Maybe for a really long time, we’ve been going about trying to get manual control over Instax Film totally wrong. Instead of trying to hack medium format cameras and camera backs to accommodate the film, why haven’t we tried hacking the cameras to start with? Well actually, the folks over at Camera Film Photo have been for a while. Indeed, a Fujifilm Instax Wide 300 camera can be hacked to take a Schneider 65mm f5.6 lens and apparently even other lenses. The lens has both the shutter speed and aperture control on it just like some of the higher end medium format cameras and pretty much all large format cameras.
Ever heard of a Gobo? Strobist photographers have been using them for years and years–essentially a GoBo is a go-between that modifies the light output to shape it and define it in a certain way. An umbrella and a softbox are gobos: but so could a piece of plastic or a strange glass. In fact, the utterly bored yet imaginative folks over at Pop Photo tried to do just that. But in a new series that they’re starting called “Random object lighting modifier challenge” they decided to slap a glass candle holder on the business end of a flash.
The traditional way of making a white background go into a seamless white look involves shining a flash’s output onto a white surface at one stop higher than your main light. But it doesn’t really need to be that way. In fact, you can do it with a single artificial light source. This tutorial works well for headshots and in the right situations and tweaks, it can work with products.
Better yet: You don’t need to spend a whole load of money.
All images by Brock Saddler. Used with permission.
“It’s really wonderful.” says photographer Brock Saddler about the image quality involved with his recent hacking of an Instax Mini back with his Bronica ETRS. “The sharpness and depth of field produced by real lenses on the stock is amazing and the ability to have shutter and aperture control from the body is another win.” Brock isn’t much of a person to talk about himself, and so he told us to make something up!
Photographer Brock Saddler started slaying dragons at the wee age of four years old. He continued to do this until one day his father gave him a camera. “With this tool, you will capture the hearts of everyone in the land!” he said to Brock.
And that’s how Brock didn’t really get into photography.
One of the absolutely most underrated light modifiers is the Umbrella Reflector. Typically used to hold an umbrella in place and provide more stability when attached to a monolight, they can also take the light output from strobes and monolights, give it a specific conical direction and soften it. For many years, however, these flash modifiers were limited to monolights and hot shoe flashes couldn’t really enjoy the benefits. But for what it’s worth, many hot shoe flashes have been designed with radio transmission as of late and were primarily intended for off-camera use.
Using a bit of tinkering at home combined with some inspiration from a beauty dish hack I did along with the Impact Strobos, I created an umbrella reflector that works well with a hot shoe flash.
Magic Lantern: the hack that helped sell so many Canon 5D Mk III cameras to videographers, is supposedly being blocked in the company’s latest firmware. According to the Magic Lantern forums, the company blocks the initialization of Magic Lantern in firmware 1.3.3–which is very odd because according to the original poster, they can’t find any info on it. Nor can we, and nor can Canon Rumors.
Planet5D states that this isn’t the first occurrence of Canon blocking Magic Lantern. The team had to make adjustments for firmware 1.2.3 when it hit.
Deeper into the forum thread, users start to recommend that the person downgrade their firmware using EOS Utility. The users state that this works, though there is also stipulation and mentioning that Canon may block downgrading.
Magic Lantern is incredibly important to videographers because the team discovered a RAW CineDNG video output on the camera around a year ago. Then they found a way to record it, improved it, and then found a way to get it to 14 stops of dynamic range. But shortly after that, they pushed it to 15 stops. Shooting in RAW gives a cinema team a lot more versatility to create better video in the post-production phase on a budget. The only other way to do it would be to go for Black Magic cameras or snag something from the Cinema EOS line–but that is out of reach for many cinematographers.
“Hey Jules, So I was trying to verify our Facebook page, and during the process it kicked all of my email addresses off as an Admin. Can you make me an Admin again. It looks like someone else took it over.”
“Oh man, sure. I’ll call you back.”
That’s how it started–the longest 24 hours of my career as the Editor in Chief of the Phoblographer began with simply trying to get our page verified.
All photos by Jason Cheung. Used with permission.
If you’re using an older analog camera of some sort or just have a dim rangefinder in one of your cameras, photographer Jason Cheung created a workaround that seems pretty nifty. It involves a bit of thinking in a different way–while most photographers will instead try to brighten the focusing patch, not many think about dimming the rest of the viewfinder to make the patch stand out more. But that’s what Jason did–and he did it just enough for it to still be usable.
More after the jump.