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Posts Tagged ‘kick’

Four RF-mount lenses kick off Canon’s new full-frame mirrorless system

08 Sep

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Canon’s first full-frame mount in more than 30 years is here, in the shape of the RF-mount. Featuring the same diameter as the venerable EF-mount but with a much shorter flange back distance, RF is designed from the ground up for mirrorless cameras. It’s still early days, but four lenses have been unveiled alongside the consumer-grade EOS R, providing a tantalizing glimpse into Canon’s future ambitions.

Today sees the unveiling of the Canon RF 28-70mm F2L USM, RF 50mm F1.2L USM (pictured below), RF 24-105mm F4L IS USM and RF 35mm F1.8 Macro IS STM. This quartet covers common focal lengths from 24mm to 105mm and includes an exceptionally fast aperture zoom lens, a macro and – in a throwback to the early days of the EF system in the late 1980s – a flagship fast 50mm (shown below on the EOS R).

Perhaps the most interesting of the four new lenses is the 28-70mm F2, which weighs in at a very substantial 1430g (3.15lbs) – a 77% weight increase compared to the wider but slower EF 24-70mm F2.8 II. Boasting 19 elements in 13 groups, the 28-70mm F2 is a large lens, with a determinedly non-standard front filter diameter of 95mm. The RF 24-105mm F4 appears somewhat more conventional, weighing in at a much more manageable 700g (1.5lb) and featuring a standard filter thread of 77mm. It’s no surprise that this is the lens that Canon is kitting with the EOS R at launch.

The RF 24-105 F4L IS USM has been designed to be video-friendly, with minimal focus breathing, a fast, silent ‘Nano USM’ focus motor and the ability to control its aperture in 1/8th EV steps.

The RF 50mm F1.2 looks to be a pretty substantial chunk of glass, featuring 15 elements in nine groups, and weighing 950g (2.1lb). Meanwhile the lightweight (305g, 0.7lb) RF 35mm F1.8 Macro covers both a useful focal length, and offers a handy 0.5X magnification macro capability. Considering its comparatively smaller size and lighter weight, the RF 35mm F1.8 looks like it could be a very attractive walk-around prime for the small and light EOS R.

The EF-RF adapters will allow the millions of existing EF lenses in circulation to be used “without compromise”

In addition to the four new lenses, Canon has also introduced three EF to RF adapters. The most basic is a simple mount converter, with an additional two adapters which add a customizable control ring (to match the clicking, customizable control rings on native RF lenses), and a tray for drop-in filters, respectively. The drop-in filter adapter makes it possible to add a Vari ND or circular polarizer to all lenses, including the traditionally awkward super-wides.

Canon promises that the EF-RF adapters will allow the millions of existing EF lenses in circulation to be used “without compromise” on the new EOS R and future RF-mount cameras.

The RF 28-70mm F2L USM will cost $ 2,999 and will be available in December. The RF 24-105mm F4L IS USM will also be available in December for $ 1099 ($ 3399 as a kit with the EOS R). The RF 50mm F1.2L USM will cost $ 2,299 and will start shipping next month, while the RF 35mm F1.8 Macro IS STM will cost $ 499 and will be available in December. All three of the ‘L’ lenses are weather-sealed.

Press Release

BEYOND THE REALM OF TRADITIONAL POSSIBILITIES:
CANON INTRODUCES FOUR RF MOUNT LENSES

Canon Also Introduces Three RF Mount Adapters, Providing EF & EF-S Lenses with Full Compatibility and Enhanced Functionality ?with the New EOS R Camera

MELVILLE, N.Y., September 5, 2018 – Helping to rewrite the rules of visual expression, Canon U.S.A. Inc., a leader in digital imaging solutions, today introduced a variety of new RF lenses and accessories to accompany the newly announced EOS R Full-Frame Mirrorless Camera System. The four new RF lenses are built around Canon’s new RF mount, which features a large 54mm diameter and shorter back focus distance than on current EOS DSLR cameras. The new RF mount enables new possibilities in optical design and lens formulation, allowing for faster and lighter lenses with higher performing optics.

