Roberts Raw!

› archive for ‘Lighting’


Being Flexible...

Most photographers worth their beans know that unless you are shooting video, LED panels aren't going to provide you with enough light to shoot the kinds of still frames you can when you use Speedlights, or large studio heads. It's a given. Regardless of that fact photographers will admit that LED panels aren't going away which is why when the folks over at Roberts Camera called and asked if I'd like to play with some of these new Wescott Flex panels I said "Yea lets give them a shot". (See what I did there?)

xflex-led-westcott-daylight-3_2(Photo from Robert's Camera's Website)

First off I'll say as usual that I wasn't paid by Roberts or Westcott for this review and that I'm doing it for the sheer pleasure of being able to play with the newest toys first. With that said, I'll continue with the fact that the biggest issue I have with LED panels is that in my humble opinion they aren't bright enough. Simple as that. Sure, you are using a much slower shutter speed when shooting video (1/30th or 1/60th) as opposed to stills where you are all the way up to 1/8000th depending on the situation, but that's besides the point. The point is that a LED panel doesn't need to be crazy bright unless you're outside shooting where normally a reflector takes the place of a LED panel. When shooting video the LED panels can be great for just throwing some fill in, but they are nowhere near as portable as a good speedlight or reflector. Despite what you may think, a good set of LED panels can be heavy and cumbersome. NO, they are not heavy and cumbersome like a 500watt halogen, but they are still relatively bulky and you end up needing to sort out a way to transport all this stuff to and from location. Between the bulkyness and the brightness, those are some big problems for every day use on the go yea? Not so with the Westcott Flex.


The Flex is only 5mm thin, and it's totally flexible. That means that it can be clipped or clamped to just about anything, as seen above and in the video below. I don't have a Gorilla pod, but I'd imagine that a gorilla pod adapted to mount a flex on it would be incredible. Not as a gorilla pod would normally be used mind you, but with the bendy flexy legs made to attach to the Flex unit, so that you can still mount it anywhere but you keep the flexibility of your flex panel. Put it in your backpack with your laptop and take it with you. Simple as that. Forget needing a carrying case or having to worry about the bulbs breaking or ect. There is a protective coating over the Flex that protects it from most things; including water. It's weatherproof rating is for lack of a better term more like Splash proof meaning that you wouldn't want to use it in a pool or run it through the dishwasher to clean it but I wouldn't worry about it if I was outside filming with it and it started to rain a bit. It goes from 5% power to 100% power which in total is 1900 lumens at a little over 3 feet. To put that into perspective, you see that florescent light you are more than likely sitting near? That's only 800 lumens. Not kidding.


(Nikon D4s, 400ISO, Sigma 50mm F1.4 Art, 1/100th@F6.3. Nikon SB900 set to iTTL with a blue gel for the background tirggered by a Nikon SU-800 on the camera. Main light was the Wescott Flex using the 1/4 stop diffuser that comes with the kit).

Don't believe me on the brightness? Check out this video version of this blog which also illustrates how bright the Wescott Flex Actually is!

Shot with a Nikon D4s and a Sigma 35mmF1.4 Art. Camera controlled by the CamRanger for filming. Audio is only ok, for whatever reason my Rode Shotgun wasn't in its normal case so I decided to film without it.

So yea. I was shocked when I turned it on for the first time too. I have a great photo of my Shannon Grimacing when I turned it on for the first time to take a portrait of her to see how bright it actually was. I promised not to post it, which is why I can only recount the tale and reassure you it is quite the photo demonstrating brightness. The photos in this post however also describe how bright the Flex is considering the background light was a speedlight! That's right, the main light in the photos was the Wescott Flex, and the supporting light was a speedlight Speedlights! I also managed to keep the shots below 400ISO the whole time depending on what effect I wanted to achieve. (See the same shot above with different settings HERE). If I had to pick one and only one thing that you should be aware of if you are considering buying a Westcott Flex, it would be that the unit still requires some sort of household power. You can get away with using a Westcott Encore unit however, or other battery pack with a 12 volt outlet so it's not a big deal. The kit also comes with a waterproof 16' extension to the cables also giving you a lot more roaming around space. Until however there is a battery solution though, you will need to use the Encore or other outlet based power solution.

