Chris Hunt is a fashion and advertising photographer, based in New York, Los Angeles and Mexico City. Originally from California, he has spent the last 15 years living and working in Europe, Asia, Latin America, Moscow and across the United States. Beginning his career as a photojournalist, Chris then moved into fashion photography after working as a model agent for several years in L.A. He has recently broadened his portfolio into film, directing TV commercials for fashion and lifestyle brands.
Chris balances outstanding creative talent with an impressive level of technical expertise, delivering impeccable professionalism and work of the highest quality with a relaxed and friendly attitude.
On the rare moments he is not in his studio, Chris can be found pedaling his road bike through Italy, SCUBA diving in the South Pacific or riding a motocross bike in the mountains of California.
His advertising clients include Google, TELCEL, Mitsubishi Automobiles, Pond's, Samsung, GNC, Chevrolet, Knorr and Garnier. He also works for fashion and beauty clients such as BCBG Max Azria, Herve Leger, Forever 21, bebe, ALDO, Nine West, Macy's, GAP, Banana Republic, Wet Seal, Arden B., Jockey International, Avon, Liverpool, Skechers, Fox Girls, Billabong, Stila Cosmetics and C&A. His work has been published in international magazines including VOGUE, Marie Claire, Cosmopolitan, Seventeen, Interview, Maxim, Surface, Men's Health, Nylon and InStyle. High profile clients include sports stars Maria Sharapova and Wayne Gretzky and rappers Ludacris, Ice Cube and 50 Cent.
Shooting the Milky Way Handheld with the Sigma 14mm f/1.8 Art Lens
After getting his hands on the new Sigma 14mm f/1.8 Art lens recently, photographer Alyn Wallace decided to take it out into the Elan Valley Dark Sky Park in Wales to put it through its paces. His first test: shooting the Milky Way handheld.
“With the f/1.8 aperture you can let in so much light onto your sensor,” Wallace says. “This is the fastest super-wide-angle lens ever made. Sigma have totally defied the laws of physics to create this lens.”
Wallace went into the dark sky park (one of the darkest places in Wales) with the Sigma 14mm mounted to his Sony a7S II using Sigma’s MC-11 Canon to Sony adapter, which allows the lens to work with Sony’s SteadyShot in-body stabilization.
Wallace ended up shooting a 1-second exposure at f/1.8 and ISO 51200:
The straight-out-of-camera image was very noisy and pretty dark, but after some adjustments and noise-reduction in Lightroom, Nik Dfine, Wallace was surprised by the result.
“This image turned out way better than I was expecting it to,” Wallace says. “The final image is surprisingly clean. It cleaned up really nice. The detail that’s left even after that aggressive noise reduction is so impressive.
“I think this is a testament to how well this lens resolves detail because noise reduction algorithms are programmed to look for edges and to try and retain detail in those edges by not blurring them and smoothing them out. Because this lens resolves detail so well, the noise reduction software has an easy job of knowing where to do the noise reduction and where not.
After doing his handheld test, Wallace stuck his camera onto a tripod and did further tests to see how well the lens would perform with ordinary use in astrophotography. You can watch those tests and Wallace’s thoughts in the 13-minute vlog at the top of this post.
“In conclusion, the Sigma 14mm f/1.8 Art lens… I can sum it up in three words: it’s a beast,” Wallace says. “It’s a beast in that it’s big and heavy, but it’s a beast in its performance — the sharpness and the detail that it resolves. It’s just second to none. It’s in a league of its own.”
P.S. The Olympus OM-D E-M1 Mark II is another camera that performs well when shooting the Milky Way handheld. We’ve previously shared examples here and here.
With USB-C docking for “simplicity and single cable docking,” this monitor is designed for professionals who demand “maximum quality.” This USB 3.1 technology is 20 times faster than USB 2.0, and can even charge certain laptops.
“The P-line monitors are designed to deliver precise, accurate and color-critical color performance,” says Philips product manager Artem Khomenko. “We are proud to bring this new model to the market, and to meet the high standards of professionals.
“This model is the perfect fit for graphic designers, CAD engineers, photographers, video editors and other professionals who rely on an outstanding on-screen reproduction of fine details.”
The monitor’s HDR technology ensures “exceptional brightness and contrast” alongside a rich palette of “new colors never before seen on a display.”
The monitor’s display is 10-bit with 1.074 billion colors, all of which is supported by 12-bit internal processing. This allows for natural colors and smooth gradients. It has a 99% Adobe RGB and 100% sRGB color gamut, offering professional color standards across its 2560×1440-pixel display.
