70 South Gallery - Lighting Workshop

The 70 South Gallery - Lighting and Model Photography workshop was a huge success.  Thanks to some great organization by "Adventures in Photography" (NJ, NY and New England) and the 70 South Gallery, Morristown, NJ.  The workshop was sold out and we were fortunate to have decent weather for some of the outdoor shoots.  I would like to thank the participants, the models and the organizers for all the hard work and support that made this so awesome.Studio lights were Profoto and Arri, outdoor speed lights were Nissin and personal on and off camera flashes.  Lastolite reflectors and the Phottix Luna but dish were also incorporated in the various sessions.

Wine and Cheese

As the cold and snow continues, photographing indoors is always a good choice.  This is another image created using light painting.  Equipment: Sony A7R, Zeiss Touit 32mm f/1.8, Maglight (non LED) flashlight, Surefire LED flashlight.  Exposure triad f/16, 30 sec, ISO 400. 5 image composite.Please click on the image for a larger rendition.

Panasonic Leica DG Summilux 15mm f/1.7 ASPH - Review

Introduced in March 2014 the Panasonic Leica DG Summilux 15 mm f/1.7 lens is beautifully constructed. With a maximum aperture of f/1.7, Nano Surface coatings, a manual aperture ring and an on lens AF/MF switch this is an ideal all purpose lens. It is supplied with a well designed metal lens hood and a lens pouch.  Current street price of $498 makes this a very affordable high quality compact lens.On a full frame equivalent basis this lens has an angle of view of a 30mm lens. It is constructed of quality metals and plastics and has a metal lens mount. It is a light lens at a hair over 4 ounces or 115 grams. The lens feels good when held and exudes Leica quality.It is a small diameter lens that works well with the smaller form factor Panasonic MFT bodies. The lens does not extend below the base of the GM series bodies and will not interfere with tripod mounts.A well designed, circular metal lens hood does a great job of preventing flare. As with any lens, the lens hood is added protection for the front element of the lens.

Specifications:

Focal Length	15mm - Comparable 35mm Focal Length: 30 mm
Aperture	f/1.7 to f/16
Angle of View	72°
Minimum Focus Distance	7.87" (20 cm)
Elements/Groups	9/7
Diaphragm Blades	7, Rounded
Filter Thread	46 mm
Dimensions (DxL)	Approx. 2.26 x 1.42" (57.5 x 36 mm)
Weight	4.06 oz (115 g)

 The filter thread is 46mm. As the lens has internal focusing there is no rotation of the front section. This keeps any attached filter in the orientation as is was installed. The lens has a switch that is used to switch the lens from autofocus to manual focus. This is a very convenient feature so you do not have to use any switches or buttons on the camera to lock focus or to flip between the two modes. The lens has very fast autofocusing in good light and most acceptable in low light situations. The lens has a manual focusing ring that is well damped and smooth through the focus range. One nit that I have is that the lens has no focus markings. The lens focuses close with a minimum focusing distance of 7.87 inches or 20 centimeters.Another great feature of this lens is the manual aperture ring. It has positive clicks at 1/3 stop increments and is very comfortable to operate. To switch the lens to automatic camera controlled aperture the ring has an “A” setting that is beyond the f/1.7 making. The manual aperture ring does not work on the Olympus OM-D E-M1 body.  When using the manual aperture settings, the aperture blades remain stationary when the lens is set to Manual focus.  However, if the lens is set to Autofocus the aperture blades do open a fraction and then close down to the set aperture.  This is an important consideration for time-lapse photography where aperture blade deviations tend to cause flicker in the sequence.Performance: (This evaluation is based on using a test chart designed for use with ISO 12233 Photography as shown below)Sharpness is excellent in the central frame at f/1.7 and edge sharpness reaches the best at f/4.0. f/4 is the sweet spot for the lens tested. At f/11 there is a slight loss of sharpness due mainly to diffraction.Chromatic aberrations are minimal and not noticeable through the aperture range. High contrast edge fringing is just visible at f/1.7.  There is no fringing visible through the f/2.0 through f/11 range.  At f/16 there is slight fringing but that too is minimal and barely discernible until closely scrutinized.The following comments are based on real life tests.Lens flare is very well controlled and not perceptible even when the lens is wide open and shooting into bright light sources.  It is preferable to leave the lens hood on as a preventive measure.  That Nano Surface Coating does a good job here.Once again, testing the Chromatic aberrations of this lens I found it to be minimal and what little there is can be easily removed in post processing. High contrast edge fringing is visible at f/1.7 and was not tested at f/11 and greater.  In the MFT world one would rarely use f/11 and smaller apertures unless extreme depth of field is desired at the expense of refraction.Like most fast wide-angle lenses this lens demonstrates light fall off (vignette) when wide open. The falloff basically disappears at f/2.8.Barrel distortion is not noticed through the range f/1.7 to f/8.0Sample Images for distortion and vignetting:The first set was captured with the camera in portrait orientation.The second set was captured with the camera in landscape orientation.Sample Images for edge fringing:  

Pros:

• Superior build quality
• Fast autofocusing
• Excellent sharpness
• Low light falloff beyond f/2
• Barely perceptible chromatic aberration
• Manual aperture ring
• Lens body Auto/Manual focus switch

Cons:

• No focus markings

My verdict:  I highly recommend this lens and now own one.

Here are some additional sample images.

This first set is a set of straight on images of a store shelving.  Images captured using apertures of f/1.7 through f/5.6This next set is to demonstrate DOF and how well the lens deals with shallow DOF.

