Photo Accessory Reviews

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Jack Neubart  |  Dec 13, 2013  |  First Published: Nov 01, 2013  |  3 comments

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.

George Schaub  |  Dec 24, 2013  |  First Published: Nov 01, 2013  |  0 comments

The Vanguard ABEO Pro Kit starts out as a solid carbon-fiber tripod but then adds features and functions like a removable and rotatable (vertical or horizontal) center column, a pistol grip with built-in trigger release with cable attachments for many cameras, bubble levels, 80-degree leg spread, three “feet” supports (pads, spikes, and rubber), a quick-release base plate and mechanism, and etched degree settings on the center column for those who want to do precise panoramas.

David B. Brooks  |  Dec 27, 2013  |  First Published: Nov 01, 2013  |  0 comments

LG Electronics is the first to offer a new pro-graphics LCD display with LED backlighting. It also has the wide Adobe RGB color width, and will adjust to the lower 80.0 CD/m2 white luminance to provide color-managed printing brightness. The new display is optimized for Microsoft Windows with WQHD 2560x1440 resolution and multitasking windows, “dependent on content, device, interface and/or graphics card,” according to LG. The 27” diagonal size has a base physical resolution of 1920x1080 pixel resolution that may be doubled by the software driver with some PC systems running Windows.

Jon Sienkiewicz  |  Oct 23, 2013  |  0 comments

Ever have a camera or gadget bag strap that wouldn't stay on your shoulder? Read about this tacky solution.

Jack Neubart  |  Nov 01, 2013  |  First 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.

George Schaub  |  Nov 08, 2013  |  First Published: Oct 01, 2013  |  1 comments

Designed for professionals, enthusiasts, schools, and clubs, the OpticFilm 120 scanner from Plustek ($1999) can handle negative and positive film, including 35mm filmstrips, individual 35mm slides, and medium format film up to 6x12cm format. The scanner contains an eight-element glass lens and can deliver up to 10,600dpi optical resolution, with a claimed 4.01 dynamic range using the supplied SilverFast software’s Multi-Exposure function. The tabletop scanner is about the size of a six-slice restaurant toaster (about 8x14.5x7.5”) and is supplied with a complete set of very well-constructed film holders, an IT8 calibration target, and a full version (not a trial) of SilverFast Ai Studio 8 software.

Jon Canfield  |  Nov 19, 2013  |  First Published: Oct 01, 2013  |  0 comments

Color calibration is the key to obtaining an accurate reproduction of what you saw when capturing the image, and what is reproduced on screen or paper. It’s long been considered a bit of black magic as to how it is done, what with terms like gamma, color temperatures, luminance, and the like as part of the mix, but the simple fact is that unless you’re working on a calibrated display you don’t quite know whether the greens, blues, or other colors you are seeing are actually what everyone else is going to see, or what you’re getting when you look at the print you’ve made.

Jon Sienkiewicz  |  Sep 19, 2013  |  0 comments

The cleverly engineered CapturePRO Camera Clip from Peak Design provides a secure and convenient way to attach a camera to your belt, backpack or other strap. It’s a quick-draw device that allows you to spring into action instantly—but locks down your camera safely when not in use.

Jon Sienkiewicz  |  Aug 04, 2013  |  0 comments

What every photographer should own; add to that list an inexpensive collapsible reflector.

Edited by George Schaub  |  Sep 13, 2013  |  First Published: Aug 01, 2013  |  0 comments

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.

Anthony L. Celeste  |  Jun 28, 2013  |  First Published: May 01, 2013  |  1 comments

When shooting portraits on a green screen setup the first stage in the work is selecting and removing the green screen itself, something a “magic wand” or similar selection tool will accomplish. The next stage is finding and fitting an appropriate replacement background, and just as Digital Anarchy’s Primatte Chromakey streamlines the green screen removal process, the company also offers a Photoshop plug-in that streamlines the background creation process. Dubbed Backdrop Designer, the software can aid you in digitally creating muslin drapes, lighting effects, and other photographic backgrounds.

Jack Neubart  |  May 03, 2013  |  First Published: Apr 01, 2013  |  0 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.)

Matthew Bamberg  |  Dec 17, 2012  |  First Published: Nov 01, 2012  |  11 comments

Photographers should back up their image files—it’s as simple as that—and there are numerous services that offer their services today. In this article I’ll be looking at one, Carbonite (www.carbonite.com), that works somewhat differently from others. Many people have told me that their $59 per year for the Home Plan, unlimited backup, is a steal, so I thought I’d check it out.

Jon Canfield  |  Nov 20, 2012  |  First Published: Oct 01, 2012  |  0 comments

I’ve been a long-time user of Wacom graphic tablets as part of my editing workflow. Making selections, painting a mask, and many other operations are not only more intuitive with a pen, but you have much finer control than you do with a mouse or trackpad. Until now, the Intuos4 Wireless tablet with Bluetooth has been what I considered to be as close to perfect as you could get. Used either left- or right-handed, I can have it plugged in via USB or use with Bluetooth when traveling or when I need to be a bit further from the computer, as when I’m teaching a workshop. When Wacom announced the Intuos5, I was curious as to what could possibly be improved upon from the current model, so I was anxious to take a look.

Jon Canfield  |  Sep 06, 2012  |  First Published: Aug 01, 2012  |  0 comments

One of the most common complaints about digital imaging is the lack of consistency when going from one device to another—most commonly screen to print. Dark prints are the typical complaint, but color shifts are also a contributor to choice language and lack of hair. Yes, we tweak the image until the sky is that perfect hue of blue, or the skin tones have just the right amount of warmth and vibrancy. When it’s all done, the image is posted online or printed and it looks nothing like what we expected. The image is too dark, skin tones are too red, any number of problems. Where did it go wrong?

 

In almost all cases, the culprit is an uncalibrated display. Back when CRT displays were the common screen type, color could be wildly different and it was usually pretty easy to detect when the display was at fault. With modern LCD displays that isn’t necessarily the case—color is often close to correct in hue, but luminance, or brightness, is where the problem usually lies.

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