<![CDATA[Pro Photo Rental Blog & News]]> https://www.prophotorental.com/blog/ Fri, 14 Feb 2025 05:14:12 +0000 Zend_Feed http://blogs.law.harvard.edu/tech/rss <![CDATA[A Guide to Videography for Photographers - 16 Videographer Tips]]> https://www.prophotorental.com/blog/A-Guide-to-Videography-for-Photographers-16-Tips/ A Guide to Videography for Photographers - 16 Videographer Tips

 You've mastered photography, and now you've been asked to create a video for a client too. That’s easy, right? You start daydreaming about how cinematic your first project will look, and that dream quickly derails when you realize that photography and videography are not the same. Your footage is choppy, shaky, flat, and you can't seem to save your highlights or shadows as you do with a photo. You go from feeling like a pro to feeling like an amateur with a thrift shop camera kit.

If you're in this position, you're not alone. Professional photographers looking to expand their services have run into the same issue, and some have shared their experiences with us:

"Adding videography services to my existing photography business was a great asset and challenge! I'd say my biggest areas of struggle came from the technical side - specifically, shutter speeds, as well as transitioning to more movement-based posing. Shutter speeds in videography vary because they are largely dependent upon your frames per second versus a setting used for different movements or to adjust for lighting in still photography. While prompt-based poses have always been a crucial part of connecting with my clients to create authentic images, introducing videography into this equation made me aware of how those movements are portrayed in film. I've moved from still poses to much more fluid and movement-based prompts in both my video and photo workflow." Molly Margaret Photography

"Due to Covid in 2020, we decided to add films to our wedding services to make extra income. We thought it would be an easy endeavor. It turns out it's extremely hard! Videos that looked great on a 2-inch screen were so shaky once viewed on a computer, and we were using zoom lenses, which made it worse, fluorescent lighting creates banding, and manual focus is tough to nail. Then you have the sound quality to think about, sorting through royalty-free music sites, and somehow stitching all of that together in a visually appealing way. Also, video editing is so much more time-consuming than photo editing, especially if you are still learning to use the software.

We took on four weddings videos this year, and we learned so much; which equipment worked for us, and which didn't, and how much different creating a still image is from creating a compelling movement-based story or emotion." Rachel from the Turquoise Camera

"I thought the video would be easy after several years of photography, but I was wrong. While I fumbled with remembering shutter speeds and frame rates initially, the biggest challenge I had to overcome was mastering audio. It took me longer than I want to admit to figure out how to record quality audio. Even if the video footage is great, audio has the power to make or break your video." Cassandra Vagher Creative



We've created this guide for photographer learning video, so you can minimize the "amateur" phase and jump right into creating quality films that land you paying gigs. Here are our top 16 videographer tips to shorten your learning curve.

 

Table of Contents

A Guide to Videography for Photographers - 16 Videographer Tips

Master Audio

Learn Frames Per Second

The Relationship Between Shutter Speed and Frames Per Second

Add Motion to Your Videos

Camera Stabilizers

Pay Attention to White Balance

Adjust Your Lighting Skills

Neutral Density Filters

Freaky Fast Memory Cards

Start Shooting in Log Profiles

Learn Color Grading

Get Your Hands On The Best Cameras

Start Telling a Story

Learn the Lingo: A-Roll vs. B-Roll

Find Your Editing Software

Upgrade Your Computer

 

 

  1. Master Audio

This is the absolute #1 thing that you have to get right. A saying in the industry is that audio is 80% of video. Get it wrong and it doesn’t matter how good your visuals are...no one is going to stick around to watch it.

Your camera records audio, so you’re all set, right? Definitely not. You never want to use “on-board” audio! Only use that audio as an emergency backup method and not your primary solution. As a rule, try to capture audio with multiple devices; in case one fails, you have a backup plan.

Tips for capturing clean audio:

  1. Make sure your mic is close to your subject. The further away it is, the more diminished the quality. This is rule #1. Do everything you can to get the mic close to your talent.

  2. If you're recording in an office space or room, make sure to have enough soft surfaces. Audio will have an echo or reverb of walls and windows. You can eliminate this with carpeted areas or by putting up sound blankets. Place two sound blankets close to your subject (but out of frame). These are easily hung from backdrop stands. 

  3. Always capture audio from at least two sources. 

  4. Do not use your built-in camera audio recording. 

  5. Always adjust your gain to keep the output level between -18dB and -6dB. If your recording levels are getting close to 0, your audio may clip!

  6. Try to avoid putting lav mics in places they will brush against fabric or hair. 

Here are a few audio recording hardware solutions:

Lav Mic

The simplest solution for recording audio is micing up your subject(s) with a lav (also known as a “lapel” or “lavalier” mic). This way, the microphone is close to the audio source and barely noticeable. It's also easier than lugging around a mic on a boom. If you're filming a wedding, we suggest putting a lav mic on the bride, groom, and officiant, if possible. That way you get a quality signal from each of the three most important sources.

Try out these lav Mics:

Sennheiser G3 Wireless Lav Kit (single)

Comica Dual Wireless Lav Mic Kit

 

On-Camera Shotgun Mic

Shotgun mics are generally directional mics that you can use on top of your camera to capture audio and wire it straight into your footage. These mics are best when placed close to your subject. The further out you get, the more the quality of your audio diminishes (which is true for any mic). Use this mic as a backup option and to help you sync your lav mic audio with your footage in post. 

Take a look at these Shotgun mics

Rode Videomic Pro Plus Shotgun Mic

Sennheiser MKE-600 Shotgun Mic

 

USB Mic

If you're recording a voice over the Shure MV7 is an excellent solution to recording audio straight into your computer. This podcast mic has crystal clear output, with very little background noise. Be sure you’re in a quiet environment! (see audio tip #2 above)

Audio Recorder

When you’re using more than one microphone, you’ll need to record that audio into a recorder of some sort, since most cameras only have a single 3.5mm audio input.

Some possibilities:

Zoom H5 Audio Recorder (2 inputs, expandable to 4)

Zoom H6 Audio Recorder (4 inputs, expandable to 6)

 

 

  1. Learn Frames Per Second

Frames per second are just like it sounds - that the number of images that make up one second of video. This isn't a one-size-fits-all scenario, so you’ll need to think about the level of action you’re capturing along with the end result you’re looking for. Also keep in mind that some cameras do not have all of these frame rates available, especially at higher resolutions. 

30 Frames Per Second

What you usually watch the news in and other broadcast TV is generally 30 frames per second. 

23.976 Frames Per Second

Think of your favorite cinematic film; chances are most of it is filmed in 23.976 frames per second (which you should use too). This frame rate is the golden standard in the film industry.

60 Frames Per Second

You've seen Lord of the Rings, right? The hyperrealism in the movements is due to the 60 frames per second. While it loses its cinematic feel, some projects are appropriate for 60 frames per second played back in real-time.

Want to turn your footage into slow motion? Then you'll want to shoot in 60 frames per second or higher! Most wedding filmmakers shoot all of their B-Roll in this frame rate so they can turn it into slow motion in post.

120 Frames Per Second

If your camera is designed for video, it may support 120 fps (or even higher), which is slow motion. This frame rate is overkill for some things, but for things like water dropping and higher speed sports, it can look very cinematic.



 

  1. The Relationship Between Shutter Speed and Frames Per Second

When you're taking photos, you're probably adjusting your shutter speed gradually as lighting situations change, as well as your ISO. When you're filming, you have to rethink how you operate your camera settings. If you crank your shutter speed too high, you'll affect your video's overall look, causing choppiness and altering motion blur.Without getting too technical, this is because your shutter speed directly correlates with the frames per second you're shooting in. 

Here's a cheat sheet to help you figure out what shutter speed you want to aim for so your footage will look its best:

23.976 FPS - 1/50

24 FPS - 1/50

30 FPS - 1/60

60 FPS - 1/125

120 FPS - 1/250

A rule of thumb is to double your shutter speed. Make note that most cameras don't have precisely the doubled amount - so round up!

 

  1. Add Motion To Your Videos

Remember, this is a MOVING picture, so let's add in motion. There are two variables here, your subject moving and your camera moves, which make your films much more exciting and cinematic. When photographers switch to video, most are used to their clients being mainly stagnant to get the shot - well, you don't want that in a video! Instead, focus on guiding your clients or subjects through scenarios with prompts, and don't forget to move yourself! Gimbals and glide cams give you the freedom to create parallax and panning type movements easily, so be sure to review the section below on how to get smooth movement in your films.

 

  1. Camera Stabilizers

No one likes shaky video, and only using a tripod always makes the video feel stagnant. While IBIS (in-camera body stabilization) helps, it's not foolproof. Here are some options for stabilization:

Gimbals

Using a gimbal does take a little practice, but it can up your video game significantly. The Ronin S and new Ronin RS 2 are two of the best gimbals on the market. An added benefit is your right arm will be ripped after a few weddings hoisting your camera around on this!

While gimbals do make your footage look slick, not all gimbals can host much off-center weight, so you’ll want to skip the telephoto lenses. For instance, even though the new Ronin RS 2 maxes out at 10lbs total capacity, you wouldn’t be able to balance it correctly if you tried to use a huge lens on a smaller body. Using wider-angle prime lenses on a gimbal will offer the best results and help make things much easier to balance.

Glidecam

Glidecams take much more practice, patience, and arm strength than gimbals; however, some filmmakers prefer less mechanical looks. If you're planning on renting a Glidecam for a project, make sure to give yourself time to practice setting up and using the device. These units are not motorized like the gimbals, so you do have the flexibility to add more weight if your arm can handle it! They are also a choice if you’re on a limited budget but still need some form of stabilization.

Dolly/Slider

If you're looking for smooth tracking shots, this is what you'll want to use! If you want to run a two-camera shoot but only have one person, the programmable Kessler Second Shooter Kit is an amazing way to add dynamism to your footage.

Tripods

Not all tripods are created equal, especially when it comes to video. If you want to pan or tilt while the camera is rolling, make sure you pick a tripod with a fluid head. That way you don't have snags that make your footage look strange. 

Shoulder Rig

If you're not into the idea of carrying around a gimbal or Glidecam, and you don't like the static visuals from a tripod, consider a shoulder rig. A shoulder rig gives you the flexibility to add more accessories to your camera (bigger lenses, audio devices, and even a monitor) and makes it easier to create moving shots with less fatigue. 

 

  1. Pay Attention to White Balance

If you shoot in auto white balance, you're not going to want to do that when filming. While editing photos in RAW makes white balance in camera almost irrelevant, it’s not the same case when it comes to video. You’ll have less control over that in post (especially if you’re not a very talented video editor) so you’ll want to do your best to fix white balance in camera whenever possible, which means taking ALL of the lights in a scene into account.

Yes, RAW is also available in video, but it’s a much larger file and much more difficult workflow. We’ll cover that at a later point. For the time being, you’ll want to skip RAW video until you’re ready to tackle more advanced topics.



  1. Adjust Your Lighting Skills

If you feel like you've mastered lighting in photography, the good news is that most of that knowledge should transfer over to video. The angles and aesthetics haven't changed; it's just the lighting is continuous instead of momentary. However, there are a few things to keep in mind that are different between photo and video lighting. For instance:

  1. If you’re adding your own light(s) to a scene, you have to pay more attention to and match the color temperature of any light that’s already there.

  2. You’re probably going to need a lot more light than you think, so plan on getting the most you can afford. Sure, it’s possible to shoot in natural light, but it’s a lot more difficult to get things exactly how you want them to look.

  3. Beware of fluorescent lights, as they “flicker” at most video capture rates. If you’re shooting in an office building with these kinds of lights, plan on bringing your own lighting and turning the fluorescent ones off.

We have a huge variety of lights, so call us for recommendations about lighting setups for nearly any situation. It varies greatly whether you’re shooting an interview, lighting a movie set, recording a wedding reception, or needing something that is run-and-gun ready. We’ve seen just about everything, and are happy to chat about the best options to fit your budget.

 

  1. Get Some Neutral Density Filters

Since you can't exactly crank your shutter speed like you would when photographing an outdoor wedding ceremony, if you don't use a neutral density filter, you'll end up cranking up your aperture and losing that shallow depth of field. ND filters can save your film’s aesthetic by cutting highlights so you can film in bright sunny conditions. While you can get drop-in ND filters to use with a matte box, the easiest ones to use screw onto the front of your lenses. This makes them easy to switch out between different lighting scenarios. Try to avoid the variable versions of these filters, as they can give your footage a nasty color cast and cause strange artifacts in open skies. It’s much better to use a different strength for each situation as needed. Keep in mind that like any filter, they are sized to fit your lens, meaning you may need multiple sizes to fit on all of your glass. Always get the largest size you'll need, as these are able to be mounted on your smaller lenses via step-down rings. You can’t go the other way.

 

  1. Freaky Fast Memory Cards

Not all memory cards are created equal. For video production, you'll want a memory card that can write at faster speeds, especially if you are shooting in 120fps or 240 fps! Check out a couple of these freaky quick cards that can support all of the slow-motion shots (be sure to pick the right format for your camera!):

Angelbird 256GB Pro UHS-II SD Card V90

SanDisk 512GB Extreme Pro CFExpress Card

 

 

  1. Start Shooting in Log Profiles

As a professional, you would never shoot photos in jpeg; you're always in RAW. When filming it’s similar, you want to shoot in LOG (or its more technical term: logarithmic profile). Each camera brand has its version (S-log for Sony, C-log for Canon, N-Log for Nikon), but basically, it's a format that is recording a very high dynamic range and color gamut. While unedited, it looks dull, flat, and almost muddy. However, it has the most detail preserved and allows you to manipulate video footage to its maximum potential in your editing program. There are other profiles that you can record in, but Log is the industry standard. Play with the different profiles and see which works best with your editing skills when first starting. Once you have that set, you’ll need to master the next step…



  1. Learn Color Grading

Even if you've mastered your style in Lightroom, you're guaranteed to struggle the first few times you try color-grading your video footage. Photographers have presets for both Photoshop and Lightroom, but what videographers have is called a LUT (Look Up Table). While not exactly the same, they function in a similar way, by applying a global change to things like contrast, saturation, brightness, and other color variables. Just like presets, you can purchase these if you want a quick start, or put in the effort to create your own and have your signature style that can easily be applied to future projects.

 

  1. Get Your Hands On The Best Cameras

When you're first starting with video, don't get too caught up in "which camera is best." However, you'll most likely want a professional-grade camera that does film in at least 60 fps at your desired resolution. Here are cameras that will help you start your filmmaking journey:

Canon EOS R5 Mirrorless

The Canon EOS R5 is the pro body in the new mirrorless line. This camera has an amazing autofocus system with 1053 focal points that is speedy fast! This beast of a camera films up to 120FPS in 4k, meaning silky smooth high definition slow-motion shots. Rent the R5 now

Panasonic Lumix DC-S1H Mirrorless

Need 6k? Perfect! The panasonic cameras are known for impressive gamma settings and V-log, with 14 stops of dynamic range. This bad boy films 60fps in 4k, and 120fps in 1080p.Check out the rest of the specs on the DC-S1H here

Sony A7sIII 

The A7sIII is the latest and greatest video camera to be released by Sony in November of 2020. Film in 120 FPS at 4K with no recording limits (you’ll need a great SD card though), with 15-stops of dynamic range in S-Log2 or S-Log3 creating dreamy cinematic content. Get your hands on the A7sIII here.

Black Magic Pocket Cinema Camera 6K

Want a super high quality camera with incredible color and 6k footage, yet small in size? Take a look at the Black Magic Pocket Cinema Camera 6k. Make some magic with the camera here. 

 Tell A Story

  1. Start Telling a Story

If you want to earn the title "cinematographer" or "filmmaker," make sure you're not only creating stunning footage but telling a compelling story. Stories generally have a beginning, middle, and end, so your films should too! If you don't storyboard or brainstorm your photoshoots, you should start doing so for your video projects, making you much more than just a"videographer."

 

A-Roll vs B-Roll

  1. Learn the Lingo: A-Roll vs. B-Roll

Once you dive into the video scene, you may hear people referring to A-Roll and B-Roll. A-Roll is the primary shots of your subjects talking (think of a person being interviewed), B-Roll is usually extra footage that is often your more slow-motion shots that may or may not have a voice-over. If you can think of a wedding highlight film, that is most likely primarily B-roll footage.

*** Extra videographer tip: Film any A-Roll in 23.976 FPS. You can choose between 23.976fps, 60fps, and 120fps for B-roll depending on your goal and aesthetic. 

 

Editing Software Options

  1. Find Your Editing Software

If you already own the Adobe creative cloud chances are you have access to both Adobe Premiere and Adobe Premiere Rush (the dumbed-down version). If you don't own Premiere, take a look at the free open source software Da Vinci (we love free software around here). Some say that Da Vinci offers the best color-grading options. Final Cut and Avid Media Composer are two other professional-level software editing platforms.

 Upgrade Your Computer

  1. Upgrade Your Computer

So your computer can support Lightroom and Photoshop, but do you have enough power to edit 4k+ video? There are many costs to adding video to your business, and a computer upgrade may be one of them. Make sure your computer has a dedicated video card, at least 16gb of RAM, an i7 or i9 quad-core processor, and of course, plenty of storage.

If storage is an issue, look at RAID Storage systems and always try to stick with solid-state drives and at least a USB 3 connection. While mechanical drives are cheaper, they can slow down your workflow.

Switching from Photography to Videography

While your first few videos most likely won't be perfect, we hope that this advice still saves you from pulling out your hair and learning the hard way. Our best bit of videographer advice is to not practice on a client's project; practice on your own first. Give yourself some time to remember frame rates, change your picture profile, and hopefully hit record on your audio recording device (it's all too easy to forget). Most importantly, be patient with yourself because your video skills will improve over time! If you have any questions or video tips please add them in the comments section.

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Fri, 19 Feb 2021 20:05:05 +0000
<![CDATA[6 Cinema Cameras Worth Your Attention]]> https://www.prophotorental.com/blog/6-hot-new-cinema-cameras/ The rate at which jaw-dropping cinema cameras are being released is dizzying. Manufacturers are pushing boundaries and fighting tooth and nail for spec sheet dominance while we get to sit back, watch, and reap the benefits. It’s easy to go back and forth online arguing about specs and bashing a camera or brand for not offering one thing or another, but if we’re really being honest with ourselves, the average offerings of all of today’s brands combined creates a camera that is beyond most imaginings just a few years ago. Basically, we’re spoiled. Really, really spoiled.

The new slew of camera systems we currently have available for rental are some truly impressive beasts that deserve some real attention. Of particular note is the focus on video recording capability, which just happens to be what this article is all about.

We should start by saying that, while spec sheets are fun to drool over, numbers aren’t necessarily everything. Just because a camera has a capability that another camera lacks, that doesn’t necessarily mean that the camera with that additional ability is the better option for a given assignment. A lot goes into camera choice, and specs are just one of those things. Lens choice, compatibility, ergonomics, size, weight, practicality, and intangibles all combine to make a tool the right one for a given task.

Below we’ve selected 6 cameras in our stable that are capable of some truly impressive video capabilities that you should be aware of.

Canon EOS R5

The Canon EOS R5 has scary specs. With this camera body we truly see Canon’s mirrorless lineup mature into something we always knew it could be. Indeed, the R5 is gaudy. We won’t list out every spec here since that’s what spec sheets are good for, but we’re happy to dish out the highlights.

Canon’s EOS R5 mirrorless camera body has some no-joke capabilities for both photo and video, but for this write up we’ll focus on the video side. We’ll start by mentioning the R5 is able to record up to 8k at 30p. That’s already mic-drop material for a mirrorless camera body, but there’s a lot more. The R5 uses the full width of its 45 megapixel full frame sensor for that high res video goodness. 4k at 120FPS is another head turner, as is also the 4k HQ and its image quality. The R5 is capable of internally recording RAW footage at 8k, or instead of RAW, recording internal 4:2:2 in C-Log or the HDR PQ setting. The R5 takes advantage of those shooting modes with exceptional autofocus using Canon’s 100% coverage Dual Pixel II AF system which can detect animals or humans. Making sure that 8k footage is actually watchable, the R5 boasts 5-axis in-body image stabilization which amounts to a ridiculous 8 stops of correction and more when paired with optically stabilized lenses.

As impressive as those abilities are, we should note a few items. High resolution 8k capture and oversampled 4k capture are typically specs held by cameras with extensive cooling capabilities and internal fans.The R5 doesn’t boast these kinds of cooling abilities, and so the 8k, high quality 4k (4k HQ), and 4k 120p recording modes will cause the camera to overheat if used for extended periods. For this reason, its best to use these higher quality recording modes for short bursts rather than rely on them for full productions. Using an external recorder like our Odyssey 7Q+ will mostly bypass the overheating issues for standard 4k capture, but will not allow 8k recording. If you’re dedicated to using the R5 at 8k, be prepared to stop recording after 20 or so minutes and allowing the camera to cool for extended periods.

While its most impressive video features may not be able to used all day without consequence, the R5 is still a capable video option with good dynamic range and usability at more modest resolutions. The R5 is at the top of the competition for still cameras, and so is an ideal option for hybrid run and gun shooters. Excellent autofocus, gaudy video capabilities in short bursts, quality footage in lower resolutions, high resolution stills, and gorgeous image quality make the R5 a very well respected camera and one we’re proud to have available for rental.

Canon C70

The Canon C70 is a unique offering in Canon’s exceptional cinema lineup, being the first to adopt the RF lens mount. This means that the C70 will not only accept the same lenses as the R5 and R6 mirrorless cameras natively, it can also accept EF lenses using the Canon Mount Adapter EF-EOS R 0.71x. This adapter provides access to a wide range of cinema lenses in Canon’s lineup while also adding an additional stop of light since the adapter takes the large EF image circle produced by EF lenses and reduces it to one more appropriate to the C70’s super 35mm DGO (dual gain output) sensor.


The C70 provides a solid set of cinema camera features in a comparatively small and lightweight package. The dual gain sensor provides up to 16 stops of dynamic range when paired with Canon’s C-Log 2, beautifully capturing high contrast scenes with ease. Perhaps most notable is the 4k 120p DCI recording at 10-bit 4:2:2 internally. For even faster capture, 180fps in 2k is available. Autofocus is fast and accurate thanks to Canon’s Dual Pixel CMOS AF system, and is even active at 120fps. Head detection AF tracking is also available.

Capturing the data are two SD card slots supporting UHS-II with all the recording capabilities you would expect in a cinema camera, including relay recording. Other cinema-centric features include internal cooling, dedicated white balance and custom white balance buttons, direct XLR control (of which there are two inputs), and 3 built-in ND filters which can be stacked together for up to 10 stops.

All these features combine to make the C70 a versatile and capable cinema camera.

Sony A7S III

Now in its third iteration, the latest version of the venerated 7S series combines a set of fully realized video capabilities with industry-leading low light performance. Hitting what seems to be the magic number, the A7S III is able to record up to 4k 120fps at 10-bit 4:2:2 internally. Those are serious numbers without the need for extra fast CF Express cards or an external recorder, and without a worry of overheating.

The A7S III provides pro grade cinema features in an extremely small and lightweight mirrorless body. The A7S III also boasts a welcomed upgrade over previous iterations: a full size HDMI out port. As you would expect from Sony, autofocus is accurate and fast with eye detect, face detect, touch tracking, and smooth transitions between focus. In truth, the A7S III is one of the best autofocusing cameras available. Period. And that’s true for both stills and video.

The A7S III provides two card slots supporting UHS-II as well as the new smaller CF Express cards for taking advantage of the higher data pushes when shooting 4k 120 fps internal slow motion in the S&Q mode in the All-I codec.  The A7S III’s full frame sensor comes in at a welterweight 12 megapixels, but don’t let this comparatively low resolution for stills fool you. The A7S III uses this smaller resolution sensor to great effect since there is less resolution to ignore when capturing at higher resolutions, and so has quality footage without oversampling. Remember, 4k footage is only 8 or so megapixels, so a 12 megapixel sensor is almost overkill by itself.

As far as image quality, the A7S III won’t disappoint. Sony claims 15 stops of dynamic range, and the 4k footage looks gorgeous. The A7S III can also record RAW at 16bit using an external recorder. Speaking of external recorders, if you’re interested in redundancy, the A7S III can record up to 4k at 120fps internally to BOTH cards simultaneously, as well as to an external recorder all at the same time. There’s also no recording limit, so forget about working in your content in 30 minute takes.

You can be confident that the Sony A7S III will be able to solve even the most difficult of problems.

Sony FX6

There’s a reason we placed the FX6 right after the A7S III. For starters, the FX6 is essentially an upgraded A7S III in a larger but still relatively small cinema camera body. The FX6 has the same sensor with the same low light capability using dual native ISO at 800 and 12,800. That also means internal 4k 120fps at 10-bit 4:2:2. The FX6 also includes Sony’s new color science, S-Cinetone which provides exceptional color and gorgeous cinema styles coloration.  S-Log 3 provides 15 stops of dynamic range. The FX6 features a pair of XLR audio inputs with Phantom power with plenty of control and great quality with up to 8 tracks.

The main benefit of the FX6 over the A7S III is the actual body itself as the FX6 has traditional mounting points expected of cinema cameras, dedicated buttons, and capability for large battery capacity. So if your workflow is heavily tethered to the physical attributes that a cinema camera offers, the FX6 is for you. Another benefit regarding autofocus over the A7S III is the face only mode, which will ignore anything that the camera doesn’t think is a face. This prevents hunting when no one is in frame. Other cinema features that the FX6 has over the A7S III are tally lights, shutter angle, and DCI 4k with a slight crop.

If you're impressed by the A7S III specs but need the functionality of a dedicated cinema camera, look no further than the Sony FX6.

Panasonic S1H

Panasonic’s offering to dedicated video shooters, the S1H is a full frame 6k cinema camera with some very impressive tricks up its sleeve. First, the specs that make this camera so unique. On top of DCI-4k, the S1H is capable of shooting 6k, which it does in a 3:2 crop. This might sound a bit weird since this aspect ratio is typically not used in film or video, however the benefit is that the entire sensor is used to capture this resolution which allows for impressive cropping options.

Another headlining feature that makes the S1H demand attention is its ability to utilize anamorphic lenses. That’s right, a tiny little mirrorless styled body can shoot true anamorphic while also providing a squeeze preview. Props to Panasonic for this unique feature. The S1H provides impressive dynamic range utilizing dual gain ISO for optimum noise performance, and also provides many of the solid still photo options of the Panasonic S1.

It is clear that Panasonic is serious about the S1H being a professional cinema tool thanks to the aforementioned capabilities, as well as the fact that this camera can shoot without time restrictions in any of its shooting modes thanks to two USH-II SD card slots, which are also hot swappable. This means no 30 minute time limits or overheating issues. This is due in part to the addition of a customizable fan cooling system which protrudes out from the back of the camera slightly, but is far from intrusive and provides the base for a well designed articulating LCD.

Other impressive cinema features include tally lamps, customizable waveform and vectorscope,  time code through the sync port, impressive dynamic range, and gorgeous 10-bit 4:2:2 internal recording at up to 4k 60fps. Did we mention that the Lumix S1H is also the first mirrorless camera to be approved for use by Netflix?

Blackmagic Pocket Cinema 6k

Blackmagic’s intriguing  camera design is on full display yet again with the Blackmagic Pocket Cinema 6k. Though the 6k is like the Blackmagic Pocket Cinema 4k in many ways, the 6k model does indeed bring 6k video capabilities onto its now Super 35mm sensor as well as the popular Canon EF mount. The Pocket Cinema 6k provides slots for SD or CFast cards, but also has the nice option of recording directly to an external hard drive via USB-C. Other ports on the 6k include a full sized HDMI out port, mini XLR with phantom power, Mic In and Headphone jack, as well as 12v power input.

The image quality coming out of the Pocket Cinema 6k is beautiful with impressive dynamic range, and again, at an enormous 6k resolution in Blackmagic’s respected RAW codec. The 6k also features an EF lens mount, making Canon’s vast lineup of EF mounted cinema and photo lenses available for use. Unlike many of the other cameras on this list, the autofocus in the 6k is rudimentary and does not offer any of the sophistical tracking modes, however the camera does have a tap to focus mode.

Indeed the Pocket Cinema 6k is capable of capturing 6k video and up to 60fps, and it does so in a RAW (and RAW only) format. The Blackmagic RAW codec is the only codec available for a variety of resolutions, including the highest resolution 6k, slightly cropped 6k 2:4:1, 5.7K in a 16:9 ration, 3.7k anamorphic, and 2.8k. Other resolutions in 4k and HD are able to be recorded in Apple ProRes and do not have the option to be shot in RAW. It should also be noted that changes in resolution will likely also result in a crop, all the way up to a ~3.3x crop when shooting in 2.8k 120fps. That means a standard 50mm lens will behave like a 165mm lens when shooting in this mode. Other resolutions like 6k and 5.7k have crops much closer to the original super 35mm sensor. If your intention is to shoot in 6k, be prepared with plenty of cards or a well sized external hard drive.

While the Blackmagic Pocket Cinema 6k may not be as fully featured as the rest of the models in this list, it produces excellent image quality at a very high resolution with a flexible raw format and an EXTREMELY attractive price. Ergonomically, the 6k body is lightweight and boasts a beautiful large rear LCD, as well as top and bottom 1/4-20 mounting points. If you’re looking for a solid EF mount camera that shoots quality 6k raw footage at a reasonable price point, then the Blackmagic Pocket Cinema 6k is for you.


Conclusion


These days the video capability cup runneth over with so many quality options on the market. The line between a dedicated cinema and mirrorless camera is becoming more and more blurred. Features available in the cameras mentioned above used to be only available for extremely high dollar cinema bodies, if they were even available at all. Fortunately, camera manufacturers are bringing these exceptional filmmaking tools to more people than ever before, and in ever shrinking and portable bodies. Though each of the above cameras have their own sets of strengths and weaknesses, they are all capable of producing stunning image quality in very usable packages.

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Thu, 11 Feb 2021 06:06:38 +0000
<![CDATA[A Guide to Wedding Photography Gear for Sony]]> https://www.prophotorental.com/blog/A_Guide_to_Wedding_Photography_Gear_for_Sony/ Congrats! You're beginning your career as a wedding photographer or just testing out the waters. So you're probably wondering what gear you need to photograph a wedding? It's not going to be the same as your hour-long portrait session, family photo minis, or late-night astrophotography session. Photographing a wedding takes more preparation and gear to get the job done, whether it's a small four-hour wedding or a party of over 300. This guide will help you find the right camera gear for Sony photographers starting in the wedding scene.

A few general rules I have as a wedding photographer:

  • Bring more than you think you need. 
  • Shoot on a camera with dual slots (two cards).
  • Always have at least two camera bodies (a third if you can). 
  • Bring multiple lenses. 
  • Bring lighting equipment. 
  • Bring extra batteries.
  • Always be charging (ABC). 

There's nothing more detrimental than not having the gear you need to get the job done, or maybe dead batteries. What equipment do you need to create stellar imagery and get through an entire wedding day? If you're a Sony photographer, I've outlined the cameras, lens, and lighting equipment you need to create top-notch imagery in any lighting conditions.

Sony Camera Bodies

Sony Alpha a9

Sony Alpha a9

I'm never worried about missing the bouquet or garter toss with The Sony Alpha a9 because of the 20 frames per second photos you get out of the burst mode. The electronic shutter also doesn't blackout your view, so you can easily follow your bride down the aisle, the bouquet moving through the air, or kids running through the reception without interruption. You'll never have issues focusing exactly where you want with the 693 AF points covering 93% of the full-frame.

Sony A7 RIV

Sony Alpha a7R IV

The jaw-dropping feature on the Sony Alpha a7R IV is the ultra high resolution (61 MP) BSI sensor. If your clients want their wedding picture plastered to a billboard, this camera will do the job. While I haven't photographed a wedding with the a7R IV myself, the 15 stops of dynamic range and large file size make it very enticing. It's burst mood isn't as powerful as the a9 at 10 fps at up to 68 frames; its image size makes up for it. 

Both the Sony Alpha a9 and A7R IV are dual slot cameras. For max performance, I recommend getting fast read and write a card with a higher capacity. When you begin your career as a wedding photographer, you tend to "overshoot," which is excellent! Just make sure to use a larger card like the Sand Disk 128GB or 256GB SD Card.

Sony Wedding Lenses

If it's your first time photographing a wedding, the most crucial bit of advice is to have lenses is having a variety of focal lengths. If you don't have much experience with lenses, it's best to rent one to practice with first, so you understand their differences. A longer lens like the 135mm or 70-200mm listed below is "zoomed in" or "magnified," whereas the shorter lens with the smaller focal length like 12-24mm is very wide. 

Zoom Lenses

If it's your first time photographing a wedding by yourself or doing so solo, I'd recommend opting for zoom lenses. Zoom lenses offer more flexibility; you can stand in the same places and create multiple compositions, unlike prime lenses, which force you to move since there is no ability to zoom. The following three lenses cover all of the range you will need to photograph a wedding:

Sony 70-200 2.8

Sony FE 70-200mm f/2.8 GM OSS

Don't let the 2.8 on this lens full you, paired with its compression this lens provides spectacular bokeh. If you're shooting with only zoom lenses at a wedding, this lens is a must for the ceremony and reception; it allows you to stand out of the way while still capturing close up photos if you plan to do close up headshots of your bride and groom too the longer the lens, the better! You want a focal range of 85mm and up, which this lens provides. 

Son7 24-70

Sony FE 24-70mm f/2.8 GM

The 24-70mm f/2.8 is a workhorse perfect for weddings as well as travel and landscapes. This lens is excellent for your formal group shots at a wedding, as well as details. The 2.8 aperture ensures it still shines in low light scenarios! 

Sony 12-24

Sony FE 12-24mm f/4 G lens

The Sony FE 12-24 is one of my favorite lenses due to its size and lightness. Use this lens to create wide sweeping landscape shots of your bride and groom or funky on the dance floor with it. The f/stop of 4 means you're not going to get a great deal of bokeh. However, you should really get that close to a person without distortion anyways. This lens is solely made for wide-angle shots. 

Prime Lens

If you're more interested in the sharpness and aperture on prime lenses, these are the four I would suggest having in your bag. Another pro to prime lenses is the wider aperture meaning more bokeh, and they work better in low light situations. 

Sony 135

Sony FE 135mm f/1.8 GM

The Sony FE 135mm f1.8 GM is my all-time favorite lens from any brand or focal length. If you want to make wedding portraits with creamy smooth bokeh backgrounds and sharp images, this is it. The autofocus is quick, and I love the manual aperture ring on the lens that lets you quickly and efficiently make adjustments. The only downside to this lens is how heavy it is; your wrists won't be happy with you after a full day wedding. 

I love this lens because it can disguise what a wedding venue really looked like - make a budget wedding look like a fancier one! If the wedding venue isn't exactly appealing, use this lens at an f/stop of 1.8 or 2.2 for portraits to compress the scenery and turn it into beautiful smooth bokeh. 

Sony 50

Sony FE 50mm f/1.4 ZA

The 50mm focal length, a.k.a, the "nifty fifty," is probably the most popular lens since it's *the* standard focal length. If you're trying to get group shots in a confined space, this lens isn't going to cut it. However, it's great for getting ready shots and standard length portraits.