This last set of images is to demonstrate that the lens has minimum barrel distortion using real life examples:

Topaz ReStyle - February Promotion

Effective today through the end of February 2015 get Topaz ReStyle for $20 off its original price of $59.99, that is just $39.99).Use the coupon code: febrestyleReStyle is a plugin designed to alter the colors in your image with its unique array of toning effects. The technology behind ReStyle uses a cutting-edge process to map the color and tone statistics from a source image.With this, creative possibilities extend to many inspiring choices. Restyle is a useful tool for the photographer or artist looking to alter the overall feeling and mood of his or her image. The program can even be used to revamp the tone of graphics and textures.CLICK HERE to order 

Think Tank February Specials

Great news from  Think Tank Photo. For the month of February, whenever you order one of their rugged, multifunction, and secure backpacks* they will give you for free your choice of one of their popular AppHouse 8 or AppHouse 10 tablet cases. Their backpacks range from the field-oriented StreetWalker backpacks to their transportation-oriented Airport backpacks, as well as their expandable Shape Shifter and their “long glass” backpacks. The AppHouse shoulder/belt-mounted tablet bags are a great way to carry a digital portfolio or presentation, transmit images, or access your music, games, apps and more.  And don’t forget, as a friend, whenever you order $50 or more of any Think Tank gear using my special link you can add yet one more free item to your order, as well as free shipping!  To receive your free AppHouse follow the rebate download instructions on the backpacks’ product pages.  [*Note: this special offer does not apply to Perception backpacks.]CLICK HERE TO ORDER

Photography Post-processing - Which Tablet would you recommend?

This post is in response to a question I was asked yesterday.In my opinion and having used a tablet for the past 12 years or more I would say that if you draw or retouch using your computer you need a tablet and a pen. Not only is the pen more ergonomic but it is far more natural in the way you position your hand and fingers compared to the award two or three button mouse.The mouse is fine for basic painting and clocking. Anything more and it just does not cut the mustard.Though the tablet and pen is not an essential tool for photographers it becomes essential if you do any retouching, masking and digital art.So the question about which tablet should a photographer get can be answered in a few ways. Undoubtedly the Wacom is the finest tablet in the market. There are others but I would stay away. You want a tablet that is well designed and works.For any peripheral device one of the key considerations is the software interface and the drivers. Here Wacom excels.The size of the tablet you used should be based on whether you are a single or dual monitor user. For single monitor users, my suggestion is the small or medium Wacom tablets. For dual monitor users the choice is the large or the extra-large. The reason for the large are larger tablet is because you can map each monitor to two halves of the tablet.Wacom makes three tablet products. The Bamboo, The Intuos Pen and the Intuos Pro. As a photographer I would stay away from the Bamboo as I feel it is a touch pad and with the stylus great for doodling.So the choices are the Intuos Pen or the Intuos Pro.  Both can be connected via USB or wireless.  The Intuos has touch sensitivity in all models while the Intuos Pen has an optional touch version.Lets compare the two.

	Intuos Pen	Intuos Pro
Interface	USB	USB
Tablet Dimensions	10.75 x 8.75 x 0.4 in	15 x 9.9 x 0.5 in
Active Area	8.5" x 5.3"	8.8" x 5.5"
Pressure Levels	1024 tip	2048 on tip and eraser
Resolution	2540 lpi	5080 lpi
Express Keys	4 customizable	8 customizable
Mutli-Touch: Yes	Yes	Yes 10 Fingers
Multi-function Touch Ring: no	No	Touch Ring: Yes - 4 customizable functions
Radial Menu	No	Yes
Pen	Nib and Eraser	Grip: Latex-free silicone rubber
Pen Nibs	5 Standard	Replacement Nibs: 10 nibs : 5 standard, 1 flex, 1 stroke nib, and 3 felt
Pen Tilt	No	Yes +/- 60 levels
Pen Switches	No	2 customizable

 Wacom Intuos Pro is highly customizable. It has 8 buttons and a multi-functional touch ring and two buttons on the pen. The Intuos Pen has 4 customizable buttons in the top panel. With the Intuos Pro each of them can be assigned a different custom feature - from scrolling, panning and zooming to keyboard shortcuts and changing brush size. You can also use the tilt feature to change brush shapes. A Shortcut Menu can be assigned to one of the buttons and when clicked a circular menu will show on the screen. This menu system gives access to several additional shortcuts than can be layered. Another great feature is the ability to set and customize buttons by application. So Photoshop can have its own custom buttons and Lightroom its own, etc.Pressure sensitivity is always questioned. If you use Photoshop that recognizes pressure sensitivity then the choice is the Intros Pro with higher levels. You will notice the difference only when comparing the two tablets side by side. If all you use is Lightroom then you do not need the greater pressure sensitivity and the Intros will serve you well.Intuos Pro also supports hand gestures that are customizable too. You can pan, zoom and rotate using gestures. This feature can be enabled or disabled as needed.In my opinion the Intuos Pen is ideal for beginners. This is a very good tablet for drawing, painting and photo editing. The Intros Pro on the other hand is one of the best in tablets. The difference in price is fully justifiable. This is a tablet for photographers who do a lot of post-processing, image retouching and work extensively with layer masks. Precision cloning, masking, dodging and burning, is controlled yet simplified. Of importance is the fact that you are unlikely to outgrow the features this tablet provides.Wacom also make the Cintiq family of high definition pen monitors that are exceptional.

2015 First Quarter - One Day Workshops

Wishing you and your families a Very Happy & Prosperous New YearThe One Day Workshops for the first quarter of 2015 have been posted.They are listed on the One Day Workshop PageORYou may go directly to the Registration Page to get details and register.All one day workshops include a Pizza Lunch

What else is in my bag and more - Part 2

Here are some additional items I find useful.  Some for the bag and others that are just good to have.

1. Remote Shutter Release (wired or wireless) - A must have for tack sharp photography. There are 5 types available:
   • A wired version that physically connects to your camera with a cable. Good for most photography when you are close to your camera.
   • An Infrared trigger that is used to trigger the shutter using an IR beam (this requires you to be in “line of sight” to the front of your camera. These are usually OEM products but a few third-party devices are also available. I find these limiting.
   • A wireless radio trigger.  This is a two unit device - one is mounted and connected to the camera and the other is the hand-held controller. Hahnel and Phottix are the ones I use.
   • An iOS  or Android wired trigger. The smart phone is physically connected to the camera to trigger the shutter.
   • The IOS or Android trigger.  Here you use your smart phone and connect to the camera in WiFi mode to control and trigger the camera.
2. Filter wrench (pair) -  These come in two sizes and based on the lenses you have you may want to get both sets. Amazing how screw-on filters just don’t come off.  The plastic wrenches allow you to apply pressure at the right places and lever the filter off so easily.  Adorama branded wrenches are less than $5 a pair.
3. LED Head Lamp - a must have when you are in the dark.  Always carry one in your bag.
4. Intervalometer - A must have device if you do any timelapse. long exposure, or multiple exposure photography.  From basic wired devices to wireless units these are made most cameras including ones that have built-in intervalometers. Phottix, Hannel, Canon all make great units.  Promote Systems makes a product called Promote Control, one of the finest devices not just an intervalometer but a whole lot more. The Promote Control will do focus stacking, automatic brackets of up to 45 images, with up to 9.0 EV step between shots for HDR. It can even automatically step into Bulb for night-time HDR!  More expensive than the others but the Promote Control is my first choice.

