Archive for November, 2017

4 Tips for Better Nightscape Photography

29 Nov

4 Tips for Better Nightscape Photography

A nightscape is a representation of any place or scene at night. If you are venturing into this area of photography, you will quickly realize that there are some other things to consider along with getting your exposure right. Here are a few tips to help you.

1. Settings and Gear

Shooting nightscapes is a very cool way to teach yourself shooting in low-light conditions. The location and conditions will vary your settings, but there are a few things you can keep in mind. For example, digital noise is detected easily in darker areas. So, while newer cameras are handling noise better, it is a good practice to keep your ISO setting as low as possible.

4 Tips for Better Nightscape Photography
Since light is at a premium at night, it is a good time as any to work with more open apertures (smaller f-number), to let in more light. At night, sometimes your background details are lost anyway, so there are few added benefits of having a large depth of field. Star effects are a nice exception to this (created when shooting point light sources with a smaller aperture like f/11).

It’s also a great time to experiment with longer shutter speeds. During the day, keeping your shutter open means you need to add filters to cut the light. At night you need to add light and can use shutter speed to be more creative.

4 Tips for Better Nightscape Photography

Before you frown on High Dynamic Range (HDR) images, consider what value it adds. Bracketing is a good way to deal with the very contrasty reality of night photography.

Note: Long exposures also add noise as your sensor heats up (known as thermal noise). This makes it a good time to check that Long Exposure Noise Reduction box on your camera menu.

2. Location Scouting

As with other genres of photography, your location is important. Start with a plan of what you want to capture. Maybe it’s the city at night, that elusive Milky Way; exciting light trails left by cars or some sort of nightlife action. While some of these coexist, most times they are independent of each other and require their own unique conditions.

4 Tips for Better Nightscape Photography

Since photography means thinking about your light source(s) at all time, night photography needs added consideration for obvious reasons. What are the light sources in your location? Is it a street lamp, the moon, building lights, traffic or do you have to walk into the scene with your own light (light painting)?

When shooting landscape images at night, you could get there before nightfall and observe how the light changes. If you do not have the luxury of time, there are phone apps that help you figure out the light direction of your location. Scouting for a location can be as simple as a google search, someone’s recommendation or making an actual trip to understand the environment. Familiarizing yourself with your destination in advance gives you a photographic advantage and even keeps you safer.

Bonus Tip: Water can be an asset to night photography especially where there are light reflections.

4 Tips for Better Nightscape Photography

3. Moonwatching

The moon is a fascinating subject. Since it is a light source, you need to take it into consideration when scouting and planning your nightscape shots.

If it is your subject, then you may want it at its peak for drama (full moon, supermoon, or harvest moon) and shoot on a clear night to capture as much detail as possible. After you have worked out the correct exposure for shooting the moon, try composing it into a scene.

4 Tips for Better Nightscape Photography
On the other hand, if you are shooting other celestial objects (e.g. the Milky Way, meteors, or star trails), it might be preferable if the moon is barely there or not so dominant (new moon to the first quarter). Like sunrise and tides, there are many apps that can help you figure out moon phases and direction in relation to your location.

4 Tips for Better Nightscape Photography

4. Other Environmental Notes

Condition your gear!

Since temperatures usually drop at night, you need to be aware of moving your camera from warmer to colder conditions (the reverse is also true). Any seasoned night photographer can attest that “lens fog” is a nuisance as it blocks/cuts the light passing through your lens. Lens hoods help a little with reducing moisture build-up on your glass.

So another bonus of arriving at your location a little earlier is giving your gear time to acclimate to your shooting conditions.

4 Tips for Better Nightscape Photography

Walk with a flashlight

A flashlight is an asset for several reasons. You can use it to ensure proper footing for yourself or your tripod. It also helps when you need to make changes to your camera settings (knowing your controls off-hand is very useful in the dark).

More than these practical uses, it can play a part in your night photography as well. Use it to light paint areas in your image or even create a light spot to help with focusing.

4 Tips for Better Nightscape Photography


Night photography provides a great learning environment and gives you the opportunity to play around with your settings. Depends on what you are shooting, your available light is not changing quickly (if at all) and this gives you more time to experiment and get it right. You can take advantage of less traffic around or use it to your advantage (shooting nightlife).

