Business Portrait On-location Photo Shoot (behind-the-scenes & Photoshop)

Business Portrait On-location Photo Shoot (behind-the-scenes & Photoshop)


So we’re on our way to a shoot at a car
dealership. I was hired to take pictures of all of the employees there for their
website. So I’m bringing my 5D Mark III, and what do you have there, Tony? -this is the backup camera it’s a 5d mark
II and you have the 70-200 which is perfect for
headshots. This is a 24-105 the nice Sigma f/4 and
again it’s just a back up, we shouldn’t ever need this. We also don’t plan to use the flash, but
if everything else fails if that Cyber Commander fails to trigger the strobes.
we can use the optical slaves from the flash here. -It’s always good to have a back-up, plan
on something failing. So we’re going to load up our car here
and just tell you what here we’re bringing as we load it up. This is our large Paul C. Buff
collapsible soft box so that will give a nice diffused light if there isn’t
adequate lighting in the dealership. -This is the Paul C. Buff Einstein E-640
which will attach to that soft boxe, this will be our main light. Here I have just a
bracket on the stand, it’s just useful to have one of these, you can attach
anything to it. -These are our Vagbond Mini by Paul
C. Buff and they’re batteries to hook our strobes up to/ -That way we don’t have to attach or have power
cords running everywhere where people might trip over it, it’s a little easier
outside of the studio. This is a reflector and we have
diffusers inside as well. Getting pretty crowded in there. -And this
is going to be a hair light or background light as we need it, just a
second light. It will be triggered by the Cyber Commander just like that Einstein
light and will run it from the other Vagabond. -I was told there would be a nice
background there but you’re never sure, we didn’t scope out the place yet so I
was going to use the white side of this backdrop in case their background wasn’t
very appealing. Throw that in there. I also brought a
lint brush just to make sure everyone is nice and clean. I have some painters tape to mark the
spot where everyone can stand so that everyone’s in the same location. And… some tape to hold the backdrop against the wall. -And this is a Panasonic
GH2 on a tripod, this is just going to be a b-roll camera for the
behind-the-scenes. The GH2 is a micro four thirds camera and it’s a little bit
old now but records great 1080p video and it runs forever, it doesn’t shut off
after 30 minutes like most DSLRs do. -I think that’s it. We just have to grab our coats and head
out. -Let’s go. -Alright. You might be able to find an angle where
we could get this line of cars in it, we have to stand up a little bit to look
down but we might be able to do that. -I was thinking this is a little too
colorful. -Yeah it is. You want to do it in my office then? -I have that, the other side is white. -yeah
the wall might be easier, I don’t know how much room there is in there. -yeah -The one other thing for this Tony, is that
we don’t have the nice natural light. -Yeah the lightning is, uh… rough. -We’ll have to use this.. -it’s a little tight to bring
lighting in. And I think we’ll just have one of us
stand behind him with the reflector -Yeah, I think it’ll be easy, so let’s get one more,
I’ll get my settings I’ll put a mark on the floor and we’ll get it done. You guys ready? Yeah will you be my model one more time? So I’m really glad that we picked a spot
that has natural light because a lot of the people here are different heights
and I would have had to adjust the softbox with every different person, it
would have been a lot more set up. So my recommendation for you would be to look
for natural light and bring a flash for fill light. -But be prepared in case it
doesn’t work out and you have to have artificial light. One of the reasons we
picked the 5D Mark III for this job is it takes two memory card slots and it can
write to both cards simultaneously. That way if one of the cards has a
problem we have another copy and we don’t have to go back and reshoot
everything. Yeah there you go. I didn’t think that it was the best I
could have done, I would have preferred if they came into the studio. I mean I know that that wasn’t possible. So now I’m back in my office and i’ve uploaded my pictures. I’m going to show you how to sort
through them, rate them and even edit them. Now that I have my photo in
Photoshop, I’m going to start by cleaning up my subject’s skin. So I have a filter
called portraiture and I love it and it does a really good job. It smooths out the
skin without taking away all the pores, which can kind of leave people looking a
bit lifeless and doll-like. So i’ll zoom in a bit more on his face so I can see
exactly what Portraiture is doing. I don’t want to lose any of these fine
lines or anything like that because it would make him look unnatural. So you can see, I can up the threshold
here and it smooths them out way too much. Looks like a boudoir shot or something
and this is a professional photo so he’s definitely not going for that. These
sliders here control the details. So this would control the large details and
smooth it out less if you were to bring them down and I actually think that looks
pretty good. Let me turn down the fine details a bit so
play around with it, it’s definitely to taste. And my only suggestion would be to
not smooth out people skin too much. Not even women. If you notice any residual marks, you can see there are a few just little
pores you can leave them in and use other tools in Photoshop to take care
of that. So i’m satisfied with this for now and then i’ll zoom in and use my
other tools to take care of any other small imperfections. So I want my spot
healing brush and i use my left bracket. I don’t want to remove too many things
because once again it will look just too unnatural and smooth. I think that looks pretty good the one
other thing I’m going to do is in person I didn’t see that his brow is furrowed at
all so I’m going to take the little furrow out of his brow. And I’ll just
use my lasso tool, circle it, delete and then use content
aware fill, that usually does a good job. And then use Ctrl D to deselect the area. I like to just zoom in to make sure it
looks natural and that actually doesn’t look too great. So I’m gonna try it again. That looks much better. The next thing I’m going to do is just brighten his teeth a little bit. They look great,
they are nice and white, but we’re used to seeing very white teeth in in the media so it’s
nice to just kind of brighten them up a tad bit. And here i added a new layer and i use
the overlay layer I select my paintbrush and use bright
white. You’re going to think this looks insane
but you just fill in just the front teeth. This is really bright, but once i’m done
i’m going to turn down the opacity and it will look natural. We’ll see I don’t want to whiten them them too much. So I’ll zoom out and make sure it looks natural. You can even turn down your opacity on
your brush a little bit it to get these back teeth, but remember that the back
teeth are usually a bit darker, so if you make these really bright, let me show you what I mean. I can’t really because i have the
opacity down, but if you make these too bright it won’t look good. Ok. So the teeth look nice and next I’m
going to just brighten his eyes a tad bit. So i’ll use my Dodge tool, I have the
mid-tones selected and my exposure down to thirty percent and I just do a little half circle. Let me see And the next thing I’m going to do here,
just because he has fair skin is just fill in his eyebrows a
little bit. They’re in the midtones, so I have the mid-tone selected and my
exposure is really low, it’s only sixteen percent, and i’m just going to define
them a little bit. Lastly I’m going to brighten up the
background. I’ll do that by selecting the background
and i’m going to use let’s see, I think I’ll use my magic wand tool
to fix the areas that it’s selected that I don’t want selected I can use this
tool to subtract from the selection but I usually like to press alt, the alt key,
and then it does it for you. You can also use this button here to add to the selection, but i’m actually going to use
layer masks and i’ll show you how. If you aren’t great at selecting by hand, you can
also use the mask tool which i think is easier. So i’m going to show you how to
select the background better using the mask tool. So i will go to the
brightness and contrast and i’m going to raise the brightness of the background,
you can see i missed a big chunk, but that’s not a big deal because then I can
go into the mask and use my paintbrush with either black or white to add or
subtract to the selected area. So white is going to add to the selected area, so I
will make my brush bigger by pressing the right bracket and then just paint it
in. And I selected the wrong parts here, so i’ll use black to get rid
of that. So you can see this is the before and it
still looks natural just a bit brighter and better and this is the after. Since they’re professional photos, you
don’t want them to look too glamorous or touched up that can actually be
embarrassing if they’re going to be meeting with a client and in their
picture they look 40 years younger, that’s going
to be off-putting to the client. So make sure that it looks like they
look in real life but just the best version of themselves. That’s it, pretty simple! If you like this
video please subscribe to our channel and if you like our lessons and teaching
style you can check out our book Stunning Digital Photography. Thank you!

