At a recent event I tried to use an on-camera speedlight (SB-800) as a master and a off-camera speedlight (again SB-800) in a CLS setup where I would hopefully use the off-camera flash as a silhouette light.
(CLS = Nikon Creative Lighting System – where you can remotely fire flash using TTL – either with the on-bard flash (on some cameras) or another speedlight set to master. As well as using TTL you can also add compensation values to each group of remotes from the master.)
Although I’d tested them before getting into position (so channels and groups were fine) – the remote flash just didn’t fire. It was relatively in line of sight so that shouldn’t have been the issue, however with the speedlight facing forward the detector would be at the side of the speedlight and it was behind a shoot-through umbrella. I now think that possibly the combination of these meant that the signal from the master speedlight wasn’t getting through to the remote. It was also in a party environment so there were other lights which may have caused issues.
Turning the shoot-through umbrella to a bounce one may have worked (it’s a convertible umbrella), but there wouldn’t have been time for that.
Taking the umbrella off may have also helped, I should have tried this but alas didn’t.
In the past I’ve used a remote flash like this but using a radio trigger rather than Nikon CLS system.
I didn’t go for this setup on this occasion as I needed a on-camera speedlight as it was too dark without it.
So alas I made do without the remote speedlight.
After the event I investigated the option of using an on-camera speedlight but also a radio-triggered remote and my results are below.
Only one Hotshoe
The initial issue is that cameras only have one hotshoe. The on-camera Speedlight obviously needs to go in this. However most radio-triggers are also designed to go in this. They both can’t.
Thankfully there are a set of other connectors available.
PC socket: The PC socket is the standard/traditional method of firing flash via a cable.
My D800 has one:
And so does my SB-800’s:
Usually you’d use the PC sync on the speedlight to fire the speedlight itself i.e. incoming signal. However it appears that this socket is by-directional.
Sync Connector: It transpires that in addition to having the Skyport trigger via the hot-shoe there is also an additional SYNC connector:
The Sync connector on the Speedlight is smaller than the usual jack – it’s a 2.5mm jack socket rather than 3.5.
So the cable needs to be a 2.5mm jack to PC sync connector.
Thankfully one of these is supplied with skyport transmitters. I hadn’t taken it out of the wrapper let alone out of the box so I wasn’t really aware of it until investigating this issue.
Connection + Test
I wasn’t sure if it would work correctly and wasn’t sure which PC sync to use – the camera or the speedlight. My thoughts were that if the on-camera speedlight was in TTL that there may be a flash sync speed issue, particularly with the TTL pre-flashes. So I tried both.
Standard settings – both worked.
Pushing shutter speed up to 1/250th – both worked!
(My skyport are the “SPEED” variety so are faster than the older non-speed variety)
To reiterate, the setup is:
Remote Speedlight: Set to manual power, skyport receiver plugged in to the PC sync port.
On-camera Speedlight: Set to TTL, mounted on camera hotshoe.
Skyport Trigger: Connected by above cable, to PC sync port of either camera or on-camera speedlight.
So in future I may try this in such scenarios. It’s handy to know that it’s possible to mix TTL/CLS and manual radio triggering.
Worth noting of course – since operated by a standard “GO” signal radio trigger- you can’t control the power from the camera. Pocket wizard have made TTL capable radio triggers (FlexTT5/MiniTT1 for firing and AC3 controller for varying power) but they’re considerably more expensive that simpler radio triggers that just send a “go” command.
Found an additional issue worth noting:
Not wanting the skyport trigger dangling by a cable which can come out I considered mounting the trigger to the speedlight via something like velcro or elastic. In testing this I found that if you place the trigger flat against the speedlight – trigger: the flat side with buttons, speedlight: on top of the flash head – that the signal would not get to the receiver. I imagine this is due to interference from the pulse of the speedlight firing. Instead I think I’ll attach the trigger to the side of the speedlight with elastic.
Recently spotted a good deal on a known/main retailers website for these so bought a couple extra to sell on. (I won’t say how much I paid)
Sigma lenses have a 3 year warranty
Received them on 6th May – so 3 year warranty will be from that point.