The four new lenses, the Canon RF 28-70mm F2 L USM, RF 50mm F1.2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM capitalize on the robust optic foundation of Canon’s new EOS R system. The design behind Canon’s new EOS R camera and RF lens system started with the concept of the optimal rear lens element diameter and shorter distance (back focus) for a Full-Frame image sensor.

With over 130 million EF lenses in circulation since Canon launched the mount in 1987*, the Company is enhancing the possibilities for its loyal customers who own and love their EF glass. Canon is introducing three RF Lens Mount Adapters that expand the capabilities of existing EF lenses when paired with the EOS R camera. The Canon Mount Adapter EF-EOS R allows photographers to utilize the full breadth of Canon’s EF, EF-S, TS-E, and MP-E lenses on the newly introduced EOS R camera system. The Control Ring Mount Adapter adds a customizable control ring via the adapter that provides photographers with added functionality to their fingertips. The Drop-in Filter Mount Adapter now easily places circular polarizing or variable neutral density filters behind the lens, opening up new options for lenses such as the EF 11-24mm where using optical filters were previously not an option.

“Knowing exceptional optics are a vital tool in shaping the image a photographer captures, Canon designed the EOS R camera system from the ground up with optics as the starting point,” said Kazuto Ogawa, president and chief operating officer, Canon U.S.A., Inc. “Canon is very excited about the world-class optics we have developed to marry with the new RF mount. With our rich history and more than 130 million EF lenses being used across the globe, Canon optics will continue to be at the forefront of our digital imaging development now and into the future.”

New Canon RF Series Lenses

Three of the newly announced Canon RF lenses are counted among Canon’s top-of-the-line L-series optics; incorporating rugged, dust and water-resistant construction. All four new RF lenses feature a customizable control ring that allows photographers to adjust exposure compensation, shutter speed, aperture or ISO.

The Canon RF 28-70mm F2 L USM lens, the world’s first standard zoom lens with an f/2 aperture is excellent for capturing landscapes, weddings and portraits with its large aperture for stunning bokeh. Initial testing within Canon has shown this new lens to produce better optical image quality and sharpness over similar focal length EF-series lenses, including the extremely popular and highly regarded EF 24-70mm f/2.8L II USM.

A portrait photographer’s must-have, the Canon RF 50mm F1.2 L USM lens sports an ultra large-diameter f/1.2 aperture and Canon’s Air Sphere Coating (ASC) technology to dramatically reduce flares and ghosting. This amazing new lens is capable of rendering subjects life-size on the full-frame sensor with its minimum focusing distance of only 0.59 inches.

Photographers seeking an all-around utility lens for the new EOS R camera system need to look no further than the Canon RF 24-105mm F4 L IS USM lens. Coming in nine percent shorter in length than the EF 24-105mm f/4L IS II USM, this compact lens employs a CIPA standard of 5 stops of IS and is equipped with NANO USM technology, the first L-series lens with the technology. This small chip-shaped ultrasonic motor is engineered to help deliver high-speed, smooth, precise and near-silent operation, plus full-time manual focus (when using one-shot AF).

A fast, wide-angle single focus lens, the Canon RF 35mm F1.8 MACRO IS STM lens is an excellent option for photographers looking for an affordable compact lens. Featuring a maximum shooting magnification of 0.5x, the lens can easily shoot macro photography of subjects such as flowers, food and even insects. The lens also utilizes a CIPA standard of 5 stops of IS and is compatible with Hybrid IS, compensating for both angular and shift camera shake.

Enhanced Capabilities for Canon EF Lenses

Thanks to its large lens mount design, Canon’s new EOS R series camera system delivers new capabilities in both design and function, but for existing Canon lens owners it does something incredible. It enhances the capabilities of existing EF and EF-S lenses with full compatibility and in some cases, enhanced functionality when paired with one of three RF mount adapters.

Canon lenses are historically top-rated, and the Company is looking to help customers gain even more value in their investment with three new RF mount adapters.

