Archive for the 'location' Category

13
Apr
17

ProLights Lumipix Batten

Looking at lights like this makes me wonder if we will soon see the demise of the gel industry altogether. I must admit that I hope we don’t, having spent years learning about CTO, CTB and the ever-amusing oddball amber (162) and seedy pink (748) amongst the plethora of other coloured gels available. I guess we will all get used to dialing in a colour on the back of the lights rather than correcting them at the front with giant sweetie wrappers and no doubt it will be easier, cheaper, and more accurate this way. I can’t help feeling we are likely to lose something of the craft of lighting along the way.

 

Still, far be it for us to stand in the way of progress, so we are fully embracing the new LED technology and it’s minimal need for gel. A good example of this is the new Lumipix batten from ProLights. This is a 12 bank LED light batten with the ability to produce more than 16 million colours without having to use a single sheet of gel. And I thought there were only 7 colours, well that’s how the rainbow works isn’t it?

ProLights LUMIPIX16H LED Batten

Not only will the Lumipix display lots of pretty colours but it will allow you to do all sorts of combinations and effects with them. I feel that this has been designed with the stage in mind rather than the big (or small) screen. They would be perfect for concerts and that type of show with in-built microphones and adjustable sensitivity to allow for music mode where the lights will respond to music themselves. Also full Dmx control is available right down to the individual LED’s so you can change colours and make pretty patterns to your hearts content.

But before you tune out its not only rock bands that can use this, you image-makers may find them useful too. In our world we would think of them less as a disco light and more of an all-purpose flood or fill light.

ProLights LUMIPIX 12 x 3w RGB:FC LED Batten - A

Rather nicely they have a flicker-free operating frequency of 400HZ to allow for relatively high speed filming, and a LCD display user interface so you can play with the settings without having to put it through a complicated control desk.

IP33 protection and a maximum power consumption of 40W will keep the gaffers happy. You folks will also appreciate the minimal 3.2 kg weight and the robust aluminum body designed to disperse heat and also protect the lights.

Interestingly these battens are also capable of being “pixel mapped” This term describes how a bitmap or image can be displayed pixel by pixel on a series of lights thus creating a video screen of sorts. I presume this would be used for displaying simple moving patterns or images.

However, I can’t help thinking that this feature could be employed to make the ultimate big HD screen experience. As each unit has 12 x LED lights, I calculate that 158 ½ units side by side would do one line of a HD display and about 170 thousand units stacked up would complete it. What an impressive screen that would make, being 150metres wide, however, you may have to watch it from outer space. Anyway we don’t quite have enough of them for that and even with the minimal 40 w max power draw per unit it would still draw 6912000.00 watts in total that’s over 30 thousand amps.

As far as specifications go each unit has 12 tri colour High-efficiency CREE LEDs giving a LUX of 1360 @ 1m, the optics give a beam spread of 19 degrees. Several DMX selectable configurations are available (2,4,6,7,9,18 or36) for advanced or basic controlling. A tough aluminum body to aid with heat dispersal and a controllable fan for forced ventilation will prevent over-heating.

Each unit has twin brackets for hanging that can also be used for floor positioning.

A power output has also been built in to allow for up to 10 units to be joined together using the one 230-v supply (less distro required)

So all in all this is a very nicely thought through product with some great features and I will give it a 7 / 10 for my Brucie Coolness Rating, only slipping slightly because its too difficult to ride home with on my bike for parties.

 

Cheers all BB

 

01
Apr
17

Go Pro Zombie Apocalypse Mount

Go Pro Zombie Apocalypse mount “aka Lucille”

lucille1.png

 

So although I don’t believe any firm dates have been set yet, those in the know, seem to think that the inevitable zombie apocalypse is just round the corner. Now we here at Pixipixel know that you don’t just want to survive the undead onslaught but being creative types you will want some epic footage to use for bragging rights afterwards. With this in mind Pixipixel are pleased to announce that we now stock the all-new Go Pro Zombie mount.

