Lensbaby, providing creative effects lenses to photographers that ignite their creativity and expand their unique visions of the world, today announced the new Composer Pro II with Edge 50 Optic, adding another powerful and creative tool to their Optic Swap System. The product will make its public debut during PhotoPlus Expo 2015, being held October 21-24 at the Javits Convention Center, New York City. Composer Pro II with Edge 50 Optic is designed for shooters ranging from avid enthusiasts and serious hobbyists to semiprofessional DSLR and mirrorless photographers.
Shadows & Light: A Speedlight Workshop
with Jayesunn Krump
Hosted by Pro Photo Supply
When shooting on location you need small, portable tools that you can depend on to create beautiful light. Speedlights are an inexpensive and effective alternative to using big studio strobes. In this hands-on workshop, Jayesunn Krump will teach you to use your flash to its fullest potential. Through his control of shadow and light, Jayesunn takes unique and striking portraits and he will teach you the techniques he uses to create powerful images. Topics covered include:
- On- and off-camera flash techniques
- Flash modification using reflectors, snoots, grids, soft boxes, and umbrellas
- Gelling your flash for color correction and dramatic effect
- One light, multiple light, and backlighting set-ups
- Posing your subject
Please download our full product sheet:
Traditional backpacks have to be taken off and placed on the ground to fully access your gear. As a photographer this is a significant problem since you are regularly switching equipment during a shoot. Outdoor terrain does not always allow a pack to be put on the ground. At some point this process becomes cumbersome and inhibits your ability to stay in the creative “zone.” The rotation180º professional lets you maintain your creative momentum when working in the field. Since the backpack always stays on your back you can stand right in the river or continue walking, hiking, or climbing, and stay focused on taking pictures.
Please download our full product sheet:
Please download our full product sheet:
MindShift LLC is a group of committed professional photographers and product designers who support conservation and protection of our natural resources and planet. Founded by the creators of Think Tank Photo and conservation photographer Daniel Beltrá, we are dedicated to building carrying solutions for those who are passionate about experiencing the natural world. Our slogan, “Engage with Nature,” challenges people to not only become involved in outdoor activities, but to create a conversation about nature and our relationship to the environment.
Experience and Quality Assurance
Product designers Mike Sturm and Doug Murdoch already had 14 and 22 years of experience, respectively, designing and producing backpacks and camera bags for major manufacturers when they co-founded Think Tank Photo in 2005. Their expertise and contacts enables us to design, build and deliver the highest quality products in the industry.
Project Status And Manufacturing Plan
Designing this product has taken two years, and we have taken the following steps:
1. Clear definition of what we wanted to accomplish (which is superior accessibility to one’s gear)
2. Multiple prototypes. We estimate that fifteen prototypes have been made, many of them made by designer Mike Sturm, in his design studio.
3. Testing with professional photographers to conceptualize, develop, test, and fine-tune the features of the rotation180º professional backpack.
4. Choosing the proper materials and construction methods, and getting counter samples from the factory, to the point of final approval.
Our Manufacturing Plan:
1. Finalize all materials, patterns, and specifications (pending right now)
2. Place the order with our manufacturer for the KickStarter production.
3. Finalize our quality assurance and control plan specifically for this product.
4. Have two people on sight at all times during production to ensure quality.
Fulfillment Plan: Through KickStarter the products are available to the USA, Canada, EU countries, Norway and Switzerland with free shipping and no tax/ VAT. The anticipated delivery date is Spring 2013 (April or May 2013) For other countries not listed above, the product will be available by Summer 2013. If you are in a country not included in the above, please send us an email and we can answer your questions about availability. USA: we have secured a fulfillment house in California to deliver all orders via ground delivery. Canada: we will be using a distributor in Toronto. EU countries including Switzerland and Norway: We will have one central point of distribution in Germany to all countries through a distributor.
For more information visit www.mindshiftgear.com
Total 2287 cubic inches or 37.5 liters (without the accessories)
Waist pack volume: 480” (7.87 liters)
Backpack volume (Empty): 1807” (29.63 liters)
Exterior dimensions with outside pockets empty: 13.5” W x 22.5” H x 10.5” D (57 x 27 x 34 cm)
Interior dimension of only the upper compartment: 12” W x 14” H x 8” D (30.5 x 35.5 x 20.3 cm)
Exterior dimension of the belt pack only: 13” W x 7” H x 7.5” D (33 x 17.8 x 19 cm)
Interior dimension of the belt pack only: 12.5” W x 7” H x 7” D (31.7 x 17.8 x 17.8 cm
Combined weight of both the beltpack and the backpack = 5.3 lbs (2.5 kg)
Beltpack weight: 1.8 lbs (0.8 kg)
Backpack weight: 3.5 lbs (1.6 kg) Generally used with the belt pack in place.
