Lume Cube Review
The makers of Lume Cube have a new smaller and less powerful but a highly efficient light designed for phone photography called the Life Lite. This is a smart, Bluetooth controlled, pocket-sized Lifestyle Light for iPhone, Android, DSLR or a GoPro. The Life Light will be available in March.This gadget review however, is of the original Lume Cube and the cheaper version that does not have any bluetooth connectivity. Both are identical in performance and while you can controll one with a smart phone the lite version is all manual. I have been using the Lume Cube for many months and have been most satisfied with its performance and portability. I have used these lights for macro, video and portraiture and love the results they have helped produce.Specs:
- Type LED
- Output Variable: 0 to 1500 Lumens
- Strobe: Variable 1/8000 to 1 second
- Mount Type: 1/4"-20 female
- Power Source: Integrated battery
- Battery Duration: 100% Brightness: 20 minutes; 90% Brightness: 60 minutes; 50% Brightness: 120 minutes
- Power Connector: USB (for charging)
- Waterproof Depth: 100' / 30.5 m
- Dimensions: 1.5 x 1.5 x 1.5"
CLICK HERE TO ORDERThe Lume Cube comes in a small cube shaped cardboard box that contains the Lume Cube and a USB charging cable.You do need to unscrew a small cover to access the charging port. This access cover is a requirement as the Lume Cube is rated to be waterproof to depth of 100 feet.Shaped as a cube, the unit has two rubberized push button switches on the top and a 1/4 20 mount that can be used to mount the light on a light stand, tripod or any flexible light mounting device.The two push buttons control the video light and the alternate flash function of the device. Each time you depress the on/off video switch the light cycles through 10 levels of intensity.
You can also control the Lume Cube using the mobile app. Lume Cube has simplified its lighting controls with a proprietary wireless, Bluetooth-enabled app, available on both Apple iOS and Android. The app is capable of controlling up to 5 Lume Cubes simultaneously. The app allows you to adjust the brightness, flash duration and red eye latency on each Lume Cube independently; and with its onboard optical sensor, Lume Cube can be configured as a slave flash unit to be fired by any other external flash.You have to register your Lume Cube to sync it to your app once registered you can control all your Lume Cube’s power and settings separately.Lume Cube Setup and test for portraitsTo test the Lume Cubes I fitted two Lume Cubes on two separate light stands. The “Main” Lume Cube was place so as to create Rembrandt lighting on the dummy head. The second was place to create a gentle fill. As you can see from the image below, the Lume Cube, due mainly to its size creates a fairly hard light. The settings were ISO 200, f/1.7 at 1/125 sec. using a Panasonic Lumix GX85 body and a Lumix 42.5mm f/1.7 lens wide open. The light emitted is cool and for this test I used an X-Rite Color Checker Passport to balance the temperature.
The second test was conducted with the same placement of the lights but instead of the Lume Cubes facing the dummy head directly the light was bounced off two Rogue Flash Benders. No Diffusion material was used.As you can see the light was much softer and way more pleasing in the image below. The settings were ISO 640, F/1.7 at 1/80 sec. Clearly there is about 3 stops of light loss when using the Flash Benders. However, the soft light is excellent for portraiture.
Lume Cube for Macro/Close-up PhotographyThe Lume Cube produces a really hard light as it is a very small light, but also a very powerful one. The Lume Cubes were about 1.5 inches from the subject. Exposure triad: F/4, 1/800 sec., ISO 640. The lens was a 30mm macro with an extension tube. Camera: Panasonic Lumix GX85.The following is the setup:
The image shown below is a 45 image stack using the GX85's focus bracketing feature.
The portability of these little powerhouses has me convinced, and I tend to carry two in my bag at all times.CLICK HERE TO ORDER
Aquatic Birds of Florida
Before I say anything, I want to make it perfectly clear that I am not a videographer. I captured these clips while I was in Florida during the Space Coast Birding and Wildlife Festival, late January 2017. All these were captured during my photo walks/drives in Black Point Wildlife Drive in Merritt Island. The primary purpose was to tryout the "In Body Image Stabilization" aka IBIS of the Panasonic Lumix G85 camera body. The camera was used with the Leica 100 - 400 mm lens at its full extension that is an equivalent of 800 mm (most of the time). All footage was captured hand-held and in many instances during high winds and rain. It is important to note, that all the footage was captured before Panasonic released two major firmware updates, one of the camera and the other for the lens. What this means is that the Dual IS function was not in effect when these videos were captured. I was very impressed with the performance of this camera and lens combination and will be doing a comparison to see the impact of the new firmware when I am at the next conference in St. Augustine in April.To see the video in 4K please CLICK HERE to be directed to YouTube [video type="youtube" id="i1exFCyhtGU" width="600"]Default Message[/video]
Loving Lumix and IR
Another IR image from my recent Tetons trip. This is Oxbow Bend captured early morning. Mt. Moran and the clouds teases us for hours without a once showing its peak. This was about the best once could get.