   Flash Photography:

5. Flash Gels   Filter gels are a great way to modify the color of your light but more important, they can balance the color temperature to match the ambient light. Roscoe and Rogue make excellent gels.  My personal choice is the full set with the case and elastic band from Rogue. The Rogue set is around $30.
6. Rogue Flashbender  - These flash diffusers and reflectors are the best I have used.  The come in multiple sizes and when used with the front diffuser, that act like a small soft-box.  The cam be molded to direct light as needed or rolled up to form a snoot.  These start at $20 for the Flashbender bounce card..
7. Rogue Grid - If you need more control with the direction of the light from your flash the Rogue Grid is an excellent tool. The design features stacking honeycomb grids that produce 16, 25 and 45 degree grid spots.  In addition you can get a set of bells that match the shape of the grid collar.  The grid is under $50 and the gels will cost under $30
8. Kupo Off-Camera Flash Alli Clamp - The clamp has a jaw that can clamp onto items up to 1.57" thick. Rubber nubs on the inside of the clamp prevent damage to paint or furniture. The clamp has a 5/8" receiver for light-stands or a 5/8" stud for super clamps with matching receivers. The Alli Clamp is topped with a metal locking shoe mounted to a rotating ball for your flash.  I use it to mount my flashes, action cams, video lights and any other objects that need to held in place. Cost under $50. A lighter version called the Kupo Alli Clamp is for under $15.

   Macro and Close-up

9. Focusing rails and racks - These are ideal for precise positioning of a camera in X and Y directional axes. These come in single axis (front to back adjustment and 2 axis where a left right adjustment is also possible.  Prices range for under $100 to $600 plus.
10. Diopters or Close-up filters - This is one of the least expensive method of doing close-up photography. These filters attach to the front of your lens allowing you to focus closer hence magnifying your subject.  They are available in single and dual elect construction.  I recommend the dual element as you will have better optics. Prices range from $30 and up.
11. Extension tubes - If you like macro these will allow your lenses to focus closer to the subject. As they have no optical elements in there is no image quality degradation. Kenko extension tubes are what I have and love. They come in a set of 12mm, 20mm and 36mm.  For the newer mirrorless cameras the tubes are in sets of two at 10mm and 16mm
12. McClamp The Clamp - This clamps to a tripod leg and can hold such items as gray cards and 12" reflectors, and small delicate subjects in place. It has a 26" flexible arm with a spring-loaded clamp to hold your subject in place.  Wimberly also makes a similar device and have a new version called the Plamp II.  Both products are about $45.
13. Light Tent or Cube - A great light modifier for your product photography, food photography and macro work. These come in various sizes and cost $40 and up.
14. Triflip (Trigrip) 6 in 1 or 8 in 1 reflector/diffuser - The TriGrip from Lastolite has a triangular shape with a built-in handle that allows easy hand holding or for attaching to a stand.The TriGrip is 30" at its widest point and collapses storage.  I prefer this to the typical round diffuser reflector kits.

    A few for those who dabble with video:

15. LED Light Panels - these come in various sizes - remember to get one that is disable and has the intensity you need for your kind of video shooting.
16. Variable ND filter - for those bright days when you need to slow your shutter down and keep your aperture wide.
17. Shotgun microphone - DSLRs are great at capturing video.  The audio on the other hand really is pathetic.  The minute in-built microphones are really bad. So get a good starter microphone. A shotgun mounts on the hot-shoe and connects to the mic input port of the camera. My choices for a starter microphone is the Rhode Video Mic Pro with the Dead Cat for around $210

Please use the comment link on the top of this post to share with us some of your special items.If you do plan on getting any of these items please use my affiliate links on the right column of this blog post or use the Products and Discounts Page for additional links. 

What else is in my bag - Part 1

Apart from cameras, lenses, filters we as photographers carry a number of gizmos to help our image capture.  This is part 1 of my list of gizmos.  These are all reasonably priced and many are less than $10.  Most on-line photography stores carry these items and you should check them out.