Your first travel camera and lens [Fuji x-t20 & 18-55mm f2.8-4 review]

Your first travel camera and lens [Fuji x-t20 & 18-55mm f2.8-4 review]


– Hey guys, in today’s episode I’m gonna take you
through two national parks and over 300 miles of motorcycling to bring you some photography captured specifically with some of my favorite gear for travel and adventure photography, the X-T20 and the 18-55
variable aperture zoom lens. But before we get into things I just wanted to remind everyone that next week we’ll be giving this guy, the X-T20, away, so it’s not too late to enter the drawing for that. So we’ll announce the winner to that early next week, as soon as we have our grubby paws on the new Fuji X-T3 to replace it. So anyway, look forward to that, and I hope you enjoy today’s episode. (“To the End” by Falls) Alright so you’ve got a trip planned, you’re super-excited about it, it’s something you’ve been planning for months and months. It’s gonna be special and maybe you’ve got an iPhone or a point-and-shoot of some kind but this time you think, because you want this
trip to be so special and have a special place
in those memory banks, you think maybe it’s time to invest in a camera that can really deliver something with a little bit more oomph, so you think maybe it’s
time to up your game. What camera do you choose? Well guys, the options really are endless and you’re going to get a lot of advice and opinions. But you’re here for my opinion and I definitely have opinions. I’ve done a lot of adventuring with a lot of different gear and my personal choice, right now anyway, which is end of summer, 2018, is this guy right here, the Fuji X-T20 with just one lens, the 18-55 F2.8 to F4 variable aperture image stabilized zoom lens. Now of course, Fuji is not the only manufacturer who makes a superb offering
in a small package. But for travel there are some specific reasons why I personally choose Fuji, and like all things these are all going to be controversial. Others will disagree with me and choose to leave nasty comments because, for many people, photography has become religion. To you people I say, “Watch less YouTube and take more photos.” For everybody else, let me explain why I love
Fuji for travel photography. But to do so I’m going to take you on a little photo adventure with me. I’ll give you a sampling of what this little guy can do and why I like it so much. So strap on a helmet and
let’s go take some photos. (“To the End” by Falls) So first let’s talk about why Fuji. There are several reasons why I like Fuji as a travel or adventure platform and the first and most obvious reason is the size and weight. To illustrate this I’m gonna draw in the sand here. On one hand you’ve got IQ, that’s image quality, right. And then you’ve got your continuum. And on this side we have size, I’m just gonna put S, size and weight. I guess I could put C. C for convenience. The X-T20 is right here. That’s why I love it. Over here we’ve got the GFX, or something like that, where the sensor is the size my hand. Over here we have a GoPro, a tiny tiny sensor that’s super-convenient. The X-T20’s right here where it’s pretty good image quality and really convenient. The second reason I love the X-T20 and the Fuji platform in general is the wonderful shooting experience. These are cameras that are as fun to look at as they are to shoot with. The buttons and dials provide a tactile experience that are nostalgic of a time when photography felt more pure and less processed. These cameras appeal to people who see their camera not just as a tool but also as a companion. The other the thing I really like about the X-T20 is it’s interval timer. I’m here at Canyon Overlook looking out over Zion and it’s the middle of the day. It’s not the the greatest
lighting in the world. On the other hand there is a lot of cloud movement. So that can be interesting. It can lend itself well to a time lapse where I’m not actually that interested in a photo, per se. So the X-T20 does a great job there as far as giving you a time lapse to remember your moment. The next reason love Fuji is maybe a reason that’s
a little less obvious and that is Fuji’s sublime color science. (blues music) As a brand with a strong legacy of superb film engineering, Fuji has put together not only a strong base color science but also some spectacular film-like color profiles for JPEG shooting that after years of shooting I personally feel can’t be rivaled. And I know this brings up a whole can of worms, this whole discussion on JPEG verses RAW which is the stupidest argument ever. Those us who don’t mind shooting in JPEG know when and why we do it. For me personally I love shooting in JPEG on Fuji when I’m traveling because those photos come out spectacular straight out of the camera with that filmic, documentary look I know I wanted before I hit that shutter button. Look, there’s nothing
wrong with shooting RAW and spending a lot of time poring over every hue and saturation value if that’s what you love doing, but for many people that’s not why we love photography. – You’re welcome. – Yeah, thank you so much.
– I’m Bill Spencer. – Alright Bill.
– Your name is? – Andrew. – Branch?
– Uh huh. – Okay.
– Yeah. – Glad to have met you and you’re always welcome. – Thank you, thank you. Bill was nice enough to let me meander about his car cemetery. I don’t know, he calls it his junk yard. I could spend all day here. Seriously, this is like my photographic heaven. Guys it’s the act of photographing and documenting a place-time that is most significant. It’s far more important than what RAW photo editor you use, and as far as color is concerned I don’t mind trusting that job to the hands of color scientists who’ve spent decades perfecting a pleasing set of defaults to work from. Fuji really has nailed it, and so many others, in
comparison, haven’t. With many other brands it feels like their attention to JPEG color profiles are an afterthought at best or gimmicky at worst. So I realize, at the end of the day, that color is going to be something that is personal. It comes down to personal preference. But again, you came to me, and I’m just gonna give
you my personal opinion. The third reason that I love shooting Fuji, third, fourth? I don’t remember what, I don’t know number we’re on. But, it’s the lenses. If you need a system that’s going to give you But the reason, but the reason I like Fuji lenses as opposed to all the others is that they’re small and Fuji’s invested heavily in trying to build sublime top quality glass in a small package, that APSC package. And they nailed it. The sharpness, the build quality, the color, the contrast, the ease of use. Fuji’s high-end APSC lenses are probably the most important reason why I don’t ever want to switch away no matter how many advances in camera body technology
Sony makes, for instance. It’s those small, spectacular Fuji lenses that keep me from selling it all and jumping ship like so many other people. This is beautiful, by the way, right here. But anyway, this lens is is no different. Maybe it’s not considered by some to be a pro lens, but I use it for pro level stuff as well as travel and I have no issues with it at all. (chill electronic music) Guys, this is Fuji’s kit zoom lens, and in the world of photography the kit lens typically has serious negative connotations. It implies low quality,
beginner photography. That stop-gap choice you pick up until you can afford the really good lenses, quote unquote. If you look back at the video where I first tried this lens, I wasn’t even sure at that point if I wanted to keep it or not. But a year has passed and I have to say this lens has been on my camera body as much as any of my pro lenses have. Some of my favorite photos came with this lens. There’s several really
good reasons for that but I’ll have to tell
you about those tomorrow because it’s after sunset and I don’t know where
I’m staying tonight. I need to find someplace to stay. So, talk to you tomorrow. 5:45 AM. The way I feel inside right now, this is why I could never be a full-time landscape photographer. But this morning I’m
doin’ it for you guys. So let’s go to Bryce Canyon. (motorcycle starting) As a lazy landscape photographer, the thing I really love about Bryce Canyon is that you can just drive up and get out and walk a few hundred feet and you’re there at
these spectacular vistas. None of this fussing about with hiking and, naw, none of that. Now last night I was talking about this lens. And I have a few things to say about it but first I wanna say that if you’re new to photography, for more general use I would strongly recommend actually sticking to a prime lens or two. Prime lenses are important for beginners. They teach you more about composition than you can ever hope to learn by zooming around with a zoom lens. But having said that, for travel, it’s really hard to have
the flexibility you need with a fixed focal length. There are people who are really attracted to the Fuji X100 series, for instance, that have these fixed
23 millimeter lenses. And in all fairness, those are very attractive and very small devices, but when I traveled with those guys I felt like I was missing a lot of shots, that reach that I needed, that a zoom lens can provide to really get what I was after. So, I mean, if you’re
doing a lot of travel I’d say don’t give in to the draw and the romance of the X100 series before you’ve tried this system. When your traveling you just never know what sort of scene you’re gonna want to capture, and this lens provides you with enough flexibility to capture it. (chill electronic music) Of course there are wider Fuji lenses and some will say these are better for
landscape photography, but for those times I find it works great to just a stitch several shots together into a panoramic. As long as you have a
tripod or steady hands there really is no need
for a super-wide lens. What I did not realize is we’re about, I don’t know if you can see that, you probably can’t. We are about half way from where I stayed the night and where I would like to go, and I did not realize this, but apparently, the pavement ends. (blues music) It looks like I’ve happened upon some sort of motorcycle
event or something. Might as well get some shots while I’m here, I guess. So I mean, it’s not a sports action camera and lens by any stretch of imagination, but, I mean, on the other hand, it did okay, you know. Continuous autofocus
on the XT20’s not bad. I just love the
versatility of this camera. It can do just about
anything you need it to, in a pinch. A lot of people will say, well it doesn’t have a
wide enough aperture, you can’t really get that strong bokeh. That’s definitely true. It’s not going to compete with the 1.4, or even 1.2, of other Fuji prime lenses as far as getting that blurred, out-of-focus background for that really nice subject separation. But on the other hand, in travel photography you rarely need that level of separation. In fact, often, you want everything to be a focus. But if you really want bokeh the trick is to zoom out fully to that 55 millimeter max focal length and they get as close as possible, keeping your subject in frame. This will maximize the bokeh ability of the lens and sensor. (“To the End” by Falls) The other thing I like about this lens is that it has image stabilization. That means that you can get sharper images at lower shutter speeds. It also makes this lens perfect for video. And when I travel it’s nice to be able
to capture video also. The other thing about
video and this platform, is it has this little auto mode that’s meant probably for beginners, which is nice if you
happen to be a beginner. You don’t want to fuss about with all the various dials and what not that are associated
with shooting manually. Since I’m a vlogger I like to be able to, if I’m shooting normally, I’ve got everything set up for video or for photo stills for cinematic settings, ideal for the the correct
frame rate and shutter speed. But if I want to pull that camera around and start videoing myself I don’t want to have to worry about getting the exposure wrong. And you know what, if I’m filming myself it’s not as important that those cinematic type
settings are in place. So I just flip it onto auto mode and turn it around and I can vlog and not have to worry so much about if my exposure is locked in just right because I can’t see this screen. So guys those are all the reasons that I can think of right now why I like this set up. I sort of like it, if you can’t tell, and I highly recommend it to you for your next vacation experience. If you’ve enjoyed coming along with me consider subscribing and definitely check out my other videos on my motorcycle photography adventure. In the meantime, remember: Kindness before cameras. We’ll talk to you again real soon.