 

Ok so bearing in mind that once a date has been set for the apocalypse this is going to get booked up pretty fast. It may be worth having a few practice runs beforehand, this will really help to improve your technique in both zombie slaying and image capturing, practice makes perfect as they say.

lucille2.jpg

So a little about this rugged mount from Slooflirpa mounts, makers of specialist camera mounting hardware. The mount itself is made of rugged, strong and easily wipe-cleanable aluminum. It has a pleasingly strong feel about it and gives plenty of opportunity to vary the angle of the go pro to capture “actual impact” video as they describe it or “combat action selphies”, I’ve found that when set to a mid position both can be achieved in the one frame, useful as zombies don’t seem to want to get up for a second take!

lucille3.jpg

The mount we have opted for is for a baseball bat (splatter bat) and is cleverly attached at the foot of the handle to protect the camera from over spray but not interfere with the bats operation in any way, the full range of offensive blows and defensive parries is possible without any compromise to your technique. The only difference is that all your efforts can now be recorded in mind-blowing 4K on the go pro.

 

Slooflirpa make a range of zombie mounts to fit all your favorite weapons of choice, from chain saws to firearms they have everything a serious zombie slayer / film-maker could hope for. We decided to go for the Baseball bat mount or “splatter bat” as they describe it for various reasons.

 

For the initiated in zombie warfare our choice is pretty obvious but for the rest of you who are less used to dispatching the undead or “deadening” them as I like to describe it let me explain our decision.

 

Firstly although a firearm may be a good option for picking off zombies at a distance they have the annoying habit of running out of ammunition and this leaves you with no option than to use it as a bat anyway and a baseball bat is much more natural thing to swing. Likewise a chainsaw although pleasingly effective can run out of fuel, chain bar oil or ever throw a chain leaving you in trouble. The baseball bat has for those reasons been the go to tool for many a famous zombie slayer for years. It won’t run out of ammunition, fuel or malfunction in the middle of a melee and does add a level of street cred or certain panache to your actions.

Lastly both guns and chain saws make a lot of noise and this has the effect of alerting any local zombies to come and join the party, not always what you want.

 

Negan and Lucille from the Walking Dead are a perfect example of how to get the most from this hickory, barbed wire combination whilst maintaining your composure, but he is not the first to delight in the baseball bat as a first choice as I’m sure you know. The Warriors back in 1979 liberated a few from the Baseball Furies to help them battle back to Coney island (ok so it’s not a zombie flick, I know!!)and even Dr Zeus penned a poem celebrating the merits of a big bat. Field of dreams had baseball bats, but I fell asleep so don’t know if it ever featured zombies, somehow I doubt it.

drzuess.jpg

harleyq.jpg

Other famous baseball bat wielders include Jack Nicholson’s wife in The Shining who looks well at home with her Louisville Slugger and more recently we see some outstanding bat work in Suicide Squad in the hands of Harley Quinn. But to my mind Woody Harrelson really captures the humour that only a good old batting of a zombie can produce and he doesn’t even lose his hat in Zombieland.

 

woody.jpg

Now for the first hire of our latest must have camera mount I think we could throw in a pair of Pixipixel Zombie proof gloves so lets see who’s the quickest off the mark out of you lot.

 

The all-important Brucie coolness rating for our Splatter Bat is a solid 10 out of 10, it packs a hell of a punch yet feels good in the hand and has more street cred than a Shoreditch hipster on a fixie.

 

So if this is your kind of thing give us a call and ask for “Lucille”. PS any arrests due to carrying our Splatter Bat will not be accepted as an excuse for late returns and we reserve the right to charge a cleaning fee if returned with body parts still attached.

 

Cheers all BB

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28
Mar
17

Profoto Air Sync & Air Remote

The Profoto Air Sync and Profoto Air Remote are basically the same as each other with both having 8 channels, 300 m range, 10 to 140 hours battery life transmit mode fast /slow, 30 hours battery life receive mode, 30 min auto power off, and integrated antenna.

