Man, things are moving fast. We were just about to post a review on the Nikon S8000, when along comes this revise, the S8100.

With this latest model, you now get 1080p HD movie recording, and well as stereo sound recording.
As the megapixels wars subside, the manufacturers realized the if the sensor is small, packing in too many megapixels will only result in noisier pictures, and unhappy photographers.
So they dropped the count and improved the sensor. Along with the 17 scene selection choices or the ability to just let the camera choose the best, based on what it sees, this is a pretty solid choice from Nikon.

One of our favorite features though, is something we love about the D700: the ability to quickly and easily pick our main focus point. With a fast depress of the OK button on the back, the jog wheel lets us pick the point we want. This is especially handy on the verticals, when we don’t want to lose that foreground.

And at the same time, Nikon is introducing the P7000, that in between camera range that the pro or prosumer may want to walk with.

A nice, fast 2.8-5.6, 28-200 mm lens, .8 in. minimum shooting distance, and 10.1 megapixels.
720p HD movies (??) and plenty of features to improve our low light shooting like 6400 ISO (expandable to 12,800 in low noise night mode, and 5 way vibration reduction.

Does the back look familiar to the Nikon folks out there? Lot’s of the same button icons plus a one touch HD recording button.
As this camera is the direct competition to the Canon G11, you would be wise to check out both.

and now for the press releases:

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Ah yes, summertime becomes a memory and school is back in session.
Not for all of us, though. Full time work may be more like it, but that doesn’t mean the learning stops.
Ever, it seems.
Annie Leibowitz is acknowledged as the world most famous photographer, although this past year, her name has been in the press not for her photography, instead for her business prowess.

No matter what you may think of her work or her current situation, she has a lot to teach, and snippets of it were laid out in this book, Annie Leibovitz at Work

“The first thing I did with my very first camera was climb Mt. Fuji. Climbing Mt. Fuji is a lesson in determination and moderation. It would be fair to ask if I took the moderation part to heart. But it certainly was a lesson in respecting your camera. If I was going to live with this thing, I was going to have to think about what that meant. There were not going to be any pictures without it.”
—Annie Leibovitz

What we love about this book is the fact that it let’s you peek behind the curtain and get the story behind the photographs: the situation, how they were made, and the process to get there.
So it is not strictly a photo book in the truest sense of the phrase, nor is it an instructional tome.

Sure, you will find out about the equipment she uses, but for us one of our favorite sections was Annie Leibowitz answers the 10 most asked questions.
Here is one that we always ask everyone we interview “What advice do you have for a young photographer just starting out”

Whether you are a fan or not, this book is not to be missed.
We have one to give away for free and will figure out who gets it like this:
Only open to subscribers of free weekly Newsletter.
It is emailed out every Weds. morning. to those that are on the subscription list by the previous Tuesday eve.
Along with some breaking photo news, and a recap of the site, there will be a question related to Photoinduced.com and the content we present.
From all of the correct responses, it all goes to random.org to well, randomly pick the winner.
And we’ll ship it anywhere in the world.
If you feel this is a book you want and have to have it now, here is well priced place to order it from.

We are always trying to find the most weight, and size efficient gear for the work we do.
In an interview situation, our light of choice is LED for speed and weight, and the stands we use to point them also have to be in the same mode.

For awhile now, we have used Manfrotto Avenger stands or even Nano’s, for the key light, and a PhotoFlex Compact Lite Disc Holder, with the disc holding spring clips removed, to boom in a hair or side light .

Of course much of our gear is cross purpose, and used for strobes when needed. Speedlights, with some accessories,are okay with these stands, but for the real strobe banks, heavier duty support is needed all around. Even our strobes are Dynalites for quality and light weight.

But basically, this a good lightweight setup that is easy to travel, easy to breakdown.
Then a few weeks ago, one of our fave sites “The Strobist” with David Hobby, mentioned another boom arm, with the same mindset of a converted lite disc holder, pressed into service.
Made by Lumopro, this set-up promised to give a bit more reach for the pole, while being slightly less expensive.

We decided to order one up and take a look at the differences so, if this is something for your kit, you can make the best choice.

First off, you can see a construction difference in the 2 units:

Here are the brackets that slide onto the pole, and then to your light stand:

The Lumopro has a rougher feel to the assembly , but seems to do the same job as the Photoflex.

The counterweight system (important feature here) is achieved by an added short sleeve cap with a ring on the Lumopro, and on the Photoflex, a machined hole.