Be safe while you’re out there and scout beforehand if possible. If you are an avid night photographer, share with us some of your night photography tips in the comments below.

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Leica unveils Noctilux-M 75mm F1.25 ASPH lens with ‘hair-thin depth of focus’

29 Nov

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Leica unveiled a new low-light monster of a lens today, adding to the ‘Noctilux legacy’ with the Leica Noctilux-M 75mm F1.25 ASPH. According to Leica, the new lens boasts ‘impeccable speed’ and ‘exceptional imaging performance’ as well as “hair-thin depth of focus [that] isolates subjects with extreme precision.”

This is the fourth Noctilux lens ever created and only the second released this century, this lens follows in the footsteps of the Noctilux-M 50mm F0.95 ASPH released in 2008. But while Leica is calling this the “co-founder of a new family of lenses,” the company is also quick to point out that the new Noctilux-M 75mm F1.25 boasts some advantages over its older brother:

The upgraded features of the Noctilux-M 75 mm f/1.25 ASPH. open up entirely new opportunities in portrait and close-up photography, including a shallower depth of focus than that of the Noctilux-M 50 mm f/0.95 APSH. and a close focusing distance of 0.85m, making for a reproduction ratio of 1:8.8 for even more precise isolation of subjects. Additionally, the eleven blades of its iris ensure a soft and harmonious bokeh in out-of-focus areas.

Inside, you’ll find six groups made up of nine lens elements that have been manufactured from glasses with “high anomalous partial dispersion and low chromatic dispersion.” Two of those elements are aspherical, and the lens uses a floating element with what Leica describes as a “complex focusing mechanism” (aren’t they all?) that promises high-quality performance all the way from minimum focus distance to infinity.

You can read more about the Noctilux-M 75mm F1.25 in the full press release and tech specs below, but if you like what you read, be ready to drop some serious cash. According to Leica, the lens will retail for $ 12,795 when it shows up at Leica stores, boutiques and dealers in the beginning of 2018.

Press Release

Leica Camera Pushes Photographic Boundaries With the New Leica Noctilux-M 75 mm f/1.25 ASPH Lens

True to the Noctilux legacy, the new lens boasts impeccable speed and exceptional imaging performance

November 29, 2017 – For more than 50 years, the name ‘Noctilux’ has been synonymous with exceptional speed and outstanding optical design. Today, Leica Camera announces the newest addition to their lens portfolio – the Leica Noctilux-M 75 mm f/1.25 ASPH. Coupled with exceptional imaging performance and unique bokeh, its hair-thin depth of focus isolates subjects with extreme precision, ideal for portraits with an unmistakable “Leica look”.

A legacy of excellence

The first lens of the Noctilux family, the Leica Noctilux 50 mm f/1.2, was announced at photokina in 1966. While the original lens innovated with revolutionary optical properties, ongoing developments led to the launch of two additional generations of the Noctilux in 1975 and 2008. The additional lenses were developed under the premise of further pushing the envelope for imaging performance, each with a faster aperture than its predecessor. All Noctilux-M lenses to this day are special for their rendering and aesthetic when shot wide-open, yielding a three-dimensional “pop” that separates its subjects from the background like no other lenses. The out-of-focus areas behind the subject is smooth and pleasing to the eye, giving a lovely soft background even in the darkest of lighting scenarios.

Together with the Leica Noctilux-M 50 mm f/0.95 ASPH., the Leica Noctilux-M 75 mm f/1.25 ASPH. is the co-founder of a new family of lenses. The two current members of this family are both distinguished by their extreme maximum aperture and exceptionally high performance at all apertures, even wide open, and lend themselves to the creation of timeless images marked by a distinctive and revered Leica aesthetic.

Superior imaging performance

The upgraded features of the Noctilux-M 75 mm f/1.25 ASPH. open up entirely new opportunities in portrait and close-up photography, including a shallower depth of focus than that of the Noctilux-M 50 mm f/0.95 APSH. and a close focusing distance of 0.85m, making for a reproduction ratio of 1:8.8 for even more precise isolation of subjects. Additionally, the eleven blades of its iris ensure a soft and harmonious bokeh in out-of-focus areas.