Build Your Own Digital Microscope

Build Your Own Digital Microscope


I was in need of a digital microscope which
would let me capture videos with a decent quality for a reasonable price, so I build
this thing right here. Thanks to the Raspberry Pi Zero W it directly
outputs an HDMI video signal with next to no latency, but it also lets you save the
files to an USB stick or, in this case, an SD card. It would be easy to configure it to stream
over WiFi or do other cool things. It uses a Raspberry Pi camera module together
with a cheap smartphone macro lens. This also makes it easy to use any other lens
and adapt the microscope to the task you want to use it for. Although I have used some aluminum parts,
most of the microscope can be 3d printed and assembled without any special tools. Considering the price, the video quality is
very good, especially in the center of the image. It gets a little bit blurry on the outside
and the depth of field is also quiet shallow, but this could be improved by using a better
lens. Still it is a great tool to check your electronics
or have a closer look on your 3d prints to spot any problems. It also lets you inspect your tools, not that
this defect was especially hard to see but you get the idea. And overall it’s just really cool to have
a closer look on the things in your shop. I mean, look how cool this felt looks. Even simple foam looks amazing in my opinion. The
assembly is fairly straightforward. You can find all the parts needed on hackaday,
the link is in the description. I used aluminum for the base, but you could
also 3d print it. However you want to make it as heavy as possible,
so maybe add some pieces of steel or similar. A 12mm steel rod gets clamped to the base
with a M4 grub screw. The screw dimensions aren’t critical, so
use what you have at hand. The
main body of the microscope is clamped onto the steel rod with a M4 screw. To be able to move the microscope head up
and down I am using a rack and pinion design. For this you need a 5mm shaft, I went with
aluminum because it is easily machinable. I added a flat spot so the setscrew for the
gear is going to have a better grip, however this isn’t absolutely necessary. The knob could also be 3d printed and then
glued onto the shaft. The gear comes with a hole which needs to
be tapped first. It then gets clamped with a m3 grub screw. And that’s it for the base assembly, next
up is the microscope head. The 6 holes of the main part with the rack
on the back need to be tapped for m3 screws. Then place the spacers on it and mount the
Rasperry Pi Zero W. Next up: the camera module. This one is version 1.3 and comes with a flex
cable which directly mounts into the pi. Now screw in the camera holder and push the
camera into it. This piece can be modified easily to allow
other camera sizes or lens types. I wouldn’t recommend to press the camera
sensor all the way in, as this makes removing it a bit harder. The lens I am using is a 20 times macro lens
and it comes with this white clip. The offers for those come and go so I am not
going to post any links, but I am sure you can find it on the usual websites. As I said, it’s easy to modify the camera
head to mount any other lens, so you don’t have to use this one. Lastly add a button on the two lowest pins
of the Raspberry Pi and push in an SD card preferably with Raspbian OS installed. Insert the microscope head into the base and
the assembly is finished. In order to get a video signal right after
startup, we need to add some code. For that I am assuming that your Pi is running
the newest version of Raspbian and you are already connected to it via ssh. There are tons of tutorials out there how
to do that, so I won’t go into detail here. First we need to activate the camera, so type
in “sudo raspi-config”. Hit enter and then go to the interface options,
camera and hit yes. That’s all we have to do here, so move to
finish and decline the reboot we will do that later. Next we create the script to autostart the
camera, so enter “sudo nano camera.sh” and paste the code I am providing. Press CTRL and O to save and CTRL and X to
exit. Then we add another script which will let
us shutdown the pi safely, so type in “sudo nano shutdown.py” and again, just paste the
code, save it and exit. We have to do this one more time, type in
“sudo nano /etc/rc.local” and paste the code, this is going to run both of our scripts right
after start up. Save and exit and we are finished. Reboot the Pi by entering “sudo reboot” and
after a few seconds, you should be able to see the video feed. Assuming you connected a display of course. Make sure that the shutdown button is doing
what it should do, the green led should turn off some seconds after you’ve pressed it. And that’s it. Thanks for watching and have a great day.

