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on Sep 26, 2016 in Just Out!

MC24-EL … Great Sound is Everything!

The video really says it all, well sounds it all but here’s some additional trivia. First and foremost, I love the Senal MC24-EL Shotgun mic! This heavy duty, beautifully sensitive, full sound mic is serious sound. What I have is the MX24-EL Long Condenser Shotgun Microphone Kit which I highly recommend. Second, it runs on just a AA, no phantom power needed. Nuff said, stop reading and start listening to the results!...

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on Sep 19, 2016 in Just Out!

KeyMission Family Announced!

Nikon announced at PhotoKina today the new KeyMission Family, the KeyMission 360 Action Camera, KeyMission 170 4K Action Camera and KeyMission 80 Action Camera and a boat load of accessories. You can order them...

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on Sep 12, 2016 in Field Reports

Nikons 105f1.4 AFS – Amazing!

I’ve had the most amazing weekend of shooting and in large part, shooting with the new Nikon 105f1.4 AFS lens. First and foremost, it’s one sexy lens. It has a 82mm front element and the rest of its stubby barrel is just as wide. It has a really large manual focusing ring with remarkable quick and smooth response which is really important when shooting with such narrow DoF. It does not have VR which might bug some, doesn’t bother me. I’ve only shot it at one f/stop since I got it, f/1.4 (Thanks B&H!). My “real” shoot that I really wanted this lens for is later today so I spent the weekend like always, married to a new piece of gear shooting it at lots of subjects. Here is my dear Sharon posing on her birthday while up in Minot celebrating. The band of focus is on her eyes and the C-53 just 10″ behind her is out of focus. Gorgeous! This is a pricey lens, a very specific...

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on Aug 29, 2016 in Field Reports

The D500 & D750 … Which?

On our project, video is a HUGE component of the content we are creating. Being the producer, director, and still shooter, I shoot about 90% stills and 10% video shooting the D5. Brent on the other hand shoots 90% video and 10% stills (but as you can see above, he’s great with stills too!). We have D5s, D500s and D750s in the equipment locker along with a war chest of lenses. Brent being the video guy, I wanted to present you that side of the D500 & D750 as he shoots with them exclusively. Understand he depends on the D500 and that’s his primary body. So here is a working look at both the D500 and D750 in Brent’s words. Having been fortunate to fly with and film the Texas Flying Legends Museum for six months now, I’ve put a lot of time in on my D750, and now a D500, recording the flights and performances. So I wasn’t really phased when I was sent to Minot, North Dakota...

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on Aug 17, 2016 in Field Reports

Impact Goes Int’l!

Having been to O’Reilly’s before, I knew the opportunity was here for some really fun portraits. Now I could have done these with just a straight camera shot, but that’s just not right to do to folks. I could have gone with the flash on the camera, but those portraits never look all that great. So I went with a little panache thinking, I wanted some real studio lighting for folks but I was traveling half way around the world. Luckily for me, B&H had just delivered their Impact DLSR lighting gear to me which made my decision real simple. I talked about all the gear on my last Podcast, here’s the whole list: Vello Ringbox Ringflash Hexi 24 Speedlight Softbox Quikbox Softbox with Shoe Mount Flash Bracket (24 x 24″) Fabric Grid for 24 x 24″ Quikbox Quikbox Softbox with Shoe Mount Flash Bracket (15 x 15″) Fabric Grid for 15 x 15″ Quikbox Air-Cushioned Light Stand (Black, 8′) Eric was a great sport about this (a great...

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on Aug 9, 2016 in Field Reports

Flash Comp In the Body

Flash is such an important tool and with the introduction of D5 / D500 and SB-5000, it was made even easier to use. The issue still is us, humans that is, in “seeing” light and being able understand when we need to meld ambient light with flash to tell our story. The way we meld the light taking advantage of the computers in our cameras and our flash is through exposure compensation. That’s the purpose behind this post. In this photo of a Spitfire pilot in the cockpit wearing full scramble gear, it was made on a day when the ambient light was dull and directionless. I needed to dial in exposure compensation for the ambient light and for the flash. The body has only one exposure compensation button but your flash has two (at least with top end Nikons) buttons, one on the flash and one on the body. In this case, I depressed the Flash button on the back, left side of the D5 and dialed in...

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