So the punchline is that the flex is a LED panel is here to stay, and in all honesty the first panel I'd consider adding to my kit. It's a beautiful piece of tech, and if you shoot video the fact that it's daylight balanced already should be a real selling point. If you're shooting video and want to snap some stills I feel like the Flex is finally to a point where photographers can consider just snapping away as they aren't going to need to crank their ISO into unheard of territory in order to get the shot at a reasonable quality. That's huge for newspaper folks who have to shoot still AND video on a regular basis.

If you're interested in a Westcott Flex follow the link to Roberts Camera here in Indy. (They also sell the Encore) Call, email or just go visit they are good people.

Otherwise, more soon.




It's not every day you get a phone call asking if you are interested in using a softbox larger than you have ever seen. (20 feet long to be exact).  To a photographer that is all about lighting, it's hard to say no to that; and I didn't. It turns out that a softbox larger than I have ever seen was an understatement. This softbox wouldn't even fit in my two car garage. IT WAS AWESOME.

Capture One Catalog0032s

So lets back up a bit. The call I got was from Jody at Roberts and it was in regard to an automotive softbox they had built in their classroom to show to prospective clients. Problem was that my hero Dave Black was coming to town for Roberts grand opening and they needed to get the softbox out of there. First however they needed to do something awesome with it. Enter Dandy Horse. Dandy Horse is a bicycle that Robert's Camera's web Guru Derek Martin restored to it's original glory. Beautiful Bike, great subject for such a glorious softbox. The carpet in the Robert's classroom was a bit odd, but I think it actually worked out just fine.

Capture One Catalog0109s

Setup was the epic softbox which included 6 Dynalite heads and two 1600 watt second packs. Being that these are Dynalite Studio heads, we were able to ramp them all the way up to Full power and Hypersync the camera to them using my Pocket Wizard TT1's and TT5's which was super sweet because it allowed John and I to shoot at a very shallow aperture by adjusting only the shutterspeed and aperture, as opposed to needing to change light power or used ND filters. The hypersync even created somewhat of a dark to light gradient in the photos, which was greatly preferable to the relatively evenly lit shot created by the gigantic softbox. For an automotive shot, I would prefer the shot to be lit very evenly at the 1/250th@F8 settings, but for the size of the object we were shooting, the slight gradient that the Hypersync created was a nice touch.

Capture One Catalog0126s

The giant softbox is better illustrated in the video on my site as well as there is a breakdown of components all used in the softbox and the shoot. The equipment used was a Nikon D800, various Nikon lenses (70-200F2.8VR2, 24-70F2.8N, 14-24F2.8N ect), Macbook Pro which was powered by one of the new Wescott Encore units, Tethertools Aero table, Tethertools Aero Hard Drive caddy, Tethertools Articulating Arm, Tethertools 50' USB2 Orange cable, Capture One Pro 8, Pocket Wizard TT1's and Pocket Wizard TT5's, and the Automotive Softbox Featuring 6 dynalite heads and two 1600w/s packs. All photos above taken by either myself or John Scott at Roberts. Cheesy music from the video on my site is from a 15 Year old Free play Royalty Free music CD. You're welcome.  View the video here.

Really cool experience, really cool custom product from Roberts. If you're an auto dealership or shoot vehicles inside of a studio space you should consider it a option as I can't think of an easier way to get awesome, magazine quality lighting on a car with very little effort. More Soon.

For more information about ANY of the gear that I use, please visit my gear page.


Lighting a Zepplin...

In my opinion, one of the hardest things about lighting is the modifiers. Lights are easy. You turn them on, some flash and some don't; and you point them at whatever you want to "enlighten". Yea, you have to pick the power setting, but that's the basic idea. Whether it's a speed light, an Alien Bee, a Profoto, or a desk lamp. The idea is the same. When it comes to modifiers though, there is a seemingly infinite number of choices for any and all occasions. Grids, gels, umbrellas (shoot through, and bounce out) ranging from 8"- 80"+ not including parabolic umbrella's, soft boxes of all shapes, sizes, depths, and levels of diffusion, and the list goes on and on like a song that never ends...