The Grand Tetons and Mt. Moran
Just back after a truly wonderful trip to Yellowstone and The Grand Tetons.This is a panorama captured at sunrise yesterday October 8, 2016, just a few hours before heading to the airport to return home.Please do click on the image for a lager rendition. In its native state the image is 153 inches wide at 240 ppi.
Iceland Sept 2016 - IR was fun
On a whim I took my IR converted Panasonic Lumix G7 to Iceland. Knowing fully well that a lack of deciduous trees could yield not so great IR images but wanted to try it out anyway. Here are a few from various locations. All images were processed using Capture One 9.2 and then converted to Monochrome using Silver Efex Pro.
Whales - Cape Cod
We had an exceptional whale watch on July 23rd. Having been on many whale watches, this was my first time experiencing Humpback Whales bubble feeding. This method of feeding behavior is when the whales blow clouds or rings of bubbles around a school of fish. The bubbles then rise around the fish which are trapped inside the column of rising bubbles while the whales rise up with their mouths open and trap the fish using baleen as the filtering mechanism. “Bubble feeding” is unique to the Humpback whales.
We were also fortunate to watch a fairly recent feeding method that has been adopted by the Humpback Whales - "Kick feeding" where the whale pounds the surface of the water with its tail before diving and blowing a bubble ring. It is believed that the tail pounding stuns the fish and makes them easier to catch.All Monica's images were captured using a Panasonic Lumix GX8 and the Lumix 35 - 100 mm f/2.8 lens
Cape Cod Sky - 10 minutes apart
Join us in October for a grand weekend and photo workshop in Cape Cod - CLICK HERE for details
The Joy of Mirrorless and IR
Typical cameras are designed to capture the visible spectrum. Geting your camera converted to capture IR opens up another world of photography.Keep in mind that IR wavelength is longer than the wavelength range of the visible spectrum and thereby focuses differently. When you convert a DSLR you are limited to certain focus adjustments that must be made so as to achieve the best quality of images with sharp focus. As lenses with different focal lengths behave differently you need to select one lens and have the camera sensor calibrated to achieve sharp focus with that lens. Any other lenses will not be in a position to achieve good focus. Live view can help but it is not the best option.Mirrorless cameras on the other hand rely on the imaging sensor for focus attainment and metering they are able to discern the IR focus shift in real time and adjust accordingly. This feature allows you to use any lens, prime or zoom and capture sharp IR images.In my opinion a mirrorless cameras with no in body image stabilization is a better choice for conversion.Lifepixel is who I use and their service and conversions are exceptional. Click on the icon to get started.
Use the coupon code shivverma50 to get $50 Off with a Priority Processing Upgrade - this coupon code expires on August 6, 2016
July 2, 2016 Fireworks in Boston
Panasonic GX85 with the Leica 100 - 400mm lens
I received my GX85 a few days ago but yesterday was the first opportunity to try it out. The GX85 with the Leica 100-400 is a superb combination. Both these images are considerable crops. There are two recently fledged Downy Woodpeckers, a male and a female who frequent the back yard. I am most impressed with the detail from the GX85 (no anti-aliassing filter) and excellent image stabilization.
You don't need big bucks
Recently, I watched a high-end photo shoot demonstration where multiple Broncolor studio lights and power-packs were used to photograph a bottle of single malt Scotch Whisky. At least four Broncolor Strobes with Broncolor Strip boxes and focusing light modifiers were used to capture the image. It was an excellent demonstration and the results were great. Well here is my version:
Westcott was kind enough to provide me with a set of Rapid Box Strip lights that I decided would have to do the job.Each Rapid Box Strip was mounted on a light stand and a Nissin DI866 flash head triggered by a Yongnuo wireless trigger was used as the light source. A third Nissin i40 flash also triggered by a Yongnuo trigger was used as the light for the label on the bottle. A Rogue Flashbender was formed into a snoot to concentrate the light and prevent any spill.The camera was a Panasonic Lumix GX8 with the Lumix 35 - 100mm f/2.8 lens. A Yongnuo mounted on the hot-shoe was used to trigger the lights. Exposure triad: f/7.1, 1/100 sec, ISO 200. Lens focused at 42mm.Here is a behind the scenes image.