UK stock. I will include printed receipt from the retailer.
Price each : £680 (usually ~ £830)
Listed on eBay at £720 but would prefer to avoid eBay fees (To check feedback : ebay UK : dafeo).
Payment via PayPal
UK special delivery included
Rest of Europe – postage will be additional – ask for a quote.
I will not post out of Europe.
Am selling a few of my previous boss’ old photography equipment – including Canon film SLRs. Started with bits that didn’t need a clean including a Minolta IV F Auto meter – a light meter. When photographing it I thought I’d give it a quick test and found out that it was way off! My light meter was giving f8 (1/250 ISO 100) while the Minolta gave f22! There is a little dial to adjust within the battery compartment – but this didn’t give enough variation to reach f8. I did a few searches to find out how much it would cost to calibrate it when I came across this video.
It sounds strange – but it actually works!
I first tried it with a piece of card and didn’t run – and it didn’t work. Then tried an actual US dollar bill (I happened to have one) and did the rubbing thing – and it worked!
Is so strange – can’t imagine this is a true calibration – at best guess it either cleans the contacts or somehow removes a charge in the system. Not sure how a dollar bill/rubbing would have changed things.
But it’s so strange – thought I’d post it.
Here’s the lightmeter on eBay if you fancy one. Auction ends 29th April.
Yes I said mouse!
Photographers are used to talking about or reading about pen-tablets – and they have their place – however I personally tend to see this largely as being when you need to do fine detailed work such as cleaning up skin or hair on studio shoots, or table-top product shoots. But for the most part I don’t need to go down to this level of detail – events being the most common example for myself. It may be because I’ve not totally got used to the tablet as yet (I have a Wacom Intuous 5 small).
Before getting my tablet I’d customised my Photoshop so that my most used functions were assigned shortcut keys. I had to assign these in a couple of instances but Photoshop makes this easy as almost anything can be assigned a shortcut key.
My most used actions when editing photos like event photos are:
- Maximize image
And on the whole – that’s it. There will be a few instances when I do other work but those are by far the most common.
As I use layers a lot of these were shift-key combinations i.e. you had to press the shift key down and a letter key to operate the shortcut. These are the shortcut keys I set up, or were in place. Not a lot of thought was put into these initially but it’s what I got used to eventually.
- Levels Layer : Shift-, (shift and comma)
- Curves Layer : Shit-M
- Sharpen : Shift-F (This is the default shortcut for re-doing the last filter done)
- Flatten : Ctrl-Shift-F
Although shortcut keys do certainly quicken the workflow (rather than selecting the item from Photoshop menus or sub-menus) it’s still a bit of a break in the flow – hands need to move, find keys, press them etc. This is especially so when the key-combination isn’t simple to do with one hand and both need to move (this is where I think I should have assigned simpler short-cut keys). So I had the idea of looking to find a mouse that has assignable buttons. Not sure now but I knew they existed – maybe just noticing one in a computer shop when doing something else.
There’s a whole wealth of mice out there with more than the usual 2/3 mouse buttons – a huge amount in fact. They’re called gaming mice. Of course these are directed towards the gamers as they want to do certain actions quickly without swaping hand in case they get blown up ;)…… where’s that key to change weapon *BOOM* – damn game over…. and such like.
They come in all shapes and sizes – some even have customizable shapes ! But their price range also vary significantly.
I had a brief look around and decided on some main requirements:
- At least 3 definable buttons in addition to standard 2
- Wired (don’t see the point of having wireless if it’s never leaving my desk and don’t want to waste batteries)
- Optical (rather than laser – seen some iffy reviews)
- Affordable (I’m not a gear freak in terms of PC stuff so didn’t see the point in spending £100 on a mouse!)
In the end (after looking at specs and reading reviews) I decided to go for the Logitech G400.
I bought it for something like £25/27 (probably Amazon) rather than the £35 listed on the Logitech site.
