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Featured in Rangefinder magazine: Fully Lit

This is a big deal for me – I’m featured in the December issue of Rangefinder magazine, the official publication for WPPI, the premier Wedding and Portrait Photography association. So yes, it’s something to brag about.

The article is a four-part segment which focuses on studio lighting, with the accent on making the lighting and varied.

The challenge with a studio is always that of making the ‘square box with white walls’ interesting. You have to work with the lighting that you have to create images with variety and different looks  … or, conversely, if you want, to a specific style. Your signature style. That’s the challenge, it is up to you to make it happen. When shooting on location you have different challenges – usually that of logistics – but location shooting is already more varied than you would naturally find in a studio. That works in your favor when shooting on location.

In a studio though, it is up to you to make it work. You have to come up with ideas. And most often, those ideas relate to what you can create with lighting.

For the four part article, I went back into the Tangents archives for some good examples of how I mixed up the lighting during different shoots to create variety.

The lighting tools vary:
– gridded strip boxes for soft, but dramatic light;
– LED fresnel lights for a touch of that old Hollywood lighting magic;
– a beauty dish as the single light source;
– a hard light source such as the Profoto magnum reflector.

Below are the links to the related articles – a glimpse into the possibilities that studio lighting offer if you’re willing to explore:

 


 

 

 

 

 

Related articles

 

The post Featured in Rangefinder magazine appeared first on Tangents.



The post Cyber-Monday mark-downs @ B&H appeared first on Tangents.


As the pursuit of photography changes more and more I find myself drawn, intellectually and emotionally, to a different class of cameras than I would have in the past. Gone is the idea that every image I take needs to be absolutely technically perfect, or that it needs to come squirting out of the highest resolution, most advanced camera on the market. I've written many times in the past that our collective obsession with the "idea" that all images we take are somehow destined to be printing on huge inkjet printers, at sizes that dwarf life size, and that our viewers will be gallery goers who are hellbent on looking close enough at the work to see the individual ink drops, is nothing but nonsense. 

While we might, from time to time, bring together some favorite images and print them for a show, photographic sharing has moved from the walls to screens and, a new gold standard, to personal books. With that firmly in mind the almost perverse pursuit of near infinite resolution in our cameras is veering toward compulsive behavior. At my daily work as a commercial photographer my Sony A7Rii is the most capable camera I own --- but it almost always takes a backseat to the redoubtable Sony A7ii because the 24 megapixel files are big enough for nearly every client request and the economy of shooting, and the relative affordability of purchase, makes the less exacting A7ii my "all-terrain vehicle" of choice for almost everything. 

When I head out the door to shoot for myself and share photographs as graphical representations of ideas and as social documentation, my needs are different. Like everyone else I am tired of bringing the preciousness of the "view camera work aesthetic" into situations where it is counter-productive, counter-intuitive and burdensome. I want a camera that is fast, fluid, functional, fun and easy to carry with me everywhere. Few things look more dated to me now that seeing a middle aged photographer, out walking with his family, carrying a big, professional caliber DSLR over his shoulder on a Black Rapid Strap, complete with the almost obligatory "professional zoom", along with a fat and tacky camera bag weighing down the other shoulder. 

For sensible walking around, shooting during the daylight hours, having a wide range of focal lengths at one's fingertips, and enjoying the actual experiences of seeing and interpreting life, very few cameras will give one more pleasure than a manageable bridge camera with a fast, wide ranging lens. With all that in mind I stuffed all the other cameras I own into a drawer and grabbed my Sony RX10ii. Not the iii but the ii. 

It's relatively small, much lighter than the newer model. and the level of imaging capability per ounce and per dollar is off the charts. 

When I go to make images at the Graffiti Wall these days I'm trying to be less like a sports photographer who is isolating some peak of action with super narrow depth of field and more like what I see in Josef Koudelka's work: Scenes of deep focus with lots of data rich detail. Images with multiple object relationships.

