نویسنده: AliBina

  • Faces of Depth Challenge and Photo of the Week

    Faces of Depth Challenge and Photo of the Week


    Welcome to another wrap-up of the wonderful Light Stalking photography community for this week. It’s been another epic week of our members capturing incredible photographs and displaying their creativity. Let’s jump straight in and look at some of the highlights.

    The theme for the weekly photography challenge to now has been “Faces of Depth” – and as usual, giving people artistic license on a particular theme has produced some wonderful results.

    As usual, Patrick managed to freak us all out with his creativity but this time in a bit of a spooky way.

    Pat Garrett had a more conventional approach to the same theme and came up with this lovely portrait.

    Robert Apple decided to pull out the macro lens — and I think you’ll agree, the results were well worth the effort.

    Elin Laxdal always keeps the quality of her images extremely high, and her approach to the theme this week continues that same spirit and quality.

    And we can’t not mention Patrick’s new little friend — who got quite a lot of love on the forum this week too.

    Photo of the Week

    Coincidentally, Michael submitted this image to the weekly photography challenge and managed to snag the Photograph of the Week. This one was judged by Federico, who has shown a real affection for pushing visual boundaries through artistic creativity lately — and I think this image is a perfect example of that. Well done to Michael.

    There were also a few other non-challenge related images that are worth a callout.

    Daniel Kreuger gave us this great attempt at bug macro photography that I thought was well worth another look.

    Another one that needed to be called out was by Light and Shadow, who has been experimenting with his black-and-white work lately.


    What are your thoughts on AI and photography?

    Personally, I’m starting to get a little bit freaked out. I did an experiment after reading somebody else’s attempt at AI photography on TikTok and immediately shot a selfie with no setup whatsoever. I simply took it where I stood and uploaded it with a detailed prompt to ChatGPT. Here are the before and after:

    Don’t get me wrong — it’s not perfect — but wow, that is an incredible outcome and has me a little bit worried for some elements of our craft.

    👉 Join the conversation we’re having about it here.


    Join Us

    If you’d like to join our daily conversations about photography in our private forum and you’re not a member yet, just email us and we’ll set you up with an account. The email is in the footer of this website.

    Catch you next week.





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  • Shark Photographer of the Year Announces 2025 Winners

    Shark Photographer of the Year Announces 2025 Winners


    Young Shark Photographer of the Year 2025 – Panitbhand Paribatra Na Ayudhya

     

    Today, July 14th, is Shark Awarenews Day, and what better way to celebrate the planet’s charismatic elasmobranchs than revealing the winners of the 2025 Shark Photographer of the Year photo competition? UK-based charity Shark Trust bestowed the honor upon Julian Hebestreit for a lovely shot of a leopard shark cruising the waters of Byron Bay in New South Wales, Australia. Meanwhile, 14-year-old Panitbhand Paribatra Na Ayudhya was named Young Shark Photographer of the Year for a beautifully executed image of a whale shark feeding at the surface in the Maldives.

    Other winners included “British Isles” winner Hector Clarke and “Overseas” winner Martin Broen. In addition, a number of categories were aligned with various conservation programs and projects that the Shark Trust is currently undertaking. These included “Mediterranean Programme” winner Linda Mazza, “Living with Sharks” winner Gillian Marsh, and “Oceanics Programme” winner Byron Conroy. The final category, the “Great Eggcase Hunt”—which is also the name of the Shark Trust’s flagship citizen-science project—was won by Grant Evans.

    If you love photographing sharks, don’t forget that this year’s Underwater Awards Australasia competition includes a “Sharks” category. Get your entries in now, as the deadline (July 20th) is fast approaching! Happy Shark Awarenews Day!

     

    Shark Photographer of the Year 2025 – Julian Hebenstreit

     

    Overseas Winner – Martin Broen

     

    British Isles Winner – Hector Clarke

     

    Mediterranean Programme Winner – Linda Mazza

     

    Living with Sharks Winner – Gillian Marsh

     

    Oceanics Programme Winner – Byron Conroy

    Great Eggcase Hunt – Grant Evans





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  • Change is Hard (At Least You Aren’t a Lobster)


    Something a little different for you this morning. 