IPS technology is used to give the monitor a viewing angle of up to 178-degrees without loss of color accuracy or brightness.
Aside from the features of the actual screen, the monitor has Philips’ SmartErgoBase which allows for easy adjustments. It also has Philips’ LowBlue Mode, reducing “potentially harmful” shortwave blue light.
There is also “flicker-free technology” and built-in stereo speakers. The monitor is also a “good choice” for users with eco-friendly buying habits, as it is made of 65% post-consumer recycled plastics.
The Philips 328P6AUBREB P-line display will be available in January 2018 at a retail price of £439 in the UK. Both DPReview and AnandTech report that the monitor will be cost at or around $500 when it’s available in the United States.
Choosing the right camera can be one of the hardest decisions you will make and possibly one of the most expensive one too. In the last 3 years, I’ve gone through over 10 different cameras before finally being happy and content with what I have now.
The competition is fierce and it’s only going to get worse, but that’s good for us as consumers. I started shooting with Sony cameras 3 years ago when the a7S came out. I knew I wanted to jump into 4K because of the growing craze and Canon didn’t have anything — with the exception of their Cinema line, which was way too expensive for my budget.
Prior to shooting with Sony, I had a Canon 5D Mark II that I loved, but I never upgraded to the Mark III because I felt it was an evolutionary upgrade rather than revolutionary. So I waited for Canon to release something better, but they never did.
Sony offered a ton of new features that were geared towards video guys — features that you’d need to spend a ton of money for on a cinema camera from Canon. Sony kept cranking out cameras like there was no tomorrow: the Sony A7RII, Sony A7SII, Sony A6300, Sony A6500, etc. Meanwhile, Canon remained dormant and let Sony take a lot of their market share.
Fast forward to August of 2016 and Canon unveils the 5D Mark IV. It was supposed to be the camera that would reign supreme in the DSLR world. After all, Canon pretty much started the video DSLR craze. Everyone had high expectations, but after Canon announced its full specs, people (including myself) were very disappointed.
I even went on Twitter and bashed it. We waited so long for this camera, and we get a camera that doesn’t even shoot 4K in full frame. Seriously, Canon?! I’ve always had a soft spot for Canon cameras because it’s because of them that I got started in filmmaking. So part of me wanted them to bring out the big guns but felt let down.
I had lost hope for Canon, deep down I felt they didn’t care for us video guys. That’s until my buddy let me borrow his 5D Mark IV, and oh boy did my opinion change. I couldn’t believe how beautiful the image right out of the box was from Canon. That same image would require me to put in time post-processing on Sony just to make it look the same. Here was this camera on which I had literally not touched anything, and the image was nearly perfect without the need to even color correct.
Then I started messing with the autofocus, I’ve always heard how Canon’s Dual Pixel AF is amazing but never really experienced it first hand. Oh boy, what a treat! As someone who shoots YouTube videos and sometimes I’m doing things by myself, autofocus is a HUGE deal. Gone are the days where I had to put something in the frame where I would stand and then manually focus, just to later find out that I had shifted a bit and moved so the image is soft. Nope, just turn on camera, turn on AF, and boom… ready to shoot without having to worry if I’m in focus or not.
I was also one of those who complained about the codec and how large the file sizes are. Well, if you’ve ever worked with Prores or even RAW files, you’ll notice the file sizes are even larger with those. Heck, when I was shooting with my Sony cameras, I was using an external recorder (Atomos) and was recording in Prores, and the file sizes were huge.
You have to understand that Canon records at 500/Mbps while Sony records at 100/Mbps, so there’s more information, which in turns means it’s easier to grade and also less work on the CPU, so editing becomes a breeze. Sure, it’s not the most efficient codec but I’ll gladly take larger file sizes for a better editing experience.
Battery life was another thing that stood out on this camera, I can easily get by with 1-2 batteries. Sony, I’ll need at least 5-6 for a whole day shoot. Overall, Canon did a lot of things that simplified my workflow for my YouTube production. At the end of the day, I love cameras period, no matter who the manufacturer is. I’m a true believer that there’s no such thing as the perfect camera, only the right camera for the job.
I own several cameras from various manufacturers, but I’m also a true believer of working smarter, not harder.
About the author: Armando Ferreira is a filmmaker and editor who makes popular YouTube videos about filmmaking, tech, and gear. You can find more of his work on YouTube, Twitter, Instagram, and Facebook.
