Wednesday, July 21, 2010

The ABCs of HD Video on Your DSLR Camera


What a difference a decade makes!

In the last ten years, we’ve seen a mass exodus of photographers leaving film cameras for the many benefits digital technology has provided. The industry continues to progress, offering us a dizzying array of new features, accessories and ways of better leveraging the equipment we currently own. One of the most significant advancements is the ability to have a DSLR camera capable of shooting high quality video in low light conditions. This advancement opens doors in a variety of personal and professional applications.

To illustrate just how far we’ve come, the recent season finale of the television show House was shot entirely using the Canon 5D Mark II! The show’s director Greg Yaitanes states that he believes this is ‘the future,’ and we’re inclined to agree.

If you’re considering a new DSLR camera, here are a few reasons why you might consider getting one that has HD Video Capability:

Combination Convenience: Many people find they need to carry both a still camera and a video camera when they travel for vacation, special events or even attending simple functions such as a birthday party or anniversary bash. Having this combination allows us to consolidate the amount of equipment we need to care for and carry, and this benefit alone warrants serious consideration.

Depth of Field Benefits: Today’s DSLR cameras have an advantage over many of today’s current video cameras in that DSLR lenses have a greater DOF (depth of field) control than comparable video camera lenses. This is particularly beneficial for those instances where the photographer needs to convey a certain sense of distance or expansive space. Professionally shot films leverage a shallow depth of field, making the foreground sharp while keeping the background blurred. The HD DSLR cameras currently available provide greater flexibility and control over the DOF due to the ability to change lenses for different scenarios.

Using What You Already Own: One of the wonderful benefits of DSLR cameras is the ability to use lenses you already own on a new model DSLR body. If you’re considering a new HD DSLR camera, you may very well be able to use your existing lenses, which will allow you to further expand your options when experimenting with video.

More Potential Work for Working Photographers: Whether you make a part-time or full-time living as a professional photographer, the ability to shoot HD video opens countless new doors for you and your clients. Wedding photographers can now incorporate video clips of key moments in the ceremony and reception, commercial photographers can now assist with web-based promotion videos and related content, and school photographers can offer videos for schools looking to promote special events or looking for community support for fundraisers.

It’s important to note that learning to shoot high-quality video will take some time and experimentation—and learning to edit video is an additional skill you will need to study-- but it has never been a better time to consider this exciting new frontier. The technology that exists today would have cost tens of thousands of dollars just a few years ago. If you’re looking for a new way to expand your client offerings, this may be the perfect fit for you.

Aquatic Photography, Part II: Basics of Shooting Underwater

For many photographers, exploring what’s beneath the sea is a natural progression in a desire to expand their skills and experiment with new subjects. It’s important to understand what kind of aquatic photography is appealing to you so that the proper training is completed in advance. For example, there will be different challenges in shooting at 60 feet versus shooting just a few feet below the surface. The following advice refers to underwater photography while scuba-diving (as opposed to snorkeling). Here are a few basic considerations and concepts to help you get started in aquatic photography once you’ve received your scuba certification:

Neutral Buoyancy is Best: There’s never been a better time to be neutrally buoyant than when you’re trying to capture that ideal underwater moment. It’s best to hover without using your fins because, if you’re negatively buoyant, you’ll end up kicking up sand and related debris. Neutral buoyancy will also help you get closer to those shy fish and other nervous sea life. A calm diver in control is far more likely to experience success than one who is constantly adjusting and moving about.

Use Strobes to Compensate for Color Loss: As you dive deeper into the water, the sunlight wavelengths of red, orange, and yellow are the first to disappear, rendering images with a cool, flat appearance. In order to compensate for color loss, photographers find a flash or strobe critical to bringing back rich hues and textures in their images.

Get Close Whenever Possible: When it comes to shooting underwater subjects, fill the frame whenever possible. Shooting close and wide will allow you to capture your subject in a more intimate manner and having less water between the subject and camera. Many professional photographers recommend no more than three feet of water between the subject and the lens. This technique will also help your colors remain more vivid and textures more defined.

Patience over the Chase: Patience is a necessity when it comes to doing anything underwater, and it’s even more critical when you’re on the hunt for close-up shots of clownfish. Many novice photographers make the mistake of chasing after fish in an effort to grab a shot before returning to the surface. This method is highly ineffective as the fish are always faster. Patiently waiting for sea life to return may be a challenge but it is the best way to get the image you’ve imagined. There’s a difference between swimming towards a shot and hunting down your subject.

You’ll also need to make sure your dive buddy understands and is willing to be patient as well; the last thing you need is a frustrated dive partner swimming about and kicking up sand when you’re in the mode to wait it out for the shot. Make sure you’re on the same page when working on your initial dive plan so there are no misunderstandings.

Know Your Controls: Experienced divers realize that many of their actions must be instinctive as visibility is limited; they must be able to complete several tasks intuitively. This concept also extends to your camera controls. Make sure that you know where key controls are without having to hunt and double-check as you may end up missing a shot when fiddling with your camera. When shooting underwater, you’ll only need to adjust focus, exposure and your strobe settings. Don’t worry about anything else as you’ll also be managing maintaining neutral buoyancy and composing your shot. Everything else is just a distraction at this point.