    My heart stopped dead when I saw the black snake in my tent. Walking barefoot to the washroom in the middle of the night, my mind needed no time at all to jump to the certainty that what I was looking at was not just any snake but one of the most dangerous snakes in Africa—a black mamba. 

    I froze, very nearly freeing myself from the need to go all the way to the toilet to do that for which I’d awakened. My mind raced, my heart quickened, and my vision did that thing where everything goes blurry but then gets super-humanly sharp, which I guess is nature’s way of helping us deal with danger, to assess threat, and, in my case, to slowly realize that what I was looking at was not a black mamba, but the black camera strap I’d removed from my 600mm lens the day before. It must have fallen on the floor as I got ready for bed. God, I hate camera straps.

    I still like snakes, though. When I was a kid, I collected them. At one point, I had 30 snakes in my bedroom, all quite harmless. They lived in aquariums that I would buy at yard sales and kept from escaping—for the most part—with pieces of plywood across the top. Now and then, a snake would get out, and the woman who came in once a month to clean the house would burst into tears, threaten to quit, and never return. My mother would happily find the snakes, pick them up, and return them to their glass homes without blinking an eye and then, I’m certain, renegotiate our cleaner’s hourly rate.

    I kept the snakes for the summers and every fall, returned them to the woods and marshes where I found them, leaving behind half a dozen empty aquariums and, if I was lucky, some snake skins.

    Snakes, like many animals, shed their skins. In the case of snakes and lizards, what they leave behind is a husk—a ghostly structure from which they crawl. Humans also shed their skin, though we do it constantly, a few cells at a time, and not all at once on the bedroom floor, which is probably a blessing for a guy who gets freaked out by something as harmless as a camera strap. Can you imagine?

    Snakes shed their skin because they grow, and their skin does not. Lobsters experience the same thing. In order to grow, they molt, shedding their old shells and emerging with a new, soft one that hardens over time until it too is cast off, and the cycle repeats itself. Lobsters literally crawl out of themselves alive to grow. Meanwhile, I can’t even bring myself to throw out a favourite old t-shirt that no longer fits. Harder still to cast off habits or ways of thinking we’ve outgrown.

    So what does this have to do with your photography or creative life? The first lesson should be abundantly clear: don’t leave your camera straps lying around if you prefer not to piss yourself in the middle of the night. The second is a little more abstract: sometimes, you have to make wildly uncomfortable changes to accommodate the person you’re becoming or want to become. Big, scary changes. I can’t speak to the emotional life of the lobster, but I can’t imagine it feels great about leaving its armour behind and living without the comfort of that protection for the couple of weeks it takes for its new shell to harden.

    I wonder if the lobster even knows what’s going on. Does it understand these changes, or, like me, does it freak out, Google its symptoms, and assume the worst? In these moments of perceived calamity, is it certain that its world is never going to be the same or that the end is nigh? Does it go to the same dark places in its mind that I do in the middle of the night when I can’t sleep? Do snakes? Can you imagine crawling out of your own skin? And what do you do with the husk that’s left over? Is it garbage? Recycle? Does my municipality allow it in the organic waste bin? You could be grateful you’re not a lobster; they eat their discarded shells.

    Wow, this one got away from me quickly. Snakes? Lobsters? Sorry about that. Too much coffee this morning. I just wanted to remind you that change is hard. It’s uncomfortable and scary. It’s often the cost of moving forward in both life and art. And very often, it feels like failure. I doubt lizards and lobsters are as neurotic as we are; they simply do what they need to do to move forward and grow into their new selves. They don’t look back at their old selves with recrimination, the way we sometimes do, as if the person we once were could have (or should have) done the kind of work we do now. As if they should have known better or done better.

    Forward, ever forward, my friend. Change is necessary. Sometimes we grow and need to change to accommodate that forward momentum. Sometimes it’s the other way around, and we need to change to stimulate that growth. Sometimes it’s hard to know which is which, though I’m not sure that really matters. It only matters that we change, and it might help if we’re not so freaked out by it all. So often the thing we’re afraid of isn’t at all what we think it is. 

    For the Love of the Photograph,
    David





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  • How to Take Symmetrical Apparel Photos for Ecommerce


    Crooked collars, uneven sleeves, lopsided hems—these small details can make even high-quality products look unprofessional. For apparel product shots, getting perfect symmetry is one of those skills that separates amateur shots from photos that serve as sales tools.

