Atlas Anamorphic Primes are going up by $1,000 USD each

If you were thinking about jumping in on a set of Atlas Anamorphic primes, now would be a good time to do it as it’s going to become more expensive from October 1st, 2019. In an email that went out on the 1st of August, it stated: Atlas Lens Co. is thankful for the opportunity … Continued

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Tilta Cage for Z Cam now shipping

Tilta is now shipping a camera cage and kits for the Z Cam E2 in their Tiltaing line. The cage is available standalone as well as in three kit configurations. The Z Cam is growing in popularity, Erik has previously done a full review of the Z Cam E2. Z Cam has taken a similar … Continued

The post Tilta Cage for Z Cam now shipping appeared first on Newsshooter.

Stranger Things Season 3 Cinematography

On this weeks Go Creative Show podcast, host Ben Concoli speaks to Stranger Things Season 3 Cinematographer Tim Ives. Tim and Ben discuss Tim’s use of LED tubes, shooting season 3 with a full frame RED sensor, the programmable lighting design of the Starcourt Mall, Tim’s thoughts on the future of filmmaking, plus Tim answers … Continued

The post Stranger Things Season 3 Cinematography appeared first on Newsshooter.

Bird Photographer’s Field Review of the Olympus OM-D E-M1X

Bird Photographer’s Field Review of the Olympus OM-D E-M1X

Intimate bird photography has usually been made possible by using some seriously hefty lenses paired with large pro DSLR camera bodies. Can a Micro Four Thirds system really be just as effective while physically being much smaller and easier to carry?

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Back To One Ep. 69: Ruben Santiago-Hudson

Actor/writer/director Ruben Santiago-Hudson is the kind of artist whose awe-inspiring dedication to the work can almost be overwhelming. He won a Tony Award for his performance in August Wilson’s Seven Guitars. His autobiographical play Lackawanna Blues was a sensation at the Public Theater and went on to be an award-winning HBO film. He started directing plays (particularly Wilson’s) and is now one of the most sought-after directors working in theater. His production of Jitney on Broadway won the Tony award for Best Revival of a Play. As an actor, he can currently be seen on Showtime’s Billions and recently on […]

Dump the Snapshots and Start Taking Photos

Dump the Snapshots and Start Taking Photos

When you are new to photography, there can be a tendency to point your camera indiscriminately. And while there is nothing wrong with feeling out how the entire process works, eventually, you have to move from taking snapshots to making photographs. This great video discusses that process and offers some helpful tips for getting there.

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The Art of the Cut Podcast Eps. 7 (w/ “The Peanut Butter Falcon” Editor Kevin Tent)

The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors of today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.

The Peanut Butter Falcon cover art










This week Steve spoke with Kevin Tent about editing the soon to be released “The Peanut Butter Falcon”. You likely know Kevin from his editing work on films such as “Blow”, “Election”, “Sideways” and for his ACE Eddie winning work on “The Descendants”. “The Peanut Butter Falcon” comes out in wide release on August 9th. You can listen to the full conversation below:

The Art of the Cut podcast is available on Apple Podcasts, Spotify, Anchor, Google Podcasts, Breaker, Pocket Casts, Overcast and Radio Public. If you like the podcast, make sure to subscribe on your favorite podcast app and tell a friend!

The post The Art of the Cut Podcast Eps. 7 (w/ “The Peanut Butter Falcon” Editor Kevin Tent) appeared first on ProVideo Coalition.

How to Set Up a Photography Studio in a Small Space on a Budget

How to Set Up a Photography Studio in a Small Space on a Budget

We would all love to have large, sprawling studios in which we can have the freedom to experiment and tackle any sort of job with ease, but the reality is that that simply is not the case for most of us. This helpful video will show you how to set up a working, versatile studio in a small space without spending a lot of money in the process.

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Worldwide Camera Sales Take Another Tumble

Worldwide Camera Sales Take Another Tumble

CIPA, the Camera and Imaging Products Association, which tracks global camera and lens sales by major manufacturers, has released their report for June 2019, and it shows another significant drop in sales as compared to past years.