The difference is that the Pro Air Sync will only trigger a flash i.e. just fire it like a sync lead but without the lead. Whereas the Pro Air Remote also lets you control the flash so you can change its power setting and modeling light function.

Just to slightly confuse you the Air Remote also comes in a TTL version for Canon and Nikon (TTL = Through the lens). This means that the remote will transmit TTL information to any Profoto flash with TTL Air Support and this will allow for fully automatic point-and-shoot shots. It can also be used in manual mode (without TTL) or Hybrid mode that allows for you to shoot first with TTL and then switch to Manual mode to make adjustments, and that’s good because TTL is often inaccurate.

All Profoto Air Remotes can be used with non Air equipped flash systems by using 2 units, one on camera and one connected to the sync socket of the flash, just like a pocket wizard system. However this will not allow for the control of flash power, modelling light, or TTL operation. It’s worth noting that you can mix Pro Air Sync and Pro Air Remote to achieve this.

Profoto equipment we have that supports Air and or AirTTL operation:

Profoto B1 Air & Air TTL

Profoto B2 Air & Air TTL

Profoto B3 Only the Air

Profoto B4 Only the Air

Profoto D1 Only the Air

Profoto 7A Neither is supported

Profoto 8A Only the Air

Profoto Acute 2  Neither is supported

Profoto Air Synch & Remote

 

Broncolor

 Broncolor used to be simple, they had a RFS (Radio frequency Sender) that controlled power and synced the flash and that was about it. It was a bit fiddly as you had to alter a “trimpot” underneath the unit to change channel and double check that the pack was on the same channel, also the packs (Grafit etc) had a weak aerial that was either missing, forgotten, or broken. The Scorro packs we stock now have this aerial built into the handle.

Broncolor also did a little gizmo called an IRX (Infra Red Sender), an infra red sync trigger that came in surprisingly useful from time to time, particularly in areas with radio restrictions.

Broncolor has now upgraded the RFS to the RFS 2. It operates like the Profoto Air Remote and controls the power & more on any RFS equipped Broncolor Flash, like a Broncolor Scorro for example. An additional RFS 2 Receiver can be used to trigger non Broncolor equipment by attaching to the sync port with a short cable.

The Broncolor RFS 2 has 40 channels compared to the Profoto Air’s 8. I would think this is an advantage once or twice every millennium.

Broncolor

Pocket Wizard

Pocket Wizards are a third party wireless sync trigger and either the Pocket Wizard 2 or Pocket Wizrd 3 system will trigger any flash from any camera provided you have the correct cables to connect.

Connect one pocket wizard on to the hot shoe of your camera (or connect it to the sync socket using a small lead) and attach another one onto the Flash (again connecting to the sync socket with a small lead). Check they are both on the same channel and away you go.

Easy, just be careful that the correct size leads are supplied for the flash.

Historically Profoto used the larger jack and Broncolour used the smaller one but they are both changing this around to keep us on our toes. Here at Pixipixel, we ensure you’re supplied with the correct cabling, even if it means providing both sets for your shoot.

Pocket wizards however also have a few tricks up their sleeves that you don’t find on the brand specific triggers from Broncoor and Profoto.

Firstly, the Pocket Wizard 3 units will automatically switch to transmit or receive depending on what they are being used for, a very clever feature. The Pocket wizard 2’s came as a transmitter, receiver, or a transceiver; they can do both but you need to select which.

The Pocket Wizards claim to have the longest range of 300m and that’s pretty impressive as I can’t even see a camera at that range.  But it gets better, you can also use pocket wizard units as “repeaters” i.e. you could put one at a half way point 300m from the camera (transmitter unit) and a further 300 metres away from the flash (receiving unit) thus extending the range to 600 metres and this can be extended even further.

Based on rough calculations it then follows that, with the circumference of the world being approximately 400 thousand metres it would take approximately 133,333 pocket wizards to transmit a sync signal the long way round the globe from camera to flash, and lots of AA batteries too.