    Clothing doesn’t cooperate like rigid products do. But there are plenty of proven tips and tricks to help with the three stages—prep, shooting, and post-production—so you can consistently create balanced, professional photos that convert.

    Why symmetry matters in apparel product photography

    Put simply, symmetry is pleasing to the eye. It represents order that our brain likes. Like a bookshelf with perfectly aligned spines or evenly stacked towels. But if you look at a building that has every window perfectly aligned except one, you’d notice it immediately.

    The same applies to your product photography. If your apparel shots are crooked, unbalanced, or asymmetrical, shoppers notice—and not in a good way. Symmetry triggers trust, which in turn can help boost your sales

    When buyers see balanced, well-aligned product images—like The Wildlife Trusts online storefront—they perceive higher quality and professionalism. It’s a subconscious signal that you care about details, which translates to caring about your products.

    Product grid from The Wildlife Trusts online store featuring illustrated T-shirts, tote bags, caps, and a water bottle, emphasizing nature-themed merchandise.

    Pre-shoot preparation: setting up for symmetry 

    The right prep can save you hours of editing later and help you achieve that balanced, professional look from the start.

    Choosing the right garments and prep

    • Select quality samples: Choose garments in excellent condition without permanent wrinkles, stretched fabric, or damaged seams that can’t be easily fixed.
    • Steam thoroughly: Remove all wrinkles and creases before shooting. Pay extra attention to sleeves, collars, and hems where asymmetry is most noticeable.
    • Know your fabrics: Delicate materials like silk need gentle handling and may require clips to maintain shape (without over stretching). Heavier fabrics like denim hold their form better but need proper steaming.
    • Arrange details evenly: Position buttons, zippers, and accessories symmetrically before shooting.
    • Check seam alignment: Ensure shoulder seams, side seams, and collar edges are properly positioned and won’t create uneven lines.

    Mannequin and display preparation

    • Choose proper sizing: Select mannequins (or models) that fit your garments without stretching or bunching the fabric. You can turn images into ghost mannequins later.
    • Align mannequin straight: Position mannequins facing directly forward. Shoot straight-on or at a slight up/down angle.
    • Support flat lays: Use foam core boards or batting inside garments to add structure and eliminate wrinkles for flat lay shots.
    • Add dimension: Stuff sleeves and body sections with batting to create natural-looking volume and shape.
    • Pin invisible points: Secure fabric from behind using straight pins to keep symmetrical draping.

    Some pieces won’t work symmetrical and that’s fine. Still apply all other prep and shooting tips to get high quality photos. For example, this cape on Project Cece’s online shop is asymmetrical and calls for balanced composition rather than forced symmetry.

    Product page for a red JULAHAS cotton cape on Project Cece, showing eco-labels and ordering options, emphasizing sustainable fashion marketing.

    During the shoot: capturing balanced apparel images

    Photographing and arranging products isn’t quick work—even teams with professional stylists might max out at 10 items per shoot day, though dedicated studios with specialized workflows can typically process more.

    Camera settings for optimal symmetry

    • Choose longer focal lengths: Use 50mm, 85mm or longer to minimize distortion that can make clothing look uneven or warped. If you’ve got limited space, zoom lenses can come in handy.
    • Set consistent aperture: Shoot around f/8-f/11 to keep the entire garment in sharp focus from front to back.
    • Position camera center: Keep your camera dead-center and level. For top-down shots, ensure the camera is truly overhead to avoid skewing.
    • Use a sturdy tripod: Essential for consistent framing, sharp images, and avoiding camera shake.
    • Set up even lighting: Use two lights (ideally), positioned on either side to eliminate uneven shadows. Adjust angles based on fabric thickness.
    • Enable camera gridlines: Use your camera’s grid overlay to align garments perfectly within the frame. You can also shoot tethered and connect to a monitor to catch any issues in real-time.
    • Frame precisely: Frame your shots exactly as needed from the start. If you plan on removing background or doing other edits like drop shadow, you can always adjust canvas size during editing. Just make sure to fully capture your product so you have plenty to work with in editing.