In addition to the usual 3 buttons (left, right, roller-with click) it has an additional 5 buttons. Two at the side that are assigned to anything and three at the top which are usually assigned to precision/speed.
In the software that comes with it you can assign these to different actions, e.g.:
- Keystroke (single)
- Mouse function
- Media (e.g. play, pause)
- Hotkey (e.g. windows operation e.g. open/close a window)
- Function (e.g. Open windows “My Computer” window)
This picture shows the interface and what I’ve assigned them to/called them:
So they are :
- Levels (New levels layer)
- Curves (New Curves Layer)
- Flat-Filter (Flatten the image and then Sharpen – or last filter)
- Full (Maximise image window)
- Saturation (New Saturation level)
Each one refers to a “Multi Key” combination and one does two things (Flatten + Sharpen). You can do these using the tool/driver to record what you press – so it’s just a matter of clicking record and then doing the key presses. This also records lifting the keys after you’ve done. But one important thing to remember is that on the New layer combinations you also need to press Enter if you want to accept the default name of the window, which I usually do, else you’re left with the new layer prompt. If I want to rename it for a longer edit I can do that later.
So here’s the combination for new Levels Layer as an example (usually Shift-, on the keyboard):
Rest is fairly simple really.
As seen in the first image you can set different button settings for different applications. It does come with some suggested configurations but almost all of these are games …. which I don’t have or have the time to play. Of late I have found that it can struggle to pick up which application I’m using sometime, especially when going from Bridge to CameraRaw and then to Photoshop. I’ll press a button to do something but instead of my assigned function something else will happen e.g. instead of maximising the image the mouse will get more sensitive (quicker). This can be solved by doing a windows alt-tab to swap away and then again back to Photoshop. Annoying sometimes but on the whole the mouse is saving me a lot of time. Very glad I bought it even though I now have a Wacom tablet too.
Not a very exciting blog post – but hopefully one that may help others.
I have a set of Elinchrom Skyport Speed radio triggers – one transmitter and two receivers. Recently one of the receivers stopped working. The transmitter has a replaceable battery but the receivers have an internal rechargeable battery which you charge by plugging in an AC adapter. The malfunctioning receiver wouldn’t turn on. When plugged in to AC power the LED would glow as it should when charging BUT a lot dimmer than the working receiver. I tried to charge it well over 3hrs as described in instructions – but then after disconnecting the power it wouldn’t work. Wouldn’t even turn on properly when the AC was plugged in as I’ve read it should.
I bought the set January 2011 so over a year ago and couldn’t find a reference to warranty period online so was worried that it would be out of warranty. However after mentioning the dilemma on Facebook, friends mentioned that under EU law electronics should have a warranty of two years. And sure enough – after contacting the retailer (Photomart) they said I could get it repaired under warranty – joy! After sending it to Photomart they sent it to The Flash Centre – the Uk distributor and service centre for Elinchrom who repaired it and sent it back.
On it’s return there was a note (below) stating that the battery had discharged so significantly that it couldn’t regain power – interesting. The note was A5 and seemed pre-prepared as if this isn’t an un-common issue- and so I thought it worth blogging so others with a similar issue and googling the issue know what to do. It may be worth charging your receivers from time to time in the hope of preventing this also – or if you commonly only use one – to swap them.
The Skyport Universal Speed Receiver internal battery has been reformed due to a deep state of discharge.
The most likely cause is that the skyport has been stored away for a period of time in a discharged state.
Therefore we recommend that you recharge the skyport after each use to avoid similar occurring in the future.
The Li-ion battery charges in approx. 3hrs
Auto-Standby function after 4 hours.
Internal rechargeable battery lasts up to 30 hrs.
I have a couple of long + tall softboxes, what I guess you could call strip softboxes.
A cheap one that keeps breaking but came with lots of additions such as a grid/egg-crate and a nice one from Interfit (SLBR412 – 120cm x 40cm) that didn’t. I initially bought the big Interfit strip to use as a main light – for even whole body lighting – but on occasion and more recently I’ve been using it as a rim-light. However due to it’s size (particularly 40cm width) the spill from it is quite significant. So I started looking for a grid for it.
