Array (  => WP_Post Object ( [ID] => 78480 [post_author] => 47213 [post_date] => 2017-05-13 21:49:26 [post_date_gmt] => 2017-05-14 01:49:26 [post_content] => Profoto certainly changed the game of on location photography a few years ago with the Profoto B1. Since then, the Profoto B1 has gone through some upgrades, via firmware updates, as well as added tools to their OCF line of modifiers. Announced today by Profoto is an update to the system itself, with the Profoto B1X.The first thing you may notice from the new lighting system is that it looks quite similar to the Profoto B1. But there are some subtle changes, that promise to help you create images easier, with more tools built into the system.Tools such as larger battery life, which supports 325 full power shots on average, a nice improvement from the ~220 full powered shots promised by the original B1. Additionally, the modeling light has been improved significantly, allowing for ~135W halogen equivalent within the small LED lighting system. Also notably, the Profoto B1X also supports High-Speed Sync, a system possible on the original B1, but now expanded to 9 f-stops of power allowing shooting as fast as 1/8000th of a second. And finally, the casing itself looks to be improved, with a more robust built, that similar to the Profoto D2.And with those changes, many other things are still familiar. For example, the light is still 500Ws in power, giving you plenty of power while shooting on location. The system also still has the beloved mounting system, allowing for the use of both OFC modifiers as well as their RFi modifier systems. And perhaps most impressive, is it still shares the same size and weight at 6.6lbs with battery attached. Sadly, however, this elusive announcement doesn't come with a price or release date. For all the nitty gritty details on the Profoto B1X, be sure to check out their website. [post_title] => Profoto Announces the New Flagship in On Location Lighting with the Profoto B1X [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => profoto-announces-the-new-flagship-in-on-location-lighting-with-the-profoto-b1x [to_ping] => [pinged] => [post_modified] => 2017-05-13 21:49:26 [post_modified_gmt] => 2017-05-14 01:49:26 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=78480 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) => WP_Post Object ( [ID] => 76817 [post_author] => 47213 [post_date] => 2017-03-09 12:42:26 [post_date_gmt] => 2017-03-09 17:42:26 [post_content] => If you've ever tethered your camera to your computer, you've most certainly faced one glaring problem - accidental disconnection. This issue becomes incredibly annoying if you're using anything other than Capture One, as you're often left needing to restart the entire program to recover. While tools like the TetherTools Jerkstopper protect your camera's port, there hasn't really been a solution to this problem, until now - with the TetherBlock.The TetherBlock is a simple solution provided by founder and creator David Blattel. By creating a plate that connects to your tripod mount on the bottom of your camera, David Blattel has found a clever answer to a painstaking problem. Within the block, is a number of routings that allow you to feed your tether cable through, and lock it into place. Additionally, what's best is the TetherBlock is Arca-Swiss compatible, meaning you're able to then connect your camera to your favorite tripod.
Build Quality The TetherBlock QR Plus is made from machined steel and routed with a variety of different cable sizes in mind. Along the top of the unit is a few rubber feet, to protect your camera from any damage if you were to lock it too tightly. Also on the TetherBLOCK QR Plus, is two threaded holes allowing you to also attach accessories to the system, such as a BlackRapid FastR, for a strap system. To put it simply, I don't ever expect the TetherBLOCK QR Plus to break or show any signs of wear. The premium materials ensure that this is a solution that you can rely on long term.
Price The TetherBLOCK comes in two versions - the TetherBLOCK MC ($89) and the TetherBLOCK QR Plus ($99). The difference between the two is that one connects to an Arca-Swiss compatible tripod (the QR Plus), and one does not. While the price of one hundred dollars might seem a bit steep, it pales in comparison to the costs of replacing a broken USB port on your DSLR. Pairing that with the build quality, the price point feels far more reasonable for a product that will be used for years to come.
The Downside Perhaps the only downside I faced when using the TetherBLOCK is an arbitrary one, and one I don't have a clever solution for. For me, I am not tethering all of the time, but I'm looking to have a plate that I can have on my camera at all times. The TetherBLOCK QR Plus fills that void, however, since the cable mounts between the plate and the camera, it needs to be removed and reattached each time you want to run a cable through it. The obvious solution would be to route it from the bottom of the plate, but then the camera loses much of the locking functionality. So the reality is, I'm just being nitpicky, and have no solution to this minor problem in an otherwise innovative product.
Conclusion So is the TetherBLOCK QR Plus a must have tool? If you're a tethering photographer, then I say Yes. There isn't a product out and available that can do what this product does, and if you've ever done tethering before, you know how frustrating it can be when your camera becomes unplugged. And until Canon and Nikon start listening to their users and make their camera ports more robust and locking, the TetherBLOCK is the best solution to a problem we've all faced.The TetherBLOCK QR Plus is available for purchase on their website for $99, and the $89 for the TetherBLOCK MC. [post_title] => The TetherBLOCK QR Plus is the Must Have Product for Tethering Photographers [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => the-tetherblock-qr-plus-is-the-must-have-product-for-tethering-photographers [to_ping] => [pinged] => [post_modified] => 2017-03-21 11:06:51 [post_modified_gmt] => 2017-03-21 15:06:51 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=76817 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 73007 [post_author] => 47213 [post_date] => 2017-01-02 13:00:54 [post_date_gmt] => 2017-01-02 18:00:54 [post_content] => It's not very often anymore, where I look at a photo and think "How did they do that?". That's not a comment to boast or bolster, cause more often than not, I miss that feeling of wonderment - I've just been doing photography for a long time, and have figured a lot of the tips and tricks over the years. However, a year or so ago, I saw the work of photographers like Dan Winters and Nadav Kander and had that remarkable sense of curiosity with their work. Lighting wise, it's among the most intricate I've seen in a long time, so I excitingly began taking it apart, and figuring out how they made their light so controlled and tight.[caption id="attachment_73034" align="alignnone" width="1024"] Photo by Zach Sutton. Retouching by Jennifer Mcintyre[/caption]And their work is just two examples of this. For the last 12 months, the photography has been faced with a style change (and thank the heavens). No longer are people interested in the big parabolics shining graceful, even light on a 20 ft scene, lighting everything with a straightforward and elegant cloud of soft light. Instead, precision is finally making its comeback. People are more intrigued with how to shape light, and slowly, the focus has shifted to shadows instead of highlights.Studying this work, I've come to some brash conclusions of flags, snoots and grids being the answer to the how - and have had some pretty good results using the techniques. But there is another way - The Profoto Spot Small.
What is the Profoto Spot Small? If you've followed me on social media over the last two months, you'll know my obsession with this newly discovered tool. The Profoto Spot Small is a ...well... a complicated piece of gear - far more complex than it may seem on paper. From my understanding, it's a piece of frosted glass, followed by a gobo system, followed by a convex projector lens on a slide - allowing for zooming and focusing. But what it does, is allows you to hyper-control your lighting through the use of gobos. Allowing you to cut light like a samurai, and shape it like an expert in ceramics. If you've ever tried to strictly shape light, you may have noticed how difficult it can be to do with precision. All traditional lighting modifiers have a little feathering to the light, making it difficult to do refined shaping, and even systems like grids and snoots and make the light too big to control. The Profoto Spot Small makes the task easy, allowing you to use a modeling light, and adjust the light as needed.[caption id="attachment_73018" align="alignnone" width="1024"] Photo by Zach Sutton. Using the Profoto Spot small[/caption]And the build quality is incredible. Made of metal, the Profoto Spot Small can handle both Pro Packs, and the OCF series of tools made by Profoto - meaning that any Profoto light will attach to it and work without any problems. However, keep in mind, that non-LED modeling lights will heat the unit up, and leave you with a nice Profoto brand if you're not careful.Additionally, LED video lights from brands such as Fiilex also connect to the Profoto Spot Small, giving you incredible light control for both video and photography.
