Epson’s “secret” killer feature…

Laptop-free travel is a dream of a lot of us who want to lighten our loads. One of the things that a lot of columnists and writers point to as alternatives are the multimedia storage storage devices like the Epson P6000/P7000.

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These are phenomenal little units, and I carry one along even when I have a laptop as a backup. But carrying one of these units in lieu of a laptop isn’t really going to help you as redundant backup unless you do one of three things:

  1. Don’t re-use your cards during the trip, so you’ve got a copy of your “take” on the Epson and a copy on the cards.
  2. Buy two Epsons (!) so you have your redundant backup. It’s an elegant, if somewhat expensive, solution.

For the third, most reasonable, and totally undercovered solution in almost every review and Epson marketing piece of these multimedia storage units, hit the next page. (more…)

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Blue-n-Gold to the rescue

One of the things I miss about film (besides the fact that I had a life outside of the computer) is using Velvia. I loved the look and color palette of that film. And I loved using it with the Gold-n-Blue polarizer from Singh-Ray. This filter punches up the blues and golds in a scene, and if used correctly in the right conditions, could make late afternoon magic light much earlier in the day, or punch up the colors in a twilight or sunset scene.

Photo © Bob Krist

So it was one of the filters I turned to right away when I went digital, and it slammed me between the eyes. It didn’t react the same way with digital as it did with film. Here’s what it looks like when it’s used properly with digital.

But that’s not the way it looks on your LCD. The way it looks on your LCD would send you running to the repair shop.  For a look at what a file looks like shot through a Gold-n-Blue Polarizer and how to correct it, hit the jump.


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Life in the slipstream

I’ve had an opportunity to work with some incredible pilots in my time. Usually, they’re the behind the scenes guys who help me get aerial views of landscapes, but occasionally they’re the subject of the photos themselves.  Here are two very similar views of two (well, actually four) very skillful pilots.  The first, on this page, is Azhar Husain of Sport Aviation at Van Sant Airport in PA. I was shooting for my book about Bucks County and after seeing what planes and pilots were available we decided to try the formation flight.

Photo © Bob Krist

We worked out all the logistics…the second pilot, the wind and light direction, a harness for me so I could turn around in the cockpit and shoot backwards. There was only one thing I hadn’t counted on, and it nearly cost me a broken nose, not to mention a smashed up camera.  Hit the jump to find out how to avoid plastic surgery if you should attempt a similar shot… (more…)

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Go Wide, Baby

© Bob Krist

I love the Lensbaby line, those lenses that help you bend and shape your depth of field; and I’ve had one of each generation (the babies are growing up!). All of the babies thus far have been about a 50mm focal length, which means for folks like me, a DX format shooter, it’s actually more of a telephoto, a 75mm.

At that focal length, the Lensbabies have been useful for me on stuff like portraits, food shots, and detail shots,  like this one.

But what I’ve really wanted was a wide angle version so I could go out and do some landscapes and the like. They have, in the past, offered a screw in wide angle, but these were usually just video camera auxiliary lenses.

They were heavy and clunky and made it hard to focus the Lensbaby.

I’m using the model called the Composer now, and it’s extremely easy to work with, and with the dual element lens, the sharp part of the photo is really sharp.  And now, there’s an equally elegant and usable wide angle attachment. I just got it and am looking forward to taking it to the Indian Ocean on a job next week.

I can just visualize all those soft topped palm trees—-oh yeah, it’ll make me look hip and deconstructed… and that is a tall order! Hit the jump to take a look at the wide baby.


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