فوتوشاپ وب

برچسب: for

  • Nauticam Releases Housing for the Sony a1 II and a9 III

    Nauticam Releases Housing for the Sony a1 II and a9 III


    Perhaps two of the most exciting pro-level cameras on the market at the moment are Sony’s a1 Mark II and a9 Mark III. The a9 III remains the only full-frame mirrorless camera with a global shutter, giving you jaw-dropping specs like blackout-free continuous shooting at 120fps with AF, no-crop 4K/120p video, and the ability to sync with flash at up to 1/80,000s. (The compromise, however, is the sensor’s relative low pixel count of 24.6MP and base ISO of 250. Meanhile, the a1 II is a different, but equally capable, beast: At 50.1MP, its stacked sensor boasts double the pixels, burst shooting is 20fps in lossless RAW, and there’s both 8K/30p and 4K/120p video recording on offer.

    The kicker is that these two cameras are all but identical externally, so a single housing can accommodate either one… Enter Nauticam’s NA-α1II housing, designed to get the most out both the a1 II and a9 III. Needless to say, ergonomic control placement is foremost: There’s a dual thumb lever alongside the right hangle and a single thumb lever on the left, as well as another left-hand lever operating a customizable button. In addition to fiber-optic ports for your strobes, there’s an M14 accessory port that could be used for an electrical bulkhead if preferred. There’s also a large-bore M24 accessory port for hooking up a monitor/recorder such as the Atomos Ninja V via HDMI 2.0.

    Nauticam’s housing costs $4,920 and is available for from Backscatter now.

     


    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 NA-α1II

    The Sony a1 II and a9 III Cameras

    The Sony a1 II and a9 III Cameras are Sony’s pro-level bodies that cover the entire gamut of imaging requirements for both still and video shooters.

    Sony a1 II

    The a1 II is Sony’s flagship high-resolution camera body with incredible autofocus and impressive video capabilities. Built around a 50MP stacked BSI CMOS sensor and powered by the advanced BIONZ XR processor, the a1 II features upgrades pulled from the a7R V in autofocus, subject tracking, and IBIS. For scenarios demanding high resolution paired with ultra-fast and accurate autofocus and up to 8K30p video, the a1 II can deliver top tier results.

    Key Sony a1 II Camera Specs

    • 50MP Full-Frame Stacked BSI CMOS Sensor

    • 8K 30p and 4K 120p Video in 10-Bit

    • 8.5-Stop IBIS + Dynamic Stabilization

    • 9.44m-Dot EVF with 240 fps Refresh Rate

    • Dual CFexpress Type A/SD Card Slots

    Sony a9 III

    The a9 III fills the role of a high sensitivity sensor with a true global shutter. Capable of shooting 4K 120fps from the full sensor area, the a9 III produces very clean high frame rate video even in less than ideal lighting conditions. The a9 III’s global shutter allows for shooting at incredibly high shutter speeds to maximize available strobe power and recycle time, even in strongly backlit scenes. Shooting into the sun or in high-ambient light scenarios at lower apertures opens up a world of opportunities for both wide and macro photography and also eliminates any rolling shutter effects in video.

    Key Sony a9 III Camera Specs

    • 24.6MP Full-Frame Global Shutter Sensor

    • Flash Sync at up to 1/80,000 Sec.

    • 4K 120p 10-bit Video; S-Log3 & S-Cinetone

    • 759-Point Phase-Detect AF with Tracking

    • 8-Stop 5-Axis In-Body Image Stabilization

    • 9.44m-Dot EVF with 240 fps Refresh Rate

    • Dual CFexpress Type A/SD Card Slots

    Shared Specs

    The a1 II and a9 III share a body which makes the NA-a1ii housing possible without any adapters, modifications or loss of features.  Both cameras also share the incredible 9.4M-dot electronic viewfinder from the A7RV.  

    THE NA-α1II HOUSING

    The NA-α1II Housing is based on the Nauticam NA-a9III housing and can accommodate both the Sony a1II and a9III camera bodies with no adapters of modifications. This truly makes this housing one of the ultimate underwater imaging tools able to capture high resolution as well as low-light stills and high resolution, low-noise and high-framerate video.