1. Gray Card  – Get your exposure right. Available in cardboard and durable plastic these are one of the most valuable tools for your camera kit. The camera may be smart but it is easily fooled.  It will under or over expose very bright or very dark scenes. You should use a gray card to set the exposure for much more accurate results. Some of the newer cards come as sets with a black and white card.  This can also help you set your white balance.  A step-up would be the X-Rite Color Checker Passport.
2. High velocity blower - Never clean your lens without first blowing off any dust, grit or lint.   The last thing you want is to scratch your lens as your clean it with a lens pen or lens cloth.  A good blower costs under $10 - the one I like is the Visible Dust Manual Blower. Adorama and B&H have these.
3. Lens Pen - This is another must have tool for your bag.  There are many manufacturers and models available.  The ones with a carbon bad need to be activated before each use. Others like the Allsop have replaceable tips.  I keep an Allsop in each of my camera bags.
4. Lens Cleaning Cloth - A good lens cloth is a must in your bag.  Zeiss makes some of the finest and can be purchased from Walmart and B&H for $3 and up.
5. 1 or 1.5 inch natural bristle soft painter's brush - An ideal too to get lager dust and sand particles off your equipment.  Keep one in your bag - you will be happy you have it on those dusty trips.
6. Small micro fiber or cotton hand towel - You never know when you will need it.  These are great for wiping of moisture from your gear on those wet days. Grocery stores and Bed Bath & Beyond carry these.
7. Spray bottle - You may not always get a dewy morning but you can create dew on flower petals and spider webs with a handy fine-mist spray bottle. Fine mist spray bottles can be found for under $2 at Amazon.
8. Bubble level - A three axis bubble level for your hotshot mount will keep your horizons level.  If you have an inbuilt electronic level in the camera then you can skip this tool.
9. Elastic bands and small ziplock bags - You will find many uses for this combo. A lost lens cap can be a problem but not if you can put a ziplock bag around the front element and secure it with an elastic band.  If your zoom lens tends to creep the elastic band can help keep it in place.
10. Large garbage bag - During any outdoor shoot I always pack one or two large garbage bags in my bag or in the car.  They are great when you need some rain protection, need to keep your equipment on the salty sand, need to lay down at ground level when shooting low to the ground.  A black garbage bag acts as a great gobo when needed, translucent bags make great diffusers.
11. Gaffer's tape - 1 inch width in black, a small roll is perfect to secure items when needed.  This is a must have to tape down your lens at infinity when doing any astro photography.  A small piece can be used to cover the eyepiece of the viewfinder, preventing stray light from spoiling the exposure.  It is also a great all around repair tool.
12. Parchment paper, issue paper, or rip (stock) cloth - A small piece about 4 inches square is good but larger pieces can be useful for other situations.  You can tape this (using gaffer's tape to your flash to diffuse the light.  If you keep a larger piece you can have someone hold it to diffuse bright sunlight while doing close-up or macro photography. Get parchment paper any kitchen or grocery store. rip stock can be purchased from a fabric store or on-line.
13. White foam-core - This makes a great reflector, if you need a silver reflector keep some kitchen foil and fold it over the foam-core.  You can use the foam-core as a gobo or even as a white background for small subjects. Staples, Office Max, Michael’s or A.C. Moore are ideal for this.
14. LED Flashlight - a must have when you are in the dark.  A great tool for light painting and when you need just that added light for filling in shadows or adding a highlight. My favorites are Coast and SureFire (SureFire lights are available from the SureFire website and Amazon).  Others can be purchased at Home Depot, Amazon or Lowes carry great LED Lights
15. Small notebook and a ballpoint pen - Journaling is key.  Write down locations, notes, day and time of best light, etc.  Draw sketches of what there is so you can come back for better images.  If nothing else - you can use it to jot down names and contact info of fellow photographers you meet.

In the near future I will follow-up with additional items I find useful.  Some for the bag and others that are good to have. In the mean time, why don't you use the comment link on the top of this post to share with us some of your special items.If you do plan on getting any of these items please use my affiliate links on the right column of this blog post or use the Products and Discounts Page for additional links. 

Nissin i40 - an exceptional pocketable flash

I had been anxiously waiting for the two evaluation units to arrive and finally they arrived two days ago, December 15, 2014. The small Nissin i40 is made for Canon, Nikon, Micro Four Thirds, Sony and Fuji cameras. With a current street price of $269 this is a very affordable unit.In the box is the flash head, a stand with a metal 1/4 20 thread for mounting on a light stand or other device, a diffuser, and a quick start instruction manual.  A nice belt mountable pouch for carrying the unit is provided and they include a carabiner so you can attach the pouch to any belt, strap or camera bag loops and rings. A spare set of AA batteries fits nicely in the diffuser so you can carry enough reserve power in one convenient pouch.The i40 weighs 7 oz and fully extended is under 3 1/2 inches. The unit is powered by 4 AA batteries and unlike the larger Nissin flashes this does not have a cartridge system for the batteries. With a guide number of 40 or at ISO 100 of 131' at 105 mm and 89' at 35 mm position, the unit is suitable for most photographers who like to carry a handy flash for fill as well as indoor photography needs.The power zoom range is from 24 mm to 105 mm without the diffuser and 16 mm with the built-in diffuser in position. The flash is mounted on the camera hot shoe using a spring-loaded locking mechanism that is very convenient. The flash-head tilts up 90˚ in four stepped positions and rotates 360˚ in 30˚ steps.In addition to the flash light source, the i40 includes an LED based video light with variable power output.Triggering the i40 requires you to either mount it to a hot shoe or remotely trigger it wirelessly using the cameras built-in trigger.There is no LCD panel and all controls are via dials on the back panel. Unfortunately these are not illuminated and pose a slight problem in a dark environment. Clearly the dials are designed for ease of use and they do just that.For purposes of this review I am using the i40 designed for Micro Four Thirds cameras and all my testing was done with the Panasonic GH4 and some additional testing with the Olympus OM-D E-M1.Size and Weight: This is a very small unit comparing it to a Nissin 8000, and the Nissin 466 (also designed for MFT cameras), the i40 is totally dwarfed. Without batteries the unit weighs 7.17 oz and with four AA batteries the unit weighs 11.0 oz.  The pouch, diffuser and stand add another 3 oz.Battery Compartment: Unlike its larger brothers the i40 does not have a removable battery cartridge. You slide open the door and insert the batteries as marked. The makings are well identified and you are not likely to insert the batteries wrong. To close the battery door you need to push the door down over the batteries and simultaneously slide it into the locked position.Mounting to a hot-shoe or stand: All you need to do is to slide the Nissin i40 into the hot-shoe slot. A spring-loaded mechanism secures the unit in place. To remove the flash head, you need to push a small unlock button and then slide the unit off the hot-shoe.

Operation:

To turn on the i40, lightly depress the power button. The power indicator light will turn red and once the unit is charged the light will turn green. Concurrently the zoom feature will initialize.

Controls & Modes

As mentioned earlier, the i40 controls are two dials and indicator LEDs. The dial on the left side of the back panel is used to select operating modes while the one on the right is used to adjust power or exposure compensation (depending on what mode you use).