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Google Pixel 3 camera defect causes loud clicking, OIS issue while shooting

A number of Google’s $499 Pixel 3 smartphone units are experiencing an issue that causes the camera to ‘shake’ while recording video even when the device is placed on a stable surface. A large number Pixel 3 owners have published complaints about this problem on Reddit, Twitter, the Google Support forums, and other online destinations.

The issue appears to primarily impact the Pixel 3 model, though there are some reports of it related to the larger Pixel 3 XL. Sample videos from users show the camera’s focus constantly adjusting itself or, in other examples, producing a prominent wobble effect similar to what one would get by shaking the phone.

Though Google hasn’t provided an official statement about the matter at this time, a loud clicking sound produced from the camera while recording indicates the problem may stem from the Pixel 3’s optical image stabilization system. Pixel 3 owner ‘anaymakan’ shared a video demonstrating this problem on the Pixel 3 subreddit in late May.

Because this appears to be a hardware defect, Pixel 3 owners have been unsuccessful in finding a workaround solution. Owners of the faulty devices report having it solved by getting a replacement phone that doesn’t suffer from the same problem.

How to Write a Sequel: ‘The Empire Strikes Back’ Script

The Force is strong with this classic script…

Writing a sequel is a huge undertaking. You have to expand, contract, and push the story forward. So how did The Empire Strike Back script do it?

With sequels, not only do you have to uphold the expectations of the original, but you have to create a deeper world that exposes new character arcs that continue whats familiar — and do it in a new way. Few sequels have ever had as much pressure as The Empire Strikes Back script.

Star Wars was a cultural and costly phenomenon. There was so much pressure on George Lucas that he decided not to direct the sequel and focus on the script. It had to be filled with surprises, plot twists, and also deepen character development.

Let’s take a deep-ish dive on how this screenplay exceeds expectations and the lessons you can learn from where Lucas went right.

Read The Empire Strikes Back Script!

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In the Field With Nikon’s 500mm f/5.6 PF

In the Field With Nikon's 500mm f/5.6 PF

We dragged Nikon’s new 500mm f/5.6 PF out to the Galapagos islands, up over the Andes, and down into the Amazon jungle to put it through its paces — as well as through numerous rain showers, muddy trails, and squadrons of mosquitos. None of it fazed the lens a bit, though the mosquitos at times drove me a little mad.

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Photographers, Focus on What’s Important

Focus on what’s important… pun intended. I’m not referring to lens focus or how to get sharp images. If that’s your main concern right now, just Google tutorials on autofocus, zone focusing or micro-adjustments. When I say ‘focus on what’s important,’ what I mean is the purpose, meaning, emotion or reason for your photographs.

What is the function of your photographs aside from displaying an aesthetically pleasing visual?

Ask yourself this question, “what do you want people to do when they see your photographs?” What do you want them to feel, or do physically? Do you want your viewers to think, contemplate, buy something, hold, share, remember, cry, question, act, like, thumb-scroll, start a discussion or print? What do you want viewers of your photos to do?

It’s a question very few of us photographers ask or think about outside of commercial work. Outside of commercial photography we hardly ever think about the viewer, why should we when our work is personal? But if we’re honest with ourselves, most of us want recognition, praise or some form of an ego boost. And yet as photographers, we mainly think about ourselves and the subject matter, rarely the viewer.

So what is important about your work, your practice, your photography? Are you taking photographs for an archive, historical purposes, to sell some clothes or promote a notable course? If so, great, but what about the photograph? Is its main focus to be a vessel for another function or purpose?

Let me put it this way: a wedding photographer is capturing a special moment, so their clients can remember their special day (simplifying). A fashion photographer is photographing apparel to help sell it (simplifying). A forensic photographer is taking photographs for analysis, evidence and for historic reference in a case (simplifying). The photograph is just a vessel, a medium that is documenting something for a specific purpose or function. So what are you photographing for? What is the purpose or function of your photographs, and who wants that?