Ok I know that’s silly but I had a customer who used to put flashes up at the top of huge sporting stadiums and the like and use this “Repeater” facility to trigger them from his seat in the stands so it can come in very useful.

The same guy also used to make use of another function available on pocket wizards and that is the ability to be powered via a USB port on the unit. This is great if you have to set up the pocket wizards say 24 hours before you are going to use them, this can happen more often than you would think. During my years living in Melbourne, for “Carols By Candlelight”, lights had to be set up in the rigging and subsequently could not be accessed for a day so the pocket wizards would go flat by the time the sing-song got going. Attaching an external power source via the USB allowed for them to be left on and not go flat.

The other great use for pocket wizards is the ability to use them to remotely trigger a camera rather than a flash. A special cord is required to do this and it’s called a Trigger cable; it comes in Canon or Nikon. Useful when the camera has a high viewpoint up on a boom, for example. Another scenario could be when shooting two cameras at the same time.

A few motor sports guys will have a camera on the opposite side of the track to themselves and trigger it at the same time as the camera they are holding this enables them to shoot both sides of the can and also get some heroic selfies. The test button has a two stage action just like the shutter release button on the camera, so a 1/2 press wakes the camera and starts auto focus and more. A full press will release the shutter.

And don’t forget you can attach one to a light meter for remote triggering of the flash during that initial setup stage. This is particularly useful if you are setting up and doing the pre light on your own.

Pocket Wizard do a range of TTL units specific to Canon or Nikon, but we do not stock these.

Sync Leads

Old school sync leads should not be forgotten. They are still a great way to trigger your flash from camera or light meter. They don’t run out of battery power, and they don’t interfere with the guy in the next studio. They are uncomplicated enough for your average photographer to understand.

In fact the only real problem with a sync lead is that they get trodden on and so get damaged quickly like an iPad lead.

We include sync leads with all flashes hired out to our clients, as they will save many a problem just by being there as a backup. I would hope that most photographers and good assistants would have a spare sync lead in their own kit.

As an aside if you ever want to test a sync lead just power up a flash and plug in the sync then “short out” the other end of the sync lead with a paperclip or your keys etc and if the synch is in good condition it will fire the flash, you won’t blow yourself up as the trigger circuit is separate from the flash circuit in modern flashes. Perhaps best not to do this if you can see “Balcar” written on the flash and you are stood in a puddle.

Synch2

Synch

Also don’t forget that most packs or mono blocks have a slave cell so in a multiple pack shoot often you only need one pair of triggers and then use the slave cell on the other packs to trigger them to fire. As light travels at the speed or er..light, the tiny delay is not likely to cause any problems unless some serious high speed or short flash duration stuff is going on.

Coolness rating of sub zero, ok that’s mean, but lets face it sync systems are never going to be exactly cool are they? In terms of usefulness then the pocket wizard system has to be a high scorer unless you are a die hard Profoto or Broncolor shooter. Now if Pocket wizard would just incorporate the TTL capability for both Nikon and Canon into the Pocket Wizard 3 then I would have to rate them as icebox cool.

 

cheers all

 

Written by Bruce Lindsay

25
Jan
17

Wind Machines

Well I never for a moment realised how much was involved in a wind machine, or how hard it is to find any information regarding them and their use.

I will provide you all with a simple comparison between a range of the units that we hire. Anyway below is my take on the subject and the technical details.

I guess the most important thing that I have learned regarding wind machines is that it’s not all about power and the amount of air moved.

We need to think about wind machines in terms of spread and power, much like a light.

For example do you want your wind machine to blow the hair of just one model or are you trying to flutter a group? Obviously if you are just aiming at one model then a narrow channel of wind is great but if you are going for a group “blow” then a wider spread would be better.

Power is obvious, the harder it blows the more movement you will get in the subject but control is the key here, what you are looking for is the ability to vary the intensity of the wind from a gentle breeze to a full on hurricane and varying levels in between.