    Styling techniques for balance

    Different garments will benefit from different arm positions—some look better with hands close to the body, others with arms slightly bent away. Whatever you choose, make sure both sides match for symmetrical posing.

    Before and after image of a plaid dress showing improved styling with symmetrical arm positioning and cleaner garment presentation, alongside tips for balance and garment posing in product photography.

    • Use clips, pins, and even tape behind the garment to create perfect draping while keeping them invisible from camera view.
    • Review each shot immediately to catch issues before moving to the next setup. What looks balanced to your eye may appear crooked in the photo.
    • Make small adjustments between shots rather than major repositioning. 
    Dig deeper into why symmetry sells. Read “Symmetry in Product Photography: Why It Matters” to uncover the psychology and strategy behind balanced apparel images.

    Before and after image of a leather jacket showing ghost mannequin effect and symmetry correction in post-production, with tips on natural garment editing for eCommerce apparel photography.

    Post-production: fine-tuning your symmetry  

    Even with perfect shooting, most apparel photos need symmetry adjustments. Good clothing editing fixes natural flaws without making products look artificial and matches both sides, not copy-pastes half a garment.

    Before and after photo of a green puffer jacket showing improved symmetry and background removal, with editing tips on cropping and alignment using Photoshop grid overlays for precise garment presentation.

    Basic symmetry edits anyone can do

    • Crop and straighten: Use your editing app’s grid overlays to align garments perfectly within the frame and correct any camera tilt. In Adobe Photoshop, you can select several grids when cropping, such as Rule of Thirds or Triangle (both great for quickly centering your shots) or Grids (for more precision).

    Photoshop interface showing a leopard print top on a mannequin with the crop tool active and the Rule of Thirds grid overlay dropdown menu expanded for precise image composition.

    Cropped view of a leopard print knotted T-shirt on a mannequin inside Photoshop, with symmetrical framing adjustments applied using grid alignment tools.

    Professional symmetry editing techniques

    Four-stage photo editing process of a linen top including original, background removal, wrinkle removal, and symmetry correction, demonstrating garment photo enhancement.

    Professional symmetry editing involves complex, precise adjustments that require advanced skills:

    • Sleeve alignment: Matching sleeve length, cuff positioning, and draping between left and right sides
    • Side-edge corrections: Ensuring garment edges create perfect parallel lines and consistent silhouettes
    • Curve refinement: Smoothing necklines, armholes, and hemlines for balanced curves
    • Detail alignment: Positioning pockets, buttons, zippers, and decorative elements to mirror exactly

    These edits involve reshaping fabric digitally while keeping realistic texture and natural draping. Our mirror image symmetry service handles these complex fixes so you can focus on shooting and growing your business instead of spending hours on detailed post-production. 

    When to DIY vs. when to outsource

    Not every symmetry issue can be fixed with editing. Major fabric distortions or non-mirrored patterns need to be corrected during shooting—no amount of post-production can create symmetry that wasn’t captured originally.

    Some garments, like the patterned shirt from Omnes, look balanced in shape but have naturally asymmetric designs. For these pieces, focus on getting the overall structure right during shooting, then handle simple fixes like ghost mannequin effects, lighting adjustments, and wrinkle removal.

    OMNES product listing featuring a model wearing a pink floral shirt and pants set, with isolated product image of the top on white background.

    Basic edits like cropping and straightening work fine as DIY projects. But complex symmetry corrections can take hours per image. For busy photographers and ecommerce brands, professional editing usually costs less than your time while delivering better results. 

    And with marketplaces like Amazon requiring high-quality images, professional symmetry editing gives you that polished result that DIY edits can’t always achieve.

    Symmetry checklist 

    Check all these before approving your images and you’re good to go:

    • No obvious wrinkles (natural fabric draping is fine)
    • Sleeves and hems are aligned and match in length
    • Collar and necklines are centered and balanced
    • Buttons, zippers, and pockets are positioned symmetrically
    • Fabric drapes evenly on both sides
    • Lighting is balanced with no uneven shadows

    Consistently balanced shots for every product

    Not only does symmetrical apparel photography help your products look appealing, it also meets the high standards that customers expect in ecommerce. Whether you edit in-house or outsource the tricky stuff, what matters is finding the approach that works for your workflow and quality needs.