An important difference here also is that the Lumopro has a stand stud on either end and the Photoflex does not in the compact model. Remember though, we are using these poles in a different manner than what they are sold for.

And in that vein, check out the clip assemblies on both units:

On the left is the simplistic tension manner from Lumopro, and on the right and more complex evenly distributed tension rig.

We have been using one clip on the rig as a flag holder for the hair light however so it does come in handy.

Here comes one of the biggest differences:

The extended length:
Lumopro- 30″ to 66″ and the Photoflex – 28.5 to 50″

Now to get the longer extension in Phofolex, you need to go their standard size: 36″ to 67″ plus you’ll get studs on both ends.

Cost difference? Street price-about $5.00
Shipping in the US is about $10.00.

So which one to get?

Well, the Photoflex has been made better, no questions, as can be seen in the details. If you feel you’ll need that extra length though, you may have to get the Lumopro.

Basically you are buying a telescoping, aluminum tube. You do want to make sure that the gear assembly that sits on the light stand, locks tight at the the selected angle,and does so for a good long time.
Both use meshing teeth, and the Photoflex has a double set.
Depending on how often you may use this, and for what, will help you make your decision. You should click on the Photoflex to see alt uses for either of these units.

We like to buy gear once, and will pay extra for something that will last.
Now that we have both there is no question each will get used since there is always something to hang or support.
The $900. Litepanel gets boomed on the Photoflex.

Steven Poster ASC is the National President, International Cinematographers Union, IATSE Local 600.
We’ve known Steven for awhile and have had the discussion re: HD DSLR’s many times. Now that he has used them in a real world situation, his perspective is invaluable.

Digital Single Lens Reflex Cameras Used To Capture High Def Video.

First hand experience with any new technology is the only way to get an understanding of how that technology impacts the workplace. And if you have new technology that is a hybrid (not belonging to any genre, but a combination of two or more) making that technology (say the Canon DSLR cameras) into something that it isn’t, is an even more complex (and costly) set of set of circumstances.

Steve Poster using a Canon 7D as a “gun cam” using the barrel of the gun in a POV of type of shot

Let me say now that I am a fan of those cameras and have used a series of Canon 7D DSLR’s on the movie I am just finishing, “Flypaper” starring Patrick Dempsey and Ashley Judd. So I do have the first hand experience I was talking about.

But, let’s face it you get what you pay for. Yes, you can go into a Best Buy and walk out with a camera that is capable of shooting HD Video images. But that doesn’t get you very far into having a reliable production tool that you can rely on day after day to deliver the right kind of images you need.

The Canon cameras (there are several models that will work) are still photography cameras with motion video capability. Canon cameras are built as robust and reliable tools, for still photography. Our demands, whether for a commercial or for a movie, are much more demanding. For instance there are functions that are indispensable to make coherent images. Focusing the lens is the first that comes to mind. The still lenses that come with the camera are not built for the continuous, smooth and, to the 16th of an inch, accuracy that movie lenses require. And no, you can’t use auto focus available on these cameras. Please remember they are built to capture still photographs. So, elaborate Follow Focus devices are needed for an assistant to adjust the focus. A competent trained first assistant is necessary to do this because it is very difficult to operate the camera and focus that accurately at the same time. In fact because of the size and low weight of the camera it is even better to have a small remote focus device so that the Assistant doesn’t put any pressure on the camera while the operator is trying to hold the camera steady.

The lenses that come with the camera are not suitable for making motion images for several other reasons other then the focus. There is a difference between shooting for a magazine ad and shooting for a commercial or narrative movie. The importance of consistency between lenses can’t be stressed enough. So it has been found that the best lenses to use are regular cinematography lenses attached to the Canon’s body. Most available lenses are physically unable to connect without modification of the camera to install what is called the PL Mount. Also because of the optical design of typical movie lenses the cameras mirror and shutter have to be removed for the movie lenses to fit inside of the camera. And usually a full complement of fixed focal length lenses as well as one, or two movie zoom lenses are carried on any production so that the desired shots can be used to tell the story. Caring for those lenses and helping attach them to the camera and calibrating those lenses for the focus device is the usual job of the 2Nd Assistant Cameraperson. That crew member will also have an important roll in maintenance of the cameras. They are not made to take the kind of rough service we put any motion picture camera through, whether digital or film.