Sony 35

Sony Zeiss FE 35mm f/1.4 ZA

Out of the Sony 35mm options, the Zeiss FE 35 F1.4 ZA has the lowest aperture, which generally makes the preference for wedding photos. While you probably won't be taking pictures at an aperture of 1.4, most of the time, it does make for some great detail shots. While this lens is excellent, it would be a rookie mistake to show up to photograph a wedding with only this lens - it covers all your wide-angle shots, but it shouldn't be used for any close-up portraiture due to the distortion it causes. 

Wedding Lighting Equipment 

V860IIs

Godox V860II-S Sony Speedlight Kit

The V860II-S quickly has become my favorite flash for my Sony; I generally bring two with me to weddings for both on-camera and off-camera flash. The recycle time is 1.5 seconds, and I've yet to have them overheat like my other flashes powered by AA batteries. The rechargeable battery has made my life easier - however, it is limited to 600 full-power flashes. I've never run out of battery at a wedding, but it is a possibility. It does beat having to swap out batteries or wait for your flashes to cool down!

My favorite feature is the High-Speed Sync when paired with the Godox X-Pro S wireless TTL controller - making mid-day outdoor portraits of the bride or groom much more feasible. Please do note, in order to turn on the high-speed sync when shooting off-camera flash with the V860II, you turn it on from the X-Pro S controller and not on the flash itself (it took me a minute too!). 

When to use the V860II-S:

Getting ready portraits as ambient lighting
Bounce the flash off white walls, ceilings, or even windows. If white walls aren't available, I opt for a Magmod or Gary Fong diffuser.

Portraiture during getting ready
I generally toss the flash in a softbox that can be handheld or on a stand. I opt for this during getting prepared due to its small size and lightweight. This helps me control the lighting for a few more dramatic or crisp, getting available photos. I may place a second light behind the subject to 

Mid Day Portraits
More often than not, you won't get to dictate the schedule for portraits. If I have any individual portraits to complete during high noon, I will have my subjects stand in the shade and use High-Speed Sync to illuminate them to match the background's brightness. It's possible to do this one late, but it also can be done with two flashes. 

Reception Ambient Lighting
During the reception, if the venue has white walls, I'll generally attach to flashes to tripods and stick them in opposing corners to create ambient lighting during toasts. Depending on the dynamic, I may leave them there the entire night. If the venue is massive and I'm moving around, I opt for an on-camera flash with the V860II instead. 

While I love the V860II for its light weight and flexibility, I don't recommend it for every wedding situation. The recycle time is to slow and burst rate for me when it comes to Bouquet tosses and first dances. Instead, I'd opt for a true strobe like the Profoto D2 listed below. 

You'll want the following settings on your Sony Camera to make sure High-Speed Sync is set up before shooting: 

  1. Turn off Wireless Flash in (Menu 1 Page 11)
  2. Exposure Composition Setting turned to Ambient Only (Menu 1 Page 11)
  3. Silent Shooting turned off (Menu 2 Page 4)
  4. e-Front Curtain Shutter turned off (Menu 3 Page 4)

profoto D2

Profoto D2 Duo 2-light Kit

If you're looking for something more powerful and professional, check out the Profoto D2. The high-speed flash duration is as fast as 1/63,000 second! It has a speed recycle time of 1.2 seconds, and a fast burst rate of 20 flashes per second - paired with the Sony a9 that's magic! While it is feasible for every situation if you have group photos in sunny conditions, these can fix your problem. Still, they're also great for portraiture, and other wedding moments when you want to make sure you capture the perfect moment with the fast burst rate!

If you're looking for extra flair or color correction to add with the Profoto D2, check out the OCF gel kit and grid kit. I generally only add gels to the strobes during the reception to add a color pop to first dance photos and creative flair to the rest of the party!

That concludes the necessary equipment to photograph a wedding for Sony shooters. Are you a wedding photographer? What is your preference for camera equipment? We'd love to hear your opinions below. 

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Tue, 23 Jun 2020 18:45:52 +0000
<![CDATA[Artist Interview - Fine Art Photographer Jasmine Abena Colgan]]> https://www.prophotorental.com/blog/Jasmine_Abena_Colgan/

If there’s one word that sums up Jasmine’s life and art it’s "dichotomy". Everything seems to be a perfect division between opposing parts. From taking digital photos in 2020 and using ancient printing techniques, to studying biology and art, to being born American but having deep roots in Ghana, to being a full-time student and also a professor. The contrast of all of her traits is what makes Jasmine and her work so unique, giving it much more depth and meaning.


Jasmine Abela Colgan, known as Jazz by close friends, grew up in Fort Morgan and was raised in the Denver Metro Area. When I started the interview process with Jasmine in October of 2019 she was knee-deep in her final year as a graduate student at the University of Colorado where she studied Photography. I was eager to learn more about the alternative techniques she uses to create her imagery, as well as the unique and very powerful projects featuring social issues and education, such as her long term project, turned non-profit known as Tough Skin. Jasmine has vitiligo, a long-term skin condition characterized by patches of skin losing their pigment. It’s obvious, at least from the outside, that this doesn’t hold Jasmine back. She emanates confidence and is a leader in vitiligo education and awareness. 

Fine Art Photographer Jasmine Abena Colgan

When Jasmine began her academic career at CU Denver, she planned on majoring in biology, but after taking Bio 1 three times, and realizing you’d have to be able to swim to be a marine biologist, she decided to take a different road. Eventually, she earned a bachelor’s degree in Fine Arts with an emphasis in Photography. After a series of jobs that she didn’t love, Jasmine went back to get her Masters at CU Boulder. “I have taught photography for non-majors,” she said, “learned how to print with 19th-century alternative printing techniques, and even discovered an ancient method in printing with actual gold from Obuasi mine in Ghana.” It’s clear from the way she speaks about her work, and time in the master's program this is where she belongs; where her creative heart flourishes.

If you’ve seen any of Jasmine’s photography, which I encourage you to explore, it’s clear that she’s pushing the limits and has a real adoration for the actual process of making a photograph. When asked to describe the photographic style she said:

“My photographic style is complicated. I have a commercial side and capture special moments for families. But, my heart truly lies within the social good aspect of art. I love hearing the journey of other vitiligans and how they got where they are in life.”

Jasmine Abena Colgan Fine Art Photography

Jasmine's photographs range from bewitching overlay self-portraits in the Sankofa Experience series to monotone prints in her Platinum Palladium. “My photographs are documentary,” she notes, “I typically turn the photographs into 19th-century prints, such as platinum and palladium.” After talking with her for just a short while, it was obvious that the process of printing her photographs was just as important to her as the subject matter. She draws a distinct correlation between the ritual of printing photographs and vitiligo. “The printing process is a metaphor for the skin condition, through the process of layers, sun exposure and a series of baths and chemicals, a pigmented photograph is preserved and serves as a moment that is essentially timeless.”

 

Jasmine’s emphasis on the process of printing however, isn’t the only thing she’s passionate about. She chooses to explore culture and identity in her work through the lens of a multi-cultured woman with Irish and Ghanian heritage living in America. She is always trying to deepen her understanding of the belonging of individuals who don’t check a certain box. The final paragraph of her artist statement reads: “I have developed my understanding of what it means to be a woman of colors. I am embracing my skin condition and expressing my body of work by painting a mask of makeup, to portray the persona of a halfrican.” 

Fine Art Photography by Jasmine Abena Colgan Boulder Colorado

Jasmine Abena Colgan Fine Art Photography

Jasmine had the opportunity to expose herself to many different types of photography and printing, both in her undergrad degree and in her masters. She says that the best advice she can give to aspiring photographers is to do the same; learn anything and everything. “The truth is, [the photography] world doesn’t know everything. So, when we shut out opportunities to learn old fashioned techniques to prolong our contemporary ways...sit down and listen.”

Jasmine Abena Colgan Fine Art Photographer

 

Jasmine finished work on her thesis installation which is a nod at the colors of her skin and the ways in which she has worked to handle institutional racism. The name of the exhibit is SLAYBOR. “SLAYBOR is a contemporary and urban definition. A reinvented, alternative method in response to institutional racism and ostracizing behavior. The act of slaybor is to work with great effort while continuing to dominate and maintain the skills to do what the mind believes.” 

Fine Art Photography by Jasmine Abena Colgan

Outside of her academic work she has traveled the world to photograph, document, and empower others with vitiligo. She does this through her non-profit Tough skin, that has diligently been educating the general public about the condition for several years. Tough Skin is currently expanding its reach and message beyond photography. 

A few more tid-bits about Jasmine Abena Colgan:

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Tue, 23 Jun 2020 17:32:00 +0000
<![CDATA[Legal Advice - Contracts, Cancelations, and COVID-19]]> https://www.prophotorental.com/blog/legal-contracts-covid-19/ Between the CDC restricting gatherings or your local legislation mandating no personal services due to the coronavirus, most photographers and videographers are scrambling to reschedule or cancel current contracts. It's a tough time, and most of us don't even know what "force majeure" means. Do you get to keep your deposit? What happens if you cancel instead of them? Is holding a wedding even legal right now? Is your client putting you at legal risk? So many questions. We aren't lawyers, and chances are neither are you. We spent some time researching people who do know a thing or two about the confusing sentences in your contracts and how they apply to situations at hand. We are not giving legal advice; we just wanted to point you in the right direction. Below are free and paid resources, blogs, and podcasts to help you along this daunting journey:

 

Resources:

The LawTog
The LawTog has a page with resources for COVID-19, including contract templates for purchase, a free force majeure clause, a free downloadable addendum to reschedule, and more. 

The Legal Paige
Paige has multiple free resources for creatives, including a step-by-step guide for rescheduling and canceling, clauses for your contracts, and plenty of other free resources. 

 

Podcasts:

Ep 50: Covid-19 Discussion with Caroline Fox, J.D. of Engaged Legal
The Legal Paige Podcast covers force majeure and your current contracts, common law doctrine (in case you're missing that force majeure clause), refunding deposits, insurance policies, and more. 

Ep 51: Candid Covid Convo
Is your client asking you to violate the law? The Legal Paige Podcast dives in deeper on addendums, retainers, and more for your small business during this event. 

COVID-19 & Your Small Business
This blog post by Rachel Brenke covers insurance, understanding your contract, and checklists to take action now!

 

Blogs:

COVID-19 vs. Your Contracts: A FlowChart for Wedding & Event Pros
The Engaged Legal Collective provided a flow chart to assist you with understanding the correct steps to either cancel, refund, postpone, or when force majeure is acceptable. 

Coronavirus, Weddings & Events, and Force Majeure
The Engaged Legal Collective covers what "force majeure" means and how it affects you. Does the pandemic count as force majeure? That's covered here. 

COVID-19 and Your Photography Business
The LawTog packed this blog post with more information and resources than just their own. Canceled travel, canceled venues, and refunds are all briefly covered here. 



Did you learn a thing or two? So did we. While these resources are helpful, we still recommend reaching out to your lawyer if you are facing a problematic situation with a client. 

 

Did you find an excellent resource that isn't listed here? Let us know, and we'll update this post to share it with everyone. Email it to Cassandra at creative@cassandravagher.com or service@prophotorental.com.

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Mon, 23 Mar 2020 17:29:07 +0000
<![CDATA[Financial Relief for Creatives]]> https://www.prophotorental.com/blog/Financial-Relief-for-Creatives/ There's no denying it; this is a rough time to be a creative or small business owner. We're all in this together. Photographers/videographers were some of the first to feel the economic impact of the pandemic. We compiled a list of grants and loans that can help you during this time. We sincerely hope these resources help those in need to find funding to cover their bills during this time. 

 

Grants:

Imagine 2020 ARTIST ASSISTANCE FUND
This funding focuses on creatives from a variety of disciplines who are "lLower-income" and have "no other source of income." Max funding per individual is $1,000; they're giving away $130,000 total. You must live in the City and County of Denver and provide supporting documents. 

 

Foundation for Contemporary Arts - COVID-19 Relief Fund Application
This temporary fund is specific to artists who have had exhibitions canceled due to the pandemic. They are offering $1,000 grants to qualifying artists; this is not strictly for photographers, so share with other creatives that you know!

 

NYFA -Rauschenberg Emergency Grants
If you have a medical emergency during this time, the Rauschenberg Emergency Grant offers up to $5,000 to visual and media artists. Reviews begin in May or June of 2020. 

 

CERF+ Emergency Assistance
CERF+ is offering assistance to artists that are "infected with the virus that require intensive medical care." There is no specific grant amount listed.

 

The Creator Fund
The Creator Fund is giving away up to $500 to creatives impacted by COVID-19, allowing them to help up to 100 creators cover the cost of groceries or their mortgage. All payout is through PayPal. 

 

Format - Photographer Fund
Like the Creator Fund, Format is giving out $500 to photographers impacted by the virus. This will also be paid via PayPal. You do not have to purchase anything from Format to enter. They are hoping to receive more funding (they have $25,000 to hand out now) to help more photographers in need. 

 

The Howard Chapnick Grant
The Howard Chapnick Grant is unrelated to COVID-19. However, it is meant for photographers! Only one person will walk away with the grant for $10,000, but it has pretty tight stipulations it can be used for. The requirements include your biography, CV, and a project proposal. It costs $50 to submit, and deadlines are April 30, 2020. 

 

Loans:

SBA - Economic Injury Disaster Program
The SBA (U.S. Small Business Administration) has currently had low-interest loans due to COVID-19. Yesterday, Colorado was added to the list of eligible states. However, it's not currently reflected on their website. 

 

Colorado SBDC - SBA Economic Disaster Loans
Your business must have less than 500 employees and in a county that is "suffering working capital losses." Loans are up to $2 million with interest rates 3.75%. 



Did we miss something? Please let us know. We will update this blog post as we learn more. Reach out to Cassandra at creative@cassandravagher.com or service@prophotorental.com to add grants or loans to this list.

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Fri, 20 Mar 2020 19:17:19 +0000
<![CDATA[How To Make The Most of Self Quarantine as a Visual Artist]]> https://www.prophotorental.com/blog/self-quarantine-visual-artist/ Covid-19 is here, and the best thing we can do about it is to do nothing at all. It’s not ideal, but there are ways to make the most of your down time at home. Here are some good ideas, but the last one might be the most important.

Work On Your Website

Some forced time at home could be a good excuse to re-visit your website and update it with new work, remove old work, or depending on its current state, a complete re-design. Taking time to examine its performance, address any SEO issues, and make sure it's in a good place could pay dividends after all this is over. If you're not sure of the best way to go about making sure your site is SEO friendly, check out Squarespace's SEO checklist which is useful even if you're not using their service. 

Re-examine your business plan

Now might be a good time to re-examine your business plan and consider ways to diversify your income. Thankfully pandemics don't come around very often, but the speed with which this event is having a pronounced effect on the economy should be a red flag. It's always important to have savings, but if your main source of income isn't paying the bills, it is good business strategy to have alternative sources of income. That could be writing, consulting, licensing, or working in a different industry altogether. This is a good place to get creative. In the photo/video world, uploading to stock sites might not be a bad investment in time. It's true that to make a decent living off of stock requires immense amounts of time and dedication, but earning some residual income with extra images and videos that aren't doing anything except taking up space on your hard drive doesn't require anywhere near that amount of attention. If you haven't thought about a business plan, check this article out

Get An Online Portfolio Review

You could use this downtime to do a creative audit of your work and confirm it's heading in the right direction. One way to do that is to reach out to an outside party for a portfolio review. Looking critically at your own work is important, but we only have our one point of view to see it from. Finding someone in the industry to provide an objective look at what you're producing could be a great way to grow creatively. Just don't take the criticism personally.

Learn A New Skill

If there was ever a time to fall down a YouTube rabbit hole, it's now. If you're not able to do the things you normally do then taking time to learn a new skill or brush up on old ones can't be a bad thing. Anything you can do to hit the ground running once things get back to "normal" the better. How great would it be if you were able to suddenly offer your clients another service? Think about skills that you know you could use some help with, and be honest with yourself. Watch some tutorials on lighting, camera movements, or organizational strategy. 

WHO USES A PENCIL TO TOUCH A LAPTOP SCREEN!?

Get On Top of Your Organization

File organization isn't exactly fun, but when you're stuck at home you might as well do somehting that is EXTREMELY important. If you're like the rest of us then chances are your file organization scheme could use an audit or at least a once over to confirm everythign is backed up properly. 

Blog

We'll just ignore how meta this section of the post is. For any personal website, or just about any website at all, blogging can be a great SEO booster and provides the opportunity to build a connection with your clients and followers, as well as bring in new ones. Unless you're super disciplined it can be difficult to keep up with the consistent writing that makes blogs effective. Writing several post now to schedule for future publication will make it easy to stay consistent with your content after things get back to normal.

Make a personal project

We're all experiencing this pandemic differently. Keeping your creative pencil sharp will be important while we wait for things to lighten up socially. Whether it's using your primary medium to create work about what you're experiencing, taking time to finally do that things you've been talking about but haven't had time to tackle yet, or probing a new creative discipline, making work isn't a bad use of time. 

Relax

Allow yourself to not be productive, even if just for a little while. Watch the movie that even you can't call "research". Read the book that isn't about self improvement or business strategy. Play some  video games. Do whatever it is your weird little brain wants to do but you don't usually let it because it's "not useful". A pandemic is a pretty reasonable thing to be stressed about. Give yourself a break and take care of yourself mentally and physically. 

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Thu, 19 Mar 2020 14:26:17 +0000
<![CDATA[Why You Should Be Tethering]]> https://www.prophotorental.com/blog/Tethering/ Importing images into your computer is a hassle. It's not fun, it takes a long time, and you have to keep track of those pesky little SD cards. While memory cards won't be leaving us any time soon, there are other options to bringing images into your machine during your shoot, effectively eliminating the "import" step altogether. "Tethering" or "tethered capture" is simply a way of connecting your camera to your computer so that any time you take a new image, that file is written to your computer instead of (or sometimes in addition to) the camera's memory card. Tethering offers a plethora of benefits to almost any photoshoot that go far beyond eliminating the import step. 

Eliminates the import step

We already mentioned this above, but it deserves mentioning again. Knowing that your images on your computer just after you captured them (and are subsequently ready for backup immediately), adds peace of mind and lessens the amount of time there are only one copy of your photographs (2 is 1, 1 is none). Dropping your memory card in a cup of coffee on its way to the card reader, or damaging it in some other way prior to import, is a very real possibility.

Organizes the shoot in realtime

You don't have to put all the images in your shoot in one folder to be painstakingly sifted through later. Tethering allows you to shoot into specific folders for the specific part of the shoot you're currently working on. That means when it's time to go back and find a particular shot, you're not scrolling for five minutes trying to find it. Navigate to the folder of the series of images you're looking for and, as Tag Team would say, Whoomp, There It Is.

Check focus

Why would you try to determine whether the last several images you shot are in focus on a puny 3" screen when you could be checking 100% focus with the click of a mouse on a 15" monitor? You wouldn't. (or at least you SHOULDN'T). Depending on the software you may even be able to see a live view feed from your camera on the computer, letting you adjust focus manually or from the keyboard using the camera's autofocus motor for absolute precision.

Check composition

Some software allows you overlay a transparency over the last image your shot, or over a live camera feed. This lets you perfectly compose for type or other design elements. Plus, a large monitor lets you check corner to corner composition more efficiently.

Make adjustments to your images in real time

Most editing software lets you make adjustments to the image just after it was captured, and then automatically apply those adjustments to all future images. This makes the shoot go smoothly and allows you to made decisions during the shoot that you might not have made if you were shooting to a card.

Make selects on the fly

If you have a client with you on set you could allow them to make selects during the shoot, potentially saving significant time on the back end. Plus it saves face. No client wants to look at the back of a camera to decide anything.

Capture One

How to Tether

1. Choose your camera

Most modern pro and prosumer cameras are able to tether. Tether Tools recommends looking for your camera's manual for terms like "tethering" "instant transfer" or "direct image transfer". You can also google your specific camera model. 

2. Choose your software

Most any pro or prosumer DSLR or mirrorless camera body will be able to tether to most any PC or Mac. The trick is making sure the software you choose is compatible with your camera and computer combination. Before buying any new software so that you can tether, be sure that you read the release notes of that particular version of the software so that you can confirm your camera is supported, and that your computer meets the minimum system requirements.

What to look for in tethering software.

Compatibility

For starters, you want to be sure that the software you use to tether into is compatible with your camera. Sounds like a no brainer, but first thing first. (Read the release notes!) Next, you want to think about what the software is capable of controlling on your camera. Some software can take advantage of the live view feed your camera produced, so you can see your composition on the computer. Some tether software is able to control autofocus and adjust almost everything on your camera's menu.

Speed

If you're shooting studio work by yourself and don't mind waiting around for an image to come up and render on your computer screen this may not be very important. If you're a working pro and you've got an art director on set waiting to make a judgement call on whether or not this composition is working, then speed will be a very important consideration. Do your research and download free trial of the software you're considering and give them a shot to see how fast the files are coming in. Larger files will take a bit longer.

Organization

Tethering to a computer offers a ton of benefits, but the greatest might be the ability to organize your shoot before it even begins. Instead of sending all of your images to the same folder on your hard drive, consider making sub folders for different parts of the shoot. For example, during a product shoot, you could create sub folders for different products over the course of a day, or for a fashion shoot, different sub folders for different "looks" or outfit changes. For headshots, each new sitter could have a sub folder dedicated to that individual, making your life far easier on the backend when it comes to finding a particular part of the shoot or an individual image. Certain programs can change the folder location the camera is shooting into very quickly, making on set organization a breeze.

Feature Set

Tethering software is great, but adding another piece of software just to tether into may not be necessary. I would argue it's far more efficient to tether into a software that is your primary organizational tool and RAW converter. That way you're not moving between pieces of software

Price

Free is great, but often you get what you pay for. If you decide to shell out for tethering software, be sure it meets as many of your needs as it possibly can.

Our recommendation:

Paid: Phase One's Capture One Pro
Industry standard tethering software that is also a leading RAW converter, organizational powerhouse, and efficient on set management system. Get it here: https://www.captureone.com/en/

Free: Camera Manufacturer's Proprietary Software
The best free tethering software tend to be the ones created by your own camera's manufacturer. This software will generally control the camera exceptionally well, but may have sacrifices in customization, user interface/experience, organizational options, etc. 

Not sure? The good folks over at Tether Tools have out together an extensive list here https://www.tethertools.com/tethering-software/

3. Make sure you have the right cable, and at least one extra

USB-A, USB-C, USB-Micro B, USB3, Ethernet, etc. It can be tricky knowing what cable you need to tether effectively. Fortunately Tether Tools has an excellent tool for determining what cable your camera needs here: https://www.tethertools.com/product-category/cables-adapters/. If you're renting a camera from Pro Photo Rental and you want to tether, just add a tether cable during check out, or ask us to include one.

Canon !dX MkII

Tethering is a excellent time saver and a great way to streamline your shoot. Still, it is hopefully obvious that tethering is not the perfect solution for everything. Cable management becomes an issue since it can be easy to trip over a tether cable, potentially bringing your camera, computer, or both, crashing down to the floor. If you're tethering on set in front of a client, you also want to make sure that your connection is solid. Depending on the quality of the ports on your camera, it could be potentially very easy for a cable to wiggle out of connection, stopping your shoot in its tracks. That's why it's important in a professional setting to ensure your cables are handled carefully and any connections to the camera or computer are free from strain.

So far we've gone over wired tether capture. This is the standard for most professional productions, but wireless tethering is starting to look more and more appealing. Wireless tethering sends RAW or JPEG files wirelessly from the camera to your computer or capable device like a tablet or phone. Some cameras have this ability right out of the box, including our Canon 5D Mark IV, Canon 1DX Mark IIISony A7R MkIV, and our Phase One IQ3 100MP (JPEG preview to iOS device via Capture Pilot). If your camera can't natively tether wirelessly, there are third party options that will work just fine like our CamFi CF101 Wireless Remote Camera Controller which can transmit RAW or JPEG files to an iphone or tablet. CamRanger and the Tether Tools Air Direct and Case Air are also good options. 

CAMFI

As you can imagine, sending large files through thin air can take some significant time. It also can be more finicky than a cabled connection since it will rely on the native WiFi strength, be susceptible to interference, and could potentially drop for seemingly no reason. For a professional setting, its our recommendation that wireless "tethering" be used to simply send preview jpegs to a device like an iPad, and leave the mission critical RAW files to either be left on card or tethered with a wired connection into your software of choice.

Having the ability to send previews or full RAW files to a computer to be instantly organized and inspected with a fine-toothed comb can be a huge boost to your on-set capabilities. When done properly, it can help keep the shoot going smoothly and impress your clients. Indeed, many clients expect to be able to see a larger version of the image either on a computer screen or a dedicated monitor when shooting in a studio. Now get out there and tether up!

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Mon, 09 Mar 2020 22:21:30 +0000
<![CDATA[How to Live Stream to Youtube (Updated for 2021)]]> https://www.prophotorental.com/blog/how-to-live-stream-to-youtube/ Ready to add "Master Streamer" to the list of self-bestowed claims to fame on your resume? In three years, I ran over 100 live webinars on a variety of platforms, the most effective usually being broadcast live on YouTube. Live streaming offered a realtime solution to interacting with prospects and clients while recording webinars live that could easily be shared later. Through trial and error (and almost losing my comfy software job), I learned all of the nuances involved with live streaming to YouTube. Please, learn from my mistakes and accomplishments so that you can have a successful live-streamed event, and no significant bloopers so you can keep your job (also don't use the "Master Streamer" title). Here's my set up guide to creating successful live stream videos:

Note: This is not a guide for how to use OBS or to connect it to YouTube; the following blog post will focus on the gear aspect of live streaming. 

Download Open Broadcaster Software (OBS)

OBS

OBS is a free open platform software that allows you to stream to YouTube so you can stream professional-looking live productions.

Features that this free software offers:

Chroma key - Green screening
-The ability to switch through multiple scenes
-Studio Mode - allows you to see the upcoming scene before switching
-Live stream video from a camera or capture your computer screen
-Broadcast multiple camera angles
-Record directly to your computer while streaming

While OBS is excellent, I would generally avoid running it on a MacBook air while you have other software open. Trust me from experience; your production can go downhill very fast if you don't have a powerful enough machine. 

Cameras

Cameras for live stream

From my experience, cameras are the most challenging part of live streaming. DSLR cameras aren't designed with live streaming in mind. For instance, the batteries can overheat or die before the end of the live stream. 

Most DSLR or Mirrorless cameras also don't have a clean HDMI output. I highly recommend getting a capture card. The capture card helps compatible cameras output clean HDMI - meaning you solely see the video and not all of the camera settings. 

According to Elgato here are cameras that offer clean output with a capture card that are rented by Pro Photo Rental:

EOS 7D Mark II

GoPro Hero 7 Black

Sony Alpha a7s

Sony Alpha a7sII

If you do not want to invest in the HDMI card (JUST DO IT) here are some tips for connecting your DSLR or Mirrorless cameras:

Canon

If you're shooting on canon cameras and you want to Livestream, you can't go directly from the camera to OBS. Instead, you'll need to download the EOS Utility for your specific camera. This will download multiple apps, but what you care about is EOS Utility 3. 

You can find a list of EOS Utility for Canon cameras here. 

Once your camera is connected, you'll have to add a new scene in OBS and capture the live camera view rendered in EOS Utility 3. Pro tip- don't move the EOS Utility screen on your monitor once you have it captured in OBS. 

From my experience, EOS Utility 3 is testy at best and very faulty. The software will only open when the camera is connected to the computer by USB. Even then, it won't work on some machines. 

Sony

While Sony seems to be a little less complicated than Canon here are a few recommendations:

  • Turn off your HDMI info
  • Use 1080p at either 30 or 60fps and do not record in 4k (or match your software settings)
  • Connect through HDMI and not USB
  • Consider getting a dummy battery (see below)
  • Do not press record on the camera

Dummy Batteries

If you're filming on a DSLR or mirrorless and you want to make sure you can Livestream for more than an hour, you're most likely going to need a dummy battery. The dummy battery allows the camera to think there's still a battery attached. Yet little does the camera know that it's getting its delicious juice from a sustainable source (the wall plug), effectively letting you shoot for as long as you want without thinking about power. 

Sony NP-FW50 Dummy Battery

Sony NP-FW50 AC Power Supply Adapter

The dirty little secret about the Sony NP-FW50 battery is that it is pretty short-lived, which can be a real problem if you're trying to shoot all day. If you happen to be shooting near AC plug-in power, an inverter, or a generator, then this kit will keep you powered up for as long as you need. Safe, regulated power that you can trust.

Canon LP-E6 AC Power Adapter

Canon LP-E6 AC Power Adapter

This is great if you’re shooting time lapses or working in a busy studio environment while using power intensive functions like live view. Just plug the dummy battery into the camera body and the plug into a wall outlet and you’re off to the races.

Lens

If you decide to use a DSLR or Mirrorless camera instead of a webcam, you get your choice of glass. I recommend a faster lens - meaning glass with low apertures that let in more light and allow you to achieve a shallow depth of field (being the benefit of using a DSLR/mirrorless in the first place). 

Canon

Canon EF 35mm f/1.4L II

Canon EF 35mm f/1.4L II

35mm is my favorite wide focal length; it's great if it's just one person on camera and possibly even two. The f/1.4 allows for a great shallow depth of field, but I usually try to keep it around 2.2 to make sure the majority of the face is in focus. 

Canon EF 11-24mm f/4L

Canon EF 11-24mm f/4L

 If you need something a little wider to fit in more people, I would stop at 24mm on this lens. The aperture of f/4 isn't super wide, but to make sure you're getting everyone in focus, I'd probably set it at 4-5. 

Canon EF 50mm f/1.2L

Canon EF 50mm f/1.2L

 If you have two cameras and want two angles, I suggest trading up one of the lenses to be a little closer up to your subject. The nifty fifty will be great for a tighter shot of one individual. Shooting this lens wide open will give you more of that bokeh background. 

 Sony

Sony FE 24mm f/1.4 GM Lens

Sony FE 24mm f/1.4 GM

This full-frame wide lens offers an awesome f/1.2, allowing you to have a wide image, with a still incredibly shallow depth of field. This will be great to use for groups of 2 or more in your shot.  

Sony Zeiss FE 35mm f/1.4 ZA

Sony Zeiss FE 35mm f/1.4 ZA

Yet again, being my preferred focal length, this is my top recommendation if you only have 1 or 2 people in the frame.

Sony FE 50mm 

Sony FE 50mm f/1.4 ZA

If you want to get in a bit closer, I love the 50mm as a second angle. Offering more bokeh and a tighter shot. 

Want to get even closer to your subject? You can, but for this purpose, I generally don't recommend it. For live streaming, a wider view is more relaxed and casual. Getting up to close might make viewers feel uncomfortable.

HDMI Capture Cards

If you do choose to use your DSLR, avoid brain surgery, and invest in an HDMI Card. You should expect to pay over $100 for whatever brand you want. Here one I prefer:

Elgato Cam Link 4K

Elgato Cam Link 4K

Compatible with either Mac or PC, this allows you to have clean HDMI output from most cameras to OBS. The manufacturer Elgato provides a list of all camera brands that have clean HDMI output with an HDMI Capture card. You can find the list here.

AGPTEK 1080p Live Stream Capture Card

AGPTEK 1080p Live Stream Capture Card

Another great option is the AGPTEK, while the devices name might not be pretty, it's clean output at up to 1080p 60fps is! It's great for video conferences and live streams. Alternatively, you can use it for streaming a gaming device such as a Playstation or Xbox. It is a plug and play device, which means you don't have to worry about downloading drivers. It is compatible with Windows, OS X, and Linux.

Use a Podcast Mic

Do not use your computer's mic. I repeat. Do not use your computer's mic. I highly recommend using a quality podcast mic; otherwise, you will receive complaints from viewers, and they will hop offline quickly just due to the audio alone.

Pro tip: If you do choose to use an external mic, remember to turn off the camera mic in the OBS settings. 

Here are three podcast mics I recommend trying:

Audio-Technica AT2020USB+ Microphone

Audio-Technica AT2020USB+ Microphone

This handy USB mic is compatible with both Windows and Mac and focuses on the vocals, eliminating background noise. 

Shure MV7 Microphone

Shure MV7 Microphone

The Shure MV7 creates amazing professional sound for spoken or sung vocals due to the dynamic microphone capsule that features a unidirectional cardioid polar pattern, perfect for isolating your voice from most of the background noise.

Electro-voice RE20 Microphone

Electro-Voice RE20 Microphone

Go big or go home. You'll find this mic at nearly every radio station due to its high performance. It also reduces proximity effect, allowing you to move while talking. I'm pretty sure the only thing it won't fix is my lisp. If you chose to use this mic because of the broadcast quality, you're going to need a USB audio interface like Scarlet 2i2 or Go XLR.

Audio-Technica AT8024 microphone

Audio-Technica AT8024 microphone

If you're using a DSLR, you can go through your camera as well, using a shotgun mic. Since it has a very directional pick up pattern, it reduces undesirable ambient noise.

Scarlett 2i2

Focusrite Scarlett 2i2 USB audio interface

The Scarlett 2i2 allows you to take full advantage over your USB microphones. The two included preamps provide excellent, clean sound. Plus it is super simple to use and travel with. It’s also able to provide 48V phantom power for those mics that need it.

Lighting

Don't skip lighting! If you have nice soft lighting from a nearby window, lucky you! Even then, I'd probably have another video light setup. I highly recommend something that is dimmable, and that can change color temperature. Especially if you have more than one person in your shot, I suggest using at least two video lights to illuminate everyone evenly. LED is the way to go; these lights generally don't get as hot, and most are designed to cast soft lighting. Here are a few of my top picks:

AXRTEC 1040BV Bi-Color LED

AXRTEC 1040BV Bi-Color LED

Powerful yet soft, dimmable, and also with variable color temperatures. 

Fotodiox Pro LED-312DS Digital On-Camera LED

Fotodiox Pro LED-312DS Digital On-Camera LED

Since it's designed to be on camera, this light is much smaller but still providing a punch. It's both dimmable and had offers variable temperatures. 

Chimera 30 Lantern

Chimera 30" Lantern (China Ball) with Triolet Kit

Illuminating larger spaces with soft and even light is as easy as hanging this setup directly from the ceiling. Included in this kit is Chimera’s triolet light kit with a Chimera 30" latern (china ball), a 1K Halogen bulb, and 1K dimmer so you have everything you need for an easy and customizable setup.

Rotolight

Rotolight NEO On-Camera LED

This on-camera LED is both customizable and powerful. The Rotolight creates a soft, ringlight effect on your subject with a powerful output and beautiful color rendering.

Livestream To Multiple Platforms at Once

So maybe YouTube isn't enough, and you want to stream to Facebook and LinkedIn simultaneously. There are a few platforms that will allow you to go from OBS to multiple platforms for a fee, to learn more check out Restream.

You're going to want to proceed very cautiously here. It's against terms of service to Livestream to Twitch and another platform at the same time. Twitch has sole broadcast rights for 24 hours. 