Hasselblad X1D
Hasselblad introduces a rangefinder sized Medium Format mirrorless camera and a new set of lenses too. This is not a rebranded Sony for sure. Details and specs can be found on their website but of significance is the dual card slots - a first for mirrorless cameras. Time for Panasonic, Sony, Olympus and Fuji to seriously consider dual card slots.Canon, Nikon - now what?
A US Navy DC3 Cargo Wreck
On Sólheimasandur a black sand beach in Iceland lies the remains of a Douglas Super DC-3 cargo plane that crashed here in 1973. The cargo aircraft was abandoned and is now a tourist attraction. Though not easy to get to, it is a great photo opportunity. It tail section, wings and engines are all gone and its interior stripped.The wreck is most photographed from the side you first see it when approaching the beach but on this evening on August 14, last year the dramatic clouds made an exceptional backdrop for the opposite side of the plane.I am so looking forward to going back this September for another great workshop.
Review of the Platypod Pro Max
A while back I had done a review of the exceptionally versatile and compact Platypod Pro® Deluxe Kit. Now the makers have introduced a follow-up to the Platypod Pro called the Max.Much planning, engineering and fine machining go in to making the Platypod Pro® Max. The Max’s initial form is stamped out of a 5mm thick sheet of aircraft grade aluminum maintaining absolute flatness. Using Computer Aided Manufacturing (CAM), the plate is computer machine precision drilled for all holes and slots. Edges are round-routed and holes either threaded or chamfered to avoid any sharp edges. Key holes slots for attaching the spike screw box are drilled only partway through the plate with very low tolerances to allow easy but firm attachment. These last holes are invisible from underneath the plate.
I have been informed by the manufacturer that the machining quality and workmanship on the Max is so meticulous that despite computer aided manufacturing the factory can only produce 1500 every 25 days!Like the original Platypod Pro the Platypod Pro Max is a sturdy flat mini tripod ideal for low-angle shots and situations where traditional tripods are cumbersome or impractical. It is however, significantly larger, has four spikes/reversible rubber feet rather than three, a belt loop, a single 3/8 inch 16 ball head mounting screw and a 1/4 inch 20 removable stud to mount accessories.
Here is an image captured with the Max set up on top of the stone wall at Tunnel View - Yosemite NP.
Unlike its smaller brother the Max supports ball heads of any size and is rated to support 300 pounds. A 3/8 inch 16 threaded screw hole allows you to mount the Max directly to your tripod as and when needed. Made of aircraft grade aluminum anodized black with beautiful self-explanatory laser etchings, the Max comes in a red microfiber drawstring pouch.
If you already own a Platypod Pro the Max does not replace it, rather it compliments it where situations demand a larger base or when you need to physically move your low lying camera rig across the sand or grass when photographing wildlife.Specifications:
- Base - 6061 black anodized aircraft-grade aluminum. 5 mm thick. 5.25 x 7.75” (5-year warranty—Full replacement of parts for any defect in workmanship.)
- Fiberglass-reinforced nylon removable "bayonet style" storage box mounted onto plate to hold four 1/4-20 spikes, 2 inches long, with heavy-duty rubber feet and locking nuts. Small magnets keep spikes in place for storage.
- Five 1/4-20 threaded holes strategically placed to allow use of spike feet in configurations of one, two, three, or four at a time.
- Two 2-inch belt slots to secure to any cylindrical object or to tape onto floors for remote camera setups.
- 1/4-20 and 3/8-16 accessory threaded holes for attachment to tripods or quick-release devices under the unit.
- 3/8-16 TA2 titanium photographic bolt drilled and countersunk through the plate and welded in place for large tripod ball heads, such as the RRS-BH55, even with spike-feet in place.
- Two non-threaded holes for permanent or semi-permanent mounting to floors, walls, ceilings or panels.
- Weight: 13 ounces, including spikes and storage box.
At approximately 5 x 8 inches it is about the size of an iPad Mini and fits well in any camera case that has a slot or pouch designed to hold a laptop or an iPad. As an option you can use either slot or one of the non-threaded holes and a carabiner to hang the Max from your belt or a loop on your backpack.