Pixel Painting: Dollightful 2018 Banner Art SO MANY CHARACTERS

Pixel Painting: Dollightful 2018 Banner Art SO MANY CHARACTERS


Annyeong! Welcome to Dollightful. It’s been a while since I made a digital illustration, and it’s also been a while since I created my first channel artwork. I still like that painting but I feel I can do better now. So it’s time for something new! I start off with a very rough sketch just placing the characters around generally where I want them. On a new layer above the rough draft I fine-tune the line work for more clarity and definition. I don’t bother making the line work perfect because I’ll paint over most of it anyway. I treat digital painting a lot like regular painting which is why I tend to use very few layers.. I would definitely have arranged things differently if it was a normal drawing but the banner rules make it kind of tricky. Because it’s going to be a banner and appear in different aspect ratios on different devices, the most important stuff has to be in the center. So just like last time it’s got this kind of weird composition. With the lines all in place I zoom out to the full picture and rough in the colors on a layer underneath my lines. Hopefully it’s obvious, but I’m going for a super colorful almost rainbow spectrum color palette. It’s a big, complicated, loud composition and I want the colors to accentuate that, might as well roll with it, right? With the colors in place, it’s time to start painting on top or rendering each character one by one. I started with my own face or I guess more accurately Mini Katherine’s face. The lines looked cute, but as I painted on top the expression became kind of crazy-looking? I’ve said it before in other videos, but it seems there’s a fine line between cutely wide-eyed and excited and just plain crazy eyes. I’ll revisit Yandere Katherine again down the line, don’t worry Next up is Eevee! It was hard choosing who to put in the front, but I thought Eevee is a good representation for the entire Eeveelution line of dolls I made. Plus she makes a nice darker colored contrast against Mini Katherine. I also chose to include Nova in the front lineup despite my many troubles with making that doll. I almost decided against even posting her video. She quickly became a fan favorite against all odds. So I guess she deserves more credit than I give her. I feel bad for ragging on her so much in the video now. Maybe it’s because everyone can relate to messing up and getting frustrated with their artwork. I don’t know. Next is little Sherbet Blossom, my first Unicorno custom from my first ever video on the channel. She was in my first channel artwork, too. Macaroon had to be in front too because she’s one of my favorites. And yes, people told me that I meant Macaron in her video. I researched it a little bit and turns out both macaroons and macarons, share a common ancestor if you will, which is why the names are so similar and confusion persists to this day. Pretty interesting actually. So yes, I was thinking of the macaron when I made the doll, but I think it’s too late. Her name is Macaroon. So I’m just perpetuating the confusion in time. Oops And yes, I put a shape over Mini Katherine’s face because I didn’t want her staring at me. We’ll just keep it on for a while longer. Next is Charlotte Copperchain, which was the doll I made for Anastasia Custom for a swap event. I didn’t think about it during the sketch phase, but the pink on pink colors with Macaroon’s hair looks pretty bad. They want to mold into a single pink blob shape, so I have to separate them somehow. Ayako had to be prominently displayed too of course. Sometimes I get asked what my favorite doll is among the customs I’ve made and that’s a hard question because it changes a lot. I think right now as I record this my faves are Ayako and Macaroon. Although I’m really fond of my Mermaid Cora as well. Hopefully, it comes across with the characters I created but I love making dolls in a variety of styles. I try to have a large scope with my artwork because I’ve never been the type to limit myself to one thing. Variety is the spice of life, as they say. Of course there are artists who do the opposite. I know many talented artists who study and perfect one type of face to the point where it’s the most beautiful thing in existence. I could never do that. I think I’m way too experimental and I always want to look at something new. I’m interested to hear how you guys approach your artwork. Are you an all over the place jack-of-all-trades type of artist or perfectionist of a specific niche? Or something else. I really would like to know. That’s what makes artistic expressions so incredible, because it’s as varied as there are types of people in the world. Sorry, may have gone off on amusing there. That’s why I write scripts for my videos. I had to pose Ty in a way that shows off his mechanical arm. I tried to use rougher brushes and more texture on his character to make him appear rugged and masculine. Although he’s still surrounded by poofy pink dolls, so what can you do? Peeking out from Ty’s mohawk we have my tiny Christmas angel doll accompanied by the mini Unicornos which were both sweets themed. I was just bragging about how I love variety, but I do admit I come back to sweets as a topic fairly often, don’t I? I thought it’d be funny to have Xerneas in the back, clearly way too big to fit in the photo with everybody else. Maybe not even sure what’s going on. Vaporeon and Jolteon made it in and Flareon does too although I add her at the end. That way Eevee and the original three Eeveelutions were all together which felt right. He’s probably keeping an eye on me, or wondering like him and Ty are the only dudes in the photo. Cupcake is another fave of mine and of course she’s sweets theme. I thought her character would be the type to really ham it up and pose all cutesy-like with the heart arms. Kind of like me in real life. Cora is jumping up in the background here presumably out of water, but who really knows? If it looks good in the composition, it doesn’t have to make complete sense, right? Because she has brightly colored three toned hair, it gets a little confusing with the fins because they are also the same color. I pull out the fin’s edges later on but decided to leave the hair as sort of abstract blocks of color. She’s in the background anyway, I didn’t think it had to be really clear. I really wanted Khairin in this photo because this doll reminds me of my mom, so she’s cheering me on back there. Once again, we have a similar color issue like with the pink, so I’ll have to separate these shapes somehow. I did some environment/background artwork for a game called Skyhook a couple years ago and it called for a lot of ice and crystalline structures. I drew so many crystals that I got pretty good at it. So it’s basically all thanks to that job I can whip up sparkly gems fairly easily now. Just goes to show drilling something you’re weak at helps you improve. Because there weren’t enough characters, I popped my most recent stock box series doll way up at the top. A couple more characters even made it in at the last minute after her, but I wasn’t recording because I swear I was almost done. You guys know that feeling you’re like, “Okay, it’s done now,” and then 10 to 20 more things come to your attention. Then you’re like, “Okay, seriously, it’s done.” The last thing I want to show you before we call it finished is a nice trick with the layer blending modes. I often struggle with color and tend to make each separate object its own separate color, which isn’t great for painting. I want more gradients of colors within the clothing, skin tones, hair, etcetera. So I paint all sorts of blue and purple shadow colors onto a separate layer and then set it to color. See how much more wholesome and interconnected the painting looks with that? Ideally I could think to paint it this way the first time, but it’s a handy tool to have. I also painted on highlighting in certain places which I felt could use more separation, like the similarly colored characters and also to make the gems appear more glowy glowy. Because you can never have too much sparkle. I considered foreground sprinkles or maybe flowers but nah. It’s already a complicated image it didn’t need it. And with that this massive illustration is done. Obviously it’s sped up but if we total the original footage’s time it took me about 14 hours. That’s double my usual for a digital painting, wow. There were so many characters. This digital painting will be available for purchase on my Society 6 store if you’d like to own it in any way shape and form. Or if you just like to use the digital file for personal use like desktop wallpaper. I’ve included a link to that below in the description box as well. I wanted this drawing to be packed full of characters that represent Dollightful of course. But I also hope it makes you feel happy and welcomed, and that you’re going to have lots of fun here together with everybody. That is what I tried to depict in this painting, and that’s also how I hope you feel when you watch a Dollightful video. So, thank you so much for watching and stay artsy! Annyeong!