Green Screen

If you're planning on green screening and you're relatively new to the video world, make sure you have very even lighting. You'll want the backdrop evenly lit and your subjects, for OBS to pick out everything correctly. You also don't have to use green - bright blue and pink work just as well. A pro tip is not to wear the same color - which I would forget often.  Check out these simple solutions:

Green Screen 10 ft

Backdrop Fabric Green Screen (10x10 ft)

You'll need a backdrop system to support this, find it here. 

I generally opt for seamless paper as a backdrop; you can get that here. 

Stream Deck

Want to get fancy with your Livestream? Get a stream deck to set up custom controls to switch between scenes, launch your social media, add noises, pop-ups, and more. These come with 5, 15, or 32 keys. Check out this beast stream deck:

Blackmagic Design ATEM Mini Pro Switcher

Blackmagic Design ATEM Mini Pro Switcher

The Blackmagic Design ATEM Mini Pro is a 4-input live production switcher with a built-in hardware encoder for your multi-camera live streams. You feed it up to four 1080p signals, mix it how you like, and then send the final output via USB-C. It also has an HDMI out for you to monitor.

In addition, you get two 3.5mm Mic inputs along with the audio from the 4 HDMI inputs, and all of the audio sources have a pretty powerful audio mixer available. Set inputs to off, on, or audio-follow-video, adjust gain, metering, and even control audio effects with a compressor, gate, limiter, and 6-band EQ.

PC/MAC Requirements

You can Livestream on most any modern Mac. If you do, just make sure it's locked and loaded with at least 16gb of RAM and a strong CPU. If you're on a Macbook Air, you probably won't be able to run any other heavy-duty software. If you're solely running video, you will probably be fine, but I've run into issues with live streaming video and screen sharing bulkier software while live streaming. Pro tip - use long enough cords to your camera, an external keyboard, mouse and monitor so you can tuck your laptop away to eliminate fan noise.

If you plan to live stream video of yourself and screen share simultaneously, the PC route may be best for you. As a baseline, you want an i5 or higher, a minimum of 8gb of RAM, and a dedicated graphics card. For the best performance, I recommend using a gaming computer, especially for those wanting to run bulky software while they screen share and green screen. Yet again, if possible, I recommend tucking your laptop or tower away to reduce the mic picking up fan noises while live streaming.

A Few Pro Tips

  • Do you like your job? Do you want to keep it? Cool, test everything before you run it.
  • Do not set up an hour before your live production. Give yourself at least two hours, just trust me on this.
  • Have someone help you by answering questions in the chat for you! It's fantastic to have a set of hands off-camera typing in responses and sending links!
  • When you hit the go button on YouTube, you're live. Don't question it. Immediately start talking, because there will be a delay in what you see. You'll look like a giant dork waiting to see yourself move.
  • Do not have your laptop or desktop close to the mic. The mic will pick up the fan really easily, and it's probably going to run at full speed. I suggest tucking your computer under a table to mitigate noise.
  • Your internet connection will make or break you. Make sure you have reliable wifi, but I usually opt for being hardwired in.

Now you're a live stream guru! Let us know what works for you or questions you have in the comments. If you're looking for more resources on live stream check out this guide "how to setup the perfect space at home for your DIY social media videos."

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Mon, 24 Feb 2020 21:58:30 +0000
<![CDATA[Canon Makes Statement With 1DX MkIII]]> https://www.prophotorental.com/blog/Canon_1DX_MkIII/ If you think that the DSLR is dead, think again. Canon recently released their flagship 1DX Mk III camera body and guess what, it’s still a DSLR. Despite Canon’s newfound zeal for mirrorless cameras, the company has yet to turn its back on the larger DSLR bodies, at least for the targeted user base of pro sports and wildlife photographers. Canon has made a resounding statement with the 1DX Mk III: the DSLR is (still) the best option of action photography. And, oh, it's pretty amazing at video too. 

This release is significant for a few reasons, but I’ll go ahead and mention the biggest one first: 5.5k Internal RAW recording at 60fps. Go ahead, read it again. 5.5k RAW, shot internally, at up to 60fps. In a DSLR. Without an external recorder. Using the full width of the sensor. That’s…wow. The video features on the 1DX Mk III don’t stop there. The body also includes various 4k options, including internal 10-bit 4:2:2 video in C-Log. Dual Pixel AF is available up to 30fps in full frame mode, while AF at 60 fps is available in a cropped DCI 4k option. The 3rd gen 1DX doesn’t have any in-body sensor stabilization, but does offer digital stabilization which looks quite good.

1dx side

The above video specs place the 1DX Mk III in a unique position. RAW video is something we’re not yet used to seeing in DSLR or mirrorless cameras. The only other options for native RAW video support not found in dedicated cinema cameras are the Sigma FP and the Nikon Z6/Z7 with the help of an external recorder. Those two cameras caused quite a splash when Nikon announced they were even capable of recording RAW video, much less that it would be fully supported. Now, it would appear that Canon is trying to take some of that attention away and produce a RAW capable powerhouse, showing that they’re not afraid of sharing that functionality with their cinema line.

Yes, the video specs are (extremely) impressive, but let’s talk about the still specs for a moment. The Canon 1DX Mk III is capable of shooting stills at 20 frames per second while using live view, and 16fps while using the viewfinder. The newly designed AF sensor uses “Deep Learning Technology” to figure out what the subject is that you’re trying to capture and stays with it as it move across as well as towards and away from the camera. The new AF sensor is also quite large, boasting 525 AF areas and covers 90% of the imaging sensor.

1dx side

Speaking of imaging sensor, the new 20.1 megapixel sensor of the 1DX Mk III includes a new low pass filter which Canon claims increases sharpness to be comparable to 24MP camera systems. Considering the high fps still capability (buffer is 1k RAW images and unlimited in JPEG), and the internal 5.5k RAW recording capability, it’s no stretch to say that the 1DX Mk3 is a data generating juggernaut. So where does it all go? Into two blazingly fast CFexpress cards, that’s where.

Other new upgrades over the 1DX Mk II include a newly designed AF-On button which lets you quickly and accurately change the AF point as you swipe your thumb across it. The 8-way joystick is still around, but this new selection method seems to work exceptionally well. The 1DX Mk III also uses the same LP-E19 battery as its predecessor, but uses it more efficiently. Low light capabilities are also quite impressive, with a maximum boosted sensitivity of ISO819,200. Canon is also introducing the HEIF format, which is sort of like JPEG, but better since it can capture more information but has a smaller file size than RAW.

Make no mistake, Canon’s new flagship camera is a powerhouse. They’re pretty proud of it, and have suggested a retail price of just under $6,500. Add that to buying some new CFexpress cards, and you’re looking at a pretty significant upgrade cost. Fortunately, we have the Canon 1DX Mk3 available for rental so you can take advantage of the absolutely insane features this camera body offers without having to go into debt.

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Mon, 24 Feb 2020 00:21:08 +0000
<![CDATA[8 Things You Need To Know Before Flying Your Drone Commercially]]> https://www.prophotorental.com/blog/8_things_to_know_flying_drone/

Drones are incredible tools that offer amazingly diverse vantage points for stills and video. These angles were long reserved only for photographers and filmmakers with the budget to hire a plane or helicopter. Now, for the price of hiring a helicopter one time for a few hours you can buy a drone and fly essentially as much as you want. Indeed, the mass availability of this kind of tool has lead to all manners of unique footage that has, up to now, simply not had the opportunity to exist.

As is almost always the case, however, before you can go absolutely drone wild and start including that sweet, sweet drone footage in all your client’s videos and your monetized YouTube channel, you’re going to need to get a license. Yes, it’s a bummer, but there’s a reason for it. And the good news is it's really not that hard to get. Below we’ll demystify some of the aspects surrounding getting your sUAS license.

1. You have to have a license to fly commercially

So what does “commercial” mean? Before you twist yourself into a pretzel trying to convince absolutely no one at all that you’re not flying commercially, consider this. If you charge for your work or stand to make any money in any way by someone using their eyeballs to view your photos or videos shot with a drone now or in the future, then you’re flying commercially. Even if you’re not flying for a commercial job now but use that footage on your website in an effort to draw clients in, that’s technically commercial.

Have a YouTube channel you allow ads to run on so you make a few pennies here and there? Commercial. Instagram Account? Commercial. Just get the license. It’s not that hard.

2. Terminology.

Part 107, sUAS, UAV, Drone, Remote Pilot… the jargon behind drones can be a bit confusing at first blush. Here are some brief descriptions of these terms to help clear the air.

• sUAS or small UAS: Small Unmanned Aerial System- Your Drone and your controller

• UAV: Unmanned Aerial Vehicle- referring to just the drone itself- this is a less important distinction but you’ll see the term UAV thrown around occasionally.

• Remote Pilot- Pretty self explanatory, but the Remote Pilot is the person in control of the drone.

• Spotter: A person with the sole responsibility of keeping the drone in eyesight (without the aid of binoculars, telescopes, or anything other than corrective lenses).

• FAA: Federal Aviation Administration- The part of the government that deals with airspace, pilot certifications, and generally anything aviation in the US.

• Part 107: Part 107 refers to the FAA’s rule which allows drone pilots like yourself the ability to operate a sUAS weighing under 55lbs for commercial purposes without a full-on pilot’s license. The “Part 107 exam” is what people use to refer to the main test required to get a Remote Pilot Certificate and fly commercially.

3. Getting the license

If you’re wondering what the specific procedures are to getting your license to fly commercially, you can see exactly that on the FAA’s site here: https://www.faa.gov/uas/commercial_operators/become_a_drone_pilot/

You might’ve heard horror stories about how hard the Part 107 exam is. Most of them are overblown, but it’s not a walk in the park. You’ll definitely need to study and spend some serious time getting familiar with things that, if you’re a newbie to aviation, can be pretty intimidating. Fortunately there are loads of FREE resources online to help you pass the test. You seriously don’t have to spend a dime on study materials if you don’t want to, but you can spend just about as much as you want on study guides, classes, etc. from just a couple dollars to a couple hundred dollars (I bought a $5 iOS app to take practice tests). Just google Part 107 on YouTube and start the free fall down the rabbit hole.

Drone play

4. It's not immediate

You can’t take the test online: you have to call to schedule an appointment to physically go to a designated location registered with the FAA a “knowledge testing center” to administer the test. There are a bunch of different types of “Knowledge testing centers” and there’s probably one close to you. Once you schedule your test and pass it, you have to jump through a couple more hoops before the paperwork clears and you can fly commercially. All of this to say: don’t accept a paying job to fly your drone and think you can take the test and get your license within the week.

5. A Remote Pilot Certificate or “Drone license” isn’t a license to fly anywhere you want

Just because you’re official and have your shiny new license in hand doesn’t mean you can fly just anywhere. For starters, all National Parks are off limits unless you get a waiver, which… good luck. Many state parks allow drone use, but you’ll find plenty of “no drone” signs. Follow the rules so you don’t get dinged by the FAA. If you’re flying in anything except class “G” airspace (if you have your certificate then you should know what that means), then you’ll need to actually talk to the nearest air traffic control tower to let them know what you’re doing, when you’re doing it, and how long you’re doing it for. If you fail to do this you could be putting others in danger, and at minimum risk some hefty fines.

no drone zone

Fortunately the FAA has an app that will help let you know what class of airspace you’re in and give you a decently good idea of whether you can legally fly where you are currently. You can also use it to plan a flight to make sure the future flight is in a legal airspace. Still, it’s not a perfect solution so you should always check local laws before flying.

6. Just because you can legally fly, that doesn’t necessarily mean you should.

It's one thing to be totally within your rights and within the law to fly your drone in a particular place. It’s another thing entirely to do so without any thought given to other people around you. If you’re in a crowded natural place where people go for vacation or to have some quiet time outdoors, it may not be the best idea to spin up your bumblebee from hell and fly around everywhere. Many pilots will ask others nearby if it’s ok with them if they fly their drone. Chances are they’ll say yes. And who knows, maybe the person you ask is the CEO of some company that is looking for courteous, licensed drone operators. Feel out the situation and don’t be a jerk. And always respect strangers’ privacy.

You might think you’re in the clear with no one around, but your drone may negatively effect a rare species of bird that nests in that area. You might be in an airspace that prevents drone use, including military airspace. Those guys have missiles. If you fly near an airport you could straight up go to jail.

7. Potential clients will probably ask if you’re licensed.

It happens all the time. A small business is looking to hire a drone operator so they look for local pilots. They find your website. You begin discussing specifics about the project. Then they ask if you’re licensed. If you don’t have a license, the business will have to weigh whether or not they should take a chance on an inexperienced pilot. If you’re already licensed it lets businesses know that you’ve at least got some knowledge under your belt and have the discipline to jump through some hoops so you’re legal. Think of it this way, no business is going to pass on hiring you because simply because you have your drone license, but plenty could pass if you don’t.


8. Getting a drone license is step one. The next step is getting drone insurance

Insurance is a really, really good idea to have. When you’re flying commercially in a crowded area, a lot could potentially go wrong, particularly if your drone is on the large side. A propeller coming into contact with a person, falling on someone, or causing property damage could lead to some hefty fees and legal action, so it's in your best interest to protect yourself and others around you. The problem is that year round drone insurance can be pretty pricey.

crashed drone

Fortunately, several insurance companies specialize in drone insurance, as well as liability insurance for drone operations. Further, in an effort to keep costs down, many insurance companies will offer insurance for specific flight days, down to the number of hours your drone is in the air. Plan your shoot out ahead of time, then go to the insurance company to get a quote. Here are some options:

DroneInsurance.com

Skywatch

BWI Fly

Final thoughts

Commercial drone flying is still very much in its infancy, and the public has mixed emotions about when and where they’re ok with seeing drones. Your responsible flying can have lasting impacts on how the public views drones in the wild, but irresponsible flying can have an even greater impact. Your favorite state park might allow drones now, but if enough irresponsible pilots cause problems, you can bet your 107 exemption cert they will get banned in short order.

This article may seem like a buzzkill, but that’s kind of the point. You could easily argue that drones came on faster than anyone could have predicted. You don’t have to physically have a license in order to buy a drone, so many people buy drones without giving any thought to the consequences of flying. Steps are becoming clearer as to how to fly more responsibly, and as easy as it might be to hate on the FAA for dragging their feet in setting up practical drone laws, it's clear that they’re actually trying to make it easier for commercial drone operators and are actively working to make it easier for responsible pilots to do what they do. Drones are the future for a lot of industries for better or for worse, and if you want to ride that wave you should do it the right way. 

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Sat, 22 Feb 2020 19:01:50 +0000
<![CDATA[10 Reasons to Rent Phase One Medium Format]]> https://www.prophotorental.com/blog/10_Reasons_to_Rent_Phase_One_Medium_Format/

Medium format camera systems are tools that not many of us are familiar with, yet they are on the cutting edge of the greatest image quality available anywhere. Photographers that use medium format do so for a variety of reasons, some of which we discuss below. The majority of photographers, however, either haven't heard of Phase One medium format cameras or choose to ignore what they offer because of their prohibitive price tag. Indeed, these camera systems are expensive, and if purchased brand new can easily cost more than a car (or two). You know what you do when you want to use a piece of gear but don’t want to buy it? You rent it from Pro Photo Rental. Below we list 10 reasons why you should consider renting medium format on your next job.

1. The Best Image Quality You Can Imagine

The point so nice we’ve already mentioned it twice. Indeed, medium format camera systems are known for three things: price, resolution, and image quality. There’s a reason why these camera systems are so expensive, and its not just about the sensor that’s 2.5x the size of full frame 35mm. The exceptional Schneider Kreuznach lenses, high resolution sensor that produces 16 bit color and 15 stops of dynamic range, and some secret sauce in software all combine to produce image with exceptional acuity, dynamic range, color, and depth.

2. High Resolution Files

You might think #1 and #2 go hand in hand, and you’d be right. Still, it’s worth noting that just because a camera is capable of high resolution capture, that doesn’t necessarily mean that the high resolution image, you know, looks good. In fact, many new camera bodies coming out these days are capable of decently high resolution images, but there aren’t many lenses that can truly stand up to those high resolution sensors. Lenses have to be able to resolve the level of detail the sensor can capture, and many lenses out there just can’t handle it and will result in a soft image that doesn’t take advantage of what the sensor can provide. Phase One medium format systems include Schneider Kreuznach Blue Ring lenses which are designed for one thing: high resolution sensors.

The usefulness of high resolution images can’t be overstated. There’s simply more that can be done with a high resolution image: tighter crops, larger prints, more available reproduction mediums, etc. The client also has the capability of doing far more with the image now and into the future. Every day our image hungry society moves towards higher and higher resolutions. Still images taken now on a 100 megapixel camera have more staying power than images taken on a 24 megapixel camera, pure and simple.


3. Leaf Shutter Lenses

Each of Phase One’s line of Blue Ring Schneider Kreuznach lenses have built in leaf shutters that can sync with strobes at up to 1/1600s (larger lenses limited to 1/1000s). Leaf shutters are found in the lens, and contract radially instead of moving vertically next to the sensor like a focal plane shutter. This means that when the camera is triggered and a strobe is fired, the whole sensor is exposed. This is in contrast to a focal plane shutter which opens and closes using a slit across the sensor that moves top to bottom, only exposing part of the sensor at any given time. For almost all modern cameras, If a flash is triggered while using a shutter speed over 1/125s you’ll see a dark bar across the image since that part of the sensor wasn’t exposed when the strobe fired. A leaf shutter lens alleviates this problem and can let you shoot on the Phase One XF IQ3 100MP with shutter speeds up to 1/1000s or 1/1600s. That fast shutter speed combined with aperture control allows photographers to overpower daylight while still using strobes to light their subject.

You might be thinking “Zac, you dummy, you forgot that High Speed Sync allows us to do the same thing.” Yes and no. High speed sync forces the strobe to fire a BUNCH of short flashes while the camera’s focal plane shutter moves down the sensor, therefore exposing the whole sensor incrementally and preventing any dark sections on the image. While this does allow you to shoot at almost any shutter speed you like, HSS cripples the strobe’s available power. Since strobe output is directly related to flash duration, when using HSS the strobe can’t be anywhere near as powerful as when using a leaf shutter, allowing you greater control over your aperture.

4. Profoto Remote Integration

The Phase One XF body includes a built-in Profoto transceiver for not only triggering Profoto strobes, but also turning them off and on as well as controlling their power levels all from the camera body with no additional peripherals. The XF body can also take advantage of TTL control with Profoto strobes. But wait, there’s more. That built in transceiver allows photographers to trigger the camera from afar using nothing but a standard Profoto air remote. That means you can set the Phase One XF up as far away as the max distance of the Profoto air remote’s range (1000ft on paper) and still fire the camera. That’s a long way for a remote camera trigger. No cables attached.

5. Built in Focus Stacking

Planning on photographing a small object with the Phase One IQ3 100MP like jewelry or a bug’s nose-hairs? Good, because you’ve got built-in tools at your disposal to help you get the best image you can. The focus stacking feature in the XF is unique since it will automatically determine the number of images required in a focus stack by taking into account the lens you’re using, the aperture you’ve chosen, and the distance between the near and far points you’ve told the camera you want to be in focus.

After you tell the camera to begin the stack, the XF body will use its autofocus motor to incrementally shift focus to achieve a perfectly stacked series of images. Those images are then tagged via metadata as all being part of the same stack so you can easily choose that series of images amongst others in the capture folder. Simply right click a thumbnail from that series in Capture One and click “select by same > Sequence ID”. Boom. All images from that series are selected to be stacked in your software of choice. We recommend Helicon Focus since it has a great little plugin for Capture One.

6. Truly Ginormous Time Lapses

Phase One camera systems specialize in being still-photo juggernauts. Because of their specialty you won’t see any video features on these camera systems, but that doesn’t mean you can’t use them to help make a video. The XF body has a built in time lapse feature for when you want (and have the storage for) a, wait for it, 12k time-lapse. And not just any 12k time-lapse, but a 12k time-lapse made with a medium format camera with 15 stops of dynamic range, 16 bit color, and an insane amount of information packed into its raw files. The ability to crop into a clip of that size is spellbinding.

7. Tethering Powerhouse

Capture One Pro, the industry standard tethering software, is made by the same company that makes our XF IQ3 100MP: Phase One. That means the software and hardware speak to each other on a very intimate level. Through Capture One you can do things like control the autofocus motor in incremental steps while viewing a live view feed from your computer, paint the image with a focus mask to help visualize your depth of field, and control almost every facet of the camera’s menu and settings. That means you can set the camera up and stay by the computer to capture and instantly review images while marking selects.

8. Cachet

Ok, we recognize this one is an intangible but it is no less real. When you walk on set with a camera your client hasn’t bought their kids for Christmas, much less ever seen before, you instantly gain street cred. The Phase One XF looks like a camera. Like… a real camera. It telegraphs to the client that you know what you’re doing, you’re taking this project seriously, and you want to deliver the best. Just know how to use it before showing up on set.

9. Experience

If you’re in the commercial photography business, chances are one day soon you’ll be asked to shoot medium format if you haven’t already. Some clients won’t accept anything except medium format. By voluntarily renting a medium format system now you gain the experience of knowing what it’s like using the camera, what its limitations are, best practices, and so on. That way when a client requests Phase One medium format you’re not learning last minute, or worse, on set.

10. Your Clients Will Love the Results

What client doesn’t want to have all of the quality and options medium format camera systems provide? One of the sweetest sounds on the planet is when an art director gasps while watching a 100% view of a medium format file render in Capture One. It’s just stinkin’ impressive.

Bonus: Capture Pilot

It's one thing to be in a studio environment and shoot tethered, but it becomes more challenging to review images and confirm beyond a shadow of a doubt you got the shot when you’re in the field and on location. That’s where Capture Pilot comes in. Capture Pilot is an iOS app that allows you to connect your iPhone or iPad directly to the IQ3 100MP digital back. Since the IQ3 100MP digital back is capable of generating its own WiFi signal your phone can connect to, you can use Capture Pilot to trigger the camera, review images, rate and color tag images, check exposure, focus, and even look at a realtime live view feed of what the digital back is seeing no matter where you are in the world. Though if you plan to use this feature, be sure you’ve got extra batteries. Best of all, the Capture Pilot app is FREE when you’re using it with the IQ3 100MP digital back’s AdHoc Wifi signal.

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Fri, 07 Feb 2020 20:16:13 +0000
<![CDATA[Switching to Sony?]]> https://www.prophotorental.com/blog/switching-to-sony/ Switching camera brands can be slightly daunting. During the summer of 2019, I made the change, latching on to my receipt, almost sure I'd be taking my new Sony back. At first, the menu system boggled me, and I spent a few hours watching YouTube tutorials navigating me through what felt like endless pages.  After about two weeks and a few weddings, I was feeling comfortable and already favoring the new Sony, barely picking up my Canon. Since my switch, other photographers have asked about my experience. Here are some of the topics they bring up the most:

 

The Size:
Mirrorless cameras certainly are smaller than DSLRs. While the weight actually isn't that big of a difference, especially when you slap heavy glass on, the camera body size is a plus. While no Sony A7RIV will fit in your pocket, the slimmer size comes in handy when traveling, squeezing into smaller bags, and taking up less room.

The Digital Viewfinder:
The digital viewfinder on mirrorless cameras is a game-changer. When camera settings are altered, the screen changes to reflect what the photo will look like, whereas the optical viewfinder on a DSLR only reflects the world as you see it.

Set time aside to learn the menu system:
At first, learning the Sony interface drove me bonkers; it seemed like there were 3 to 4 more steps than I wanted to change specific settings. For instance, if you're going to shoot a long exposure, you'll have to turn on single-shot mode versus rapid-fire to access the bulb setting - who knew?  Or if you're photographing a quiet, intimate ceremony and you realize you're not on silent shutter mode, good luck locating that in the menu off the top of your head. That said, I would pick up a new Sony and expect to photograph a wedding with it the very next day.

Despite the initial confusion with the menu, you'll become accustomed to it over time. Sony cameras have customizable buttons on the exterior, cutting downtime in the menu and streamlining your workflow.

You don't have to give up all your favorite lenses:
My shift over to the Sony world has been gradual. I only purchased the body and converter for my Sigma glass instead of buying new lenses for the first few months. What I discovered was my Sigma lens focused just as well on my new Sony for photography. There are converters for other Nikon and Canon glass as well.

You can try a converter here:
Metabones Smart Adapter Mk IV Canon lens to Sony E body
Metabones Speed Booster Ultra 0.71x - Canon Lens to Sony E body

Eye Autofocus:
Hop on YouTube, and you'll find vloggers going battle royale over which system has the best Eye Autofocus in every obscure fashion you can imagine. You'll find great Eye Autofucs on Nikon, Canon, and Sony - you really can't go wrong here. 

Sony is Faster (currently):
Whether it's sports photography or just capturing a bride tossing a bouquet, Sony has the upper hand for the time being, with the A9 capturing 20 frames per second with continuous autofocus. In comparison, the Canon EOS 1Dx is 14, and their mirrorless line isn't very impressive in this regard (but maybe something good is on the way?). While this isn't necessary for most scenarios, it leaves you feeling confident that you have the right moment captured.

Battery life:
It's not a secret; battery life on mirrorless cameras is not impressive. The Sony professional line is rated at roughly 650 shots before the battery dies. In contrast, professional DSLRs are usually closer to the thousands, and top of the line could be even 4,000 shots. However, in the world of mirrorless Sony has an upper edge on Canon with longer battery life. Bottom line: Expect to purchase additional batteries before taking off for a wedding or long event.

The Color Science Argument
There is a difference, and it's even more noticeable when using Sony glass on a Sony camera. Using either Canon or Sigma glass tends to have a closer match to Canon cameras. However, if you're editing moody and dark, the differences tend to matter less. For photographers wanting real-world colors for portraiture, you may put in a little extra time to correct the coloration.  

The Price vs. Features:
When I was on the market for my new mirrorless, money was a factor, and I wanted to get the most bang for my buck. The price point of Canon mirrorless models, in comparison with their functionality, underwhelmed me. Sony had better battery life and the upper hand when it came to video. 

Rent Before You Buy:
If you didn't see this pitch coming, do you even know what blog you're on? All jokes aside, this is smarter than jumping into a relationship with a camera it turns out you can't stand. I rented both the Sony A9 and the Canon 1Dx II for video and photo projects before committing, and I'm glad I did. While both are phenomenal cameras, lugging around the Canon 1DX II was just a little too much for me, whether it was on my gimbal or my camera sling.

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Wed, 29 Jan 2020 22:21:42 +0000
<![CDATA[Navigating The Colorado Permit Photography and Film System]]> https://www.prophotorental.com/blog/Colorado-photography-permits/ It's a known fact - figuring out permits for photography in Colorado is anything but easy. Every municipality, State Park, and National Park has its own set of guidelines and fees, and 90% of the time, they don't make sense. If you're a photographer, we're doing our best to help you out here.  

Jefferson County Open Space
Single-day photography permit $25
Annual photography permit $100
Note: If you're filming or need props, you need to apply for the 'Other Commercial Activity permit.' 

Boulder Open Space and Mountain Parks (Boulder OSMP)
Annual - Limited - $50
This Permit allows up to 50 visits to the park with a max of 16 people in your group (including yourself)
Annual - Unlimited - $300

Rocky Mountain National Park
Single Session - $50
Annual - $300

  • If you pay for six single sessions at RMNP, you are eligible for the annual Permit, however, you must reach out to the park to have it acknowledged. 
  • You'll need a permit for any professional photography, even a trade shoot. 
  • If you're photographing a wedding/elopement ceremony, the couple will need a different permit for $200, which will cover photography. 

City of Denver
Red Rocks Amphitheater - One Time Use - $25
Denver Public Property - $0
Lookout Mountain park - $0*

Note that Lookout Mountain has multiple parks, some under the City and County of Denver, and others with Jefferson County Open Space. 

Denver Botanic Gardens
Annual Permit: $500
Single-Use depending on group size:

  • 1-6 People $100
  • 7-13: $250
  • 14-20: $400

These prices are for both the York Street and Chatfield Farms locations. The permits are good fora 2-hour limit. 

Colorado Parks & Wildlife
If you're planning a photography session at any Colorado Park & Wildlife location, it's best to contact that specific park's ranger directly. Each park can have different fees and regulations. They also may change based on group size and duration of your project. For example, Roxborough and Golden Gate Canyon State park both have very different structures and fees. Also, you'll still have to pay for each vehicle in the park. 

Roxborough - $55 - quarterly

Golden Gate Canyon State Park - $30 per day per client

White River National Forest
Based on the number of people on site:

Colorado Springs
Any Colorado Springs park requires a permit if photos are being used for advertising a product/service. They are not necessary if the photography is for senior portraits, family, engagement, or wedding photos. You can find the details here.

If you are creating commercial photography for advertisements in Colorado Springs, their website currently lists $250 a day for all parks and $500/day for the Garden of the Gods Park. Plus a $25 application processing fee. 

Rock Ledge Ranch- $50/day 

Great Sand Dunes
Photography Permit $200 Annual
Student Photography Permit: $100 Annual
A note on NPS - don't be confused, if you're doing a trade shoot, you'll still need a permit. NPS considers anything you post on social media personal gain. Fines for not having a permit are $5,000 or up to six months in jail. 

Did we get everything? Not even nearly. When in doubt, it's best to call the municipality or park ranger directly. 

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Mon, 27 Jan 2020 19:12:22 +0000
<![CDATA[Artist Interview - Filmmaker Scott Morrison]]> https://www.prophotorental.com/blog/Scott-morrison/ Whether we like to believe it or not, most people lack perseverance and grit. When faced with a challenging task and odds that aren't in our favor, we tend to back down and change our direction, even if it's our aspiration that's on the line. That's when our dreams solely remain fantasies, and day jobs remain our reality. However, this isn't true for Boulder, Colorado, Videographer Scott Morrison. 

Morrison has his dream job; he's a full-time filmmaker creating and capturing corporate, wedding, and music videos. You would never know the 28-year-old has an untreatable vision impairment, which started in his adolescence. While some tasks have certainly become much more difficult for Morrison, his vision never once stopped him from creating his art and pursuing his passion. We sat down with the inspiring filmmaker in November to learn more about his story. 

Tell us where you're from, and a little about your background:
I’m 28, grew up in Georgia, moved to Boulder to finish school six years ago, and fell in love with Colorado. I came for the mountains and natural beauty and more laid back, open-minded vibe.

 

Please describe your film style:
Generally light, airy, vibrant colors. Images that pop!

 

Do you have an artist statement? 
I believe in putting the extra effort into my work to make it something special. Creating is essential to my life, like eating, sleeping, and breathing.

 

What do you want your films to communicate to your clients?
I want to convey captivating, personal, and human stories.

 

Describe your journey from amateur to pro. You can be a descriptive or brief as you would like:
It's been a challenging process, especially with having a disability, but it's been very rewarding. I started knowing nothing about filmmaking or film history. I hadn't seen any of the classics. I learned only about 20% of my education from classes at film school. Most of it was learned either through friends, making mistakes, and an online film course called Fulltime Filmmaker. It was a great help having Parker, the creator of the course, as a digital mentor that shares his journey from starting off knowing nothing to where he is now. My advice is to look for someone who is doing what you want to do and see how you can help them and learn from them.

Give first, and ask second. As a beginner, your leverage is your time, and if you're not willing to put in the time to get good, no one is going to want to pay you for your work.

I have no regrets in this pursuit and couldn't see myself doing anything else.

 

Do you have any formal training?
Yes, a BFA in Film Studies at CU and some online film courses.

 

What challenges have you overcome throughout your career?
I have a currently untreatable visual impairment that makes distance vision difficult, which adds many challenges like driving and seeing my camera monitor from a normal distance. Still, I feel proud that I am accomplishing my goals despite this challenge. I am grateful in some ways for the challenge as it has built my character and showed me the rewards of hard work, perseverance, and dedication.

 

What are your career goals?
I would like to own and run a multi-faceted video production company with a large, talented team of professionals that cover weddings, business commercial work, and music videos. It is satisfying to bring something valuable to the marketplace while also creating satisfying and empowering career opportunities for my team.

 

What inspires you to create art?
Not sure if I can put words to it. It's like an itch deep within me to create beautiful and moving work that connects with other people.

 

What makes a good film to you?
There are so many aspects that need to go right for a film to succeed, so this is hard to pinpoint. But, good cinematography, good acting, and good writing are at the top of my list.

 

Do you have a favorite video you've created? If so which, and why?
Not really. I am my own worst critic and I'm never completely happy with my work. However, I am glad to see my progression and seeing a project come together successfully.

 

Who are photographers or filmmakers that inspire you?
Parker Walbeck, Jake Weisler, Christopher Nolan, Nicolas Winding Refn, Stanley Kubrick (of course).

 

What's in your videography arsenal? What gear do you currently use?
The Canon EOS 1DX Mark II with my Canon EF 35mm. f/1.4 L II USM and DJI Ronin S gimbal is my current main setup. It is pretty heavy but delivers an incredible video image quality, which is hard to rival, in my opinion.

 

What's your best bit of advice for aspiring filmmakers?
Ask yourself if you would do this for free.

Starting off, you will have to do a ton of work for free or cheap to build your portfolio and save up for your own gear. This barrier of entry can be too much for most people. Make sure you are pursuing filmmaking because you love it. It may be an easy degree to get in college, but making it a career takes hard work, and you need the passion and love for it to get through the initial barriers.

But if it is what you want to do, keep at it and don't give up.

Keep improving yourself.

You won't regret it.

 

Is there anything else you would like us to know?
If you are interested in joining my team or have a video you need, feel free to reach out to me at scott@eyecandyproductions.net

 

Contact:

https://www.eyecandyproductions.net/

scott@eyecandyproductions.net

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Wed, 22 Jan 2020 16:08:55 +0000
<![CDATA[The Most Rented Gear of 2019]]> https://www.prophotorental.com/blog/Most_rented_gear_2019/   

Can you believe 2019 is already in the rear view mirror? We can't. Seems like we made a pit stop in March and now it's almost 2020... weird. 2019 brought some pretty great new gear and hopefully brought you some pretty killer images.

Just below we've outlined our most popular products categorized by highest number of overall rentals. It's more of a "huh...that's interesting" kind of thing instead of a necessarily scientific cross section of the entire photo industry. Still, it is kind of fun to look at what the trends are in our neck of the woods.

So..without further ado... here is a list of our most rented items in 2019:

Our Most Rented Gear of 2019

1) Matthews Heavy Duty Sandbag 6) Sennheiser EW G3 Wireless Lav kit   
2) Canon EOS 5D Mk IV 7) AXRTEC 1040BV Bi-Color LED
3) Canon EF 24-70mm f/2.8L II 8) Canon EF 35mm f/1.4L II
4) Matthews Silver C-Stand 9) Sony FE 24-70mm f/2.8 GM
5) Canon EF 70-200mm f/2.8L IS II     10) Sony FE 70-200mm f/2.8 GM

Ah, yes. The legendary Matthews Heavy Duty Sandbag reigns supreme. Clearly our most technically sophisticated item, the Heavy Duty Sandbag is known for...being heavy. Jokes aside, a sandbag does make a lot of sense to rent. Considering they're often all that stand in the way of talent getting hit in the head by a falling light due to a stray gust of wind, it's a good thing to have two or ten extra of these on set.