The task was not very easy. I even e-mailed Interfit and they couldn’t suggest anything. Having looked around I seem to remember (it was a while ago now) finding a custom maker that would make it for about £150 from the states – more than the cost of the actual softbox! (about £100). 120×40 cm was a tricky size too as other manufacturer strips seem to be about 120×30 cm.
So I decided I’d try to make my own, how hard can it be 😉
I found a few online examples of making DIY softbox grids and took some inspiration from those (See References below).
Since I had a pre-existing one I thought I might as well replicate that ones as it seems to work fairly well.
Material wise – it was made out of some form of thin but stiff material/webbing. Since I have no idea about material really, or more so about something unusual like this I just went into a haberdashers and asked what they had was black and fairly stiff. Just happens I was in John Lewis looking for something else (think blackout material) so asked them. They directed me towards “Bolton Twill” saying that another photographer had used some recently! In fact they’d taken almost the last of it so I had to order in. Bit foolish of me really as I hadn’t done any measurements at that point.
Dimensions wise I kept with the existing squares dimensions 6.5cm x 6.5cm and also the same depth – approx 4cm as this softbox has an extending edge from the diffuser panel – as per the cheap one.
I followed the design pattern used by Adriel Henderson give or take a few minor changes. I cut a couple of lengths that were long enough for a side and and a top/bottom – so 120cm + 40cm = 160cm, which would server as the outside edge. For the boxes followed this plan (see diagram). This is the view as seen if looking directly at the softbox. These strips of fabric would also be approx 4cm deep.
The Blue points = the contact points where you join them. (I’ve only displayed for the first strip)
The Red areas = As per Adriel’s design – there is a bit of doubling up where a length of the strip will cover an existing portion of fabric.
I did find an alternative design (sorry I can’t find the link to reference now) which would do away with this doubling up BUT:
- It would mean marking out and cutting a fair few more strips.
- The strips would be of varying lengths – so more work/time consuming
- I had enough fabric to not worry about this doubling.
All materials/equipment used:
- Material – Bolton Twill ~ 3m – £27
- Fabric Scissors ~ £7
- Hand held sewing machine – £4
- Thread £1
- Bobbin – £0.60
- Stick-on Velcro (hooks) ~4m – £6
- Fabric glue – £3
- Chalk to mark out lines – already had.
I had considered buying a mini proper sewing machine – you can get them for £20-40 but rejected it as it would take up space later, and I thought the above would be more suitable as I could sew up into the grid holes, while a larger machine would have issue with sewing parts already stuck to existing small holes – the holes wouldn’t be able to fit…. but I was mistaken – more on that later.
Although 6.5cm squares don’t fit into 120cm evenly – I thought I should round up to the whole square as it’s not a bad thing having a grid slightly too large – better than one that’s too small.
So for the outside edges I needed to cut 2 strips of 124+39 + 2cm spare = 165cm (+ spare if there was)
For the vertical zig-zag sections I had to cut 6 strips of 241cm + spare – so roughly 245cm (+more spare if there was)
One definate tip is while you mark out the strips of fabric – also mark out the markers for where you will join them together – so every 6.5 cm for me. This makes it a lot easier to mark them at the same time – no need for duplicating work – and means you’re sure your glueing/sewing the right place.Thought I had a picture of this – obviously not.
Initially I was going to glue the strips in place but glad I went with sewing as it was sturdier.
I thought that the little hand sewing machine would be able to sew into the squares as I consructed them – but turns out it has one of those fabric advancing feet as standard sewing machines and it moved across – so I had to sew sideways into the squares.
I would initially sew the squares together – but as the little machine would miss some stitches I’d sew one way and then another – I could turn the machine around with some wrestling.
Since the stitch the machine makes can easily pull out along it’s length – the ends do need to be fastened. Rather than sewing this into the fabric by hand I took the easy route – I glued the blighter’s on 😉
Shame I didn’t take more photos explaining the production really… but I guess the layout is fairly basic.