Modes:

I will address each mode as the mode dial is rotated clockwise.Video (Indicated with a video camera image) — in this position the Video LED is powered on. The LED intensity can be adjusted in 9 steps using the TTL exposure compensation dial on the right.SF - the i40 will trigger on the first flash it sees — this is ideal for use with other flash units set in manual mode or for use with studio strobes.SD - the i40 will ignore any pre-flash from a master unit and trigger on the main flashTTL - TTL is supported and indicated by the two LEDs, the Mode LED and the TTL exposure compensation LED. In TTL you can adjust the flash exposure compensation from + 2.0 to - 2.0 in 0.5 step increments. I found this to be a very easy to use and convenient feature. It is so much easier than having to push +/- buttons and review readings on an LCD window. The performance of the exposure compensation dial and flash out was very accurate as measured with a Sekonic L-758DR Digital Master Light Meter. Tests were done using both a Panasonic Lumix GH4 and an Olympus OM-D E-M1.  A (The green A) - This is the Automatic Mode and is identical to the TTL mode without any exposure compensation. In this setting only the mode dial LED is illuminated.M - Manual Mode - here the mode dial indicator LED and the middle LED are illuminated. The power output dial shows the output in 1 stop increments from 1/1 to 1/256.A, B, C (white lettering) — this is the slave TTL / Manual mode and the unit can be set to any one of three slave groups A, B or C. Testing this feature with the Panasonic GH4 and Olympus E-M1 allows the camera to control the flash from 1/1 to 1/128 power.  This feature is not available on the Fuji version.High Speed Sync (HSS) - This is not an intuitive or marked setting. To set HSS you need to hold the pilot lamp button for 3 seconds till the LED starts blinking. Similarly, to turn it off hold the button down for anther 3 seconds till the lamp stops blinking. Powering the unit on and off does not reset HSS it will say engaged till you turn it off. The i40 will let you use shutter speeds of up to 1/8000 Using this mode I was able to shoot up to 1/8000 shutter speed with no problems. High Speed Sync is only supported in A, M, TTL or wireless mode. To enter HSS mode hold the pilot button (the LED next to the power button) for 3 seconds, or until the left LED starts blinking.  To exit HSS mode hold the pilot button for 3 seconds or until the left LED stops blinking.  This is true only for the MFT and Sony versions.  For canon and Nikon, you activate this function in the menu of the camera and it will pass through to the flash.  Fuji does not currently support HSS so it is not a feature on that version of the i40 flash.Zooming - the i40 will automatically zoom to the closest focal length of the lens mounted on the camera as long as the lens has electronic communication with the camera body. As many mirror-less camera users are using adaptors with non OEM lenses, there may be no electronic communication with the body and hence the flash will not zoom even when mounted on the camera. To set the zoom manually in such situations or when using it remotely you will need to hold the power button down for three seconds and wait for the pilot lamp to change color. Colors will cycle a deep blue(24mm) to pink(50mm) to blue(80mm) to orange (105 mm). These zoom ranges and colors are conveniently printed on the body of the flash head and exposed by sliding the bounce flap upwards. 

Other features:

• Flash Color temperature 5600 K
• Flash duration 1/800 sec full power to 1/20,000 sec on the lowest power
• Focus Assist lamp is positioned immediately above the hot-shoe mount and assists during low light focusing.
• White Bounce Flap is built into the unit and enabled by sliding it upward from the rear of the flash head. Of significance is that the bounce can be used in conjunction with the diffuser in place. This provides for some really nice lighting.
• Wide Angle Diffuser is also built-in and you need to pull it out using a small notch from the front of the flash head. It is spring-loaded and flips flat to the flash head’s lens.
• An optional diffuser is include with the i40 and is easily mounted on the head when needed. It is conveniently stowed in the provided pouch.
• As with most speed-lights excessive firing of the flash at high-powered can result in overheating. The i40 has a built-in thermal protection system. When the thermal protection is triggered, the pilot lamp will blink red.
• Auto focus assist beam with a range of 2.3 to 16.4 feet.  Please note that this feature is not available on most Micro Four Third Cameras - Panasonic and Olympus cameras tested do support this feature.
• Good battery life — approximately 220 (full power) to 1,700 (minimum power) flashes on a single set of fully charged batteries
• Video light run time is approximately 3.5 hours
• A well designed stand with metallic 1/4 20 mounting threads.

Pros and Cons

Pros:

• Very light and easy to carry
• Good mechanical mating with the hot shoe
• Easy to use control dials
• Appropriate power for its size
• Good wireless capability
• HSS is a great feature for a flash this size

Cons:

• No audible beeps for flash ready after recycle indication
• Dials can be inadvertently rotated. A push down to adjust feature would be better
• Hard to see dial settings in the dark. Backlit dials would be preferable

Conclusions

Given the Nissin i40’s size and weight it will find a permanent place in my camera bags, particularly for the Panasonic GH4 and Olympus OM-D E-M1 configurations. It has enough power for most indoor situations and is ideal for fill light outdoors. The few points mentioned in the Cons section could be easily implemented in the next generation.  On a scale of 1 to 5, I give the i40 a rating of 4.5

Additional Images:

Flash Sync Speed Limitation - a question from a subscriber

Question: "One thing I am curious about is the shutter with regards to off camera flash. Is there still a physical shutter that limits me to a max synch speed of around 1/200 of a second? Or have they moved to an electronic shutter that would allow much faster synch times?"