Focal Length Explained 1 – Don’t just zoom – MOVE!

Focal Length Explained 1 – Don’t just zoom – MOVE!


Quite often when you go out shooting
with your camera you’ll probably see a scene that you think’s interesting; frame
it up a bit and then zoom around with your zoom to try and get the composition
that you want, but there is a much better way of doing things than this. If you
consider your zoom as a selection of prime lenses, by prime lenses I mean
lenses which can’t zoom, they have fixed focal lengths like 18, 40, 50, 90, 150 whatever it may be. If you use a prime lens you can’t zoom
so you have to move yourself backwards and forwards in order to frame the shot
that you want. When you start controlling your focal length you can control what
the picture looks like, what’s in it and what isn’t, but how do you know which
focal length you’re going to need for which shot that you’re going to take? I’m
going to show you but to do so I’m going to need a nice, friendly, helpful
assistant called Natasha. Hello Nat! This is Jane’s daughter Natasha and
she’s kind of… well I guess I’m your evil stepdad am I that bad?
– Ahhh I can put up with you Mike Ah she’s sweet! Right Nat, could you come and stand here for a moment, go that way
a little bit, there we go – perfect. supposing Natasha and I were standing in our own the garden or something rather than in the street which is a little odd,
I might just think ‘Ah there’s Nat, that would make a nice picture’ stand there and zoom
around and just sort of zoom in and out like that and take a picture and it’s
going to be okay, but I could get a better result if I chose the focal
length for the shot. I’m going to show you a little exercise here which I would
like you to repeat afterwards. What I’m going to do is take the same picture of
Natasha over and over again but at different focal lengths, so you can see
what happens to the environment around her. Now this is going to involve a bit of
lens changing and fiddling around so you may have to bear with me for a minute.
Nat can we go over here? The reason I’ve chosen in the middle of a street is
because you need somewhere which has got sides that go off into the distance and
that has an end behind. Now it’s really important when you compose your shot that you compose it exactly the same each time, so I’m going to give Natasha probably about
a hands width of sky above her head, that’s going to be the very top of the
picture and the bottom of the picture is going to be this seam at the top of
her dress – that will be at the bottom of the frame each time. So first off 10
millimeters, now I’ve got to get right into your personal space here Nat to get the
seam at the top of your dress and only a handful of sky there it is – oop no – there it is – perfect. Now zoom the lens, I’m going to double it to 20 millimeters and do the same thing.
Now that’s made Nat come closer so I’ve got to move back a bit and that’s
only subtle – there it is. All right now we’re going to a longer
lens, from 20 millimeters (camera straps drive me me on the bend)
let’s go to 35 millimeters. So frame the same shot, now I have to move back
because the lens has got longer – again handbreadth of sky, seam on the dress,
excellent. Let’s double that, let’s go out to 70 millimeters so again, she’s
really filling the frame now because it zoomed on to her, so I move back a
bit and very carefully line up – this is a great exercise – oh you blinked, don’t blink!
Right, there we go. Now we want to go out further. I’m gonna
have to change the lens because the next set of focal lengths go out a long way.
We’re going to go from 10 millimeters right out of 500 that means I’m going to
use a whopper of a lens. Even if you don’t have lenses this kind of focal
length, please go and repeat this exercise because it really will help you
understand what on earth it is I’m talking about. Now with the last one at
70 I’m to do the next one at 150, so I’ve set the zoom on the lens I’m not going to
zoom in and out I’m going to frame the shot up with Natasha. Oh look that wasn’t
a bad guess, I’m actually going to go a little bit closer, here we go… train your
eye to look around the viewfinder to line up these gaps like the the bottom
of the dress and the hand breadth of sky. Let’s zoom then on out to 250. Again
Natasha will have come closer in the lens so I’ve got to move back to get the
same shot. Here we go, line up the elements, the gap at the top
and the seam on the dress and then finally we’re going to go all the way out from
250 to 500 millimeters so I’m moving back again. The environment behind
Natasha is changing with each of these shots and this one I promise, you would
never know we were standing in a street… but there’s a lot of fiddling to
get this right – still too close – there it is Good stuff. Nat! Come and have a look So beginning at 10 millimeters, here we go.
Here you are at 10 millimeters. yeah you see how it’s pulled Natasha’s face forward? But look
I’ve got the bottom of the picture as the seam of the dress, the top of the
picture but a handbreadth of sky. As we move on from 10 to 20, see how it’s
changed? Natasha has got a more normal shape. Also look, the cars and
the houses jump forward as we flick between them. Moving on out from there I
think we went to 50 which is a much more normal looking Natasha.
As we move on through – oop we want the other camera as we’re now out to 100 or
so. You see how everything’s starting to take a step forward
each time we extend the focal length until now you don’t know you’re in a
street, and we get to the very last shot there’s no hint of a house or anything.
We’ve just got a clear grey background which is actually the tarmac of the
streets as it goes off up the hill in the distance. This is all you need to do, it
doesn’t matter what you practice this with. If you don’t have a Natasha to take
into the street just put your camera bag on a table in the park or something like
that and take the same shot over and over again, changing the focal length and
moving back so that you get the idea of what’s going on
to the environment and then look at all the pictures one after the other.
This isn’t just the realm of a digital SLR you could do the same thing with a
little compact camera anything that has a zoom on it. If you’re cycling along the sea wall you might not want to carry a monster like that.
Natasha would you mind? We’re going to do a very brief one. Here you go, over
there a bit. If I set the zoom to its widest take the same picture of Natasha getting
right into her personal space, good stuff Nat, and then zoom it to it’s
longest zoom, do the same thing move back. You know if you’re at a party and just got a little camera and you think ‘Oh I’ll take a picture…’ There we go, as you can see the
two are very, very different. Don’t just think I’m going to go and try this in
the morning. Once you start treating your zoom lens as a series of prime lenses
and moving yourself around not being lazy, you’ll really set loose the magic
of your camera and your photography. Don’t leave it, get out there right this
minute! Go and try this.