After finishing the grid I trimmed off the fraying edges and put a little spot of glue at all the intersections to try to stop any more fraying.
Attaching to softbox
My existing grid uses stitched on velcro (hook side) to attach to the rim of the softbox which is lined with the opposite hoop side velcro. As my large softbox has this too – I thought migt as well do something similar.
Rather than sew-on (I don’t think the littlsewing machine could cope with it) I’ve gone for srick-on.
Velcro strip usually start from about 20mm but I thought I’d go for slightly wider 25mm to give more support and even out the weight.
Strip pointing at white seamless without and then with the grid:
Here’s a view from what I’d roughly say was 45 degrees. The exposure was as the above two shots – no post done to the levels etc.
You can see there’s more light bleed coming from the first column of cells. InitiallyI wasn’t sure why this was – although not exact – my cells were of roughly similar sizes. But I think I’ve figured it out – because the softbox is a wedge shaped – i.e. narrow at the back where the light is, and wide at the front – the side of the softbox the grid is attaching to isn’t perpendicular if looking head on of course – it’s flared. And so the first column/row on both sides and top/bottom will be wider and have a slanted edge.
There are a few things I would have done to improve the grid….
Although it does a good job – I think I could have looked around a bit more – that of the existing grid is softer and lighter.
I was initially tempted to buy a mini-big sewing machine – but rejected it thinking it wouldn’t be able to sew the squares together as they are only 6.5cm square, and the base of the machine would not fit through there. I also thought the little machine would would sew into the squares, making it easy, but due to the fabric advancing feet I had to sew sideways into the squares.
To do this I flattened the edges of the squares and this made me realise I could have just dones this with a standard machine!
The little sewing machine was also rather temperamental about making stiches – sometimes the back hook wouldn’t catch – so I doubled up.
The velcro attaching the grid to the softbox does come away a little – even though the stick does seem very firm. Looks like I’ll need to sew it a little. Maybe just at regular points rather than al along.
Size of grid cells
Although it does the job – in reality I would prefer that the grid restrict the light more – especially at the edges where I discovered an issue. To do this I would have needed to do one of two things – either make the grid deeper (unlikely as there was no more space to velcro it in and the fabric isn’t THAT firm) or make the squares smaller.
Of course making the squares smaller would mean more sewing and more strips.
While looking up the references to write this blog I came across an old DPreview forum thread I’d started when looking for a grid last year. I’d forgotten someone had linked to a page detailing technical measurements/sizing for grid cells for the angle of light.
A 30 or 20 degree grid would have been great, but with 2-3cm squares that would have meant double the amount of sewing. With this little machine – not a task I’d fancy.
Maybe I’ll consider making another with smaller square – but as I’ve not even used this one properly yet – I’ll stick with it for now. Should probably use my time to do other things…… like writing this blog 😉
Material – used their pattern/design
Gaffer tape didn’t really use
My new purchase:
Although I don’t really do retouching* on the majority of my photography, such as events, I have got into it with studio shoots – be it portraits or product shots. A higher standard of image is expected so will go into this level of detail.
When doing this I have on occasion felt that using the mouse hasn’t been the best option and so for a while I’ve thought about trying out a pen tablet. THE name in these is Wacom. They have all kinds of pen tablets from small “fun” tablets up to screen displays that will work as direct editing tools. Being the cheapskate that I am I’ve only been really considering their small fun range – the “Bamboo” range.
However……. Going to Focus on Imaging show last week and being disappointed at not buying anything I wanted (Lens savings weren’t very good; Monitors were out of my price range; background paper not of the size I wanted) I rather succumbed to an impulse to buy one of their new Intuos 5 range – this is the pro level tablet. Although it was suggested to me that I really should be going for the “Medium” size tablet – I was rather swayed by the prices:
Medium – £329
Small – £166 (down from £199)
Also – the main selling point at the show – they were packaging them with a free wireless kit (usual price £35).