Something that is a bit surprising is that it's not a lens, not a light, but a full-on DSLR body comes in at number two. Think about that for a second... Sandbags are ubiquitous on photo and video sets, utilizing several at a time with several left over. Our second most rented piece of equipment in the ENTIRE YEAR of 2019 is a DSLR body. Maybe I'm the only one that finds that fact interesting. Canon is also very well represented in this list with the 2nd, 3rd, 5th, and 8th most rented items of the year. The only other camera manufacturer represented is Sony with two lenses bringing up numbers 9 and 10.

Next, let's look at the most rented camera bodies of 2019. We already know that the Canon EOS 5D Mk IV sits comfortably at the top.

Most Rented Camera Bodies of 2019

1) Canon EOS 5D Mk IV 6) Canon EOS 7D Mk II  
2) Sony Alpha a7S II 7) Nikon D750
3) Sony AX100 Camcorder         8) Canon EOS 70D
4) Sony Alpha a7R III 9) GoPro Hero 7 Black             
5) Nikon D850    10) Sony Alpha a7R IV

Judging by manufacturer, Sony is the winner here with four camera bodies coming in the top 10. 6 full frame camera bodies made the top 10 most rented. Of the top 10, 5 are DSLRs and 3 are mirrorless bodies. It's also no small feat for the Sony Alpha a7R IV to be on this list, considering how late in the year it was released and put into circulation. Next, let's look at the most rented lenses.

Most Rented Lenses of 2019

1) Canon EF 24-70mm f/2.8L II      
6) Canon EF 50mm f/1.2L  
2) Canon EF 70-200 f/2.8L IS II 7) Nikon 70-200mm f/2.8E VR AF-S
3) Canon EF 35mm f/1.4L II 8) Nikon 24-70mm f/2.8E VR AF-S
4) Sony FE 24-70mm f/2.8 GM

9) TIE Canon EF 16-35mm f/2.8L III

9) TIE Sony FE 16-35mm f/2.8 GM

5) Sony FE 70-200mm f/2.8 GM 10) Sony FE 100-400mm f/4.5-5.6 GM       

It's no surprise that this list is comprised mostly of 24-70mm and 70-200mm zooms, considering these are easily the most popular focal lengths for weddings, portraits, street photography, and everything in between. Canon and Sony split the most contributions at 4 each with Nikon adding two to the list. Of particular note, and you can't make this stuff up, is that both 16-35mm lenses represented from Canon and Sony were rented the EXACT same number of times, year to date. Go figure.

Most Rented Grip of 2019

1) Matthews Heavy Duty Sandbag 6) Manfrotto 055XPro Tripod Legs 
2) Matthews C-Stand - silver - rocky mtn leg 7) TIE DJI Ronin-S Gimbal Stabilizer         
3) TIE Light Duty Sandbag - 15 lb 7) TIE Kit Stand
3) TIE Matthews C-Stand - black - turtle base    8) Benro A373FB Video Tripod Kit
4) Matthews C-Stand - black - rocky mtn leg 9) Stinger / Extension Cord (25')
5) Matthews Applebox - Full Size 10) A-Clamp (2 inch)

Nothing too surprising here. Sandbags, C-stands, and appleboxes sit at the top while tripods and gimbals show up in the bottom half.  We thought throwing in all the C-stands together would be cheating. Otherwise they would have ruled over literally everything else, taking home the "overall most popular" crown.

Most Rented Lights of 2019

1) AXRTEC 1040BV Bi-Color LED 6) Profoto 3' RFi Octa Softbox  
2) Canon 600EX-RT Speedlight 7) Nila Boxer LED, Daylight
3) Paul C Buff AlienBees B800 Strobe 8) HIVE LIGHTING Wasp 100-C LED
4) Chimera Medium Strip Softbox 9) Kino-Flo Diva LED 20 2-light Kit
5) Profoto Pro Head w/ Zoom Reflector      

10) TIE Dracast LED1000 Foldable Bi-Color LED    

10) TIE Profoto B1 AirTTL Monolight Kit

Continuous lighting makes up the majority in this category, taking 5 of the top 10 spots (all LEDs, by the way). It perhaps should not come as a surprise that a Canon 600EX flash comes in second, considering the second most overall rented item this past year was a Canon DSLR. Still, looking at this list it's easy to draw the conclusion that continuous light has found a strong foothold, likely for both video and still shooters.

Most Rented Audio of 2019

1) Sennheiser G3 Wireless lav set         6) Sennheiser MKE-600 shotgun mic
2) Rode VideoMic Pro

7) TIE Comica Dual Wireless Lav Kit

7) TIE Sennheiser G4 Wireless Lav kit

7) TIE Zoom H6 Audio Recorder
3) XLR Audio Cable - 25' 8) Audio Technica Pro 70 Wired lav mic
4) Zoom H4n Audio Recorder 9) Sennheiser MKH-416 shotgun mic
5) K-Tek Audio Boom  

10) TIE Polsen OLM-10 Wired lav Mic

10) TIE Sennheiser G3 Wireless kit w/ XLR transmitter

Lavalier and shotgun mics take up nearly all of the top 10 most rented pieces of audio equipment of 2019. The Sennheiser G3 is a staple in the world of lavalier mics, with its update, the G4, also making the list. Can you hear me now? Yeah. I could the first time, thanks.

2020 will be an interesting year in the world of photography. It's clear the industry is shifting. We expect the trend of more capable equipment coming in smaller and lighter packages will continue. We wouldn't be surprised to see the most rented camera body become a mirrorless body next year with a manufacturer's name that starts with S and ends with ONY. Only time will tell, but we'll be here for the ride.

By the way, have you looked at all of the sweet, sweet gear we have for sale? You should look at it. Do it now. 

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Thu, 19 Dec 2019 18:35:37 +0000
<![CDATA[Artist Interview - Fine Art Photographer Jack Ludlam]]> https://www.prophotorental.com/blog/Jack-Ludlam/ Artist Interview - Fine Art Photographer Jack Ludlam

Unconventional. Audacious. Curious. Journalistic yet creative. All words that describe the distinct photography created by Denver resident, Jack Ludlam. His black and white photographs sport bright white, sterile backgrounds juxtaposed with messy subjects, such as old worn leather boots and hardworking hands. The content of each image is exceptionally detailed, with rugged textures and high contrast that adds a bold stylized punch. The composition and delivery are clean, yet the rich character of the content indulge your eyes. His work delicately balances minimalism and intricacy. More often than not, viewers examine his photographs and confuse them with drawings due to the high level of detail and execution.

Like his art, Jack Ludlam is also eccentric and bold. Ludlam appears to be a hipster 28-year-old, generally dressed in simple black jeans and plain t-shirts, covered in mysterious tattoos, yet well-groomed. Ludlam currently resides in Denver, Colorado, surrounding himself with creative environments like the RiNo art district, but spent most of his life growing up in Ohio. 

Ludlam has been making waves in the Denver fine art photography scene and beyond. If you visit RiNO you'll find his work regularly displayed at the Source Marketplace, local breweries, and Dairy Block. Ludlam's photographs are also being displayed across the US, most recently at the Brooklyn Expo Center. We sat down with the budding artist in late October to learn about his journey as a fine art photographer. 

Fine Art Photographer Jack Ludlam

Please describe your photography style:

I try to keep things clean and minimal as best I can to encourage less distraction from the subject matter. Some people say that some of the images look like hyper-realistic pencil drawings (but I definitely cannot draw to save my life).

 

Do you have an artist statement? 

It changes every time. I have trouble refining it to something I can explain daily. But, I would say that my work focuses on tangible work processes. The work that is extremely necessary, however, is quickly dwindling with the increase of automation and mass production. The goal is to take simple and refined images of people and objects that connect with that workflow.

 

What do you want your photos to communicate to your clients? Can you sum it up in one sentence? 

I am very open-minded when it comes to how people interpret the work. I make photographs for my own reasons, but if people see the work as something else, that does not bother me at all.

 

Describe your journey from amateur to pro:

I majored in photography with an emphasis in darkroom processes. However, the vast majority of the work I did was simply trial and error. Since the university I went to no longer offered analog photography classes, it was just up to me to figure things out.

It has been a lot of trial and error (and it still is). After college, I was working multiple jobs, including working on photos. I was bartending and working retail to afford supplies for photo projects, and it took years to get to the point where I no longer needed a side hustle to be able to create new work. I could finally focus on photos. And even though that somewhat turned photography into a real "job" I do not regret it in the slightest.

 

You've worked with both film and digital, which do you prefer and why? Do you still use both?

I prefer film. However, I end up mostly shooting medium format digital these days. When I get the time to settle down and start conceptualizing a new body of work, I almost always intend for it to be shot on medium or large format film. There is just something about the workflow of analog photography that makes much more sense to me than digital.

 

What challenges have you overcome throughout your career?

The biggest challenge is not getting too comfortable. I feel like the more comfortable I get, the less hungry I can get, the less prolific I get, the less inspired I get. I'm trying to keep myself comfortably uncomfortable these days.

 

What are your career goals?

To keep creating new work. And be able to live comfortably off of what I enjoy doing. There are several photographers that I would love to collaborate with on a gallery show such as Corey Arnold, Andy Anderson, and a few others.

 

What inspires you to create art? 

People I look up to inspire me. Whether they are photographers, painters, carpenters, trashme, whatever you do.  If you work hard and with good intentions, that is very inspiring to me.  

 

What do you think makes a good picture?

That's a tough one. I think a good photograph needs to have a strong backbone. It doesn't matter to me if a photograph is "technically" good at all. If it was made with intent and purpose and serves that purpose, then I think that's a good photograph.

 

Do you have a favorite image you've created? If so, which, and why?

Such a cheesy answer, but it's honestly the ones that are still in my head that I haven't made happen yet.

 

Who are photographers or filmmakers that inspire you?

Corey Arnold, Andy Anderson, Richard Avedon, Rupert Walker, and Michael Crouser.

 

What's in your photography arsenal? What gear do you currently use? 

Cambo 4X5
Fuji GFX 50s with a 63mm prime and a 32-64mm
Hasselblad 500CM

 

What's your best bit of advice for aspiring photographers? 

Don't take yourself too seriously. Nobody is that cool.

 

Is there anything else you would like us to know?

Go support your local art scene. Even if you just go to the opening nights for free beer and wine.

 

Any upcoming shows?

I'll be in a group show at the Dairy Block with Scott Young.

 

Contact Information

www.jackludlam.com

Instagram - @jackludlam

Fine Art Photographer Jack Ludlam

Fine Art Photographer Jack Ludlam
Fine Art Photographer Jack Ludlam

Fine Art Photographer Jack Ludlam

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Wed, 11 Dec 2019 18:17:38 +0000
<![CDATA[Minimizing Your Equipment for On Location Shooting]]> https://www.prophotorental.com/blog/on_location_minimalism/ There’s no getting around the fact that photography is an equipment driven pursuit. Try as we might, we simply can’t blink our eyes, import an image from our brain, edit it, and put it on a wall to admire later…yet. Until that kind of tech comes along we’re stuck with (super cool) gear, aka physical objects that take up space. That can be a problem when you’re on the road or are trying to use as little equipment as possible. Obviously the kind of gear you really need is dependent on the images you’re trying to capture. You won’t need to bring a strobe and light stand when you’re shooting a traditional landscape. Still, every trip is an opportunity to reevaluate the gear you actually need. Below we’ve outlined some ways to streamline your kit and lighten the load.

Benefits to Minimal Gear

Less Stress

Having only the essentials in your bag has several benefits, not least of which is less stress. Particularly if you work alone, you don’t want to waste time keeping up with a billion accessories. Where did that adapter go? Did I leave the card reader back in the cable bag? Should I use gels here or not? Should go for the Canon 85mm f/1.2 L II instead of the Canon 70-200 f/2.8 L II? I’m getting palpitations just typing this…

A Lighter Load

Having less equipment means a lighter camera bag. Sounds obvious, but its still an important consideration, particularly if you’ll be moving around a lot. Hiking with two unnecessary lenses when one will do could shave off some serious weight. Moving between locations in the city? Less gear means fewer bags to move in and out of vehicles and less to potentially leave behind.

Less Clutter On Set

For location shooting, being neat and tidy can go a long way towards better efficiency. No one wants to have talent tripping over cables or bags. Plus, if the location isn’t very big to begin with your cases might take up more space than you’d like. Also, the more equipment you have on site the more equipment you’ll have out of sight. Gear can be expensive, and certain small yet expensive pieces of gear have a tendency to grow legs and walk away. Leaving necessary gear like that at home can help keep them in your repertoire for when you really need them.

Shorter Set Up and Tear Down

Obvious, yet no less beneficial.

Easier Travel

Baggage handlers aren’t known for their gentle nature. If you can pack your delicate, expensive gear into a carry-on bag and your tripods, stands, and other less expensive gear in a larger checked bag, your air travel experience will surely be more enjoyable, particularly when you don’t hear glass rattling in your checked bags st the baggage carousel.

Steps Toward Being Minimal With Your Gear.

Ok, so we’ve established that bringing less gear can be a (really) good thing. How can you go about deciding what to bring and what to leave at home?

Start With Nothing, Then Build Up

If you assemble all the gear you have in one spot and then start removing stuff you don’t think you need, you’ll probably still be left with more kit than is necessary. Instead of starting with everything and carving away, start with nothing and then add. Just remember to stop with the essentials.

Opt for Smaller/Lighter Gear


For when you really need to trim down equipment, consider the size of two similar pieces of gear. I’m thinking DSLR vs Mirrorless here, but even more so for video, you might opt for a smaller body like the BlackMagic Picket Cinema 6k over a Canon C300 mkII. If you’re shooting an environmental portrait on location, a Profoto B1, Nikon Z7, and Nikon Z 24-70mm f/2.8 will keep your kit manageable. Consider the features that are non-negotiable first, but once those are met, in a minimal setup size and weight should be the very next consideration.

The More Multifunction, the Better

If a single piece of equipment can take the role of multiple pieces of equipment, that’s definitely a pro. For example, one zoom like our Sony 70-200mm f/2.8 could take the place of multiple prime lenses. Recording sound in camera instead of to an external recorder can also remove redundancy.

As a rental house we’re happy to rent you anything and everything you want. As people who care about your experience as a photographer, we want to make sure you take everything you need. Sometimes those things overlap. Sometimes they don't. Need an opinion? Just ask us. 

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Fri, 06 Dec 2019 19:35:45 +0000
<![CDATA[Beginning a Personal Project]]> https://www.prophotorental.com/blog/Personal_Project/
Personal projects are an important exercise whether you’re a full time pro or an enthusiastic amateur. They help creatives sift through their own minds, cleaning out cobwebs, and produce an unadulterated piece of work devoid of outside influence. They encourage creativity for creativity’s sake, allowing technique to take a back seat, or at the very least, allow technique to follow vision rather than the other way around. 

Helpful and fun for amateurs while sometimes difficult to justify yet even more beneficial for pros, personal projects are a needed break from everyday commercial life. It can be easy to ignore the personal project and think of them as a waste of time. After all, it’s personal. No one is commissioning this work and therefore the work is not generating money on its own. Given the choice between being creative and making money, many of us would likely more often choose to make money. Indeed it's important to make a living, no one will argue that fact. However, through personal projects creatives can put to use the professional tools they’ve cultivated over time towards a self directed creative endeavor. Choosing to show this work alongside commissions can allow prospective clients to see how you might solve different kinds of problems while also getting a glimpse into your mind and thought process, which could lead to more work. 

If you’re thinking of starting a personal project but don’t know how to start, you’re in luck. Below we’ve provided some guidelines to help get started on your next personal project.

Look Within For Creative Inspiration

Starting a project from scratch can feel daunting. You may want to begin a project, but you may not yet have a direction. This is a difficult thing to overcome at times, like deciding how to conquer a blank page. In my experience looking within and being honest with what excites you and what stirs your emotions is an excellent place to start, and can work for anyone. We all have passions. We all have fears. We all have things that excite us. We all have things that we find interesting. Latching onto one of those stirring subjects can help you springboard into a deeply satisfying exploration or study, even if what you land on is drastically different than what you started with.

milky way

Allow Yourself to Follow A Rabbit Hole

By definition a personal project has no set rules aside from being self directed. This over abundance of choice can cause issues all on its own, which is why it’s important to allow yourself to follow a rabbit hole. Like flowers? Allow yourself to be consumed by thoughts of flowers and let those thoughts take you wherever they may go. Do research. Read articles. Watch documentaries. Your love for flowers might lead you to a subject only slightly related, or maybe not related at all. For example, considering flowers might lead you along a train of thought that goes from flowers, to pedals, to pollination, to insects, to bees, to beekeeping, to insect collecting, to taxidermy, to hunting, to guns, to politics. Inevitably one thought will lead to another, so instead of punishing yourself for not staying on track, celebrate your mind’s tendency to wander. You might end up somewhere that is equal parts interesting and unexpected.

Draw Technical Inspiration from Others

Seeking inspiration is a road wrought with landmines. Looking for creative inspiration from others can sometimes lead to frustration. Creativity comes from within (see above), so trying to absorb creative inspiration from someone else can cause confusion. The concept this person arrived at came from them and their experiences, their interests. On the other hand, seeing a well executed technique can provide a jumpstart in problem solving. Seeing a technique someone else has used successfully could be employed or adapted for your own project, torn down to its basic functions, or built upon to suit your specific needs. In short, look within for creative inspiration, and look outward for technical inspiration.

cosmic P

Technique Should Follow Vision

If you’ve been bitten with the GAS bug (Gear Acquisition Syndrome), it can be tempting to put that gear to use before having a reason to do so. There’s nothing inherently wrong with wanting to use gear for gear’s sake, but for a truly successful personal project, vision should come first. What idea are you trying to communicate? How do you communicate that idea? If you’re excited about a new macro lens you’ll likely end up making a series of images depicting insects and/or flowers. That’s because those subjects are very well rendered with that kind of lens. The images might be cool looking, but a true personal project explores more than something interesting looking. It explores a concept or an idea. The equipment you use should do nothing except advance the concept in your mind. Have an idea for a portrait that requires direct overhead light? Great! How will you accomplish that, technically? Do you have the equipment you need, or do you need to rent it? Don’t let equipment dictate aesthetic. Use equipment to dictate your chosen aesthetic.

Experiment and Let Yourself Fail

Perhaps the most important point in this post is the suggestion to experiment and to allow yourself to fail. Looking within yourself, exploring your interests, following a rabbit hole, finding creative inspiration; these are all concepts without material analog. There is no right or wrong way to express these concepts except according to your own aesthetic and process. You might come up with an image that, for some reason, doesn’t work. It might be technically sound, but it might not advance your concept effectively. You should allow yourself to be ok with that. Ask yourself why it fails. Discover what element would allow it to be successful in your eyes. Try a technique. If it falls flat, allow it to fall flat. Move on. Don’t get beaten down by failure. Use it to make your work better. I posit that if a technique or concept hasn’t yet failed then you haven’t explored it enough.

cosmic P

Break The Rules

As with essentially anything creative, putting together a successful personal project is all about problem solving. The beauty of a personal project is that the methods you can use to solve those problems are limitless. There’s nothing telling you to follow the rule of thirds, use adequate depth of field, or achieve perfectly correct color. The choices you make should be purposeful, unless you’re choosing to incorporate an element of unpredictability. Break the rules. Or don’t. Ignore everything above this line. Or don’t. Your personal project is exactly that, and no one can tell you how to bring it to life except you.

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Mon, 25 Nov 2019 22:42:25 +0000
<![CDATA[Intro to Audio for Video]]> https://www.prophotorental.com/blog/audio_for_video/ Shooting video is hard. There are a LOT of things to consider in order to get good, usable footage. Think of things like stability, color, dit depth, dynamic range, frame rate and shutter speed, etc. As if video wasn’t hard enough on its own, you are inevitably going to have to think about audio too. Indeed, audio is the arch nemesis of many a videographer. It is often an afterthought, but quality audio is just as important as quality visuals. Below we’ll give you a primer into the types of audio equipment available and when you might use them to achieve video (and audio), nirvana.

Shotgun Mics

shotgun mic

The first step towards achieving better audio is to forget your camera has a built in microphone. Don’t even bother testing. It’s bad. The second step to achieving better audio is to consider an on-camera shotgun mic. These external microphones mount to the hot shoe of your camera and communicate via a short 3.5mm audio jack into the camera’s mic port.

Shotgun mics are highly directional, meaning that they will best pick up the sound of whatever you point them at while picking up less sound from the sides and behind the mic. Shotgun mics, so named because their pickup pattern resembles that of the area of effect a shotgun has, are typically long and cylindrical. They are easily the most popular form of microphone for “running and gunning,” meaning if you’re constantly moving around while recording an event, a shotgun mic will likely be your best friend. Its ability to pick up ambient sound with a focus on what is directly in front of the camera when mounted makes for a simple yet effective setup.

Shotgun mics can also be mounted to tripods or boom poles, allowing them to be used off camera. The thing to consider in this context is the shotgun mic will likely not be able to feed directly into the camera and will require an external recorder, but more on that later.

Though highly directional, a shotgun mic won’t just pick up sound from where it is pointed. It will also pick up sound from everywhere else, though to a lesser degree. This can be a positive thing if you’re recording in the field and want to get a taste of the environment along with your subject, but may not be the best choice for interviews, particularly if you’re some distance away from your subject.

Examples: 


Lavalier Mics

lav

Lavalier Mics, or simply “lav” mics, are small microphones designed to be clipped to a person’s clothing or even hidden in their hair. These small mics are best for capturing voice during interviews since they ignore far more ambient noise than shotgun mics and can be mounted much closer to the source of sound. The trick to using these microphones is cable length and placement.

Many lav mics can be connected directly to the camera via a 3.5mm audio jack or XLR connector. This is the simplest setup, however it also makes movement difficult since such long cable lengths are required. If you’re recording someone 6ft away from the camera you’ll need nearly double that length of cable, which gets quite cumbersome. In an effort to reduce clutter on set, wireless lav mics are typically used. These mics are the same in principle, but instead of plugging straight into the camera, the mic is first run into a wireless transmitter which is often clipped to the subject’s belt. This transmitter sends a signal to a wireless receiver, often mounted to the camera’s hotshoe. The receiver is connected to the camera or an external recorder via XLR or 3.5mm audio jack.

Placing the lav mic can also be a challenge. Unless the project is very relaxed, you’ll likely want to hide the lav mic and wire, or at least hide the wire and place the mic in a non-distracting location on the subject’s clothing. Another thing to consider with lav mics is that any clothing brushing up against the mic will be picked up in camera which is obviously a distraction. There are a variety of techniques to get around this, but it is something to consider as you decide what is best for your particular situation. Still, this solution is one of the easiest and most effective ways to record quality interviews.

Examples:


Audio Recorders and Mixers


h6

Sometimes it’s best to record two forms of audio for redundancy. For example, you might want to mount a shotgun mic and have it feed directly into the camera while also using a lav mic to record voice during an interview. This is where audio recorders come in. These devices record audio separately from the camera and will need to be synced in post. Audio recorders will provide far more options for connectivity and leveling than a typical DSLR, and can also record multiple channels simultaneously. Most DSLRs and mirrorless cameras only offer a single 3.5mm input, so by using a mixer or external audio recorder you can expand the mic options at your disposal.

Zoom recorders like our H5, and H6 are capable of recording up to 4 channels, but can also be used with their own interchangeable microphones. In some situations, this could be the only audio device you use. Other devices like mixers can be used to increase the number of channels available in camera, like our Kopul CMX-2 Two-Channel Passive XLR Adapter. Other mixers like our Zoom F8 Multi-Track Field Recorder can accept up to 8 XLR inputs and mix them for more advanced purposes.

Examples:


Audio Accessories


Audio

Mics and recorders are great, but they’re useless if the audio coming in is poor due to windy conditions. That’s where wind screens come in. Also known as dead cats, amongst other weird nicknames, these devices can drastically reduce the amount of wind noise that a microphone picks up and are essential for any recording done in the field. You may also find yourself wishing you could mount more devices to your camera at once. Fear not, for adapters exist that allow multiple shoe-mounted devices to be used at once like our Multi-Accessory Shoe Mount Extension Bar.

Also, whenever possible, it's crucial to monitor the audio in your video content with some quality headphones as it's being recorded. This ensures sound is being recorded cleanly without any distractions or interference.

Examples:


Audio can be complicated, but practice and mastery of the basics will help any video shooter have a better foothold when it comes to the prickly subject of audio recording. Now go forth, and record excellent audio and video.

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Fri, 08 Nov 2019 20:30:30 +0000
<![CDATA[Mirrorless or DSLR- Which Should I Choose? ]]> https://www.prophotorental.com/blog/mirrorlessVSdslr/ In case you’ve been living under a rock for the past seven years you’ll have noticed a shift in the climate of many camera manufacturers. The “Mirrorless Revolution” as some have dubbed it, is alive, well, and steaming along until it seemingly completely overwhelms DSLRs for both professional and amateur aspirations. Still, DSLR bodies are still being produced and used exclusively by some photographers. So this begs the question, which should I be shooting with, and why? 

DSLRs, an acronym for digital single lens reflex cameras, are camera bodies that traditionally have a mirror which reflects light gathered by the lens upwards towards a pentaprism which reverses and corrects the image so that when we look through a camera’s viewfinder we see an image more or less similar to what we would see with our eye. This is all done optically without any electronics in the mix. The idea here being that looking through the viewfinder will reveal what is actually happening in real time. Even if the camera is turned off you can still look through the camera and see what the lens is seeing. Though far from the original design of the camera, this has been the predominant camera design since the concept was first realized.

dslr_hand

The SLR is a time tested design due to its simplicity and effectiveness. When it’s time to take a photograph the mirror raises to reveal the sensor which then gathers the light onto film or a digital sensor. Once the exposure is completed the mirror returns to its down position and we can once again see through the viewfinder. The main benefit of this design is that no matter what the battery level or light conditions we can see what the lens is seeing. Modern DSLRs also have the benefit of using live view which raises the mirror and records many images at once on the sensor which are then sent to the rear LCD. This shows the photographer what the sensor is seeing, not just the lens. This also has benefits which we’ll discuss later, and is one of the main benefits to mirrorless bodies.

Naturally, the DSLR camera body must be large enough to house the mirror and prism. These two components, while helpful for us to compose and take photographs, are not strictly speaking necessary for the camera to work. As such, the mirror and prism can be viewed as fat to be trimmed in order to make a camera more efficient. Enter the mirrorless camera.
Camera technology has advanced such that the sensor readout is fast enough that the images recorded by the sensor can be transmitted to the rear LCD very quickly and can be used instead of an optical viewfinder like in a DSLR. By removing the prism and mirror, cameras can be made to be smaller and lighter while still retaining the same image quality and sensor size.

mirrorless

The ability to see exactly what the sensor is seeing through the viewfinder or rear LCD is arguably much better for photography and videography since there’s nothing lost in translation. Looking through the viewfinder of a DSLR, you might compose and take a great image, only to realize that your settings were wrong and you overexposed by two stops. You might also not get 100% coverage in a DSLR viewfinder, meaning that there could be some sections of the image that will be recorded by the sensor that you’re not seeing through the viewfinder. This is denoted in spec sheets by a % of viewfinder coverage. The best DSLRs will have 100% coverage, though many more will have 95-98% coverage. Mirrorless bodies, on the other hand, have the ability to show you in realtime exactly what your composition will be, what your exposure will be, and a bunch of other information digitally laid over the image in the viewfinder. Lastly, mirrorless bodies have the potential to shoot at much higher frame rates than DSLR bodies since there isn’t a mirror that has to move out of the way. Because of the lack of a mirror, its possible to mount any number of adapters to a mirrorless camera body. One adapter could allow Leica lenses to be used on a Nikon, and another could allow Canon glass to be used on a Sony body.

Mirrorless bodies might sound great but they’re not perfect. The downside to mirrorless camera bodies include, starting with perhaps the most notable downside, shorter battery life, EVF “lag”, slower autofocus, and a few more technical limitations. Since the mirrorless camera is constantly reading off the sensor and using a power hungry display, battery life is shorter than a typical DSLR. Though very fast, there is some delay that happens when looking through a mirrorless camera since light has to hit the sensor, be processed, and then displayed on the rear LCD. Though small, this delay could be crucial in certain situations. Autofocus also tends to be faster on DSLR bodies.

So, which one is better for you? Unless you have some very specific needs, either will work perfectly well. Both mirrorless and DSLRs can be used to create amazing images, and only under highly specific circumstances will one “get the shot” while the other won’t. Still, the writing is on the wall. Mirrorless body designs have been adopted in some form by every major camera manufacturer. If you’re on the fence about which one to use, I bet you can guess our solution. Rent both and see which you like better! Seriously though, there really isn't any substitution for getting a camera in your hands and seeing how you feel about it. You can only do so much reading on this kind of subject, so stop by and check out our options. Our guess is that you'll figure out pretty quickly which system is for you.

Here are some suggestions:

DSLRs:

Canon 5D mk IV
Canon EOS 90D
Nikon D850
Nikon D7200

Mirrorless:

Sony A7R IV
Nikon Z7
Panasonic Lumix DC-S1H
Sony Alpha a7S II

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Fri, 01 Nov 2019 00:49:24 +0000
<![CDATA[Using a One Light Setup for Portraiture]]> https://www.prophotorental.com/blog/One_Light_Portraits/ If you’ve ever watched a photography behind-the-scenes video you’ve likely seen the complexity of lighting a portrait. There’s a lot to consider when photographing people: separation from background, visibility, texture, shadow, catch lights, distortion, definition, etc. Depending on the photographer you could see 6 lights being used simultaneously. The simple truth is that there is more to light than using as much as possible. Whether you’re new to lighting or an experienced portrait photographer, being able to effectively use a single light is a valuable skill.

One of the first things anyone teaching how to light will demonstrate is what a single light does to a subject. Simply moving the light around the subject will completely change how the subject is viewed. One angle may highlight a specific feature, while another angle may hide that feature entirely. Similarly, just changing the distance of the light source to the subject will have a dramatic effect on the subject’s appearance.

Here are some things to consider when using a single light source to illuminate your subject:

Shadow

Yeah, it seems like a “duh” point but stay with me. Using a single light source means that you have a lot of shadow to play with. This shadow could be lessened by using a reflector, left as is, or accentuated further by using negative fill (more on this later). Shadow can increase clarity and accentuate texture as well as give shapes more appearance of volume. Shadow is a powerful tool that is just as important as light when photographing a subject, and using a single light source potentially gives you a lot of shadow to play with.


Position

Perhaps the most important aspect of using a single light is where it is positioned. It sounds obvious, but the difference between a few degrees could have a dramatic difference on your subject. Positioning a light directly in front of and above a subject will essentially remove all shadows on the face . Moving the light 45º creates a shadow and is known as Rembrandt lighting thanks to the characteristic triangle of light underneath the eye on side of the face opposite the light and is often quite pleasing.

Distance

The distance of the light to the subject also plays a significant role in how the subject is rendered. The closer the light source is to the subject the larger, and therefore softer, the light will be. Soft light is best described by its graduated, feathered transition into shadow and its less intense non-specular highlights. On the other hand, increasing the distance between the subject and the light source will result in a smaller light source relative to the subject and in turn will produce a harder light, best described by its much harsher and faster transition between light and shadow. Typically, soft light is desired for portraiture and tends to be quite flattering, however hard light (when positioned properly) has an excellent effect of filling in wrinkles and covering up imperfections.


On-Light Modifiers

Also extremely important to consider is the ability to modify the light source by directly softening or focusing the light. A large soft box, umbrella, or octobox renders a soft, painterly quality of light. Similar to reducing the distance between the light source and subject, a large light modifier will produce a large amount of spill and wrap around the subject to a great extent. This is contrary to the hard light of a beauty dish or ring light which offers a much more intense rendering and drastically sharper transition into shadow.


Indirect Modifiers

Light from a single source can further be modified by indirect modifiers like reflectors, cookies, and negative fill. Even though light is coming from a single source its spill, or light not directly hitting the subject, can be manipulated and redirected. In a typical portrait shoot a white reflector is often placed directly below the subject’s face, or when positioned 45º to the subject, directly opposite the light so that the shadows describing the bottom of the face are lightened or potentially removed entirely.

If drama is what you seek, then negative fill can accentuate shadows even further and make them darker. This is accomplished by placing a “flag” which is essentially a black piece of cloth over a frame next to the shadow you’re looking to accentuate. This makes the shadow more intense since it is preventing any stray light from filling the shadow.

As with learning any new skill, practice makes perfect. By mastering a single light portrait you can then start adding lights for specific effect, like fill, rim, or a hair light. Still, the best place to start is with a single light source, experimenting with the quality of light that provides, and then adding from there. 

To start learning how to light, consider renting a portable kit like our B1x kit. This kit from Profoto offers flexibility in that the lights are powerful, yet are cordless so they can be easily positioned without having to worry about cables. This also allows them to be used essentially everywhere. 

You'll also want to experiment with light modifiers, like the Profoto 3' RFI Octobox which provides a nice balance between a circular light source for a natural looking circular catch light and softbox for great wrapping.  For a large liht source that nicely balance hard and soft light, consider a large umbrella like our 72" Impact Parabolic Umbrella. Lastly, consider a hard light source like our white Profoto Beauty Dish or for very directional light, the grid kit for our Profoto Zoom Reflector.

Experimenting with hard and soft light sources in a single light setup is an excellent learning tool. Take advantage, and use your newfound skills on your next shoot! 

 

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Fri, 11 Oct 2019 23:20:54 +0000
<![CDATA[Introducing the Blackmagic Design Pocket Cinema Camera 6k]]> https://www.prophotorental.com/blog/pocket_cinema_6k/ BlackMagic has established themselves as a company that produces quality video equipment with practical if not unique design choices. The Blackmagic Pocket Cinema 6k is the company's next iteration of their Pocket Cinema line, expanding on their popular 4k model. The 6k adds a super 35 sensor, higher resolution recording capability with impressive frame rate options, and a Canon EF mount. It might look like a weird 90s knockoff 35mm film camera you'd find at a thrift store made from plastic with a lead weight in the bottom, but don't be fooled. The Pocket Cinema 6k is a serious tool with serious capability for serious shooters that want to make serious films. Seriously.

Looking at the camera's body it does look a bit... shall we say... different. The grip gives it the ergonomics of a mirrorless body, but without any viewfinder. That's ok since the large 5" rear display makes it easy to touch to autofocus as well as see exactly what you're doing with great clarity. The overall aesthetic of the camera body holds over from the 4k Pocket Cinema, though the EF mount adds a substantial amount of flange distance. Some might say this is a missed opportunity considering a shorter flange distance with a different mount would have allowed for a multitude of adapters and speed boosters which could have expanded even further on the already huge array of Canon EF lenses already available. Still, the EF mount will serve the camera nicely and provide a vast array of well established still and cinema lenses, like our collection of Canon Cinema Primes. The body is made from a fancy carbon fiber polycarbonate composite which makes the body lightweight and look cool. 