The Canon Mount Adapter EF-EOS R is a standard adapter that provides full compatibility with EF lenses. Autofocus, metadata, and Optical Image Stabilization on EF lenses all continue to work seamlessly with the new EOS R camera through this adapter.
The Control Ring Mount Adapter EF-EOS R continues full EF lens compatibility with the addition of a customizable control ring. Functions that can be assigned and adjusted by the control ring include aperture, shutter speed, ISO speed and exposure compensation.
In addition to full EF lens compatibility, the Drop-In Filter Mount Adapter EF-EOS R allows for lens filters to be used behind any EF lens and help photographers conveniently utilize variable ND and circular polarizing filters with any EF lens.

New Speedlite Series

Canon is also introducing a new compact and lightweight Speedlite, the EL-100. Designed for photographers who are just beginning to use an external flash or are in need of a secondary unit, the new Speedlite delivers both soft and natural lighting reproduction. In addition, the EL-100 can rotate upwards and to the left and right enabling photographers to bounce the flash off of nearby ceilings, walls or surfaces.

Additional Features of the Canon Speedlite EL-100 include:

  • Maximum Guide Number of Approx. 85 ft./26m at ISO 100
  • 24mm Wide-angle Coverage
  • Optical Wireless Flash Function (Sender and Receiver)
  • Flash Exposure Control Including Support for Stroboscopic Flash and Continuous
  • Shooting Camera-linked Functions Including Interlocked External Flash Power On/Off
  • Mode Dial with AUTO Position

Availability and Pricing

The Canon RF 50mm F1.2 L USM will be available in October 2018 for an estimated retail price of $ 2299. The Canon RF 28-70mm F2 L USM, RF 24-105mm F4 L IS USM and RF 35mm F1.8 MACRO IS STM will all be available for purchase in December 2018 for an estimated retail price of $ 2999, $ 1099 and $ 499.99 respectively.

The Canon Mount Adapter EF-EOS R and Control Ring Mount Adapter EF-EOS R will be available for purchase in October 2018 for an estimated retail price of $ 99.99 and $ 199.99 respectively. The Drop-in Filter Mount Adapter EF-EOS R will all be available for purchase in February 2019 for an estimated retail price of $ 399.99 with a variable ND filter or $ 299.99 with a circular polarizing filter.

The Canon Speedlite EL-100 will be available for purchase in October 2018 for an estimated retail price of $ 199.99.

For more information on the new Canon RF lenses and accessories, please visit usa.canon.com/eosrsystem.

Canon RF 35mm F1.8 IS STM / RF 50mm F1.2L specifications

  Canon RF 35mm F1.8 IS STM Macro Canon RF 50mm F1.2L USM
Principal specifications
Lens type Prime lens
Max Format size 35mm FF
Focal length 35 mm 50 mm
Image stabilization Yes No
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F1.8 F1.2
Minimum aperture F22 F16
Aperture ring No
Number of diaphragm blades 9 10
Optics
Elements 11 15
Groups 9
Special elements / coatings 1 aspherical element, Super Spectra Coating Ground aspherical + aspherical _+ UD elements, Air Sphere and fluorine coatings
Focus
Minimum focus 0.17 m (6.69) 0.40 m (15.75)
Maximum magnification 0.5× 0.19×
Autofocus Yes
Motor type Stepper motor Ring-type ultrasonic
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Physical
Weight 305 g (0.67 lb) 950 g (2.09 lb)
Diameter 74 mm (2.91) 90 mm (3.54)
Length 63 mm (2.48) 108 mm (4.25)
Sealing No Yes
Colour Black
Filter thread 52 mm 77 mm

Canon RF 28-70mm F2L USM / RF 24-105mm F4L IS USM specifications

  Canon RF 28-70mm F2L USM Canon RF 24-105mm F4L IS USM
Principal specifications
Lens type Zoom lens
Max Format size 35mm FF
Focal length 28–70 mm 24–105 mm
Image stabilization No Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Canon RF
Aperture
Maximum aperture F2 F4
Minimum aperture F22
Aperture ring No
Number of diaphragm blades 9
Optics
Elements 19 18
Groups 13 14
Special elements / coatings UD + aspherical elements, Air Sphere, SWC and fluorine coatings Aspherical + UD elements, Air Sphere and fluorine coatings
Focus
Minimum focus 0.39 m (15.35) 0.45 m (17.72)
Maximum magnification 0.18× 0.24×
Autofocus Yes
Motor type Ring-type ultrasonic Nano ultrasonic
Full time manual Yes
Focus method Internal Rear
Distance scale No
DoF scale No
Physical
Weight 1430 g (3.15 lb) 700 g (1.54 lb)
Diameter 104 mm (4.09) 84 mm (3.31)
Length 140 mm (5.51) 107 mm (4.21)
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 95 mm 77 mm