    Need help getting perfect symmetry? Path’s editors handle complex apparel fixes, saving you time while delivering professional results for any marketplace.

    The post How to Take Symmetrical Apparel Photos for Ecommerce appeared first on Path Edits.



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  • Amanda Lopez – A Photo Editor


    The Art of the Personal Project is a crucial element to let potential buyers see how you think creatively on your own.  I am drawn to personal projects that have an interesting vision or that show something I have never seen before.  In this thread, I’ll include a link to each personal project with the artist statement so you can see more of the project. Please note: This thread is not affiliated with any company; I’m just featuring projects that I find.  Please DO NOT send me your work.  I do not take submissions.

     

    Today’s featured artist:  Amanda Lopez

    Mr. Arrieta was my roommate when I first moved to Los Angeles.

    As a young photographer growing up in Sacramento, I dreamed of moving to L.A. to launch my photography career, but I wasn’t sure how I’d make it happen. One day, I shared my dream with a friend, and she mentioned she was looking for someone to look after her dad who happened to live in Southern California. If I was willing to keep an eye on her 92-year-old dad, she said, I could live in the home for free

    It was an unconventional arrangement, but exactly what I needed. Moving to L.A. allowed me to intern with legendary photographer Estevan Oriol and begin working with some of my favorite publications. But the greatest gift from this time in my life was gaining the gift of a grandpa.

    I never had a close relationship with my own grandfathers, so becoming Mr. Arrieta’s honorary granddaughter was something I didn’t know I needed. He was a kind, gentle man who spent his days tinkering in the garage and napping in his recliner. On weekends, he’d knock on my bedroom door bright and early to see if I was awake, so we could head to his favorite diner, Scotties. That became our ritual, and I loved it.

    As our friendship developed, I began documenting his day-to-day activities and moments at home not just to process the experience, but to preserve it. Mr. Arrieta had such a kind spirit, and I wanted to create images that reflected that warmth. He brought so much joy and peace to my life, and I hoped that through these photographs, I could offer something meaningful back to his family.

    Eventually, Mr. Arrieta’s health declined, and nurses began caring for him full time. Witnessing that transition was difficult, but my camera helped me navigate the emotions. Photography became a way to honor the dignity of his final chapter, and to hold onto the moments we shared.

    Mr. Arrieta is no longer with us. But the images I made during that time are a reminder of our brief yet meaningful bond and a way of honoring the grandfather I never had.

    To see more of this project, click here

    Instagram

    Suzanne Sease is a creative consultant and former ad-agency senior art buyer. She works with both emerging and established photographers and illustrators to create cohesive, persuasive presentations that clients can’t resist.

    Suzanne offers something rare: an insider’s perspective on how client’s source creative talent. Her deep understanding of the industry is underscored by her impressive resume: 11 years as senior art buyer at The Martin Agency, seven years as an art producer for Capital One, and stints with the art-buying department at Kaplan-Thaler and the creative department at Best Buy, where she applied her expertise to reviewing bids to see which were most likely to come in on budget. Over the years, Suzanne has worked with a wildly diverse range of clients, including Seiko, Wrangler, Bank One, AFLAC, and Clairol Herbal Essence. Now, as a consultant, she is equipped to problem-solve for her clients from an unusually dynamic point of view.

    As a longtime member of the photo community, Suzanne is also dedicated to giving back. Through her Art of the Personal Project column on the popular website aphotoeditor.com, she highlights notable personal projects by well-known and up-and-coming photographers. The column offers these artists excellent exposure while reflecting Suzanne’s passion for powerful imagery.

    Instagram





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  • Ethical AI? New Video Generation Tool Is Trained on Licensed Data

    Ethical AI? New Video Generation Tool Is Trained on Licensed Data


    By Ian Bongso-Seldrup, July 9, 2025 @ 10:30 PM (EST)
    Source: Time

    An underwater video generated by the AI model Marey

     

    As photographers and filmmakers, many of us are observing the rapid emergence of generative AI tools with a mixture of skepticism and trepidation. We’re doubtful that AI can replace us—especially as we’re working in the underwater realm—but we’re alarmed at the idea that our content is being “scraped” and at some point, AI software will indeed be able to generate the images and video we work so hard to capture. Which makes the arrival of Moonvalley’s AI model Marey both encouraging and scary—not least because the company shows off impressive underwater images and video generated by the model.

