Our Archive

Welcome to your Archive. This is your all post. Edit or delete them, then start writing!

radiantphotography.com > Blog > Behind the Scenes

Years ago, when mirrorless cameras came out, I wasn’t the skeptic that many pros were.  They seemed to fit a niche for the hobby photographer who needed something light and easy to use at the expense of resolution and pro features.  The fit a gap between plain point-and-shoot cameras with which you couldn’t change lenses, and full on DSLR rigs that offered resolution, lens changes and such but were cumbersome to carry around.

Well that final DSLR quality has done me in on family trips and casual shooting.  I’ve grown tired of hauling a 5D MKII, 17-35mm lens, 50 prime, 100 macro, and 70-200 L-series glass around on family trips and casual shoots.  With my iPhone’s camera quality being sufficient for 90% of what I encountered, I usually just snapped and processed images on it instead of carrying my big gear anymore.

Sony a6000 with lens. Photo courtesy of Amazon.com

Sony a6000 with lens.
Photo courtesy of Amazon.com

Well, now mirrorless tech has matured to the point where I feel the investment is worth it for myself and the business.  Here are three reasons why I’m using Cyber Monday 2014 to score a deal on a Sony a6000 with 16-50 kit lens  (Click link if you’re interested in the same deal):

1. Weight – My current Lowepro backpack with DSLR gear weighs roughly 10-15 lbs, depending on what gear I’m hauling at any given time.  Add a tripod capable of holding a DSLR with a 70-200L lens, and it goes up even more.  I’m 36, I have a five year old and a baby to keep up with, I walk a lot on family outings.  I’m tired.  I need something compact, lightweight and easy to store when not in front of my face.  A point and shoot or mirrorless camera fit the bill for such uses.

2. Functionality – Shooting cars, or anything for that matter, becomes less intuitive and spontaneous the more gear you bring to the shoot.  Photographing detail shots of collectible vehicles in an auction preview area is a hassle (and a liability) with a tripod and big camera set up.  Being able to handhold a camera and quickly change angles and camera settings helps with creativity.  It also makes you less of an asshole for all the other people waiting around to view the vehicle you’re diligently photographing.  BUT, having the functionality of lens changes, a camera flash hot-shoe, tripod mount, and exposure bracketing were things I wanted in a handheld set up.  The lens changes allow me some creative freedom over a point and shoot rig, even finding old vintage lenses to adapt to the current Sony mount to play with some vintage or DIY lens effects.  The flash hot-shoe means I can throw on my Pocket Wizard or other remote flash sync unit and shoot studio strobes for portraits, action, and car beauty stills.  This means I can use the camera on paid shoots and get just as good of lighting but with a smaller camera kit.  The tripod mount I require so when I’m doing beauty stills, I can shoot multiple exposures, but being able to use a smaller, lighter tripod will keep my kit as a reasonable weight.  Exposure bracketing helps in many situations, one of which I run into on a sunny Concours and need to tone-map layered exposures together to retain both shadow and highlight detail in a single final image.

3. Wifi image sharing – Honestly, it’s not as much of a sell as the reasons above, but being able to slingshot images I capture to someone’s phone nearby, is pretty handy.  For personal use, sending my wife an image we just shot at Disneyland so she can forward it to the Grandparents would be neat and save time later in the hotel downloading, processing and emailing images out.  From a business standpoint, I’m hoping I can slingshot images from the camera to a client or art director at the shoot so they can preview images, without having to look over my shoulder at my camera screen.  I tried this with a technology called Eye-Fi years ago, and I never got it setup to reliably work on location, so the 8gb Eye-Fi memory card is still just sitting here unloved on my desk.

For a very informative review of the Sony a6000, visit Steve Huff’s review page here.
For a plethora of mirrorless camera reviews and articles, Steve Huff has his whole library here.

And, again, click this link if you want to take advantage of the Sony Alpha a6000 Interchangeable Lens Camera with 16-50mm Power Zoom Lens 2014 Cyber Monday deal on Amazon.com.