Articles: Digital Photography Review (dpreview.com)

 
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2,500 Kick Ass Photographers on Google+

07 Sep

2,500 Kick Ass Photographers on Google+

Over the past 2 years I have been super active on Google+. Google+ has emerged as the best community on the web for photographers. Photos look great there, but photos look great a lot of places on the web today. More significantly, Google+ is a positive, visually oriented community where photographers can meet, talk, get to know each other and develop and maintain friendships.

I’ve met more photography friends on Google+, than any other social network.

As Iv’e gotten involved with Google+ I’ve shared my circles of photographers. When Google+ first started out and I built my photographers circle up to 500, I shared it, then 1,000, then 1,500, then 2,000. Last week my photographers circle on Google+ hit 2,500 and I shared it again.

If you want to see some of the best photography being published on the web today, check out some of these photographers.

Part 1-5 (A-Da)
Part 2-5 (Da-Ho)
Part 3-5 (Ho-Mi)
Part 4-5 (Mi-Sh)
Part 5-5 (Sh-Z)


Thomas Hawk Digital Connection

 
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Get A Kick: Photograph Soccer!

22 Jun
I moved out to the sideline for this shot.  Right around the 18 yard line is a great place to stand and turn back to the goal for the action there. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4X. 1/1000, f/5.6, ISO 800.

I moved out to the sideline for this shot. Right around the 18 yard line is a great place to stand and turn back to the goal for the action there. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4X. 1/1000, f/5.6, ISO 800.

I spent a good portion of my career photographing sports, from children all the way up through the pros. One of the most challenging sports to photograph was soccer (football or futbol if you’re outside North America).  I’ve had colleagues liken it to “photographing a moving tree in a moving forest” because you’re focused on one player, while other players are moving across the frame between you and the subject all the time.  It takes patience and some knowledge of the game to be really good at photographing it.

This shot was part of a sequence that started with this player making a run with the ball. A few frames prior to this, he was tripped and went airborne along with the ball. I never would have had this frame if I wasn't shooting at 12 fps. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4x. 1/1600, f/5.6, ISO 800.

This shot was part of a sequence that started with this player making a run with the ball. A few frames prior to this, he was tripped and went airborne along with the ball. I never would have had this frame if I wasn’t shooting at 12 fps. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4x. 1/1600, f/5.6, ISO 800.

From behind the end line, you can often capture two players fighting for position on the ball. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4x. 1/1000, f/5.6, ISO 400.

From behind the end line, you can often capture two players fighting for position on the ball. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4x. 1/1000, f/5.6, ISO 400.

Soccer is a fast-moving sport and thus requires your camera to be set a certain way.  I shoot most of my action using Aperture Priority, with the aperture set around f/4 or f/5.6. I want a pretty shallow depth of field so the athletes pop off the background, and so that background objects don’t distract from the subjects.  I then set the ISO to be sure I get a fast enough shutter speed to freeze the action. Generally this means 1/500 minimum.  Faster if you’re using a lens longer the 500mm.   I set my camera’s autofocus system to AI Servo or Continuous (dependent on the brand of camera you use- it means the same thing).  AI Servo or continuous simply means that your camera will focus on the subject and continue to track the subject as it moves towards or away from the camera. Finally, I set my camera’s drive to continuous so that I simply have to press and hold the shutter button to take multiple images. This enables me to take an entire sequence of action, meaning I won’t miss peak action by taking only one shot, or more importantly, I’ll get multiple images to choose from of the play to be sure I get the best shot out of the action.  Note that some cameras have multiple continuous settings, such as continuous low or continuous hi. I suggest getting as many shots as possible and using continuous hi, if you have a choice. For instance, the images accompanying this article were taken using an EOS-1D X, with the drive set to Continuous Hi, which is 12 frames per second.  Realistically, faster is better, but even a consumer camera firing at 4 frames per second can produce outstanding results.