There are other factors to consider such as the method of control; use a DMX or a remote? The size, weight, and the amount of noise it makes during operation need to be thought about in relation to your project.

Also a rapid on or off “bump/gust” feature is useful. For example, in a film scene when a door is opened or closed, a rapid on/off feature would be useful.

And finally, the ability to disperse smoke, fog, fake snow, or dust (normally fullers earth) without destroying the machine is a bonus.

Personally I am a great enthusiast for waving a ½ poly board up and down for most “normal” looking movements in a models hair, its very basic but also very cheap and very effective for a one-off breeze of air. Having said that we are in the business of getting equipment out on hire so lets not recommend that too often and needless to say wind machines are far more consistent and precise and also don’t complain about having aching arms by lunchtime.

Detailed tech specs for our stocked units can be found at the end of this article.

The Bowens units are a “point and shoot”; they are neat and compact and have variable speed but do not allow for adjusting the spread of wind. The basic unit (now discontinued) has a corded remote and its two bigger brothers have wireless remotes.

The Reel EFX Turbo units both have an adjustable spread facility and a burst function, but no remote control.

The Mole Richardson is the big daddy of our range and has a bump function to rapidly increase the power and produce a blast above the set output. A DMX control and an “almost instant-off function” are standard features. It also has an integrated radial-vein collimator that narrows the spread of the wind but can be removed for a wider dispersal. This is the only unit we have that is actually recommended for the dispersal of dust. Exhaust fans from a plant hire store are great for this but are far less controllable.

1. Bowens Jet stream

Power Requirements 120V, 50/60 Hz, 2.5 Amps
Maximum Power 2,500 RPM, 940 CFM

 

1

2. Bowens Jetstream 250

Output at 1 m 8MPS
Max Power 240V
Control Cable Length Wireless Remote
Length 315mm
Width 260mm
Height 260mm
Weight 9.6kg

2

3. Bowens Jetstream 350

Output at 1 m 7MPS
Max Power 240V
Control Cable Length Wireless Remote
Length 390mm
Width 365mm
Height 365mm
Weight 13.3kg

3

4. Reel EFX Turbo 2

Motor: Brushless, AC, Ball bearing

Power: 110 – 125v/4 amp or 220v/2 amp (50 – 60) cycle.  RPM 3450  CFM 2000

Controls: Solid state speed control, one touch blast

Weight: 20lbs

Mounting: Floor stand with adjustable tilt and universal mount, C stand, Junior stand

Dimensions: 14″L x 19″W x 22″H

Peak Velocity: (Focused Beam): 20mph at 10ft

Focused Beam: 10 degrees (3.5foot diameter beam at 10ft)

Flood: 45 degrees (8ft beam at 10ft)

 

5

5. Reel EFX Turbo 4

 

Motor: 2 HP Baldor® Premium Efficient 3-Phase

Power: 110 – 125v/4 amp or 220v/2 amp (50 – 60) cycle.  RPM 3450  CFM 2000

Speed Control: Solid-state variable-frequency drive with active silent smart-switching & active power-factor correction

DMX Control: USITT-compliant DMX 512 w/5-pin XLR

Weight: 54 lbs

Mounting: steel floor stand with spud mount

Dimensions: 22″ x 24″

 

7

 

6. Mole Richardson

Construction Sheet, Tubular Steel, 3 Blade Fan, 15′ power cable

Removable 1-1/8″ yoke pin

Rating 110-240VAC or DC, 3.25 Amps, on-off toggle switch on housing side

6″ Rheostat fan speed control switch

Rectifier with capacitor for AC or DC operation

Dimensions Housing: 26.25″ Diameter x 20″ Long (66.6 x 50.8 cm)
  Weight 88 lbs (40 kg)

 

 

 

 

 

 

 

8

22
Nov
16

KOTM – Matte Boxes

Matte Boxesmattbox

 

Hi, folks, today I want to talk about Matt Boxes and before I get started I must admit that they are something that falls right into a gap in my knowledge. Being a stills kind of guy I am used to using lens hoods to avoid lens flare and apart from using the correct one for the lens there really is nothing much to learn about them, however, as normal the moving image world is somewhat more complicated. Luckily I have an entire department of camera wizards to help me out so I thought it was about time I got myself educated in this important accessory.