Optional Photo Insert for upper compartment (included in deluxe package): 0.9 lbs (0.4 kg)
Other accessory weights are listed in the Product Sheet
YKK RC and RC Fuse zippers. Fabric: 500 D nylon, 210 D nylon, 100 D shadow ripstop nylon, 140 D silver toned nylon, 30D nylon ripstop (rain cover), Ultra Stretch mesh, nylon webbing. EVA foam and CLPE foam
Contact Us: If you have any questions about our products or services, please contact us! We are designers and photographers who value your questions, feedback and experiences.
USA PHONE: 855-757-2727
INTL PHONE: 707-284-9999
1105 N. Dutton Ave., Suite C, Santa Rosa, CA 95401, USA
Risks and challenges Learn about accountability on Kickstarter
This backpack is extremely complicated to make, and the parts and pieces must fit together correctly to make it work. Although the functionality of the product looks pretty simple when you watch the video, this is only made possible by people sewing together all the individual parts in the correct way. Backpacks are hand made by people’s hands using sewing machines, the old fashioned way. So the biggest risk is that some small but important detail will not be done correctly. So our challenge is to make sure it is sewn correctly in production to ensure functionality.
To counter this we plan to have two quality assurance specialists at the factory during the entire production process, which includes verification of the correct materials, cutting, sewing, packing, and shipping. Simply stated, if there is an issue during production, the part and pieces are corrected before the next step. Our belief is that product quality is more important than the scheduled ship date, which means that we will make sure the product is made correctly, even if it causes a delay.
We are uniquely qualified to make this product and to overcome any obstacles. Although MindShift is a new company, the people involved have been making camera bags and backpacks for over twenty-five years. MindShift is the sister company of Think Tank Photo, and we will be using the same factory that makes Think Tank products. You can Google Think Tank Photo or go to www.thinktankphoto.com if you want to look at the type of products that are being made.
Most importantly, we are making the commitment to you that we will overcome any obstacles that we may encounter, and deliver the product to you in a timely manner.
The Cactus AF 50 is the latest TTL flash unit from Gadget Infinity. This unit has many advanced features that are normally only found in manufacturer specific flashes.
It comes in five versions: Nikon, Canon, Olympus / Panasonic, Pentax and Sony Alpha / Minolta. The AF 50 in general has a very solid feel to it and is about the same size as a Nikon SB600. On the front of the flash is the slave sensor and an auto focus assist red light. The battery compartment is on one side with the wireless sensor on the opposite. The unit also has a built in diffuser and bounce card.
One of the more interesting physical feature is the mounting foot. It has a push to lock fastener that does a great job of keeping the flash firmly locked into place. The flash head has the ability to both bounce ( 0-90 degrees ) and swivel 180 degrees one direction and 120 degrees the other.
One the back of the AF 50 you will find the control panel which consists of two buttons and two switches. You have one switch for the power and another for slave mode selection. The way the slave mode is set up is a bit lost on me. When selected the slave mode will skip a selectable amount of flashes ranging from 0 to 9 before it fires.
Now, I can see where having the ability to optically fire from another light source is a great thing to have. There are typically two modes needed to use an optical trigger effectively. One mode where the flash ignores the cameras pre-flash and one that it does not and fires right along with it. The slave function on the AF 50 allows you to skip all the way up to nine flashes before it fires.
There might be something that I am missing about this feature and if there is please feel free to let me know.
Also on the back of the control panel you will have two buttons: Mode and Zoom. The mode button will allow you to scroll through the functions of the flash like: TTL, manual, STTL then it will return to TTL and the sequence will start over. Now this one button is used to set the mode and also the manual power output, select wireless groups and channels. When you are scrolling through the mode options make sure to take your time with it. If you pass over what you are looking for then you will have to go all the way around again. The AF 50 modes are: TTL flash mode The TTL mode is the default mode of the flash unit.
When you power the unit on it will be in TTL mode. This flash does a great job in TTL mode. I have found that in just a few instances that it was a bit over exposed, but not to the point that it is a concern. Manual flash mode. Once in manual mode you can set the flash output over six power levels (1/1, ½, ¼, 1/8, 1/16 and 1/32.) The LCD will display distance and exposure information for what it thinks will be the correct information. You can use it to get a rough idea of have far you need to be from the subject to obtain correct exposure. STTL mode
After manual mode comes STTL which is the AF 50’s version of wireless flash control. I have the Nikon version of this flash so this is the mode I would use for Nikon’s Creative Lighting System. The AF 50 is completely compatible with CLS and integrates into the system with out any problems.
