September 14th, 2010
Remember back when Chase Jarvis launched the Nikon D90 campaign? Well Nikon and Chase Jarvis have done it again with the new Nikon D7000 project. The first campaign they did was extremely successful and led the way for future campaigns by companies like Canon to do the same. I don’t doubt that this one will be just as successful if not more.
Nikon called up Chase Jarvis and said, “Chase-san. We have a new camera…” (I got a kick out of the “Chase-san” part the first go-around, and I’m definitely laughing about it again). They gave him cameras, the creative freedom and a budget to work with. Chase grabbed his friends and team and took to the road to make it happen. I’m especially blown away by the images that were produced from this shoot. Almost all of the images have a beautiful and tasteful sun flare which really makes me melt.
You can check out some images of the camera here, here and here. Below are a few of the D7000’s key specs for you camera geeks:
• 16.2 megapixels with new Nikon DX-format CMOS sensor (4,928 x 3,264 pixels)
• ISO sensitivity range from 100 to 6400 at normal setting; can be raised to ISO 25600
• Full HD (1080p) D-Movie
• H.264/mpeg-4 video compression
• Makes .mov files at 24fps in 1080 (30fps at 720HD)
• Movie has built in mono, but stereo sound recording capability with optional external mic via stereo mini jack
• 20 minute movie recording times
• High durability magnesium alloy body (dust and water resistant)
• 6 frames per second shooting
• 9, 21, 39 AF Point Selection
• Double SD card slots
• 12 or 14 bit color depth
• HDMI out display port
• Nikon Creative Lighting System (CLS) capabilities onboard
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September 7th, 2010
When HD-DSLR’s first entered the photography industry, I was super skeptical about whether or not photography and video should be combined into one camera. I for some reason has the notion in my head that it would dilute photography to add video. The truth of the matter is that the addition of video to dslr’s hasn’t harmed photography, it really has given people the opportunity to experiment. We all know that experimentation is really key for finding creativity.
Not only are these small videos being made (eg. National Geographic Adventure, Volcano Iceland, & The Cabbie), but there are actual big-budget shows that are being shot on 5D Mark II’s, 1D Mark IV’s and even 7D’s. Shows like House, 24, Daily shows, Tonight Show opener and even some BBC series were shot on various Canon HD-DSLR’s.
The cost of running these cameras is far cheaper than that of a Arri or RED. Either way, the resolution is more than enough to go around. Oh what I would give to have one of these 1D Mark IV setups along with a dolly or steadicam.
Images via on Redrock & DSLR News Shooter
July 13th, 2010
These photos are of friend Cody Stanton on a track in Idaho. Prior to shooting these and as much as I hate to admit it, I hadn’t been out with my camera shooting for nearly a month. I guess that’s what happens when you get stuck working on the computer. These were all taken on my Canon 1D Mark II with the 70-200mm L and 17-40mm L lenses.
When sifting through the 900 or so images I shot, I couldn’t bring myself to edit them heavily. I was really just feeling the raw power and how it was more engaging than some over processed business such as the over used and abused Dave Hill style. It felt good to get out and shoot more and it’s about that time of year when I should get my photo portfolio online and do some more shooting like in the Helly Hansen Annual.
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May 17th, 2010
Time lapse sequences have always amazed me, partly because of the difficulty in producing them, but also that it’s a dynamic showcase of what goes on around us that we don’t see. The photographer who shot this time lapse—Sean Stiegemeier—said about his video:
So I saw all of these mediocre pictures of that volcano in Iceland nobody can pronounce the name of, so I figured I should go and do better. But the flights to get over took forever as expected (somewhat). 4 days after leaving I finally made it, but the weather was terrible for another 4. Just before leaving it got pretty good for about a day and a half and this is what I managed to get.
Sean shot this on a Canon 5d Mk II on a motorized dolly. I’d be curious to see the dolly set up he used. Eventually I would like to get into shooting timelapses like this one. See more of his videos on his Vimeo.
March 31st, 2010
http://tuvok.wimp.com/videos43ll/5f0ee5046182567fb4ff7a516231e506_minute.flvSo you know those time lapse sequences on the ever-so-amazing Planet Earth and the new LIFE series? This video, from the new LIFE series on BBC, shows how they make those epic time lapses. I’m still in awe every time I watch this video. The amount of room for error is huge here, yet they nail it perfectly. Ninety-five layers deep in what looked to be After Effects most certainly was difficult to work with.
The rigging that the crew used is also very cool. You can see in the video that they are shooting Nikon and using a large gliding dolly combined with an arm/crane to help with the fluid movement. They used a similar motion control setup when shooting the autumn mountain landscape, Japanese cherry blossoms in bloom and a sand storm in the Sahara (see them all here) the more well known of Planet Earth’s time lapses.
Video sourced from Wimp
March 29th, 2010
The latest and greatest new iPhone app capturing attention is Hipstamatic. The name is a little corny (apparently the real Hipstamatic was a toy camera back in the 80’s), but the app is nowhere near it. Hipstamatic brings with it a sleek interface and unpredictability, combined with a cross-processed and traditional film looks to each photo you take.
The first thing you notice when opening up this application is that the interface is built around the design of the traditional Holga. I think this is very cool and pretty nicely done compared to other photo apps. On top of the design, the ease of use is great. To change lenses, flashes or film, it just takes the swipe of the finger. Purchasing more of the features is very simple as well, but I guess what app isn’t?
The best part about Hipstamatic is that it’s somewhat unpredictable. Especially when you forget how each lens, film, and flash affect the photo. At first I was surprised at how quickly it processed each photo and then saved it. I came to find out that it was because the photos that it was processing were only 480px or so wide and not the full resolution. There is a feature in the settings that can be turned on to “print” larger, but when turning this on the “developing” time is substantially longer. I was also pleasantly surprised at how closely–in some cases–this app mimicked cross-processed film. Of course it still has some work to do to even get close to cross-processed film.
So far I really haven’t had any issues with Hipstamatic to speak of besides enlarging the viewfinder window. I also noticed that my lens/flash/film combination kept on resetting when the app quit on me, two minor issues to a great iPhone application. Overall it’s worth your dollar ninety-nine, two thumbs up to the creator of Hipstamatic.
Continue reading to see more screen shot images of the interface. You can also see the photos I took for my review of Hipstamatic in part 2 here.
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January 25th, 2010
Both of the above videos were shot on Canon’s newest DSLR, the 1d Mark IV. The videos look incredible, but what is absolutely jaw-dropping about the first video, Nocturne by Vincent Laforet, is that it was shot at ISO 6400 for nearly the whole video–some of the scenes were shot at ISO 3200 but all scenes used natural light sources.
The quality coming from the new 1d Mark IV is stunning. Prior to the 5d Mark II and Nikon D90 I was not super thrilled about video on DSLR’s. The main reason was that I didn’t see its potential. Now that these video capabilities are so well refined, I’d love to get ahold of a new DSLR. Just one more thing to add to this years wish list.