control of the aperture via the camera. A manual operation of the aperture is, of course, still possible.
The new ZEISS Servo Unit can be controlled directly on the hand grip, through broadcast demands, or via wireless lens control systems, as is often the case for cranes.
Unique for the ZEISS Servo Unit is that no tools are needed for assembly, which can save time in critical moments. With a snap-on mechanism, the main unit can be exchanged easily, fast and without tools between the three different ZEISS Compact Zoom CZ.2 lenses. For each lens, this is done with a sleeve and installation plate. In addition, the optional focus unit can be mounted on the main unit with little effort, and adjusts quickly to the respective lens during lens changes. Electricity to the servo unit can be supplied via a PL-mount with contacts (at the zero position), through the camera interface cable, or externally. For ZEISS Compact Zoom CZ.2 lenses already available on the market, the necessary modifications for the contacts on the PL-mount can be carried out by ZEISS Service.
“The new ZEISS Servo Unit for the Compact Zoom CZ.2 family consistently expands the creative uses of our cine zooms, which have a growing fan community among professional cinematographers, production companies and in the rental business,” said Helmut Lenhof, Product Manager with ZEISS Camera Lenses. “Flexibility and longevity were our guiding ideas when developing the Compact Zoom CZ.2 lenses and these principles are reflected in the patented interchangeable mount system (IMS) and the optical design for the full frame. The ZEISS Compact Zoom CZ.2 lenses are therefore growing in step with the requirements of their users. The new servo unit is a powerful component that lets cinematographers flexibly extend the use of their CZ.2 lenses, whether for professional film productions or on a hand camera for reportage, documentary, and live events.”
During the IBC 2014, ZEISS will again present its comprehensive product portfolio of lenses for movie productions and HD video: ZEISS Compact Zoom CZ.2, ARRI/ZEISS Master Anamorphic, ARRI/ZEISS Master Prime, ARRI/ZEISS Ultra Prime, ZEISS Compact Prime CP.2, and SLR lenses for HD video. Visitors to the booth will be able to test ZEISS lenses on a large variety of the latest camera models, as well as meet and talk to experts on site.
The official market launch for the new ZEISS Servo Unit is planned to coincide with the NAB 2015. The total price of the system, including the focusing element, is expected to lie between € 5.000 and € 6.000 or US$ 7,800 and (net price). Orders can be taken starting April 2015. B&H
carries ZEISS Compact Zoom lenses
Post Date: 9/9/2014 10:08:53 AM CT Posted By: Sean
By Sean Setters
Last month I posted about my experience regarding shooting headshots for Kim Frick-Welker
, a local actress and theater director. The gist of the post – trust your instincts and find a way to capture the images that are in your imagination (even if the client hasn't asked for them specifically).
The point became relevant once more as I was shooting headshots for Billy Hollis
, software designer, at his home in Nashville this weekend. Billy told me that his last headshot was "...taken about five years – and fifteen pounds – ago" and he was ready for an update. He wanted a few different versions of his headshot for display on social media, conference bios and various marketing tools. The only shot he specifically asked for was the "...boring, traditional on-white headshot." Other than that, I could shoot whatever I thought was appropriate (indoors or outdoors).
We decided to start with outdoor shots as the sky was overcast which provided a good, soft ambient base to work with. I found a spot behind his tool shed that provided an interesting combination of elements – a tree trunk, some limbs and an old window surrounded by weathered bricks. I used Canon EOS 5D Mark III with an EF 70-200mm f/2.8 L IS USM and a Canon 580EX diffused by a 24" Glow Pop Soft Box
(camera right) to light the subject and a bare 580EX to light the background (camera left). His favorite from that series is shown at the top of this post.
Moving indoors, I created a white background setup by placing a Botero #037 Collapsible Black/White Background
behind the subject (lit with three flashes). I used the same Glow softbox for the main light (camera right) and added a 580EX reflected into white umbrella
for fill light (camera left). As I was firing my off-camera flashes with manual triggers, the first shot was simply a test shot to dial in the power of my lights; it was a throw-away. I'm usually pretty close on the first shot after setting up my lights. However, I had forgotten to change the aperture on my camera when moving to the indoor setup. With my camera set to f/3.5, my test shot was extremely over-exposed. I nearly deleted the picture right after seeing it, but I didn't.