The Pocket Cinema 6k boasts a host of pro features not least of which is the XLR mini port which provides phantom power for external mics. It also has a standard 3.5mm in and out for headphones and a DSLR style shotgun mic. The button placement is convenient and will make changes on the fly easy. 

The Blackmagic Pocket Cinema 6k shines thanks mostly to its larger and higher resolution super 35 sensor with a maximum recording resolution of 6144 x 3456 16:9 at 50fps. You also have the option of shooting 6k at 60fps at 6144 x 2560 2.4:1 and 60 fps at 5744 x 3024 17:9. It's important to note that if you're going to be shooting at these higher resolutions, not to mention 120 fps at 2.8K 2868 x 1512 17:9, you're going to have to record in BRAW, Blackmagic's RAW recording format. This isn't a bad thing considering Balackmagic is helping to bring RAW video to the masses, however the RAW workflow does require processing through the proprietary DaVinci Resolve Studio before working in a standard editor like Adobe Premier. This is an important point to consider since we can't provide the DaVinci Resolve Studio software with the rental, but is required for BRAW footage. Therefore, if you're renting the Pocket Cinema 6k and want to take advantage of its more impressive features, you'll need to aquire the software by going to Blackmagic's website here.

The Pocket Cinema 6k impresses further with its 13 stops of dynamic range, making it easier for shooting indoors while still retaining detail in highlights outside of a window. It also boasts dial native ISO sensitivites for better control over noise. Able to accept SD cards, CFast, as well direct record to a USB-C SSD drive like our 2TB Portable Samsung T5 SSD, the 6k remains flexibile in its storage compatibility. 

Blackmagic continues to impress and bring pro cinema camera features to those with a DSLR or mirrorless background. A solid option to use on set for a plethora of end uses, the Blackmagic Pocket CInema 6k makes it easy to record high resolution RAW footage in a user friendly package. Rent a BlackMagic Pocket Cinema 6k and take your filmmaking to the next level.

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Fri, 27 Sep 2019 18:32:41 +0000
<![CDATA[Introducing the A7R IV - Now Available to Rent]]> https://www.prophotorental.com/blog/a7rIV/
When I first started my career I worked at a small high end camera store. Occasionally we would go to a photo trade show to exhibit, speak with camera manufacturers, and just generally see what was new. On one specific occasion I was approached by a Sony rep that asked if we carried Sony cameras. After I said no the rep asked if he could know why. I responded by saying that Sony didn’t have the reputation we required for the lines of camera systems that we carried. It was admittedly a bit of a blunt response, but it was nonetheless true. The rep was visibly distraught and frustrated by this answer, and the display was likely an apt surrogate for the company as a whole.

For years Sony fought to be included in the conversation of the photo industry. They felt they were one of the major players but were being passed over because the brand didn’t have the history of brands like Canon or Nikon. Still, they demanded to be considered one of the big boys. Fast forward to 2019. Things have changed a bit. Sony now arguably sits comfortably at the top of the burgeoning mirrorless camera movement and consistently produces un-ignorable cameras with gaudy specs and commands a now massive and rabid user base. It would seem that Sony has finally gotten what it was after. The massive company’s meteoric rise in popularity can be attributed to many factors, not least of which is the A7 line of cameras. Enter the A7R IV, a juggernaut in the mirrorless world.

The A7R IV is a statement camera body boasting a gargantuan 61 megapixels of resolution via its full frame 35mm Exmor R back illuminated CMOS sensor which is alone worth writing home about. Sony states this sensor’s back illumination improves sensitivity but produces low noise despite its high resolution. This is nice since the A7R IV’s native ISO range is from 100 to 32,000 and expandable from ISO 50 to 102,400.

61 megapixels is great, but it takes a lot of work to make sure that resolution is being used to its full potential, as illustrated in our blog post Mo Pixels Mo Problems. Fortunately Sony has built in some dare I say necessary features into the A7R IV in order to mitigate camera shake and produce the best image quality possible. This includes in-body 5-axis image stabilization which Sony states is reliable for 5.5 stops worth of shutter speed which is no small task. Also included is the ability to use the camera’s electronic shutter for silent shooting which eliminates any shutter vibration. Sony also claims the A7R IV’s redesigned shutter mechanism reduces camera shake.

As if 61 megapixels weren’t already enough, the A7R IV also features a Pixel Shift Multi Shooting mode which now supports 16 half or full pixel shifted images together for a whopping 240.8 megapixel image. The A7R IV’s 5.76 million dot Tru-Finder is promised to deliver a very pleasing viewing experience with a “High” option for a more highly detailed preview. This could be useful for manually focusing on distant landscapes. For those that wish to shoot wildlife, the A7R IV offers a 10 fps burst which is highly impressive, considering the 61 megapixel resolution.

Another feature to pay attention to now that we’re into ultra high resolution territory is autofocus accuracy. Fortunately Sony spared no expense. Not only is the A7R IV able to track human eye and face movement via AI-based Real-time Tracking, Real-time Eye AF is also available for animals. That’s right. You can track animal eye movements. Plus the A7R IV features Sony’s 4D autofocus which predicts where your selected target will be in time for even better accuracy.

Regarding the video side of things, the A7R IV is, as expected, no slouch with 4k HDR capability using S-Log 3 and HLG (Hybrid Log-Gamma) for what Sony says allows for an instant HDR workflow. The autofocus chops continue over into video with adjustable AF tracking and Real-time Eye AF.

The A7R IV is yet another sign that the megapixel war is still underway and that Sony won’t be playing catchup. In fact, the opposite is true with Sony making the major advances in mirrorless technology while other manufacturers are caught looking around wondering what just happened. Thanks to its high resolution, quick response time, accurate AF, beautiful EVF, and 4k video features, the A7R IV is nearing a league of its own. Long gone are the days of Sony’s irrelevance in the pro camera market. These days they’re running the show. Rent the A7R IV and see what the hubub is about. 

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Mon, 16 Sep 2019 17:15:47 +0000
<![CDATA[Choosing a Stabilizer for Video]]> https://www.prophotorental.com/blog/stabilization/
When stepping into video production, one of the first things you have to approach is stabilization for whichever camera you’ve chosen. How are you going to record your subject? Is this a static scene good for a completely stationary tripod, a handheld movement oriented shot, or a scene that requires fast movement or even running? There are a plethora of options available, so this post will serve as an overview for different modes of stabilization with the intention of releasing future posts detailing specifics of each.

Digital Stabilization

The first form of stabilization we’ll look at is stabilization via post production software. Software like Adobe Premier allows users to load in footage and stabilize it through warping and repositioning of the clip. Software analyzes the footage and does its best to isolate unintended movement and counteract it. Digital Post Production Stabilization can be a solid part of a workflow, though it shouldn’t be relied on completely. Hand holding a camera without any stabilization whatsoever and expecting post production to take care of vibrations may work for some clips and not work at all for others.

This technique involves some loss of resolution and subsequent image quality depending on the amount of stabilization required. If you’ve just had 5 cups of coffee and you’re recording handheld; digital stabilization may not work for you at all. This is because the only way the software can stabilize footage is to warp, crop, and otherwise manipulate the position of the footage. Too much movement could require a severe crop which renders the clip unusable. Additionally, clips shot with ultra wide angle lenses with corner distortion are more difficult for software to correct considering the edges of the frame warp different objects as the camera pans, turns, or is otherwise repositioned.

While certainly a useful tool to keep in your tool belt, software stabilization is not an end-all be-all answer (yet). Digital stabilization can also be found in many modern camera bodies and uses a few extra pixels on the edge of the sensor as a buffer, though again, this is good for only small jitters.


Shoulder Mounted


Shoulder mounted stabilization is exactly what it sounds like. Camera systems are mounted to a rig like our Red Rock Micro Shoulder Rig and placed on the shoulder of the videographer. Shoulder mounting is a simple but effective form of stabilization because it prevents the camera from having to be supported by your arms which have a tendency to get tired which increases unwanted movement. Since the camera sits on a part of the body that doesn’t move much (shoulder), the camera stays much steadier, and the rig itself can be outfitted with additional peripherals like a secondary monitor and follow focus.

shoulder

Shoulder mounted stabilization is effective in removing distracting jitter and harsh movements, but allows subtle movements which can be pleasing to the eye. Shoulder rigs also tend to be more convenient than tripods. Significant movement like walking or repositioning while filming can be difficult and could lead to harsh, distracting shake. Therefore shoulder mounted systems are best used while the videographer is stationary or moving very slowly.

In-Camera Stabilization


Thanks to new developments in camera design we now have many camera bodies with IBIS (In-body-image-stabilization) via negative movement in the sensor. Cameras like our Nikon Z7, D850, and Sony A7RIII have built-in 5-axis sensor stabilization, the 5 axes being: up/down, left/right, rotation, pitch, and yaw.

This form of stabilization works quite well and, depending on the focal length being used, can allow for hand holding without any other systems assuming you have reasonably steady hands and are ok with subtle movement in your clip. IBIS also works with any lens attached to the camera body, so it's ok to break out those old film lenses collecting dust in the attic.

When combined with digital stabilization in post production, footage filmed in this manner can have very impressive results with minimal equipment. Still, walking or running are generally out and require more complex forms of stabilization as we’ll see.

Tripod + head


The good old fashioned tripod. Not much to say here other than tripods and fluid heads are staple options for videographers so long as repositioning isn’t required. Fast to set up and tear down. plus they're rock steady, tripods with fluid heads like our Manfrotto 502AH can pan across scenes seamlessly and allow for great control. Other fluid heads have cuztomizable drag settings for ruick movements or buttery long movements. Simple yet effective, the rig just isn’t going to be going anywhere.

Glidecam/Steadycam


Stabilizers like our Glidecam HD4000 and Merlin Steadicam 2 differ from the above options in that Steadycams use balance and counterweights to keep the camera stable. These systems offer some of the best mobility in the game with operators typically able to walk , go up stairs, and sometimes run with acceptable results. Because they aren’t motorized, this kind of stabilization doesn’t require batteries which is one less thing to think about on set. Movements also tend to be natural since they are directly controlled by a person making conscious decisions.

gimbal

The downside to the Glidecam/Steadycam is that there is a somewhat steep learning curve to master, and the weight of these systems can cause operators to tire over time. Fortunately there are peripheral accessories which make Steadycam use easier on the operator like forearm braces as well as full on exoskeletons which move the weight from the arms of the operator to the torso.

Gimbal


Motorized gimbals are relatively new to the video world, yet offer some of the most sophisticated solutions for camera stabilization on the market. Systems like our DJI Ronin S, Ikan DS2-A, and Tilta Gravity for large rigs are designed to perform a myriad of tasks via brushless motors that offer extremely smooth tilt and panning. These gimbals can be programmed to adjust their panning motions to match those of the operator at varying speeds and intensities, and can even attach to certain camera models for control over focus via a wheel mounted on the handle. Though initially lightweight, motorized gimbals can be fatiguing over time like a Steadycam solution. Fortunately there are wearable supports like our Tilta Armor Man-2 Exoskeleton or our Easyrig Vario 5 Gimbal Rig Vest. These supports move weight away from the arms and spread the weight of the kit across your body, letting you film for much longer before fatigue sets in. Like Steadycams, motorized gimbals can be used for walking, running, going up stairs, and can even be handed off to other camera operators while filming (when planned accordingly). They can also be mounted to moving vehicles.

Motorized gimbals are fantastic solutions but don’t come without their drawbacks. These systems require balancing which can take time. Each time the camera is removed or a new lens is added could cause the system to require re-balancing. Thanks to those smooth as silk brushless motors, these solutions do require batteries to operate. When correctly balanced they can go for extended periods, but charging and power management is certainly a factor. Movements made with motorized gimbals also have a tendency to look robotic if left to their own devices. Tuning and customizing settings like deadband and maximum speed are a must for natural looking movement.

Specialty

The above options cover most of what you’ll come across when choosing stabilization for your rig. There are other options for more speciality uses like our Kessler Killshock Mini. This stabilizer is designed to counteract more high frequency vibrations, like those from a car. These stabilizers can be combined with gimbals for even more control and greater stability of larger movements. Gyros are also available which perform similar tasks.

When considering which stabilizer to choose, it's best to have your shot list in front of you and consider how much stabilization you need for each shot. Sure, it might be nice to completely rely on in-camera stabilization, but you should be familiar with the limitations that option provides. Other factors to consider are time and practicality. If you’re a one man band you may not have the resources to strap on an exoskeleton and balance a huge cinema rig. Knowing the options are half the battle. The rest is up to you. Good luck!

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Mon, 02 Sep 2019 19:56:45 +0000
<![CDATA[Why You Should Rent Medium Format]]> https://www.prophotorental.com/blog/why_medium_format/ In photography, finding the right tool for the right job can be tricky. As is the case for any equipment intensive discipline, the marketplace is flush, (dare I say overflowing?) with gear for making still and moving images. Choosing the right one can feel daunting because there are simply so many options. The funny thing is, just about any option will work in most cases. Sony? Nikon? Canon? Fuji? Leica? Panasonic? Nearly any modern camera system is going to more than likely give you what you need to get the job done right. That is, until you require the absolute best in still image quality. That’s when you should be turning your head towards a medium format solution like our Phase One IQ3 100MP kit. What is medium format, you ask? Great question.

“Medium format” is a phrase that comes from the days of shooting film. There was (and still is) small, medium, and large format film available to photographers. The small format refers to “full frame” 35mm film and smaller formats. (Yeah, that big “full frame” sensor in many DSLRs is considered small format).  Medium format refers to film formats larger than 35mm, usually 120 and 220 roll film sized to 6x6, 6x4.5 (645), 6x7, and 6x9 cm. Lastly, large format refers to sheets of film 4x5 inches and larger. 

Phase One

Image Via Phase One

Medium and large format film were the go-to options for the highest image quality possible. 35mm film with a low ISO and fine grain made great prints, but medium and large format film made better (and larger) prints. Medium and large format film had higher resolution with more control over depth of field, and also had a different look to them due to the larger image area. It’s true, 35mm sensors have seen themselves get fatter and fatter, now regularly reaching the 50MP range. 50 megapixels is nothing to sneeze at, no doubt. However, doubling that resolution and combining it with 15 stops of dynamic range, 16 bit color, a true full frame (53.7x40.4mm) medium format sensor, a native software in Capture One Pro, a myriad of built in capture tools, and leaf shutter lenses that can resolve even further than 100mp is a witch’s brew hell bent on creating image quality beyond the ordinary. 

high res

There are a lot of differences between medium format cameras like our IQ3 100MP and 35mm DSLRs, but the biggest comes in the form of image quality. The term image quality sounds simple enough, but there’s more to it than you might think. When you’re able to capture 100 megapixels of information with 16 bit color, keep the image sharp, and then print that image at its native resolution of 30x40” at 300dpi without upsampling, you’re in a new league of image presentation, be it fine art printing or delivering commercial files to a client. There’s just more to work with and push around.

The ability to print large without batting an eye is only one benefit to the spectacular files that these cameras produce. Particularly when dealing with commercial clients, the ability to shoot a subject wide and then crop in to an extremely high degree gives the client more options for reproduction. One image at the time of capture has the potential to be many detail images down the road capable of being reproduced across a multitude of mediums without compromising quality or composition. Also, the movement towards a higher resolution everything in our society cannot be overlooked, particularly for commercial work. If you shoot a job for a client, there’s a possibility that the client will come back to you some years later to re-license the image. Lower resolution images simply have less value than higher resolution images since there’s less you can do with a lower resolution image. Higher resolution images will continue to be relevant for much longer, particularly for licensing. 

high res 2

Another benefit to using medium format equipment is less tangible, but very real. Put simply, rolling up to a job with a Phase One system at your side makes you look like you know what you’re doing. These systems exist at the highest level, and they have price tags that reflect that fact. As a result, they are fewer and further between in a world overflowing with gear that looks and behaves more or less the same. Your client’s niece didn’t just get a Phase One kit for Christmas (I mean, probably).  Using a Phase One medium format camera system shows the client you’re taking this job seriously and that you’re wanting to give them the best images you possibly can. They’re called style points, and they help you stand out. 

Capture One Pro is a RAW converter and an industry standard in tethering. Capture One just so happens to be made by Phase One, the manufacturer of medium format camera systems like our IQ3 100MP kit. The RAW converting chops of Capture One are already stellar, but when paired with their own medium format camera system the tethered support and raw conversion quality enter a league of their own. When tethered to a computer running a modern version of Capture One Pro, our IQ3 kit can perform some pretty cool tricks, not least of which are the live view focus meter, control over autofocus via software, and complete camera menu availability via software.

IQ3 1600

IQ3 1600

It's important to recognize what medium format cameras like our IQ3 100MP are, and what they are not. For example, if you have at least some time to shoot then you’re in the green. If, however, you’re looking for high fps to capture fast moving subjects as well as break neck operating and shooting speeds, you’ll need to look elsewhere. Camera systems like this are slow. We’re talking 1.2 frames per second slow. And while you likely won’t be taking one out to photograph a pro sporting event or shoot wildlife, you’ll rest assured knowing the fine art, landscape, architecture, still life, fashion, art reproduction, or portrait images (amongst just about any other genre of photography I’m not thinking of right now), will have the highest resolution and best image quality around. 

high res 3

Likewise, if you’re thinking of shooting video as well as stills then you’ll need an additional video camera. Instead of adding ho hum video specs, Phase One has designed their full frame medium format camera systems to be  dedicated still photography juggernauts. You won’t find a video mode on these systems, although their high resolution still capture can certainly be put to use in video content. The XF camera body boasts a built in Intervalometer and time lapse tool into its touchscreen. This means you can shoot full resolution stills over time, process those RAW files through Capture One, then combine them into a full blown 12k time-lapse. That’s right, 12k. Even if your video content is 4k, a 12k time-lapse gives you unbelievable detail that can be zoomed into, panned across, and massaged to the Nth degree.

The world of medium format photography can be intimidating, but it doesn’t have to be. Just like any other camera, these systems follow the same formula as any other: compose, focus, shoot. Light works the same way. Shutter speed, aperture, and ISO are all that is needed to make an exposure. While there are plenty of advanced tools you can take advantage of like focus stacking, time lapse, the XF’s built-in seismograph, the built-in Profoto Air Remote, flash trim, and more; at its core its just a still camera. It just happens to be one of the best in the world. Rent one and see why. 

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Sat, 17 Aug 2019 15:33:27 +0000
<![CDATA[What's The Difference Between DSLRs and Cinema Cameras?]]> https://www.prophotorental.com/blog/DSLRvsCINEMA/

With the advent of the “HDSLR”, that is, the first DSLR (Digital Single Lens Reflex) cameras that could record HD video, the line between video capture and still capture became blurred. The large full frame and still relatively large APS-C sized sensors provided what mainstream professional camcorders could not up to that point: dynamic, shallow depth of field control, a small form factor, and improved low light sensitivity in a reasonably priced package. It might not sound like much, but the significance of those qualities cannot be overstated.

While DSLRs and their Mirrorless counterparts continue to excel in still photography, their ability to also record ever more impressive video has essentially caused the dedicated still camera to go the way of the dinosaur aside from some notable medium format exceptions.

Indeed, DSLR and Mirrorless bodies (henceforth shortened to DSLR) record quality video with no sign of developmental stagnation, however, they fall well short of outright replacing dedicated video cameras (henceforth used interchangeably with cinema cameras).

If you’ve ever seen the prices of professional cinema cameras you know that they are expensive. Actually, “expensive” doesn’t even come close to describing the cost to purchase some of these camera systems, with many starting at 5 digits and some even reaching 6 digits to own all said and done. Meanwhile, DSLRs run around $5k on the high end and can record absolutely beautiful footage. If you’re a normal human being you might be asking yourself, what’s the difference? Its a good question, and one with many answers.

Physical Differences

To start, professional cinema cameras or otherwise high end camcorders are physically different from DSLRs. They tend to be larger (with a few notable exceptions) with multiple mounting points for a variety of accessories to facilitate a plethora of configurations. You’ll often see dedicated video cameras with a myriad of accessories strapped on including follow focus, external monitors and recorders, microphones, remote DSLR transmitters, handles, mounting points for rigging, and more. Each of these devices can be placed on the main camera in different configurations to suit any number of shooting situations.

Dedicated video cameras tend to have more input and output ports including HDMI, SDI, XLR for audio, and more. These ports have physical sizes which must be accommodated, as well as additional hardware to make these ports work, thus further contributing to the size of the overall camera body.

Canon Cine

Additionally, cinema cameras consume much more power than DSLRs since there is more happening under the hood. To continue shooting for a practical amount of time, the size of the batteries have to be larger. This large battery has to be mounted securely, so the physical mount has to be large as well. Thanks to all this power consumption, cinema camera can generate a lot of heat, and that heat has to be dissipated somehow. This is accomplished by fans that engage when the camera is not recording, and by using heat sinks to whisk heat away from the important internal components. These cooling methods require physical space to exist.

The difference in size also allows for more surface area to place physical buttons for quick changes to important settings. While DSLRs have had their physical buttons boiled down to the most crucial and easiest to access to facilitate hand-holding, the complexity of cinema cameras and the often difficult, fast paced environments in which the perfect shot has to be achieved, additional physical buttons to accomplish quick tasks can help make the difference on set. Lastly, many of these types of cameras are designed to be easily positioned on a shoulder, further changing their form factor.


Image Quality differences

One of the main bragging points DSLRs had over video cameras when they were first released was their large full frame or APS-C sensor. For a while you could almost instantly pick out video that had been shot on a DSLR vs video shot on a dedicated (digital) video camera because the DSLR footage had the option to use the kind of shallow depth of field still photographers are accustomed to. This benefit has since changed, with pro cinema cameras regularly utilizing full frame sensors, with some “large format” cinema cameras boasting larger than full frame sensors.

Still

Without getting too technical, cinema cameras record more data at higher bitrates than DSLRs. These file sizes are enormous since they are less compressed and store more data for manipulation on the back end. This may also include the ability to record RAW data in addition to logarithmic profiles as discussed in our previous post. Recording RAW data requires a lot of processing power. To date, the ability to record RAW footage isn’t available on any DSLR, though the mirrorless Nikon Z6 and Z7 should have this ability with the aid of an external recorder later this year.

Since cinema cameras record so much data they have to have a sufficiently large (and fast) place to put it. Solutions vary, but many camera systems, including those from RED and BlackMagic, record to dedicated SSD drives and snub traditional storage methods altogether. These SSD drives provide fast read/write speeds, large capacities, and durability.

As discussed in a previous blog post, dedicated video cameras require consistent, unchangeable shutter speeds depending on the frame rate of the footage being recorded. That leaves only ISO and aperture to manipulate exposure, however those two settings directly effect image quality (dynamic range in the case of ISO and depth of field in the case of aperture). This is why neutral density filters are so important, nay necessary, in professional video production. These filters reduce the amount of light hitting the sensor allowing for the proper shutter speed to be used in order to produce the most natural motion blur, the appropriate ISO for best dynamic range, and the ability to use aperture to control depth of field rather than exposure. As a result of this reliance on neutral density filters, some video cameras have ND filters built in, reducing the need for larger filters to be placed in the front of the lens.

Speaking of dynamic range, you’ll often see cinema cameras with native ISOs much higher than those of DSLRs. While the native ISO is high, ISO can be brought down to be less sensitive, however this may be at the cost of dynamic range. Simply put, a camera’s native ISO is the sensitivity at which the most dynamic range can be recorded above and below 18% grey. For many cinema cameras, this sensitivity can be 800 or above. Further, some cameras offer dual ISO sensitivity, meaning dynamic range can be dramatically effected in highlight or shadow areas depending on the chosen ISO, as the signal is interpreted differently for each set of ISO values. 

Since they were first released, DSLRs relied on what is known as a “rolling shutter” to record video. This term refers to the sensors in these types of cameras and their need to scan down the sensor and effectively record different parts of the scene at (very slightly) different times. This can have a negative effect on image quality when fast movement is introduced like a quick pan. Simply type in “rolling shutter” in the search bar to see some examples. Cinema cameras, on the other hand, will have a “global” shutter, which means that the entire sensor is recording the scene at any given time, thus preventing the effects of rolling shutters.

Recording Options and Resolution

We’re now solidly in the 4k era, and we’re seeing the push for higher and higher video resolution all the time. While DSLR sensors are now routinely in the 50 megapixel range with the ability to record full resolution time lapses which are effectively 8k, their video recording capabilities typically max out at UHD (3840x2160). What’s more, there are significant limitations to those high resolutions which may take the form of lower bit depth and a modest maximum frame rate of ~30fps, effectively rendering slow motion an impossibility at 4k. 

Pro Video Broadcast

Dedicated cinema cameras, on the other hand, can record at much higher resolutions with greater bit depth and with far more options for frame rate. For example, while the RED Epic-W, 8K Helium Sensor maxes out at 30 fps at 8k. At 4k it can record 120 fps, and at HD it boasts a whopping 300fps. That’s some seriously legit slow motions chops while still being able to record cinematic 24p at a whopping 8k. You can’t find a DSLR that can do that (at least not yet).

Another important feature to consider is HDR video, which very few DSLRs can take advantage of. Much like HDR (high dynamic range) photography, HDR video records multiple images at different exposures between frames. Later this footage is combined for a very gradable image.

Lastly, but most importantly depending on who you ask, is the option of shooting into codecs other than H.264. H.264 is great for playback across a wide variety of media. It is, however, highly compressed which can be problematic in post production if there are a lot of adjustments that need to be made. Shooting into codecs like ProRes or REDCODE for RED cameras, offer less compression and have more versatility on the backend.

The Lenses Are (Super) Different

We can’t talk about the difference between DSLR and cinema cameras without going into the lenses used for each. Its true, the light that hits the sensor is the same whether its coming through a cinema (cine) lens or a traditional photography lens. However, cine lenses have several features which make them stand apart from traditional still lenses.

Focus breathing is the subtle change in focal length that can occur while the focus is changed. Even if you’re on a prime lens, you may see that as you move focus from infinity to the minimum focusing distance the image appears to zoom in. In still photography this hardly matters at all, but in video it can be distracting. Many cinema lenses reduce or completely remove this habit.

Likewise, if you’ve ever seen a nature documentary you can imagine how important it is to be able to smoothly zoom in and out, as well as smoothly track focus. Cinema lenses are specially designed to make these changes as seamlessly as possible for the cleanest footage. On that same note, the aperture blades of cinema cameras are designed to smoothly and slowly move from one aperture to another to similarly create seamless changes in exposure.

Cine lens

Another habit of zoom lenses which manufacturers go to great lengths to correct for the world of video is the change in focus while zooming. Many still photography lenses will slightly change their plane of focus when zooming in or out. That is, what you’re focused on at 400mm may not be in focus when you zoom out to 100mm. Cinema lens manufacturers create what are known as parfocal lenses which will maintain their focus point throughout their entire zoom range, allowing for smooth zooms while recording which would be almost impossible otherwise.

While we’re talking about lenses we should also probably talk about lens mounts. Almost every DSLR camera manufacturer has their proprietary lens mount (which are capable of shooting video), the world of cinema lenses relies on far fewer mounts which helps with standardization. Arri’s PL mount and Canon’s EF mount are the most common. Some Cinema cameras have interchangeable mounts, allowing the camera body to be used with either family of lenses. Adapters abound, however, so there’s likely some configuration possible to adapt camera A to lens B. Results may vary.

Conclusion

Those, my friends, are SOME of the differences between DSLRs and video cameras. There are many more, but these are some of the largest, most notable differences. When it comes to footage of the absolute highest quality, dedicated video cameras are the way to go every single time. However, that isn’t to say DSLRs should be overlooked. Not every video has to be manipulated in post to the Nth degree. Considering how most videos are consumed (online), many of the features listed above aren’t necessary and would likely be overkill. DSLR film and video making is strong, and its getting stronger all the time. Meany feature films and TV shows have been filmed on DSLR rigs, either fully or in part. Plus, DSLR video production is getting better all the time. As mentioned above, the ability to record RAW video, which has been squarely in the territory of cinema cameras up until now, will soon be available on the Nikon Z6 and Z7 with an external recorder. Sony and Panasonic continue to push the limits of what is possible with their mirrorless cameras. As with all things gear related, it all comes down to the right tool for the job. Hopefully this has helped shed some light on a different set of tools.

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Fri, 09 Aug 2019 16:18:25 +0000
<![CDATA[File Storage - Staying Organized During a Shoot]]> https://www.prophotorental.com/blog/organization/

     File organization and backup is easily the least interesting aspect of being a photographer or videographer, yet it is simultaneously the most important. Maintaining proper backups and organization of your files while on the job is crucial to ensure your data doesn’t get lost, overwritten, or accidentally deleted.
    If you’ve never been in a situation where, even if just for a moment, you’ve misplaced or lost track of missing files while on a job it can be easy to shrug off the idea of creating on-site backups or maintaining consistent, repeatable on-site organization. The reality is that even one screw up could have a severe effect on the outcome of a shoot. In a (very possible) worst case scenario, it could be the difference between sending final deliverables, and delivering nothing but an excuse. Below we’ve outlined some tips and best practices to stay in front of your organization so you can feel confident the next time you record that all important data.

    Shoot to both card slots

    Most modern camera bodies have the benefit of two card slots- some with the same, and some with a different form of storage (One SD slot and one CF slot, two SD slots, etc). Putting both slots to use whenever possible is an excellent way of ensuring against disaster. The phrase, “two is one and one is none” is a good mantra for file storage, so the benefit of creating two copies at the point of capture ensures from the very beginning that you can already survive one failure. It’s an even better bet if the card slots are of a different type of storage, like one SD and one CF card.

    Make On-Site Backups

If you’re shooting to both card slots then you’re already a step ahead. Another way to ensure your data is as safe as it can be is to make on-site backups to an external hard drive. This typically involves bringing your computer along, which also probably means bringing along a power cable and maybe a couple other accessories. Sometimes this may not be an option during a shoot, but at the very least it will usually be an option right after the shoot is finished. The benefit here is that the sequencing of the shoot is fresh on your mind, so you’ll likely be the most efficient at creating file organization to be referenced later while also backing up your data.
    If you can’t (or just don’t want to) bring your computer along, you might consider investing in a portable backup solution like GNARBOX. These devices provide backup solutions mentioned above, but without a laptop. Simply connect a card reader, follow some on screen prompts, and presto: you have a backup of all the data on your memory card. Some options are even weather resistant which can be a life saver when shooting on location.

     Shoot Tethered Whenever Possible (Stills Only)

    If you’re able to shoot tethered then you’re in even better shape. Shooting tethered (camera connected to computer via USB cable) to a piece of software like Capture One Pro allows you to make specific folders which are dedicated to specific sets of images. Setting these folders as capture folders allows you to send each new file to that folder instantaneously.     For example, If you’re shooting fashion, you have the option of making different folders on your local or external drive named for the specific shot, like “look 1, look 2, look 3,” etc. After you’ve finished shooting into the “look 1” folder, set the “look 2” folder as the capture folder while your model is in makeup or is getting a wardrobe change. This is an excellent method for staying organized on a shoot, since you’re creating your organization before the shoot even begins. When the shoot’s over you can easily find each set of images. What’s more, during some downtime, all you have to do to make a backup of all your images is to copy the parent folder to another drive. Easy.

    Be Disciplined with Organization

     Multi day shoots involve lots of data. Sometimes this data is complex, so in order to stay organized you should be disciplined with regular backups and committing early on to an organizational scheme. There’s not much worse than a client asking to review a specific piece of footage from two days ago and you’re not able to quickly bring it up on screen. Not being able to recall footage quickly makes you look unorganized and unprofessional.
    Before the shoot even begins, you should speak with other members of your crew if applicable and decide on an organizational scheme, whether it be based on the day and time, shot names, or other factors specific to the shoot. This ensures everyone is on the same page, so if another member of your team needs to find a specific piece of footage, they can do so without having to consult you or whomever backed up the footage.
    On a multi-day job, backing up every day after the shoot is over is extremely important. Backing up daily helps ensure your data is safe (two is one, one is none), but backing up while the day’s events are fresh on your mind allows you to make better organizational decisions regarding your file structure. Sometimes, however, this can be a real challenge. Its not uncommon on some jobs to shoot will into the evening. Arriving at a hotel in the wee hours of the morning with only a few hours to clean up, charge batteries, backup footage, and maybe get some sleep before the next shoot can be exceptionally challenging. Its no secret that you make more mistakes when you’re tired, and the last place you want to make a mistake is when backing up or organizing footage. Therefore it’s important to be smart about your backups and only handle footage when you’re not the most likely to make a mistake. Sometimes that means backing up footage to a separate drive to be organized later when you’re not drooling on your keyboard.

Hire a Digital Tech

    Some creative professional just don’t get along with technology. For some, computers are a necessary evil. You’ve got the creative mind to make something amazing out of nothing at all, but accessing the google may be a real challenge at times. Even if you’re good with this kind of thing, If you’ve got a big job coming up and you’re not 100% confident you can keep your data efficiently backed up, organized, and easily accessed, then it might be in your (and your client’s) best interest to bring on a digital tech. A digital tech’s sole responsibility is to make sure files are coming in correctly, are organized efficiently, and are backed up properly. That takes the pressure off of you, the creative, to do what you do best (be creative). A good digital tech can be the difference between a disorganized mess and a clean running machine.

Like we said above, talking about staying organized on set can be a drag. Still, it’s the most important part of any professional endeavor. Fortunately, just a little forethought and a touch of discipline can help ensure you’re as protected as is reasonably possible. Accidents happen, and often at the worst times. Take some time to analyze your current practices and see what you can improve on. Stay safe out there!

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Tue, 30 Jul 2019 19:23:05 +0000
<![CDATA[What Does It Mean To Shoot In LOG?]]> https://www.prophotorental.com/blog/video_log/ Shooting in Log format


 
Being in the right place with the right light and capturing that light adequately is the foundation of photography. This is true of both still and moving images, and though photography and videography share many of the same basic principles, they can be as different as they are similar when it comes to capturing and processing.

In still photography it is relatively simple to create an image in a RAW format. That is, to capture an image and keep it in a more or less pristine, untouched state with only minimal processing done within the camera so that the resulting file is more malleable and allows for greater control in post production. All that is needed after the capture of a RAW image is to be imported into a RAW converter so it can be demosaiced, edited, and converted to a final file type (like a JPEG or TIFF) to achieve the intended result. This all happens with minimal processing power. Even the beastly 100 MB RAW files shot on our 100 megapixel Phase One XF system require only one piece of software and a machine with simple, modest specs to import, process, and render a completed image.

Video, on the other hand, is a different animal entirely. Though it shares many of the same fundamental principles with still photography, the act of recording the same kind of RAW data that we think of when we shoot stills requires much greater processing needs, vastly larger amounts of storage, and additional time. Bringing footage in to be demosaiced and interpreted is non-negotiable, and must be done before you can even view the footage, much less drop files into a timeline. The cameras that are even capable of recording RAW video are typically large, dedicated cinema cameras that require significant experience and understanding to operate.

Even so, we may start to see RAW recording as a feature in DSLR and mirrorless cameras after the announcement that Nikon’s Z7 will be able to record 12-bit RAW when paired with the Atomos Ninja V later this year, but that’s for another blog post.

