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CANON 1Ds Mark III |
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Canon’s new Mark III incorporates their newest CMOS sensor, delivering approximately 21.1 effective megapixels (5,632 x 3,750 pixels). The recording area of the sensor is 36 x 24mm, equivalent to the full-frame size of the 35mm format. Gallery shooters will love the camera’s ability to deliver Photoshop file sizes over 60MB for large prints and post-processing cropping flexibility. Despite the higher pixel density, Canon CMOS sensor technology actually offers reduced noise and a super-wide usable ISO range (50 to 3200, using ISO range extension).
Skip Bolen, who is currently using the Mark IIn, says the Mark III will be next on his list due to the camera’s 21 megapixel sensor, the largest of any digital SLR on the market, “which captures detail approaching many large-format film cameras,” describes Bolen. “I also want this camera because it shoots 14-bit RAW files, which equates to more shadow detail and better color.”
Canon has included a Highlight Tone Priority feature that’s activated via a “custom” function taking full advantage of the camera’s 14-bit per channel digital conversion: the result is smoother gradations from grays to highlights and greater details in image highlight areas. The new feature expands the highlight capture range without penalties in either shadow detail or other aspects of image capture. www.usa.canon.com |
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Nikon D3 |
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I can’t say enough good things about the new Nikon D3 camera body,” says Ron Jaffe. “Great clarity, high definition images, the ability to shoot at extremely low light levels due to a full size chip, and miniscule pixels. It even allows ISO settings over 3200 without the texture of noise.”
In fact, Nikon’s new D3 features the firm’s original 12.1-megapixel FX-format (23.9x36mm) CMOS sensor that provides rich images with reduced noise and a higher ISO. It features continuous shooting up to nine frames-per-second at full FX resolution and up to 11fps in the DX crop mode, which fast-action and sports shooters will appreciate. Jaffe notes that the new D3 has a wee bit more contrast than previous versions. But he says the smooth skin tones are there and “you get a greater depth-of-field due to the higher ‘f’ stop. I have had much success with this new body, with productions, especially the ones shooting with the High Def cameras and DPs that work with very low light levels,” Jaffe notes. www.nikonusa.com |
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Phase One p45+ digital back |
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When I am shooting gallery or promotional ads, I use the Phase One P45+ with my Hasselblad 555ELD or the new HW, a full-frame CCD, giving me a 7216 x 5412 pixel image,” says Chris Helcermanas-Benge. “The 16-bit RAW file at 39 megapixel images gives me a lossless optimized TIFF of around 112mb. You can use it with a Compact flash card, but I prefer it tethered to a laptop computer so my assistant can provide instant feedback, and I can keep my mind on the subject. If you don’t employ a Firewire 800 storage system, you risk having to stop shooting to permit the captures to be transferred to the hard drive as the buffer fills.”
Chris Helcermanas-Benge says the Phase One P45+ was designed mainly for studio photographers. “If I had to do it over, I would probably buy the P30+ because I like to remove the camera from the tripod and move around using it in hand held mode,” he adds. “The new Phase One Capture One software allows you to adjust white balance, change exposure, color balance and also correct sharpness while shooting. I also use the software to process my images from my Nikon DSLR. It permits me to view and work with 12 full resolution images at a time. And, compare several variations of the same image.”
Phase One says their P+ series backs were designed for extreme conditions, including heat, cold, humidity and even heavy weight loads, and they support all medium format, large format and technical cameras. Recently they announced the soon to be released P65+ which delivers 8984 x 6732 pixels! That’s 60.5 megapixels for those of you still counting. www.phaseone.com |
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LItePANELS MICRO |
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This little LED unit, which offers continuous output and runs on AA batteries, is attachable to both Nikon and Canon stills cameras. Litepanels Micro for Stills can be dialed up to supply just the right amount of light to fill unflattering shadows and bring the subject’s face and eyes to life. No more red-eye or flash fill.
The Micro for Stills features an integrated dimmer 100% to 0 and runs 1.5 hours on 4 AA cells (Alkaline) and 7-8 hours on E2 Lithium AA batteries. It works with stills and camcorders, as focusing aid in low light, close ups, and can use warming and diffusion filters.
“I recently was able to use this light source in a setting having nothing to do with a film set,” says Barry Wetcher, the first unit stills photographer to use the new Litepanels Micro for stills. “I think it can be a great tool to have attached to a camera for those moments when you need to just have a little more light to make an exposure.”
Wetcher says he likes that the Litepanels allow him to dial in the intensity of the light. “We’ve all seen DP’s hand hold LED bricks just to get a little ‘something’ on the face,” he explains. “Now in some situations, we can do the same. For example, when the cameras aren't rolling and it’s too dark to capture a candid moment without using a flash. I also like that this unit has a built-in filter holder to help match the color temperature of source lights on the set.” www.litepanels.com |
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CHIMERA PANCAKE LANTERN
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Flatter and more space efficient, the Pancake Lantern, offers a removable zipper-panel skirt, and is superb for fine-tuning light fall-off.
Part of the Chimera line, they are practical and durable to omni-directional soft lighting realms of the traditional Chinese Lanterns. This high-tech version of the lantern serves as a central soft light for round-table interview or for filling interior shooting spaces with soft, ambient light.
“Like C-Stands, Chimeras are one of the many motion picture tools now indispensible for still photographers,” adds Don Spiro. “They’re more resilient (and flame retardant) than the paper products they replace. And, they’re a controllable soft source that’s great for adding diffused light in small spaces. For stills (and movies) they are very useful as a soft light that wraps around the subject.”
The Pancake Lantern comes in five sizes; small 21” (400 watt), medium 35” (1500 watt), large 48” (2000 watt), standard 20” (650 watt), standard 30” (1000 watt). www.chimeralighting.com
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