© Paolo Cascio

Along with these cine lenses there will be a need for various support brackets and matte boxes to shade the lens and provide a mounting system for camera filters which are most often used in cinema style shooting for technical and artistic reasons. Again, more parts for the Camera Assistants to keep track of and know how to fit all of the configurations.

This brings us to another inherent condition of these cameras. There is another built in problem with these DSLR cameras; if they are used for more then and hour or two the image-gathering chip heats up and the image response changes. These changes often come in the form of increased sensitivity, unevenly across the field of the chip and sometimes and increase of digital noise (which can look ugly in the image). So, when we notice this happening the cameras are changed so that they can cool down. I know one Cinematographer who believes that the cameras should be changed every ½ hour to be safe. We are carrying four bodies on this show. I know shows that have carried up to seven bodies. It is also the job of the Camera Assistants to make sure the bodies are changed properly and are set up consistently with the ones used earlier in the scene. Even a small detail setting buried deep in the cameras menu may cause a shot to become unusable or very expensive to fix. Such details may not be visible on set.

One of the ways we can tell that the chip is changing and needs to cool down, as well as the way we can guarantee the consistent look of the image is through the work of the Digital Imaging Technician, and the use of tools like a Wave Form Monitor and Color Management System. For commercials with the kinds of deadlines of production and the demands of the advertising agency for high quality of work these kinds of tools and the skills to operate them can be a big money saver for any production.

The final element of any production is the safe and efficient downloading, inspection and trans-coding for the editorial system. This is the essential crew member who can help avoid catastrophic data loss and insure proper use of the recording media as well as transferring Meta-Data for post production. This is a position that must be filled with a trained technician, a Digital Downloader. Would you trust your day’s work to a production assistant with a computer who wouldn’t know anything about proper protocols for this important work? Local 600 has not only designed these protocols we have trained over 300 members how to follow them. With the Canon cameras or with any DSLR systems it makes a lot of sense to do this continuously throughout the day to insure that each shot is properly recorded, protected and stored before finishing the day’s work.

One of the advantages of using this style of cameras is that they can be configured in many different ways to adapt to the shooting circumstances. This allows for some very creative choices for getting the images you need to tell the story. But each configuration takes a number of accessories connected either mechanically or electronically or digitally to make the cameras work properly. The cameras can be mounted for tripod or dolly use, or even on a jib arm or camera crane. They can be hand-held or mounted on a Stedicam. They can eve be easily mounted on automobiles or motorcycles. The cameras can even be attached to the end of a machine gun as shown here. Any position you can imagine the camera in can be accomplished with the right accessories and tools. Viewing the image takes a small High Definition monitor mounted with the camera and configured for the Camera Operator to see properly. These accessories are being developed and manufactured at a very accelerated pace. Every week we see some new attachment announced to the industry. You can see the complexity of fitting together all of these parts in the photos we have provided. We researched what was available just before our show started two months ago. Even in that short time there have been new developments in accessories available for these cameras. You can see by the list of equipment we purchased to make the systems we put together how many components it takes to do this correctly.

I am very excited about these camera systems as I said in the beginning of this note. I am realistic however about the quality of the files these cameras produce and the limitations of the equipment as well as the image quality and inherent characteristics of these types of imaging chips. It is a scary thought when seemingly simple equipment like this is put in unskilled hands. As I said at the beginning, you get what you pay for.

Steven Poster ASC
President ICG, Local 600 of the I.A.T.S.E.
The preceeding article is reprinted with permission of the International Cinematographers Guild

And here is the equipment list:

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I thought you would like to know that Adobe today announced the Lightroom 3.2 and Camera Raw 6.2 updates are available for immediate download on Adobe.com.

The updates, originally posted as release candidates on Adobe Labs, extend raw file support to 16 new popular camera models including the Canon EOS 60D and Sony Alpha NEX-5, and improve on several of the lens correction profiles provided in the Lightroom 3.0 release.

These latest updates also add over 120 new lens profiles to help photographers automatically correct for undesirable distortion and aberration effects. A full list of the newly added raw camera support and the new and improved lens profiles can be found on the Lightroom Journal: http://blogs.adobe.com/lightroomjournal.

With Lightroom 3.2, photographers can now also publish their photos directly to the popular social networking site Facebook and the online photo sharing service SmugMug from directly within the application. Thanks to detailed feedback from the community on the Lightroom 3.0 release, this update also addresses a number of issues reported by customers, bringing improvements to the Library, Develop, Slideshow, Print and Web modules.

