Digital Photo Pro

Digital Photo Pro July/August 2017

Digital Photo Pro is the serious digital photography enthusiast and professional’s guide to advanced technology and creativity. Each issue showcases the very best in photography, and helps readers navigate the sea of equipment, storage methods, electronics and more, so they can make better decisions and take better photos.

United States
Madavor Media, LLC
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4 Issues

in this issue

3 min.
editor’s note

My legs dangled over the edges of the fallen tree, slippery moss beneath me threatening to pitch me off to either side. The spray from the massive waterfall some 20 feet below me occasionally hit my face and my camera, producing a fresh-tasting mist that enveloped me. The rushing waterfall made it hard to hear the kayakers, members of the Perception Kayaks professional team preparing to make a first descent down this rushing torrent of water. Before I climbed out onto the precariously balanced tree, I loaded a new roll of film, checked my settings and wished myself luck. Dangling on a tree seemed less dangerous than paddling a kayak into the abyss, but at least those guys had helmets and personal flotation devices. The light sparkled off the water as the…

7 min.
new products

Profoto B1X With a significant update to the B1, Profoto has introduced the B1X flash, featuring a new LED modeling light that adds 80 percent more light output, with an increased CRI of over 90. This upgrade is all about power. In addition to the LED modeling light and increased color-rendering capability, the B1X has a more powerful battery that holds 50 percent more energy and an extended HSS power range, making it an ideal on-location tool for photographers. Whether used in that capacity or as a main or effects light, the B1X is designed to enhance natural light in less-than-stellar shooting conditions. The B1X’s new battery also fits existing B1 flashes and B1 chargers, and in HSS mode, it has the same power range as in normal flash range, which…

7 min.

For many video-based creatives, editing is a solitary process, countless hours spent heads-down, culling images and footage, tweaking audio, correcting color, revising endlessly and culminating in creating a final product for a client. Increasingly, the various specialties required to create broadcast or cinema content require collaboration. As video editing suites enhance their collaborative tools, it’s necessary for creatives to be able to access the same footage and resources. Many video-editing teams are used to shuttling data around on hard drives or sleds, carrying the components of a project from department to department. This is simply a higher-capacity version of the “sneaker nets” used since desktop publishing arrived in the 1980s. The computing promise of sharing and accessing vast quantities of data across a network has always required a joint effort between…

7 min.

The business facts, on their face, seem grim. In video and digital cinema, the tools are better, cheaper and more accessible to the masses than they have ever been. Software is quickly making many production tools and techniques obsolete. How people consume media is changing everything in our business. Award-winning films like Tangerine, shot on smartphones, illustrate that, to a point, the gear you own and use doesn’t mean nearly as much as it used to. What this means for professionals, aspiring professionals and people who want to make a living in video and cinema production is that our image-creating world is radically changing and will keep changing on an almost weekly basis. So how do you stay on top of it all? How do you keep current with new…

8 min.
hands on: sony a9

When Sony’s first full-frame mirrorless cameras, the a7 and a7R, shipped at the end of 2013, the company had a market share in the full-frame space that one company exec said was around 1 percent. While those two mirrorless cameras broke ground by placing high-resolution full-frame sensors into a body that was around the same small size as many mirrorless APS-C and Micro Four Thirds cameras, they weren’t a smash success. The slow autofocus, limited performance and lack of pro lenses made the cameras a good choice for a secondary body or a travel camera, but few used them as their primary camera. In just under four years since the a7 launched, much has changed in the camera market and in Sony’s positioning within that market. The new Sony a9 is…

11 min.
master midday light

Photographers have one thing in common. We’ve all gotten up early, really early, to photograph the sweet rays of warm sunshine at dawn. Countless mornings are spent in the dark groping for lenses, warming up fingers and blinding fellow photographers with laser-beam headlamps. But everything is worth it when the crimson sun illuminates a model on a beach or a sandstone spire in the desert. Shutters blaze away for an hour while the light is good. Slowly the light gets harsher, hotter and turns the beautiful model into a squinting gunfighter and the majestic desert spire into a featureless toothpick. Time to pack up the gear and head to the hotel. Every photographer knows the light is terrible in the middle of the day. Or is it? What if there were…