    While AI company Midjourney is being sued by Disney and Universal for copyright infringement, Moonvalley—which was founded by DeepMind researchers and has close associations with the film industry—is developing Marey by training it on licensed data and with the consent of filmmakers. This should mean filmmakers and studios can avoid the ethical quagmire and copyright lawsuits that have become all too common in the nascent AI industry. Naeem Talukdar, Moonvalley’s CEO and co-founder, tells TIME: “We have to make sure that we’re building these tools the right way: building with the filmmaker and the artist at the center of it, rather than trying to automate their job away.”

     

    An underwater image generated by the AI model Marey

     

    Aimed at pro filmmakers, Marey offers functionality that many other AI-powered video generation tools lack. Most AI video models are black-box systems: They generate a scene from your text prompt, and if you try to modify one aspect, others may change, making it difficult or impossible to achieve the result you want. Marey aims to offer filmmakers precise control over every detail. You can input storyboards or frames and then tweak the results to taste. You can create cinematic camera moves using just a single image by turning a 2D scene into a 3D environment. You can draw a trajectory for an element and watch your direction come to life. You can even pull motion from a reference video and apply it to new subjects or scenes.

    “It’s this iterative process where you start with some input guidance and then you build up towards the scene that you want, which really isn’t very different from how VFX workflows are today,” Talukdar tells TIME. “If you’re an independent studio that doesn’t necessarily have massive infrastructure, you can now, even in a small space, create and curate these scenes in a very granular way.”

    Moonvalley claims that Marey is trained entirely on footage licensed from intellectual property owners. According to Talukdar, around 80% of that footage is B-roll created by independent filmmakers and agencies, and this means the model is trained on about one-fifth of the data used by competitors like Google’s Veo 3. Talukdar says Marey would definitely be more powerful if they scraped data, but he claims they are overcoming this with better technology. “Our inclination is that you don’t necessarily have to be the number one model—you just need to be among the best,” he says.

    Marey is now available to filmmakers for subscription tiers of $15, $35, and $150 a month.





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  • Photo Gallery: Sigma 300-600mm F4 DG OS Sports Lens

    Photo Gallery: Sigma 300-600mm F4 DG OS Sports Lens


    Sigma presents a gallery of images by photographer Kellon Spencer. This gallery is comprised of photos shot with the 300-600mm F4 DG OS | Sports lens, released in 2025 for full-frame format mirrorless cameras.

    Working with the Sigma 300-600mm F4 lens reignited my passion for visual storytelling. During a recent expedition to the Arctic, I had the privilege of capturing everything from sweeping polar landscapes to intimate moments with polar bears, walruses, and a wide array of bird species.

    Wildlife photography often demands precision, patience, and above all, the right equipment. The ability to shoot at 600mm with a constant F4 aperture proved to be a game changer. It allowed me to maintain fast shutter speeds even in low light, making it possible to freeze the motion of fast-moving subjects without compromising image quality.

    This lens isn’t just a new addition to my gear list — it’s now an essential part of my wildlife documentary toolkit.

    Kellon Spencer, Photographer & Media Producer

    About

    I originally pursued media as a means of documenting nature and the adventures I live for. My perspective is that existence on our planet is far more fascinating than anything found in a work of fiction. In addition to media production I also have a background in biology with an emphasis on the ocean. While I don’t work in research, I apply my education as a Naturalist Guide.

    Equipment used


    300-600mm F4 DG OS | S

    EXPLORE MORE


    Sigma presents a gallery of images by professional photographer Darren White. This gallery is comprised entirely of photos shot with the 14-24mm F2.8 DG DN | Art lens, released in 2019 for full-frame format mirrorless cameras.


    Sigma presents a gallery of images from the side streets of Tokyo by photographer and video producer Nagamitsu Endo. This gallery is comprised entirely of images shot with the Sigma BF camera, along with its natural street photography companion, the 35mm F2 DG | Contemporary lens.



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  • Synology Announces DiskStation DS1825+ and DS725+ NAS Systems

    Synology Announces DiskStation DS1825+ and DS725+ NAS Systems


    Synology has unveiled two additions to its DiskStation lineup—the DS725+ and DS1825+—which offer two and eight drive bays, respectively. The new 25 Plus series models offer 2.5GbE networking, support SATA SSDs and HDDs (both 2.5″ and 3.5″), and feature M.2 NVMe slots for use as cache.