This flash holds it’s own against the Nikon SB600 and easily keeps pace with it. The channel and group selection is a bit cumbersome. As mentioned before you have one button to set all of your modes and their controls, so if you scroll past what you want to select then you have to go all the way through once again. Also keep in mind that if you are using this flash in the CLS system every time you power it off and then on again you have to go through and set the mode and select your channel and group.
As you scroll through the STTL mode you will see the channel and group setting as follows: 1a, 1b, 1c, 2a, 2b, 2c, 3a, 3b, 3c, 4a, 4b, 4c and then you will return to TTL. Once you have the corresponding channel and group set the AF 50 will function just as a Nikon CLS capable flash would. You will have remote power control and my personal favorite high speed sync. So, you will be able to get your shutter speed up to 1/8000 of a second as long as your camera is CLS compatible. The second button on the back control panel is the Zoom button. This button will control the manual zooming of the flash head. It has seven zoom positions which are 24-28-35-70-85-105mm.
When powering on the flash unit the zoom will default to the 35mm position. If you are using a zoom lens that sends it’s focal length data to the camera the flash will adjust to its relative position. When you zoom your lens from 28-70mm the flash head will follow the zoom to 70mm. This is a very nice feature that helps keep your on camera flash more consistent when using a zoom lens.
Another great feature is the AF 50‘s power saving function. If there is no communication between the camera and the flash for three minutes then the flash will go to sleep. To wake up the flash unit all you need to do is press any of the flashes buttons.
The rear LCD supplies all the information that you will need plus some. All of the usual suspects are there like power settings, mode indicator, zoom position, ISO and f/stop.
As I have been testing this flash it has yet to let me down while shooting. The body does not feel cheap and its exposure is consistently right on in TTL.
Overall the only thing that I would like to see changes is the settings navigation. It might make changing modes and power levels faster if you could cycle through just the modes themselves by pushing and holding both buttons and then once you had selected the mode you want then use the single scroll button to select the setting. Other than that this flash is pretty good.
If you are in the market for another TTL or CLS compatible unit you should take a close look at the Cactus AF 50. You will find a lot of great features at a price around only $150.00 you really can’t go wrong. For more information on the AF 50 check out gadget Infinity’s web site: gadgetinfinity.com
TOKYO – Nikon Corporation is pleased to announce the release of the Nikon D5200. This camera is equipped with a new Nikon DX-format CMOS sensor with an effective pixel count of 24.1-million pixels and an image-processing engine equivalent to EXPEED 3 built into the D4 flagship camera. It offers the superior basic performance needed for full-scale photography in a compact and lightweight body.
The D5200 offers the same side-hinged vari-angle monitor as the D5100 that enables flexible shooting from any angle, high or low, making even self portraits possible. It is an entry-level model that meets photo enthusiasts’ demands for full-scale photography capabilities with its new Nikon DX-format CMOS sensor with an effective pixel count of approximately 24-million pixels as well as an image-processing engine equivalent to EXPEED 3 built into high-end Nikon D4, D800, D800E, and D600 digital SLR cameras for superior resolution, and image quality with very little noise at high sensitivities.
The standard range of sensitivities covers a broad range of ISO 100 to ISO 6400, with support for additional expansion to equivalents up to ISO 25600 (Hi 2). It also offers the most focus points available in its class–39–for fast and reliable focus acquisition and tracking. The Scene Recognition System, made possible with the same 2,016-pixel RGB sensor found in high-end Nikon cameras, more accurately analyzes scene brightness and color information, which is then reflected in autofocus, automatic-exposure, i-TTL balanced fill-flash, and auto white-balance control.
The D-Movie function supports recording of full-HD 1920 x 1080 60i/50i movies for sharp HD movies exhibiting excellent detail. The D5200 is also equipped with Special Effects mode that enables the application and adjustment of special effects with shooting. Combining a variety of effects with a vari-angle LCD monitor that enables shooting from a wide range of angles significantly broadens imaging expression possibilities with both still image and movie recording.
