The topic of “pro gear” comes up quite often. What is it? Does it make a difference? Will clients and other photographers look at you differently if you’re not using it? The short answer is “probably not”. It really just depends on whether the gear you’re using delivers the results you need. In this video, Matt Granger talks about what “pro gear” means to him, and what he believes it should mean to you....
As you know, there has sadly been a raft of camera thefts in San Francisco of late, putting a spotlight on places you might want to think twice about hauling expensive camera gear with you the next time you visit. The news reports on the thefts usually aren’t very specific about the exact location of the heists, so I thought I’d simply point them out here, in a little more detail, before you, like me, get victim to camera theft in the city....
Submerging your film in liquid might not seem like a good idea, but when done properly it’s a photography technique that can garnish unexpectedly beautiful results. Without any post-processing work, you can get a distorted effect with vivid streaks of color and interesting textures. Photographer Polina Washington is an expert in these “film soups” and describes the process as a risk that could destroy your work. “But, if even one image turns out well, it’s worth it,” she says....
I don’t know about you, but to me, this is a thing of absolute beauty. YouTuber LazyGameReviews just posted a video of the 1993 first-person shooter, Doom running on a Kodak digital camera that isn’t much younger than the game itself. The Kodak DC260 was released in 1998 and, surprisingly, it seems to run quite well, too. The Kodak DC260 had a price tag of around £800 in the UK when it was released, which sounds pretty insane for a 1....
I’m not entirely sure how recently the above commercial for 7-Eleven was released (I’m in the UK, not many hhere), but when I first saw it, I thought for sure that it was just some pretty neat CG. It turns out, though, that it was actually shot 100% practically and for real by none other than Steve Giralt and his team. Yeah, I know, I was quite surprised, too. While a computer was used to previsualize and programme the moves, the actual sequence was shot on a Bolt motion control robot arm....