The point is that it's easy to gather RAW data for stills, but isn’t even possible in a lot of otherwise extremely capable video cameras. Shooting video is a lot like shooting JPEGs in stills. Correct exposure is crucial. White balance must be set properly in camera. Whatever picture or color profile you use in camera will be what you get to work with in post. If your shadows are blocked up or your highlights are blown during capture, you won’t be getting much back in post, and if you try, your footage will likely fall apart. This is where LOG, or logarithmic, profiles shine.

Log Profile

A scene shot internally with a Z-LOG L profile from EOSHD on the Nikon Z6


These profiles are designed to be used with scenes that have lots of dynamic range, that is, drastic differences in highlights and shadow details. Shooting in a Log profile results in a very flat looking image that protects both shadow and highlight detail. This flat image isn’t the prettiest to look at since it appears so washed out, so color grading or applying a LUT (look up table) in post is necessary. Still, even though there is an extra step required in post, it's far less work and far less complicated than recording RAW video. Fortunately, because of the flatness of the image and the protected highlights and shadows, log footage can be pushed around and graded in post with far more success than a standard profile. You still have to nail white balance and exposure is still very important, but knowing that you’ll have greater control in post provides peace of mind.

Graded Profile

The same scene and Log profile with a LUT and additional grading applied

You might think that shooting in Log profles adds an unnecesarry step. Sometimes shooting in Log is unnecesarry. Depending on the use, many picture profiles provided in camera look quite good, and may not need much additional grading if the production doesn't require it. However, if you're trying to match footage from different camera systems and wish to have as much control in post production as possible, shooting in LOG is a great solution that requires minimal additional effort. Some external recorders can have LUTs applied to the video feed while simultaneously recording LOG, so you're seeing more or less proper contrast and color while still keeping your footage pristene and relatively untouched. This is a great solution since it can be disconcerting for a client to see the footage for their expensive video come out flat and lifeless.


Different camera manufacturers provide different log profiles for their camera systems. Canon provides C-log with their cinema line. Sony provides various S-logs, each with their own specific uses, as well as Fujifilm’s F-log, Nikon’s N-log, and so on. These profiles, though each slightly different, are designed to do the same things- improve dynamic range and protect the extremes in your image.

Color, contrast, and tonality are extremely important in film and video production. Shooting in LOG profiles help to maintain flexibility and allow for more control during post production so that the end result looks as it should. If you haven't shot in LOG before, give it a try. You'll likely be asked to record in LOG if you're handing off footage to an editor, so if you're just getting started in video, familiarizing yourself with these profiles is definitely a good idea.

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Fri, 05 Jul 2019 19:30:54 +0000
<![CDATA[Hands On With The Nikon Z7]]> https://www.prophotorental.com/blog/Nikon_Z7_Review/     The mirrorless crusade continues and is showing no signs of slowing down. Nikon finally realized the significance of the market and decided to throw their hat in the ring with their Z series full frame mirrorless camera bodies back in 2018, the Z6 and the Z7, as well as with the introduction of a corresponding lens mount unsurprisingly named the Z mount. This new set of bodes and lenses represent a shift in focus for Nikon and reinforces the concept that mirrorless bodies are, if not the future, a significant part of it. This review will focus on practical, real world shooting with the Nikon Z7 and will save most of the boring stuff for the spec sheets.

    First Impressions

    Upon receiving the body, I immediately felt comfortable with the Z7. I’m cheating a bit since I’m already a (very happy) Z6 owner. The two bodies are essentially identical, with all of the significant differences occurring under the hood. I won’t be comparing the Z6 and the Z7 for this review, but I might make a note here or there as it pertains to my personal experience and each body’s place in Nikon’s stable. Regarding just the feel of holding the camera, bringing it up to my eye, letting it hang off my fingers at my side, and pulling it in and out of a bag, the Z7 is the most ergonomically balanced and best-overall-feeling camera I’ve ever used. The body design wasn’t once a negative over the two days I tested the Z7 nor the 3 months I’ve owned the Z6. The body feels good and it never got in the way.

    I’m a fan of the button layout of the Z7. I appreciate the lack of a scroll wheel next to the LCD screen. It would have to be very small and would likely be bumped easily. Instead, the only scroll wheels are on the front of the body and next to the thumb rest for shutter speed and aperture control, similar to Nikon DSLRs. I did find myself occasionally tapping the “ok” or “menu” button instead of the “magnification” button when I was looking through the viewfinder and checking 100% focus. The mode dial has a click lock feature, requiring a central button to be pushed while rotating the dial. This ensures that you don't find yourself in apertire priority when you should be in manual.

    I have to say that I absolutely love the tilting LCD display. I often shoot low and aim high, particularly with wide angle lenses. Being able to tilt the screen towards the sky to compose, focus, and review made life much easier for several images. Similarly, if the camera is placed above eye level, the screen can tilt towards the ground (though not 90º). Even if the camera isn’t at an extreme angle, the tilt screen nearly guarantees that you’ll have a decent and likely comfortable viewing angle. If Nikon had put in a fully articulating LCD it would have been a home run, but this one works well, is bright, high resolution, and wasn’t ever a battle.

    The viewfinder of the Z7 is set back several millimeters from the rear LCD, so if you prefer to compose using the EVF you don’t have to press your face against the back of the camera. It's a small thing, but I love that. It’s very comfortable to hold up to your eye and feels quite natural. I can’t stand it when I feel like the sweat and oil from my skin is rubbing onto the back of the camera. Yeah, gross, I know, but that’s why you don’t want that. This is particularly true when shooting in the field and you’re sweating from hauling around gear.

    One feature of the Z series camera bodies that seemingly everyone on the internet had an opinion on when it was first announced was Nikon’s choice to use a single XQD card slot. Yes, it’s just one card slot. Yes, it would be nice to have a secondary SD slot. However, after using the Z6 for over 3 months, I find that I don’t miss a secondary card slot and I really, really like XQD cards. In 11 years of photography I’ve only had two card-related issues. One card failed, but it was a very cheap 3rd party SD card, and one gnarly CF card bent the pins of a camera body. I’ve also lost my fair share of SD cards. XQD cards provide extremely fast speeds, are larger and heftier than SD cards so they’re harder to lose or accidentally throw around, and they don’t rely on pins like CF cards. I’ve also subscribed to the idea that it's better to shoot with multiple, smaller cards than one huge card just in case of that very unlikely failure (or loss). To that end, 64GB XQD cards have served me well, and I look forward to more camera bodies adopting XQD as their main storage option.

Using the Z7 In The Field

    The menu system of Nikon cameras has never gotten me very excited. I’ve owned a Nikon camera for something like 3 years and I still get lost in the menu occasionally. There’s so much text on the screen at times, it can be hard to find exactly what you’re looking for. To that point, I found myself hunting through the menu a few times to make the changes I was looking for, like button reassignment and quick menu customization. The Z7 is no different, though if you’re used to Nikon menus then you’ll find yourself right at home since it is largely the same as Nikon’s other bodies.

    The top LCD on the Z7 provides basic exposure information, battery life, flash mode, release mode (in stills mode), remaining captures, and not much else. The LCD is clear and easily read, and can be inverted from a black background and white text to a white background with black text. Even so, I’m a bit underwhelmed with the information the screen provides. I feel like other manufacturers have used top LCD screens on mirrorless bodies in much more practical ways. While I’m glad it's there on the Z7, a little more information would be helpful. If nothing else, being able to glance at the top of the camera to confirm I’m shooting in my preferred frame rate and resolution would be enormously helpful. If there is an option to change the information on that LCD, I’m still looking for it.

    Something I’ve come to appreciate about the Z6 is the in-body 5 axis image stabilization which is capable of adding stabilization to any lens, adapted or otherwise. The Z7 shares this benefit and at such a high resolution, the stabilization is more than welcomed. The benefit of having in body image stabilization in a high resolution body cannot be understated. If you’ve shot with high resolution bodies before then you’ll know that any optical defect present during capture, like subtle vibration from camera shake, will be magnified by the high resolution sensor. (If you’re thinking of renting or buying a high resolution camera like the Z7, take some time to read my article Mo Pixels Mo Problems). The same is true of the Z7, but the in-body stabilization certainly makes a difference when hand-holding and shooting casual video.

    Speaking of video, the Z7 does it, and does it well. While this review focuses mainly on still capture, the HD video I did shoot with the Z7 was clean and easy to manage. It looked good. The in-body and optical stabilization of the 35mm f/1.8 made hand holding smooth, and when stabilized in post production, extremely smooth. I do wish the Z7 was capable of natively shooting in log format in-camera, but the flat profile will work for most cases. There are log profile options available from 3rd party sources which I’ve tested on the Z6 with good results, but did not test on the Z7. In camera the Z6 and Z7 record 4k up to 30fps and 1080P at up to 120fps in 8-bit.  Both cameras can record 10-bit 4k in Nikon’s N-log format when paired with the Atomos Ninja V. Beyond that, the Z6 and Z7’s video chops continue to be bolstered via Nikon’s willingness to provide real value firmware updates as well as work with Atomos to allow future capability of recording 12-bit 4k Apple Pro Res RAW, (a big deal).

    Like many Nikon DSLRs, the Z7 is capable of recording time lapses not just by capturing stills via its built-in Intervalometer, but also by capturing a time lapse and processing it into a pre-packaged video clip. I love having the option of recording (various sized) RAW files via intervalometer and having the RAW flexibility of those images in post production, as well as the convenience of a pre-made time-lapse available for immediate drop-in to a timeline.   

    Nikon claims the Z6 and Z7 are weather resistant, and though I didn’t particularly want to put the Z7 through a rigorous test, shooting in the American Southwest necessitates being around blowing dust, sand, and dirt on a regular basis. A few specs of dust did end up on the sensor, though this was no doubt due to changing lenses out in the field in less than ideal conditions. Even though it definitely saw some gnarly desert weather, the Z7 never skipped a beat. After the rocket-blower treatment, it looked just like new.

    Battery life on the Z7 isn’t particularly impressive, but it’s also not disappointing. Having a few extra batteries available is a good idea anyway, but especially if you’re going to be shooting video or recording a long time lapse. When shooting stills, I was able to shoot all day on a single charge, but your mileage will vary depending on your shooting style. On paper, the Z7 is rated to capture a little over 300 images on a single charge. I love the fact that the Z7 will accept older EN-EL15 batteries, so I was able to use the batteries from my old Nikon D800e.

    As a landscape photographer, autofocus speed doesn’t matter much to me. For my needs the Z7 focused plenty fast, and more importantly, was accurate even with the 35mm at f/1.8. Still, if you compare the Z7 to other bodies like the Sony A7RIII or the Nikon D850, AF will lag behind a bit, though it performs quite well and tracked accurately while shooting video. In reality, I don’t think AF speed would become an issue unless you were shooting wildlife or sports. I haven’t shot a wedding in years, but if I had to, I would feel more than confident reaching for the Z7.

    For those already invested in Nikon lenses, Nikon’s FTZ adapter allows non Z series Nikon lenses to be used with the Z6 and Z7 (and they get the benefit of the in-body image stabilization!). The adapter works well, but will not allow for autofocus with older non-G series D lenses that require the screw drive focusing motor. I use focus peaking when using these lenses with regular success. The aperture of these lenses can be set via the camera body. I already own the FTZ adapter and use it regularly with my Z6. Normally this setup works flawlessly, however I did notice while I was testing the Z7 that switching between a native Z mount lens like the Nikon Z 35mm f/1.8 and the FTZ adapter can cause some problems if you’re using the FTZ adapter’s 1/4-20 thread for your tripod’s quick release plate. Switching to a Z mount lens of course requires the removal of the FTZ adapter, but if that’s what you’re using to mount the camera to a tripod, you’ll need to dismount the camera, remove the QR plate from the adapter and re-mount it to the camera body. This annoyance is negated if you’re using only Z series lenses, only legacy lenses with the adapter, or if you simply put the QR plate on the bottom of the camera body.

Image Quality

    Though I’ve made my career in supporting, testing, and shooting with medium format digital backs flush with resolution, my daily shooter is the humble 25 megapixel Z6. When I received the Z7 and began making images, I could immediately feel a difference when looking at the back of the screen. Double tapping a reviewed image to check 100% focus, the change in resolution and quality from 25 megapixels to 46 megapixels is immediately obvious. This is confirmed when reviewing RAW files in Capture One. Particularly when paired with the 35mm f/1.8, the images were extremely sharp, even wide open.

    The lens I received with the Z7, the Nikon Z 35mm f/1.8, produced sharp images, focused quickly, and felt at home on the Z7 without any adapters. Nikon is proud of their new Z-series mount and are quick to point out the fact that the opening of the lens mount is physically larger and has a shorter flange distance than many other lens mounts from competitors. Nikon claims this allows for faster apertures and plans to prove this by releasing their 58mm f/.095 S Noct which, at the time of this writing, still has not been released. The benefit to this physically larger lens mount goes beyond larger lens apertures by, and this is more subtle, giving lens designers an easier time correcting for optical defects and opens up new possibilities for optical formulas. In theory this should mean better corner to corner sharpness and less distortion, but it’s tough to make comparisons without some proper scientific testing. So I won’t.

    In practical every day terms, the larger mount opening, while noticeable, doesn’t make a difference when it comes to shooting experience. If you really wanted to split hairs, the larger opening does make it that much more possible for dust to land on the sensor when switching lenses, which did happen while I used the Z7, but realistically, any dust that lands on the sensor of a Z7 would have gotten there if it had a more traditional sized mount anyway.

    I had the Z7 on a tripod when the light started to dip down, but I felt confident that, combined with the in-body stabilization, I could boost ISO enough to get the shutter speeds I needed to hand hold without running into too much noise.  Speaking of ISO, I appreciated the un-expanded, very low native ISO of 64. Expanded, base ISO becomes 32. Images at this ISO are extraordinarily clean, and can be pushed significantly if under or over exposed. In some situations, that low of an ISO could reduce the need for an ND filter. You can expect great ISO performance from the Z7, similar to that of the D850.

    While testing the limits of the in body stabilization with my Sigma 100-400mm, If I really worked at it I could get away with handholding that lens at 100mm and 1/50s on my Z6. No such luck on the Z7. The increase in resolution reveals all your dirty laundry, which is to be expected. I needed extreme focus and to control my breathing, but I could get 1/125s acceptably sharp at 100% with the Z7 while handholding at 100mm. My Sigma 100-400 also doesn’t have the best optical stabilization, so combined with the Z7’s in-body stabilization and a decent lens’s VR, you could likely go even slower.

    Shooting with high resolution sensors is definitely more of a challenge, but the extra care and attention is rewarded with beautiful, deep images capable of being printed large and re-cropped for refinement or for a different composition altogether. Like the D850, the Z7 lacks an anti-aliasing filter which is designed to soften the image and reduce moire. The absence of this filter makes images from the Z7 that much more crisp, and they do not disappoint.

Final Thoughts

The Z7 isn't for everyone, but it's for almost everyone. For extreme speed you may want to look elsewhere, but if you're subject isn't moving at breakneck speeds, the Z7 is more than capable of capturing essentially whatever it is you need to capture. A fantastic stills and video camera, the Z7 would shine as a main camera for weddings, landscape, portraiture, still life, product, and more.

The Nikon Z7 was a pleasure to shoot with the entire time I had it in my hands. I appreciated the flexibility and confidence it instilled. I knew that every frame I captured was being stabilized, would have low noise, and would be able to be printed large without losing quality. After taking some initial time to fidget with menu customization, the camera's custom functions and custom button layout increased my efficiency and let me fly when changing settings. As a piece of real world proof, I just reserved the Z7 for a project requiring both video and stills to be shot internationally. After having used the Z7 for a short time, I feel confident reaching for it on a project that involves a challenging environment and the ability to switch between still and video at a moment's notice. In time I expect the Z7 to find a permanent home in my bag.

Rent a Nikon Z7 for your next shoot.

Add a Nikon 35mm f/1.8S lens rental.

Or maybe you just want to rent the Nikon FTZ Adapter to use with your own glass.

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Mon, 01 Jul 2019 19:26:38 +0000
<![CDATA[Video Frame Rate Intro and Comparison]]> https://www.prophotorental.com/blog/frame_rate_comparison/

    For still photographers looking to venture into the wide world of video, the vastness of the medium, technical jargon, and presumed knowledge of most tutorials can sometimes be daunting. Indeed, video takes most of the principles of still photography and then throws them into a bag with time, movement, compatibility, playback, editing, and ridiculous jargon. Then it shakes the bag up and dumps it out all over the table like a low country boil. It's beyond delicious, but there’s a lot going on. You can go as far down the rabbit hole as you like, but to get started in video you only need to grasp a few basic principles. One of those non-negotiable principles is frame rate.


    Frame rate in videography is simply how many images, or frames, are recorded per second by a camera, also fittingly abbreviated as fps. Although related, frame rate is not the same thing as shutter speed, but more on that later. The change in fps has a significant impact on the final look of the video, and the frame rate you recorded at vs. the frame rate that clip is played back at will have even further impact.


    Think of frame rate like a flip book. If you’ve ever bought one or made one yourself, you know that as you flip the pages of a flip book, the faster the pages are flipped the more fluid the movements are of the stick man doing a cartwheel. The same is true of film and video. The more frames recorded per second, the more fluid the motion. You might think that, if that’s the case, then the higher the frame rate the better. Fluidity is good after all, right? Not always.


    Most of us have been to the movies. Movies have a certain “cinematic” look to them thanks to a decades old 24fps frame rate standard we’ve become quite comfortable with. If we went to the theater and watched a film recorded and played back at 60 fps, the movie would seem dramatically different, but you might not be able to put your finger on exactly why. That’s because at 60 fps, the frame rate we associate with soap operas, has more fluidity to it. Even 30fps would appear strange, considering our long love affair with the 24 fps standard. There’s nothing wrong with shooting at 30 or 60 fps, but you should know what it looks like and make a conscious decision to record at a particular frame rate based on your desired look.


    Frame rate also dictates how much data you’re storing, which makes sense when you think about it. 60fps will require more storage than 24fps because there are literally more images being recorded over the same amount of time. While your frame rate shouldn’t be dictated by how much storage you have available, it is something to keep in mind. If, for example, you’re wanting to shoot a lot of higher frame rate clips for more slow motion, you’ll probably want to rent some extra storage.


    If you’ve looked at the video functions on your (or our) cameras for any given time, you might have noticed the standards of 24, 30, and 60 fps. You may have also noticed frame rates which are very close to but not quite at those frame rates, like 23.98, 29.97, or 59.98. These frame rates exist to expand compatibility with NTSC broadcasting standards. Without getting into the admittedly dry details as to why this is the case, suffice it to say that 23.98, 29.97, and 59.94 are typically the preferred versions of their rounded up siblings for North America. Given the choice between 23.98 and 24 fps, its usually best to shoot at 23.98.


    While you’re shooting you should consider the frame rate you’re recording at, but once you’ve loaded that footage into your editing software you now have control over the fps your video is played back at. Just like recording, playback works in the same way. By choosing the playback frame rate you can manipulate the speed or look of the footage you’ve recorded. This is where slow motion comes in.


    If you recorded a 10 second clip at 24fps and play the clip back at 24fps, the video will looks the same as when you shot it and last for 10 seconds. If, however, you recorded a 10 second clip at 60 fps, then played the video back at 24 fps, the video clip will now be 25 seconds long (600 frames, divided by 24) which is substantially longer than the original and would amount to 2.5x slow motion. This has the effect of slow motion because there are more frames being taken over the same amount of time, yet played back at the much slower 24 frames per second. Using the same math and clip length, a 10 second clip recorded at 120 fps played back at 24 fps would last 50 seconds, amounting to 5x slow motion.


    Although best left as a last resort, it is possible to record at a frame rate different than your playback, but without the effect of slow motion. You could, for example, record a 10 second clip at 60 fps and play it back at 24 fps while still retaining a clip length of ~10 seconds. This involves removing frames from the clip, so that there are no longer 600 frames over the span of 10 seconds. While good to keep in your back pocket, removing frames from a clip can lead to artifacts in your video, particularly when fast motion is involved, or when working with frame rates that aren’t extremely closely related. For example, shooting at 60 fps but playing back at 30 fps will lead to less artifacting than a clip recorded at 60 fps but played back at 24 fps. This is because 30 fps is half of 60 fps, so playing a 60fps back at 30fps will simply require every other frame to be ignored by the playback software, whereas the math becomes much more complicated and uneven when playing back at 24 fps. Therefore, it’s best to record at the frame rate you intend to play back at, unless you’re shooting for slow motion.


Frame Rate and Shutter Speed


As mentioned above, frame rate and shutter speed, while not the same, are very much linked. Like still photography, video uses shutter speed to let in more or less light for a proper exposure. As you might imagine, you’ll be much more limited when it comes to shutter speed while shooting video since you can’t go below a certain threshold. If you’re shooting at 24 fps, then the lowest shutter speed you could possible shoot at would be 1/24s, but there’s more to it than that.


    We all know that shutter speed effects how motion is rendered. Shooting moving water at a slow shutter speed will smooth the water out and blur it. Shooting water with a fast shutter speed will stop the water in its tracks an accentuate each little droplet. The same is true with video. You’ll find many articles and tutorials telling you that you are locked into one shutter speed, which is double your frame rate. This means that if you’re shooting at 30 fps, your shutter speed should be 1/60s. The reason this “rule” exists is because it will create the most natural looking motion in your video.


    If, for example, you were recording at 24 fps and, instead of using a shutter speed of 1/48s, you used 1/30s, you might find that as your subject moves within your frame you actually pick up on some motion blur. This can be a distracting artifact, and can absolutely ruin panning sequences. On the other side of the spectrum, when shooting at 24 fps, you decide to use a shutter speed of 1/250s, you might notice jitter in your video because there’s no motion blur at all. While the rule of using double your frame rate to find your shutter speed is useful for most scenarios, shooting at fast or slower shutter speeds than double your frame rate can (and have) been used intentionally with great success.


    Knowing how frame rate and shutter speed effects your video is half the battle. From there, you can make decisions to follow the rules, or break them entirely.


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Fri, 07 Jun 2019 19:05:31 +0000
<![CDATA[Gear for Your Summer Travel]]> https://www.prophotorental.com/blog/rent_travel_photo_equipment/ If we were one of the great houses our saying would be “Summer is just around the corner”. We’d always be right eventually…

Indeed, Summer is coming, and all the things that come with it are on their way. Particularly, travel comes to mind. Your travel may take the form of a road trip, hopping on a plane, or both. Chances are, if you’re taking the time and effort to sit in a car or squeeze yourself into a plane for hours on end you’re likely going somewhere interesting (at least we hope). If that’s the case then you’ll probably want to capture, document, and otherwise commemorate the trip. If only there were a way to paint a picture instantly of all the cool things you would see… Cameras! Cameras. Ahem… You’ll probably be taking a camera with you. And if you’re reading this blog, you’re probably interested in doing your best to take some great images and maybe wondering what you should rent for this awesome trip you’re about to take.

Not only will you be taking too many clothes and toiletries with you, but you’ve also just made the decision to take some camera gear. Good choice, but now you’ve got some more decisions to make. Should you go minimal and take this opportunity to exercise your creativity by putting limits on yourself (photographically speaking, YOLO), or should you bring more gear so you can be prepared for more situations? You’re going some place pretty interesting (at least we hope), so why not be prepared for anything? It’s a subjective question, no doubt. And the answer will depend largely on how you shoot, how you travel, where you’re going, and how much gear you’re willing to lug around.  Below we’ve laid out some options for the type of travel photographer you may or may not aspire to be.  

The Minimalist

Options are for the weak. If it’s not required it’s staying at home. You’re an ultra-light packer, and you’re only taking a camera because you just can’t bring yourself to use your phone as a serious imaging device. One body. One lens. Anything else is vanity.

Nikon Z7

The ready-for-anything-er

You’re going on a trip. It doesn’t happen every day, and the last thing you want is to be looking at a stunning waterfall without a tripod to smooth that water out. You’ve got “Luck is when preparation meets opportunity” tattooed on your butt. You want to be ready to tackle any situation, and you don’t mind carrying the extra weight, putting in the extra effort, and hiking that extra mile to make that happen. Kudos.

Sony A7R3

The Vlogger

If you’re doing something, you’ve got a camera on you while you do it. Your YouTube page is growing steadily and this next trip is your opportunity to show how awesome you want other people to think your life really is. For you, its all about a camera with solid video capability that’s easy to hand hold and easy to operate along with respectable audio.

Osmo

The Perfectionist

You’ll accept nothing but the best for this next excursion. Whether you’re going on a once in a lifetime trip or putting another notch in your belt, you need the images to be the stuff of greatness. Image quality and resolution are priority one. Time to break out the big guns.

Phase One XF

Indeed, only half the battle is getting to your destination with all of the gear safely (at least we hope). Once you’ve reached that destination you’ll likely be going out on some excursions, so you’ll need a nice way to bring that camera gear with you. There are as many camera bag options available as there are stars in the sky, at least it seems that way. If you don’t have a bag for your gear or if you need an extra, we have you covered with the Ruggard Thunderhead 75 Photo Backpack. It can carry a DSLR with a grip and up to 9 lenses as well as up to a 17” laptop, and is completely re-organizable via its velcro dividers.

Travel is a wonderful time to take pictures, so be sure wherever you’re going that you’re taking full photographic advantage. That being said, if you’re not going on a trip specifically for photography, be sure to take time and smell the roses. Photography is an amazing way to experience new locations, but if you’re too focused it can get in the way. Take photos, but occasionally put the camera down to make some memories. You’ll thank us later.

Happy Travels!

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Wed, 22 May 2019 21:25:48 +0000
<![CDATA[Astrophotography Part 2: Getting More Out of Your Images]]> https://www.prophotorental.com/blog/astrophotography_part_2/ This is the 2nd post in our series on astrophotography. In the first post we discussed the basics of photographing the Milky Way and how to get some properly respectable images of the night sky in a singe image. If you haven’t already read it, here’s a link. Go ahead, we’ll wait.

Ok, now that you’ve read the first post in this series we’ll talk about getting more out of your images of the Milky Way and some more advanced techniques employable during capture to gather more information for the best image possible.

Like we discussed in the first post, sometimes it can be a good decision to capture some foreground interest in your image of the night sky to turn the image into a landscape. This has the effect of providing depth and perspective to the image. This is a good choice, however because the night sky is so dark there’s likely little light hitting your foreground. A fully blocked up foreground silhouetted against the night sky can be done purposefully and, depending on the silhouette, can be quite pleasing. However, if you’d like to capture information in your foreground you’ll run into issues.

Silhouette

For starters, as we discussed in the first post, the stars and your foreground element are quite far from each other. This has the effect of forcing you to choose between focusing on the foreground or the background. Should you choose to focus on the stars, your foreground will lose detail. Combined with the increased noise inherent in underexposed images, you’ll likely end up with a very muddy foreground. Should you choose to focus on the foreground, your stars may cease to be points of light and may appear as ill-defined, messy, and distracting.

The fix here is to expose two separate images: one for the foreground and another image of the stars in the background to be later combined in Photoshop. The benefit to this technique is two fold by allowing you to both expose and focus properly for stars as well as your foreground separately.

CompositeTo make the background exposure of the stars you’d likely follow the standard methodology we mentioned in the first post of the series, although we’ll discuss other options shortly. For your foreground, you have more options. Because you’re exposing separately, your shutter speed is much less critical of a consideration. Since you have an exposure dedicated to the sky already, it doesn’t matter how much the stars trail in your image of the foreground. You’ll be combining them both in post in any case, so you’re looking for as much information as you can reasonable gather of that cool tree in front of you.

The keyword there is reasonable. Remember, you’re photographing the night sky. Usually things are pretty dark at night, so if your foreground looks like it’s been exposed during the midday sun you might end up with a very unrealistic looking image which may or may not be your end goal. Combining these images in post in Photoshop requires a refined hand for a realistic image. You’ll likely want to keep your foreground dark, but leave information still readable by the viewer.

Another option for gathering more information for your foreground is to light your foreground artificially. This involves using artificial light sources like flashlights or ice lights to shine light on specific parts of the image you want the viewer to pay most attention to. Obviously strobes will work, however continuous lights like LEDs allow you to paint with light and offer more versatility. A good option from our stable is the Genaray Beacon LED Wand Light. Include the light source within the frame for some truly interesting photographs. This option has become increasingly popular with nighttime photographers and unlocks untold amount of creative potential.

Light Painting

As mentioned above, you have options for photographing your foreground, but you also have more options than you might think when photographing the stars. Once you’ve made the decision to composite two separate images together so you have more control over your foreground, its not so far of a stretch to start considering similar techniques for capturing more detail in the sky.

One such method is to employ the use of a star tracker. These handy gadgets will counteract the rotation of the earth by rotating at the same rate, but in the opposite direction. With a star tracker you you have the ability to expose for several minutes rather than just a few seconds, and without any blur. This is a huge benefit for capturing stars since you can reduce your ISO sensitivity, and in doing so reduce noise, while also exposing for a long enough period of time to “expose to the right”. That is, slightly overexposing your image so that you can bring the exposure down in a RAW converter instead of being stuck with an underexposed image and boosting the exposure (and noise) in post. Using a star tracker also renders stars as much finer points of light, and due to the long exposure times possible, can bring out extremely faint stars you may not have even seen with a single exposure.

Star Tracker Comparison

On the left, a 5 minute exposure at ISO 800 "exposed to the right". Opposite, a non-tracked image shot at ISO 3200 at 25s with a more or less "locked" exposure. Increasing exposure further in post or in camera would introduce more noise.

Of course the downside to the star tracker is added complexity. Before each use star trackers must be aligned with the northern star Polaris (if you’re in the northern hemisphere). Depending on the focal length of the lens you’re using, this could take a few seconds or several minutes. Again, should you choose this method to photograph the stars but prefer to put some foreground interest in your images, you’ll need to add a second exposure of the foreground since any movement from the star tracker will blur any detail in the foreground.

Star Tracker

Lastly, there is the image stacking method of capturing stars. This method is unique in that it takes several exposures of the same subject and combines them via highly complex pieces of software.  A few options are PixInsight, Nebulosity, and Deep Sky Stacker (Windows only).

The idea here is to boost “signal” and reduce “noise”. The stars in this case are the signal. They are static across multiple images (either via a tracker or aligned in post), while noise by definition is random. Software understands this and by averaging the exposures together through some complex math, the final image will keep the signal and greatly reduce noise. Images taken with a star tracker as well as averaged together as mentioned above are referred to as “tracked and stacked” by the astrophotography community, and tends to be thought of as the gold standard for the highest level of detail possible when photographing the night sky, but naturally also requires the greatest level of planning and forethought, not to mention the extra gear and software.

As you may be able to gather, photographing the milky way can be as simple or as complex as you like. The key is to experiment and have fun. The Milky Way is a wonderful subject and a joy to photograph, not just because of the unique final images possible, but also because of its significance. Standing in the dark with nothing around you but the night sky is a good time to consider the weight of the object you’re imaging. Our galaxy. In a sea of other galaxies. Our home in the universe. The core of which is a place where space and time literally bend themselves into oblivion amongst gargantuan explosions millions or billions of years old forging the very life giving materials we’re made from. When you’re photographing the night sky you’re capturing photons that have travelled billions of miles through millions of years to be focused by your lens and registered on your camera’s sensor. Thats a pretty cool subject to take pictures of if you ask us.

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Fri, 10 May 2019 17:09:29 +0000
<![CDATA[Featured Artist Zac Henderson]]> https://www.prophotorental.com/blog/featured_photographer_zac_henderson/     This is the first in an ongoing series of articles featuring lens based image makers we’ve seen come through our doors and rent our gear to do the things they do best. The “Featured Photographer” series will include professional photographers and videographers, artists, skilled amateurs, and really anyone we think is making work or doing something cool worth talking about. PPR’s fearless leader, Jared Kohlmann, requested I be the first. I’m humbled not only to be asked, but to also write the first article. 

Zac Henderson Sunset

    When my wife and I first started dating we were 14. She was, and still is, a seriously talented artist. I was creative but hadn’t found my discipline yet. With her encouragement, I picked up my mom’s old Nikon FM and put a few rolls through it. From then on I knew that my career path would revolve around photography, and it has.

Mountain Clouds

    Figuratively speaking, I’ve had a camera in my hand for 14 years. 7 of those were spent during high school and college learning as much as I could about the discipline. The other 7 have been spent as a professional in the photo industry continuing to learn as well as working as a photographer, videographer, technical support specialist, Capture One software and Phase One hardware instructor, assistant, digital tech, rental manager, and content creator.  That’s a lot of hats in a still young career, but for better or for worse, the most satisfying way I spend my time has been in the outdoors and away from the sounds of the city creating fine art images of the planet we all happen to be surfing on.  I like it so much that my wife and I now travel full time in a school bus we converted ourselves. Yes, I know. Hipster.

Super Moon

    I enjoy photographing the landscape for several reasons, some more philosophical than others. I’m enamored with a cosmic perspective, and do my best to find ways to incorporate the idea of our place in the universe in my work by literally capturing the light from our nearest star (and occasionally others) that bounces off of it. On a less philosophical note, Being immersed in a dynamic landscape excites me, and I think part of the way I come to understand and embrace the environment I’m in is by photographing it. I could be in a beautiful location and enjoy it without a camera, but all the while I’d be planning for an image. When is the best time of year to come back? Where does the sun set? What’s my composition? What textures can I accentuate? I’m driven by image making.

Rocks

    As I mentioned above, I provide technical support for and work occasionally as a Phase One medium format camera instructor. Most of my career in the photo industry has orbited around large sensor, high resolution photography. This has been both a blessing and a curse. I can say first hand that medium format cameras ruin you for image quality. Between the resolution, dynamic range, workflow, image quality, color rendition, and print size possible with that kind of equipment, you don’t want to shoot with anything else after your first few images with a Phase One camera. There’s nothing like it. Fortunately I’ve had the privilege of using several Phase One systems in much of my landscape work like our XF IQ3 100MP.

Canyon

    Until that becomes my main shooter, I’m either using the little brother of our Nikon Z7, the Nikon Z6, or a Fuji X-H1. Mirrorless bodies provide gaudy specs for both stills and video in small packages and are extraordinary adaptable. That means more room in my camera bag and less weight on my too-often-sunburned shoulders during a hike. Regarding lenses, I prefer primes and often find myself reaching for an 85mm T/S for some compression and occasional plane of focus acrobatics or my Sigma 14mm f/1.8 Art for dynamic compositions and astrophotography. A 24mm prime also does more than its fair share of shooting.

Aggressive Exploration

    I’m currently working on projects dedicated to the cosmic perspective concept I mentioned above. Since I travel full time I’m able to spend extended periods in select locations in order to find the right weather, choose the right time of year, and really get to know a location. This year I'll be in the west searching for dark skies and otherworldly landscapes.


Thanks for playing.

-Zac

Find more of Zac’s work on his website at www.Zachenderson.com. He is a full time nomad traveling the American West with his wife and two dogs. Follow their travels on www.rollingvistas.com.


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Sat, 27 Apr 2019 04:18:54 +0000
<![CDATA[Intro to Astrophotography]]> https://www.prophotorental.com/blog/intro_to_astrophotography/

Update: This is Part 1 of a multi-part series. When you're done with this post, check out Astrophotography Part 2 here.

