Posts tagged Wedding Photography
Nikon 70-200mm F/2.8 VR II

The 70-200mm F/2.8 VR was a phenomenal lens.  It was sharp, fast, and offered great compression, but the VRII was a whole new ballgame. With the newer 70-200mm F/2.8E VR II now on store shelves, how does the non-E lens hold up?  Let's dive in and take a look!

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Nikon MB-D12 Multi Power Battery Pack

With three options for extending battery life and an increase in frames per second (in crop mode), plus a convenient vertical grip, is this camera accessory worthwhile?  Let's see how it does and doesn't work with in my workflow.

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BlackRapid RS-5 Cargo Camera Strap

Straps can be a hard thing to get excited about.  They wrap over your shoulder and secure your camera, how can they really offer much more than that?  Today we see one answer to that question, the BlackRapid RS-5 Cargo!

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Peak Design CaptureLENS

It's no surprise that Peak Design has made it once again to my personal kit selection, they seem to be targeting areas that have the potential to make significant differences in wedding photography and photojournalist workflows.  Last time however, I was forced to give one of their products less than stellar reviews.  How does the CaptureLENS hold up in my opinion?  Let's take a look!

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Datacolor SpyderLENSCAL

If you're a professional, or even a serious hobbyist, you've probably got at least one lens that goes to F/1.8 or wider.  Dealing with that shallow of a depth of field can be tricky, and if you're intent on nailing sharpness then you've got to take all of the steps to be certain you nail it!  One of the steps is lens calibration, and that's where tools like this one come into play.  Let's dive in and talk about it!

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Tiffen Variable Neutral Density Filters

It's strange, for so long I subscribed to the theory that filters only compromised the quality of high-end lenses, but what good is all that quality if you can't expose a photo with a wide aperture on a sunny day?  Some filters absolutely have their value and purposes, particularly if (like me) you have a series of F/1.4 primes that you want to use during sunny wedding days, or for long-exposures in light conditions. 

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X-Rite ColorChecker Passport

Sometimes mixed lighting can be a bit of a mixed bag, but one thing's for certain, if you're professional you want the best color representation both on screen and in print.  Grey cards do a great job, and most post-processing programs are fantastic at adapting to almost anything, so does a product like this have a purpose for how you shoot?  Let's talk about how it works for me.

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Datacolor Spyder5 PRO Monitor Calibrator

When monitors age the colours they display change, sometimes dramatically.  As a professional you need to ensure that your final images reflect your intended colours, both on screen and in print, and calibration is one of the most critical steps to take.  Here's a review on an industry leader, the Spyder5 Pro.

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Sandisk Extreme and Extreme Pro Memory Cards

Today we're looking at an accessory that nobody can function without: memory cards.  If you've ever had one fail on you at a critical time, you can attest to just how much we all rely on them.  For many of us (thankfully) this has never been an issue, but those of us who have will gladly tell you to cover your butt and invest wisely.  So how do Sandisk's professional lines hold up?

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Pelican 1510 Protector Case

When you're traveling with top-end glass and bodies you want security and convenience.  You can't always rely on bags, sometimes you need something a little... tougher.  On the surface the Pelican 1510 seems to offer the perfect balance between strength and weight, with the size being universal to airline carry-on, what's not to love?  Let's take a look at where this case shines and where it struggles.

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Nikon SB-910 Speedlight

It's a powerhouse of a light, and a bit of a hit on the wallet.  With so many third-party options flooding the market, cameras having more advanced built-in flashes, and so many professionals opting for fully portable studio lighting kits, does the Speedlight still hold it's own?  Let's dive in with a review!

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Hoodman HoodLoupe

It's a very straight-forward device: it blocks the light.  Given that I shoot a LOT outdoors between weddings and military photojournalism, and the reflection of sunlight and light levels make it incredibly difficult to see the fine details on the tiny screen, let's talk about how it held up.

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Nikon D810

Nikon has won award after award lately for its D800 line of cameras.  They're sensor powerhouses, pushing out images that rival some medium formats, they offer relatively high frames per second, and their focus, speed, and options are leaving most of their competitors completely in the dust (Yes, even Canon).  But nothing can be perfect, right?  Let's see where this body shines and where it leaves me wanting.

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Nikon 24mm F/1.4

Primes.  They're the stuff of dreams to most photographers.  They force you to get into the action for good composition, but they pay off in spades when it comes to going wide, and boy does this lens go wide. As wide as this lens gets, is it worth how wide it opens your wallet?  Let's find out!

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Photoflex Silverdome NXT Softbox (Medium)

Admittedly this is a softbox system, and I use it with the Chimera dual strobe speedring, the Manfrotto 680B monopod, a Manfrotto swivel adaptor, a Pocketwizard III, and one or two strobes, and even occasionally I'll mount my Rotolight NEO into it.  But with that much investment, is it worth getting one yourself?

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Holdfast Moneymaker

There's just something about the style of a classic leather holster dual strap.  Maybe it's a nostalgic trip back to the shoulder holsters worn by my favourite actor Steve McQueen in Bullitt, or a classic Dick Tracy-esque style childhood fascination, but whatever it is, I love the look of the Holdfast Moneymaker.  Looks however aren't everything, so let's take a closer look at this dual-camera harness.

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Rotolight Neo

Let there be light!  Realistically, we really can't do anything in this industry without light; but as many professionals have pointed out it can be very easy to get carried away chasing the hype surrounding the “quality of light.” When professional images are routinely made with D-I-Y setups, does this light merit its cost?

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