As compared to the original Platypod Pro, Max’s larger footprint means more stability. Like the Pro, Max is made of aircraft-grade aluminum with an embedded 3/8-inch titanium bolt. However, it does come with a few features, including a pair of slots that can secure Max via a bungee cord, zip-ties or even your belt to freestanding objects and structures. In the center are 1/4- and 3/8-inch holes to attach Max to quick-release devices, such as the Peak Design Capture Clip, or directly onto a tripod center column. A very convenient 1/4 - 1/4-inch male cross-nut allows attachment of flexible arms, speed-lights and numerous accessories. Here I used a Novoflex Flex Arm and a Lume Cube LED to light the crystal. The camera is a Panasonic GH4 with a 30mm Lumix macro lens. A second 1/4 - 1/4 and a second Flex Arm would be ideal for cross lighting a macro subject.The Max‘s larger base allows use of most any ball head. The RRS B55 is the largest ball head I own and I had no problem attaching it to the Max and all the knobs have adequate clearance. As I no longer use large DSLR’s all my tests were done with Sony and Panasonic mirrorless bodies. Using the Max with an A7RII and the 70 – 200 mm f/4.0 lens was a breeze. I also mounted a Panasonic GH4 with the new Leica 100-400 using a Wimberly SideKick for quick reaction time and maneuverability. When using the Sidekick it is imperative that you remove the holder for the spikes with a simple twist and place the cross-nut in one of the corner positions, out-of-the-way. This gives the sidekick the clearance for 360 degree rotation. The Max supported this rig very well.
With the Platypod Pro you had to be careful mounting heavier gear. It was best to ensure the center of gravity was as close to the center of the Platypod Pro mounted ball-head. With the Max, this is a less of an issue. With a medium or large ball head the Max will comfortably support most DSLRs and mirrorless cameras fitted with normal to long telephoto lenses. A super telephoto lens properly mounted on a good ball head works well too. Here as in the image below I tested it using the RRS BH55 and the Wimberley Sidekick with a Canon 500 mm f/4.0 lens attached to a Sony A7R II using a Metabones IV adaptor.
Similar to the Platypod the Max is ideal great for ground level photography and videography, a mount for action cameras and for creating panoramas. When creating panoramas use a pan/tilt ball head like the Unique as shown below or attach a leveling base (see following image) below the ball head as shown in an image above where the RSS BH55 is mounted on top of the Acratech 1170 leveling base. As the Max is made of a relatively thin aluminum plate it would be difficult to have a built-in level. A third-party bubble level can be adhered to the max or simply place on it to level the Max. When it is necessary to level the Max it is best to use three of the four spikes or rubber ends. Four legs are great for stability but not so for leveling. The Max is best used without spikes or feet when you want to have the flexibility of sliding it in any direction on flat surfaces, sand or grass. When friction is important then the spikes are the best option. In the reverse orientation the rubber caps not only provide friction preventing the base from sliding around but also prevent damage to furniture, painted surfaces, etc.
For surfaces like asphalt, rocks and brick the spikes are your best choice for stability. To attach the base plate to a fence post, rail or tree limb, a pair of bungee cords, straps or your belt work great. All you need is to secure the cord around your object and hook the ends into the slots or holes in the base plate. Belts and straps can be passed through the slots on each side of the Max to secure it to any post, tree trunk or similar object.The Max with its little brother the Platypod Pro have a permanent home in my photography kit. I find I am using these support systems more than using my tripods.More on the Platypod products and their web siteAll company names, products and devices mentioned in this review are trademarks of the respective companies, registered in the U.S. and other countries.
PANASONIC LUMIX G LEICA DG SUMMILUX 12mm, F1.4 ASPH Lens announced
Following up with the release of the exceptional Leica 100 - 400 mm nature and wildlife photographers' dream lens, Panasonic has announced a new Leica 12mm (24 mm equivalent on MFT bodies) f/1.4 weather sealed wide-angle prime lens. Suitable for great landscapes and with this f/1.4 speed it will be ideal for astro photography. This will be Panasonic's widest non-fish eye prime lens in the MFT lineup. Hope to have one in my kit for my Iceland workshop in September.It will be available later this summer for $1300 (rounded).Here is the press release:NEWARK, NJ (July 1, 2016) – Panasonic unveiled a new LEICA DG SUMMILUX 12mm/F1.4 ASPH. (35 mm camera equivalent: 24 mm) digital interchangeable lens for Digital Single Lens Mirrorless camera based on the Micro Four Thirds standard. The new 12mm wide-angle lens enables photographers to capture beautiful group, event, and nature photography. It also allows indoor shooting in low lighting and produces an impressive, natural