Potential is Limitless Perhaps the biggest aspect of the Spot Small is that it's not the one trick pony you might think of it as. Gobos come in thousands of shapes and sizes and are incredibly affordable (as lighting modifiers go). Additionally, I've also taken some black posterboard of my own and made my simple gobos as needed - though I'd only recommend this if you're using LED based modeling lamps. Through the seemingly infinite scrolling of the Roscoe catalog, millions of pieces of inspiration can be found - all of which can work with the Profoto Spot Small.[caption id="attachment_73020" align="alignnone" width="1024"] Photo by Zach Sutton. Using the Profoto Spot Small[/caption]Furthermore, the system itself is small, meaning you're able to add gels to the mix with ease (again, only really recommend this with LED based lights (Profoto B1 & Profoto B2)). Using gel systems along with the Profoto Spot Small, you're able to hyper-control not only where your light falls, but the colors as well.The push-pull focus mechanism on the front allows you to decide if and how much of the Gobo design you want in focus. Allowing you to actually feather hard lights and sharp lines, the design gives you a wealth of additional uses by simply focusing in and out on your subject until you achieve the light you'd like.[caption id="attachment_73040" align="alignnone" width="605"] Promotional Image from Amazon's The Man In The High Castle. © Amazon[/caption]Don't have a Profoto light? That's not a problem. The system itself has a detachable speedring, allowing you to set it up on any mounting system you'd like. To prove this, I took a friend's Alien Bee, and within a few minutes, and a small wrench, I had the system up and running.
Gobos I did also want to touch base on gobos, specifically for the Profoto Spot Small. For $300 extra dollars, you can order the Profoto Gobo set. It includes 12 different Gobos to use for the Profoto Spot Small. And while the window shaped gobos are nice, I generally can't recommend these for purchase. Roscoe has gobos available on their website for about $15 a piece and will let you choose from thousands of different designs to hand select your kit. Additionally, if you are using an LED-based lighting system like the Profoto B1 or Profoto B2, you can also just make simple gobo sets using an Exacto knife, and a little patience. In fact, my handmade gobos are what I use 95% of the time, and prefer sharp lines and cuts over star and heart shapes which are what you'd find in the Gobo kit.
The Downside If you've made it this far in my love letter to the Profoto Spot Small, you've likely thought "There has to be a villain in this fairy tale"; and there is. The Profoto Spot Small isn't cheap. At $1,000, the Profoto Spot Small is a pretty hefty price for a light modifier. Though with the price comes a one of a kind tool that allows you to shape and control your light with pinpoint precision easily. And the reality is it's actually a two of a kind tool - with it's bigger brother - the Profoto ZoomSpot - priced at ten times the cost of the Spot Small.
Conclusion In the two months that I've owned the Profoto Spot Small, it has become my favorite tool for shaping light. I find myself looking for excuses to try it on my subjects - even if it's a shoot where that lighting style isn't required. I also find myself experimenting, and excited about lighting again - a feeling I haven't had in a good while now. The Profoto Spot Small might not be for everyone - even the pricing puts it out of the range for many photographers. But if you're also excited about this trend of tight lighting, and want to find a tool that changes the way you light, look no further than the Profoto Spot Small. [post_title] => The Best Lighting Modifier That No One Knows About [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => the-best-lighting-modifier-that-no-one-knows-about [to_ping] => [pinged] => [post_modified] => 2017-01-31 16:39:16 [post_modified_gmt] => 2017-01-31 21:39:16 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=73007 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 4 [filter] => raw ) => WP_Post Object ( [ID] => 72516 [post_author] => 47213 [post_date] => 2016-12-07 15:10:37 [post_date_gmt] => 2016-12-07 20:10:37 [post_content] => Regardless of political affiliations, everyone can appreciate a stellar photograph that invokes a sea of moods and emotions and appeals to multiple messages and viewpoints. Esteemed photographer, Nadav Kander was able to do just that, with his latest portrait of President-elect Donald Trump for the cover of Time Magazine's 'Person of the Year' edition.Donald Trump has had a year of harsh criticism during his political run for Presidency, and one of the harshest critics has been Time Magazine themselves, writing multiple opinion pieces questioning his temperament and experience to hold the highest office. That said, announced today, Time Magazine chose to name Donald Trump, the 'Person of the Year' for his nonstop publicity, a title that has been previously held by Bill Clinton, Barack Obama, Mark Zuckerberg, Adolf Hitler, and even You, in 2006.Regardless of your stance on Donald Trump, it's clear that Nadav Kander and Time Magazine's editorial staff has sent a strong message with the release of their new cover, so let's take a moment and break down what makes this photo so powerful and iconic, and a message from Time Magazine.The first thing you'll notice is that his body is turned away from the camera, and he's leaning outward, pushing his face towards the camera. The body language immediately shows stiffness, and with a sinister overtone. Additionally, the image is shot with the camera below him, making his eyes shift downward toward to the viewer, as a potential play on his lifelong wealth, and history of looking down towards other classes of people.His general body language is stiff, with his hand clasping his own wrist, often a sign of distress, as he sits on a beaten and worn chair - a tattered throne which was once great. His back is hunched, and his general positioning is not something you'd find in photographs, let alone on the cover of one of the most iconic publications. Inscribed on the back of the chair is a fern - a symbol of sincerity, which now sits nearly worn away with age and abuse.The lighting is a spotlight, likely a Fresnel or other light that provides direct and controllable lighting. The spotlight effect could easily symbolize his life in the spotlight, especially in recent years as a Reality TV star. However, his shadow is from an entirely different direction, and adding an overhead shadow figure on the wall behind him. Perhaps an homage to Mark Twain, who once said: “Everyone is a moon and has a dark side which he never shows to anybody.” or a play on old monster movie covers, which often displayed the creature as a shadowy figure in the background.And perhaps the most obvious display towards Time Magazine's distrust in Donald Trump comes in their logo. As photographer Nicholas Freeman pointed out on his social media, the 'M' in Time forms devil horns on the head of Donald Trump, a clear play towards how many have referred to him and his message being that of an anti-christ figure.If this isn't telling enough, the added caption "President of the Divided States of America" certainly adds the final period to a very polarizing image of President-Elect Donald Trump.For others, Time Magazine has had a long history of putting simple, and often, sympathetic headshots on the cover of their 'Person of the Year' editions. Rarely, do we see a full body shot or even a subject that is posed in a chair or with other props.Regardless of political stance, Nadav Kander and the Time team has done an incredible job sending a message with their latest cover and proved to us that a picture really is worth 1000 words. For more information about this shoot, as well as additional photos, check out Time Magazines Behind the Scenes page. Special thanks to Nicholas Freeman and his help with pointing out some of these subtleties. [post_title] => A Look Into Time Magazine's Latest Image of 'Person of the Year' Donald Trump [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => a-look-into-time-magazines-latest-image-of-person-of-the-year-donald-trump [to_ping] => [pinged] => [post_modified] => 2016-12-08 00:18:50 [post_modified_gmt] => 2016-12-08 05:18:50 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=72516 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 5 [filter] => raw ) => WP_Post Object ( [ID] => 71901 [post_author] => 47213 [post_date] => 2016-11-10 16:58:46 [post_date_gmt] => 2016-11-10 21:58:46 [post_content] => I've been in a creative rut. Those who know me or work with me, know that this dates back to around a year and a half ago. Nothing, in particular, happened, I just got exhausted with photography. I've tried trade shows, talking to inspiring photographers, and seemingly everything else, and nothing seemed to help me climb out of my rut. That is until I went to Adobe MAX.I'll start by saying two things - this isn't my first trade show. I've been to dozens of them, spoke at many of them, and have met so many people that I love dearly at trade shows. Secondly, this isn't a paid endorsement or anything of the sort from Adobe. While I have been to Imaging USA, WPPI, PhotoPlus Expo, Stand Out Forums, PhotoCon LA, Cinegear, Photoshop World and so much more, I've never given Adobe MAX much thought. However, I was offered the opportunity to attend Adobe MAX last week in San Diego, and I left refreshed, motivated, and with new insight into the creative process.The new feeling is unlike what I've felt before at trade shows, because for the first time in my experience, photography wasn't significant. The vast majority of the attendees were graphic designers, painters, illustrators, and 3D renderers - using photography only as a tool to help create their work. And that feeling of being irrelevant in the grand scheme of it all, was exceptional.For those who are unaccustomed to Adobe MAX, let