2014-06-08 10.41.06

Enter the New Wescott Zepplin Para 59" Parabolic reflector/softbox. Why is this a big deal? Just another soft box/reflector right? Yes and no. Broncolor, Profoto, Elinchrom and ect make large parabolic reflector octabox combo's as well. Theirs cost between $4,000-$7,000. Wescott's costs $699.90 for the big 59" one (which is the one I had for a few days). Kind of a big difference yea? It also comes in almost any kind of mount for your lights. In this case, I was also loaned a Profoto B1 500AIR TTL unit. You know, the one that does TTL? Aim and fire style? Yea. BOOM. Two piece review. In fact, lets start there with the Profoto so we know what we're looking at.


(Photo from Robert's Camera's website)

First off the usual bit about how I'm not getting paid for this. I just dig playing with new gear, which works well for me and the folks at Roberts that arrange let me do it because a lot more than I'd like to admit I end up buying a lot of stuff that I love. Yes, I pay for it like everyone else. If I don't love it though, I'll tell you. That's how it works. That said, lets do this.

The Profoto B1 500 AIR TTL is a new head from Profoto that puts out about 500 watt seconds of glorious dragon sunshine slaying power in the design as such that it's just a head. In fact, that's one of my favorite parts. The battery? Mounts to the side of the head. No cables, and no pack. NO PACK! It's just one piece for all intents and purposes, so put it on a stand and go. Quick obscure tip, oven roasted turkey bags are good to sit in a 500 degree oven for hours. They can handle the heat of your light just fine, which is incredibly needed when you are outside and it *might* rain. Not a permanent shoot outside solution, but a solution for if it might start raining that will allow you to finish up without ruining all your lighting gear. Also, I've had a question about breathing in the bags, and good call there. A majority of all heat coming from a studio head is actually coming from the Halogen Modeling light; which you don't want to use on battery power anyway. As as long as you aren't shooting for hours outside at full power in the rain, your lights will breathe just fine. With that I'll remind you the Turkey bags aren't a permanent solution, but a "lets just get this finished and go home" kind of solution.

Anyway, I digress. With the battery attached to the side of this Profoto head there is no more: which cable needs to go where, and how do I mount this to the stand, and do I need it to be X. Nope. It's all in one unit. Amazing. How about the TTL? I had a Canon 5D Mark II and a 28-70F2.8 while I had the unit, along with their TTL Transmitter for Canon. If I had to pick a weak point in the system this would be it. No; not the Canon 5D2, or the TTL. (The TTL was Flawless the times that I used it by the way). The Transmitter.


The transmitter (Subsequently called the "Air Remote") has a really beautiful LCD display that looks like it wants to show you all kinds of information about TTL, flash levels, rotation of the earth and the speed of photons in your area. It doesn't do a single one of those though, which for a $400 transmitter is an issue for me. If you set it to TTL, it fires at TTL sure. If you want to make changes (to either TTL or manual), it acts as you would expect also in that it goes up in 1/1oth stop increments per click, but holding the button pushes you up 1 stop at a time. That's all great. What happens once you get it set and take your shot? The beautiful Transmitter LCD simply reads Manual or TTL like you are just getting started again. The flash is still set the way that you had it when you set it not a second before so you don't need to reset anything; you just don't know what that is and that's terrible. Maybe Profoto's market is made up of much smarter individuals than I, who would remember where they had it set, but it was still unacceptable to me. I also concede that I'm spoiled by my Nikon SU-800 which tells me what my speedlights are set to all the time; whether in TTL or in Manual. In theory this is not a difficult thing to do either. (Theory because I'm not a rocket scientist, nor do I understand the magic behind how some of this gear even works). Why just not leave TTL +1.2 on the screen? Or even Manual +4.0? That way you at least have a base as to where you started. (The manual and TTL work the same way in that it's by stop, not actual power though. You'd need to know where you start with manual no matter what).