Raspberry Pi Camera Setup Tutorial for Beginners

Raspberry Pi Camera Setup Tutorial for Beginners


Dear friends welcome to another video! This
is Nick from educ8s.tv and today I am very excited because we are going to see how to
use the Raspberry Pi camera module! Let’s start!
When I first received my Raspberry Pi, about a month ago, the first thing I wanted to have
was this camera module. I have a passion for photography and from the moment I saw this
module I came up with many project ideas. It is an impressive little device, it has
a resolution of 5Mp for still images and it can record FULL HD video at 30 FPS. It is
also very small in size and it costs around 27$. Gearbest.com website was kind enough
to send a sample unit in order to test it and share my thoughts with you. Thanks Gearbest
for supporting our channel! You can find a link in the description of the video if you
want to buy this module. Let’s now see how to connect the camera
module to your Raspberry Pi. I am using a Raspaberry Pi model A+ here,
but the camera module works on any Raspberry Pi board. Be sure to unplug the Raspberry
from power before connecting the camera module to it. Next all you have to do is to connect
this ribbon cable to camera connector on the Raspberry Pi board which is next to the HDMI
output. The shiny side of the cable must face the HDMI port. You then have to lock it down.
That’s it! Let’s now go to the computer to see how to use the module.
After booting up we open a console window and we type the following two commands in
order to update the system to the latest version of the available software.
First we run the command: sudo apt-get update Next we run the command: sudo apt-get upgrade
This may take some time if your system wasn’t updated recently. After the upgrade of the
system is completed we can run the following command: sudo raspi-config
From the menu that appears we have to enable the Camera module. After doing that, we press
the finish button and we are asked to reboot the system. That’s it. When the system reboots,
we are ready to use the camera module. Let’s take some still shots now!
I have connected the 5inch touch display I showed you few days ago, to the Raspberry
Pi board in order to see what happens when taking a still image or a video. You can use
your monitor instead with a HDMI cable if you don’t have a small display like this.
In order to take a still show we have to use the following command:
raspistill –o imagename.jpg –stats When we execute the command, at the display
we can see a preview window for 5 seconds and then a still image is captured.
We can use any filename we like after the –o flag at the command. You can see that
the image has been created in my Desktop because I was running the command from the Desktop
folder. In order to capture a video we have to use
the following command. raspivid –o testvideo.avi –t 10000
That command creates a video with a filename testvideo.avi and a length of 10 seconds.
In the display after running the command we can see a preview of the video and we can
then find the created video in the Desktop folder. But now let’s go outside and take
some real world images and footage. That’s a still image from the medieval castle
of Mystras, here in Lakonia, Greece. In the background you can see the modern city of
Sparta. That’s the slightly edited shot and that’s the original. The still image
needed some color correction, and straightening. Now let’s see a 10 second video of this
place taken with the camera module. You can find the raw image and video in the description
of the video. As you can see the quality of the images and
the video is impressive for such a small module. I am really very pleased with the results.
One disadvantage I can see, is that the module does not support focus or autofocus. It has
a fixed focus at 60cm and more. That’s limiting, but there are many very interesting projects
we can build with this module. I have many projects to build in mind. You can find them
in this website, www.educ8s.tv/ideas. In this webpage you can vote on which ideas you would
like to be built first, or post your own project ideas. I plan to work on the projects with
the most votes first. So consider voting the projects you like and help me decide which
projects are more useful and interesting to you, the viewers of the channel! Thank you
in advance! If this is your first time here, I would love
to have you subscribed. In this channel I post videos about DIY projects every Saturday.
I love making things and I believe that anyone can make things, anyone can become a maker.
That’s why I created this channel, in order to share my knowledge with the community and
learn from the community. I hope you will join us. Until next Saturday, Watch, Learn,
Build!

Fuji Guys – FUJINON XF16-80mmF4 R OIS WR – First Look

Fuji Guys – FUJINON XF16-80mmF4 R OIS WR – First Look


Hey everyone. Welcome back to the Fuji Guys channel. My name is Gord. I’m here in Whistler, British Columbia. I’ve got the
brand new fujinon XF16-80 lens with me, so I’m going to be going out around the
village and take some shots. If you want to find out more about this lens,
keep on watching. The XF16-80 is equivalent to a 24-120 in 35mm
film photography. It’s about 40% lighter, so for example, if you have a
mounted on an X-T3, as I have here it’s less than one kilogram or 2.2 pounds. This
makes it a great camera to be carrying around all day without having to worry
about the fatigue of the extra bulk of having a larger camera system.
The aperture range goes from f/4 to f/22 in 1/3 stops And if you wanting to add filters to the front of the lens it’s a 72mm filter thread. The
lens features an f4 maximum aperture and the lens aperture remains constant for
the entire zoom range this makes it so you can have a fairly shallow depth of
focus through your entire zoom range. The lens is WR, weather resistant, so
in less than perfect weather conditions you can still keep taking and shooting
your pictures. When paired up with a camera like the X-T3, as I have here, makes it
a great all-weather camera games for those of us that live on the
west coast of Canada. The lens features six stops of optical
image stabilization. While there’s no switch on the lens to turn that on and
off it is accessible through the camera menu. You can even customize one of your
function buttons to be able to turn the OIS on and off. Six stops of image
stabilization, especially when you’re a full zoom at the 80mm mark
really helps to help prevent the camera shake that may happen, if you happen to
be holding your camera out versus having it up against your eye. The XF16-80mm
lens has minimized the focus breathing. Where this comes in really
handy is when you’re shooting video and so that as you’re changing focus as your
subjects get closer or further away it really helps to prevent this drift that
can occur when you’re shooting with video. It also features a stepping motor
which helps to minimize any noises that might be recorded when you’re recording video.
Size wise the 16-80 fits in between the 18-55 kit lens in the 16-55 F2.8 lens
and as far as image quality and performance go it falls between those
two lenses as well. Wih this longer focal range as well as weather
resistance it makes it a great lens you can take everywhere. That’s just a few experiences that
I’ve had today with the Fujifilm XF16-80 millimeter lens. Hope you enjoyed
watching it. If you liked this video be sure to subscribe to our YouTube channel.
You can also follow us on Twitter and follow us on Facebook as well. Until next time, I’m Gord, of the Fuji Guys.
Thanks for watching.

