When my fascination with macro began all my work was done by available light. Getting sharp images at life-size magnification took all the resolve I could muster, especially when dealing with heat and humidity or frigid conditions. It’s tough to hold a camera steady in those situations. What I wouldn’t have given for image stabilization!
You can’t simply walk into an Operating Room (OR) and insinuate yourself into the scene. There are rules, there are boundaries. Greg Shapps knows them well. Still, he manages to produce telling images that convey the client’s message without blatantly advertising any product or service. The methodology involves a complete 180 from the way he approaches his small product photography, where the message is unmistakably to buy a specific product. His healthcare imagery is nuanced, often depicting healthcare givers and receivers alike. Specific products are not necessarily the focus. It’s more about what a product, service, or institution can do for the individual.
“The first questions I ask myself, after receiving the layouts from the art director, are: how can I make this my own, what can I add to it?” Active lifestyle photographer Rod McLean continues: “When we select the final locations and talent, the ideas become clearer. During a tech scout, we’ll shoot various views of the location, create rough comps, and talk about the possible scenarios: the best time to shoot, the props and wardrobe, etc. We all have to have a clear idea what we’ll be shooting and how the final images are going to look because we’ll be setting up the first shot in the dark, waiting for the morning light.”
The conventional camera strap does the job, but with some gear can put considerable strain on the neck, tempting you to hang your camera from the shoulder, where it may slip off or invite thieves. Like a good backpack, today’s ergonomically designed camera-carrying systems largely relieve that stress and throw in some extras in the bargain. New age straps feature a more comfortable neck/shoulder pad than found on conventional neck straps, so you’ll still be comfortable hours later, and often with a quick-release mechanism to rapidly detach the camera when the need arises. Many are of a sling design aimed at the “quick shooters” among you, and some are so innovative as to almost defy description. A few even let you comfortably and safely carry two cameras at the same time.
When it comes to portraiture, celebrities are like everyone else, except that for editorial shoots your time with them is very limited. “I’ve literally had as little as 3 minutes and as much as 20 minutes with an individual,” Los Angeles-based photographer Michael Becker observes.
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.
This year has seen many new introductions in lighting gear for all photographers. Auxiliary and accessory lighting can make a big difference in your work. Here, reporter Jack Neubart gives us a sampling of products he found at trade shows that caught his eye. For more information on the companies whose products he mentions we encourage you to explore their websites to discover their full offerings in this category plus check www.shutterbug.com for lighting gear tests. We’ve provided a full list of contact information at the end of the article.—Editor
The Phottix Odin is a radio frequency-controlled system, or simply radio remote. The basic package includes two units: a transmitter and a receiver. Additional receivers are optional. You only need one transmitter to sit in the camera’s hot shoe and trigger compatible i-TTL strobes, but you need a receiver for each off-camera flash. And recently, Phottix introduced a new combo pack that includes one additional receiver—perfect for my two-speedlight setups. The unit tested here is for Nikon and I worked with my Nikon SB-900 speedlights.
“I have a mantra that I live by,” states San Diego-based Tim Tadder. “I believe that I work with the best clients in the world, and that they demand the best out of me. If the job calls for equipment I don’t have, I’ll make sure that I have it available so that I’m delivering the best product I can.”
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.