me try my best to explain what it is. First, it's not a trade show - or not really. While it does have a community pavilion, the amount of vendors is limited, and quite a bit different from what you might expect in a photography trade show environment. For one, Nikon was nowhere to be found - in fact; all professional camera manufacturers were gone, with the exception of Panasonic. The brands there were far more hands on that what you'd see somewhere else, like showing off brainwave activity on a screen through the use of a headset, or highlighting how VR will shape the future of art on a 3-dimensional scale.And the speakers are nothing short of incredible and influential in their mediums. Keynote speakers that include Lyndsey Addario, who works as a photojournalist for the New York Times, and walked us through the emotional feelings being kidnapped while covering the civil war in Libya, and still maintaining a hopeful outlook on the world. Or graphic design rockstar, Aaron Draplin, who talked about the blood, sweat, and tears poured into making a book about his life's work. Or this up and coming director by the name of Quentin Tarantino, whom you've probably never heard of.While at Adobe MAX, I met so many creative people who influenced my passion for art, even if our meeting was just brief. I was able to hang out with Frankie Cihi, a muralist and painter in Tokyo, Japan; listen to Janet Echelman talk about how she develops large art installations all over the world using nets that move with the patterns of the wind; speak to Zac Posen, a passionate fashion designer and judge on Project Runway, and discuss how he finds new creative ways to blend technology with fashion; and have impromptu lunch with graphic designer Mike Gorman, who is always challenging himself with new styles to keep his ideas fresh. With the exception of the familiar faces I know of Benjamin Von Wong and Erik Valind, I spent all of Adobe MAX meeting people who have nothing to do with photography.And it was so refreshing.Because all this photography talk gets too mundane and too routine at times. When you spend your professional life in a field, it's easy to over chatter, and burn yourself out - and lose sight of what's most important - art. And cultivating artistic expression is exactly what Adobe MAX is doing while others are not. While PPE, WPPI, and all the other trade shows are shrinking year in and year out, Adobe MAX is growing - by 25% to over 10,0000 attendees this year alone. Where one side pushes the over discussed new products and new lens we all need, Adobe MAX pushes creativity, giving us inspiration over the process.The community is what is going to help us grow in our art. Community, something that is too far neglected in the art world, pushing us out of our heads and into the heads and inspirations of others. And Adobe MAX does just that. Offering lectures and workshops in all fields of art, having a meal hall, all too familiar to a cafeteria - encouraging you to branch out and meet others who share that same love for art. Adobe MAX feels less like a conference, and more like a retreat or summer camp. A place where people are encouraged to get out of their own safety bubbles, and meet people who they would never have the opportunity otherwise.And, sure, Adobe MAX has gotten quite a bit of flak this year, by not giving a prize of grandeur to the attendees. Two years ago, all participants received a Microsoft Surface Pro 3. Last year, a Fujifilm X-T10. This year, a baseball cap and sweatshirt. Many have grown to expect a gift for attending, which left many sour about the experience. But not all gifts are of monetary value, and the unseen gift at Adobe MAX was left to the community there teaching, learning, and experiencing the event on the ground floor.So, if you have the opportunity to go to Adobe MAX next year, I encourage you to do so. And if it's beyond your budget, I understand. But regardless of your attendance plans for next year, I invite you to talk to all creatives, whether it be in your field or otherwise. Thinking and working creatively isn't exclusive to just your field, and you may find a painter, graphic designer, retoucher, or storyteller who can inspire you, provide insight, and motivate you to create something unique again. [post_title] => Breaking Through Being Uninspired - How Adobe MAX Recharged Me [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => breaking-through-being-uninspired-how-adobe-max-recharged-me [to_ping] => [pinged] => [post_modified] => 2016-11-10 16:58:46 [post_modified_gmt] => 2016-11-10 21:58:46 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71901 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 71629 [post_author] => 47213 [post_date] => 2016-10-28 16:29:08 [post_date_gmt] => 2016-10-28 20:29:08 [post_content] => For thousands of photographers, this week marks a special time of the year, when Apple announces their new products for the creatives, with iMacs, MacBook Pros, and Mac Pros that will be used to create art for years to come. However, yesterday's announcement of the new MacBook Pros was met with some lackluster feelings and disappointment, a feeling not unfamiliar to Apple users in recent years. So one must ask, is it time to give Windows another chance?To the surprise of many, Apple hasn't made the most exciting product this year, on all platforms of their technology. The iPhone 7, well, it was okay. Many users were furious with the headphone jack removed, and many questioned the reliability of the 'portrait mode,' which they mocked years prior on the HTC One. And moments after the announcement of the new phone, came the better, more exciting announcement from Google with the Google Pixel.And the same can apply to the MacBook Pro announcements and the new Windows system, the Surface Studio. But while one was able to wow and excite us, the other asked us where the ESC key was going.The PC versus Apple debate has always been filled with preconceived notions. PC users will complain about how Apple computers are underpowered, overpriced, and buying more into an ideology than a sustainable product. Many Apple users will say Windows sucks, rant about blue screens of death, driver issues, and other relics from Windows' earlier era. But Windows has changed a lot in the last 10, no, five, years. Let's take a closer look.
The Blue Screen of Death is All But Gone Perhaps the biggest smudge mark on Windows' reputation came with its Blue Screen of Death. During a driver failure, heat issue, or another other critical problem, your screen would go blue, and give you an error in some techy language that felt more like Chinese than English, just before it would slowly process itself to rebooting. However, in recent years, the Blue Screen of Death has virtually disappeared from Windows 7 and beyond. Now, software is given the rights to update itself behind the scenes, allowing for fewer driver issues or catastrophic failures.
Windows 10 Has Opted for a More Visual Experience Apple has always succeeded in giving the visually minded people a visual representation of how an Operating System should perform. Where Windows has always been known for it's code-based background, Apple has done a much better job of hiding that. Windows 10 has done an exceptional job of pushing itself into the visual world, allowing for you to talk to your computer to open apps, and tucking away a list of apps commonly found in Windows iconic Start Menu.Now, Windows 10 looks more like an Apple OS than what many have come to expect from their earlier renditions. While it has its own way of doing things, the transition from one system to the other isn't as much of a learning curve than one would expect.
They're Different Systems with the Same DNA In 2005, Apple quietly admitted defeat in the hardware aspects, transitioning from their IBM microchips into the more powerful and robust Intel-based chips systems. In non-nerd talk, Apple decided to make PCs with their operating system laid overtop of them. That's right, the hardware found in an Apple Computer is no different than that found in a Windows based system, meaning you can install OS X on a PC, making a computer commonly called a 'Hackintosh.' The difference between a PC and an Apple computer comes with the ability to upgrade (and of course, the OS). Apple will often solder RAM and other components into the motherboard, making it so you cannot upgrade the components without Apple's Customer Care fee. PCs, on the other hand, are entirely swappable with their components.
The Practical Reason for an Apple Computer Has Died The benefits of using an Apple computer to do graphic design, photography or video editing used to be obvious. With exclusive and beloved software developed by Apple, like Final Cut Pro, Aperture, and Garage Band, it was easy to justify Apple systems for the creative workforce. However, in recent years, Apple has chosen to end development on these pieces of software, handing the throne to Adobe with Premiere Pro and Lightroom. Additionally, the popular software you use, from developers like Google (with Google Chrome) and Adobe (with Lightroom, Premiere Pro, Photoshop, Illustrator etc etc), seem to prefer the PC platform, offering more advancements and faster than for the OSX users (case and point, Adobe's love affair with the Microsoft Surface Pro).
The Cost and Complications are Gone Apple doesn't segment their market. They release one new phone each year, and a couple of computer systems with limited options. Those who want simplicity can rely on Apple for that, while PC purchasing have always been a complicated process. With a million different manufacturers, all promising they're the best, the entire process of shopping for a computer can be a headache. But the rewards are indeed paying off. For the cost of the new MacBook Pro, you can get a Windows based laptop with the Razer Blade Pro - a system with three times as much GPU, 4K matte color-calibrated screen, and a faster processor, for the same cost, and still retaining a lot of sexiness in design.