In order to appropriately respond to the question lets first understand how mirrorless camera sensors operate. Most mirorless cameras use CMOS sensors that contain light sensitive pixels arranged in rows. These sensors are always live as long as the camera is powered on and booted up.In the mirrorless world, the sensor information is being constantly fed to the LCD and/or the electronic viewfinder. When you press the shutter the following sequence takes place: a) the sensor is wiped clean electronically; b) next the sensor is turned on and receives light while the pixels record the information; c) now the computer in the camera reads the data collected by the sensor pixels to generate the image. This data is finally recorded to the memory card.We know that the sensor is sensitive to light and always receiving information. In order to capture a good image, the sensor should be restricted from receiving light while it is being wiped clean and then again when it is reading the data captured during exposure. As the sensor data is being read you do not want the pixel information changing with any new light that may fall on the pixels. So, for both these events, mirrorless cameras use electronic or mechanical shutters or a combination of the two.The electronic shutter works by first erasing all the pixel data on a row-by-row basis. Then new image information is gathered and the data is read by the computer on a row-by-row basis very similar to how a television picture is generated. All of this takes time, albeit just a fraction. The greater the number of pixels the more the rows of information and the slower the process. This limits the cameras from achieving high shutter speeds. For proper exposure these rows of pixels gather the same amount of light but do so a row at a time. The data is read at the same rate. The collective time determines the fastest achievable electronic shutter speed.We are aware that to expose properly for flash photography all the pixels must be “alive” and ready to receive data while the flash is on. If the row by row read process starts too early then you will get areas of dark under exposure. In order to properly expose for flash, the computer in the camera has to wait before it can start reading the data collected by the sensor. This wait time determines the highest sync speed for flash photography.As an adjunct to this, in order to achieve higher shutter speeds mirrorless cameras use mechanical second curtains. The curtain can rapidly close all light from entering the sensor while the computer reads the information. On the Sony A7 that has a 24 MP sensor, there are 4000 rows of pixels. The only way to attain shutter speeds of 1/8000 sec. is possible using a mechanical rear-curtain. On the 36 MP A7r however, there are 4912 rows of pixels. To attain speeds of 1/8000 sec. this camera needs both a front-curtain and a rear-curtain shutter. The MFT cameras like the Panasonic GH4 and the Olympus OM-D series have 16 MP sensors that have only 3456 rows and can achieve 1/8000 sec. electronic shutter speeds without the need for mechanical shutters..The Sony A7 has an optional mechanical front-curtain that must be deployed when using lenses of longer focal lengths at high shutter speeds.Unlike DSLR’s, the mechanical shutter on mirrorless cameras remains in an open state in both the powered off and powered on modes, allowing for live view data to be collected and displayed continuously.The highest flash sync speed is currently 1/320 sec on the Olympus OM-D E-M1 , 1/250 sec on the Panasonic GH4 and under 1/200 sec for most of the Sony cameras.Hope this explains why the current mirrorless technology is limited and high flash sync speeds are not feasible.  If you have other photography related questions, please do not hesitate to ask and I will do my best to get you answers.

Think Tank - Perception backpacks for Mirrorless Systems

Think Tank Photo just announced that its new Perception backpacks for Mirrorless systems are now available.  The Perception series comes in two colors, black and taupe, and three sizes.  The smallest size, The Perception Tablet™, accommodates a Mirrorless system and an iPad Mini. The Perception 15, one mirrorless body plus 1-2 additional lenses, and a 15" laptop + 10" tablet. The largest largest size, the Perception Pro™, holds a 15" laptop and a 10" tablet, plus one Mirrorless body or small DSLR with a small to medium zoom attached (lens hood reversed), four to five additional lenses, (one smaller Mirrorless body in lieu of a lens), or a large GoPro® kit instead of the lenses.  CLICK HERE TO ORDERIn addition, Think Tank is offering holiday specials on two of its most innovative products.  You will save 30% on its My 2^nd Brain “mobile office” bags for Apple laptops and iPads and 20% on its Suburban Disguise full-featured shoulder bag specifically designed to accommodate standard-size DSLR systems.Click Here to order the My 2^nd Brain “mobile office”Click Here to order the Suburban DisguiseRemember that when you order using our link, you will receive free gear with these and all orders of $50 or more.  And, as always, you reeive free FedEx Ground shipping.

Free Camera Strap when you buy a Think Tank back pack

Think Tank Photo just announced a special “Gear Up For Summer!” special offer. Buy one of their highly acclaimed backpacks and they’ll include a Blue Camera Strap V2.0 and Camera Support Straps V2.0 (a $44.50 value) for free!Take a load off your neck, shoulders, and back by using Camera Support Straps V2.0 along with the Camera Strap V2.0.  These straps keep your camera’s weight off your neck and shoulders and transfer the load onto your backpack’s shoulder straps and waist belt. You'll hardly notice your camera is there even though it will be ready to go for hassle-free shooting.Think Tank’s backpacks are renowned for three design principles:

• Capacity -- Their backpacks are the most efficient shape for carrying the most amount of gear in the smallest package. They've got you covered whether you're hauling around multiple bodies with a vast array of lenses and support gear (like a laptop and tablet), large telephoto lenses or a lightweight, stripped down kit.
• Portability -- Flying with your gear? All of their backpacks are sized for US Domestic and International carry-on on regular sized airliners. They've got bags for commuter and regional aircraft, too.
• Quality -- Lesser bags use inferior hardware, materials and manufacturing techniques. Professionals choose Think Tank Photo because they know they only use the best YKK zippers and other high quality materials. They know you can’t afford to have a broken bag while on a trek.

And don’t forget that by using my link (Click on the thinkTANK logo) you receive a Think Tank product free with your order, free shipping, and the best customer service in the industry. Offer valid through May 31, 2014.

Tamron SP 150-600mm f/5-6.3 Di VC USD - Lens Review

My review of the Tamron SP 150-600 mm lens has been published and is available on the Digital Photography School web site.Click here for the review. 

Eldborg - A Time-lapse

This is a video of a time-lapse sequence captured on March 28, 2014 in Iceland. [video type="youtube" id="i5vXFrlGW08" width="600"]Default Message[/video]

Elinchrome D-LiTE-RX4 - Review

Elinchrom’s new D-Lite-RX 2/4 200/400 ws strobes are excellent low sync speed semi portable studio worthy strobes.  The ”it” designation is for Intelligent Triggering.

Each strobe head is made from a rugged impact resistant plastic that has a rubberized top handle with a holder for a spare fuse.with many new exciting  features. The kit contains two strobes, power cables, two Portalite square soft boxes, with bayonet mounts.  Included is one reflector.

Each head has a built-in Skyport” receiver and a four channel Skyport transmitter is included with the kit.The transmitter is an optional item for single units.  All heads are fan cooled when needed. The kit includes a pair of Manfrotto light stands and all carrying cases.

 The heads are available in 200 and 400 Watt versions. My units are 400 Watts. The control panel is well configured as shown in the image below.

Specifications:

The power switch is illuminated when the head is powered on.  A two position LED indicates the power setting, with two buttons to increase or decrease the power in 1/10 increments. Another button allows you to set the modeling light at full power, minimum power, proportional power or off. There is a strobe trigger button called the Eye-Cell and is programmable for Auto, Manual or Pre-Flash modes.  This is very useful when using a hot-shoe flash to trigger the D-Lites. Finally there is a button to turn on or off the audible beep.  The units have a decent recycling rate recharging in .35 to 1.6 seconds based on the power output setting.  A great feature is "Auto Dumping". When you lower the power output the nut will automatically dump the excess charge and indicates it is ready with a beep.