(Nikon D4s, 100ISO, Nikon 24-70F2.8N@44mm. 1/80th@F14. Profoto 1B500 AIR to camera left set to full power on a Manfrotto stand aimed direclty at the car. Paul C Buff Einstein unit set to 9/10th power to camera right aimed at the rear of the car. Both lights triggered by Pocket Wizard Plus X units, and on Battery power. Both units also covered in Oven Roasted Turkey bags.)

Ok, so you've heard a lot of tech speak about the Profoto B1 500Air TTL, so lets do some sample images. That above was a rental car I had a few weeks ago. I know, it's not a really cool or exciting car unless you love Toyota's, but I shot that with the Profoto B1 500 Air TTL, and a Paul Buff Einstein unit. I wanted to see how closely the output matched what they said it did, and sure enough without any doubts in my mind the 500ws was right about there even while on the battery pack. I was unfortunately only able to snap a few before it started pouring, but that's what led to the tip above about the Turkey bags.


(Canon 5D Mark II, 100ISO, Canon 24-70F2.8@55mm, 1/200th@F2.8. Profoto 1B AIR triggered by Profoto Commander TTL Transmitter set to TTL shot into a Wescott 32" umbrella)

This shot was my very first TTL test of the 1B air, and it was via an umbrella (not the Zepplin yet, but be patient). It was flawless; which using Canon TTL is an accomplishment in and of itself in my humble opinion. I put the transmitter on the 5D Mark II, and that was it. First shot. Obviously I shot more, but if I was looking for the correct settings they were there. Since I only had one lens for the Canon Body, I also had a Pocket Wizard Plus X attached to the Profoto Head, and I made a discovery. Not only did both the Air Transmitter and the Pocket Wizard plus X work simultaneously hand in hand with two different bodies and two different brands; but the TTL set the flash to a certain level and it stayed there. So basically if you only had one Air Remote, and you fired a few shots on TTL and then grabbed another body with a Pocket Wizard, you could shoot without having to change any settings while going back and forth. That's kinda awesome because forget guessing the power settings for Manual after shooting TTL if you have to change between a bunch of different cameras. It was probably a Happy Accident since I know it's not meant to be used that way, but I was impressed nonetheless because it meant shooting back and forth between Canon and Nikon systems was seamless.


Onward to The Zepplin. The Zepplin is a very special light modifier and I wanted to create something a little different for these few images because as it turns out I am not allowed to release the other stuff I shot with it yet. Before we get into that lets talk about the Zepplin itself. Beautiful light modifier. 59" of incredibly soft light. The outer panel diffuser fits very well, the inner panel snaps in easily and has a 2 stop diffusion in the center, with a 1 stop diffusion on the outside to prevent and eliminate hot spots. It's big enough that your subject can move around a bit and not force you to worry about moving your modifier like you would if you were using a small 16" speedlight softbox. The Zepplin's mount was really good too, with not one but two adjustment handles to help deal with the sheer size and weight of the Zepplin. (The thing is large enough to be a fort, or go camping in. Seriously). Reportedly there are some issues with a few of castings in the mounts out at the time of this writing, but I've been told that Wescott is in the process of changing those out Post Haste. The mount that I had WAS one of the defective units, however it did not impact my usage of the Zepplin one bit so if you happen to get a defective mount then by all means have it replaced; but it's not going to catch fire and explode or drop your Monoblock anything. The biggest thing that impacted my use of the Zepplin was actually the assembly process. If there is one and only one change I could make to the Zepplin, it would be that some of the poles need to be color coded to the mounting bracket to make assembly go much more quickly. In order to assemble it as it is, you need to lay the Zeppelin down flat and then make sure you get the two center poles on both the top and bottom first. This would be significantly easier with a dot of nail polish to mark the first four poles with their corresponding holes on the mount. I'm just saying it would be easier to have the thing in your hands, and be able to start to assemble it as opposed to lay it all out first. There were a few occasions where I started to put it together wrong and had to start over. Once it is together though. It's a real Gem.