To guarantee this extraordinary imaging performance, the nine elements in six groups that make up its optical design are manufactured from glasses with high anomalous partial dispersion and low chromatic dispersion. Two of the elements are aspherical, and reduce other potential aberrations to a hardly detectable minimum. The use of a floating element within the complex focusing mechanism guarantees a constantly high level of imaging performance throughout the entire focusing range of the lens – from its minimum focus distance to infinity.

When shooting at maximum aperture, the exceptionally shallow depth of field of the Noctilux-M 75 mm f/1.25 APSH. can be easily focused in when an electronic viewfinder such as the Leica Visoflex. Additionally, the Leica M-Adapter L transforms the Noctilux-M into an excellent lens to use in conjunction with the Leica SL. When the lens is mounted on the Leica SL, the 4.4 megapixel resolution of the camera’s EyeRes® electronic viewfinder enables particularly comfortable and extremely precise focusing.

The Noctilux-M 75mm f/1.25 ASPH. features the convenience of an integrated lens hood, which can be extended or retracted in one simple twist. The lens is complemented by a tripod adapter for safe and secure mounting of the lens on a tripod.

The Leica Noctilux-M 75 mm f/1.25 ASPH will be available at Leica Stores, Boutiques and Dealers at the beginning of 2018.

Technical Data

Angle of view
(diagonal, horizontal, vertical)

For 35 mm format (24 x 36 mm):

~ 32°, 27°, 18°

For Leica M8 models (18 x 27 mm):

~ 24°, 20°, 14°, equivalent to FL of ~ 100 mm in 35 mm format1

Optical design

Number of elements/groups

Aspherical surfaces

Position of entrance pupil

(at infinity)



26.9 mm (in front of the bayonet)


Working range


Smallest object field/

largest reproduction ratio

0.85 m to ?

Combined metre/feet graduation

For 35 mm format: ~ 212 x 318 mm / 1:8.8,
For Leica M8 models: ~ 159 x 238 mm / 1:8.8



Smallest aperture

With click stops, half-stop detents



Leica M quick-change bayonet with 6-bit bar coding for Leica M digital cameras2

Filter mount

Inner thread for E67 screw-mount filters, non-rotating

Lens hood

Integrated, with twist-out function


Camera viewfinder3


Black anodised

Dimensions and weight

Length to bayonet flange

Largest diameter


~ 91 mm

~ 74 mm

~ 1055 g

Compatible cameras

All Leica M-Cameras3, 4, Leica SL-Cameras with Leica M-Adapter L

1 The nominal focal lengths of the Leica M-Lenses relate to 35 mm format, i.e. original image frame dimensions of 24 x 36 mm. However, with dimensions of 18 x 27 mm, the sensor of the Leica M8 models is a little smaller, by a factor of 0.75. For this reason, the angle of view of this lens when mounted on a Leica M8 model corresponds to that of a lens with a focal length that is longer by a factor of 1.33 (1.33 = reciprocal of 0.75).

2 The 6-bit coding on the lens bayonet (7) enables Leica M8 digital models to identify the lens type mounted on the camera. The cameras utilise this information for the optimisation of exposure parameters and image data.

3 With the exception of the Leica M3 and the former version of the Leica MP ( professional version of the M3), all Leica M-Cameras without a 75 mm bright line frame can be retrofitted with this frame by the Customer Care department of Leica Camera AG (it then appears in the viewfinder together with the frame for 50 mm lenses).

4 This is independent of the image frame format of the respective camera – whether 18 x 27 mm (sensor size) for the Leica M8 models or 24 x 36 mm for all other Leica M models.

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2017 Buying Guide: Best pocketable enthusiast cameras

29 Nov

If you want a compact camera that produces great quality photos without the hassle of changing lenses, there are plenty of choices available for every budget. Read on to find out which portable enthusiast compacts are our favorites.

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Sony will start making CFast memory cards: 510MB/s cards coming in 2018

29 Nov

Sony has announced that it will introduce the CFast memory card format to its professional range in the first quarter of next year, and odd and exciting move when you consider that CFast 2.0 competes directly with the XQD card format Sony helped pioneer.