Using a Tilt-Shift Lens for Focus Control – Video & Photography Tutorial

Using a Tilt-Shift Lens for Focus Control – Video & Photography Tutorial


♪ [music] ♪ – Stick to the end, because there’s
a great giveaway for you. So check that out at the end of the video. No skipping
ahead. ♪ [music] ♪ – [Man] We’re out here at the Chino airport
at the Yanks Air Museum. And we got the 82nd Airborne with us. We’re going to get
on this C-47, we’re gonna do some great shots of them, as if they’re parachuting
out. We’ll have smoke coming in the airplane. We’re gonna set three lights to
make this happen. Using the sun, we’re gonna cross our color balance. We’re gonna
shoot tungsten but let that sunlight go blue in the background. One of the things we’re going to use
today is a tilt-shift lens. Which is a great piece of equipment, cause it’s going
to allow me to shift my focus from the person in the front to the person in the
very back. Or I can shift my focus the opposite way. And just keep the person up
front in focus and let everything fall way out. So let’s play with this tilt shift.
Let’s see what it does. Let’s break this down. Let’s go ahead and get started. You
guys ready? – Yeah. – Alright, let’s go. – You know before we break in the
lighting lesson, let’s talk about how the tilt shift lens works. And how we can use
it as a creative tool for our shot today. I have a 45mm, 2.8 tilt shift lens. I like
the focal length because it gives me a great focus effect and I can use it in
small spaces, without distortion when I’m shooting people. So it’s more of a normal
lens, with people. There are other tilt shift lens out
there, but this one is really a safe choice. I love the 90mm, but it’s long and
that focus effect is very dramatic. But it’s very cool looking. There’s also wider
angle lenses, a 24 and a 17. But those, again, the wider angle lenses, they don’t
show the effect quite as much because they’re more wide angle. I think the 45 is
a pretty good choice. If I stand straight onto my subject and
point my camera straight at the subject. The background is just gonna fall out of
focus, equal on each side. It’s a normal look for a lens. If I swing my lens to the right, the
subject and the left side of the background will come into focus. And the
right side of the foreground will fall out of focus. Here’s an example in this close up
image. The subject and the front nose of the airplane are in focus, as we swing the
lens to the right. When I swing my lens to the left, the subject and the right side
of the background will be in focus. We see the left side of the background as very
out of focus. And the right side over his shoulder, is sharper. This is based on the fact that we have
to move the focus back to our subject, each time we swing the lens. So we swing
the lens, refocus on our subject and we’ll get this effect. Here are some of the
images that represent this principle. In these shots, the lens is only swinging
right or left. It’s not tilting up or down. Let’s now look at tilting the lens up
and down. On the side of the lens, you can rotate the lens 90 degrees and now the
swing, from right to left, becomes an up and down tilt. Let’s take some images of
Alla in her Dickens dress, to see how this look works for portraits. Again, if I stand straight on at my
subject and point my camera at the subject. The background will fall out of
focus equally on both sides. The lens is not tilted. As I tilt the lens up, the
background above her head will go out of focus, and the background below her will
come in focus. – Now as I tilt the lens down, the
background behind and above Alla’s head, is going to be in focus. ♪ [music] ♪ – Let’s see how we apply this principle in
our shoot today. We’re going to set up inside this C-74, with the 82nd Airborne.
The door will be open, we’ll direct smoke to flow into the door with the Rosco 1700.
We’re not gonna fight the sunlight, but we’re gonna set our color bounds to
tungsten. And set that sunlight go blue, and let it stream in the windows and door. I’ll be shooting at 0.002 of a second,
shutter speed and F 5.0. The ISO is set at 160. This is going to allow us to shoot
strobes inside the airplane, and balance them with the sunlight streaming through
the door. I can crush that sunlight just enough, to be able to make the strobes
work with it. We’ll be using Dynalite strobes today to
light our scene. Here’s our first shot set non tungsten, with just the sunlight
coming through the door. We will now add an Octodome, bouncing
into a 39 inch light panel. The soft light of the box, even becomes softer, as we
bounce the light out of the reflector. The area is very tight and space is a
consideration. We were able to push the reflector against the wall of the airplane
and keep the Octodome out of the way, as we bounced it in the reflector and onto
our subject. Here’s a shot with the soft key light.
The light is just behind the talent, so it let’s the shadow fall towards the camera
and looks like the light is coming from the door. We now added a Dynalite travel
head, shooting through two layers of the fusion material, that we tapped into the
airplane doorway. This becomes a nice fill light, to open
up the shadows. The Rosco smoker created the look of clouds out the door and hid
the fact that we’re sitting on the ground. The tilt swing lens was swung to the
right, making the background out of focus on the right hand side. The door is very
out of focus. The other soldiers are pretty much out of focus, because the left
side of my focal plane goes out of the airplane and doesn’t land on any subject
matter. With the lens swung to the right, I can
walk the focus along the row of men and only focus on a single person at a time.
It’s make this a very selective process to isolate each individual. I love the way
the focus of this lens can single out an individual person and let everything else
fall way out of focus around them. It’s a great look. We finished the shot off, with a few
shots of the door, using natural light coming through the door. I moved the color
balance back to daylight and allowed the sun to just stream into the plane, through
the smoke. The lens is swung to the right and the two on the right are in focus. Here the lens is swung to the left and
the man on the right is out of focus. This keeps the emphasis on the man at the door. We had a great time at Yanks Air Museum
at Chino, California. They were wonderful to us and allows us to come and shoot
there. We really wanna thank them. It was great to work with them. Also, the 82nd
Airborne, the guys who came to work out at the Yanks Air Museum at China. They were
also there, they were a great support. We really appreciate them as well. So it was a great shoot. I do love the
tilt swing lenses. There are however, a few things to consider. It’s hard to focus
and it takes a lot of concentration. The auto features don’t work. Auto focus
does not work and getting exposures is a bit tough. It’s best to set the exposure
when the lens is not swung, and keep the exposure as you swing or tilt. They work
great for so many applications. I see them a lot, being used for weddings and
portraits. They give you such a great look. They are a bit expensive, but a
great rental from a place like LensProToGo. LensProToGo will send one of these out
to you, it’s very reasonable. You can get it for your shoot, then send it right
back. Go ahead and keep those cameras rolling. Keep on clicking. We’re offering a free download, that was
put together by our team Adelaide Lawren and Hector Olguin. It’s sponsored by
Squarespace. But it’s a great free download on how to design your webpage,
your landing page. So it’ll bring people in and convert them into clients.
It’s called “The 7 Steps To a Landing Page That Sells” so go to theslantedlens.com/7steps
and download this free download. It really is a great download that will teach you the things you need to do, to
set up a webpage that shows your great photography. But converts the people that
come there into clients, that want to hire you. It’s “7 Steps to the Landing Page
That Sells”, free download sponsored by Squarespace, check it out on
theslantedlens.com/7steps. – Hi, this is JP Morgan. Today on the
Slanted Lens product review, we’re going to talk about Spider Holster’s single
camera belt system. I’ve used this for now, over a year and a half. I love the
system. It’s great because on the bottom of your camera, you’ve got a great plate,
it screws onto the camera. That pin, allows you to just simply drop this into
the groove. It falls with the lens away from you, so that the camera is sticking
out, lens is back. Just a very convenient place to get it. It’s easy to pull it up,
to go into shoot mode. Drop it right back down when you don’t need it any longer. It does have a clip here, you can push
that clip down, so that it wont come out. It’s locked into place. Or, if you’re
going to be going in and out, in and out. You can click it up like this, which
allows it to come in and out quickly. Or, when you push it all the way down, now all
you have to do is push it down, pull it up like that and it let’s it come out, but it
locks back in place when it comes up. So just an easy system to go in and out.
I usually use it in this mode here, where I’m locked. Then I just kinda push it up
as I pull it out. But then I know it’s locked into place when I go and I don’t
have to worry about it coming back out. On the belt also, I have a 200mm pouch.
Which is a really great system. It’s got a rain cover for it. You can detach the rain
cover, if you’re not gonna be using it. Just let it sit with the Velcro in the
back, and rolling it up and getting it out of the way. Or you can completely take it
off, if you want to get it out of your way. And I’m just gonna set it aside for
just right now. In this system, I love it, you’ve got a
zip pocket, allows it to expose your 200mm lens. There’s a lens cap that has a Velcro
piece on it. So you can take your lens cap on and off and you don’t loose it. You can
just leave that, fall to the side. – Now what I do, is I just flip the camera
up like this. So my camera is up, makes it easy for me to take this lens off. Pull
this lens out, drop this one in. And then I simply drop this one on top. Clip it
back around and then I’m ready to go with the 200mm lens. Dial cap this back off,
here. Zip it up, and I can go back to shooting, now with my 200mm lens. You know, you get faster at making that
change after you use this quite a bit. This just give you a decent place, so your
lens is not, you don’t have to set it down on the ground and search for it. The cap
is always there because it’s on the Velcro. Just makes it easy to switch this
back and forth. So I find this a very successful system
for using. And I think it’s something you’ll really enjoy using. If you’re doing
wedding and this, this is a great piece of equipment. ‘Cause you can have a single or
a double camera set up. So you can go back and forth with two different lenses on
your hip. You don’t have them banging around. I mean obviously, they’re at your
hip and you gotta watch ’em as you hit on things. But it’s not as, kinda cumbersome
as on straps, as you kinda fly around as you move in them. I find this really nice.
They’re contained, they’re held tight to your body. And I just know where they’re
at. It’s much easier to use. So check it out, it’s called the Spider
Holster Pro Belt System. It’s got a little thing called Spider Monkey also. That has
on the side of both the pouch and I’ve got a couple on my belt here. But those are so you can put a piece of
equipment. Piece of Velcro goes on your equipment, just snaps on there. Can use
for light meters or you can use it for a small flash. Just a great way to hold just
a few extra things on your belt. Take it on and off using that Spider Monkey
System. This has been JP Morgan for the Slanted
Lens product review. So keep those cameras rolling, keep on clicking. – Hey everyone. Gone to theslantedlens.
com to sign up for all your free gear that we’re giving away? Who cares about gear
anyway? There’s Spider Holster equipment,
there’s Photoflex equipment, there’s stuff from Squarespace and there’s some great
stuff from LensProToGo. So get over there. I’m heading there right now. ♪ [music] ♪