Read More

Just a quick update on the fine art photography front.  Last night I finally had a chance to break out my chemistry and step wedges to do some testing and calibrations for my carbon transfer print workflow.  I’ll talk more about carbon transfer printing in another post, but it’s basically the most archival of all photographic printing processes, with prints dating back to the 1800s looking brand new today.  The most defining characteristic of a carbon print is the very cool 3D relief of the gelatin standing off the paper a bit.  It’s an exquisite sight when done with highly textured or detailed images.  But it’s only practiced by a few hundred people in the world, because….

It’s an incredibly fickle and time consuming method of putting images on paper.  To date I’ve spend nearly two years off and on trying to get a print, to no avail.  It’s a maddening technique when you don’t have the right work environment and uninterrupted time to devote to the process.  But I think I’ve solved my prior issues and am nearing my first real carbon print.

Unlike my first attempt years ago, my gelatin image didn’t float off the surface of the paper before my eyes during development.  I also didn’t have any shadow areas of the image lifting off the paper, which we call “frilling”.  I’m still dealing with some gray highlights and underexposed shadows, but I’ll hash these out with some chemistry and exposure changes in the coming nights.

I love this stuff, as frustrating as it can be.

Read More

The last few days I’ve been busy getting my darkroom area set up, and it’s nearly done and ready for developing and printing.  The safelight has been installed, darkroom sink plumbed, and yesterday I cut new glass to refurbish my NuArc UV exposure unit for printing handmade alt-process prints.  In the next few days I hope to get back to testing my carbon-transfer process using that fancy color chart and step wedge you see on the table there.  Lots of testing ahead I’m sure, given I tried off and on for over a year in Hawaii to get a decent print and failed.  It’s that hard of a process if your environmental conditions aren’t dialed in.  In Hawaii the humidity and some other factors prevented me from succeeding, but I’m starting from scratch with a better workspace here, so I’m anticipating better results.
But before I can print, I need a light tight cabinet to dry sensitized films and tissues in, as well as some beakers and protective gear for mixing up my chemistry.  That is next on my list this week.  Hoping to have print updates soon thereafter.
-R

Wet area on left, dry area on right.  Temp/humidity gauges, glass plates and reference texts...oh and a Brownie Camera to refurbish.

Wet area on left, dry area on right. Temp/humidity gauges, glass plates and reference texts…oh and a Brownie Camera to refurbish.

Read More

What has two thumbs, drinks Dr. Pepper, and has perfect color vision? THIS GUY! Read on to learn how to test your color vision accuracy.

One out of 12 men and one out of 255 women have some form of color vision deficiency. Because of this, it’s not uncommon to see more female digital techs in the publishing and retouching industries. Statistically, they have more accurate color vision.

So a few days ago, when a fellow photog posted a link to X-Rite’s online color hue vision test, I had to give it whirl to see how my manly eyeballs stacked up. This test is an online version of the Farnsworth Munsell 100 Hue test which has been used by the government for decades to test color vision aptitude.

In the online quiz, you’re challenged with organizing four different color chip swatches by hue. You attempt order the fine hue gradients correctly, between the two fixed hue chips on each end of the swatch. It takes about five minutes, but it’s fun, and informative. A score of zero is good news in this case, meaning you have perfect color vision.

Ryan's perfect color test results!

So I spent a few minutes, second guessed a couple swatch choices, reordered some color chips and submitted my results. Nice…a zero score! (see screenshot posted with article, for you doubters). So my valued clients, we may be working off different monitors and have different opinions of what Ferrari red should look like on your product photo. However, my calibrated graphics monitor and my newly proven eyeballs should carry some weight in the decision now. 🙂
(And for those wondering, Ferrari red has an RGB value of 211/34/50 and an approximate HEX #D32232.)

Leave a comment on your test experience! Post up those scores!
-Ryan

Read More

We recently had the pleasure of shooting four groupings of luxury products for a six page spread in Desert Companion Magazine, for their advertising client GGP.  It was an awesome gig with great stylists and art direction.  GGP, which runs three Las Vegas luxury retail venues including Fashion Show Mall and the Shoppes at Palazzo, filmed a behind the scenes video of the shoot.  It includes the luxury products, the photography equipment and some interviews with key players in the shoot, including Radiant Photography owner Ryan Weber.

Read More