The series will launch with three memory cards that boast maximum read and write speeds of 530MB/s and 510MB/s, respectively. These G-series cards will be aimed at cinematographers and those shooting high bit-rate video, as well as stills photographers working with high frame rate cameras like the Canon 1DX Mark II.

As mentioned above, the cards boast a maximum write speed of 510MB/s, but more importantly they also guarantee a minimum sustained write speed of 130MB/s under the Video Performance Guarantee. This helps to ensure cards do not force cameras to stop recording during lengthy sequences.

And since pros need their cards to be sturdy as well as fast, Sony says the new CFast cards have been carefully tested for drop, vibration, shock resistance and rigidity, and states that they work in a wide range of temperatures and are highly resistant to static.

The cards will be available in 32GB, 64GB and 128GB capacities for $ 120, $ 200, and $ 350, respectively. For more information, read the full release below or visit the Sony website.

Press Release

Sony completes Pro memory card line-up with new CFast range

November 28, 2017 – Sony is launching a range of high performance CFast memory cards, which are designed to meet the needs of professional photographers and videographers. The G Series CFast 2.0 memory cards will be available in 32GB (CAT-G32), 64GB (CAT-G64) and 128GB (CAT-G128) capacities, responding to the ever increasing capabilities of high-end DSLR and 4K cinema-grade broadcast cameras. The cards offer lightning-fast write speeds of up to 510MB/s and read speeds of up to 530MB/s and join an established range of media that includes Professional internal SSDs, XQD and SxS cards, as well as the world’s fastest SD card, while strengthening Sony’s position as a leader in professional memory solutions.

Step up to industry-leading write speeds

Professional photographers demand faster speed for continuous burst shooting of higher resolution images including RAW. With up to 510MB/s write speed, far outperforming the capabilities of existing CFast cards, Sony’s G Series supports high-speed burst shooting of high resolution RAW, maximizing the capability of high-end DSLR cameras like the Canon 1DX Mark 2.

Super-fast read speed for ultra-effective workflow

Efficient workflow is essential for professional photographers and videographers working in challenging environments on tight deadlines. With a blazing fast read speed of 530MB/s, Sony’s G Series CFast dramatically reduces the time it takes to transfer RAW files, long 4K video footage and high-resolution images to a PC.

Reliable 4K video recording with VPG130 support

As well as ultra-fast read and write speeds, the new CFast cards support VPG130 for reliable recording of Cinema-grade or high-bitrate 4K video. A minimum sustained write speed of 130MB/s is guaranteed, making the new media ideal for stable recording of professional grade 4K video, such as Cinema RAW light mode with Canon C200 video cameras.

Designed for strength and reliability

The new CFast cards have passed a variety of stringent drop, vibration, shock and rigidity tests, making them perfect for shooting in many different locations. They work reliably across a wide range of temperatures and are highly resistant to static. With a hard case and Sony File Rescue software, which is available when used with a card reader in a Removable Disk configuration, the cards can recover accidentally deleted photos such as RAW images and videos, allowing professionals to shoot with confidence in the toughest conditions.

Pricing and Availability

Sony’s G Series CFast cards are planned to be available in early 2018 for a suggested retail price of $ 119.99 for 32GB, $ 199.99 for 64GB and $ 349.99 for 128GB.

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7 Tips for Business Cards for Photographers

29 Nov

Having a proper business card is the first step towards establishing branding as well as earning potential customers, regardless of whether you are a freelance photographer or engaged within photography agencies. Not only do they serve to boost the reputation of an individual or corporation, they are also an opportunity to showcase the many good qualities one has to offer. Continue Reading

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Google finally activates ‘Visual Core’ imaging chip inside Pixel 2 smartphone

29 Nov

The finalized version of Google’s Android 8.1 operating system is expected to be released in December, but today the company has announced the availability of the last Developer Preview which, among other things, activates the formerly dormant Visual Core chipset in the Pixel 2 and Pixel 2 XL smartphones.