Safety is No Longer a Concern The biggest push away from Windows in the early 2000s came with the rise of spyware and malware, traditionally found on PCs. It took only one misguided download, and your Windows based machine would be limping to do anything. However, virus and malware developers tend to side with the masses, and in recent years, PC malware has dropped considerably, whereas malware on Apple machines is at an all time high.
It's Time to Reward Risks Let's consider the concept of risk. Apple's greatest innovations have always come from how they've been able to look at new ways to do things creatively. Apple revolutionized the smartphone market with the original iPhone. The Macbook Air blew us away with how portable and thin it was. Apple has developed into the massive company they are today based purely on how they were able to innovate the tech world into something that was previously impossible. But one must ask, does Apple still hold true to that innovative drive? When was the last time they truly excited us? When was the last time you raced to buy the new product, for a reason other than crowd mentality?https://www.youtube.com/watch?v=BzMLA8YIgG0Microsoft, on the other hand, has found a new way to excite us. The Microsoft Surface Studio is the definition of innovation - showing us a new and exciting way to do the things we've been doing for years. The promo video had us wanting more, and every early look at the system has focused entirely on how amazing and immersive it is.And if you think Apple is still innovating, please explain to me why we need to buy a dongle to plug our three week old iPhones into our brand new MacBook Pro? [post_title] => Is it Time to Give Windows Another Chance? [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => is-it-time-to-give-windows-another-chance [to_ping] => [pinged] => [post_modified] => 2016-10-28 21:42:36 [post_modified_gmt] => 2016-10-29 01:42:36 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=71629 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 20 [filter] => raw ) => WP_Post Object ( [ID] => 69496 [post_author] => 47213 [post_date] => 2016-10-14 14:01:48 [post_date_gmt] => 2016-10-14 18:01:48 [post_content] => Recently, I had the unique opportunity to build a small photography studio in an unused garage, with my now studio partner. For the last while now, I’ve been renting studios, and I had forgotten some of the little things when it came to owning a studio for personal use. Atop of the high expenses of having a studio and getting it outfitted with lights, modifiers and other pieces of gear, there are a lot of little things that you never think of until you need it. So through my “whoops” moments of not having what I need when I need it, here is a list of pieces of gear you should have for your shooting space, which cost less than $25.
Gaffer's Tape The most visible piece of gear on this list is gaff tape. For those who are thinking “Wait, what’s gafferx tape?” Think of it all of the power of Duct Tape, without leaving a sticky residue. Popularized in many film sets, gaff tape has become the industry standard for quickly taping things down (such as cables), without having to worry about creating a mess later.Recommendations: Not all Gaff Tape is created equal, and some work better than others. My current favorite is a simple black gaffer tape from Savage Universal, available for $17 for 55 yards.
Clothing Pins/Clips If you’ve ever seen the BTS of a professional fashion shoot from Vogue or GQ, you may have seen that the backs of clothes are often lined with clothes pins. While it’d be nice to have all clothes fit your clients and subjects like a glove, that’s not usually the case, and clothes pins can always make for a failsafe way to tuck clothes and keeping it looking natural.
Super Short Light Stand Often when we’re buying light stands and C-Stands, we opt for the 12’ or taller ones, because why not? However, the downside of having large light stands is that they do a terrible job getting close to the ground. A boom arm on a light stand or C-Stand can correct this problem, but sometimes it’s just easier to find a small light stand to do the job that you never thought you’d need. Having a super short light stand is more valuable than you might think, and often forgotten.Recommendations: 3' Impact 2 Section Lightstand
Cinefoil I’m often surprised with how many people who have never heard of cinefoil, when it has been a key component in my studio for years. Essentially, Cinefoil is essentially aluminum foil that is matte black and has a lot of really fantastic uses in a photography studio. Need a snoot? Just quickly make one with some Cinefoil. Need to create a flag to stop the bouncing of light off of a white wall? Cinefoil. Need to turn your 36”x12” softbox into a 12”x12” softbox, Cinefoil can even do that. Heck, even in my studio, I used it to black out a pesky window.Recommendations: Roscoe Matte Black Cinefoil 12"x 50'
Black Cards & White Cards Black Cards are nothing more than just large sheets of black or white paper, typically found at hobby shops. Using these cards, you’re able to quickly make bounces of small flags to help shape the light while in the studio. These cost no more than $12 for a pack of three of foam board (recommended for its sturdiness), and will have a million of uses to help shape light. In the example above, I literally just blocked out a light with a black flag, and then cut a tiny slit in it, to give an incredibly narrow beam of light across his face.Recommendations: Elmers Foam Board
Scissors Pretty self-explanatory, though you never can seem to find your scissors when you need them. Scissors are an absolute necessity when you need to remove stray fiber from clothes, or need to quickly create some light shapers using cinefoil or paper.
Boom Arm Pivot Joint This is one thing I always forget that I have, but when I rediscover it, I find a million different uses for it. At only about $10, these little brackets have a lot of practical use. Most notably, I use them for reflector arms rather than for a boom set up. By attaching them to a light stand holding your key light, you’re able to get gorgeous clamshell lighting, without using more than a single light stand, giving you a mobile solution, that you can use instudio and on location.Recommendations: Plastic Neewer Swiveling Grip Head | Impact LSA-BC Metal Clamp
6” A Clamps 6” clamps have an incredible amount of uses in the studio, from holding black/white cards to various mounting options, to working as a light stand themselves. A tip I discovered a few years ago, is that most A Clamps also have a small hole in the handle, under the rubber piece, allowing you to effectively mount a spigot pin, and attach a variety of lighting gear to it. That said, sizes vary, and sometimes it's just easier to drill a slightly larger hole into the unit to ensure nothing will fall off.
Allen Wrenches / Hex Keys Most light stands and tripods are held together using small fasteners that are adjustable using an allen wrench or hex key. You can expect these joints to be tight and without much give, but the moment that pin loosens, you can expect the gear to immediately become frustrating and borderline unusable. The fix is simple but is often ignored and left to many weeks of frustration if not taken care of at the time. I try to keep a set of hex keys in my storage locker, to make sure if my C-Stand or Tripod starts losing its tension, I can fix it immediately and move on.
