“Not your father’s camera bag” was how Tenba described the prototypes of their new Vector line at photokina 2010. Now, in 2012, the new line is in production, and they were absolutely right. What are the differences? Color, style, and function. A report like this is no place for detail: that’s what manufacturers’ websites are for, and besides, a full, detailed list of new camera bags could more than fill the whole magazine. What I want to do is to give you some idea of the way that bags are heading.
Edited by Georg...
Sep 13, 2013
Published: Aug 01, 2013
Every year member magazines from the Technical Image Press Association (TIPA) gather to consider and vote on the top products of the year in 40 categories, ranging from cameras to tripods to software and printers. This year’s selections represent technological sophistication along with features and functionality that make them leaders in their respective categories.
Pro shows are a great time to catch up on the latest in lighting gear and trends, so we asked Joe Farace, who does lighting equipment tests for us here at Shutterbug (type Joe’s name in the Search box at www.shutterbug.com to see the wide range of gear he’s tested) to roam the floor at the WPPI show to see what’s hot. His report covers new equipment that caught his eye there but, while there’s plenty to read about, this is not intended to be a full report on what’s new in the category. Some of these products will be covered in future issues, with promised updates from Joe. Also, the show was a few months back, so most, if not all the gear, you read about here is available now. Check our web page news for new products and developments, and follow our in-depth lighting test reports that appear regularly in Shutterbug.—Editor
A tilt-shift lens can be thought of as a flexible visual tool in the many ways it allows you to image the world. Unlike a standard lens, even a zoom, with a set point of view enforced by stance, elevation, focal length, and, within certain limits, depth of field, the tilt-shift lens opens visual doors a “fixed” lens will not. By tilting the lens within the mount you can enhance or greatly diminish depth of field beyond the “normal” abilities of the focal length and aperture setting. By shifting the lens you can “fix” perspective distortion or exaggerate it for “trick” effects.
America did not invent photography—that honor must go to the French—but US camera manufacturers can take credit for introducing simple ways of taking pictures and bringing photography to the masses. Along the way, many also came up with often strange and sometimes ugly designs.
The job of auto-retouching software is to retouch faces quickly, easily, and with as little human intervention as possible. Most require you to either set or confirm where the major points of the face are, like the eyes, ears, and lips. After you’ve identified those areas, the software then goes about its business of transforming little Pamela into little Princess.
“Over the last few years seeking monitor/display units that serve to perform with adjustment and color management to resolve the problems of too bright LCD displays causing too dark prints, my reaction has usually been mixed. I have to report that this was less so with this display than with even more sophisticated and expensive displays.”
As more photos are made on more types of devices, there’s a need for resultant images that aren’t just “OK” but as good as they can be. And part of the need, it would seem, is that some folks don’t want to spend a lot of time learning complex programs to get the image results they want. Companies like Athentech Imaging aim to make it a one-click affair.
The Aurora Orion light kit arrived on my doorstep at the busiest time of the year for me. At the end of the summer I take hundreds of high school seniors and thousands of “one shot” photos of the underclass students at high schools. So while it has taken me a while to get around to writing the report, I have used these lights to take thousands of pictures, and I was really glad to have a light kit that I could just pick up and walk out the door with and have all I needed in one really nice travel bag.
In this update on new bags and cases, with information gathered by reporter Jack Neubart at the CES/PMA show, we’re seeing even more innovative styles and practical solutions for carrying our gear. Backpacks, sling bags, and messenger bags garnered most of his attention, along with a sampling of hard cases.–Editor
Mary and I have fond memories of using early generation Bowens monolights; they were our first really “good” lighting system when we set up our studio in 1982. We loved shooting with those big, black, paint-can-shaped 800B monolights because they were inexpensive, dependable, and powerful. From what I can tell from my tests of their two-light Gemini 400Rx Kit that continues to be the case.
These days it seems that using LED lighting systems for studio portraiture is like puppies and kittens—everybody loves them, and why not? All you need to do is turn on an LED light panel and shoot, right? While there’s obviously more to it than that, the WYSIWYG nature of LED lighting is especially helpful for new or aspiring pros who want to get up and running quickly or in applications where the lighting needs to be consistent so lots of portraits can be made in a short amount of time, something event photographers will take to heart. With that in mind I recently tested Bowens’ Mosaic LED light panels (#1). Originally developed for film and video use, they are available in models designed for mounting on traditional light stands for portraiture, so I put them to work in my home studio.
The new Nikon P7100 offers many function buttons and dials along with a large mode dial on the top to choose standard exposure modes like P, S, A and M. The camera offers a full automatic mode, scene modes and special effect modes (like B&W, sepia tone effect, “High Key” effect and more). In addition, the P7100 offers three user modes that can be saved as U1-U3 and accessed directly on the mode dial.
The Panasonic GF3 is the successor of the GF2. The new camera is 17 percent smaller and 16 percent lighter than the GF2, making it an extremely compact camera. Due to the reduction of body dimensions there are some elements missing which were part of the GF2--no accessory shoe for external flash light systems and no interface for the optional ELV that could be mounted on the GF2.
The SD1 is Sigma’s new flagship SLR system. It uses a brand new sensor with Foveon technology and a nominal resolution of 14.8 MP. This means that the camera is able to record RGB information for every single pixel. Standard digital cameras use sensors with the “classic” Bayer pattern, which means that every single pixel detects only one color information (red, green or blue) and then must undergo color interpolation.