Dave1(Canon 5D Mark II, 100ISO, Canon 24-70F2.8@70mm. 1/200th@F10. Profoto 1B 500AIR triggered by Profoto Commander Transmitter set to TTL shot through a Wescott 59" Zepplin Para at Noon without a cloud in the sky)

I set these shots up at High Noon at my Uncle and Aunt's pool in Chicago while I was also in town shooting for Paoli Furniture at Neocon 2014. Why high noon? Because I wanted the harshest, most unforgiving, most powerful sunlight available to test out the Diffusion power of the Zepplin, mixed with the lighting power of the Profoto B1 Air 500 TTL. As you can tell; it's a killer Combo.


(Nikon D4s, 100ISO, Nikon 24F1.4N, 1/200th@F2 with a Formatt Hitech 0.3, and 0.6 Neutral Density filter on the lens for 3 stops of light reduction. Profoto 1B 500AIR set to whatever the 5D Mark II deemed was TTL power the last shot I fired with it shot through the Wescott Zepplin 59" Para triggered by a Pocket Wizard Plus X from the camera's hot shoe).

Yea, my Uncle loves his Cigars, and took this opportunity to have one while I was shooting his portrait. I found this image interesting as the light of the Zepplin was soft enough to illuminate both David, as well as the smoke from his Cigar in a pleasing Fashion as opposed to overpowering one or the other. I shot several different shots like these, and the Profoto recycled appropriately and my Uncle moved around as he pleased while also staying inside the large area of soft light. The first shots I took were with the Canon 5D Mark II, and they were shot TTL. The TTL was spot on and the test shot ended up being the one you see above. I shot several frames also with my Nikon D4s too because as I mentioned previously, I have a lot more options with my Nikon gear than with the loaner Canon gear I had and the TTL settings stayed, meaning going back and forth meant zero waiting.


(Nikon D4s, 100ISO, Nikon 24F1.4N, 1/200th@F2 with a Formatt Hitech 0.3, and 0.6 Neutral Density filter on the lens for 3 stops of light reduction. Profoto 1B 500AIR set to whatever the 5D Mark II deemed was TTL power the last shot I fired with it shot through the Wescott Zepplin 59" Para triggered by a Pocket Wizard Plus X from the camera's hot shoe).

In that shot I simply backed up, didn't move the light one bit. As you can tell the Zepplin lights very evenly across a wide range of space allowing quite a few possibilities with a single modifier! It's also worth noting that the Profoto B1 500AIR TLL unit was perfectly balanced to the sunlight as well.

So wow that was kind of a lot of information jumbled into a few images on top of more information. Between the two I have to admit there is only one that I seriously feel inclined to spend my money on sooner rather than later and that's the Profoto B1 500 AIR TTL. I don't own any Profoto Equipment, but the TTL in the side of a Studio head was incredible and I can see it being a valuable addition to anyone's kit. That and the fact that the battery attaches right to the head. Again. NO PACK!! It's all in one unit; a whole new world. I probably wouldn't swap out all my lighting gear to jump to Profoto any time soon, but adding one of these Profoto heads to the mix is probably going to be on the to do list on the sooner side of sooner or later. What about the Zepplin? Does that mean I didn't like the Zepplin? It doesn't mean that at all. In fact I thought the Zepplin was incredible. I however, am a location based photographer meaning that I don't rent or own a studio space for shooting regularly. After carting the Zepplin around with me for about 1,000 miles and having set it up 7 times that were not just to figure it out, I can't imagine setting it up and taking it down everywhere I went. If I had a studio space the $699 would have been spent already though, and it probably would get used almost every time I shot.

In conclusion here, what we have are two different animals. One which belongs on the road shooting wherever, whenever, and whatever needed, and the other belongs in a studio waiting for the next Portrait, headshot, or model to come in to bask in it's gloriously diffuse light. What's right for you? One? Both? Only you can tell that. If you need more help with that decision, feel free to shoot me an email through the contact page, OR call the guys at Roberts here in Indy. They are good people and they deal with all my ridiculous questions, so I'm sure yours won't be so bad. Also you can pre order the Zepplin, or order Air Remote, and/or Profoto B1 500 AIR TTL there on the phone or at the links I just provided. Otherwise, More Soon.


Hot! Deals!

Shooting Small with a BIG Impact.

If you're selling something on Ebay or Craigslist, the pictures can be the difference between someone passing through or stopping for a longer look.