The night sky is captivating, and has been so since mankind has been able to look up and wonder what all of those little points of light really are. If you’ve ever been camping or taken a cross country road trip, you’ve likely looked up at night and been shocked by how many stars are up there, especially when compared to a city’s night sky. Its natural to want to record something so impressive, and with summer just around the corner for optimal galactic center viewing in North America, we thought we’d go over a few methods that will help you get the most out of your next night out in the wilderness.

Astrophotography is a huge topic with a multitude of variables. For the purpose of this post, we’ll focus on a primer to photographing still images of the milky way with more posts to follow for more in-depth looks at post production and time lapse photography.

Preparation


Location, Location, Location

The first thing to consider when planning to photograph the night sky is location. Where you’ll be setting up to shoot is particularly important for a variety of reasons which we’ll get to later, but mainly because of light pollution. You’re guaranteed to have an easier time shooting miles away from the nearest town than you would shooting just outside of one. That being said, its possible to still get some impressive results just outside of the city, though you might need to take advantage of some special light pollution filtration, need a different approach to post processing, or at the very least, to manage your expectations.

If you’re not sure where the best area is around you to capture the night sky, there are several different resources available in the form of websites and apps like www.lightpollutionmap.info. There are probably some books out there too, if you’re into that. Just keep in mind, the darker the better.

You’ll also want to consider the kind of image you’re trying to make. Taking photos of nothing but the night sky can be rewarding, no doubt, but including part of the earth grounds the composition (ha) and can make for a more dynamic image. Something like a tree or rock formation in the foreground provides a sense of place and can be more palatable since it turns your astrophotography into a landscape.


Lastly, but perhaps most obviously, consider the weather. If its cloudy you probably won’t see too many stars. And a pro-tip: don’t just check the weather of your location, but also check the weather in the areas towards the direction you’ll be photographing. If you have to face south to photograph the milky way, check the weather of the areas several miles south of you.

Astrophotography ©Eric Michalski

©Eric Michalski

Time of Year

Yes, this is one most of us wouldn’t consider, but time of year plays a large part in astrophotography, particularly if you’re shooting the milky way. In North America (where we’re located) the best time of year to photograph the milky way, and subsequently the galactic center, is in the summer months of June-August, though the galactic core can also be seen during the spring and fall. You can also see the milky way during the winter, but you’re viewing will be of the outside arm of the milky way.

Camera

Though you can take beautiful images of the night sky with almost any camera, you’ll best be served by a camera with a full frame sensor and good ISO performance like the Sony A7sII, Sony A7RIII, Canon 6D mkII, and Nikon's D850. These camera bodies allow for the widest angle lenses to be used and least amount of noise to be captured resulting in great image quality.

Lenses

Perhaps the most important piece of a good astrophotography kit, a fast wide angle is the typical go-to for photographing the milky way. The name of the game in astrophotography is letting as much light in as possible for as long as possible without creating motion blur (more on that later). Therefore, the fastest aperture you can find will give you the best quality for soaking up the tiny bit of light the stars give off. If you’re picky, you’ll also want to look around for lenses that perform well in the corners, which can be particularly difficult for wide angle lenses.

As with essentially all lenses, image quality is best in the center and can suffer in the corners, and most notably in the case of astrophotography, in the form of comatic aberration, or coma. Coma presents itself in astrophotography by rendering stars with tails like a comet or wings instead of points of light. This is often most visible in the corners of wide angle lenses, though any focal length could suffer from comatic aberration.

The best lenses for astrophotography will exhibit as little coma as possible, have the fastest aperture possible, and when photographing the milky way along with the landscape, be as wide as possible. One of the best options available is the Sigma 14mm f/1.8 Art, which checks all three boxes. Other good options are the Sigma 20mm f/1.4 Art and Rokinon 14mm f/2.8.

Tripod + Head


You’re going to want a solid tripod that won’t shake at the sight of a small breeze. Photographing the night sky requires fairly long exposures, so you’ll need a heavy-enough tripod like the Manfrotto 055XPro Tripod Legs paired with a head like the Manfrotto MH055M0-Q6 Ballhead to make sure your camera stays put.

Trigger

While mainly used for time lapse photography, a remote trigger can also be useful for capturing single still images while shooting long exposures. Any vibration could result in a blurred image, so unless you’re a kung-fu master with incredible body control (and even then), you’ll  want to either use a remote trigger such as a Vello Shutterboss or put a short timer on your camera, allowing it to settle after you’ve manually tripped the shutter.

Astrophotography ©Eric Michalski

©Eric Michalski

Method

There are many ways to make images of the night sky, each varying in required time as well as complexity, practicality, and time spent in post production. For this post we’ll focus on capturing images with single exposures, but will likely expand on other methods in later blog posts.

Setup

After you’ve set up your camera and tripod, you’ll need to compose your image using live view. It can be helpful to bring a flashlight or laser pointer to help get your bearings in your composition, as well as when manipulating camera settings.

Focus

Some lenses will allow you to focus straight to infinity and the stars will be as in-focus as they can be. Other lenses have more play and can actually focus beyond infinity. A good method for achieving focus on the stars is to focus as far towards infinity as possible and take a test exposure. Zoom in to the image on the rear LCD and check to see how “large” the stars are, paying special attention to where the brightest stars are in the frame.

Next, open live view and zoom in to 100% on one of the brightest stars you saw in the test image. Slowly move focus in and out until that star is the smallest point of light you can make it.

If you’re including foreground interest like a rock formation or a mountain range, you may not be able to get that and the stars in perfect focus, so you may have to choose between the two or find a middle ground to get both in acceptable focus. A second option is to take an exposure for the stars and another exposure for your foreground and combine them in post.

Exposure

Exposure is crucial for astrophotography, particularly for non-composites. You’ll be shooting in RAW which allows you to change white balance in post, as well as have a great deal more control over exposure. Still, getting a good exposure in camera will go a long way towards better image quality. When possible, its best to “expose to the right” for astrophotography. That is, if possible, overexpose the image slightly. When shooting at higher ISOs its much easier to pull exposure back in post than boost it up while maintaining acceptable noise levels.

Set the aperture to wide open. Next, set your ISO high, but not too high. As you increase ISO, you also increase noise. For single exposures it can be difficult to remove excessive noise while also maintaining good detail in the sky, resulting in a muddy image. “Too noisy” depends on the camera you’re using, as well as your own personal preference. One person may think ISO 12,800 on the A7RIII is unacceptable while another person may think its perfect. Do some testing or ISO bracketing to determine your preference. ISO 6400 or 12,800 is a good place to start for modern cameras.

Astrophotography ©Eric Michalski

©Eric Michalski

Next, set your shutter speed. This part gets a little funky because you have to think about motion blur of the stars caused by the rotation of the earth. You might think that the longer exposure the better for gathering as much as light as possible, and while you’d be correct, you do so at the loss of pinpoint stars. While imperceptible to us, the earth does rotate at a fairly decent pace. After about ~30 seconds you’ll start to see star trails forming in your image which can be distracting. You’ll have even less time for longer focal lengths.

To determine the optimum shutter speed for capturing the stars with your given lens, you can use what is called the 500 rule. Dividing 500 by the focal length of the lens you’re using. The result will give you an idea of the longest usable shutter speed to prevent star trails. For example, if you’re using a 14mm lends, 500 divided by 14 = ~35. Rounding down gives you a bit of a buffer, so in theory, when using a 14mm lens you should be able to shoot for as long as 30 seconds before seeing star trails.

Once you’ve set your aperture, found your shutter speed, and have your preferred ISO, its time to take some photos. The above should lay a good foundation for getting some still images for the milky way, but there’s a lot more we can consider to achieve some truly stellar images. Stay tuned for more!

This is Part 1 of a multi-part series. Now that you're done with this post, check out Astrophotography Part 2 here.

Want to shoot for the stars but don't know what to use? We've got an Astrophotography kit pre-built for you. The best part is you can rent everything you need for 15%off!

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Thu, 11 Apr 2019 23:50:52 +0000
<![CDATA[Using Telephoto Lenses for Landscapes]]> https://www.prophotorental.com/blog/telephoto_landscape/ There’s not much that beats being outdoors with the intention of capturing the natural world. The beauty the earth has to offer certainly is astounding and worth taking the time to capture and appreciate, though often we photograph landscapes just one way.

When we think about landscape photography and the tools used to create examples of it, I imagine most of us would likely default to wide angle lenses. And it makes sense. We want to capture as much of the scene as we can so we can encapsulate the experience of being there with as much clarity as possible, (if that’s your end game). Sometimes that wide angle is indeed the perfect choice, but for many photographers that’s the only choice. There is another option, and it can significantly change the composition and tone of the same scene.

Wide angle lenses elongate space, that is, they offer the illusion of elongated space. Compared to normal lenses, like a 50mm with a field of view of ~40º, a wide angle lens like, say, a 14mm lens with a field of view of ~90º will make the subject feel further away by exaggerating the perceived distance between the camera and the subject. Wide angle lenses force you to move physically closer to your subject in order to achieve your desired composition, and in doing so, elongates space and can present distortion.

wide angle

This can be of great benefit for landscape photographers since foreground interest is typically highly desirable in wide angle landscape images. Having a foreground element like a flower, interesting rock, or bubbles in ice along with a separate scene in the background allows the eye to explore around the image and gives the viewer a sense of space. These images also tend to be highly dynamic since the foreground element is usually very close to the camera while the background elements are much further away. This difference in space is exaggerated by the wide angle lens, making the foreground object take up significant space in the frame, and can make for striking, highly energetic compositions.

The opposite approach to landscape photography offers a very different but equally valid type of image. Using telephoto lenses to not just bring distant subjects closer, but also compress space offers a different visual effect. Because telephoto lenses have a much narrower field of view, like ~11º for a 200mm lens on a full frame camera, you’re forced to move much further away from the subject in order to achieve your preferred composition. This increased distance has the visual effect of compressing space. This makes the distance between objects feel much smaller, as opposed to wide angle lenses which makes the space between objects larger. Telephoto lenses also give photographers the ability to more easily isolate the subject and remove distracting elements which may be difficult or impossible with wide angle lenses.

tele

To illustrate this difference further, imagine you’re at the base of a tall mountain that you want to photograph. Since you’re so close to the subject, your only option is a wide angle lens, and while you may be able to get the “whole mountain” in the frame, you’ll likely miss the peak and several features closer to the top. The mountain will also be very wide at the bottom with a significant vanishing point at the top receding away from you.

Wide angle illustration

This may or may not be desirable depending on your intended final image, but if your goal is to photograph the entire mountain and capture its details, then you’ll need to move further away from it so that you can capture the peak as well as all of the finer details towards the top. As you move further away from the mountain, the peak comes into view. If you use the same wide angle lens to photograph the mountain, you’ll get the entire mountain in frame, but also a significant amount of sky. Though you’ve compressed visual space by moving away from it, the mountain will be smaller in your frame overall and may not appear as powerful. In this scenario, switching to a telephoto lens would take better advantage of the compressed space while also allowing the mountain to fill the frame.

telephoto illustration

Though counterintuitive, remembering these characteristics of wide and telephoto lenses is valuable. Knowing how different focal lengths can effect space gives you another tool in your toolbox. Next time you're out in the field and a nice landscape catches your eye, leave the wide angle in the bag and try a longer option. You might be surprised by what you get.

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Fri, 29 Mar 2019 21:54:27 +0000
<![CDATA[Lavalier Vs Shotgun Mics ]]> https://www.prophotorental.com/blog/Lav-Vs-Shotgun/



Audio… The archenemy of any beginning (or experienced) video shooter. In all actuality, audio is its own discipline separate from photography and videography. It is equally challenging and requires its own skillset and workflow. Audio is non-negotiable, and can make or break a production.

In an ideal scenario, a video shoot will have a dedicated audio technician solely responsible for making sure sound is coming in correctly and being recorded properly. Often, however, videographers don’t have this luxury and are responsible for both visual and audio recording simultaneously. This increases workload dramatically, but fortunately there are some simple tools that make capturing good audio easy(er).

Recording audio in a studio without any outside interference can be challenging enough, but when you add in a less than ideal environment with other ambient sounds you’ll need to really step up your game. In order to get the best audio possible, you’ll want to first ditch the on-board mic on your camera and start using one of the below solutions:

Shotgun Mic

Shotgun Mics

Shotgun mics like the Rode Mic Go, Rode Video Mic Pro, Audio-Technica AT8024, and Sennheiser MKH-416 are microphones that can be positioned on a boom or placed on top of a DSLR’s hot shoe. They offer directional sound sensitivity, meaning they respond best to sounds directly in front of them.

Camera-mounted shotgun mics are a good solution for subjects that are close to the camera or when filming in a windy environment since they can be easily paired with dedicated wind-resistant accessories. Boom-mounted shotgun mics are useful for the same reasons, but may require a separate recorder like the Zoom H4n and either a boom operator or a stand with a boom holder.

Boom mounted mics have the added benefit of being able to be positioned further away from the camera, allowing for more spatial freedom and distance from the camera to the subject. Shotgun mics can also be used with multiple speakers, as the boom can be positioned in relation to each person speaking, rather than having to place a microphone on each individual speaker. Though shotgun mics absorb sound the best when it’s directly in front of them, they can be prone to picking up unwanted ambient noises if they’re loud enough.

Lavalier Mic

Lavalier Mics

Lavalier, or “Lav” mics, like the Audio Technica Pro 70 and the Sennheiser EW G3 Wireless lav mic set are small microphones that can be clipped to the clothing of your subject and offer good sound quality for speech. Because lav mics can be positioned so closely to the speaker, they often will offer the best sound quality for people while also ignoring most ambient noise. Their size enables them to be easily hidden, and the wireless variety offers excellent range of motion and the most spatial freedom for both the camera operator and talent.

Even though the lav mic is great for speech, they do have their drawbacks. Lav mics typically don’t handle wind very well, and because they are normally clipped to the talent, there are limited wind-resistant accessories that can provide effective noise reduction while also remaining hidden.

Lavalier mics are also omni-directional, meaning they will pick up sound from most any direction if it's loud enough, though they handle this much better than shotgun mics due to their close proximity to the audio source. Because lav mics are typically hidden in the talent’s clothing, its important to be sure that fabric can’t rub up against the microphone for a distracting rustling sound.

Lavalier mics come wired or wireless, so you can probably imagine what the pros and cons are for each. Wired lav mics require less power and aren’t prone to interference, but offer less freedom of motion than their wired counterparts. Wireless lavs provide the greatest freedom of motion, but can be prone to interference in metropolitan settings and require more power, so be sure to keep some extra batteries handy.

Shotgun and lavalier mics have their time and place. Sometimes that time and place is at the same time, in the same place. Do you have a project coming up and you’re not sure which mic to go with? Rent them first and run some tests. Just be sure not to skimp on your audio!


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Thu, 14 Mar 2019 20:05:46 +0000
<![CDATA[Focus Stacking: What, Why, and When]]> https://www.prophotorental.com/blog/Focus-Stacking/

Focus Stacking

The discipline of photography has gone through some pretty significant changes in the past 30 years. Film to digital, manual to autofocus, still to video… One could argue that more facets of photography have changed than have stayed the same. There is, however, one aspect of photography that is the same now as it was 30, 50, or even 100 years ago. This singular cornerstone of image making has remained unchanged since the first image was recorded in a camera obscura, and it has shaped the way we record light by forcing us to work within its laws. This unflinching, unbending pillar of lens-based imagery is, of course, physics, and we are bound by its rules and regulations, at least for now.

Usually, achieving acceptable focus isn’t a difficult task, particularly with modern day autofocus systems like those in the D850 and ultrasonic autofocus motors found in almost every autofocus lens. There are, however, physical limitations that put a cap on how much depth of field, and subsequently sharpness, you can achieve in an image. Take macro photography as an example.

Spider Focus

Macro photographers often run into situations where they lack sufficient depth of field to render their entire subject in focus, particularly when achieving a 1:1 or greater reproduction (subject appears the same size on the sensor as it actually is in real life, or larger). Usually, macro photography involves the use of moderately long lenses combined with very short focusing distances to photograph a small object. The combination of these factors will typically result in an extremely shallow depth of field, even when stopped down to smaller apertures to expand depth of field. In practical terms, this could mean only getting the antenna of an insect in focus instead of its whole body.

Landscape photographers also run into this issue. It’s typically desirable to have foreground interest in a landscape image, as well as background interest. To achieve foreground interest, landscape photographers will seek out flowers, cracks in dry mud, interesting rocks, or bubbles in frozen lakes to bring interest to the foreground while also achieving an interesting background. The trick is to have acceptable focus on both the foreground as well as the background, but focusing on a daisy a few inches fromthe lens as well as the mountains miles away in the background isn’t an easy task.

Shallow DOF Landscape


To complicate matters further, camera manufacturers are heading ever towards higher and higher resolution sensors. This allows us to capture more detail, print larger images, and have greater control over cropping in post, amongst other benefits. Other than the strain it puts on our hard drives, this is mostly good thing. However, as we capture images at greater and greater resolutions, our lenses have to work harder and harder to render enough detail to take advantage of that resolution. Put simply, the higher resolution your camera, the less usable depth of field you have.

This problem is not new, and there are many ways to work around the issue of having too little depth of field, regardless of the cause. One solution is to use tilt/swing lenses to shape depth of field into a wedge instead of a plane parallell to the sensor. While effective, making use of the Scheimpflug principle, as it is called, can be tedious and requires specialized, often expensive lenses (but you can always rent them!). Another remedy for landscape photographers is the use of hyperfocal distance, which allows landscape photographers to set their plane of focus at a particular distance away from the camera. By not focusing on the background or foreground, but rather somewhere in the middle, acceptable focus might be achieved on the foreground all the way to infinity. This method is not fool proof, and not even available for macro photographers. Plus, since “acceptable” focus is an extremely subjective term, it may be more difficult to achieve “acceptable” focus on all focal points when using hyperfocal distance. When all else fails, there is another option: focus stacking.

Focus Bracketing

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. This term is more or less interchangeable with focus "bracketing" which is more specific to the actual capture of the images. This technique is easier to execute than you might imagine. Some camera bodies like the Nikon D850, Nikon Z 7, and the Phase One XF make the process even easier by automating the capture process. The key is to take multiple images of your subject, carefully shifting focus incrementally front to back across the subject between each exposure. At the end of the stack, you should have several images focused at different points along your subject so that, when combined in focus stacking software, you have a perfectly sharp image. Depending on the subject and how shallow the depth of field is in each image, you might find yourself shooting upwards of 100 images for an effectively focus stacked photograph.

Focus stacking requires a good, stable tripod and a subject that doesn’t move. It’s best if you’re able to tether to a computer so you can remotely control focus and fire the camera from software. We recommend Capture One Pro to tether into, as it offers the greatest amount of flexibility and control across most camera brands, and is required for use with our Phase One 100MP. Once you’ve captured your images, you’ll need to import them into another piece of software in order to stack them. We recommend Helicon focus, as it is easy to use and offers several stacking options depending on subject matter.

Step 1. Setting up your workspace

You'll need a clean workspace to start. Begin by locking down your tripod and ensuring it won't be bumped or moved. Next, secure your subject so it doesn't have a tendency to fall over or be blown around by a soft breeze or fan. You'll then need to light your subject, and if possible, tether to Capture One Pro. If you're using a camera with automated focus stacking capabilities, sometimes called focus bracketing, you'll need to make sure your lens is capable of autofocus.


Step 2. Shooting

Use Capture One’s autofocus tool in the live view window to focus on the very tip of your subject that is closest to you. Take your first image, (some people like to photograph their hand before the first image and after the last image of a stack so they know when the stack begins and ends while going through images on the computer). Use the single, double, or triple arrow keys in Capture One’s autofocus tool in the live view window to move the focus point towards the back of the subject away from the camera. If you’re shifting focus by manually adjusting the lens with your hands, you’ll want to do your best to not move the camera while doing so, and you’ll also want to move the focus along the subject at more or less even increments. This makes it easier for the software to stack the images afterwards.

Focus Stacking

You will continue to move the focus across the subject incrementally, taking an image after each change in focus until you’ve captured every part of the subject you want to have in focus. Remember, you might need to capture a lot of photos for the best looking stack. Depending on the size of the subject and lens you’re using, you might need anywhere from 3 to 300 photos. If you're unsure of how many images you need to capture for an effective stack, more is always better, assuming your computer has the horsepower to put them together in your lifetime.


Step 3. Post

After your images have been captured, you’ll want to make any RAW adjustments before sending the images out to be stacked. Select one of the images in Capture One and apply any needed color and contrast edits as well as any highlight and shadow recovery necessary. Copy those adjustments and paste them across all other images in the focus stack. Once completed, process all images in the stack out as JPEGS or TIFFS to their own folder.

Helicon

Open Helicon Focus and import your processed files. Choose your preferred stacking method and click render. You’ll likely want to experiment with different rendering methods and practice taking effective images for focus stacking, but after some time you should be able to be able to process out a finished file with front to back focus that would have likely been impossible if not for this technique.

Happy Stacking!



Products mentioned in this article:

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Thu, 28 Feb 2019 18:50:22 +0000
<![CDATA[The Pro Photo Rental Academy Awards]]> https://www.prophotorental.com/blog/Oscars/

Camera Award

Getting the job done right requires the right tools. We saw a lot of our equipment go out and make some amazing work last year, and we want to recognize some outstanding performances: Oscars style.

Don’t worry about long acceptance speeches, though. Gear can’t talk. (Yet).

Best Camera in a Full Frame Role: The Nikon D850

Nikon’s D850 has established itself as a force in the full frame DSLR category. Its performance in the role of a professional high resolution all-rounder is commendable. Its success shows that while mirrorless cameras are the exciting new kids on the block, the DSLR is alive and well and not going anywhere.

Best Cinema Camera: The Red Epic W

Red_Epic_W

No surprise performance here. The Red Epic W really impressed the academy with its 8k Helium sensor and gaudy specs. But instead of just wowing with incredible image quality, which the Red Epic W certainly has, the Red Epic W’s flexibility is what brought home the trophy. Its ability to switch lens mounts, shoot high enough resolution to easily pull stills, and slow motion at 300fps in 2k makes the Red Epic W the academy’s pick.

Best Strobe: Profoto B1X

B1x

When the Profoto B1 hit the scene it changed the game for on-location flash photography. The B1X takes it a step further with a more powerful modeling light, better battery life, and an expanded HSS range, making life easy for the supporting cast.

Best Continuous Light: Nila Boxer

Nila Boxer

The Nila Boxer’s charisma on and off screen gave it the nod. Its ability to provide flicker free light at any frame rate at 100% and up to 5000fps when dimmed makes the Boxer a high quality, easy to use, and powerful continuous light worthy of the award.

Best Costume Design: The Phase One XF 100MP

Phase One XF

The Phase One packs a punch at 100 megapixels and looks good doing it. Sleek design, nice lines, metal body, Blue Ring lenses, large touch screen retina-style display, and another touch screen on top makes the XF body and IQ3 100MP digital back the highest resolution (and best looking) system in contention.

Best Focal Length: 24-70mm

24to70

The 24-70mm focal length continues to impress the academy. In essentially every mount, this lens proves again and again that it has the kind of versatility to not only contend, but to win. Whether its acting as a landscape lens at 24mm, playing the journalist at 35mm, taking on the role of a normal lens at 50mm, or focusing on a portrait at its longest, the 24-70mm focal length takes home the prize.

Best Supporting Tripod: Manfrotto 536 legs

Manfrotto

The Manfrotto 536 sticks have proven to be an excellent choice as an all round support for video applications. Thanks to its lightweight 4 section design, ability to accept industry standard fluid heads, support a heavy 55 lbs, and stretch to a tall 80” maximum height, the Manfrotto 536 wins the prize for best supporting tripod.

Best Stabilizer in a Supporting Role: Ronin-S

Ronin s

Lightweight. Easy to use. Effective. Usually you have to choose 2 of those options when picking a stabilizer, but the Ronin S has shown the academy that it can provide all 3. Coming in a small package, yet capable of supporting 8 lbs, the Ronin-S punches above its weight. In this case, overacting is a good thing, and ultimately what gave it the nod.

Best Breakout Role: Nikon Z 7

Z7

While the D850 won best camera in a full frame role, the Nikon Z 7 surprised the academy with an unexpectedly impressive performance. Providing much of the same feature set as the celebrated D850 in a smaller package, the Z 7 also boasts IBIS and recently was just announced to support 12-Bit ProRes Raw External Recording when paired with the Atomos Ninja V, an unexpected but impressive last minute addition.

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Tue, 19 Feb 2019 17:33:35 +0000
<![CDATA[Zoom Vs Prime]]> https://www.prophotorental.com/blog/Zoomvsprime/ Lens choice is a big deal when it comes to making an image.

Wide or telephoto? Expanded space or compressed space? Once landing on a choice there, you then have to ask yourself if you'll be looking for a particularly shallow depth of field, and therefore a particularly fast lens, or if you'll be stopping down to f/8 or f/11 for more depth of field. There are a lot of factors that go into lens choice, but one decision you'll inevitably have to make is whether to use a zoom, prime, or both.

The Case for Zoom Lenses

If you've used a zoom lens before then you know how crazy convenient they are. With a flick of the wrist you can change your subject's size in your frame. You have a selection of focal lengths at your fingertips, and thanks to modern day lens making technology, they probably all have pretty good image quality. Many pro photographer's camera bags are filled with zoom lenses exclusively. These lenses can offer fairly drastic changes in angle of view, allowing one lens to offer a large variety of shooting styles which can be extremely useful in a dynamic shooting situation.

If you’re shooting in a constantly changing environment, like a wedding, then zoom lenses are almost (I said almost) a requirement. The ability to get close and wide for a dynamic, exciting image and then quickly change with the environment to capture quiet, intimate moments from a distance. There’s also a clear advantage to carrying the equivalent of 4 lenses on your camera at once with one lens vs carrying one lens on the camera body and 3 more in a bag over your shoulder. This advantage can’t be overstated.

Rent Sigma 150-600mm lens

Speed is another major advantage to zoom lenses, not always in terms of aperture, but in terms of preparation. Switching quickly from telephoto to wide takes moments with a zoom lens, but might take several seconds when switching between prime lenses. This could potentially make the difference between nailing the shot and missing it entirely.

The case against Zoom Lenses

Zoom lenses are great, but they also come with a few drawbacks, (generally). For starters, zoom lenses tend to be on the heavy side thanks to all of the additional glass and the mechanisms that make them... well, zoom. Zoom lenses are also large for the same reasons. This size and weight can really make itself known when shooting all day or when being carried in a camera bag.

You’ll also notice some lenses with a variable aperture, sometimes even in the pricier pro range. These lenses have one effective aperture when zoomed to its widest point, but progressively smaller effective apertures as you zoom. That’s the f/x-f/x designation in the name of the lens. This of course requires a change in exposure to account for the loss of light which is particularly troublesome when shooting video.

Most pro-quality zoom lenses make all physical changes like focusing and zooming inside the barrel. Some, however, will physically move outside the barrel. This naturally exposes the lens to the outside world and opens it up to the elements, making it much more susceptible to moisture and grit which can wreak havoc on a lens.

Zoom lenses also have a reputation of being slightly less sharp when compared to prime lenses, all things being equal. This was especially true in the not-so-distant past of film photography. Compared with zooms, particularly on the less expensive side, you’re almost guaranteed to have better image quality from the prime.

The case for prime lenses

Prime lenses do a lot of things for photographers, not least of which is giving your arm a break. Lenses with a fixed focal length are often much lighter and typically smaller than zoom lenses since there are far fewer materials required for making a single focal length. That gives them a big advantage for long days of hauling gear around.

Primes also typically will have a much wider aperture than zoom lenses. Wide apertures are simply easier to design when you’re not making room for other mechanisms and pieces of glass for more focal lengths. This is a huge benefit and allows for lenses like the Sigma 14mm f/1.8 Art, an insanely fast prime wide angle that lets photographers shoot well into the evening and is nearly ideal for astrophotography. That wider aperture of course brings in more light, allowing you to not only shoot with less available light but also provides more depth of field control. Primes are often sought after for their pleasing “bokeh”, the quality of the out of focus regions in an image.

Bokeh

Price is another up side to prime lenses. While you can certainly spend a pretty penny on a fixed focal length lens, this is often due to extremely high quality construction, an intensely fast aperture, or mind numbingly stellar image quality. Even less expensive primes will often bring a crazy faster aperture. Most any “nifty fifty” will boast a speedy f/1.8 in a small, lightweight chassis.

Another benefit that tends to be less tangible is the change in behavior fixed focal length lenses inevitably force upon a photographer. Because you can’t change your perspective with a turn of the wrist, you’re forced to physically move to re-frame your subject. This is frequently referred to as “zooming with your feet” and is said to bring more engagement with your subject and get you out of your comfort zone.

The case against prime lenses

The obvious case against prime lenses is their inability to change focal length. A lens change requires a photographer to remove the lens on the camera body, pull a lens out of a bag, replace the lens on the body, and then place that lens back in the bag (or let an assistant do that, but then you have to have an assistant). This requires time that you may or may not have. This also means that your sensor is exposed to the elements more often since your camera body will be without any protection during a lens swap.

Also, at a certain point, the cost, size, and weight benefits of prime over zoom lenses starts to recede. At semi wide and normal focal lengths, that is 24 to ~85mm, primes will provide the aforementioned benefits of size and weight over their zoom counterparts (generally). However, on the telephoto side, the prime lens’ ability to provide a large maximum aperture begins to make telephoto lenses oversized and particularly heavy due to the large glass required to gather that much light. You get the light and subsequently faster shutter speeds, but at the cost of size and weight.

Because different focal lengths require different lenses, the weight savings of prime lenses over zoom lenses could be completely thrown out should you decide that you need several focal lengths. A 24-70mm f/2.8 zoom will likely be lighter than 24mm, 35mm, 50mm prime lenses combined, and those three lenses would certainly take up more space.

In the not-so-distant past prime lenses greatly skewed towards better image quality, however, modern day lens making technology has almost completely removed any advantage prime lenses had over zooms in this regard. Zoom lenses, particularly on the high end, will often perform as good as prime lenses. Even some budget zoom lenses perform exceptionally well when paired with the right sensor.

The Brass Tacks

Whether you choose a zoom or a prime lens depends on your subject matter as well as your shooting style. If you’ve decided that you need roughly the angle of view that a 24mm focal length would give you to make a successful image, you’ll need to choose between the flexibility of being able to change focal lengths in an instant like you would with a 16-35mm, or committing to that 24mm focal length and using a prime with a fast aperture and excellent image quality. The beauty of renting is that you can do both.

Search our website to find the focal length you're looking for and decide if you need the image quality, weight savings, and fast aperture of a prime lens, or the flexibility and convenience of a zoom lens. Not sure what's best for your shoot? Just ask us!

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Mon, 04 Feb 2019 23:57:00 +0000
<![CDATA[The New and Improved Pro Photo Rental]]> https://www.prophotorental.com/blog/new-improved-pro-photo-rental/ Welcome to the brand new Pro Photo Rental! We felt like this day would never come, but we're so happy to share it with you now. There will be more of these posts with more details to come, but I wanted to take a little time and introduce you to the key changes and how to navigate them.

No time? Okay, here's the TL;DR:

  • Greater selection - Over 700 different items!
  • Lower minimum rental for locals - If you can pick it up, you can rent for as little as one day.
  • Pricing structure - No more weird discount tiers where 7 days is cheaper than 6. Now every additional day adds only a smaller and smaller amount as your rental period increases.
  • Better navigation - Find what you're looking for MUCH faster.
  • More accurate calendar - See real-time availability day or night, no matter if you're local or need shipping.
  • Clearer start/end dates - Know exactly when the rental starts and ends
  • Better product information - More specs, better descriptions, and links to manuals & other helpful info for each product
  • Store payment info - We have parterned with Authorize.net to store your payment info for your convenience and in their most secure and fully PCI compliant systems. Trust and convenience... a match that rivals macaroni & cheese.
  • Change quantity of the same item - Get 2 or 3 (or 10!) of the same item in the same order if they're available. No more having to input multiple orders for the same date.

Okay, if you've got slightly more time, here are a few more details.

Product Catalog


Pro Photo Rental Menu

The obvious change you'll probably notice immediately is how products are cataloged. In the past, you could only sort by brand and then by product type (body, wide zoom, telephoto prime, etc). That is not necessarily the case any longer. You can still do it that way if you prefer, but there are many, many more ways to slice & dice the products in any way that you prefer. And of course, there's always the search box if you prefer the direct method. So go ahead and explore the categories in the menu at the top of the page. You can even browse by brand. You have the power to do it however you'd like.

Making a Reservation

The next change (and the most important) is to the product page reservation calendar. Here you'll notice lots of changes. Let's dive in!

Shipped Orders:

The process flows from top to bottom. First we need to know whether you're picking up the equipment at our shop or need the order to be shipped (Box 1, above). If you chose shipping, you'll next enter your ZIP code in Box 2. We use this (along with your shipping speed) to calculate the travel time between our warehouse and your address.

Next up for shipped orders is Box 3, where you'll select your shipping speed. In the dropdown, you'll see options for Next Day Air, 2nd Day Air, and Ground. What you select here is critical to what the calendar will display for the soonest available date to receive your gear. Naturally, this also affects what you'll pay for shipping. If your order is over $100, your delivery address is in the continental US, and you select Ground, then we give you free shipping. 2nd Day Air will cost more (usually around $50-$80 depending on the size of your order), and of course Next Day Air will be more than that, usually by about double. The bottom line is that if you plan in advance, you'll be far more likely to take advantage of the free shipping. Oh, and by the way, the return shipping is always free. We cover that part on every order at no extra charge.

Box 4 is where you can enter the quantity of the item you're renting.

Local Pick Up

The method here is much simpler than shipping. Simply select "Local Pick Up" in the Delivery Method dropdown (Box 1) and then choose your quantity in Box 2.  Easy peasy!

Time for Dates!

This is where you'll select the date you want to receive the gear, and the date you want to return it.

For shipped orders, these translate into arrival and return shipping days (see below).

If you chose a Friday for your start date, you will get the warning shown below:

Please consider that warning very carefully. If you select a Friday delivery and UPS is late for any reason (bad weather, late train, etc), you will not receive that package until the following Monday. I'm sure we can agree that's a bad thing, and usually means lots of tears for everyone involved. So please don't select Friday for your start date. We implore you. If you do, you really do run the risk of not getting your gear in time.

For local pick up, these boxes represent the date you want to come get it and the date you want to return it to our shop.

The drop-down calendars that appear are automatcially updated to show you real-time availability, first possible start date, and any pre-existing rentals. This is based on all the information you've entered so far. See where we're going with this now? Oh, and if you want to just reset the calendar, you can easily do so by clicking that reset link to the right of the date boxes.

Calendar Rules

Okay, time for a few calendar rules (sorry...our boss said we have to):

  • No orders can start or end on weekend days. UPS doesn't work those days, and neither do we.
  • The minimum rental period for shipped orders is 4 days, which does NOT include the day it arrives (since it might not get there until late in the day)
  • We really, REALLY want to discourage you from Friday deliveries. They are just super risky, and nobody is happy if the order gets delayed. If you want a weekend rental at the lowest possible price, please select Thurs-Mon.