Unfortunately, soccer is a sport that screams for long glass on your camera. The fields are so large, and the game so spread out, that putting anything less than a 300mm lens on the camera will leave you missing a lot of shots. Truth be told, a 500mm lens is ideal.   I found a lens such as Canon’s EF 200-400 f/4L IS Extender 1.4x to be a great combination as I could zoom in and out and cover things close to me at 200mm, and zoom all the way in when the action moved away. Nikon makes a similar lens, without the 1.4x extender built in.  For more cost-conscious options, lenses such as Canon’s 100-400mm or the many 70-300mm lenses on the market are also good choices.

When on the field, or pitch as the rest of the world calls it, I have several places I like to stand.  My favorite place is behind the end line, to the side of the goal. This allows me an angle on the goalie when he comes out to make a play, but also gets action coming more or less right at me.  I find it much easier to photograph players running towards me, rather than to try and pan with action moving parallel to me.  When the action is coming to me, I don’t have to work to keep the AF point on the athletes. When I have to pan with the athletes, there’s always the chance I move too fast or too slow and the AF point loses focus.

I find the combination of speed and physicality to make soccer incredibly rewarding. I love capturing the players fighting for the ball, fighting for position.  I love capturing the emotion as they score a goal, or the dejection of losing a big game. Spending an afternoon at a soccer game provides a ton of great opportunities, so go take advantage of them!

Occasionally, I'll try something a little different.  I had a lot of standard action from this game, so I decided to switch it up a bit and try some panning. The darker backgrounds lent themselves perfectly to this.  Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4x.  1/10, f/36, ISO 100.

Occasionally, I’ll try something a little different. I had a lot of standard action from this game, so I decided to switch it up a bit and try some panning. The darker backgrounds lent themselves perfectly to this. Canon EOS-1D X, EF 200-400 f/4L IS Extender 1.4x. 1/10, f/36, ISO 100.

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

Get A Kick: Photograph Soccer!


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5 Ideas to Kick Start Your Photography Again

15 Jun

Image by Eric May

Last week I was speaking with an amateur photographer who told me that he’s been struggling for photographic inspiration and ideas lately.

He reflected that he felt like he’d become something of a lazy photographer and was in a bit of a rut – always photographing the same things in the same ways.

I shared a number of ideas from my own experiences of seeking photographic inspiration (some of which I’ll share below) but it struck me halfway through the conversation that a lot of the ideas I was suggesting was actually about him limiting himself in his photography in some way – in order to find inspiration.

Let me explain by looking at 5 photography ideas that I shared with him.

Note: by no means am I suggesting that these are the only ways to get inspired – they’ve just helped me at times.

5 Ideas to Kick Start Your Photography Again

1. Fixed Focal Length Shoots

I wrote about this recently in a challenge here on dPS. The idea is to choose a focal length and only shoot at it for a period of time.

While many of us have become used to (or reliant upon) shooting with a zoom lens – there’s something about shooting with a prime lens (fixed focal length) that makes you think about the composition of your shots a little more.

So choose a focal length that you don’t shoot at much and stick with it for a week and see how you go (and if you don’t have a prime lens to do this with – use your zoom but simply stick at one end of its range for a week).

Variation: another option for this is to choose a lens that you may not have used much before. Many photographers buy multiple lenses but then stick with one, ignoring others. Alternatively swap lenses with a friend for a week or even try renting one for a short period.

2. The 1 Roll Rule

Image by Paul G

I was out shooting with a photography enthusiast friend recently and was amazed at the number of shots he took. At one point we were photographing his son (who was quietly playing with lego) and my friend shot off a burst of 20 or so shots at 4 frames per second.

Considering his son was sitting still and only really moving his fingers for those few seconds I did wonder at the need to shoot so many shots.

Of course I also know the temptation – shooting heaps of shots is easy to do. It doesn’t really cost you anything (although fills up hard drives pretty quick) and some might think it increases your chance of capturing the perfect moment.

The problem is that when you rely upon the quantity of your shots to improve the quality of your images that you can easily become lazy and complacent.

Here’s my challenge – next time you go out on a shoot – limit yourself to 36 shots (the number in a roll of film). In doing so you’ll find yourself really thinking about your shots. You’ll time them better and make sure each shot counts!

