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Chris Gampat The Phoblographer Panasonic 42.5mm f1.2 review product images (4 of 7)ISO 2001-400 sec at f - 1.7

It’s very easy to become obsessed with bokeh–look at the cinema and television industry. Watch famous movies of Tarantino, Nolan, or television shows like Arrow or American Horror Story and you’ll see that the world’s best cinematographers use lots and lots of bokeh. In the same way that cinematographers use bokeh to tell a story, photographers should use bokeh to tell a story and transmit a presence and feeling into the viewer that grabs them and forces them to pay attention.

We’re not at all saying that photographers need to be more cinematic–but instead we’re saying that many photographers need to start thinking about bokeh in a different way.

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Chris Gampat The Phoblographer Metz flash product photos (1 of 10)ISO 6401-50 sec at f - 4.0

Editor’s Correction: In an earlier version of this article, we called the flash the 54 AF-1. It is indeed the 64 AF-1. We apologize for this mistake.

Metz believes that the future of the flash is very…touchy. To be specific, we’re talking about a touch screen. So when the 64 AF-1 was shown to us around Photokina 2014, we were quite intrigued. The flashes are available for Canon, Nikon, Fujifilm, Sony and the Micro Four Thirds world. It tries to be futuristic with its massive touch LCD screen. Metz has been long known in the industry for having a more affordable alternative to the camera manufacturers, but in recent years they’ve stepped back to Phottix, Lumopro and Yongnuo.

The Metz 64 AF-1 otherwise is like many flashes on the market: it can rotate around and tilt its head. Unlike Sony’s flashes, the 64 AF-1 isn’t a cobra head design. But like many of Sony’s flashes, some of the settings can be controlled via the camera thanks to its interactions from the multi-interface shoe. This means that it will work with the NEX 6, A7, A7s, A7r, A7 Mk II, A99, A77, A77 Mk II and a couple of others.

The flash is also one of the first designed for the new Sony shoe since the company introduced it a couple of years ago. While it’s a good first attempt, it fails in certain aspects.

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Taking a photo with a tablet

The phone camera generation and technology shift created the rise of yet another device: the tablet. And as people took image after image with their phone, so too did those with their tablets. Before we knew it, tablets were with people everywhere they went. So the photos they shot during vacations, concerts, at restaurants, events, the kid’s first recital, and even more were shot on tablets.

Stop.

For the love of everything that Steve Jobs created you’re blocking my line of vision of whatever we’re all here to see. And sometimes you don’t even want to just shoot a photo. You want to shoot the same photo over and over again. Further, you sometimes want to record a video–you know how long you’re holding your tablet up to record a video? That entire time, I probably can’t see what’s in front of me. Or even if we’re in a sea of darkness, your super bright tablet in total darkness is a complete distraction.

That and you just look absolutely ridiculous when doing it. A tablet is not ergonomically designed for you to hold it outstretched from your body to take a photo and if anything, you’re completely overcompensating with the screen size.

Please. Please. Just stop it.

Chris Gampat The Phoblographer Sony hvlf60m flash uses (1 of 5)ISO 16001-40 sec at f - 9.0

Want more Useful Photography Tips? Check them out here.

If you’re starting out as a photographer shooting events or portraits, one of the biggest rookie mistakes made (along with using a Gary Fong Lightsphere incorrectly) is simply pointing a flash directly up towards the ceiling and expecting the best and most perfect results. The problem with this method is that you tend to create unflattering shadows (and there is a difference between flattering and unflattering shadows) on a person’s face and therefore make them look not their best. While many flashes give you a small bounce card, it usually isn’t enough to fill in those shadows either.

In the situation where you don’t have something like a large Rogue FlashBender, we recommend this: point the flash up towards the ceiling and behind you just a tad–then crank up the flash output around 2/3-1 stop brighter. Based on the way that light and flashes work, the ceiling is used to become a main light source as it is illuminated by the flash output. But if you put the light source right above someone’s face, you’ll create shadows underneath. However, if you move it around to above and slightly in front of them, the light will seem a tad more natural.

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Want more Useful Photography Tips? Check them out here.

Not all event photography can be done alone. Some times the scope of an event can span days as well as different locations. I recently had to do a week long job like this and I learned a lot. Group work requires planing , and the ability to adapt. It’s not just about camera gear it about people and interpersonal skills as well.


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Readers of this blog know very well that the staff generally all prefer prime lenses over zooms. The Tamron 24-70mm f2.8 VC SP for Canon EF mount, however, landed in my hands for two weeks. Tamron is an extremely solid third party lens manufacturer and they create some terrific sleeper lenses that otherwise get overlooked by those of the larger brands.

To put it bluntly, I hate zoom lenses. Moreover, I’ve never been a fan of the 24-70mm zoom range. This lens, however, has to have been the best I’ve ever tested: surpassing even Nikon’s version of the lens (without stabilization) in my personal opinion.

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