Damage Waiver

On some items, you might see the box below, which is our optional damage waiver. The price is specific to each product, so the $10 shown below is just for an example. Check out all the juicy details in section 13 of our Rental Agreement, then decide whether or not you want to add it.


Pricing, then Make it happen!

Once you've entered those dates (and applied the Damage Waiver if applicable), your price will appear just above the "Add to Cart" button, just like we see below. Click that button and hey presto! You've done it!

A blog post and photos are one thing, but to see this whole process in action, we also made this video for you. 'Hope you like it!

That should be enough to get you started, but of course there are a TON of changes in every nook and cranny on the site (basically everything).  That being said, you can always count on us to provide the same level of service you've come to expect. If we can help in any way, do not hesitate to call or write. We are here to help!

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Tue, 14 Aug 2018 19:28:09 +0000
<![CDATA[Mo Pixels Mo Problems]]> https://www.prophotorental.com/blog/more-megapixels-more-problems/ Megapixels. That’s generally the buzzword new photographers harp on when buying a new camera. The more the better, right? Not necessarily.

Not long ago the megapixel war subsided in favor of better ISO performance. DSLRs seemed to top out at around the 24-30 megapixel count for a while, letting new models improve on ISO performance and other features rather than more pixels (See Canon 1DX and Nikon D5 for examples). Recently, however, the camera world has shifted back to the “more the merrier” mentality towards resolution.

The Nikon D800 was the first DSLR to really make the medium format crowd shake in their boots. Boasting a CMOS sensor, high pixel count, and better ISO performance (than medium format) was quite impressive. The addition of the D800E made the most out of the high resolution sensor by removing the anti aliasing filter, allowing for sharper images. But even at 36 megapixels people discovered the pitfalls of high resolution sensors. More on this in a moment...

Then came the 50 megapixel medium format CMOS sensor. Designed by Sony, first released by Phase One, then Hasselblad, and finally Pentax, the medium format market lit up with the promise of faster transfer rates, increased ISO performance, and DSLR quality (or close enough) live view; all piled into a larger than 35mm sensor. Now we have the Nikon D850 and Sony A7R III. It’s SO EASY to take GREAT photos with those cameras, right?

Wrong.

With great megapixel count comes great responsibility. A higher resolution sensor means that the room for error for nearly anything affecting image quality is much, much smaller. Those pixels will reveal every defect in the lens and every subtle vibration in the camera. In all reality, it’s much easier to take a bad image than a good image with a high resolution (30MP and above) camera.

This tendency is well known in the medium format world. Great lengths are taken to minimize any and all vibration so that the images are as sharp as possible. The slightest shake or twitch could result in an unacceptably soft image at full resolution. Those unfamiliar with this behavior will have a rude awakening when using 40+ megapixel cameras the same way as their 24 megapixel cameras. The reason for this is due to the incredibly small pixel pitch that happens when you pack 40 million or more pixels onto a 35mm full-frame sensor. Unfortunately this is a recipe for motion blur. Not the kind of motion blur you see on the back of the Camera’s LCD and can reshoot to correct, but the kind you only see later while reviewing photos on the computer. The kind that will turn images you thought were keepers into rejects if you’re not careful.

Oh, yes, tripods are also a must. The old motion blur rule of shooting at the closest shutter speed to the focal length of the lens you’re using to achieve an acceptable motion-free image does not apply here. You must either be able to shoot with an even faster shutter, or use a tripod. Relying on image stabilization while shooting handheld with a long lens? Fuggedaboutit.

Many people will point to the fact that the photosite size of these high-MP cameras is similar to that of normal resolution APS-C sized sensors like the Nikon D500. Photosites have to be smaller in order to fit on a smaller sensor, right? Problem here is that looking at a D850 file at 100% and a D500 file at 100% are very very different. A 46 megapixel file and a 20 megapixel file are two completely different animals and will handle motion blur differently, even though the photosite size is similar.

ISO is another factor dependant on pixel pitch and megapixel count. Generally, the more pixels you push together, the more noise you will have at higher ISO. Photosites (or what are generally referred to as pixels) gather light. The smaller a photosite is, the less light it can gather.

Lenses are the next weakest link when dealing with high resolution cameras. Lenses are only capable of resolving a certain amount of detail. While the top-level glass from most manufacturers is designed to a higher standard and is generally very sharp with high resolving power, we’re just now using them in combination with this amount of pixels. On top of that, any lack of sharpness, chromatic aberration, or blooming already apparent in lenses used on normal cameras will be far more visible once they’re on a camera with a greater megapixel count.

Let’s also not forget space requirements. Every press of the shutter at full resolution (why else buy a 40MP camera?) will cost you at least 40MB; even larger file sizes at higher ISO. Many photographers shoot thousands of images at a time on a shoot or even more when on location. That’s a big investment in hard drive space. Fortunately drives are becoming less expensive all the time, but still aren’t sold for pennies. There are sRAW and mRAW options available for times when you don’t need the full resolution, but why even get one of these cameras if you’re not going to take advantage of the megapixels? At that point, you should probably just use a camera with a lower pixel count. That being said, reducing file size with medium format cameras will reduce resolution but still offer a larger-than-35mm sensor, so you’ll still end up ahead of most DSLRs.

So why all doom and gloom? It’s important to understand the limits of your gear and have realistic expectations. Depending on the type of shooting you do, a 40+ megapixel camera may not be the best choice for you. Any large megapixel count cameras to come in the near future will probably not be speed demons, though the computing power of smaller and smaller chips is steadily increasing. With that said, lock a high megapixel camera down on a tripod with a really good lens and man oh man, get ready to have your eyes pop out of your head at the detail/sharpness. Once your software finishes rendering the preview, of course.

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Fri, 08 May 2015 06:00:00 +0000
<![CDATA[Tilt Shift Demystified and Explained]]> https://www.prophotorental.com/blog/tilt-shift-explained/ You’ve seen the photos. The real life cityscapes that look like they belong on an elaborate model train set. The foreground and background are blurred, making the photo appear like a miniature. This effect is created by certain lenses called Tilt/Shift lenses that have the ability to move and manipulate the plane of focus in a photograph.

Of course, this miniature effect is not the main purpose of Tilt/Shift lenses. They can be used for nearly every photographic application, but are most commonly used for perspective control in architectural photography and depth of field manipulation in landscape and product photography.

Tilt Shift 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.

Tilt/Swing

Tilt in photography is the up and down change in angle of specific elements in a lens. This movement greatly manipulates the parts of the image that are in focus.

Typically the plane of focus is parallel to the the sensor plane, like in this illustration.

When the lens is tilted forward or backwards, the plane of focus changes angles and forms a wedge shape, as below.

The ability to force depth of field to travel diagonally in space in this way promotes the idea of increased depth of field and sharpness. Its important to note that this method does not increase depth of field, DOF is only moved. Focusing while tilted will then further change the angle of the plane of focus forwards or backwards.

Its is also possible to do the opposite and make only a very small portion of the image in focus. This is accomplished by tilting the lens up instead of down. This will make the plane of sharp focus move diagonally as well, but opposite of the above illustration.

Its important to note that the angle of the lens’ tilt is not equal to the angle of the plane of focus. As the lens is tilted further forward, the angle of the plane of focus increases. With enough tilt, its possible for the plane of focus to be nearly parallel with the ground.  

Swing is essentially the same movement as tilt, just in a horizontal orientation. The use of swing allow you to photograph subjects in multiple planes through space. A common use of this function is in wedding photography to photograph the wedding party in a diagonal line, as in the illustration below. This allows the photographer to creatively place the focus just on the subjects, allowing all other aspects of the image to fall out of focus.

Rise/Fall/Shift

Rise and fall are terms associated with another lens movement that doesn’t tilt at an angle, but rather moves parallel to the sensor plane. This lens movement actually moves every optical element in the lens except the mount which remains stationary on the camera. This lens movement dramatically changes the composition of an image by moving the projected image circle across the sensor.

Rise and Fall are the primary movements used for perspective control in architectural and product photography.

Typically when shooting a building, you have to point the camera up to get the whole structure in the frame. This causes an effect called keystoning which makes the bottom of the building wider and the top of the building smaller. This effect is generally undesirable in architectural photography and is often lessened if not corrected entirely by either tilt/shift lenses, correction in software, or a combination of both.

The way to correct this phenomenon in-camera is to position the camera so that the sensor plane is parallel with the vertical structure being photographed, even though you’re cutting off the top part of the building, and then using rise to get the whole building in frame. This will keep vertical lines straight instead of receding into a vanishing point. Many people assume that tilt or swing play large roles in perspective control. This is not true, as tilt and swing will only affect depth of field. However there may be a slight change in composition after tilt or swing have been applied which would need to be compensated for.

Uncorrected Perspective (Simulated)

Corrected Perspective

Most modern DSLR lenses cannot perform swing and tilt or rise and shift at the same time. One or the other can be applied by rotation of the lens, as shown below.

Miniatures

Recently there’s been an increased popularity in the ability to create a faux miniature environment out of a real life scene. This is accomplished by depth of field manipulation through use of a tilt/shift lens or through focus adjustment in software.

By shooting at a wide open aperture, depth of field is decreased significantly.  Depth of field is further manipulated by tilting the lens upward so that the depth of field is at an angle which travels through as little of the scene as possible. We interpret the out of focus foreground and background as being part of a much smaller scene, since only things up close look this way to our eye or in a macro photograph. Because distance to subject is one of the three components effecting depth of field, distant objects are always seen completely in focus (assuming proper eyesight). When we are presented with what appears to be a distant scene but only see part of it in focus as if it were a very close object, we interpret the scene as being smaller than it actually is. This is compounded by the fact that large objects appear smaller when further away are able to be completely in or out of focus. You can see this effect in the opening photo of this post.

Conclusion

Tilt Shift lenses can be as complicated or as simple as you like. To use Tilt Shift lenses effectively it helps to have at least a basic understanding of how the lenses work and how they affect depth of field. Tilt Shift lenses are great tools that anyone can use, but are understood properly by few. The best way to wrap your head around how these lenses effect perspective and depth of field is to put one on a camera and try it out for yourself. There’s nothing wrong with testing the lens and learning from trial and error. With practice and some knowledge you’ll be able to achieve consistent, repeatable results that open up new avenues for creativity.

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Thu, 07 May 2015 19:58:02 +0000
<![CDATA[Sensor Cleaning - Don't Settle for Dust Spots]]> https://www.prophotorental.com/blog/sensor-cleaning-no-dust-spots/ Sensor cleaning is not a subject camera owners like to think about. The thought of anyone touching that precious sensor is enough to make many go weak in the knees. As a result, sensors often go uncleaned, adding more and more dust particles over time.

The easy fix is going into photoshop and retouching those spots out. It’s easy enough to do, but can be time consuming. The other option is to take a “dust reference photo” for the cameras and pieces of software that allow you to do so. Software will see the discrepancies in an otherwise clean photo and apply the same correction to your images as it takes to clean up the reference photo. This works fine most of the time, but you’ve got to take a new reference photo each time a large enough piece of dust lands on the sensor, or if an existing piece of dust or debris already on the sensor moves to a new location.

The truth is that both of these “solutions” are not solutions at all, but rather band-aids that don’t fix the problem. Don’t settle for dusty images. Have your sensor cleaned. It’s not as scary, or as pricey, as you might think.

***It’s important to note that, unless you’re using a niche speciality camera, dust rarely ever gets on the sensor itself, but rather will land on the IR filter in front of the sensor. The IR filter is a coated piece of glass that protects the sensor from dust as well as IR light from polluting your photographs. It’s extremely rare that an actual sensor has to be cleaned.
However, for the sake of simplicity, we will continue to refer to this type of cleaning as sensor cleaning.

How does dust accumulate on sensors?

Dust gets on your sensor a number of different ways. The most common and obvious way sensors accumulate dust is when lenses are changed on the body. Any time the inside of a camera body is exposed to open air there’s a chance that dust will land on the mirror and/or the inside walls of the camera. Even if you’re lightning fast when changing lenses, all it takes is a moment for that dirty, dirty air to enter your camera.

This doesn’t automatically mean that dust will be on the sensor. If you see dust when looking through the viewfinder of a DSLR it just means that you have a dirty viewfinder or there’s dust on your mirror. Neither of these will affect image quality, though they can certainly be annoying. The issue then comes when you make an exposure. If dust is on your shutter or mirror, it is violently flung off when an exposure is made and bounces around inside the camera until, inevitably, some will land on the sensor.

If you’re looking through an electronic viewfinder and see dark spots then that dust is on your sensor and needs to be cleaned. Mirrorless cameras are most susceptible to dust and debris because generally the shutter mechanism is not engaged until an exposure is about to be made. This not only means that the sensor is being exposed to air and light all the time, but because of the mirrorless camera’s very short flange distance the sensor is physically closer to the opening of the camera body, leaving it even more vulnerable to dust when switching lenses.

Another less obvious way dust enters a camera is by means of a body cap or the rear element of a lens. Most people don’t think to blow off their lens and body caps, but they accumulate dust just like everything else. When those caps are put on lenses and bodies, they could easily transfer some of that dust to the next closest surface.

Ways to get around dust accumulation

The best way to get around dust accumulation is by preventing it from getting inside the camera body in the first place. This means minimizing the time the camera is open to outside air as much as possible. Using an interchangeable lens camera means that the camera will inevitably be exposed to air occasionally. The best you can do is to switch lenses as quickly as possible, or if you know that changing lenses will take more than a couple seconds, putting a body cap on the camera.

Blowing off lens caps (front and back) as well as body caps can prevent dust from moving from the caps to the lens and then subsequently to the camera. You should also be regularly blowing off your lenses so that there’s not excess dust accumulation there either. Blowing off the rear element will do the most to prevent dust from moving to the sensor.

Most modern digital cameras have the ability to self-clean their sensors. The way this is accomplished is by using micro-vibrations to literally shake dust off the sensor. This is a great feature, but it doesn’t always get the job done if the specs are too small. The dust also isn’t actually removed from the camera. Because the debris simply falls off of the sensor, it could potentially be kicked up and land back on the sensor again.

As mentioned above, it’s also possible to take a dust reference image in some cameras or software so that the dust can be mapped out in your actual photographs. This is fine for most applications, but can be troublesome for unique compositions. It also requires a new reference photo be taken every time a new piece of dust shows up.

There are also ways to clean the sensor yourself, though we don’t recommend actually opening up the body and touching the sensor. Most particles can be removed by simply using the manual cleaning feature in modern cameras and using a rocket blower to send short bursts of air into the camera, thus dislodging the debris and allowing them to fall out of the camera never to be heard from again.

NEVER USE CANNED AIR Canned "air" isn’t really air at all. It contains a propellant that can come out of the can and land on the sensor’s surface. Don’t ever, under any circumstances, use canned air on the inside of the camera to clean the sensor or the mirror.

Getting your sensor cleaned

Sometimes, despite best efforts, a sensor just gets dirty and has to be cleaned either by brush or wet swab. Dust can be removed in this way as well as water stains. We have years of experience cleaning all kinds of sensors- from medium format to mirrorless, and we’ve seen some pretty ghastly sensors.

Below is an actual camera we received for a sensor cleaning. Being one of the worst we’ve ever seen, naturally we had to take a picture. This one seems to have suffered the fallout from Mt. Wannahockaloogie. Even we were impressed to see clean glass underneath those stains! Click each photo to get a high-resolution view.

 



We accept walk-ins as well as shipped cameras. If you plan on shipping your camera to have the sensor cleaned, give us a call first to verify any special information your specific model needs in order to be cleaned. We can clean nearly anything, including medium format sensors!

Our pricing structure varies depending on how quickly you need it done- NOT on sensor size. The options available are as follows (as of 08/09/2018):

Same day service (dropped off before 12 PM): $100

Next business day service (dropped off before 12 PM): $75

2 Business day service (dropped off before 3 PM): $50

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Tue, 05 May 2015 06:00:00 +0000
<![CDATA[Shooting Wide Open - Caution!]]> https://www.prophotorental.com/blog/shooting-wide-open-caution/ 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. Shooting with a shallow depth of field has long been reserved for professional photographers and cinematographers that could afford exorbitantly priced cameras and lenses, but with the boom in digital photography and subsequent growth in the sheer number of people with cameras wanting to take cool pictures, this technique is often the first thing new photographers want to apply to their images.

Depth of field is a dangerous subject because it's easy to get lost down the rabbit hole. For the sake of this blog post, we’ll focus on one aspect of shallow depth of field photography: shooting wide open at a lens’ fastest f/stop.

This is going to be the first way to achieve a shallow focus image. Shooting wide open with lenses that have maximum apertures reaching f/2.8, f/1.8, f/1.4, and f/1.2 (or below if you can find them) will dramatically affect depth of field. A lens’ given aperture will, however, effect much more than how much of the scene is in focus. Unfortunately one aspect that many shooters seem to overlook is that using a lens at its widest aperture will inevitably lead to degradation in image quality.

To start with, shooting at a lens’ maximum aperture will always, with VERY FEW exceptions, result in an overall softer image with less contrast than when the lens is stopped down. Basically, even the in-focus parts of the image will be less sharp than when the lens is stopped down. This has to do with light scattering inside the lens. When more light enters the lens it's possible for that light to bounce around inside the barrel and result in less contrast. Think of it like drinking from a firehose.

After that, shooting wide open will worsen any chromatic aberration and blooming characteristics the lens already exhibits. The best example of this I can think of is Canon’s 85mm f/1.2. Don’t get me wrong- this lens is unbelievable. However, shooting at a BLAZING fast f/1.2 will exhibit some extremely severe red/cyan chromatic aberration in highlights and a pretty soft image overall, though center sharpness at f/1.2 is still quite impressive.

There are also situations where wide open shooting might present too little depth of field. For example, portraiture where the subject is turned in a 3/4 view will most likely result in only one eye in focus. Depending on the look you’re going for that might be ok, but generally a portrait will look…off… if one eye is out of focus. This risk is increased with the number of megapixels your camera has. The more resolution in your sensor, the harder your lenses have to work to resolve detail or else detail will be appear soft. A high resolution camera like the Nikon D850, Sony A7R III, or especially the Phase One IQ3 will make these issues much more prominent.

Will shooting at a given lens’ maximum aperture be the end of the world in terms of image quality? Not always. Having the ability to go to 1.2 is great if you need it, but the lens will generally perform better when stopped down to, say, 1.4. Different lenses will have different behaviors when used wide open. It’s important to know about the limitations before going out and using your brand new super fast lens wide open for all of the bokeh glory.

Peruse our site to view a selection of our fast prime lenses to get the shallow DOF and the bokeh of your dreams.

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Tue, 21 Apr 2015 06:00:00 +0000
<![CDATA[Teleconverters: No Free Lunch]]> https://www.prophotorental.com/blog/teleconverters-no-free-lunch/ 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.

Teleconverters are great pieces of gear that can make the difference between getting the shot - and not. They’re small, lightweight, and easy to carry along with your other lenses.

But there’s a catch... It comes at a price.

Teleconverters are able to extend focal length not by magic- but by the use of additional glass elements that will change the image circle projected by the lens. Just like UV filters, Polarizers, and any other piece of glass you put between the sensor and the outside world, teleconverters will - to some degree - degrade the quality of your image. How much degradation depends on several different factors such as: quality of the teleconverter, quality of original lens, amount of extension, megapixel count (yep), etc.

In addition to the loss of some degree of sharpness, the teleconverter will decrease the light coming through the lens and hitting the sensor which results in an increased f/number. The amount of which depends on the converter itself. Meaning? Your 200mm f/2.8 with a 2x teleconverter increases the focal length to 400mm, but also increases the f/number to f/5.6.

Another common mistake is thinking that a teleconverter can work with any lens. The way a teleconverter is built is such that it sticks inside the back of the lens it is mounted to. Because of that, they need clearance to fit in that area.  Thus they will not work with wide angle lenses or any lens that has a rear element close to the end of the lens. As a general rule of thumb, they will not fit any prime lenses below ~100mm or any zoom lenses lower than ~70mm on the "wide" end of the zoom range (e.g. 70-200mm).

Then there’s autofocus. Depending on the lens you use, autofocus may or may not work. Many teleconverters have electrical contacts that support lens and body communication. The problem, however, arises when the the lens/teleconverter combo you’re using effects the maximum aperture. Every DSLR autofocuses at a given lens’ maximum aperture - the widest opening of the lens. This allows the maximum amount of light to be let in so that the autofocus sensor can easily detect contrast. With a single lens mounted to a camera this is all fine and dandy. The rub comes when the maximum aperture falls to f/8 or smaller. Different DSLR bodies have different tolerances for being able to autofocus at given apertures. Put simply, if there isn’t enough light coming through the lens, the camera can’t autofocus.

When a teleconverter is added a couple things happen. First, light has to travel a further physical distance from the light absorbing front element of the lens to the sensor, which means there is falloff (not as much light is hitting the sensor as there could be). Second, some amount of light is absorbed by the glass elements of the teleconverter, again preventing 100% of the light from the lens to get to the sensor.

Past that, the f number is further changed by the ratio of focal length to physical aperture size. Because the effective focal length of the lens is being increased and the aperture remains constant, the original lens becomes slower than its native maximum aperture would be without a converter. Because of these factors it’s important to do your research and make sure the teleconverter you want to use will be compatible with your camera and lens you intend to use it with.

Below is a table with the teleconverters we carry (as of 08/09/2018) and their corresponding light loss and magnification levels. You can click on each one to go to its product page.

Adapter Light Loss Magnification 
EF 1.4X II Extender (Canon) 1 Stop 1.4x
EF 2X II Extender (Canon) 2 Stops 2x
EF 2X III Extender (Canon) 2 Stops 2x
AF-S Teleconverter TC-14E II (Nikon) 1 Stop 1.4x
AF-S Teleconverter TC-17E II (Nikon) 1.5 Stops 1.7x
AF-S Teleconverter TC-20E II (Nikon) 2 Stops 2x
Schneider Kreuznach 2x Teleconverter f/2.0 (Phase One) 2 Stops 2x


Teleconverters are often mistaken for extension tubes. Extension tubes, or macro adapters, are barrels without glass elements that do nothing except extend the lens further away from the camera body, thereby shortening the minimum focusing distance for macro photography but losing the ability to focus at infinity.

Teleconverters also extend the lens further away from the body, but because of the corrective elements inside the teleconverter infinity focus is retained while the minimum focusing distance is most likely increased due to the increased focal length.

Stacking teleconverters together to achieve an even longer lens is possible, but not recommended. This technique will drastically decrease image quality and lead to other issues including more stress on the camera’s lens mount and flexing if enough teleconverters are added.

If you’ve got a fast lens and want a bit more reach, a teleconverter is a great vehicle to get you there. However it’s important to understand how they work and to have a set of expectations before using them.

If you have any questions about teleconverters or want to give one a try, give us a call!

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Mon, 20 Apr 2015 06:00:00 +0000
<![CDATA[What Camera Should I Buy?]]> https://www.prophotorental.com/blog/what-camera-should-i-buy/ Photography is an industry that has had an absurd explosion in technology, product, and interest within the past 20 years. There are more people taking images now than ever before in history. To keep up with such a massive demand and interest in photography, new and old camera companies have been churning out cameras of all kinds, shapes, sizes, and prices.

It can certainly be overwhelming when first beginning to shop for equipment. Just a quick search around the internet will turn up hundreds if not thousands of “what should I buy?????” blog entries and articles. Pro Photo Rental’s suggestions are a reflection of the years of experience we have, as well as the feedback we receive from clients and their unique needs.

Even with all the information floating around the web, we still occasionally get the question “What camera should I buy?” We love getting this question, but it’s hard to answer.

It’s important to understand that, even for people just starting to learn about photography, this is a huge question and one with no easy answer. The great part about a business like Pro Photo Rentals is that you can walk in and talk to a real person about your needs and questions, or call us over the phone to get recommendations. Then, you can try the gear before you commit to buy. People often skip the opportunity to rent first, but it can end up saving you a lot of time and money in the long run. It’s much better to rent a camera and discover its not right for you than buying it first and realizing you should have gone with that other model.

So - to get back to the real question: What camera should I buy? The only answer to this general question is “It depends”. I know it would be easier if someone just said “THIS camera” and holds out the perfect solution to all of your photo needs, but this realistically can’t happen. The only way to truly offer a suggestion for what camera to purchase is to have the answers to some important questions. We’ll get you started below.

What's your interest level in photography?

It’s important to be honest with yourself here. Where do you see yourself going with your photography? Do you have aspiration to be the next Annie Leibovitz, or do you just need a camera capable of taking better quality images than your phone? This is relevant because its very easy to bite off more than you can chew and pay for more camera than you’ll ever need. Technology has progressed far enough to allow even the “lower end” offerings for camera companies to be absolutely packed with power and potential.

For those looking for a camera for everyday non-specialized use for the kids and to take on vacations, don’t be afraid to look at the advanced point and shoot models, also known as “super zooms”. These cameras have only one lens, but are extremely versatile and often offer very impressive zoom ranges.

Depending on the model, these cameras can be as simple or complex as you like. The benefit of the super-zoom is that it’s not necessary to buy and carry specialty lenses with you everywhere. Lenses can be expensive (for good reason), and can be cumbersome to those that aren’t using them often or to their full extent. The super-zoom has a variety of focal lengths built in. So instead of taking your eyes off of what you want to shoot, you can push a button to get as much or as little in the scene as you want.

Click below to see the offerings from major manufacturers of this camera type:

Canon
Nikon
Fujifilm
Sony

Where do you want to take your camera?

Most cameras are not as delicate as you might think. Some are weather sealed, dust resistant, etc. However, these features often come with a higher price tag because these cameras also have all of the typical features of a normal camera, just with more seals and potentially a magnesium frame. If you have a specific camera in mind there may be a waterproof housing or other accessories that make it more resistant to the elements, but these can be pricey and add a lot of weight and size. This is where “tough” cameras come in.

Tough cameras typically will feature optical zooms, are waterproof to an impressive depth, and are shockproof: all without needing any additional housing or accessories. That means even if it falls out of your bag it can still keep going. Can’t say that about your phone… These are a speciality camera that may not be as versatile as other models or have a wide zoom range, but can certainly hold their own in regards to image quality and features.

Click below to see the offerings from major manufacturers of this camera type:

Canon
Nikon
Fujifilm
GoPro (Speciality)

Do you feel a burning need to share your photos now, now, NOW?

Sometimes the answer here is no. That’s ok! If you’re always connected online and want to share your images as soon as they’re taken, there are cameras out there that can fit this need. Recently, even some of the more advanced DSLR and mirrorless cameras have the capability to connect to WIFI and upload content. Fortunately, this ability is not limited to high end cameras.

Some cameras in this genre blur the line between a dedicated camera and phone photography. These cameras use a phone’s user interface like an app so you have all the sharing options on your phone as if you took the photo with the phone’s built in camera, but boasts a greater resolution, higher image quality, and sometimes optical zoom.

Fortunately, many cameras allow you to be connected to some extent. You don’t have to have a dedicated specialty wifi camera to upload on the go, but some do it better than others, or in different ways.

Click below to see the offerings from major manufacturers of this camera type:

Sony
Canon
Nikon
Fujifilm

How much do you anticipate growing as a photographer?

If you have a budding interest, it may be best to go with a camera you can grow with. Except for ultra high end specialty gear, every camera is going to have some combination of automatic functions. This gets your feet wet so that later when you have a better technical understanding you can shoot in full manual and really push your gear.

An entry level DSLR or interchangeable lens mirrorless camera would allow you to purchase lenses for specific tasks as your skill increases. Also, if you start on the lower end of the camera product line, you’ll typically still be able to use the same lenses on a higher end camera should you ever choose to upgrade. This camera type is easily the most versatile and has the most potential for growth or expansion and is generally thought of as the professional option.

Just because some DSLRs are professional caliber doesn’t mean you should overlook the basic offerings of this camera type. Many of the same features found on more expensive cameras are also found on less expensive cameras. Changes in price can be due to materials, sensor size, screen articulation, or configurational differences. Even older DSLR cameras on the used market are very capable and offer higher image quality and versatility than other camera types. Many of these cameras come with a “kit” lens to get you started. These lenses are typically of a high quality and have the potential to make some impressive images. Don’t think that just because it comes with the camera that it should be replaced.

Click below to see the offerings from major manufacturers of this camera type:

Canon
Nikon
Fujifilm
Sony


Why buy when you can rent?

I think it’s important to have an everyday camera. Sometimes life throws something amazing your way that deserves better than an Instagram filter or can’t easily be capture on a phone. For those times and for general use, your go to camera will be there. That being said, sometimes it’s fun to play with some toys that are more specialized that may not get enough use to justify a purchase.

At the risk of sounding self-serving, renting gear is a great way to try out the latest, coolest stuff without having to buy it first. Going on a vacation to Hawaii and want something more than your kit lens? Rent a wide angle lens to take on your trip instead of buying one. Save the money, and also be able to get the photos you wouldn’t have been able to get otherwise. Pro Photo Rental has some of the best gear from manufacturers like Canon, Nikon, and Sony. Be sure to look online for what we have available, or stop in to check out our expanding high end video selection.

There are a LOT more brands and styles of cameras than what we’ve listed here- and we didn’t even talk about video! That’s for another post entirely. The “what camera should I buy” question is a big one- one that nobody can easily answer in a single blog post. Hopefully the camera types we’ve mentioned will give you a starting point to begin your research. When it comes to the big companies like Canon, Nikon, Sony, and Fujifilm, nearly any newer model will be of a high quality. It’s hard to go wrong, but it’s always best to do your research and look up reviews for what best suits your individual needs. Find out what’s most important to you, whether that’s low light shooting, extreme telephoto or wide angles, portability, etc and then find the camera that fits those needs.

Thinking about a specific camera, but not sure that we carry it? Give us a call or send us an e-mail! If we don’t have it, we’ll do our best to point you in the direction of someone who does.

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Fri, 13 Mar 2015 06:00:00 +0000
<![CDATA[Hyperfocal Distance: Get the most out of your landscape photography]]> https://www.prophotorental.com/blog/hyperfocal-distance-landscape-photography/ Being based in Colorado, everyone here at Pro Photo Rental is spoiled when it comes to the great outdoors. Everywhere you look there’s natural beauty waiting to be photographed. But 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.

The tilt camera movement is a fantastic tool, but is limited to tilt/shift lenses and large format cameras, and is covered in its own blog post. Focus stacking is a great technique for macro photography that can also be applied to landscape photography, but this requires extra time in front of the computer to combine multiple images. There’s a specific blog post for that, too. Hyperfocal distance, the subject of this post, is a technique that can be used quickly in-camera to get as much in your scene in focus as possible without wasting depth of field.

© Eric Michalski, 2015

So, what exactly is hyperfocal distance? Put simply, hyperfocal distance is a point where a lens is focused so that depth of field extends from half that point all the way to infinity and no further- thus, all of the depth of field in an image is used. This gives you as much focus as possible in an image front to back.

This focusing point is different for every lens, which is why most lenses come with a depth of field scale. This scale is used to determine where you’re placing the optimal plane of focus as well as to determine entire range of depth of field for your particular focal length and aperture.

When viewing the depth of field scale, use the aperture your camera is currently set to. We’ll use f/11 as an example. You’ll see there are two f/11 markings on the scale. The f/11 on the left of the scale is for the nearest point of focus relative to the camera, while the one on the right is for far focus. Inside the scale, where the numbers move when you rotate the focus ring, are distance markings. The distance between the f/11 symbols will be everything that is in focus at f/11. In this example using a 14mm lens, everything from about 1 ft to infinity will be in focus. This puts the hyperfocal distance at around 2 ft. There were no calculations used to find this number, just simple alignment of the scale. If you were to use a hyperfocal distance calculator you might find a slightly different number, but its going to be close.

In this image we’re using f/22 as our aperture value to determine focus. The infinity symbol is just to the right of the scale out of view, but the line delineating where infinity focus is located is aligned with the f/22. According to the scale, everything from ~0.7ft away to ~infinity will be in focus.

In this last example we’ve put the plane of focus at infinity. This is what your camera might do while autofocusing on a very distant subject. Using f/22 as our aperture, the scale states that depth of field is achieved from just beyond 1 ft to past infinity. Obviously we cannot see past infinity in our scene, so this area of focus is wasted. Judging from the previous example, we could have depth of field from ~0.7ft to infinity. This could be the difference between getting those daisies in focus or not.

Note: these numbers are approximate.




In this illustration there are foreground, midground, and background subjects in the composition. In order to get each one in focus, we’ll focus our lens at its hyperfocal distance, highlighted in blue. By focusing in the midground, we’re able to gain enough depth of field to keep the foreground, midground, and background subjects in acceptable focus. Its important to keep a close eye on your depth of field scale on your lens. This particular example would most closely apply to a wide angle lens with a small aperture. If we were to show an illustration of a telephoto lens with a large aperture, the depth of field range (orange lines) would be much closer together. We would therefore not be able to get all of our subjects in this example in focus at once.

Diffraction:

Diffraction sets in across each lens differently and at different points. One lens might be acceptably sharp at f/22, while another lens may be far too soft at f/22. While stopping down will always lead to increased depth of field, it does not always mean a sharper image. Generally the sweet spot of most given photographic lenses will be around f/8-f/11. Closing down the aperture to smaller sizes will inevitably invite diffraction and will lead to a loss in sharpness, no matter what lens you’re using. While it may be easy to just stop down as far as your lens can go to achieve greater depth of field, your image may actually turn out to be softer than a wider aperture. This is when hyperfocal distance is key. Using a wider aperture, such as f/11, will lead to a sharper image, but less depth of field. But by focusing at the hyperfocal distance, you can expand your depth of field by as much as possible, therefore taking full advantage of that aperture and its inherent sharpness.

Conclusion:

Hyperfocal distance is not a magic bullet. Its impossible to get something less than 1ft away from the camera in the foreground exactly as sharp as the mountains in the background that are miles away without using tilt or focus stacking. You could drive yourself crazy aligning things just right and measuring distances with a distometer so that everything is perfect, only to find your real world results are off. The sharpest part of the image will always be your exact plane of focus. Increased depth of field extends the range of acceptable sharpness, but its important to understand that the extended depth of field will be slightly less sharp than the true plane of focus.

Its difficult to talk about focus and sharpness without talking about camera resolution, diffraction, print size, circle of confusion, and sensor size. Its very easy to get lost down the rabbit hole of calculating optimal sharpness with a given camera unit and output. Most of us don’t want or need to get down to that level of precision, but its definitely part of the game when it really comes down to critical sharpness.

Optics is a science to be sure, but landscape photography isn’t shot in a laboratory. Things go much faster and are a lot less frustrating when you realize that readings should be taken as approximate and that slight adjustment is always required. While an object may technically be within the range of depth of field, it may be less sharp than you might hope it would be. In this case its good to make adjustments on the fly. Fortunately now with modern day cameras, focus checking is almost second nature so its easy to make sure you’re where you want to be, and when using hyperfocal distance you can get there a lot faster.

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Wed, 11 Mar 2015 18:06:00 +0000