 

So firstly a Matte box is used for much the same reason as a lens hood, and that is to stop unwanted light from hitting the front of the lens and causing issues such as lens flare, they differ from photographic lens hoods but essentially do the same job. Matte boxes tend to be more generic than lens hoods that are generally lens specific. This is an advantage as you only need to lug around one matte box for all the lenses on a job as opposed to carrying a different lens hood for each and every lens that may be used (I always seem to forget the lens hoods when I pack my equipment and then need to find room for them which is a pain as they are bulky, fragile and certainly not cheap for a plastic tube.

 

The first thing I notice is that matte boxes are not circular as lens hoods are but are oblong (my mission to revive the word oblong as it’s so much better than a rectangle). This is due to the matte box being a generic hood designed to fit a multitude of lenses as compared to a lens hood that can be manufactured to an exact field of view for the lens in question.

They also tend to have adjustable flaps on the front edge just like a set of barn doors on a light. These are known as French Flags or occasionally French Flaps (I prefer flaps as I think it’s an Australian expression). Now don’t start, French flaps is actually a bookbinding term originally and not rude at all. They allow for more flexibility to block light than the fixed form of a lens hood, this is necessary when the one box is to be used with many different lenses.

 

The other main difference between hoods and boxes is that matte boxes are designed to hold filters. Us stills guys tend to screw our filters directly onto the front of the lens and if we need more than one we stack them together sometimes causing vignetting, Cinematographic filters tend to be larger and square or oblong in shape allowing for multiple amounts to be used without this problem arising, they are inserted into slots or trays in the matte box itself.

 

Now we can separate matte boxes into a couple of types, clip on being ones that attach directly to the front of the lens and others that attach to a rod system. For those uninitiated in the cinematographic world, a rod system is literally two metal rods that attach under the camera and offer support for accessories such as batteries and of course matte boxes. The clip on matte boxes are light in weight and normally have fewer filter slots than the rail system equivalents that are generally larger and heavier. We need to use the rail system with these larger matte boxes due to their weight that lenses are not designed to support.

 

Now remember that rod systems come in two main diameters 15 and 19 mm and needless to say some matte boxes will fit on both but some will only fit on one or the other so this is something we need to check before selecting a particular unit.

 

Another thing to think about is how many filters you are going to need to use at any one time and ensure that the matte box you select has enough slots.

 

Various adaptor rings are available to fit between the front of the lens and the matte box or a flexible fabric alternative can be used, these are known humorously as nun’s knickers! (I could not possibly do a blog about matte boxes and not mention these).

For obvious reasons, the lighter smaller clip on units is recommended for hand-held work and the larger heavier ones for when the camera is on a tripod etc.

 

One thing I have learnt is that most matte boxes come with a set of mattes, these are thin black plates with various sized holes cut into them (letterbox style) and they can be fitted to the matte box to help adapt it to the particular lenses field of view, bigger hole for a wider angle and Visa-versa, this is so simple that I think it’s clever, as a firm believer of the KISS principle that is.

 

So that’s about it I will put a list together of what matte boxes we carry and how many and what size filters they can hold and so on for all our reference.

