Jack Neubart

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Jack Neubart Posted: Sep 06, 2013 Published: Aug 01, 2013 0 comments
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
Jack Neubart Posted: Sep 10, 2013 Published: Aug 01, 2013 5 comments
Capture One Pro stands as the Raw converter and digital asset manager of choice among many pro photographers, notably those using Phase One backs. But this software also supports many, many other cameras, with profiles for over 250 models plus a wide range of lenses. Version 7 (V7) has some new features of note, so I checked it out to see if an upgrade from 6 is advisable, and if it might tempt users of Adobe Lightroom/ACR. For this test I ran Capture One Pro 7 on a 27” iMac under OS X 10.8 Mountain Lion, with 8GB of RAM.
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Jack Neubart Posted: Aug 06, 2013 Published: Jul 01, 2013 5 comments
There are a number of new lenses, including those for “full-frame,” Micro Four Thirds, and “mirrorless” compact system cameras debuting this year, listed in alphabetical order. Here’s a sampler, with a sprinkling of filters thrown in for good measure. We’ve shown prices when available at press time—if not, check the websites of the companies for updates.
Jack Neubart Posted: Aug 30, 2013 Published: Jul 01, 2013 0 comments
The Nissin MF18 fully supports Nikon’s i-TTL autoexposure as well as Canon’s E-TTL system. I tested with the Nikon 60mm Micro, but also had success with a zoom, namely the Tamron 70-300mm with a Marumi DHG Achromat Macro (plus-diopter) lens attached, both on my Nikon D300. Much of my close-up work with the MF18 involved Manual shooting mode set on the camera for tighter exposure control, and manual focus.
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Jack Neubart Posted: Jul 09, 2013 Published: Jun 01, 2013 1 comments
“Whether the client is advertising a travel destination or a product, such as clothing or sports apparel, I strive to set up the shoot with talent that’s the best fit for the ad,” lifestyle photographer Dennis Welsh proclaims. “That’s what makes the shot and the client’s message believable. That’s what sells it to potential customers. For instance, if I’m shooting for a ski company or a ski resort, I want to find skiers who can easily do what I want them to do. That conveys a sense of truth and honesty. If you start with skiers who are not convincing, you start with a deficit. In that case, you have to do the best you can with what you’ve got. If I’ve got great talent and a great location, a lot of things are already working in my favor.”
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Jack Neubart Posted: May 06, 2013 Published: Apr 01, 2013 3 comments
The difference between a “constant” aperture zoom and other standard zooms is that when you increase the focal length on the standard zoom the maximum aperture narrows. This might make the difference between being able to hand hold or not when zooming in, and may indeed force the use of higher ISOs. Known as “fast” lenses, constant aperture zooms are pricier and bulkier than their variable-aperture counterparts. And to sweeten the pot, we’ve seen more and more fast lenses with built-in image stabilization, which gets you even more low light and steady shot capability.
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Jack Neubart Posted: May 10, 2013 Published: Apr 01, 2013 1 comments
Mark Katzman has been shooting professionally for over 25 years. Originally, he studied filmmaking at the University of Wisconsin, Madison. In college, and for a short while thereafter, he found he could earn money by taking pictures of baseball teams.
Jack Neubart Posted: May 03, 2013 Published: Apr 01, 2013 1 comments
There are several ways to trigger a camera wirelessly but up until recently none of them conveniently gave Nikon D600 shooters a large-screen remote live view. Enter the Nikon WU-1b Wireless Mobile Adapter that operates with “smart” devices—namely iOS and Android tablets and phones, in conjunction with the Nikon Wireless Mobile Adapter Utility app. The device is a tiny Wi-Fi 11b/g/n dongle about the size of the tip of your thumb and connects to the camera’s USB port. It even comes with a short lanyard and protective case, so you can keep it attached to the camera strap. I tested it with a third-generation Apple iPad with Retina display. Read on, as you’ll find important tips here that are not found in the instructions. (Note: WU-1b also works with the Nikon 1 V2; model WU-1a is currently available for the Nikon D3200.)
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Jack Neubart Posted: Mar 13, 2013 0 comments
Many of us continue to look for a Raw converter or image-editor that is easy to work with right out of the box. ACDSee Pro version 5 for Windows (www.acdsee.com) may offer the solution you seek. It’s a no-nonsense Raw converter that also offers image-editing under one roof—if in a semi-detached house.

The latest iteration of ACDSee Pro for Windows presents a slightly revamped interface, with 5 key modules, each with its own set of Menu commands. You enter the program in Manage mode where you can import images from any media or device onto your working drive and catalog them at that time or catalog and work with existing files in place, without importing them. All popular formats, including 16-bit Raw from numerous cameras, are supported for import and export, but not DNG export. If you move image files after cataloging or working on them, do so from within ACDSee to ensure that all linked files, notably XMP metadata, are moved together.

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Jack Neubart Posted: Mar 08, 2013 Published: Feb 01, 2013 2 comments
Philippe Halsman, in his book Halsman on the Creation of Photographic Ideas, talked about an ad he’d shot, where he had to show a car making a splash as it was driving through a water-filled trough. But rather than give it the traditional treatment of the day, he sought to make a real splash with the picture, so he lit it differently. Shooting at dusk, he positioned flashbulbs so they hit the “wings,” as he called them, from each side. Like Halsman, photographers specializing in automotive are finding ways of introducing unusual and unique twists to make the shot stand out. Peter Dawson is one such automotive photographer who takes a particularly keen interest in dealing with challenges outdoors, on location.

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