The normal process for shooting these types of pictures is to setup a white or black sweep on a table, add some lighting on the sides, dial in your exposure and Bingo Bango you have a salable item in queue.  It works.  And if your shooting pictures of baby grand pianos or a Honda CB750 this is still an appropriate method.  However, most items posted for sale online are smaller than the family dog.  For those items you will want to use a light tent.  And the best news is that it is the EASIEST shooting scenario you have ever seen.  A light tent will drastically increase the quality of your product images.

If you have a bright, sunny day, a light tent on its own can be a powerful aid to making better pictures.  Unfortunately, I don't live in a tropical climate with eternal sunshine so adding lighting is a must for me.  In its simplest form, a light tent kit with constant lights is a valuable tool.  This kit is excellent for small subjects but generally requires the use of a tripod.

Look for these items to be our Hot Deals in the coming week!

We're always looking for those little extras in our shopping experience.  Want to hear the icing on the cake?  When you shop at Roberts, you learn at Roberts.  How's that for value?!

Hit the link to subscribe to our newsletter.  (Hint: It's how you're going to see our "Hot Deals")




Its Back to (Photography) School Time!

Now that kids are back in school and the semester is in full swing,  its time to schedule a class or two for yourselves.  Along with our regular event schedule of camera operational classes we offer beginner and advanced courses and fun photo walks!  The "City at Night" event w/ Jarrid Spicer is an opportunity to try your hand at night photography in downtown Indianapolis.   We have an introductory course to help you refine and improve the quality of your pictures.  If you're ready to take your lighting to the next level, take look at our Advanced Speedlight class with John Scott.   And last but not least, the always tough situation of "Low light and Fast Action" will be covered in an upcoming class.

Roberts is committed to an excellence in education.  Let us help you make your next great image.

Happy shooting and happy learning!


Photogenic's Ion Inverter Gives You Power To Go



Getting power on the go can be a difficult task, but not one your average strobe-using pro can let slow them down. Sure, there are options like Elinchrom's Quadras (which I love and use frequently), but sometimes you just need a bit more power than a DC pack can deliver. Enter power inverters. They use a large DC battery to power a 120v AC outlet, letting you use anything that can plug into a wall, including much higher output monoblocs. And that's what Photogenic's new Ion pack promises to accomplish. It's got an 8.8aH lithium-ion battery that's provide between 2000 and 300 flashes depending on how hungry your mono is (and would provide quite a few cellphone recharges in a pinch, too), LED charge indicators, weight of only 3.5 pounds and measuring out at 7.5 x 4.4 x 3.3". The li-ion battery will charge to full capacity in a pretty short 3-4 hours, and with that 8,800mAh rating would go a long way to running the various other gizmos in your life if you found yourself in the middle of nowhere just as readily as it could your lighting gear. So, for those of you who do most of your work nowhere near a "studio," it seems like a pretty useful bit of kit to bring along. And, at $400 for the inverter, plus available extra batteries and replaceable inverter, it's not even much of an investment, compared to the price of most things in our world. More to come as we get some in stock.


Pocketwizard Announces New Budget-Conscious Plus X Transceiver [UPDATED: Pricing, Availability]



Pocketwizard today has announced a new entry in its remote trigger line-up, the Plux X. The Plus X is aimed at the budget market, and while there's no pricing in the press release or on their page that I can see, at least one guy in the know is pegging it at sub-$100. The Plus X is basically a simplified Plus III, same body, same range. It supports 10 channels, a backlit dial, auto-switching between transmitting and receiving, sync speeds up to 1/250, the ability to trigger cameras (plus then trigger a flash via a third unit), and the ability to be used as just a transmitter. In short, for a lot of people this'll be the only transceiver they need to consider, and might give the interweb-only cheapies a serious run for their money if that price point is real. Who wouldn't reach up a few extra quid for Pocketwizard's well-earned reputation for reliability? Press release after the jump, more info on availability and pricing as we suss it out.