What are you trying to express or share? Where do you want your photos final resting place to be? On a social media platform or in a frame on a wall? What would a plaque next to your work say? I hope it’s not something like “my photographs capture the human condition” or some other cliché and derivative statement. If we are honest with ourselves, somewhere in there is our ego that wants recognition and praise. So what do you take photographs for, honestly and truthfully?

Whatever you deem important within your photography practice, is. Whether it’s making money, selling prints, getting more likes, selling your work in a gallery, having your work printed in a publication or capturing moments for your family album. Whatever it is, it’s noble to you.

I only hope that, whatever you capture, for whatever reason, there is integrity in it. There is purpose and meaning, even if the purpose is to be meaningless, there is still intention. I hope when you physically press that shutter button, you’re focusing on what is important.

About the author: A.B Watson is a New Zealand photographer based in Auckland. The opinions expressed in this article are solely those of the author. To see more of his work, head over to his website or follow him on Facebook and Instagram. This post was also published here.

Photoflash Bombs Were Once Used to Light Nighttime Aerial Photos

Digital cameras can see in color in near darkness these days, but decades ago, there were very different solutions for capturing usable photos at night. One example is the photoflash bomb, a special type of bomb that was designed specifically to explode in midair and illuminate the world below for aerial photos.

The photoflash bomb was commonly used by military spy planes to capture images of the ground at night from higher (and safer) altitudes.

From the outside, they looked like ordinary explosive bombs, but instead of being filled with traditional explosives, photoflash bombs were essentially pyrotechnic devices filled with flash powder.

An English aircraftman loads 19-pound photoflash bombs onto an aircraft at a base in Belgium prior to a night mission in 1944.

The M120 and M122 World War II-era bombs featured one design had a round-nosed cylinder and at least 75 pounds of photoflash powder within.

A diagram of the M120 photoflash bomb. Image via Bulletpicker.
A diagram of the M122 photoflash bomb. Image via MIT/zoz.

The M23A1 was a different design that featured a cardboard tube body filled with flash powder and metal plugs on the ends.

A diagram of the M23A1 photoflash bomb. Image via

After being detonated in mid-air, the bombs would produce incredibly intense light of up to hundreds of millions of candlepower — it was essentially the brightness of a spotlight but spread over a very large area.

Here are some examples of aerial photos shot in the 1940s with the aid of these flash bombs:

A photoflash bomb explodes and illuminates a battleship in a harbor during a night raid over La Spezia, Italy, in 1943.
An aerial photo shot during a raid on Dusseldorf, Germany, in 1943. The photoflash bomb can be seen exploding on the right.
An aerial photo captured during a raid on Hamburg, Germany, in 1943. The photo flashbomb can be seen detonating in the lower left.
A nighttime aerial photo captured over Turin, Italy, in the early 1940s. The shot was illuminated using a 4.5-inch flash bomb.
An aerial photo captured over Tobruk, Libya, in 1942 by an RAF plane. The photoflash bomb can be seen at bottom. Photo via World War II Today.
A photo captured during a night raid on Berlin, Germany, in 1941. The ground is illuminated by a flash bomb while the light streaks in the frame were created by searchlights pointed up at the plane. Photo via Pathfinder Craig.

Back in July 2015, a photoflash bomb washed up onto St. Pete Beach in Florida, prompting authorities to evacuate the surrounding area and call in an Explosive Ordnance Disposal to detonate it.

Thanks to advancements in camera technologies used in both surveillance airplanes and spy satellites, we no longer need to explode special bombs in midair just to shoot nighttime aerial photos.

This Tool From Unreal Engine Is the Future of Cinematography

Open Source Video tools like Unreal Engine gives filmmakers unprecedented control to a realistic virtual environment.