Sandbags While sandbags are more often attributed for outdoor lighting, since you have Earth's elements to deal with, but sandbags serve a huge purpose in the studio as well. For one, if you're using C-Stands, with a grip arm attached, it's easily for the system to get off balanced, and tip over. Having a few sandbags in the studio will help secure everything in place, and reduce the risk of an expensive or dangerous error because someone tripped over a cable. This is just the list of products I’ve found that I need upon building my personal photography studio. Obviously, there are a million different things that are unmentioned and certainly, have their place in the studio. If you have additional suggestions as to what all photography studios should have that are inexpensive, feel free to list them in the comments below. [post_title] => 10 Things You Should Have In Your Photography Studio That Cost Less Than $25 [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => 10-things-you-should-have-in-your-photography-studio-that-cost-less-than-25 [to_ping] => [pinged] => http://zsuttonphoto.com/new-photography-studio-west-hollywood/ [post_modified] => 2017-01-31 15:32:01 [post_modified_gmt] => 2017-01-31 20:32:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=69496 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 1 [filter] => raw ) => WP_Post Object ( [ID] => 70976 [post_author] => 47213 [post_date] => 2016-09-20 12:12:11 [post_date_gmt] => 2016-09-20 16:12:11 [post_content] => About a week ago, I had the opportunity to review the incredibly fast Profoto D2 - the fastest monolight in the world with a flash duration of 1/64,000. Announced today from Profoto is something even faster - with the Profoto Pro-10 system, an upgrade from their much-loved Pro-8a systems used in larger photography studios all over the world.For many, this new system should not be much of a surprise. Released in 2008, the Profoto Pro-8a packs are still the industry standard within larger photography studios and were likely due for an upgrade. The purpose behind the Pro packs comes with their robust build. In short, these are the Profotos that are built like tanks - designed to outlast most studios all together.https://www.youtube.com/watch?v=N1LAuZdYOCkAt nearly 30lbs, the Profoto Pro-10 sports some impressive upgrades from it's older flagship - most notably the access to HSS and AirTTL, as well as a flash duration of 1/80,000th of a second, and recycle speeds up to 50fps at lower power. With the Canon 1DX Mark II and the Nikon D5 setting the bar around 16fps, these speeds are still unachievable by camera systems today. The Profoto Pro-10 system also supports an 11-fstop range, as well as two outlets capable of powering two 500W modeling lights on the Pro heads. And as always, the Pro-10 is capable with all ProHeads from Profoto, from the ProHead Plus to the ProRing Light systems.For more information on the systems, be sure to check out Profoto's announcement. [post_title] => Introducing the Profoto Pro-10 - The Latest and Greatest in Pro Lighting [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => introducing-the-profoto-pro-10-the-latest-and-greatest-in-pro-lighting [to_ping] => [pinged] => [post_modified] => 2016-09-20 12:12:11 [post_modified_gmt] => 2016-09-20 16:12:11 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=70976 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 70783 [post_author] => 47213 [post_date] => 2016-09-15 06:00:39 [post_date_gmt] => 2016-09-15 10:00:39 [post_content] => Announced today from Profoto comes the newest in their pro line of strobes, with the Profoto D2. As an upgrade to the Profoto D1, the Profoto D2 improves on the beloved and familiar light on just about every level. Developed for the studio photographer who needs a light that can fire in rapid succession, and with the shortest light duration possible, the Profoto D2 should have photographers excited - especially those who are looking for other options beyond the Pro packs that Profoto has been known for within the industry. Profoto was able to get me one a pre-production model of the Profoto D2, and I wanted to tell my thoughts on the light here on Resource.
First Impressions The biggest features that came with the announcement of the Profoto D2 is with the super short flash duration - the fastest in the world in fact - at 1/63,000 of a second. This beats out all other strobes, included the Broncolor Move packs by a significant margin. So when Profoto told me of these numbers, I decided I wanted to put them to the test. The problem? Well, I don’t know of anything that moves that fast.My instinct was to photograph friends sneezing. At over 100mph, I’ve read that sneezing if one of the fastest things that we do as humans. However, being limited to a single light makes the concept a challenge - along with finding ways to get people to sneeze, and the hygienics behind it all. However, I gave it a shot.[caption id="attachment_70796" align="alignnone" width="1024"] Alex Stone - http://alexstone.co/[/caption][caption id="attachment_70797" align="alignnone" width="1024"] Dylan Patrick - http://dylanpatrickphotography.com/[/caption]To enable this super fast flash duration and recycle speed, you need to enable the strobe into “speed mode.” Profoto says that this method may sacrifice color consistency for speed, though I didn’t see any shifts in white balance from the strobe when I was shooting at incredibly fast speeds (Something I have seen with Alien Bees and Einstein strobes).Additionally, the Profoto D2 has one of my absolute favorite features, with ten full stops of power - as oppose to 8 with the previous models. This means you can not only power the light up (up to 1000 w/s with the D2 1000 AirTTL), but also down to a measly 2 watts, giving you anything from subtle lighting to a cannon of power when needed. Alongside the additional stops of power on the low end, comes additional stops of power when using High-Speed sync. One of the biggest complaints people had with the Profoto B1 was that it's High Speed sync was limited to 7-10 on the power range. The D2 has expanded that to 6-10 on the Canon systems, and an impressive 5-10 on Nikon systems. (Note - 50% of the power on Profoto systems is a single stop, or 9/10. So 5-10 gives you a range of 500Ws to ~15Ws)
Speed As mentioned above, this light provides an impressive 1/63,000th of a second flash duration (1/50,000th of the 1000 watt model). That’s faster than anything ever made before, and essential when shooting high-speed action and need to ensure the light freezes the subject.Another notable feature is this flash has a flash speed of up to 20fps in lower power, which is incredibly fast (Maybe the fastest, I haven’t found a lot of information regarding that). While this is at less power, I found this camera to be incredibly fast - so fast in fact, that the Canon 1DX Mark II couldn’t even keep up with its flash recycle power. That's right, the Canon 1DX Mark II limited the fps of the camera to around 5fps when the hotshoe was in use, because even Canon didn't think a light would be shooting that fast. It was so incredibly fast that I just had to make a video showing off how fast it is. (Please Note - Each time it beeps, the flash does fire. It does not always show the flash because the video was recorded at 24fps, and the flash duration is much shorter than that).https://www.youtube.com/watch?v=Lv0vaG9zaIo&feature=youtu.be
Build Quality If you’re able to get your hands on the new Profoto D2, you’ll find how similar it is in size and shape to the beloved Profoto B1. Using the same unibody design, the D2 is incredibly robust for a strobe, and I’d have no concerns with using it in a professional setting. Using the flat head design made famous by the Profoto D1 and that Profoto B1/B2, the D2 allows you to use all of the OCF modifiers developed by Profoto, with the added option of purchasing a dome light to give you a more evenly spread light for feathering options. That said, Profoto does not recommend using the OCF systems, but only because the Profoto D2 does not have a LED modeling light like on the Profoto B1/B2.Additionally, the menu system has been completely redesigned and provides a more organized and easy to use system using the large scroll wheel with push in confirmation. Admittingly, the Profoto B1 menu system can sometimes be frustrating (Especially when you’re trying to change the light’s channel, and you end up putting it in slave mode instead). The new menu has far more organization than previous models, allowing you to change the settings quickly and accurately with ease.
Price Point In Profoto fashion, this light isn’t incredibly cheap. For the 500 Ws model, you’re looking at $1,495. The 1000 Ws model comes in at $1,995. While it isn’t as affordable as other strobes, it does offer an incredible build quality, along with every bell and whistle you could imagine (High-Speed Sync, TTL, etc., etc.). When compared to the prices of Profoto B1s and B2s, the D2 sits affordably cheaper, while providing a state of the art strobe that can handle everything.
Does it Replace Pro Packs? I think this is the biggest questions above all else. Small studios all over will be excited about these lights, and will be an excellent replacement for the aging systems they already have. But the real question is, will these replace Pro Pack Systems? For those unaware, Pro Pack Systems, like the Profoto Pro 8a are the industry standard within studios. The incredibly robust (and heavy) systems provide an absurd amount of power, (up to 2,400 Ws), with incredibly fast recycle times (up to 20 images per second). However, Pro systems aren’t cheap - nor are they compact. So is the Profoto D2 an excellent trade off? Yes, I think so. At 1000Ws, the system is plenty powerful enough for most uses and still provides rapid recycle times that you need in a fast-paced commercial environment. And while they’re not the tanks many have come to love with the Pro 8a, they are still incredibly robust, and single-handedly win in regards to mobility (It’s a matter of 7lbs verse 27lbs). For larger commercial studios, the new Profoto D2 throws an interesting wrench in the way they do things, for now, they have a light that can do almost everything their beloved Profoto Pro 8a’s can, and at a fraction of the weight and cost. And the Profoto D2 also gives them High-Speed Sync to boot.