Good video is built on strong narrative, not just interesting visuals, says director, editor and video instructor Bob Sacha. “People say, ‘How do you shoot great video?’ That’s easy. The question is: How do you tell a great video story?” His first advice to those learning to shoot video is to forget about shooting B-roll. “I call it bullshit roll: It’s just random shit,” he says. And looking for B-roll, he claims, “can make you a lazy shooter.” Good directors look instead for shots that make interesting sequences, he explains. Those sequences comprise tight, medium and wide shots from different angles, of a particular action as it progresses. “What you’re looking for is the completed action,” such as a person walking into a room and sitting down in a chair, Sacha says. “A series of sequences becomes a scene,” and a series of scenes make up a film’s overall narrative.
To help his students remember to break down a single action into multiple shots at different angles, Sacha often quotes production studio Still Motion’s 3-over-1 rule: Every time you think you have a shot of a particular action, you have to get at least two more shots from different angles and distances. Or start by shooting closeups on faces, hands and other details, then go for wider shots and then look for something creative or interesting, Sacha says.
Back To The Future
Travel back in time to revisit the heyday of the ‘80s with renowned eyewear designer, Alain Mikli. Known for an unceasing devotion to art, experimental design aesthetic, and decades-long cache of distinct glasses frames, V is paying tribute to the iconic brand with an online exclusive.
Channel the era’s decadent high-glam fashion with Mikli’s collection of avant-garde eyewear that embodies the spirit of the radical decade, using far-out styles that juxtapose archival frames with Mikli’s…
CamFi Pro Aims to Become the World’s Fastest Wireless Camera Controller
CamFi has just unveiled CamFi Pro, the second generation to its popular CamFi wireless camera controller. CamFi Pro will bring increased transfer speeds — the world’s fastest, the company claims — for a better user experience.
The main difference between the original CamFi and the CamFi Pro is the speed at which is can transfer images back to your device.
CamFi says that cameras that have WiFi capabilities usually transfer at around 2MB/s. This device, on the other hand, uses the 802.11 ac protocol to transfer photos at 10MB/s and more.
“This is two to three times faster than most built-in Wi-Fi cameras and 2.4G Hz wireless camera controllers,” says CamFi.
The device is compatible with Nikon, Canon, and Sony cameras, and it’ll be the only 5.8G Hz wireless tethering solution for Sony cameras.
“Speed is a big problem for current Wi-Fi products. It limits the productivity of the professional photographers,” said Mark Ma, CEO of CamFi. “CamFi Pro is going to use new technology to solve this challenge.”
The company says that it takes just 2-3 seconds to transfer a raw file of about 20 megabytes in size using CamFi Pro.
The device uses a 5.8G signal band, avoids WiFi interference, is “suitable for professional photographers covering events and meetings.”
You can also use CamFi Pro to control multiple cameras from your computer, reviewing images as they come in. This is ideal for those looking to create “bullet time” style shots. All of the cameras can be triggered to shoot simultaneously.
As expected, the CamFi Pro will have the previous features of the original CamFi device.
Its high transfer speed enables a smoother look to the Live View playback of the camera, and you’re able to adjust shutter speed, aperture, ISO, and touch to autofocus.
The HDR and focus stacking modes allow for more creative control over your images. CamFi have “more advanced program modes” in development.
Its auto print feature allows you to automatically print out any frames you shoot, and you can even watermark them and set templates to be applied. The system also features video record and time-lapse modes.
Here’s a 4-minute video showing what the device can do:
If backed successfully, CamFi Pro will deliver in February 2018. It is available via its crowdfunding campaign for $200.
This Epic 4K Film Captures the Beauty of Lightning at 1,000FPS
Photographer and filmmaker Dustin Farrell spent the summer chasing lightning with a $110,000 Phantom Flex4K high-speed camera. What resulted was this 4K short film, titled “Transient,” that shows the epic beauty of lightning in 1,000fps slow motion.
Farrell writes that he spent over 30 days traveling over 20,000 miles this summer in search of storms. Most of the footage in this film was shot in Arizona in 1,000fps uncompressed raw.
“My respect and admiration for storm chasers became even stronger this year,” Farrell says. “This is one of the most difficult projects I have ever attempted in my career. On several occasions I found myself uncomfortable either mentally or physically.
“There were at least 10 days where I returned home with my tail between my legs and nothing to show after a ten hour chase and 500 miles. There were also a couple of days that I drove home with an ear to ear smile that lasted for hours.”
Farrell also says that the Phantom Flex4K works well for capturing difficult-to-capture shots of lightning since it’s post triggered.
“The Phantom Flex4K is a camera that must be post triggered while shooting high speed,” he says. “This works out well for capturing lightning because the camera is always recording and rewriting to internal ram. As soon as a bolt appears in my view finder I trigger the camera to save what has been stored in the ram.”
