Loading..
Processing... Please wait...

Product was successfully added to your shopping cart.



Pro Photo Rental

Focus Stacking: What, Why, and When
By Zac Henderson

It can be tricky to get everything you need to be in focus all the time. When all else fails, there is another option: focus stacking.

Focus stacking

Instead of expanding depth of field in one image, focus stacking relies on multiple images shot at the lens’s sharpest aperture to be combined later through software into a single image with perfect focus front to back.

Read More
Tilt Shift Demystified and Explained
By Zac Henderson

Tilt Shift (also called "Perspective Control") lenses are so named for their ability to do two separate things which are... you guessed it, Tilt and Shift. These "movements" are physical changes in position of a lens, or a body relative to a lens.

Read More
Shooting Wide Open - Caution!
By Zac Henderson

Shallow depth of field. That magical look that gets the subject in sharp focus while everything behind the subject completely falls away into a buttery, creamy, silky smooth dream.

Read More
Teleconverters: No Free Lunch
By Zac Henderson

Ever wish you could get just a bit more magnification out of your telephoto lens? Is 200mm sometimes just not quite long enough? You’re in luck! Teleconverters can extend your lens’s focal length up to 2x , meaning  you can finally fill your frame with that squirrel’s headshot.

Read More
Hyperfocal Distance: Get the most out of your landscape photography
By Zac Henderson
Hyperfocal Distance Landscape

There’s more to landscape and nature photography than setting up a tripod in front of the mountains, letting your camera autofocus, and pressing a button.

Creativity in nature photography is important, and often there are subjects in your foreground that you want to include in the image, but you also want to keep the mountains in the distance in focus. There are several ways to do this: focus stacking, camera movements like tilt, and the use of hyperfocal distance.

Read More
Compare
  1. 1
  2. 2