So the above pictures pen-tablet is now sitting on my desk 🙂 Here’s the whole Intuos 5 range which was only introduced at the beginning of the month:
(Yes mine’s the small one)
And the publicity video:
This weekend was mostly spent learning the ins and outs of using it. Mostly how to use the express keys (aka buttons), stylus and adjustment wheel. Have yet to use it properly on retouching but quite possibly this evening sometime. I’ll try to do an update post sometime.
Thought I’d put together a table to compare the “small” tablets currently available in the UK.
Some stats I collected
|Bamboo-Pen||Bamboo – Pen + touch||Fun – pen + touch||Intuos 5 Small|
This is soon to change though as Wacom have replaced the existing Bamboo models with the Connect, Capture and Create models in the US – which I assume will be available in Europe in a bit.
*Retouching : What I consider retouching is where you replace specific pixels or only part of the picture – such as cleaning up skin blemishes. For events I usually don’t do this – just lighten/darken/etc the picture as a whole. Usually refer to this as just “editing”. I don’t know if this is a universal definition – but it is mine.
More Focus on imaging 2012 prices – this time cameraworld,nothing I want is V cheap.
Click on images for a larger picture.
In November I went to Kenya to photograph my friends Ed + Poppy’s wedding. Rather than just the wedding we had a week at a beach resort, the wedding on the Friday, and then week after a few of us went on Safari. So watch this space for lots of safari photos and some wedding photos. I’ll probably go into depth about the fortnight in another post.
But thought I’d share this – I also took along a GoPro. Tried it in the pool a few times but there’s only so much you can do with it without creeping people out 😉 However the wedding party (or at least pre-week group) as a whole all went on a Dhow trip. A Dhow is a traditional kind of boat.
This is of course recorded with the waterproof casing.
I recorded at 60fps (Frames per second) which is roughly double speed of what standard videos are – the benefit of doing so is that you can later slow it down without it being too juddery, or that’s the theory at least.
This is a compilation I put together from that footage. Some is real time (and I’ve generally left the sound in a bit on these), some half speed I think and some at a third. (Afraid I did it a while ago so can’t remember exactly).
The shots of guys (Ed the groom + others) jumping in towards the end are the pieces that are slowed down the most. Opening and ending sequence are also slowed down a bit too – although you might not be able to tell. I think it looks a lot better – steady waves or swell of the sea.
All put together in Premiere Pro. I think it’s worked better than the colour on my canal boat timelapse. One thing I had read was that Premiere Pro didn’t cope well with GoPro mp4’s – so I re-encoded them first using Streamclip. Essentially just open it and then SaveAs “mov” – it will re-package the video without affecting the actual frames themselves. This video lark is quite complicated.
Oh – it’s also worth updating your Premiere Pro if using CS4 – there are pre-made HD sequence packages that prove quite handy.
Oh – and apologies for the thumb in shot occasionally 😉 Something to remember when using a fisheye gopro next time. Left that in as it’s only a bit of fun video.
Yes – I am one of those people that will shop around and research things like hell. I blame my father – he does the same and has drilled “research” into us as kids. But in all honesty – I do enjoy it. I’m not a gambling man – but I do enjoy saving money – each to their own.
I usually do this for anything in £ double figures and above really – putting varying amount of effort into it.
I have on occasion thought that I should do a website for it and automate it – but by now there are plenty of those around e.g. http://www.camerapricebuster.co.uk (great site BTW)
They sometimes fall short though – and at the moment, because I’m looking to go to Kenya to cover a friends wedding next week – I’m looking for memory cards. I have 2x 4Gb and a couple others e.g. 1x 2Gb and 1x 1Gb But as I shoot RAW at weddings – they have a habbit of filling up very quickly. In the UK I’ve lugged my netbook around with me and offloaded cards onto there as they get full – but in Kenya I want to be less reliant on it – so decided to buy a big card – either 16Gb or 32Gb – so had a look around.