When I look at images I am either drawn toward the peculiar and previously unseen and unknown subject or I am drawn into deciphering layers and layers of action and symbols swirling through a frame. Either the tightly rendered face of a person who is interesting because of their uniqueness or a broad, Hieronymus Bosch landscape of social interplay. Of course it is never so binary. It's human nature to want to cover every contingency. Photographers are no different. But with the current, smaller cameras and their increased potential, it's easier to leave the house unencumbered but ready. 

I find the Graffiti Wall in Austin interesting for many reasons. One is that artists (and there are good artists who show up occasionally) must be willing to do art that is totally transient. It may live on in their cellphone camera documentation but it will, now, almost invariably be covered with mindless word messages in a matter of hours. At best, in a few days. I find the wide variety of people the "Wall" attracts to be interesting. People from almost every social and economic milieu show up. The only exceptions are the desperately poor who have neither the time or transportation to drop by, and the desperately wealthy who seem to lack an interest in this particular urban phenomenon. All other groups are well represented. For some it's a curiosity and for others it's a cost effective weekend "stay-cation" with no cost for admission and few rules.

People in wife beater t-shirts, covered with tattoos, are walking through the crowd along with the families of West Austin doctors, lawyers and business owners. One group is intent on joining in the spray-fun while the other group seems to have extended to this venue the passive tourism of being on a photo safari or a continental river boat cruise with this being one of the "interesting" stops on the way in route to a nice dinner, with linen napkins and fine china. 

When I go I see myself as a photo-anthropologist but I know I am just another gawker. I'm there to see people doing foolish things or playing out their fantasy of being outlaw artists, even though they are breaking no laws here by participating. The young people in the crowd want to climb up the steep sides of the abandoned project while the older people are content to stay on flat land, close to their cars. 

I went yesterday hoping to find large swaths of new and interesting art bookended by exotic and beautiful people. That's always my anticipation. And always, when I get there I see a mix of people that's wide ranging and of the moment but not particularly social outliers

I find it interesting that people will give cans of quite toxic spray paint to small children and allow them to spray with abandon. I find it interesting that some people can look at the few really creative pieces on the walls and then spray a splatter of obscene words onto the same walls as their own contribution. I find it interesting that women will wear stylish high heels knowing they'll be climbing a steep dirt and mud pathway to the top level. I am always surprised that everyone considers themselves attractive or interesting enough to take dozens of selfies to commemorate their visit. I am amazed at some of the raunchy poses young women will assume in front of camera; not for their boyfriends but for their moms and dads. 

With all of this in play the ability to shoot wide, shoot tight, shoot silent and to do it all with a camera that has an un-intimidating profile is priceless. 

I still haven't gotten my head around the need to instantly propel the images onto Instagram or Facebook. I always like to curate images in a more thoughtful and focused way. I'm sure I'll come around to the new world order of mandatory instant sharing, given time. After all, my first experiences shooting at the wall were done with husky and bulky Nikons  with their lenses as fat as my arm... See how much we've changed.


















Visitation of the Patricians.





This is a large, illuminated sign on the edge of the parking lot for a 7-11 store on 
North Lamar. Blvd. The "sell" is for the cup, the "closer" is the 
description of the coffee.

There was a time in Austin when the best cup of coffee in town was at an all night diner called, Holiday House. The large and dowdy restaurant was just on the edge of the UT campus and served as a respite from days and days of bland, dormitory/cafeteria food. At least at the Holiday House you could get reliable eggs and pancakes. The coffee was more or less the American standard at the time: almost "see through" and with all the punch of a loofa. The nice thing about American coffee in the 1970's is that one needed to drink lots and lots of it to get any sort of adrenal buzz and that prodigious intake kept most college students well hydrated... But the real reason it was "the best cup of coffee in town" is that it was the only cup of coffee in town. At least at the odd hours of the day.