Set-up

Assembling the Portalite soft boxes takes up most of the time. There is one addition I would like, a secondary diffusion panel inside the Portalite Softbox. The rest is easy.  The units come preconfigured to work with the Skyport set on the Frequency Channel 1 and Group 1.  Changing channels and groups is easy and accomplished pressing the power up and down buttons together, then toggling the function using the modeling lamp mode button and using the individual power up or down buttons to

select the following:

• Groups 1 through 4
• Channels 1 through 8

At any time you can do a Master Reset to factory defaults switching off the unit, holding the power up and down buttons and switching on the unit again.

The unit has two umbrella mounts. one is a centered tube that will accept 7mm diameter umbrella shafts that are on the Elinchrome EL umbrellas. If you do not have EL umbrellas you can mount an off centered umbrella in the secondary mount near the tilt handle.

For most of the work I do in studio I find these to be an excellent choice.  The units work flawlessly. I have two sets in my studio and for the past 8 months these have never missed a beat. The power output and color temperature are consistent and the supplied cases are ideal for transportation to allocation shoots.

I highly recommend these units to anyone looking for an excellent high quality starter system.  My preference is for the 400W units.

These can be purchased for $949 for the 400WS heads and $849 for the 200WS heads.  Individual heads are also available but the best price breaks are when you purchase a kit.

Metering Modes and How Your Camera Meter Works

My latest article has been published in Digital Photography School.  Non DPS subscribers may read it using the link below.  There are lots of excellent articles and product reviews available in DPS and they are all free.Click Here for the article

Balancing Color for Flash and Ambient Light Using Gels

So glad to see another one of my articles published in Digital Photography SchoolClick Here read the article

Rode Video Mic Pro - Compact Shotgun Microphone

I got a Rode Video Mic Pro - Compact Shotgun Microphone for Christmas as a gift and put it through its paces. First impressions after two days of use - it is an exceptional, well built, mono video microphone that has a fantastic super cardioid condenser. Rode microphones are designed and made in Australia. The Video Mic Pro is easy to mount on any DSLR hot-shoe and with its built in 3/8 inch socket can be mounted on booms and stands with ease.

Specifications as provided by Rode

Frequency Range	40Hz - 20kHz
Output Impedance	200Ω
Maximum SPL	134dB SPL (@ 1kHz, 1% THD into 1KΩ load)
Maximum Output Level	6.9dBu (@ 1kHz, 1% THD into 1KΩ load)
Sensitivity	-38.0dB re 1 Volt/Pascal (12.60mV @ 94 dB SPL) +/- 2 dB @ 1kHz
Signal to Noise Ratio	74dB
Equivalent Noise Level (A-weighted)	20dB-A
Weight	85.00gm
Dimensions	95.00mmH x 43.00mmW x 150.00mmD

I was a bit surprised with the short length of the cable that connects the mic to the 3.5 mm socket in camera.  However, it is long enough for all DSLR’s when the mic is mounted on the hot shoe. Extension cables are a quick fix when you want the microphone connected to an external recorder or when mounted on a boom pole. The mono output is paralleled to both left and right channels. The unit is powered by a 9V battery housed in the microphone frame.  I found the battery door to be a bit clumsy in its construction and the ease of opening and closing the compartment door is not easy. The battery life is stated at 70 hours, which is more than sufficient for any field work.

The unit is mounted within a cradle with four shock/vibration control elastic bands. A second set of these bands is included in the packaging. There is sufficient clearance between the cradle and the mic so the likelihood of any bumps and interference during normal use.

The rear of the microphone has two three-position slider switches.  The upper switch positions are power Off, Mic On (flat response) and Mic On HPF (High Pass Filter set at 80Hz).  The second switch is a three-position attenuation control. -10dB, 0 and +20dB.  Above these switches is a LED that flashes red on power on and then turns to green.  When the battery is low the LED will turn to a solid red.The high Pass Filter is excellent at filtering room noise, environmental hum, and other low frequency ambient noise. Wind and pops are well handled by the foam encasing on the super cardioid.  The microphone’s attenuation control functions exceptional well.  In loud environments, street scenes with a lot of traffic noise the -10db and 0 db settings are ideal.  However in low sound level situations the +20db has the right amount of boost with absolutely no deterioration of sound quality.  The directional pattern is excellent and the mic eliminates side and read sounds very well.The +20db setting was not required when the microphone was connected to and external recorder.  Using 0db set on the mic and attenuating the signal on the recorder yielded the best results.The microphone is well packaged comes with a quick start guide However the manual must be downloaded from the website. The warranty is 1 year that will be extended to a 10 year warranty once you register. You must register your product on the Rode web site at www/rodemic.com.In conclusion, this is an excellent light-weight professional shotgun mice that I have no hesitation recommending for any DSLR videographer.You can get this mic at The Camera Company - click here and at Hunts Photo - click here