    Like the DS925+ and DS1525+, the new models can be upgraded with the company’s DX525 expansion unit. You can add a single expansion unit to the DS725+ or two expansion units to the DS1825+. Calculated using 20TB drives, you get up to 40TB of storage with the DS725+ or 140TB with added expansion; and up to 160TB with the DS1825+ or an impressive 360TB with the added expansion. That’s a serious number of photos and videos!

    One caveat to consider when investing in these new 25 Plus series models is that Synology says complete functionality will only be available with Synology-branded drives—a proviso that the company says ensures the most reliable performance. This isn’t a huge deal if you’re using HDD drives, since Synology’s drives are competitively priced, but if you want to go the solid-state route, Synology SDDs are rather expensive compared to those of its competitors. (Non-certified drives can technically be used in the new NAS systems, but users that choose to do so will lose certain software- and firmware-related functionality.)

    The Synology DS725+ and DS1825+ will retail for $520 and $1,150, respectively—yes, that’s without any storage drives!

     

    Synology’s DiskStation 25-series includes the DS425+, DS725+, DS925+, DS1825+, and DS1525+





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  • Nauticam Announces Housing for the Canon EOS C400 Cinema Camera

    Nauticam Announces Housing for the Canon EOS C400 Cinema Camera


    Nauticam has unveiled its housing for the Canon EOS C400. Sporting a cube-style design like that of the EOS C300 Mark III, the C400 features a full-frame 6K CMOS back-illuminated stacked image sensor with up to 16 stops of dynamic range. It can record 6K/60p full-frame footage in 12-bit Cinema RAW Light, as well as shoot 4K/120p and 2K/180p RAW video.

    Employing the company’s N120 port system, Nauticam’s NA-C400 housing features important controls within easy reach of the integrated ergonomic handles, including lens control dials, and exposure and capture controls. Making use of the camera’s remote functionality, the housing also features electronic controls at the rear and on the sides. The housing supports HDMI 2.0 and 1.4 for external monitors or recorders, while SDI output is also available for either surface monitoring or supported monitors. 

    Retailers such as Backscatter are now taking pre-orders for the NA-C400, which is priced at $11,000.

     



    When purchasing underwater photography equipment like the products mentioned in this article, please support DPG by supporting our retail partner—Backscatter.com.



    PRODUCT INFORMATION

    INTRODUCING NAUTICAM NA-C400

    The Canon EOS C400 Cinema Camera

    Canon’s EOS C-series Cinema Cameras have long been among the most versatile cinema cameras for underwater filmmakers and the C400 is no exception. Built around a 6K BSI full-frame sensor and the large RF-mount, the C-400 also features mechanical ND filters and Canon’s powerful Dual Pixel AF II.

    Key Camera Specifications:

    Canon EOS-C400

    • 6K Full Frame Back-Illuminated Sensor
    • 6K60, DCI 4K/2K, UHD 4K120
    • Full Frame, Super35 & Super16 Modes
    • Triple-Base ISO: 800, 3200, 12,800
    • Record Internal Cinema RAW Light, XF-AVC
    • Improved Dual-Pixel CMOS AF II


    The Nauticam NA-C400 Underwater Housing

    The Nauticam NA-C400 is a professional underwater aluminum housing that builds on Nauticam’s extensive cinema housing lineup. The NA-C400 features the large N120 port opening shared with other Canon RF and EF-mount cameras such as the R5II and R5C. This allows for the use of identical lens and port combinations when using a combination of RF-mount Canon cameras on a project with Nauticam housings.

    Mission Control

    Nauticam engineers obsess over placing essential controls where they are needed most so you never miss a shot looking for a button, dial or lever. Nauticam’s cinema lineup features large cinema-style lens control dials for precise control of focus and zoom. Exposure and capture controls are placed within easy reach of the ergonomic handles.