Clip On 15mm Rods 19mm rods Filter size Number of trays Other
Chrosziel MB 450

 

NO YES NO 4 X 5.46 2
Arri LMB 25

 

YES NO NO 4 X 5.46 2 OR 3 ONLY HAS TOP FLAG
Arri LMB 15

 

YES NO NO 4 X 5.46 2 OR 3
Arri LMB 6

 

YES NO NO 6 X 6 2 OR 3 HAS STEP DOWN FRAME TO PV SIZE

GOOD FOR WIDER LENSES

Arri MB 29

 

YES NO NO 4 X 5.46 2 OR 3 AND 138 MM CIRCULAR
Arri MB 20

 

YES YES YES 5.65 x 5.65 1, 2, OR 3 GOOD FOR WIDER HD LENSES
Arri MB 19

 

YES YES YES 4 X 5.46 2 OR 3 AND 138 MM CIRCULAR
Arri MB 18

 

YES YES YES 4 x 4 , 4 x 5.65 AND 4.5 ROUND 2, 3, or 4

 

AND 138 MM

Arri MB 16

 

NO YES NO 4 X 5.46 3
Arri MMB 2

 

NO YES YES 4 X 5.46 MORE FOR STILLS
Arri SMB 2

 

NO YES YES 4 X 5.46 1, 2, OR 3
Arri SMB 1

 

YES YES YES 4 X 5.46 1, 2, OR 3
VIV 3 stage

 

YES YES YES 4 X 5.46 1, 2, OR 3

AND 138 MM

Missfit Clip on 3 stage

 

Backlight 6

 

YES NO NO 6 X 6 3 GOOD FOR WIDER LENSES
4 x 4 Van Dieman Mosquito

 

4 X 4 1 or 2
Bright Tangerine Atom

 

YES YES 4 X 5.46 2 GOOD FOR MOVI / RONIN, OUR LIGHTEST WEIGHT MATTE BOX

 

Now remember this pearl of wisdom I found online “While nobody will notice that you’ve used a matte box, the important thing is that nobody will notice that you didn’t use one but should have”, wise words indeed.

 

Now Matte boxes don’t really warrant a BCR collectively but I feel that French Flaps and Nuns knickers deserve some score in their own right so let’s rename the BCR from Brucie Coolness Rating to Brilliant Crude or Rude and give them 5 points each making the score a maximum 10.

 

Cheers guys merry shooting BB.

 

06
Oct
16

KOTM- Cambo Actus DB2 View Camera

Brucie Blogger is back with Kit of the Month!!

Actus DB eh so what do you think the DB stands for?

cambo actus.jpg

Well, I presume its “Digital Back” and nothing to do with “the canine’s orbs” as I first thought. Having said that the latter would also suffice as a good description, as this really is the DB’s when it comes to modern view camera offerings.

 

The Actus DB2 has evolved from Cambo’s Actus series of view cameras that are designed to be used in conjunction with mirror-less cameras and DSLR’s. The new DB2 can still be used with a DSLR on the back but as it is equipped to take a Phase one IQ3 100 mp back I don’t suppose we will see a DSLR attached very often. In fact,we are not going to rush out and buy an adaptor for DSLR’s unless one of you has a mega hire needing it and then perhaps we could have our arms twisted.

camboa2.jpg

Despite my vintage, I came into photography towards the end of the view camera era, I remember selling off the ones we had in Australia while they still had some decent value and recall being gutted as I wanted to play with one more myself.

Great quality tilt shift lenses by Canon and Nikon and have gone some way to replacing them but can only go so far, nothing can really compete with the ultimate image control that a good view camera can deliver.

 

So Cambo has been clever by coupling a modern take on the view camera with today’s megapixel top end digital backs and they seem to have done a lovely job of it too.

 

 

camboa3.jpg

Small size and a beautiful mover

 

 

 

 

mradams.jpg

Not exactly a compact Mr.Adams is it?

The first thing you notice about the DB2 is its size, far from sticking out like, well like the DB’s it’s rather diminutive, fitting nicely into the palm of your hand. It’s a far cry from the cameras used by Mr. Adams and his counterparts back in the day.

 

But don’t let its size fool you this really is a well-equipped camera featuring.

 

 

360 degrees of front swing

19 degrees of front tilt

27mm of rear shift vertical

40mm of rear shift horizontal

150 mm maximum extension with standard monorail

295mm with long monorail

445mm with macro monorail

Available in a range of colours so long as you want anodized black that is.