The main two makes in terms of pro cards are Lexar and Sandisk – so I’ve decided to stick with those. There seems to be two main speeds level available at the moment – 400x and 600x
My cards at the moment – from those mentioned above I have 3 Sandisk and 1 Lexar – the most recent 3 being Sandisk – but I’m not averse to trying Lexar again…. especially if the price is right.
So here are the Pro level Compact Flash cards that I found on the main sites :
|UDAM7 – 100Mb/s||128Gb||£635|
(7day = 7dayshop; Warehouse = warehouse express
Since I’m not shooting video or sports – I think size will be the main priority here, and also ease in a way – if 2x16Gb cost the same as one 32Gb – I’d go for the 32 just so that I don’t have to swap out.
On a couple of lines – there is quite some saving to be had! E.g. compare the 16Gb 600x at 7dayshop for £80 compared to that at Warehouse Express for £139! A saving of £59 on an £80 item! Shopping around is not to be dismissed. I have bought stuff with Warehouse express for work before and they’re good suppliers – so it’s surprising to see this kind of difference.
If you’re wondering – yes the 128Gb card exists! And no I won’t buy it 😉
For my 32Gb craving, and on price generally I think I’m going to go for the Lexar 400x 32Gb from either Amazon or MyMemory – checking on postage costs and stock levels. Hope Lexar won’t let me down and make me regret swaping from Sandisk – shouldn’t do really.
One final word of warning – memory cards are one of the most copied / counterfited items around. So if a price is too good to be true from an eBay or Amazon Marketplace seller – then it probably is too good. Have a search – there are lots of counterfeit guides on eBay for checking your cards.
Rumours are currently rife that the camera I’ve been waiting YEARS for may finally be with us – the update to the D700 i.e. D800.
Why do I want a new camera and why have I been waiting for so long ?
For those that aren’t camera boffins – generally the race for more and more Megapixels in SLRs slowed down considerably over the last couple of years – and instead camera/sensor manufacturers have been consentrating more on low-ligh or High-ISO performance i.e. making the images less grainy/noisy when you crank the ISO up. Recent cameras such as Nikon D3s have had phenomenal High-Iso performance – with next to no noise at ISO 1600+
(If you don’t know – the dots/bits in film was called grain as it was due to the film emulsion, but in digital cameras it’s generally called “noise” as it’s due to electronic interference or noise…. hmm not sure if I explained that V well 😉 )
Now I use a Nikon D200 – this camera was announced November 2005! That’s almost 6 years ago – aeons in DSLR terms.
Why didn’t I upgrade ?
Well the options were –
D300 – more of an update than an upgrade. Didn#’t want to spend my money for just a smaller update.
D300s – and update of an update – as above really
D700 – Although much better camera it still only had 12Mpx and I did fancy more, especially for studio work. And then later on as Video comes into the frey – D700 just doesn’t have video. Not that Video was top of my list – I’m not dying to take moving images – but I just didn’t want to loose out.
D3/D3s/D3x – Too big (+pricey). I want a small body D-SLR.
So in effect I’ve been waiting for a D700, with more Mpx, and Video.
So it seems it’s finally here:
But at 36Mpx (!!) it sounds like it’s more likely to be a baby updated D3x i.e. studio camera rather than a baby updated D3s – which is probably what would have suited me better.
My preference would be for a High-teens / low 20’s, small body camera with great High_ISO performance.
BUT I’ve been waiting so long for this – I’m damn right going to get it. So come November when allegedly it’s going to become available – I may be very very poor 😉
Here’s crossing everything hoping that the Nikon announcements on/around the 24th make me happy.
Ha ha – so today Hasselblad have announced a 200Mpx camera!
Ok – so it isn’t a 200Mpx chip – but instead the camera has some fancy electronics that means it takes 6 pictures and combines them. I.E. “MS” = Multi Shot. I didn’t realise this but the 39MS and 50MS already existed. The 200MS can work as a 50MS – taking 4 shots instead of 6.
Of course – since it takes 6 separate shots – this will take time and need both a very still camera (i.e. on a solid mount) and a still subject – so things like product shots and still life etc. Examples on the Hass site are watches and cars. This won’t work for people.