The custom-built system-on-a-chip (SOC) is designed to power and accelerate the Pixel 2 phones’ HDR+ function that achieves better dynamic range and reduced noise levels through computational imaging. The feature is already incredibly powerful, so we can’t wait to see how it gets even better with this additional hardware boost applied.

HDR+ photo captured with the Pixel 2 for our Sample Gallery. Credit: Allison Johnson

The latest Pixel smartphone generation comes with the chip built in, but it appears Google ran out of time before the Pixel 2 launch to fully optimize Visual Core implementation in the device, and therefore decided to not activate it. With the new software version, Visual Core can can now be turned on through an option in the Developer menu.

In addition to souping up the Pixel 2’s native camera app, this update also allows third-party apps using Android Camera API to capture HDR+ shots. Previously, this function has been exclusive to the Google Camera app.

There is a wide selection of third-party apps for all types of mobile photographers available in the Google Play Store. It’s no doubt a positive move by Google to make the capability of using HDR+ available to all of them. To install the Android Developer Preview, your Pixel 2 device needs to be registered in the Android Beta Program. Or you could just wait for the official Android 8.1 launch in December.

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Review: Interfit Honey Badger Studio Strobe and Universal Remote

29 Nov

Right now is a great time to be a studio photographer. Never before has there been such a multitude of options available to you in terms of photographic lighting. It seems that the recent surge in new photographers has lit a fire in the industries that create photographic gear. Lighting is a sector that has seen a huge influx of new options and new innovations.

Interfit has been one of those companies that constantly add to the mix for a while now. Not only do they make affordable studio strobes and continuous lights, they also make a ton of lighting modifiers and an indescribable amount of other studio accessories. If you need something for your studio, chances are that Interfit makes it.

Review: Interfit Honey Badger and Interfit Universal Remote

Stylish design is usually absent from studio lighting, but the Interfit Honey Badger aims to remedy that.

The newest light in Interfit’s range is the Honey Badger. A small, mid-powered studio strobe that fits into the low-middle pricing range. the light itself is in a stylish, bright yellow casing which adds a bit of a flourish to the monolight (the sort of product which is usually lacking in any sort of aesthetic design). I had chance to spend some time with and review the Honey Badger as well as the Interfit Universal Remote. Here are my thoughts.

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What Exactly is a Honey Badger?

If you’re not familiar with the light’s namesake, a honey badger is a medium-sized mammal found in Africa and Asia. At first glance, they’re adorable. However, honey badgers are infamous for being unstoppable murder machines that maim, mutilate and maul everything in their path. You’ll often find them near the top of lists of the world’s most dangerous animals.

Knowing that you can probably figure out what Interfit are going for with their branding. You have a small, stylish light that’s cute to look at, but packs a punch when set loose in the studio.

So did they achieve that? The short answer is – yes, quite well.

The Strobe

As per the Interfit website, the specifications for the Honey Badger are as follows:

Review: Interfit Honey Badger and Interfit Universal Remote

The biggest takeaways here are the seven stops of power range up to 320ws (which is pretty decent for a strobe in this price range), the S-mount, and the built-in receiver.


Before I get into anything else, let’s address the elephant in the room. Announcements of new studio strobes these days always seem to include the wonderful features of High-Speed Sync (HSS) and Through the Lens metering (TTL), both relatively new features in the world of studio strobes as they have been previously limited to flashguns (speedlights). The Honey Badger does not have these features. Then again, its price point reflects their absence.


The Honey Badger sells in the US for $ 299.99 and the UK for £259.99, putting it squarely in the low-middle range of the market. For this price range, it packs a decent punch and pulls its weight easily.

The Interfit Universal Remote is sold separately at a more than reasonable $ 79.99 USD and £39.99 UK.

Built-in Receiver

What the Honey Badger does include, which surprised me a little, is a built-in receiver. This means that you can fire the strobe with a transmitter on your camera without having to worry about extra receivers, errant sync cables, and dead batteries. Interfit sells a Universal Manual Remote (covered by this review) that works with the Honey Badger and a selection of other Interfit lights.


Review: Interfit Honey Badger and Interfit Universal Remote

While 320ws is a long way from the power output you can get from some strobes, it is more than enough in most everyday situations. As long as you bring your lights in close to your subject like I do, you should have no problem obtaining apertures of f/8 and f/11 for portraits and f/16 and beyond for tabletop set-ups.