Since that woeful decade we've mourned the demolition of the Holiday House and most diners in our town but we've seen a blossoming of coffee shops, coffee houses and coffee kiosks everywhere. In my neighborhood there are two Starbucks facilities in one shopping center. And both are always busy serving increasingly strange coffee drinks that are moving further and further away from the pure idea of coffee as I know it. They offer a wide assortment of sugar-rush caloric time bombs, laced with espresso coffee shots. Where Starbucks fails mightily is in their interpretation of drip coffee. Traditional coffee. They've developed a new science of consumer coffee addiction. They roast their beans for their primary drip coffee offerings for too long. The "burnt" beans increase the flavor load to the tongue (and not in a good way) while actually decreasing the caffeine content of dark roast coffees. The lower dosage of caffeine builds traffic and sales as the serious coffee drinker must ingest more and more coffee to get the same attentive buzz we got from more artistically roasted beans.

Most of the coffee shops provide a good service; a place to park and relax while compulsively checking e-mail and one's favorite websites. I see them as rest stops for the trendy and consumers who believe they are buying a more sophisticated and higher quality cup of coffee. 

In my same state of anthropological delusion I always thought of Starbucks as being the coffee of pretension and relative affluence and, in constrast, always thought of coffee served at 7-11's, convenience stores in general, gas stations and McDonalds to be the coffee of the working class. People who, by necessity or choice, wanted decent coffee but at a more affordable price. I presume that this segment of the buying population were habituated to the taste of a more traditional, American style coffee. But now my universe of imagined, coffee drinking gerrymandering has been turned upside down by this sign I stumbled across yesterday. 

The cup is nice, I am sure. It's good to keep coffee hot. Most addicted coffee drinkers prefer it that way. But I fail to understand where styrofoam has failed in that endeavor. The real story is contained in that round ornament just to the left of the cup. "Nicaragua Single Origin Coffee." And its additional message conveyed in the green logo at the bottom of the ornament: "Rain Forest Alliance Certified."  

Since when did "budget/convenience" coffee drinkers become discriminating about the source of their coffee? Since when did mainstreamers develop a realization about single origin coffees? What is next, Kona coffee at McDonalds? Jamaican Blue Mountain coffee at Exxon? Have we hit a tipping point at which we, as a nation, are hellbent on upping everyone's game when it comes to coffee?

I'm curious to know if this is trending in other regions. I understand that most places have a wild surplus of coffee shops and most cities of any size have somewhere within their borders that just nails good coffee, but is an elevated coffee awareness becoming as universal as the cellphone? 

Please report sightings of coffee appreciation mutation in your region. Document it, if possible. 

What will Starbucks do when they lose their "hipster/trendy/first arrival" status? Their latest remodels have made the stores louder, meaner, less well lit and less comfortable (the LED pinlighting is egregious...) and I wonder if this will push customers toward more welcoming competitors. 

I think Michael Johnston has the right idea. Become your own master brewer. At home. But it's kind of nice to see that, when on the road, there are more and more chances that a good cup of coffee is on the route.


©2016 Kirk Tuck.

You never stop interpreting your files. What you see the next day is colored by whatever you did and thought in the intervening time. I come back to files again and again, not to build to the "ultimate" image but to see how life changes my perceptions of what makes a strong image and what doesn't. Every image is a moving target.
©2016 Kirk Tuck.

Sony A7Rii + Rokinon 135mm t-2.2

Checklist for portrait photography on location

There’s that algorithm that I most often use when shooting on-location portraits – find an interesting or complementary background, that also has good light on my subject. If there isn’t good ambient light, then I add light. Then, my subject’s positioning and pose is adjusted so that the photograph comes together.

  • Find an interesting or complementary background, that also has good light on my subject.
  • If there isn’t good ambient light, then I add light.
  • Then, my subject’s positioning and pose is adjusted so that the photograph comes together.

 

This straight-forward algorithm, step-by-step keeps me on track when things get frantic, or I need inspiration. It’s a consistent topic here – effective on-location portraits – because I often see photographers who attend a workshop or a photo shoot-out, feel overwhelmed. They don’t quite know where to start. There’s New York that is bustling. There might be a model …. and now what? This algorithm helps kick things into gear from the start.

With wedding portraits for example, where time is limited and the pressure is on – this is what I rely on: a known method that gets me results. And from there on, I can improvise and use anything interesting that comes up in terms of the light or location.

With the examples here of our model, Anastasiya, the pull-back shot will show where we were shooting. The location looked more unassuming than the results.