 

All very impressive but what does that mean for your photography, well the highlights are below.

 

View camera movements allow for selective sharpness / selective un-sharpness

Rear shift movements for stitching wider angle images.

Focal plane shifts to increase file size

Image centered landscape / portrait selection

Built in macro extension.

camboa4.jpg

So as a view camera you can see that the DB2 really is a great piece of equipment but when you couple it with one of our IQ3 100mp digital backs from Phaseone then it becomes a truly awesome camera system. You now have a medium format, full frame sensor view camera with a resolution of 100 mp (more if you start stitching frames together) coupled with all the versatility that you could ever need.

 

Now one thing I recall about using view cameras in the past was having to check my focus by using a loupe on the rear glass and that was a pain, to say the least. Well, I’m pleased to say that those days are well and truly gone. My very expensive loupe has retired, now only making an occasional appearance to aid in the removal of splinters and the like, thank goodness. Today we have it much easier, by using the live view mode on the IQ3 back and viewing at 100% we can get that focus absolutely perfect.

 

But if that’s not quite easy enough for you how about using the WIFI ability of the IQ3 to give you live view on your iPad making the most of its large screen. Shutter release and full control over the back can also be accessed via this WIFI system thus removing any risk of camera shake spoiling your results, so that’s the cable release gone from your kit bag too.

 

So calling all the photographers who need the versatility of a view camera and the resolution of a modern top end digital back we now have you covered, dust off your Sinar lenses or hire ours and GET SHIFTING.

 

10 out of 10 for the BCR this camera is lovely and with the IQ3 on the back and some sexy glass on the front it’s even lovelier, come in and give it a go and please don’t forget to show us your beautiful moves (and tilts too).

Cheers all BB

 

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20
Jul
16

Volte Face by Oliver Curtis

Volte Face by Oliver Curtis.

 

Oliver Curtis has turned his back on convention and just about everything else with his upcoming exhibition and book titled Volte face, roughly translated as about-face.

 

The expression volte face originally stems from the Italian word “voltafaccia” with volta meaning turn and faccia meaning face. Imagine for a moment what the Mona Lisa must look out at every day from her vantage point on the wall in the Louvre or Lincolin from his giant stone seat in Washington and you will have some idea of what Oliver has been shooting since changing his outlook on a visit to the pyramids of Giza in 2012.

 

Oliver recounts how after walking around the base of the pyramids he found himself stood with his back to the tomb looking out over the city of Giza under a vale of smog on the horizon and a selection of “human detritus” adorning the desert sand immediately in front of him. Now for most of us that would be a cue to turn round and take some pictures of what we flew to Egypt to see in the first place but not for Oliver, instead he saw something else, a new perspective.

 

This is the mark of a great photographer, having the ability to see and to see things the rest of us miss or just overlook it’s a skill that cant be taught in my opinion you either have it or you don’t and that explains why I am sat here writing a blog I guess.

 

The exhibition is taking place at the Royal Geographical Society from the 19th of September until the 14th of October and Pixipixel are proud to be amongst the sponsors and look forward (or even backward) to seeing many of you attend. At this point it can’t hurt to point out that admission is free.

 

Oliver is also producing a rather nice book of this project that I have yet to see, but presumably is best read from the back to the front in the spirit of the whole idea.

 

In reflection on this project Oliver explains that “Volte face is an invitation to turn around and see a new aspect of the over-photographed sites of the world – to send our gaze elsewhere and to favour the incidental over the monumental.

He continues to explain that “despite the landmark not being present in the photograph, the images are still suffused with the aura of the construction, the camera lens effectively acts as a nodal point and by giving the photograph the title of the unseen partner this duality becomes a virtue.”

 

By visiting the exhibition you will see that Oliver has produced some stunning images of familiar places in a way that we have never seen before and that itself is no easy thing, so we would like to congratulate him on his creativity in putting this outstanding body of work together.

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