If you’re working out of a home studio or another small space, the power output of the Honey Badger is likely going to be enough for you.


Review: Interfit Honey Badger and Interfit Universal Remote

As far as strobes go, the Honey Badger is quite small and highly portable.

The size of the Honey Badger was far more noticeable than the color when I first took it out of the box. This light is small. For comparison, above is a photo of it next to a Bowens light with similar specifications and a Canon 580 EX II Speedlite.

I can speculate on both the advantages and the disadvantages of the size of the Honey Badger.

I have no way of testing it, but I imagine that fitting three or four of these lights into a carry-on sized Pelican case would be pretty easy. If you’re a traveling photographer, being able to easily transport that many studio strobes might be a huge bonus.

When I attached one of my own modifiers, a large Interfit Strip-box, the small size of the strobe and the narrowness of the strip-box allowed me to point the light straight down. This isn’t usually possible without a boom arm and it got me pretty excited about the possibilities. (That said, one of the kits that Interfit offer with the Honey Badger includes a stand with a boom arm.)

Review: Interfit Honey Badger and Interfit Universal Remote

The shape of the Honey Badger may allow you more configurations with some modifiers.

On the other hand, we live in a world where appearances matter. Between the size and the color, the Honey Badger does look a little bit like a toy. Throughout the rest of this review, I will try to assure you that the Honey Badger does perform well, but if you have clients that like to see big productions with big lights everywhere, they may be less than impressed.

The Softbox

Review: Interfit Honey Badger and Interfit Universal Remote

The Honey Badger kit I tested included a 24” popup softbox. It’s a small softbox; I can’t say much more than that about it. In fact, it’s identical to a Neewer branded one that I bought a few months ago for use with my speedlights. The only difference is the Interfit branding. It is of good quality, fits snugly on the Honey Badger and has no apparent effect on the color temperature of the light that passes through it.

If your intent is to shoot portraits, especially in a fixed studio environment, you’re going to want a bigger light modifier. The softbox is useful and you will be able to get results from it, but you will want to find something much larger.

If you purchase this kit, be forewarned. The softbox comes in a pouch much smaller than its actual size. When it comes out of that bag, it opens itself with quite a lot of force. Don’t do what I did and please, please hold it away from your face.


Review: Interfit Honey Badger and Interfit Universal Remote

With a Bowens S-mount, the Honey Badger gives you access to a vast range of modifiers.

The fact that the Honey Badger has a Bowens S-Mount on it is a major advantage in my opinion. There is a vast range of modifiers available that fit the S-mount, ranging from cheap imports to high quality, but far more pricey, proprietary modifiers from brands like Interfit and Bowens. I may be a bit biased as I am a Bowens user, but if I were to invest in the Honey Badger system, that S-mount would make my life so much easier.

As an aside, Bowens has gone out of business. That doesn’t mean you should forsake the S-mount. As mentioned, there are hundreds of products and dozens of other lighting systems that use the S-mount. Bowens might be going, but modifiers that fit the S-mount are going to be around for a long while yet.

White Balance

The Honey Badger has a color temperature of 5600k. This means it’s a touch warmer than the flash White Balance setting in Lightroom. If you like warmer tones in your images, this is not a problem. However, if you would prefer a more neutral look, remember that you will need to dial your White Balance back a hundred degrees. Bear in mind, if you’re using cheaper modifiers, they tend to have a significant effect on your color temperature which renders this point moot anyway.

Diffusion Dome

Review: Interfit Honey Badger and Interfit Universal Remote

The frosted diffusion dome covering the flashbulb gives an extra layer of diffusion behind your modifier.

Unlike most strobes, the Honey Badger has a frosted dome over the flashbulb. This adds a tiny amount of diffusion to the bare bulb. In most cases, you’re never going to want to shoot with a bare strobe, but I tried it anyway. The light is as hard as you would expect, but it is possible to use it to creative effect.

Modeling light

When I first turned the Honey Badger on, I didn’t expect an LED modeling light. This is a plus as it means that your subjects aren’t going to boil under hot lights. In fact, I used the Honey Badger nearly constantly in four studio sessions and it never even got warm, never mind overheating.