I’ve had a look and can’t find any trace of estimated file size – but since my 10Mpx RAW is roughly 15Mb un-compressed – I guess the files will be about 300Mb each! (A VERY rough estimation btw – comparing very different cameras)
How much ? A cool 32,000 Euros.
People joke that new hasselblads cost the same as a car – I’d say this is 2 decent cars!
For more info : http://www.hasselblad.com/H4D-200MS
Proper geeky info on the Tech Datasheet : http://www.hasselblad.com/media/2658914/uk_h4d_200ms_v1.pdf
Eh what ?
Ha – ok some will know what this is about and so you can skip this but thought I’d post for those that don’t.
What I’m talking about is traditionally known as a Grey (or is it Gray…?) card, althought they now come in several different formats. Yes – this is a piece of grey card – but it’s a very specific luminescence/lightness of grey – 18% grey. (PS I’m using “Luminescence” or “lightness” rather than “shade” as that suggests colour and grey has none – it’s just part way between white or black – which are not colours…. penadtry over for now) Allegedly this is what all cameras from early-ish light meters were built to consider a middle and average tone. [I say allegedly as Thom Hogan a well know photographer/blogger says otherwise]
The story goes that someone (possibly Kodak ?) went through thousands of correctly exposed pictures and took an average, overal light value and found this to be 18% grey – and so built cameras/meters to try to achieve this. This is why sometimes taking picture of light things in snow will under expose (pushing it darker towards grey) and dark things on a dark background will over expose…… although modern cameras have got a lot better … anyway I digress..
So the main/original purpose of grey cards was to assist in obtaining the correct meter/exposure value in tricky scenarios. You can hold the card infront/next to your subject and take a meter reading from it which should be correct.
BUT another use for them (and the point which I have been getting to in a very round-about way) is that they can be helpful when trying to get the correct White Balance. (If you don’t know what White Balance is – err – it’s the measure of how warm or cool the light is – our eyes automatically adjust for it but cameras sometimes need to be told – especially with different kind of light bulbs)
Usually modern cameras can do a fairly good job of getting the right white balance – but sometimes they need some help. This weekend I was helping a friend out by taking pictures of her bags which she’s producing and will be selling. As part of this shoot I was taking product shots – the bags on a plain white background – over exposed so that it would be white, using studio lights at a friends studio. I realised that I’d forgotten my grey card – so although I have a rough idea what temperature/tone the studio lights are I didn’t have a proper value to go by. What I’ve done instead is to find a patch of shade that isn’t influenced by other areas and taken a value from that. (You can’t take values from pure white – most of my background – as it has no colour) But one of the bags is proving tricky – the purple one. It just won’t look as it should. Not sure if this is due to my White Balance measurement (in Camera Raw) not being correct or the camera having an issue with that colour. Either way – a grey card would have been handy – I think I’ll cut off part of the card I have and keep a bit in each of my camera bags.
As well as standard cards there are some newer formats as I mentioned.
small and portable:
BUT grey cards are not the final word on full/correct colour management. Although they are a quick and easy method – they only correct the picture based on one sample shading. Theoretically it’s possible that either the light source or your camera’s colour characteristics will vary according to shade i.e. the light might be a little orange in the darker shades, but it is less so when it gets lighter. Other colours might come out more there – in essence – the colour variation of the light or the sensitivity of your sensor may not be linear. So for a comprehensive calibration you’ll need something with more sample points. Something like the X-Rite ColorChecker passport:
As well as a grey card it has a section with many different colours to sample from. There are various others on the market but this seems to be the main market leader at the moment as it comes with software that you can install that will help you create a calibrated colour profile for your camera/lens/light setup and then you can apply it to all images in a batch.
Here’s a video from X-rite on its use:
I do not have one of these – I would like to have one of these 😉
Look what just got delivered !
8 x GoPro HD cameras!
Sorry for the poor cameraphone picture and no more details – very busy and have lots to do – will post more on Sunday Hopefully.