What’s more, the D5200 is compatible with the Wireless Mobile Adapter WU-1a and the new Wireless Remote Controller WR-R10/WR-T10 (both available separately) for collaboration with smart devices and more possibilities for remote control over the camera, making the D5200 more convenient than its predecessor. When the WU-1a is connected to the camera, images can be transferred to a smart device, such as a smart phone or tablet*, and the smart device can also be used to control camera shooting remotely. In addition, the new WR-R10 (transceiver) and WR-T10 (transmitter) enable remote control over the camera from greater distances and broader angles than are possible with infrared remote controls for simple and convenient remote control even through obstacles. The WR-T10 can be used to control the camera to which the WR-R10 is connected. However, it can also control multiple cameras to which WR-R10s have been connected, enabling smooth remote control over a number of cameras.
- * The Wireless Mobile Adapter Utility app must first be installed on the smart device (the app can be downloaded free of charge from the smart device’s app store).
D5200 Primary Features
- A new Nikon DX-format CMOS sensor with an effective pixel count of approximately 24.1-million pixels and support for a broad range of ISO sensitivities for superior image quality and definition The D5200 is equipped with a new Nikon DX-format CMOS sensor with an effective pixel count of approximately 24.1-million pixels. It supports a broad range of standard ISO sensitivities, from ISO 100 at the low end to ISO 6400 at the high end, as well as further expansion to an equivalent of ISO 25600 (Hi 2). This support enables capture of sharp and clear images with very little noise, even at higher sensitivities.
When used with NIKKOR lenses loaded with Nikon’s advanced optical technologies, the roughly 24.1-million effective pixels enable sharp rendering of even the finest details.
- The EXPEED 3 image-processing engine made faster and more efficient with optimization for digital SLR cameras
- The D5200 is equipped with an image-processing engine equivalent to the EXPEED 3 high-performance image-processing engine built into high-end D4, D800, D800E, and D600 Nikon FX-format cameras. This enables faithful rendering and vivid color reproduction, as well as a broad dynamic range. With capture of still images at high sensitivities, advanced noise-reduction processing effectively suppresses noise to preserve textures and details in images. Noise-reduction processing performed with movie recording results in faithful reproduction of crisp, clear outlines in movies recorded in low-light situations.
- Excellent basic camera performance and operation for stress-free shooting
- Equipped with an AF system offering 39 focus points Adoption of the Multi-CAM4800DX autofocus sensor module enables certain acquisition and tracking of the intended subject with 39 focus points. Utilizing cross-type sensors for the center nine focus points most commonly used ensures reliable focusing performance with certain acquisition of the intended subject and excellent tracking performance. In addition, the number of active focus points can be limited to 11.
- 2,016-pixel RGB sensor with built-in Scene Recognition System The Scene Recognition System detects subject conditions prior to shooting and then analyzes scene brightness and color information that is then used with autofocus, auto-exposure, i-TTL balanced fill-flash, and auto white-balance control. The results are most clearly seen with reliable tracking of moving subjects when 3D-tracking is enabled. The system is also able to identify smaller subjects than could the D5100. What’s more, when Face-priority AF is enabled with movie recording in live view mode, or when faces are enlarged with playback of still images, up to 35 faces can be recognized.
- High-speed continuous shooting at up to approximately 5 fps* With high-speed continuous shooting at up to approximately 5 fps*, users will never miss the perfect shot, whether framing images using the optical viewfinder or the camera monitor. The densely packed 39 focus points effectively cover the majority of the frame for certain acquisition and tracking of rapidly moving subjects, such as those participating in sporting events. High-speed continuous shooting at approximately 3 fps can also be selected for situations, such as capturing natural human expressions, in which a slower frame rate is preferred. This allows for selection of the optimal frame rate according to the scene.
- *With manual focus, [S] (shutter-priority auto) or [M] (manual) shooting mode, shutter speed 1/250 s or faster, and other settings at default values.
- Vari-angle LCD monitor for stress-free shooting from any angle The 3-inch, approximately 921k-dot LCD monitor with wide viewing angle is large and ensures clear viewing. It opens to the left from 0–180°, and can be rotated forward 180° and backward 90° when open. Adoption of a side-hinged vari-angle monitor allows for unobstructed opening and rotation of the monitor when the camera is mounted on a tripod for flexible and stress-free shooting from low angles to high angles, making even self portraits possible.