DIY High Speed Video Camera – Muybridge Style  – Smarter Every Day 5

DIY High Speed Video Camera – Muybridge Style – Smarter Every Day 5


[Music] Hey it’s me, Destin. The idea, here at Smarter Every
Day, is to make you smarter. I guess it was 1872, the
governor of California tried to solve the age old question: When a horse runs, are
all four of its hooves off the ground at any point in transit? Now, artists of the day
liked to show images with the horses’ feet up front
and in back off the ground. So he commissioned a guy
named Eadweard Muybridge to create a series of images
while the horse was running. Now, Muybridge was pretty sharp, so what
he did is he strung some strings out, and had a man ride the horse
through the series of strings and each string was
associated with a camera. Basically, it was a time of arrival switch. So, this was pretty interesting. Now this is a pulse
generator, given to me by acompany in Montana
called Quantum Composers. It is amazing. It is a time machine
without the flux capacitor, basically. Time for science. What we’re gonna do, is we’ve
got a piezoelectric transducer rigged up to this thing
on the trigger input. All you have to do is just trigger the
thing acoustically and it flashes. And this is programmable down to
the 25 picosecond resolution. Here’s a 1.8 second flash after…
[snaps fingers] the sound. So, it’s pretty awesome. Anyway… So what we’re gonna do is to create a
series of high speed photography images and put them together in a video, just
like Muybridge did, back in the day. So, let’s do it. Weapons are not toys. What you’re about to see was
done by educated, experienced personnel in a controlled environment. Be smart. Let’s load. Muybridge bullet, take one. Here we go. [Gunshot] [Pulse generator beeping] [Gunshot] [Pulse generator beeping] This is what the video looks
like straight up, just as shot. And this is what the video looks like once
I correct for the ballistic variance, And go in there and, uh… put
them in order, in distance. So, pretty cool. Okay, so some of you are thinking,
“that’s awesome! No clue what it means.” So let me explain. Commercial high speed
cameras are very expensive, But what we’ve done, for repetitive events, we’ve created one at a
fraction of the cost, and at 7 times the resolution of 1080p. So like Muybridge, we’ve
combined simpler technologies to create something that was
technologically out of our reach. It’s pretty cool. I’ve got some improvements
to this, keep an eye on me. Alright, it is way too late to be
playing with guns and time machines, so I gotta go to bed. Um, today we did art, science, math…
a little bit of history, we played with guns and cameras. That’s pretty awesome. So if you would,
subscribe and tell all your friends, I’m sure they’d enjoy this stuff too. I’ll put a link down in the info
on the video, please click it. The least you could do is
check the website out. If you’re an engineer, it’s
really really cool stuff. I got my dad a chicken, for father’s day. And I want to show you a
pretty interesting method that chickens have to
keep their heads stable. You know, in guidance and control
you have feedback loops, and so you have to know your position and where your relative motion is
going so you can compensate for it, but chickens are really good at this so… I’ll show you. Watch his
head stay totally stationary as I move his body… Captioning in different languages welcome.
Please contact Destin if you can help.

Canon EOS C100 Digital Video Camera

Canon EOS C100 Digital Video Camera


Canon announces the new EOS C100 Digital Video
Camera. The C100 digital video camera is a compact,
affordable entry-level model delivering full 1920×1080 HD video and integrating the popular
AVCHD codec for universal compatibility with laptop and desktop editing systems.
“The C100 is designed for economical productions that need sophisticated HD capabilities and
optical lens diversity.Ó The camera features: a push auto iris function,
one-shot auto focus (or full manual focus and exposure control), a multi-angle 3.5-inch
LCD control panel, a high-resolution electronic viewfinder, built-in ND filters, dual XLR
inputs, and a locking HDMI output. The Canon EOS C100 will sell for around $8000
and will be available November 2012.