Camera settings, and photo gear used in this setup

That’s the background!  Just a few out of focus lights in window displays. Other than that, the surroundings were fairly drab in the late afternoon on a cloudy day. Of course, using off-camera flash really gave the photographs that extra pop.

If you came to this article looking for an equipment checklist, well, you have options in terms of which lenses you can use. My default though is the versatile 70-200mm f/2.8 zooms. I would put that at the top of my checklist for photo gear for portrait photography. With that lens I can shoot towards the longer focal lengths, and use the lens (nearly) wide open, and with that isolate my subject. It’s an easy way to really accentuate your subject in whatever surroundings you have. Here is more on that topic: Making your images pop through lens choice – Compressed perspective.

 

 

 

Summary

Working with a consistent method like this at the start of a shoot, helps me keep the momentum of the photo session going, while still allowing enough variety in the images.

 

Related articles

 

 

Video tutorials to help you with flash photography

If you like learning by seeing best, then these video tutorials will help you with understanding flash photography techniques and concepts. While not quite hands-on, this is as close as we can get to personal instruction. Check out these and other video tutorials and online photography workshops.

 

The post Checklist for portrait photography on location appeared first on Tangents.

©2016 Kirk Tuck. From Zach Theatre's Production of, "A Christmas Carol." 

click on the photograph to see it bigger and nicer.

Studio photography – Capturing movement with continuous lighting

The effect here, order which makes me think of black flames, prostate was the result of a slow shutter speed (1/20th) in the studio, using continuous lighting. The short duration of a flash pulse would’ve frozen the movement, so I needed continuous light for this effect. I used two Litepanels Astra EP 1×1 LED Panels (B&H / Amazon) that I bounced into a V-flat to soften the light. I also used another V-flat to partially block the light  towards her feet for more light fall-off to the bottom. The photo below is a pull-back shot that shows the setup.

Bouncing these continuous lights to further soften the light, is something I did as well during a newborn photo shoot, described in this article: Lighting for a small commercial video shoot.

I had two people flipping the tulle upwards on either side of our model, Sarina, and then fired the camera at the maximum frame-rate possible for a shutter speed as slow as 1/20th. Since the material dropped fairly fast next to her, I didn’t bother with exact time, but let the camera take care of getting enough images where the material was more or less symmetrical around her, and had enough of a flowing look to it – black flames!

 

In the final image, I added a vignette to the RAW file, and processed the JPG with Alien Skin Exposure X for a slight cross-processed look. I did this on a layer, so was able to reduce the opacity, and then with a layer mask, get natural skin tones again.

Camera settings & photo gear (or equivalents) used during this photo session

  • 1/20  @  f/5.6   @  800 ISO

 

And here is how we got the movement in the tulle dress – two people flipping it up in the air repeatedly while the camera fired at full-speed frame rate.

 

Summary

I think it becomes a kind of habit in a studio to think of lighting just in terms of flash, but using continuous lighting opens up creative possibilities to include movement.

 

Related links

 

The post Studio photography – Capturing movement with continuous lighting appeared first on Tangents.


I shot on three different cameras last night. I was testing the limits of the RX10iii and keeping the A7Rii + 70-200mm f4.0G close at hand to shoot vital group shots that are so popular for theater marketing. Then I filled in around the edges with the Sony a6300 and its companion, the 18-105mm G lens. The photographing was a straightforward as I could make it. I shot raw not so much for post shooting color correction but in order to lift the shadows and have fine control over the noise reduction settings. As usual, I shot too much but I have been working on "speed-editing" so the final count for post processed files was a little over 500, which meant I had achieved a 3-to-1 reduction in files shot versus files finished out. 

I've been getting more mercenary as the size of the raw files continues to grown. I flagged all the images I think are best, select the flagged images in Lightroom and then inverse the selection and throw away all the non-flagged photographs. And when I say "throw away" I mean that when the little box comes up and asks me if I just want to "remove" the images from the catalog or if I really mean I want to delete them from the hard drive I summon up my courage and dump them. It's actually a nice feeling to see the file folders shrink in size. 