The Interfit Universal Remote

Review: Interfit Honey Badger and Interfit Universal Remote

The Interfit Universal Remote allows you to control the Honey Badger (and other Interfit strobes) from the top of your camera.

I will admit that using the Universal Remote to control the Honey Badger from the top of the camera is an absolute pleasure. I tend to work in confined spaces anyway, but not having to actually walk to the light to change the power output was fantastic. The remote is easy to use as well, and all the functions are labelled clearly. When I’m next in the market for new strobes, this remote may very well play into my considerations. I imagine a scenario where I don’t have to dodge behind a subject to the back of a studio to change the power output on a pair of rim lights. I can dream right?!

That said, the remote was the only problem I had while testing the Honey Badger. For the first 20 minutes or so, I couldn’t figure out why the modeling light was turning itself off. I was convinced there was a problem with the light itself, but it turns out that for whatever reason, on the unit I tested, the modeling light shuts off any time you change the power output via the Universal Remote. I don’t know why this would be and I am unaware if it was a problem isolated to the unit I used, but it did not do the same when you change the power output on the actual strobe.

With a price tag of $ 79.99 USD (£39.99), if you are interested in the Honey Badger, or other Interfit lights, this remote is a no brainer.

The Test

For the first test, I set up the Honey Badger straight out of the box with everything included (24” softbox and the Universal Remote). I had the whole thing set up in no time and once the batteries went into the remote, all the channel settings were sorted out in seconds. (It really is that easy.)

Pop-up Softbox

Review: Interfit Honey Badger and Interfit Universal Remote

To start with, I placed the light at 45 degrees in a basic Rembrandt setup. Because the softbox is so small, I brought it in really close to the subject (about a foot away).

Review: Interfit Honey Badger and Interfit Universal Remote

Review: Interfit Honey Badger and Interfit Universal Remote

From here, I moved the soft box away a short and distance and further to the subject’s left. I wanted to take advantage of the harder light from the smaller softbox and try to create some images with deep, defined shadows.

Review: Interfit Honey Badger and Interfit Universal Remote


Review: Interfit Honey Badger and Interfit Universal Remote

I happen to own a large Interfit strip softbox (which I adore), so that was the next modifier to go on the Honey Badger. At first, I was overcome with glee as I realized I could point it straight down thanks to the Honey Badger’s small size; however, I chose not to keep it that way as it’s not the most flattering light for human subjects.

Instead, I put it straight in front of my subject, slightly above and pointed straight at her nose for a basic butterfly lighting set-up.

Review: Interfit Honey Badger and Interfit Universal Remote

Review: Interfit Honey Badger and Interfit Universal Remote


Review: Interfit Honey Badger and Interfit Universal Remote

As mentioned, I felt inclined to see what the light from Honey Badger looked like as a bare bulb. The diffusion dome got the better of my curiosity. In my opinion, it’s perfectly usable. You won’t want to use it a lot, however, but the hard light might suit some high fashion portraits quite well.

Review: Interfit Honey Badger and Interfit Universal Remote



7’ Parabolic Umbrella with Diffusion

Review: Interfit Honey Badger and Interfit Universal Remote

This is where I started to see some possible limitations with the Honey Badger. I wanted to see if the Honey Badger could cope with a giant parabolic umbrella. The answer is yes, but not without extra pieces of equipment. The light itself does have a hole for an umbrella, but I wasn’t willing to see if it would hold that much weight. Instead, I placed a Bowens umbrella reflector on it and attached the modifier.

Because the light is so small, I had to bring the umbrella really close to the light before it would support the umbrella’s weight. With the light so close to the umbrella, it was not able to use the full surface area of the modifier. The 7’ umbrella effectively became a 4.5’ umbrella. This is not the end of the world, but it was annoying. There are plenty of options for umbrella holders and mounts on the market that would solve this problem, I just don’t happen to own any of them.

Review: Interfit Honey Badger and Interfit Universal Remote

Beauty Dish with Grid & Diffusion Sock

The final variation I tried was using a 24″ beauty dish with both a grid and a diffusion sock. For this setup, the light was placed about 10 feet in front of the subject for a harder light and to reduce the speed of the light fall off so that more light hit the background.