3. Turn Off the Live Preview/Review

Image by Alan Antiporda

Speaking of old school film photography – do you remember that feeling when you got to the end of shooting a roll of film and wondering how your shots would turn out?

You’d put the film in for processing and wait a week or so for them to be ready and then go to the photo lab with anticipation… rip open the package and go through them one by one – reliving the moments you captured a week or so ago?

I love that digital photography gives us instant access to the images we take – but sometimes I wonder if by having that little screen on the back of our cameras we might be missing something from the experience of photography?

There are certainly advantages of being able to quickly review our shots or compose them on a larger screen – but similarly to my point above on shooting lots of shots I wonder if the instant review could be making us a little lazy? We’ll just keep taking shots till we’re happy.

I personally also find myself looking at my camera a whole lot more than I am looking at the scene in front of me and wonder if some of the joy of the moment could be lost.

So try this – turn off your LCD screen. Some cameras let you do this in your settings while others might take a little self discipline to do this – but I’d be interested to see what impact it has.

4. Manual Focus

Image by Shazeen Samad

Shooting recently with the Leica M9-P (a fully manually focused camera) reminded me how little I shoot with manual focus these days.

I admit it – I’ve become lazy and have relied too much upon Auto Focus.

Shooting with the M9-P also reminded me how focusing manually can open up all kinds of possibilities. Just thinking about your focus rather than relying upon those 21 auto focal points your camera has (or how every many there are) puts you in a different frame of mind.

I find shooting in manual focusing mode makes me slow down a little, consider my shots and get a little more creative.

So switch to Manual Focusing and see what impact it has on your photography! I’d love to hear how it goes for you in comments below.

5. Limit Yourself to an Aperture

Image by Travis Lawton

I was flicking through some of my shots recently in Lightroom and as the images opened in front of me I noticed something that I’d not considered much before. Almost every shot I’d taken over a month or so had been taken at the maximum aperture of the lenses I was using.

I was shooting wide open almost all of the time.

There were a number of reasons for this – partly I shoot a fair bit indoors where the extra aperture lets more light in – but I guess it is also part of my style. I love narrow depth of field shots – bokeh is my friend.

However I wondered whether by shooting wide open so much I perhaps was ignoring other possibilities. Perhaps some of my portrait work would have been better if I shot with a smaller aperture and included more in focused backgrounds to give my subjects context (environmental portraits).

For the next week I began to shoot with a smaller Aperture – it was challenging at first and I wanted to give up – but at the end of the week I realised I was again being more thoughtful with my shots and had expanded the possibilities of styles at my fingertips when shooting.

Share Your Ideas for Finding Photographic Inspiration

These are about half of the ideas I shared with my friend – I’ll write up the others in the coming week – but in the mean time I’d love to hear ideas from others too. What do you do when you find yourself in a photography rut needing inspiration?

Post originally from: Digital Photography Tips.

Check out our more Photography Tips at Photography Tips for Beginners, Portrait Photography Tips and Wedding Photography Tips.

5 Ideas to Kick Start Your Photography Again


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The Kick: Control LightingWirelessly w/ your Phone!

31 May

Extra photos for bloggers: 1, 2, 3

The right light can go a long way. A wirelessly controlled, fully customizable light will take you even farther!

Meet The Kick: it’s like a full blown lighting studio, but tiny enough to tote anywhere.

The Kick is an LED light panel that you control through an app on your phone. Change the color, shade and brightness with just a few taps. It can even mimic the light from any photo or video already on your camera roll.

You can use it off camera or slide it onto the back of your phone. It has a tripod mount for hands-free lighting.

The precise controls let you use it as a subtle fill light, a white balancing light, or start a disco tech in your living room. This little guy does it all!

See Examples of The Kick at Work
$ 179 at the Photojojo Store

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Karate girl kick 3D holographic animation

28 Sep

3D holographic animation, from martinXmanga’s site. This is a NEW awesome 3D stereoscopic animation made by Martin F Mastrovita Viladrich: (official site) martinxmanga.atspace.com (official blog) martinxmanga.blogspot.com v^_^v
Video Rating: 5 / 5

 
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