After I ingest everything into Lightroom and do my edit (which means "keep or throw") I then go to the files that survived and start to post process ( which means to color correct, enhance, crop, sharpen, etc.).
I work from the top down in the menu system. I start with color, move on to exposure then onto shadow and highlight protection and so on. I shoot a bit on the dark side so I'm generally adding +35 to +50 to each file. In situations where my main subject is in spotlight and the rest of the cast or background is darker I routinely pull the shadow slider up to 50-70% to get some detail in there. There is a certain balance between the exposure setting and the shadow and highlight settings. If I have time I work the relationships a bit to find an optimized combination. 

I shoot in single frame burst of 10-12 shots without changing camera settings so if I like a series of images I need only work the first one diligently and then the rest are sync'd to the first file. 

Moving further down the menu we get to sharpening and noise reduction. Depending on the lens in use I might need no sharpening and usually just a small amount if I do need to add some. I like big percentages as small radii. I'm equally conservative with noise reduction because I want to see detail everywhere. +20 is generally the sweet spot for images shot just above the ISO comfort level (for instance, ISO 4,000 for the A7Rii or ISO 1250 for the RX10iii...). 

Once I get everything applied the way I want it I select all the files and output them into a folder as low compression (92%) Jpegs and I fix the image size at 6000 pixels wide for the theater. Too much bigger and it slows everything down, too much smaller and I get nervous about posters and print magazines. I do have a close working relationship with the in-house art director so if she is making huge lobby posters I'll go back to the files and output her selections at the full file size. 

Once I have all the images output they get uploaded to Smugmug.com. Today's upload of Jpegs was just under 6GB. Once they are on Smugmug I set the gallery controls accordingly. With the Theater I want to make sure everyone on the marketing team has access to what they need so I make the files individually downloadable if the person has the password. In this way they can share the gallery with the actors and crew but have control over what ultimately gets downloaded. Smugmug makes it easy for me to select an entire gallery and send downloadable (and expiring) links to clients who need access to all the high res files. Doing this saves me the cost of a memory stick and a trip in the car. 

With a non-profit client like Zach Theatre social media can really make or break goals for ticket sales so we allow the principal actors access to the images for Facebook and Twitter, etc. We might lose some individual sales but actors generally don't have much budget to buy production stills and if we didn't allow social media use we might win the battle (short term, small income) but lose the war (sustaining productions with marketing allowing us all to continue to work together and get paid). 

Uploading to Smugmug also gives me one more place to archive files. At $150 a year for unlimited storage, and convenient retrieval as well as display, the service is a bargain. I have the files on at least one hard drive and generally write them also to a DVD (I know, old school). Then I send along a bill and I'm done. Just thought I'd share my process. Everyone has a different way of doing this work.



RX10iii at near full lens extension.














©2016 Kirk Tuck. All Rights Reserved.
©2016 Kirk Tuck. All Rights Reserved.

Jack came to Austin to join the production of Priscilla, Queen of the Desert and I found his performances to be really wonderful. When the play finished its run I asked Jack if he would be willing to sit for a portrait. He was. We shot on a nice, sunny afternoon. He's got great stories to tell and I had a blast.

Lit with two LED lights lighting up a 50 inch, circular diffuser. Camera: Sony A7Rii. Lens: Rokinon 135mm t 2.2 Cine lens. Tripod: The good one. 

I am currently post processing and retouching a bunch of selections for Jack. I'm very happy with the results of our session.

Testing. Always testing. 
©2016 Kirk Tuck. All Rights Reserved.

Photograph taken at rehearsal on Sunday. Camera: Sony A7ii. Lens: 70-200mm f4.0 G. Raspberry flavored SD memory card. Human tripod. 

A few months ago I wanted to buy a battery grip for my old, used, Sony A7ii. I went to Amazon and looked at the official Sony accessory. I am sure it's made from very rare plastic only grown in the plastic orchards of Fiji but I found the purchase price --- breathtaking. 

