You’ve possibly heard what I call the JPEG Death March. If you shoot JPEG, you give up all control. If you shoot JPEG you cannot make real changes to your images. If you shoot JPEG, the world will end! Okay, maybe not the last one, but you get the point. None of these or similar statements are true. To understand where JPEG fits, let’s take a look at what JPEG was built for and what it really is today.

With the holiday season approaching, many photographers are hoping for the gift of a reliable tripod that they will actually use. I wanted to share my learning about the new Cameron CF700BH tripod with this in mind. A tripod that goes unused is worthless. After over forty years as a photographer, and nearly ten years as a photographic educator, I’ve learned that photographers avoid using a tripod for three reasons.

It’s a fact that the closer you are to your sound source you intend to record, the better the audio and less editing you’ll have to do down the road. This chapter outlines some techniques and tips on using boom mics to do such a task. The length of the boompole is generally dependent on the type of production. Poles for commercial projects like TV, commercials or feature films typically range from 12 to 15 feet. Documentary-style projects like you see on reality TV and the news typically range from 5 to 8 feet.

Cameron HSS240 TTL Flash Triggers

Shortly after we get our first speed light style flash, we realize that photos made with the flash mounted on the camera can look flat and harsh. So we want to get the flash off the camera. Fortunately many OEMs build some type of remote control capability into some of their cameras, but sadly not into all of them. This type of remote control uses the pop-up flash to communicate to the remotes via Infrared signalling. When it works, it’s awesome, but as this mode requires a direct line of sight between the camera and the other flashes, there’s an element of chance of failure.