- Smooth, cinematic action video with Nikon’s D-Movie with superior picture quality : 1920 x 1080 60i/50i
- The D5200 is equipped with the D-Movie function, which enables recording of 1920 x 1080 60i/50i movies exhibiting superior picture quality by simply pressing the movie-record button next to the shutter-release button. The new Nikon DX-format CMOS sensor with an effective pixel count of approximately 24.1-million pixels and EXPEED 3 high-speed image-processing engine ensure recording of sharp, clear movies with little noise, jaggies, or moiré patterns. Autofocusing during movie recording is possible using contrast-detect AF. When the focus mode is set to Full-time servo AF (AF-F) and the AF-area mode to Subject-tracking AF, the camera automatically maintains focus on a subject moving throughout the frame. Manual settings* are also available for those who want to specify recording shutter speed and ISO sensitivity according to their own preferences. In addition to the ability to choose the recording frame rate from 50i or 60i (1080), or 24p, 25p, or 30p (1080) per second, the camera is equipped with a stereo microphone for superior audio quality with movie recording. Stereo sound can also be recorded via the optional ME-1 stereo microphone.
- *Available shutter speeds vary according to the selected movie frame rate. ISO sensitivity can be selected within the range of ISO 200–6400 and Hi 0.3–Hi 2.
- Special Effects mode for creative imaging expression The D5200 offers seven* special effects that can be selected and applied with recording of both still images and movies. Special effects are displayed in the monitor with the view through the lens before shooting or recording begins, allowing users to confirm the results of effect selection or adjustment in real time. Users can easily enjoy dramatic effects like those seen in the movies using special effects. This mode was adopted to respond to the creative intent of users searching for a way to express their own unique style and creativity.
- *D5200 special effects: Selective Color, Color Sketch, Miniature Effect, Night Vision, Silhouette, High Key, Low Key. Color Sketch, Miniature Effect, and Selective Color can also be applied to images already recorded from the retouch menu.
- Support for the optional Wireless Mobile Adapter WU-1a enables wireless image transfer to a smart device
- By simply connecting the Wireless Mobile Adapter WU-1a (sold separately), true, high-quality photos and movies recorded with a compatible digital SLR camera can be easily shared with a smart device.* The view through the camera lens (live view) can be displayed on a smartphone or tablet screen to control remote shooting (remote movie recording not supported), and images captured with the D5200 can be transferred to the smart device over a wireless connection. Using the Wireless Mobile Adapter WU-1a expands the ways in which users enjoy the photos and movies they have recorded with the D5200 and a NIKKOR lens by enabling the immediate transfer of images to family and friends, or uploading to blogs or social networking sites, anywhere and anytime.
- *The Wireless Mobile Adapter Utility app must first be installed on the smart device (the app can be downloaded free of charge from the smart device’s app store).
- Support for the Wireless Remote Controller WR-R10/WR-T10 enables stress-free remote shooting
Remote control is more convenient with the D5200 due to support for the WR-R10 (transceiver) and WR-T10 (transmitter) that utilize electromagnetic waves. When the WR-R10 is connected to the D5200, the WR-T10 can be used for wireless control over remote shooting. The WR-R10 and WR-T10 enable remote control over the camera from greater distances and broader angles than are possible with infrared remote controls, and obstacles such as trees between the transceiver and transmitter do not impede communications. Not only autofocus is possible with the shutter-release button pressed halfway but also control over operations such as continuous shooting, movie recording and quiet release mode is possible. Naturally, the WR-T10 can be used to remotely control a single camera to which the WR-R10 is connected, but it can also control multiple cameras to which WR-R10s have been connected1,. The WR-R10/WR-T10 makes photography much more enjoyable as it enables varied expression of scenes using multiple cameras, each with a different lens mounted, and each shooting the subject from a different angle using the vari-angle monitor.
For those of you that did attend and asked for the slides that I used in my presentation here is a link to the Shadows & Light Workshop slides.
While out shooting the other day I came across one of the most bizarre things I have ever seen.
It was led off by what looked like a couple of elementary school rooms of the typical make. Lots of miniature furniture and finger paintings everywhere.
The next room was a replica of a large hospital room with six to eight beds. Now to me this was really out of place especially right next to elementary school rooms.
The next rooms was the the one that made me look twice though. It was another hospital room but this one was occupied. There were just under a dozen or so resuscitation dolls and other assorted medical dummies in the beds of this last room.
When I first saw them I totally thought they were real people and I nearly let out a little yelp. However the real site was in the corner of this room. It was there that the rest of the “patients” were. In the corner were another half dozen or so practice patients piled into various wheelchairs laying back with their mouths open. I had to snap a quick pick of the scene through the window.
Like I said it was one of the most bizarre things I have ever seen while out on a shoot.
We had a few different adventures out on this location but I will save that for another post.
Keep an eye out at www.vanishedtwin.com for some of the photos from this shoot and here for another post.