Conclusion The mark of a great product comes in whether you're able to reach its full potential. I attempted a sneezing photo series by using this light's capabilities to capture the movement. All in all, the series was pretty lackluster - but not because of the Profoto D2 system. Canon had not enabled faster firing on their Canon 1DX Mark II, and lighting people sneezing is a challenge in its own right. Where other equipment and techniques failed me, the Profoto D2 stood strong, with plenty more potential to go. Do I know what I'd need 1/63,000th flash duration for? No. Do I need a strobe that can recycle at 20fps? Probably not. But this strobe isn't designed with practicality in mind, nor should any products. The mark of a great product comes in its ability to provide you with what you need for all circumstances - and the Profoto D2 does just that. Am I blown away by the capabilities of the Profoto D2? Yes, absolutely. [post_title] => An Exclusive Look At The Newly Announced Profoto D2 Studio Strobe [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => an-exclusive-look-at-the-newly-announced-profoto-d2-studio-strobe [to_ping] => [pinged] => [post_modified] => 2016-09-15 13:42:33 [post_modified_gmt] => 2016-09-15 17:42:33 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=70783 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) => WP_Post Object ( [ID] => 70592 [post_author] => 47213 [post_date] => 2016-09-09 14:14:36 [post_date_gmt] => 2016-09-09 18:14:36 [post_content] => It's likely that Canon has dropped the biggest announcement of the year with the release of the Canon 5D Mark IV. The much-awaited announcement has been met with both excitement and skepticism. Many are intrigued by the refocusing aspects within the camera, and many videographers were hoping for more with the 4K functionality. Either way, Lensrentals.com took to their stock of new cameras and decided to take one apart, to see how it works.With Lensrentals.com being one of the leading rental houses for camera equipment, it's no surprise they have plenty of Canon 5D Mark IVs in their warehouse. However, upon receiving their shipment of these brand new cameras yesterday, they decided to take one off of the rental queue and do some investigative cracking open.Obviously, I can't recommend that you do this yourself, as you'll likely be left with extra parts when you put it back together. Still, with the expert help of Roger Cicala and Aaron Closz, we're able to see what exactly is inside this camera. Sadly, it's not a bunch of magic and rainbows, but rather, state of the art circuitry and electronics. For a full look at the insides of this new system, be sure to go to Lensrentals.com's blog post on the topic. However, the cliff notes were that the build quality is better, weather sealing better, and much to many people's surprise, plenty of empty space within the camera. [post_title] => LensRentals Cracks Open a New Canon 5D Mark IV and Shows Us What's Inside [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => lensrentals-cracks-open-a-new-canon-5d-mark-iv-and-shows-us-whats-inside [to_ping] => [pinged] => [post_modified] => 2017-01-31 16:08:29 [post_modified_gmt] => 2017-01-31 21:08:29 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=70592 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 69647 [post_author] => 47213 [post_date] => 2016-08-15 14:54:17 [post_date_gmt] => 2016-08-15 18:54:17 [post_content] => One thing I hear time and time from photographers is that they lack business and marketing skills. People are under this false presumption that if you're creative, that you can't be business and marketing savvy. The reality, however, is that marketing and creativity go hand and hand.When a photographer approaches me and tells me that they're not good at marketing and that that is the fault of their business, I tell them to email me, as if I was a potential client of theirs. Through some basic role-playing, I'll email them back and forth, and find holes in how they approach their customers through email interaction. And while I'm no expert, here are six common problems that I've found, that fixing will get you more responses, business, and interest from your clients.
Be Direct The biggest thing I've found when people send me their test emails, is that they're not direct in their message. Being clear and concise, on all facets, will garner more responses from your clients, and generate more activity. Be clear on what your portrait package includes - don't leave it open for interpretation.But being clear on what you offer isn't the only side to this point. Also be clear as to what you want to know from them as well. Simple phrasing can generate far more activity from your clients. One common problem I used to have was I'd ask "Let me know if this is something you'd be interested in." following my emails. This left the conversation open-ended for them and allowed them not to respond without a guilt complex, if in fact, they weren't interested. Instead, I now ask "Is this something you'd be interested in?", And by asking them the direct question, I'm able to get far more responses. An email saying "I'm not interested at this time" is still far better than no reply at all, though usually, I can help generate more interest with a follow-up email or two.
Stop Apologizing One of my biggest problems as a business owner is that I can get virtually no work done when I'm traveling. I've tried to correct this issue, but if I'm traveling for a job, all work at home gets neglected. What I've found to be a problem when I returned, is that I started all emails with the phrase "Sorry for the delayed response." I've learned to resent this phrase - cause I should not apologize for being busy. By all means, I want my clients to know they're important to me, and that they're not being neglected - so I need to stop responding to them as if they are. Instead, I now use the phrase "Thank you for your patience on a response.". It seems small, but it does help build trust with them and reminds them that I'm busy. People are far more interested in working with a photographer who is busy - cause busyness is a key sign of success.
The Balance in Brevity When writing an email, always watch your length. Short emails are great, as you're getting straight to the point, and not wasting any of their time. Nonetheless, emails that are too short show that you're not putting much effort into the email and that their voice doesn't matter to you.There is no clear answer to this problem. I like to keep my emails to 3-5 sentences in total. However, I try to pick up on cues they give me in their emails. If they send you three paragraphs in an email, send them three paragraphs back. If they're the type that only gives a sentence or a phrase, keep it short and sweet with them as well.
Quit Copying and Pasting I can spot a blanketed email a mile away. I use the phrase blanketed, meaning an email that is sent to a large group of people individually, with the name on the top of it replaced. I used to do this to a fault, deciding I wanted to shoot headshots for law firms and spending the day copying and pasting the same pre-written email to all of them. They know better, and so should you.Instead, build templates. If you're going to email all the law firms in town to try and book headshot sessions, write an email template with your clear intentions, and have spaces throughout the email where it's custom tailored to them. It should be a minimum of 50% custom - showing them you're a human and understanding to what their goals are.
Follow Up, Follow Up, Follow Up If a client contacts me, I try to respond to them within 24 hours. If I don't hear back from them after I week, I follow up with them, to see if there are any problems or if they had any questions. And after a few more weeks, I might follow up with them again.Some photographers see this as pestering and refuse to do it. I really don't mind doing this, and about 30% of the time, the people I follow up with will book a session with me. Another 60% will at least explain why they didn't book a session, which is always great for market research (It's always about price). The 10% won't respond to the follow up emails, and I won't hear from again.