If there’s one thing that is similar with both land and aquatic photography, it’s the importance of mastering the basics. You’ll find that your aquatic photography skills improve quickly if you’ve paid ample attention to your foundation.

Straps for Safety: Your camera strap is the first line of defense between your expensive gear and the pavement. Make sure your current strap is in good order and free from fraying and malfunction. We’ve got several high quality straps to help your camera stay secure and in your control.

Keeping it All Together: Professional photographers know that the ability to keep all their gear together and quickly accessible is critical to executing a successful event. One of the most useful tools for working photographers is also one of the most overlooked—the photojournalist vest. The PROMASTER Photographers Shooting Vest has 21 pockets, ranging in size from pen-sized to oversize. The vented back and mesh liner allow free movement of air around the body. The snap epaulets will keep your camera, binoculars, or tote bag straps on your shoulder. The vest includes a heavy-duty zipper that will close the entire front or any portion you wish. It also has a single snap closure for the front and two snap adjustments for the sides. And, our PROMASTER Photographers Shooting Vest is built oversized to accommodate fully-filled pockets.

What is Fast Glass? You may hear photographers tossing around the term ‘fast glass’ but aren’t sure what it means. The term ‘fast’ refers to a wider aperture, which lets in more light and because less light is needed, the shutter doesn’t need to be open as long.

WANTED!!!!


WANTED
Jeff Masure


Description: Usually Wears a Smile

CAUTION: Heavily Armed With Kindness…This Could Be Contagious!

PRIOR CONVICTION: Thoughtfulness and Generosity



Please Help Me!!! I have been arrested and will be put in jail for the Muscular Dystrophy Association (MDA) Lock-up. Don’t even bother asking what crime I have committed – it’s not really that important. I just have to raise my bail of $3,280 before the Lock-Up and they will go easy on me, but I need your financial assistance to post my bond. Please lend your support during the:
2010 Fort Worth Telethon Executive Lock-Up

Your 100% tax-deductible donation will help MDA continue research into the cause and the possible cure of the 43 neuromuscular diseases they cover. Your support of the MDA Lock-Up will also help MDA provide medical equipment, clinic visits, support groups and a magical week of MDA Summer Camp for the families served by the Association in our local area.

Sunday, July 18, 2010

Rental

Please note our Rental Policy has change:


  • Weekend rate starts at 4:00 p.m. on Friday and ends the following Monday at 11:00 a.m.

  • Pick-ups any time between 2:00 p.m. and 4:00 p.m. will be charged an additional half-day fee.

  • Any items picked up before 2:00 p.m. will be charge an additional full day.

TERMS AND CONDITIONS

FWC provides rental equipment as a service to the commercial photographic mark. It is assumed that the renter is proficient in the methods of photography, and lighting. Rental DO NOT includes training on equipment use or technique. Day rates are based on 24 hours. Weekend rates are billed at one-day rate when picked up between 4pm-6pm on Friday and returned by 11am Monday. For a full week rental you pay for a 4-day fee. A security deposit is required on all rentals. Insurance is the sole responsibility of the renter, and required. FWC inspects all equipment for damage upon return. Any damage or missing parts is the responsibility of the renter, and will be charged accordingly. For complete rental policy requirements, please ask for a copy. Rentals more than 4 days late with out notice, will be charged to the renter for the full price of the item(s) rented. A valid DL and Credit Card NOT Debit Card is required for all rentals. If you do not see something you may need, please call.

Our Supply of equipment available for rental is limited. We advise you to call and make your reservations today!



CAMERA BODIES




CANON


NIKON




LENSES




CANON FIXED FOCAL LENGTHS

CANON ZOOMS
NIKON FIXED FOCAL LENGTHS

NIKON ZOOMS



FLASHES AND EXTERNAL BATTERIES


TRIPODS


  • Bogen Tripod and Head . . . . . . . . . . . . . . . . . . . . . . .$15

  • Bogen Monopod . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$5


LIGHTING



  • Elinchrome 400BX Set . . . . . . . . . . . . . . . . . . . . . . . . $50

  • PocketWizard Plus II Transceiver Set . . . . . . . . . . . . . .$15

STUDIO ACCESSORIES

  • 25lb Sand Bag . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $5

  • 15lb Sand Bag. . . . . . . . . . . . . . . . . . . . . . . . . . . . . $5

  • 42in 5 in 1 Reflector Set . . . . . . . . . . . . . . . . . . . . . . $5

  • Background Stand Set (stands & Crossbar) . . . . . . . . . $15

  • 10x24 ft Backgrounds (Various Colors) . . . . . . . $25

DIGITAL PROJECTORS AND SCREENS



  • LCD Projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .$100

  • 70x70 Dalite Projector Screen . . . . . . . .Free with Projector