Realizing my mistake, I set my camera to f/6.3 and the next exposure was in the ballpark. But after reviewing the images the next day, I kept coming back to the horribly over-exposed test shot. Something about it captivated me. I sent it to Billy and he's now using it as his Twitter profile picture
. New lesson learned – make sure and take a good look at your "throw-aways" before actually throwing them away.
After about 20 minutes of shooting (trying various shirts and poses), Billy had the standard headshot on white that was a "must-have" request.
But while we were shooting the headshot on white, I started formulating another shot in my mind – a profile shot. So before packing up, I asked him if he would like to try one more setup. He readily agreed. I asked him to change into a black shirt while I made a few changes to the setup.
While he was changing, I turned off all of the background lights and flipped the Botero background around to its black side. I then took my mainlight and placed it on the left side just beside of (and slightly behind) where Billy was standing. I added a grid to the softbox and angled it away from the background to keep it from spilling onto the background. I remove the umbrella from my fill light, added a Honl Speed Grid
and moved it to the right side to illuminate the back of Billy's head. The shots that followed were undoubtedly our favorites from the day.
So again, let me reiterate something that I mentioned in the Kim Frick-Welker headshot post:
"It may sound obvious, but here's something to keep in mind – anyone who hires you was likely impressed with the work you've already created. So if a shot really inspires you, it will likely inspire your client as well – so try to devote a few minutes to getting the shot you want to get, even if it's not a part of your agreed shot list."
It was true then, and it was true again this weekend. Trust your instincts and shoot for yourself. Never leave your best shots on the table. ;-)
Post Date: 9/9/2014 8:52:30 AM CT Posted By: Sean
has the Nikon D810 DSLR Camera
available for $2,999.00 with free shipping. Compare at $3,296.95. Note:
When purchased by US customers, items sold by DigitalRev are considered grey market.
Post Date: 9/9/2014 7:17:44 AM CT Posted By: Sean
From Adobe: September 8, 2014 – San Jose, CA
– Adobe plans to significantly update Adobe Creative Cloud video desktop apps and Adobe Anywhere for video. The new capabilities will build on Adobe’s integration across video workflows to enable professionals to create, collaborate and deliver productions across multiple screens. Adobe is previewing the upgrades at IBC 2014, Europe’s largest professional broadcast show. The company is also demonstrating the new solutions online at adobe.com/go/video.
Key updates include new media and project management tools in Adobe Premiere Pro CC; a refreshed user-interface across all Adobe video desktop apps; and more streamlined production workflows to allow video professionals to edit more efficiently.
Updates also will be added to Adobe Anywhere, the collaborative workflow platform that empowers users of Adobe professional video solutions—such as Adobe Premiere Pro CC and Adobe After Effects CC—to work together to shoot, log, edit, share and finish video productions. Enhanced support for Adobe After Effects CC will enable visual and motion graphic artists to collaborate more effectively so they can spend more time working creatively and less time searching for missing footage and collecting files. Additionally, new options in the Adobe Anywhere app for iPad will be added so users can review video footage faster.
“As the video and broadcast industries continue to rapidly evolve, so too does Adobe’s video technology. With Creative Cloud, we have accelerated the rate at which we deliver the features our customers need to create compelling new experiences and transform the video industry with high-quality productions,” said Bill Roberts , senior director of professional video product management, Adobe.
At IBC 2014, Adobe will showcase the new video technology that streamlines video workflows for video professionals, broadcasters and media companies. Key updates include: the acceleration of support for cutting-edge hardware and standards via Adobe Creative Cloud, enabling the company to respond quickly to new hardware and software standards; the extension of native file support, with the addition of AJA RAW; performance enhancements that include accelerated masking & tracking; and new GPU-optimized playback to deliver better performance when viewing high-resolution 4K and Ultra HD footage from Phantom Cine, Canon RAW and RED R3D files. In addition, a refreshed user-interface across all the video applications supports HiDPI displays for Mac Retina and Windows 8.1.
New media and project management features, including consolidate & transcode, search bins and multi-project workflows, will be added to offer more ease and flexibility at the project level, so Adobe Premiere Pro CC users can complete tasks more efficiently. And Adobe Media Encoder now includes “destination” publishing with preset options so users can render, deliver and share projects to multiple locations such as FTP sites and Creative Cloud folders. Extended match source support also now includes added support for the QuickTime and DNxHD formats.
Learn more about Creative Cloud on Adobe's Website
Post Date: 9/9/2014 7:01:10 AM CT Posted By: Sean