For the Love of God, Please Spell Check! I know it sounds obvious, but it's so so important. Correct punctuation and spelling show that you spent a little extra time writing out the email. It indicates that you're not lazy, that you are engaged in their conversation, and that you care how they perceive you. Spell checking is free, and by quietly reading back your email out loud, you're able to catch a vast majority of the problems you may have accidentally typed out.A year or so ago, I had hired a personal assistant for a short time during my busy hours. Upon the hiring process, I posted on social media that I was looking for a part-time employee that was detail oriented, that could answer emails and manage booking for me. Upon receiving over 30 different resumes in my inbox, about 30% of them spelled my name 'Zack' instead of 'Zach'. And while that seems petty to some, it's important to others. Small things like that tell me that you're in fact not detail oriented as suggested - especially since my name is on my email address. And certainly, those are not the people I want representing my business. These are just a few tips to look out for, and help make you a better business owner in a digital age. Spending an extra few minutes focusing on these problems, and finding solutions will contribute to generating far more responses and business. [post_title] => Six Tips To Writing Better Emails and Generating More Business [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => six-tips-to-writing-better-emails-and-generating-more-business [to_ping] => [pinged] => [post_modified] => 2016-08-15 15:18:40 [post_modified_gmt] => 2016-08-15 19:18:40 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=69647 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 69614 [post_author] => 47213 [post_date] => 2016-08-12 19:12:05 [post_date_gmt] => 2016-08-12 23:12:05 [post_content] => Announced today, following a staff meeting is the closing of the iconic Brooks Institute. Brooks Institute announced that fall classes will not be held and that they will be closing their doors on Oct. 31st. This news comes as an absolutely shocker, to the 150 new students enrolled for said classes.This announcement falls after a leadership change at the school earlier this week. Following the termination of former President Edward Clift, many members of the board of trustees resigned, as a statement towards Clift's firing from Christine Lin - owner of Brooks Institute since June 2015. Lin immediate assumed duties as the interim president following the termination of Clift's three-year contract.With a decline in student enrollment, this may come as no surprise to some. However, following in the footsteps of other successful art institutes, like Savannah College of Art and Design, many had held hope for the prestigious art institute. Brooks staff is currently working on alternative plans for the many students who were currently enrolled, with plans to attend this Fall.While Brooks has not updated the news on their website, they have announced the closure publicly on their twitter page -- Additional news on this story is unclear, and I have reached out to Brooks Institute for a statement on the matter. As a statement becomes available, I will update this story as needed. [via VCReporter] [post_title] => Brooks Institute Closes Its Doors, Canceling Fall Classes [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => brooks-institute-closes-its-doors-cancelling-fall-classes [to_ping] => [pinged] => https://www.vcreporter.com/2016/08/12/brooks-institute-closes-fall-classes-cancelled-questions-loom [post_modified] => 2016-08-12 19:21:01 [post_modified_gmt] => 2016-08-12 23:21:01 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=69614 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 68857 [post_author] => 47213 [post_date] => 2016-07-21 15:03:56 [post_date_gmt] => 2016-07-21 19:03:56 [post_content] => Announced yesterday, came the new light from the extremely popular Paul C Buff brand of lighting, entitled the DigiBees. This is the first major Paul C. Buff related product announcement in a number of years, from what is likely the most popular strobe manufacturer in the United States. The ‘buzz’ is out on them, and I’ve looked over their spec sheet and product photos - and I’m already really unimpressed.For those who are unaware, the announcement is for their newest line of strobes, named the Digi-Bee. In 7 f-stop variability, these new strobes contain digital controls and come in two power output versions - 160Ws and 320Ws. Additionally, these new lights boast coming in 4 different colors, ranging from matte black, to faded red. Perhaps the best part of the lighting system though, comes with the price. Maintaining the vision that Paul C Buff has always had of making affordable studio equipment, the new Digi-Bee’s are priced modestly at $310 and $350. So what’s not to love? Well, quite a bit.The new Digi-Bee came in an era of expectations and failed to meet a single one of those. Since the announcement of the Profoto B1 back in 2013 (Seriously, that was almost three years ago now), everyone has been clamoring to create a competitor to the new flagship strobe system. The Profoto B1 has it all - TTL that actually works well, High-Speed Sync capabilities, a well designed and constructed mounting system, and most importantly, a removable battery at allows for over 240 full powered shots on the 500Ws strobe system. Sure, it has the shortfall of being $2,000 in price - but innovation comes from the top, and trickles down. And in these last three years, dozens of competing strobes have came out, trying to take the crown from the beloved Profoto B1s, ranging in prices higher, like the Broncolor Siros 800J at $2,350, to the Godox AD600 - which has most the features that the Profoto B1 has, for as low as $550.Furthermore, Paul C Buff has added nothing new to the Digi-Bee system that wasn’t already on, and in most cases, better, their current strobe lineups. For example, let's look at the Einstein strobe. Introduced in back in 2010 at ~$450 (It’s now $499), the Einstein by Paul C Buff was a major upgrade to the Alien Bee lineup of strobes. First, they added a digital back to the light, allowing for precise controls, using buttons instead of sliders. They also boasted 9 f-stops of power variability (two more than the newest Digi-Bees), an extra stop of power at 640Ws, and highlights an incredible short flash duration - the shortest available at the time. Moreover, promised a +/- 50° color consistency (something the Digi-Bee does not) and provided two different shooting modes, one which recycled faster with less accuracy, for action sports - and one a hair slower with better consistency in power. The Digi-Bee contains only a fraction of these features, and none of the stand out features found in the modern Profoto, Elinchrom, and other systems. Paul C Buff has still failed to fix some of the underlying problems users have faced with their old systems - faulty hardware.If you've read anything about Paul C Buff, you've probably come across the age-old "They have the best customer service in the industry". And that claim is right - Paul C Buff specializes in a direct to buyer sales model, meaning they build the relationship with the customer, not a middle man like B&H Photo or Adorama. They also are quick to fix any problems you have with your strobe or gear. However, their customer support is so renowned, because well, you're going to have problems with their gear - and these new products seem to be no exception to that reality.For one problem, the mounting system seems to be identical on the Digi-Bees to the previous Paul C Buff strobes, using a tension mount to add modifiers quickly and easily. If you’ve used an Alien Bee or Einstein long term, it’s more likely than not that you’ve had to send it in to get these replaced. Often, the band inside will break, or even one of the mounting arms, making it impossible to mount larger modifiers with ease. And while Paul C Buff is usually happy to service and repair these problems - often at no cost to the purchaser - one must ask how long these problems must go one before they fix the design flaw.And Paul C Buff strobes have a plethora of other small problems with the design, all of which have seemingly gone unfixed. After heavy use, the power outlet will break and fall into the unit, the umbrella screw mount will wear and break over time, you're going to run into threaded screw issues with the bottom plastic mounting plate, and the transmitter pins will certainly get bent and broken after long use. These are problems that users have frustrated about for years, and Paul C Buff has made no effort to fix them.Don’t get me wrong, I love Alien Bees, and credit them for really getting me started as a strobist. They were affordable when I was starting out and was experiencing the pipedream of someday owning Profotos or pro-level strobes. But with frustrations in their quality control, and actually having pieces of their gear catch fire while on set, I eventually gave up and made the Profoto investment. While I admire their ability to get people started into a hobby or career that can be so incredibly expensive, they still need to meet the market demands. High-Speed Sync is a big one, and it’s such the rage that I often teach workshops on the topic to students. TTL, Battery Powered, and High-Speed Sync are not fads within the industry, they're trends that photographers have come to expect from modern strobes. Failure to meet these demands only means that people will start searching elsewhere to get their needs. I love Paul C Buff, and all that they give to the photography community. But they need to stop catering to the community from 2006, and start acknowledging the needs of photographers in 2016 and beyond. [post_title] => Paul C Buff Announced the New DigiBees, and Why I Really Don’t Care [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => paul-c-buff-announced-the-new-digibees-and-why-i-really-dont-care [to_ping] => [pinged] => [post_modified] => 2016-07-21 15:26:45 [post_modified_gmt] => 2016-07-21 19:26:45 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=68857 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 3 [filter] => raw ) => WP_Post Object ( [ID] => 66526 [post_author] => 47213 [post_date] => 2016-05-11 00:11:35 [post_date_gmt] => 2016-05-11 04:11:35 [post_content] => Two announcements have come out of Canon tonight, both catching many by surprise. The first, the Canon EF-M 28mm Macro IS STM Lens, and it packs some interesting features, such as macro capabilities at 28mm, and a built-in ring flash. The Canon 600EX II, promises even fast recycle rates on their current top of the line speedlight. How much faster? Approximately 1.1 to 1.5 times faster when using standard AA batteries, and 2 times faster when using the Compact Battery Pack (CP-E4N) from Canon. Additionally, the 600EX II comes with new accessories included, allowing for using gels, additional bounce cards, and more. The Canon 600 ET II is available for pre-order right now and is expected to ship in June for $579.99. Perhaps the most surprising announcement comes from the Canon EF-M 28mm f/3.5 Macro. With a built-in macro light flash unit, the Canon EF-M 28mm is the first of it's kind with a built-in flash, allowing you to get ring flash lighting directly from the lens, without any additional equipment. Sadly though, the only people who will be able to use this will be those with the Canon EOS M camera system. The Canon EF-M 28mm f/3.5 Macro STM is expected to be shipping in June at the retail price of $299.99.