Extra images

Below are other photos taken using the Interfit Honey Badger and the included pop-up softbox.



Pros and Cons

Having used it for a while, I can tell you that the Honey Badger has more pros than it does cons (and a few of the cons are hyperbolic).

Pros of the Honey Badger

  • Reasonably priced
  • Small
  • Reasonably powered
  • Bright LED modeling light
  • Bowens S-mount
  • Fast recycling times (I never had to wait for it)
  • Built-in receiver
  • The Universal Remote works like a charm
  • Doesn’t overheat easily
  • Good build quality
  • Stylish in appearance


  • The light might be too small in some situations
  • 24” softbox is too small for many studio situations, albeit perfectly functional
  • Modeling light turns itself off (on the unit I tested) when the power is adjusted via the Universal Remote
  • No HSS or TTL
  • May have issues supporting the weight of large modifiers like an 8’ Octabox


In the end, I enjoyed using the Honey Badger. It is a good quality, competent light that would suit any photographer working a studio environment, especially for those setting up a home studio. The Universal Remote really adds to the experience as well, making power adjustments from the top of the camera a breeze.

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If you’re looking for HSS or TTL functionality, or a light with a self-contained battery, no, the Honey Badger is not for you. For anything else, the Honey Badger is absolutely worth your consideration.

Disclaimer: Interfit provided the product on loan to our dPS author so he could test and do this review. However, all reviews on dPS are 100% the author’s unbiased opinion. 

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The Yashica Y35 digiFilm camera raised over $1.25M in crowdfunding

29 Nov

Despite a decidedly lukewarm reception in our community—and much mockery from the pro and semi-pro photographers out there—the Yashica Y35 camera and its digital ‘film’ cartridges has become an Internet sensation, raising many, many times more than the required funding to make it to market.

The company’s Kickstarter campaign was backed by 6,935 funders who together contributed HK$ 10,035,296 (about US$ 1.286M). And now, in case you missed the Kickstarter round, Yashica has put the Y35 on Indiegogo as well, to ensure that the project not only goes ahead, but that it comes with a few upgrades too.

In case you’re not familiar, the Yashica Y35 digiFilm project aimed to create a digital camera that acts more like a film camera—complete with film winder and ‘film’ cartridges with different ISO ratings and alternative image characteristics. While many found this idea silly on the face of it, thousands more disagreed and poured their money into Yashica’s crowdfunding campaign, allowing the company to upgrade the camera’s specs a little bit.

Originally, the Y35 was intended to feature a 1/3.2in sensor, but that has been upgraded to a 1/ 2.5in sensor (still with the original 14MP pixel-count). The 35mm lens has also had a positive change in specification, going from f/2.8 to a four-element f/2.0 lens with a wider diameter and what the company promises is better image quality.

There is a gallery of sample shots captured with a pre-production version of the Y35 camera—with its bigger sensor and faster lens—on the Kickstarter and Indiegogo pages if you’re curious. As for the production model, the camera is due to be delivered to crowdfunding backers in May of 2018.

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Strobist Lighting Cookbook

29 Nov

Introducing the Strobist Lighting Cookbook. Read more »

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Photographer sues Bruno Mars for posting childhood photo of himself on Instagram

29 Nov
Photo by Brothers Le, CC-BY-2.0

Singer Bruno Mars recently shared a childhood photo of himself from 1989, and now the photographer behind the photo, Catherine McGann, is suing him for copyright infringement. The image was shared by Mars back in June on Instagram, Twitter, and Facebook, amassing more than a million ‘likes’ and thousands of comments.

As of this writing, it’s still live on the pop star’s Instagram account:

A post shared by Bruno Mars (@brunomars) on

The lawsuit, which was first surfaced via TMZ, is being leveled against both Mars and record label Warner Music. According to McGann, Mars never asked for permission to share the image on his social media accounts, and the lawsuit seeks any and all profits made from the image’s use, plus damages.

A look at McGann’s Instagram page shows that she posted a version of the image with a copyright notice on November 3rd, 2016.

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