Equipment Reviews

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Edited by George Schaub Posted: Nov 12, 2013 Published: Oct 01, 2013 1 comments
The Canon M is Canon’s first mirrorless system camera. It uses an APS-C-sized sensor (slightly smaller than APS-C, just like all Canon “APS-C” cameras) with 18MP resolution. The camera doesn’t offer an optical or electronic viewfinder; the photographer has to use the large (3”) LCD screen on the back that offers a remarkably high resolution of 1,040,000 RGB dots. While it offers a very crisp and clear image, an additional viewfinder, for shooting under bright light conditions, would have been welcome. The monitor is “fixed” and does not offer swiveling, or articulation. It is, however, a “touchscreen” type, which is fully integrated into the operational concept of the camera.
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Jack Neubart Posted: Nov 01, 2013 Published: Oct 01, 2013 0 comments
As billions of images are produced by millions of devices, the demand for bigger capacity storage, faster memory cards, and speedier methods of transferring huge files has become apparent. Cloud storage has become a standard offering among many camera makers; so independent cloud services have grown. Essentially branded server farms, the competition for your data is increasing, as are capacities of desktop backups.
Steve Bedell Posted: Nov 26, 2013 Published: Oct 01, 2013 1 comments
Portrait photographers are constantly looking for new lighting gear that will make their lives easier and produce great results. And while flash photography has been the studio standard for many years, it’s always been more difficult to previsualize the final effect since the image you see using the modeling lights is not always the same you see once the flash fires. The instant feedback of digital cameras has lessened that worry some, but you can still be in for some surprises. The new breed of LED lights eliminates most of these concerns with true WYSIWYG lighting, and with that in mind I was eager to check out F&V’s new K4000 LED Studio Panel to see how it could be used in my work.
John Wade Posted: Nov 15, 2013 Published: Oct 01, 2013 0 comments
Cameras with built-in meters were not rare in the 1960s, but the problem with camera meters before the Topcon RE Super was that the cell took in a different view than that of the lens. Using a standard lens that was mostly okay, but if a wide-angle or telephoto lens were fitted, changing the field of view and the part of the subject needing to be accurately metered, it was a different matter.
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C.A. Boylan Posted: Nov 05, 2013 Published: Oct 01, 2013 0 comments
The new Blackmagic Pocket Cinema Camera is compact, lightweight, and easy to hold in your hand. It has an industry standard Super 16 size sensor that is perfect when using Super 16 cine lenses via MFT adapters and the 13 stops of dynamic range look is almost identical to shooting with a pro Super 16 film camera. The Micro Four Thirds lenses are compatible with mount adapters such as PL mounts for large lenses and pro motion picture film rigs.
Edited by George Schaub Posted: Sep 24, 2013 0 comments
The Pentax K-50 is, in its basic specifications, identical with the company’s new K-500 model. Both cameras offer a 16MP sensor, a built-in stabilizer system (based on sensor shift technology), all standard exposure modes of a modern SLR system and a very large and bright optical SLR viewfinder. The optical viewfinder offers a 100 percent field of view, which is a very uncommon feature in this SLR class. The only difference between the K-50 and the K-500 is the sealedbody of the K-50. This allows the user to work with the K-50 even under challenging conditions, such as heavy rain.
Robert Harrington Posted: Oct 22, 2013 Published: Sep 01, 2013 0 comments
Whether you are new to Off-Camera Flash (OCF) or not, you might want to check out one of the most versatile systems on the market for OCF, Rogue FlashBenders, manufactured by ExpoImaging. The Rogue system is based on a pliable flat panel reflector that you bend as needed to modify your light when used in conjunction with speedlights. It is versatile, stores flat in your camera bag, and has a diffusion panel that installs over the modifier to turn it into a portable softbox.
Steve Bedell Posted: Oct 11, 2013 Published: Sep 01, 2013 0 comments
“Look Ma, no cords!” That’s right; the Priolite does not have a power cord. It is run strictly off battery power. Each unit has its own interchangeable and removable battery, plus a built-in receiver to work with a Priolite transmitter. And, unlike most monolights, it has a usable modeling light even on battery power.