In all, Farrell captured about 10 terabytes of data in creating this jaw-dropping 3-minute visual experience.
Our pre-ordered Sony a7R III finally arrived this weekend, and we couldn’t wait to crack it open and see what’s inside. The a7R III has been receiving a lot of positive reviews and I can see why.
First off, the camera looks and feels great. And, we finally got two card slots! The multi-selector and larger capacity battery are also nice improvements. Beyond the cosmetics, the camera boasts significant improvements in frame rate, buffer capacity, light sensitivity, dynamic range, and more.
I can go on, but I’ll leave that for the more detailed reviews. What we did notice is the camera is snappy. The A7 line has always had that signature shutter lag, it always felt like there was a slight delay from hitting that button to firing. With the a7R III, I am happy to say this is greatly improved; it feels like a more natural extension of the body. I think DSLRs might still be faster, but this is the first A7 series model that is competitive in that regard.
We liked this camera so much, we almost decided not to tear it apart. Almost. We present you with the first look inside an a7R III.
One last look before we start.
We’ll start with the screws under the covers on the left side of the camera.
Next, we take off the eye cup and remove the 4 screws behind it as well as the diopter adjustment knob.
Several more screws behind the LCD hold the back plate on.
Under the card door, there are 2 more screws that we remove.
On the bottom of the camera, there are 8 screws holding down the nameplate, and one more screw next to the battery door.
Removing the nameplate reveals another plate. Another screw sits in the top of the battery compartment holding the top cover on.
We remove the second plate showing the first glimpse of the interior. We can see the side of the image stabilization unit, and two conductive thermal pads attached to the frame here. Looks like Sony is distributing heat to the bottom rather than the back of the camera. At these capture rates, this camera probably puts out a lot of heat.
Taking the back off, the two card readers are very prominent. Only the top slot supports UHS-II cards, and it looks physically different than the bottom reader. We also immediately notice more conductive tape wrapping across the motherboard on top of the processors, and down to the frame. It even looks like the top reader has a thermal pad on it; Sony is taking heat dissipation very seriously, hopefully, they have solved the heat issues they’ve had in the past.
We disconnect the back panel and the viewfinder, and the viewfinder pulls away from the frame. It is held on with another thermal pad. Underneath the viewfinder cable, there is another cable. Sony is very efficient with this board, putting cables under other cables in several places.
When we peel back the conductive tape, we get a first look at the processors. On the right, we see more flex cables under other cables and even two that go through the board. We can almost take the motherboard off, but a bracket covers the last screw, so we have to remove the top cover. Two screws where the viewfinder was hold down the top cover.
The top cover is still fixed, so we take off the front grip rubber to reveal several more screws.
With those screws out, we can remove the top cover, revealing that last screw.
The 3.5mm microphone jack is a separate piece that we remove here.
There are several cables underneath the motherboard that need to be removed before we can take out the motherboard. The antenna cable is routed very neatly.
After disconnecting all of the motherboard cables (several were on the bottom side of the board and easy to miss), we can take a closer look at the motherboard.
The underside of the motherboard. The three connectors are visible here, but otherwise, this side is less busy.
Underneath the motherboard, there is a heavy shield and more thermal pads.
After removing the shield, we can see the image stabilization unit and yet more thermal tape. The sensor cables are split into several thin sections. Presumably, this makes the cables more flexible, which might help them handle the upgraded image stabilization system better.
The a7R III image stabilizer on the left compared to the II generation. The new stabilizer is much beefier and is a clear upgrade. Notice how the II unit on the right doesn’t have any thermal tape.
The image stabilizer and sensor come out as one unit, and we can now see the sensor. The sensor filter looks almost identical to the a7R II.
And yes, for anyone who was wondering, the sensor filter is still as thick as always. This means adapted lenses will still have degraded corners without our thin-filter modification.
About the author: Ilija Melentijevic is the founder of Kolari Vision, an infrared camera conversion business based in New Jersey. You can learn more about the company’s service’s on its website. This article was also published here.
It’s sometimes said that the worst vice is advice, but whoever said that hasn’t spent much time on YouTube, where great advice (and cats) can be had in abundance.
Exhibit A, is Marc Silber’s latest video rounding up photographic composition advice from some of the best photographers in the business. No matter your current skill level, you’ll probably find a useful nugget or two in there.
Thank you for listening to the PetaPixel Photography Podcast! Connect with me, Sharky James on Twitter, Instagram and Facebook (all @LensShark) as we build this community.
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