Pricing and Availability
The Lightroom 3.2 update is available as a free download for Lightroom 3 customers, and the Adobe Camera Raw 6.2 Photoshop plug-in is available as a free download for Photoshop CS5 customers, Photoshop Elements 8 (Win/Mac) and Premiere Elements 8 customers. For more information and to download the updates visit http://www.adobe.com/downloads/updates/.

Newly Supported Camera Models
Canon EOS 60D, Fuji FinePix HS10, Panasonic DMC-FZ100, Panasonic DMC-FZ40 (FZ45), Panasonic DMC-LX5, Pentax 645D, Samsung NX10, Samsung TL500 (EX1), Sony A290, Sony A390, Sony Alpha NEX-3, Sony Alpha NEX-5, Sony SLT-A33, Sony SLT-A55V

This update also improves the color and noise profiles for Casio EXILIM EX-FH100 (DNG) and Leica S2 (DNG) utilizing the DNG raw format already supported in previous versions of Lightroom and Camera Raw.

Nothing like working with a company whose sole purpose is imaging.

As we drift into the last week of summer vacation (was there a vacation?), it’s a good time to take it a bit slower, get ready for the 3 day weekend, and make sure the cameras are geared up and ready to capture some of the life of the inevitable gatherings.
Friends, family, and your online community right here.
Yep, we’re all here.
So, as we look back on the photo goodies we’ve offered, this is as good a time as any to hear what your favorites may have been, and do a repeat giveaway.

Some of the giveaway items from this year so far:
Scott Kelby books, Pixel Envy media card wallets, Nikon lighting DVD’s, Rogue Flashbenders, Blurb Custom Books, Various Monographs, Camera Lens Mug, 3D books, Photo T-shirts, Joby Gorillapods, Exhibition catalogs, Black Rapid camera straps, Magazine subscriptions, Kelby Lighting techniques DVD, Website subscriptions, and more!

Was there a favorite? Something that you had been looking or just got introduced to?

Let us know either here, the Facebook page, or by email, damonw@photoinduced.com and put “weekly” into the subject line.
We’re trying to get a sense of it before tomorrow night, so whatever thoughts you may have on the subject we’d love to hear them.

And if we don’t have a clear favorite, then we’ll do it next week. It’s is a holiday week after all, right? So some of you may be out of town.

On Weds. morning at 9:00 AM PST, 9/1/2010, the email will be sent, and if you subscribe to the free Newsletter, you’ll not only find out what the giveaway is, but have a shot at getting it for yourself, for free.

Or perhaps, it’s just a week to sip a cool ice tea, think about the life and images of the summer months, and get ready to move into the next cycle.

We’re pretty lucky here in Los Angeles to have a beautiful space dedicated to photography, complete with diverse imagery, mainly focusing on the human condition.
Annenberg Space for Photography
For almost 2 years we have watched this photographic jewel in this city continue to get polished.
Many promises were made, and community engagement projects have been on the the books since the inception.

One of the favorite parts for us, have been the free lecture series. For each exhibit the curators have lined up the people behind the images, to come and speak to mostly packed houses. Sharing the back stories of the assignments, experiences and thinking, the local community has been able to hear from the photographers AND editors, who share their passion from a small podium.

Steve McCurry © Damon Webster

The honest truth is, as much as we love attending these, sometimes it’s just not possible with conflicting events, work, and well, life.

Now, they have posted something we’ve been waiting for: The videos of the lectures, shot in high quality, 2 camera mode. Click this link link and check out the cornucopia of material.

For those of our readers who are based around the world, this is huge news.

And for those of us who were thoroughly bummed that the timing didn’t work to be there in person, relief.

Some things take time, and this is one archive well worth the wait.

Annenberg Space for Photography
Wed-Sun: 11am – 6pm
Century Park
2000 Avenue of the Stars, #10
Los Angeles, CA 90067
tel: 213.403.3000
fax: 213.403.3100

Packing for a quick shoot, on a short hop, to Baghdad by the bay.
Yep, San Francisco, not far, but far enough to pack light for an overnight stay with some image taking in the day.
Of course what’s in our bag?
The Lexar Dual-Slot USB 2.0 Card Reader

Fast, one USB port used and reliable.
Only way to upload and edit on the road.
So we have one available for a subscriber to our free NEWSLETTER
And we’re gonna get some more stuff done before we zip up the bag and get ready for an early flight.