Price is going to be $99, and we'll have them in stock next week. Reserve your copy here:

read more


Everything but the Kitchen Sink Lighting Class

We have locked in the dates for a new class.  A Guide to Understanding Light is a comprehensive and fundamental instruction in all things lighting.  This means everything from better understanding light that exists in a scene so you know how to make the most of it to breaking out the big studio strobes to completely engineering your own creative vision. 

Whether you are family shooter, hobbyist, amateur or pro, everyone will benefit from this course.  We will be using a variety of products in the second and third sessions including some of my favorite Westcott products from the Apollo line and the uLite series from the Photo Basics line.  The latter are some of the best entry level constant light kits currently available.  I just purchased the Apollo Orb with the Orb Grid for a lightweight on location portrait lighting system and absolutely love it.  

Come join us for three great evenings in April.


Sekonic Launches L-478 Series Touchscreen-Enabled Light Meters, One With Built-In PW

You know what I hate? When people refer to photographer/videographers as "story tellers." Consider it a personal gripe. Something about it just grates me. Maybe it's that most of my photos are individual compositions built on formal mechanics of balance and rhythm, and not that modern, journalistic "a moment in time unfiltered" thing. Maybe it's just because it makes me think I've under-invested in scrapbooks. I just don't like it.

What I do like, however, is seeing new technology trickle into unexpected places. Like touchscreen interfaces into light meters. Even if the press release calls me a "story teller." And, that's just what these two new products from Sekonic (which we are lucky enough to be in the very, very limited launch club for) happen to be peddling. And more then just touch (although, if you've ever used an analog light meter, you're probably already looking at that new touch interface with some sort of wide-eyed, blissed-out look of wonder, a single tear gently tugging at your eyelids over the beauty of it), you also get some pretty boss modern reasonablenesses like not limiting the aperture or ISO ranges, the ability to switch willy-nilly between still and cine modes, the ability to calibrate it exactly to your camera (via the aid of an X-rite target, natch), built-in compensation for CTO and other standard gels, and, in the case of the model dubbed the "L-478DR," PocketWizard control built right in. Not so useful if you use Skyport like this kid, but for the countless legion of you using P-dubs out there, I am very stoked. Wireless triggering is the stuff.

And, as mentioned, Roberts is lucky to be in the launch for this, and that means you can go and order one of these right now, this very moment, for delivery as soon as next Monday, depending on where you live and your preferred shipping method. The L-478D without PW will set you back $389, and the L-478DR with PW will be $469. Both of those are already above our free shipping threshold, and so we'll be happy to slap them in a UPS ground box to any of the contiguous 48 states without asking you for anything more in return. So, studio peeps, what're you waiting for? Easier calculations of your ratios, ambient balance, and f-stops are waiting for you right now. With touchscreens, even!



Available 5-degree Viewfinder:

Want that press release so you, too, can know the feeling of being a "storyteller?" Well, that's what jumps are for, good sir, madam, neuter, robot, or lemur. That's what jumps are for.

read more


Westcott's X-Drop System Gives You Good Travel Backgrounds

So, here's a product I wasn't aware had come out until today (bad web inventory manager not telling me), but it's a new X-Drop background kit from Westcott. Now, I don't often get excited about new backgrounds. It'd be like getting excited by a new ramen flavor. But, this is something new. More like a new type of bowl noodle, really.

If any of you have ever done location portraits, you know having a good background can be... a challenge. And, real background kits have those big stands and bigger cloths or papers that make set-up a pain. More portable options are costy. So, here's a new idea: a 5x7' telescoping presentation-style easel that stretches the lightweight background tight. Westcott is making nine colors, three of which are reasonable (black, white, and chroma green), and three of which were clearly scraped from a retro-Victorian scrapbook. You can buy a kit with any of the nine colors, a case, and the stand for less than $100, it'll weight 3 whole pounds, and collapse into a 36" x 6" case. And, you can fit two other backdrops in the case, which'll set you back $60 each. And all the backdrops are washable muslin. This is really pretty much the most exciting thing I can remember seeing in backgrounds for some time, and I'm seriously considering adding a white kit to my own lighting baggage because, well, at that price and size, why not? Then, I don't have to worry about cloning out imperfections from their wall later, you know?

Hit the external link below to check them out for yourself.