UNREAL ENGINE represents the pinnacle of video game development. With incredibly realistic levels of detail and sharpness, video gamers are experiencing the reality in virtual reality. But the next level to that is real time adjustments to an environment and using Unreal Engine to drive a virtual space in studio, and use it as an ultra realistic backdrop in filmmaking. And then to control it with an iPad.

Anybody would take a look at it and say ‘oh that’s a disco box, it’s a dance floor.’ But it wasn’t. It quickly became a friend that would help you do your job. – Sandra Bullock

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Lightroom Shootout: $6,700 iMac Pro vs $5,700 PC

Pye Jirsa over at SLR Lounge recently published a Mac vs PC comparison that answers an important question for photographers: which is better for Adobe Lightroom Classic CC, a powerful iMac Pro or an equivalent custom-built PC?

It’s important to note that this is not a straight-up Mac vs PC “shootout” that takes every variable into account vis-a-vis operating system, upgradability, etc. It’s just meant to pit a very powerful Apple computer against a very powerful custom built PC and see which of the two is best for editing photos in the notoriously slow Lightroom Classic.

For this comparison, Pye pits an iMac Pro with a 3.2GHz 8-Core Intel Xeon W Processor, 64GB 2666Mhz DDR4 RAM, 2TB SSD, and Radeon Pro Vega 64 w/ 16GB of dedicated memory against a custom-built PC from Puget Systems sporting an Intel Core i9 9900K 3.6GHz 8-Core processor, 64GB of 2666Mhz DDR4 RAM, 500GB Operating System SSD, 2TB Secondary SSD, and NVIDIA GeForce RTOX 2070 Founders Edition graphics card with 8GB dedicated memory.

The price tag of the iMac, with Apple Care, came out to just under $6,700 before tax. The price tag of the Puget Systems PC, after buying the necessary peripherals like a BenQ PD3200U 4K display and including a lifetime warranty, came out to just $5,700. If you want to bring them a bit closer in price, just imagine they bought a more expensive photo-editing monitor like the 4K BenQ SW271 and we could potentially close that $1,000 gap a bit.

So, how did they do? Did either the Mac or PC have any significant advantage when it come to churning through images in Adobe Lightroom Classic CC?

The short answer is “yes,” in Pye’s testing, the PC had a significant advantage in several categories. While the iMac Pro won out when performing passive tasks importing, exporting, and rendering previews, the Puget Systems PC really came into its own during more critical tests like moving from image to image in the Develop module, panorama stitching, or using local adjustment brushes.

If you’re only using Lightroom to edit the odd image, you probably wouldn’t benefit much from the difference; if you’re editing a lot of images—i.e. a professional workflow—the PC seems to be the way to go in terms of sheer performance.

Of course, this is just a very brief summary. Check out the video above or read the full comparison over on SLR Lounge to see exactly how the two computers compared in each category, with timed breakdowns of each task. Then, once you’re done, feel free to argue over the merits of the Unix-based operating system, upgradability (or lack there-of), the “Apple tax” and so on in the comments.

Why ‘Collateral’ Is the Best Tom Cruise Movie No One Talks About

Tom Cruise’s hitman in Michael Mann’s Collateral is one of the best things in the history of movies. So how come no one really talks about?

“Red light, Max.”

Tom Cruise is a great actor who is best when he’s playing bad guys.

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How Tarantino Protected ‘Once Upon a Time In Hollywood’s’ Script From Hackers

Quentin Tarantino has been burnt by his script being stolen and published before, now, he’s taking extreme precaution…

I know we’re covering Tarantino a lot lately, but we only get one movie every few years, so we’re filling our quota all at once. The craziest part of all of this is that we almost lost a Tarantino movie a few years ago. When the Hateful Eight screenplay leaked, Tarantino at one point decided not to make the movie.

Instead, Tarantino used the script to perform a stage play.

While that play went well, Tarantino used the newfound energy to make some changes and to make The Hateful Eight a movie again. Still, the primary lesson he learned was that in the digital era, he had to protect his script.

And I’m not talking about getting a copyright.

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