    In addition to mechanical controls for Power, Zoom, Focus and Lens Release, the NA-C400 features electronic controls at the rear, and both sides of the housing through the camera’s remote functionality. The left handle adjacent controls are for ‘Up’, ‘Down’, ‘ISO+’, and ‘ISO-‘. Right handle adjacent controls are for ‘Rec’, ‘Fn3’, ‘Fn4’, ‘IRIS+’ and ‘IRIS-‘. The main control board accesses ‘Left’, ‘Right’, ‘Up’, ‘Down’, ‘Set’, ‘1’, ‘2’, ‘Set’, ‘MENU/REC Review’.

     

    LCD Monitor Support

    The C400 features a detachable LCD screen that can be easily integrated into the NA-C400. The LCD monitor is supported inside the housing and is mounted at the rear of the camera with a supplied bracket that allows it to be easily viewed underwater through the shaded rear window making for a streamlined filming solution.


    HMDI/SDI

    The NA-C400 supports Nauticam’s optional HDMI 2.0 and 1.4 system that can accommodate external monitors or recorders in Nauticam housings. SDI output is also available for either surface monitoring or supported monitors. The NA-C400 has 1 M28 and 5 M16 bulkheads to accommodate a variety of configurations to suit mounted or remote setups.


    Battery

    The NA-C400 can accommodate either the BP-A30N or BP-A60N batteries or a combination of the BP-A30N and an FXLION NANO THREE 150Wh Micro V-Mount battery for extended runtimes.

    RESOURCES

    What’s In The Box:

    • NA-C400 Housing with vacuum valve pre-installed
    • Housing Cap
    • 2x Handles with mounting balls and 2x handle brackets
    • Panasonic CR-2450 Battery (pre-installed for moisture alarm)
    • Spare main O-ring, O-ring remover and lubricant  
    • Set of Allen Keys
    • Housing skids
    • Monitor Shade
    • Safety box

    Recommended Accessories:

    Housing Mount

    • 25221 M10 strobe mounting ball for housing
    • 25224 M10 strobe mounting ball for housing (with hole for using with lanyard)
    • 25228 M5 strobe mounting ball for housing
    • 16226 Mounting Bracket for Monitor Housing to use with Cinema Housings
    • 16701 Top Handle for E2/F/C70/BGH1/BMPCC
    • 17961 Swivel and Tilt Adjustable Monitor Mount System (To be release)

    Trim Weights

    • 16232 0.25kg Trim Weights for 16227 (4pcs)
    • 16233 0.5kg Trim Weights for 16227 (4pcs)

    Vacuum Valve

    • 25625 M16 Vacuum Valve II (Pushbutton Release)

    Handles

    • 28123 Pair of handles – size S (10mm closer to housing)

    DMI OUTPUT:

    Required accessories for HDMI 2.0 Cable System

    • 25089 M28 HDMI 2.0 Adapter
    • 25078 M28A1R225-M28A1R170 HDMI 2.0 Cable (for NA-BMPCCII/S1R/S1H to use with 17922/17909N)

    Compatible Monitor Options

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable)
    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories for HDMI 1.4 Cable System

    • 25033 Standard HDMI bulkhead with M16 thread (Mounted on the right side M16 of middle housing)
    • 25100 HDMI (D-A) 1.4 Cable in 200mm length for NA-a1 (for connection from HDMI bulkhead to camera)

    *25033 and 25100 is included in 17927 monitor housing

    Compatible Monitor Options

    • 17927 NA-Shinobi II Housing for Atomos Shinobi II 5.2″ Monitor with HDMI 1.4 input

    SDI OUTPUT:

    Required accessories for SDI Cable System

    • 17926S SDI Cable Set for use with NA-Ultra5/17922S  

    Compatible Monitor Options

    • 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4Kp60 4:2:2 10-bit 

      Reorder/Monitor/Player (excl. HDMI 2.0 cable) with Atomos AtomX SDI Module
    • 17926 Nauticam NA-Ultra5 Housing for SmallHD Ultra 5 Camera Monitor

    Required accessories Surface Monitor

    • 25058 M16 SDI Bulkhead

      *Only support to be installed on the back door
    • 25060 SDI cable in 0.4m length (for connection from camera to underside of SDI Bulkhead)
    • 25064 SDI surface monitor cable in 15m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)
    • 25065 SDI surface monitor cable in 45m length 

      (for connection from SDI Bulkhead to Surface Monitor on land)





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