There’s a rule in information technology that data that hasn’t been stored in three places is not backed up at all. Do you backup your photos and videos? Have you considered keeping a copy off-site? Don’t risk losing those once in a lifetime memories! Let’s talk about backup.
An in-depth look at wide-angle and ultra-wide angle lenses. Plus, learn how to choose the wide-angle lens that best suits your needs.
When I speak to many photographers and videophiles, one thing seems to irk everyone. It’s the secret code word, decoder ring mystery of what all the number babble on memory cards means and how to know which one to buy. Let’s cut through all the chaff and get to what this stuff actually means, and why you may or may not care. I will note the four most popular card formats, Secure Digital (SDXC), Compact Flash (Now v4), XQD, and CFast 2.0.
Videography is different than photography of course, but it doesn’t have to be hard! You may be surprised to find that the DSLR or Mirrorless Camera that you already own is more than capable of capturing high-quality video.
There remain a large number of photographers who remember the days of film, in fact, many of us still shoot film, and new photographers are also embracing film to get a sense of what the craft was like “way back when”. Film is certainly enormous fun, but for those who never shot film, you may be missing the magic of not being bound to ISO.
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.
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.
Photographers often have a love/hate relationship with flash. I love flash and use it a great deal. Others find it hard to use and avoid it like it was toxic. I cannot fix that for you here, but I can tell you about two new flashes, available exclusively at Henry’s that will do a great job for you, both on and off camera.
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