A little more research uncovered a generic product from Vello. The price was well short on $100 and, with Prime, the delivery was free. I ordered one that did not arrive on time. I called Amazon. They sent out a replacement. In the meantime the first one arrived.  DOA.  My hopes of finding a low cost alternative were temporarily shattered. I sent it back and the second one arrived. I pulled it out of the box and installed batteries then screwed it onto the the base of the camera. The device has worked flawlessly for over 10,000 exposures. 

I am thankful that the USPS mis-delivered and then re-delivered the first drive. Had it arrived disfunctional but right on schedule I would have sent it back and decided that all such cheap substitutes were without value. 

The combination of the A7ii and the Vello battery grip makes for a perfect ergnomic pair for me. I find the camera to be pretty much perfect with one tiny exception (certainly NOT a deal killer...) and that is my wish for the silent shutter options shared by the a6300 and the A7Rii. Every other aspect of the camera (with grip) is exactly what I want in a daily shooter. So much photographic happiness for < $1,000. 

Tonight I go back to photograph the full dress rehearsal and I'm very excited to see Zach's version of "A Christmas Carol" again. They have re-invented a hoary classic and made it accessible and fun, all without diluting the wonderful message of hope and re-birth that runs through the play. Tonight I get to see it with different cameras and with Belinda by my side. Nice working conditions. Thankful for good clients. 

Photo gear for sale

I have various pieces of photo gear (and other items) available that I am selling. Cameras, lenses, flashes and a bunch of random stuff that I need to clear out of the studio. Have a look around.

I’m only selling in the continental USA, and the shipping will be via UPS ground.

 


 


 

Lowel i-D light

You know how much I love using video lights, but now with me using the modeling light of the Profoto B1 as my video light, it is time to let this beastie go – the Lowel ID-light.

The light itself sells for $225 on B&H, and the accessories of course add to it – the big battery, the handle, and the barn doors set. You need all of that!

 

$230 (or best offer) for the set. $20 to ship via UPS.
If you want, then I can add this Lowepro bag with it for a total of $250.  (and again, $20 to ship via UPS.)

But I am open to negotiation on this one.

 


 

Nikon D4 

 

I am selling one (perhaps both) of my workhorse Nikon D4 bodies.
This is for the D4 with serial number 2017505
It has 262,000 shots on the clock.
I just had this camera serviced and cleaned by NPS, so it is good to go.
You can see close-up shots of the camera at this link.
$2,200  (and $20 shipping via UPS ground)

If you want a second body, let me know … I am possibly selling my other D4 as well.

 

 


 

Nikon 24mm f/3.5 T-S lens

 

This tilt-shift lens is in excellent, like-new condition. I’ve used it a few times, so it doesn’t really have visible wear. As much as I love this lens, I don’t use it often enough to warrant keeping it.

More photos here.

Spec and details on the B&H link. It sells for $2,200 on B&H.  I would like $1,600 for it, including shipping.

 


 

Vanguard 235AB tripod 

 

I have two of these little tripods – surprisingly sturdy for such a compact tripod. This really can be carried everywhere.

They sell for $110 on B&H.  I would like &75 each (+ $10 shipping via UPS ground.)

 

 


 

Phottix Mitros+ & Odin TTL transmitter

This flash allows radio control over the flash, including TTL mode.
The version II of this set now sells for $570 on B&H … so $350 for this set? (OBO). $10 for shipping.

 


 

Yongnuo YN-622N-TX i-TTL Wireless Flash Controller for Nikon

I have two of these puppies for sale – both have seen use only once. So they are in really good condition. Hence, I didn’t even bother to take them out of the boxes for this. They look like new.

They sell for $45 each on B&H.  I would like $50 for the set, with an additional $10 for UPS ground. You really do want both because you have two cameras.

 


 

Pentax stereo adapter set (52mm)

 

A bit gimmicky, but I had fun with it when I still shot slide film. It lets you shoot stereo images on a 35mm area. It works best with slide film, but might be more of a collectible now. It is in superb condition.

$100 OBO  (incl shipping.)

 


 

Pentax K 135mm f/2.5

Another collectible – a vintage lens that is highly regarded – the Pentax K 135mm f/2.5
Not quite rare, but still not always freely available. Perfect if you love vintage lenses on your Sony A7Rii / A7ii

These lenses go anywhere from $150 – $200+ on ebay.  I’d like $150 (OBO) for it, including shipping.