defocusing effect with its F1.4 aperture. In addition, the LEICA DG SUMMILUX 12mm/F1.4 ASPH. boasts a rugged, splash/dust-proof design (when combined with splash and dustproof LUMIX G Mirrorless camera models) to meet the needs of a wide-range of photographic situations.Integrating two aspherical lenses, two UED (Ultra Extra-Low Dispersion) lenses and an ED (Extra-Low Dispersion) lens, the lens system is comprised of 15 elements in 12 groups. The adoption of five special lenses makes it possible to meet the stringent LEICA standard for exceptional image quality with high resolution and minimum distortion. In general, flare is commonly seen around the periphery of a point source with many high-speed lenses when a large aperture is employed. However, the new LEICA DG SUMMILUX 12mm/F1.4 ASPH. achieves high resolution from the center of the image to the corners by suppressing this flare. Users can take advantage of this lens to shoot a brilliant night skies or night scenes containing illumination to capture true-to-life images with minimal blurring and distortion at the edges. The multi-coated lens elements also minimize ghosting and flaring.Incorporating an inner focus drive system and a stepping motor, the new LEICA DG SUMMILUX 12mm/F1.4 ASPH. is capable of smooth, silent operation together with the camera’s high-speed, high-precision contrast AF system for both photo and video recording. It is also compatible with the sensor drive at a maximum of 240 fps to take full advantage of cameras with high-speed AF. This stunning AF performance is excellent for recording 4K videos, where precise focusing is essential.The LEICA DG SUMMILUX 12mm/F1.4 ASPH. comes with an aperture ring for direct, intuitive aperture control. Nine blades give the aperture a rounded shape that produces an attractively smooth effect in out-of-focus areas when shooting at larger aperture settings. A highly reliable metal mount assures durability for repeated use. The lens mount, the barrel and the hood are all made of metal to provide a sleek, sophisticated design that matches the entire line-up of LUMIX G Digital Single Lens Mirrorless (DSLM) cameras.Specifications:
| Focal length | 12 mm |
| Maximum aperture | F1.4 |
| Minimum aperture | F16 |
| Aperture ring | Yes |
| Number of diaphragm blades | 9 |
| Elements | 15 |
| Groups | 12 |
| Special elements / coatings | 2 aspherical lenses, 1 ED lens, 2 UED lenses |
| Minimum focus | 0.20 m (7.87″) |
| Maximum magnification | 0.1× |
| Autofocus | Yes |
| Motor type | Stepper motor |
| Weight | 335 g (0.74 lb) |
| Diameter | 70 mm (2.76″) |
| Length | 70 mm (2.76″) |
| Filter thread | 62.0 mm |
| Hood | Yes |
View from the Merced
Although May is a great time of the year for exceptional waterfalls it is not the best time for sunsets. The angle of the light at sunset just does not hit Half Dome rights from the iconic locations such as Glacier Point and Washburn Point. Similarly Tunnel view sunsets are weak compared to later in the year. This is one of two evenings where the light on El Capitan made it worth photographing. (Photographed May 2016 during my Yosemite & Monolake workshop.)
Beaches of Martha's Vineyard
Here are another three images from my Martha's Vineyard workshop last weekend. The image above and the next were captured on the beach at Aquinnah just below Gay Head Cliffs. The last image was captured on the last evening at Menemsha. Menemsha is famous for exceptional sunsets but this was a overcast and stormy evening with no hope of a sunset. Stormy yet so serene. 
Lucy Vincent Beach - Martha's Vineyard
Concluded a great photo workshop in Martha's Vineyard yesterday. A great group of photographers, and some great locations on the island. Inclement weather did not prevent us from photographing the opportunities that were presented. This image is one of my favorites where the last rays of the sun just kissed the rock on the shore at Lucy Vincent Beach. We stayed on to do some light painting and astro photography before winding up for the night. (More images to follow)
Zeiss Batis 2.8/18 Lens for Sony E-Mount Announced
The ZEISS Batis 2.8/18 expands the Batis range of lenses with a super wide-angle lens. For the Sony α system with E-mount the new lens, which features a diagonal angular field of 99 degrees, is currently the shortest full-frame fixed focal length with autofocus. The new ZEISS Batis 2.8/18 with innovative OLED display to show focus distance and depth of field is also impressive thanks to its high image quality across the entire image field. The lens will be available from May 2016.
Day after New Moon
On a whim I set up the Swarovski scope to its lowest magnification at 30X. The camera was the Panasonic Lumix GH4 set at ISO 1600, and 1/60 sec shutter. The image when clicked on is the full frame from the camera 4680 X 3072 pixels. The adjustments made to the raw file are: highlight recovery of -29, white balance adjusted to 5700 Kelvin (to taste), noise reduction using Topaz Denoise version 6. A a touch of contrast and clarity to finish. All this in the hope the weather stays good and I can get a few images of Jupiter this weekend. I did not use a remote shutter release but will for the Jupiter images.