onOne Software Announces Availability of Perfect Photo Suite 8

PRESS RELEASE:New Perfect Eraser for Content-Aware Fill, Enhance and Browse Modules, Perfect Batch Processor, and Re-imagined Effects Module Evolve Popular Plug-In Into a Complete Photo Editing Solution for Every WorkflowPortland, OR – November 26, 2013 – onOne Software, Inc., a leading developer of innovative digital photography solutions, today announced the availability of Perfect Photo Suite 8—the Photographer’s Choice for Photo Editing. Perfect Photo Suite 8 is a full-featured, standalone photo editor that also integrates seamlessly with Adobe Photoshop, Lightroom, Photoshop Elements, and Apple Aperture. It includes all the best tools a photographer needs to create stunning images.Key new features include the Perfect Eraser, with content-aware fill technology; the Perfect Enhance module for essential photo adjustments; a new Browser that streamlines direct access to images wherever they are located; the Perfect Batch engine that applies presets to multiple images with a single click; and a re-engineered Perfect Effects module, with twice as many adjustable filters, customizable presets, and integrated FocalPoint technology. These new tools and capabilities alongside Perfect Photo Suite 8’s eight modules, one-click presets, tools for automated enhancements, and powerful controls allow photographers to enhance, retouch, and stylize images in a layered workflow, replace backgrounds, create high-quality enlargements, and prepare images for output—giving them the ability to express their creativity and transform their photos quickly and easily.“We are extremely excited about Perfect Photo Suite 8,” said Craig Keudell, president of onOne Software. “This version is the result of what photographers have been asking for, not only from us but from the industry as a whole. We’re grateful for the contributions and feedback the photography community has invested in our effort and we believe that we’ve created an extraordinarily powerful image editing tool that meets their specific needs in return.”After a successful public beta program for Perfect Photo Suite 8, many photographers had a chance to try out the new version and give their feedback. “The attention to your user’s needs is unmatched,” said Rebecca Lyyski, owner of Lyyski’s Designs. “As a graphic designer and photographer with an elevated workload, your product has made editing my professional photography a pleasure instead of a chore,” she adds. Greg Lambert, public beta user and onOne Software photo contest winner shared, “Perfect Photo Suite 8 continues to evolve by refining its existing capability, streamlining the interface and providing some new and exciting tools and presets to enable photographers to produce the images they visualize when they press the shutter button.”The New Perfect Photo Suite 8 Features:• Eight integrated modules – Effects, Enhance, B&W, Portrait, Mask, Layers, Resize, and Browse. Each module is designed to target a specific image-processing task. Together, they help photographers enhance, retouch, and stylize images in a layered workflow, replace backgrounds, create high-quality enlargements, and prepare images for use in various capacities.• New Module! Perfect Enhance provides essential tools for basic enhancements, such as brightness and contrast adjustments; colorcast, dust spot, and power line removal; and the addition of vignettes. It is an ideal module to start with when using Perfect Photo Suite 8 as a standalone application or when quick corrections are needed.• New Module! Browse provides convenient and direct access to image files wherever they are stored—whether they are on a computer, an external drive, a connected network, or on a cloud-based storage service like Dropbox, Google Drive, or Apple’s Photo Stream.• Reimagined! Perfect Effects – As a cornerstone of Perfect Photo Suite 8, the Effects module has been redesigned by adding adjustable filters and customizable presets, making it the most powerful and versatile image stylization tool available on the market today.• Twice as Many Adjustable Filters to create the most sought-after looks, including:• Dynamic Contrast – Adds stunning clarity to images and makes them pop by exaggerating the levels of contrast, without sacrificing highlight and shadow detail, creating halos, or affecting saturation.• Lens Blur – Includes the best parts of FocalPoint technology to create bokeh, tilt-shift, and selective focus effects after the shot.• HDR – Gives images the edgy look of high dynamic range. Settings are adjustable and create effects that range from subtle to surreal.• Vintage – Turns photos into a nostalgic memory with retro-style filters.• Powerful brushes provide the right results for specific editing tasks:• Perfect Eraser removes objects with content-aware fill technology• Retouch Brush uses spot healing to remove small distractions• Clone Brush removes unwanted items by replicating and covering specified areas of an image• Masking Brush reveals underlying layers or selectively applies effects• Perfect Brush delivers precise edge-detection masking• Hundreds of Customizable Presets are available throughout Perfect Photo Suite 8 that make it easy for any photographer to instantly create an image they love. Presets can also be used as starting points for creativity and efficiency. Presets are included in the Enhance, Effects, B&W, Portrait, and Resize modules.• Improved Masking Bug in the Effects and Layers modules make mask creation easier and more intuitive.• Perfect Batch engine simultaneously applies presets from multiple modules and a watermark to a selected group of images.

Availability and PricingThe new Perfect Photo Suite 8 is now available by clicking on the logo below

Perfect Photo Suite 8 is available in three editions: Premium, Standard, and for Adobe Lightroom & Apple Aperture.The Premium Edition works with Adobe Photoshop, Lightroom, Photoshop Elements, Apple Aperture, and as a standalone application. It is priced at $179.95. Owners of previous versions of Perfect Photo Suite Premium Edition can upgrade for $99.95. For a limited time, orders of Perfect Photo Suite 8 Premium Edition will include a special collection of Professional Presets and The Essential Video Guide to Perfect Photo Suite 8, which provides a comprehensive collection of getting started training videos for Perfect Photo Suite 8—for free ($80 value). This offer ends on December 3, 2013.Perfect Photo Suite 8 for Adobe Lightroom & Apple Aperture works with Lightroom, Aperture, Photoshop Elements, and as a standalone application. It is available for $129.95; upgrades are $79.95. The Standard Edition works as a complete standalone photo editor and is available for $79.95. For more information on Perfect Photo Suite 8, please visit http://www.ononesoftware.com. A 30-day Money Back Guarantee backs all onOne Software products.About onOne SoftwareonOne Software, Inc., is a leading developer of innovative software tools and apps for digital photography and offers time-saving software solutions for photographers of all levels, from enthusiasts to professionals. Leveraging its extensive history as successful plug-in developer for Adobe Photoshop, Photoshop Elements, Photoshop Lightroom, and Apple Aperture, and continued development of cutting-edge technology, onOne publishes unified solutions that offer both full-featured photo editing capabilities and the flexibility of traditional plug-ins. Founded in 2005, onOne Software is a privately held company located in Portland, Oregon. For additional information, visit www.ononesoftware.com.Press Contact: Amy Chan, onOne Software, achan@ononesoftware.com, 503-968-1468 x 137General Press Inquiries: press@ononesoftware.comOnline Press Center: www.ononesoftware.com/pressonOne Software Blog: www.ononesoftware.com/blogFacebook: www.facebook.com/onOneSoftwareTwitter: www.twitter.com/onOneSoftwareGoogle+: www.ononesoftware.com/plus©2013 onOne Software, Inc. All rights reserved. onOne Software, the onOne Software logo, and Focused on Photography are registered trademarks and Perfect Photo, Perfect Enhance, Perfect Effects, Perfect Eraser, Perfect Batch, and FocalPoint are trademarks in the United States and are the property of onOne Software. Adobe, Photoshop and Lightroom are registered trademarks of Adobe Systems, Inc. Apple and Aperture are registered trademarks of Apple Computer, Inc. All other trademarks are property of their respective owners.