 


 

Helios 85mm f/1.5

Another vintage lens with a unique look – Helios 85mm f/1.5 – for Nikon  (Amazon)

Here is an example of the swirly bokeh you can expect:

More example images.

This lens sells for $435 on Amazon … I would like $320 for this lens, including shipping.  If you want to haggle, make it $300, but then you need to cover $20 for the shipping. I’m flexible.

 

 


 

Defy G2x gimbal

 

(This is a stock photo of the gimbal.)

As much as this gimbal has proved invaluable on the shoots I’ve used it on, e.g.:

… I am considering selling it. So this is tentative to gauge interest.  I paid $2000 for it.  I would like $1,000 for it (including a 2nd battery.)

It is ideal for a mirrorless camera, or a smaller DSLR like the Canon 6D or Nikon D750. No larger than that.

What makes this gimbal unusual compared to others, is that the handles invert to become the stand on which you put it down or balance it. No separate stand needed.

 

 


 

CANON GEAR

 

Canon EW-88 Lens Hood for 16-35mm f/2.8L II USM  (B&H)

B&H price is $60 …. I’d like $20

 


 

NIKON GEAR

mint Nikon F3/T  +  Nikkor 50mm f/1.4 AiS

mint Nikon F3/T  +  Nikkor 50mm f/1.4 AiS  (collectible) – $500 neg
(No box or manuals or strap. Just the camera.)

link to more photos

(oops, the prism-head wasn’t seated properly when I took these. But it works and clips in smoothly! Promise.)

 

Novoflex adapter – Nikon to Canon EOS mount

Novoflex adapter – Nikon to Canon EOS mount  – $100
This adapts Nikon lens mount for Canon bodies.
It sells for $270 on Amazon.  I would like $100 for this.

 

 

 

Nikon 5th battery cover for SB-800

Nikon 5th battery cover for SB-800 – $10 for the envelope and shipping

 


 

PROFOTO

 

Profoto charger 2-A

I’d like $195 for this item, or best offer.

 


 

VARIOUS ITEMS 


 

Pico table-top dolly kit

Pico table-top dolly kit

This sells for $99 on Amazon.  I would like $60 for it. It’s cute. It works.

 

Kirk BL-D3 Compact L-Bracket for Nikon D3 Series

Kirk BL-D3 Compact L-Bracket for Nikon D3 Series Camera Body  (B&H)
B&H price is $180 … I’d like $90

 

Kirk BL-D3 Compact L-Bracket for Nikon D3 Series

Kirk BL-D3 Compact L-Bracket for Nikon D3 Series Camera Body  (B&H)
B&H price is $180 … I’d like $90

 


 

Impact Snoot II, for speedlights

Impact Snoot II for speedlights sell for $35 on Amazon.
I would like $25 for this.

 

Spinlight gel collection

Spinlight gel collection

This is brand-new, unopened.
It sells for $40 on Amazon, and I’d like $25 for this, postage included.

 

Elinchrom deflector set

Elinchrom deflector set  – it sells for $36 at B&H, and I would like $20 for it.
It is unused, except for the once I tried it out in the studio. Someone told me it would work well with the Profoto heads, and help with diffusion … but, yeah, not really.

(If you use Elinchrom, and live close to me in Wayne, NJ, then come pick it up for free. You can bring me a Starbucks coffee if you want.)

 

 

Quantum charger for 2×2 batteries – $50

 

 


 

Items that have been sold are listed here for reference:

Photo gear sold

password:  NvN

 

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When Indian photographer (and Strobist reader) Nayan Khanolkar first graced the halls of Lighting 101 as a newb in 2010, look he hardly could have known what just the next few years would have in store for him.

Fast forward to 2016, order when he finds himself setting up his Nikon D7000 and a few speedlights in a local alley in suburban Mumbai to capture one of the apparently free-roaming leopards that frequent the area.

Curiosity piqued? Good. Read on...Read more »
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