ACCESSORIZE THIS SPRING WITH THE CANON SPEEDLITE 600EX II-RT FLASH AND CANON EF-M 28MM f/3.5 MACRO IS STM LENS WITH BUILT-IN MACRO LITES AND IMAGE STABILIZER MELVILLE, N.Y., May 11, 2016 –Spring is all about having the right look and Canon U.S.A., Inc., a leader in digital imaging solutions, is giving photographers of all levels two new options that can improve their creativity and versatility; the Canon Speedlite 600EX II-RT flash and the Canon EF-M 28mm f/3.5 Macro IS STM lens.Photographers looking to take rapid-fire flash images will appreciate the improved recycling time in the new Canon Speedlite-600EX II-RT flash. Those looking to explore the world of macro photography will appreciate the stylish compact look of the new Canon EF-M 28mm f/3.5 Macro IS STM lens, the first EF-M Macro Lens for the Canon EOS M Camera System, which features Image Stabilization and a pair of built-in miniature Macro Lites to enhance image quality during close-up photography.The Canon Speedlite 600EX II-RT flash Offers Improved Recycling Time and More The Speedlite 600EX II-RT flash is compatible with most EOS cameras. It replaces Canon’s top-of-the-line Speedlite 600EX-RT, and improves recycling time by approximately 1.1 to 1.5 times* during continuous flash shooting when using AA batteries and up to 2 times* when adding the new optional Compact Battery Pack CP-E4N.Additional Speedlite 600EX II-RT flash features include: • Zoom flash head covers wide focal length range of 20–200mm; maximum guide number is 197 ft./60m at ISO 100, making Speedlite 600EX II-RT flash the most powerful flash unit in the EOS system. • Wireless flash shooting support is available for both radio and optical transmission with compatible Canon Speedlites, offering users greater functional range when using flash. • Multiple flash system support allows control of up to five groups of compatible Canon Speedlites. • Dust- and water-resistant body for reliable operation in harsh environments. • Flash-readiness indicator on the display panel, simplified button and dial operation and variable manual flash output. • New, specially designed accessories supplied include a built-in bounce adapter, plus SCF-E3 hard-type color filter sets, and a soft case. The new Compact Battery Pack CP-E4N is available as an optional accessory for faster recycling time and more flashes per charge. • Illuminated dot matrix LCD panel for enhanced display information, including flash mode and usable distance ranges plus C.Fn (Custom Function) and P.Fn (Personal Function) settings.First Macro Lens in the Canon EF-M lens series Photographers looking for a compact, lightweight macro lens should look no further than the Canon EF-M 28mm f/3.5 Macro IS STM lens, the first Canon Macro Lens specifically designed for the EOS M Camera System. The new lens features a pair of built-in miniature Macro Lite electronic flash units that illuminate close-up subjects as needed, helping to freeze movement, enhance color accuracy and provide a better sense of depth and dimension. Two curved flash units surround the front element of the lens, with the ability to illuminate both simultaneously, or one at a time. Users are also able to adjust the brightness of the Macro Lites between “bright” and “dim” settings. The standard focusing range of the Canon EF-M 28mm f/3.5 Macro IS STM lens extends from infinity to life-size (1 time). Additionally, a Super Macro Mode allows shooting at even higher magnifications up to 1.2 times. This feature allows you to capture smaller details that really make your subjects stand out against the background. Additional features of the Canon EF-M 28mm f/3.5 Macro IS STM lens include: • Hybrid IS, the same feature as found on Canon EF 100mm f/2.8L Macro IS USM Lens, helps reduce camera shake for enjoyable handheld photography. • Stepping motor (lead screw-type STM) helps provide smooth and quiet focusing operation when taking photos, and near-silence when shooting videos. • One UD lens and two aspherical lenses** help deliver outstanding image quality at all distance settings by reducing chromatic and spherical aberrations. • Angle of view similar to a 45mm standard lens (35mm equivalent) provides flexible image capture of various subjects and scenes at macro distances and beyond. • Tapered lens top shape makes it easy to capture high-quality images at close range without casting shadows.The Canon Speedlite 600EX II-RT electronic flash unit is scheduled to be available through authorized Canon dealers in June 2016 for an estimated retail price of $579.991. Canon’s EF-M 28mm f/3.5 Macro IS STM lens is scheduled to be available through authorized Canon dealers in June for an estimated retail price of $299.99. [post_title] => Canon Announces the Speedlight 600EX II-RT and EF-M 28mm f/3.5 Macro IS Lens [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => closed [post_password] => [post_name] => canon-announces-the-speedlight-600ex-ii-rt-and-ef-m-28mm-f3-5-macro-is-lens [to_ping] => [pinged] => [post_modified] => 2016-05-11 00:16:30 [post_modified_gmt] => 2016-05-11 04:16:30 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=66526 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) => WP_Post Object ( [ID] => 66422 [post_author] => 47213 [post_date] => 2016-05-09 17:31:45 [post_date_gmt] => 2016-05-09 21:31:45 [post_content] => Gels have never really been my specialty. I love using off camera lighting and work out of a studio for a good majority of my work. But when it comes to gels, it's not something that has ever really had a long term life in my equipment box. And that is because of the very nature of gels.In general, I find gels to just be a messy situation. You buy a set of 8”x10” gels from your preferred store for $25, and in no time, colors go missing, nothing is ever labeled, colors used become bent and beat-up, difficult to use alongside modifiers, and the general experience seems to be more of a hassle than they're worth. You see, I like my equipment and studio space to be clean. More often than not, the process of gelling is taking a piece of gaff tape, and haphazardly taping the gel to your light, and hoping it doesn't fall off mid-shoot. Profoto quietly changed that at WPPI and created an easier solution to gelling your lights, by creating filter system along with a variety of filters that are labeled and custom cut to the system. At $59-$99, you're able to get a nice booklet of gel colors ranging from CTO and cooling gels, to various blues, pinks, and other colors to add creativity to your lighting. But the beauty of this system really lies in its simplicity.For one, each gel is individually labeled, meaning you don't need to double check if you're using a full CTO gel verse a ½ CTO gel. Along with the label of color, you're also given how much of a stop in light the gel will create, so if you're at f/8 when metered bare, the gels will tell you exactly how much light they eat up, assuring your metering stays consistent and correct. These gels will eliminate the guessing game gels tend to bring into the studio, and in an elegant and simple solution.And the book containing the gels is really nicely made. With a magnetic open and shut system, you don't need to worry about gels falling out when in transport. The book also comes with plenty of space for additional gels to be added, and the filter holding system, while made of plastic, is well built and works wonderfully alongside their already popular gridding system.Certainly there are some shortfalls to the system. For one, they only work with Profoto B1 and B2 lighting systems. So while the filter system isn't terribly expensive ($59-$99 for a nice little filter booklet, mounting system, and variety of gels), it will only be useful after you have yourself a somewhat expensive lighting kit in the Profoto B1 or B2 system. However, it works and works with an elegant splendor. The filter system is a nice change to the standard gel solution, and the booklet has plenty of space for all the organization you'd need for gels.However, I've found a nice money saving solution that you can use after already purchasing the Profoto gel system. The gels themselves can easily be traced, allowing you to create your own colors and variations using a popular Roscoe gel kit. While the hassle might be a bit much for most, it does give an option to those who prefer a specific color that Profoto doesn't make. Additionally, you'll find the beginner gel system comes without a red gel, which is a pretty important one in my eyes.The Profoto gel system comes in three different kits, the light correcting system, the color effects pack, and the starter kit system. The light correcting system is much like it sounds, with a variety of CTO and cooling gels to help better mimic natural color temperatures when shooting on-location. The color effects pack is a bunch of bolder colors, used for actual gelling of colors, such as blue, green, pink, yellow and red. The starter kit is sort of a grab bag of each, with some color correcting gels, as well as some more vibrant colors for creative lighting. Currently, I have the starter kit of gels, and they’re great. However, left out of the starter kit is a red gel, which I consider a pretty common gel color. Either way, I’ll be purchasing the Color Effects pack soon.So is the system worth it? If you have Profoto B1s or Profoto B2s, then absolutely. Profoto was able to finally able to create a system that makes sense for gels. I personally recommend the Starter kit, as it has many of the gels you'll need for a one or two light setup. However, with the lack of a Red in the beginner kit, you'll find yourself quickly adding the additional kits to your B&H shopping cart. [post_title] => Profoto Quietly Created the Best Gel System I've Ever Used [post_excerpt] => [post_status] => publish [comment_status] => open [ping_status] => closed [post_password] => [post_name] => profoto-quietly-created-the-best-gel-system-ive-ever-used [to_ping] => [pinged] => [post_modified] => 2016-05-10 13:59:09 [post_modified_gmt] => 2016-05-10 17:59:09 [post_content_filtered] => [post_parent] => 0 [guid] => http://resourcemagonline.com/?p=66422 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 7 [filter] => raw ))