George Schaub Posted: Oct 01, 2013 Published: Sep 01, 2013 0 comments
Way back in 2006, Innova Art brought out their FibaPrint White Gloss 300 gsm, and while not what I’d call a big brand name here in the US, digital printmaking aficionados who had come from the fiber-paper darkroom tradition took note. Here was an inkjet paper that emulated, and some say matched, the look and feel of traditional bromide silver printing paper. Other surfaces have since been introduced in this line, including the new FibaPrint Warm Cotton Gloss 335gsm that’s the subject of this report. Of course, this is not the only paper that claims the “fine art” pedigree, but due to its weight, its ability to reproduce a wide range of tones with clarity, and its acid- and lignin-free constitution it has all the required specs.
Joe Farace Posted: Oct 29, 2013 Published: Sep 01, 2013 1 comments
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
Joe Farace Posted: Oct 15, 2013 Published: Sep 01, 2013 0 comments
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.
Joe Farace Posted: Oct 04, 2013 Published: Sep 01, 2013 1 comments
As I write this controversy is swirling over Adobe Systems abandoning Creative Suite to focus on Creative Cloud. Even if this is solved by the time you read this, there will come a time when you’ll have to face a decision about whether or not to upgrade your software. There are two different schools of thought on software upgrades: one approach suggests that if a program is working, why spend money to upgrade? The reason behind this philosophy is that sometimes upgrades create more problems than they solve. A second viewpoint is to always upgrade to the latest version—no matter what. The thinking is that since change is inevitable that you should upgrade to the newer version to minimize or eliminate future problems. How Adobe has handled Camera Raw over the past few Photoshop upgrades is a testament to that theory. Over the years I’ve changed from an upgrade-regardless person to a more cautious approach. I may prefer to have the latest version of everything being used on a daily basis but now will wait weeks (months, years?) all the while listening to the drumbeat of grumbles from early adopters. That’s why I’m waiting to see what happens with Adobe’s new policy.
Joe Farace Posted: Oct 18, 2013 Published: Sep 01, 2013 0 comments
In this test, Joe Farace tackles a higher-end LED light source that he adapted to still photography work. In it you will find technical sidebars outlining how we will test LEDs for the still photographer in the future. We offer this somewhat tech-heavy review as both a close look at this unit and a primer on LED output and LED lighting, which, as Joe states, will become increasing important, and prevalent, in studio and location work for the still shooter.—Editor
Edited by George Schaub Posted: Oct 08, 2013 Published: Sep 01, 2013 0 comments
The RX1 is the first time Sony has combined a compact camera system with a fixed lens system that includes a full-frame sensor that’s nearly the size of classic 35mm film material (35.8x23.9mm). The basic camera concept combines elements of digital compact cameras with features of classic viewfinder cameras, but leaves out an optical or electronic viewfinder. In its stead Sony offers an LCD screen on the back, similar to what you’d find in an entry-level compact camera. The screen is very large (3”) and offers a very high resolution (1.28 million RGB dots). The resulting image preview and the representation of the menu structure is crisp and clear. Sony does offer an optional optical viewfinder, which is mounted on the hot shoe. Just like the camera itself, it is quite expensive. Most users will also be surprised by the battery recharger system of the RX1. It’s equipped with a USB recharger and the user is forced to recharge the battery in the camera. An external recharger and additional batteries are offered as an option.
Joe Farace Posted: Sep 20, 2013 Published: Aug 01, 2013 1 comments
LEDs may represent the future of studio lighting but a number of the currently available options come with a caveat or two for the new professional or aspiring pro. Some LED solutions are affordable but may be too physically small for efficient use in a studio, or they may be large enough but too expensive for the shooter who just wants to dip their toes into the LED waters. Measuring 14x7.5x2.75” and costing less than $200, Flashpoint’s 500C LED Light appears to be a good solution for the LED newbie who wants to see what all the fuss is about.

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