One of our favorite travel lenses in recent years was the Nikon 18-200 DX zoom.
It had the range: close up, telephoto, compact enough and made packing light on simple travel trips easy.
There was a drawback in the first version, with the weight of the glass sometimes letting the zoom extend when vertical.
They fixed it in V2 and put a locking switch when the lens was in full wide mode.
Whatever.
Loved that lens, but when the full frame move was made, the DX lenses were sent to sidelines. Kinda like Toy Story.
Still had em, but rarely used em.
And now, finally Nikon has come up with a sweet 28-300mm lens for the Full Framers!

It’s f/3.5-5.6 but it’ll still get into the kit. Sure, love us some f/2.8 (or 1.4 which we’ll chat about in a minute), don’t get us wrong, but this versatile, VR enhanced lens is a must. Actually been waiting awhile for this range in a FX format.
One lens for travel and with that kind of range, you are covered. Or you can start paying the $45. carry on fee with airlines like Spirt, when you bring the full.
C’mon, if it’s a gig, you bring it all, but if it’s a quick holiday? Around town? A lens that’ll do you right in most situations?
It fits the DX cameras and gives you 42-450mm, a staggering range, but for us full framers, put this puppy on and your D700 will sing.

Like we said, it’s already on the list to buy.

And the official word:


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It took em’ awhile but they finally did it, and made a ground breaking entry with it.
The just announced Nikon D3100 , has all of the ergonomic excellence of a Nikon, takes a full compliment of DX lenses, and lists for about $700. with an 18-55 mm lens.

Coming in at 14.2 megapixels, if you’ve been deciding a move up in your beginning photographic life, or want to add the power of HD movies in one kit,
put your hands on one at your local retailer, and see how it feels.

The D3100 is the first D-SLR to implement full time AF for D-Movie video shooting and while in Live View mode. Using contrast based AF, the D3100 automatically focuses on subjects when Live View is activated to aid shooting when using the LCD.
This is a huge one. As everyone needs to get a follow focus unit to capture a sharp video, especially if you’re on the move, no other DSLR has this.

The D3100 camera also uses Face Detection technology to lock focus on up to 35 human faces, a feat not even accomplished with consumer camcorders. To further simplify movie shooting, Live View is activated at a single flick of a dedicated switch, and HD video recording is achieved by a simple press of a button.

ISO of 3200, expandable to 12,800 (meaning it’s a bit extrapolated) but you won’t miss the shot.

If the video portion is what you need to make a purchase decision, 24fps at 1080p, or 24fps-30fps at 720p, give you high quality range with exquisite glass. Only say that, because I’ve used em.

Honestly, no one is sure why 1080p was so elusive for Nikon but they came back and answered loud and clear with auto focus in D-Movie mode.
And at that kinda price?
Can’t beat it.

And tomorrow we’ll discuss the new lenses Nikon released and the ones already on our purchase list.

Here is some of the press release.
enjoy:

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Sometimes when we review a product and we like what it does so much, we do what we can to get one in your hands.
This is the newest addition to the bag: Rogue FlashBender Small Positionable Reflector
Yes, it’s a mouthful but, it does the job.
We love simple tools that work. This is one of those tools.

Easy to put onto the flash, hangs on in the roughest of red carpet lines, and crowded events, and gets the light softened the way we like: with no extra added color.
There are 3 different sizes of these beauties, and we highly recommend all 3, but this week we’re giving away the middle size.

Depending on how you shoot (or how many speedlights you use) it does get into that Goldilocks and the 3 Bears type of deal:
Is one too small? Is one too big? Is the middle one just right?
The answer is they are all right.
You know we always say, the right tool, for the right job.

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Last years hit at the holidays was the Nikon S1000pj. Seriously, everywhere we went, it gathered a crowd.
Very social camera, as no longer did people have to look at a tiny screen maybe a couple a people at a time, at best. We would project the shots just taken at a party on a wall, and it people would just love seeing the snaps projected on a nearby wall.
They just made it better with 40% more lumens, and, really the best part for us, the ability to connect your computer via USB and project what’s on the computer screen, in the files, or whatever program. Plus it comes with a slide show function, HD 720p, and 14.1 megapixel. Yes, or course it’s also a great compact camera.

We think you’re going to start to see a lot more products like this which integrate a small projector, sometimes called a PICO projector.
Nicely played, Nikon.

And now, for the official press release:

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