    Mission Control

    The driving force behind Nauticam housings is to place controls where they should be, within easy reach of the ergonomic handles for an intuitive and smooth underwater filming experience. The NA-α1II features a dual action thumb lever on near the right handle that actuates the ‘AF-ON’ and ‘REC’ buttons. Near the left handle is a thumb lever for ‘PLAYBACK’. The shutter release, main and sub command dials are also all within easy reach without taking your hands off the handles.


    Professional Optics

    The NA-α1II housing is built around the N100 port opening allowing for a wide variety of optics solutions from extreme wide-angle to super macro. In addition to supporting traditional wide angle dome port and macro flat-port configurations, the NA-α1II can support much of Nauticam’s range of Water Contact Optics from the Fisheye Conversion Port (FCP) to the Extended Macro Wide Lens (EMWL). To truly unlock the creative possibilities of these two cameras, pairing them with either the WACP-1B, WACP-C or WWL-1B gives impressive 130º rectilinear field-of-view, ~0″ minimum focus distance, full zoom through capabilities and the incredible corner sharpness. If more coverage is needed, the FCP provides 170º fisheye coverage with full zoom through and close focus capabilities. Take your macro imaging to the next level with either increased 2.3X magnification with the new SMC-3 close-up lens or the wide-angle macro look of the EMWL 160º lens.

    EVF Enhancement

    Both the Sony α1II and α9 III feature the same ultra-high resolution 9.4M-dot electronic viewfinder (EVF).  To truly take full advantage of this underwater consider pairing it with one of the Nauticam Enhanced 0.8:1 Viewfinders.  These underwater viewfinders are designed to give full edge-to-edge magnified viewing and include a diopter that can be adjusted underwater to match your vision.

     


    HDMI 2.0

    A large bore M24 bulkhead is located at the front of the housing for use with HDMI 2.0 or HDMI 1.4 (with a step-down adapter to M16) external monitors and recorders.  An additional M10 threaded mounting position near the front center of the housing also makes using an external monitor even easier.


    Vacuum Check and Leak Detection

    The housing comes with electronics pre-installed for Nauticam’s Vacuum Check and Leak Detection system, requiring only the optional M14 Vacuum Valve (25624). This monitoring system provides constant updates on the water tight and safe-to-dive status of the housing. A simple color coded LED lighting system lets the user know that the vacuum is solid, or that the housing is losing vacuum. Leak detection is built into the same circuit, so if there is water intrusion, an audible and visual indication will occur. The Nauticam system is temperature compensated, eliminating false alarms caused by a change in outside temperature, or from a camera heating up on an action packed dive.


    Strobe Triggering

    Triggering of external strobes is accomplished via the integrated fiber-optic bulkheads when using the optional Mini Flash Trigger for Sony (26302).  Electronic triggering is also available via an optional Nikonos or Ikelite Style Bulkhead.

    What’s In The Box:

    • NA-α1II Housing

    • 90120 Spare Main O-ring, o-ring remover, and lubricant

    • CR-2032 Battery (for Moisture Alarm)

    • Set of Allen Keys

    • Instruction Manual Card

    • 2x Optical Bulkhead Caps

    • 2x Handles with Mounting Balls 

    • Padded Housing bag and shoulder strap 

    Recommended Accessories:

    • 25624 M14 Vacuum Valve II (Pushbutton Release)

    • 26302 Mini flash trigger for Sony

    • 25218 Mounting Ball Set for tripod

    • 28130 Hand Strap for 18223

    • 32203 45 viewfinder (slightly vignettes)

    • 32211 Nauticam Full Frame Straight Viewfinder 32 / 1:1

    • 32212 Nauticam Full Frame Straight Viewfinder 40 / 0.8:1

    • 32213 Nauticam Full Frame Angle Viewfinder 32 / 1:1

    • 32214 Nauticam Full Frame Angle Viewfinder 40 / 0.8:1 *32212 / 32214 is preferred

    • 26325 USB-C Bulkhead with USB-C Connector

    • 26326 M24-M16 Adaptor for use with 26325

    • 25413 27cm lanyard with 2 snap hooks

    HDMI Output:

    Required accessories for HDMI 2.0 Cable System

    • 25086 M24 Adaptor for HDMI 2.0 Cable (incl. tightening tool)

    • 25099 M24A2R20-M28A1R170 HDMI 2.0 Cable

    Compatible Monitor Options:

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable

    • 17922S Nauticam Atomos Ninja V-S Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable) with AtomX SDI Module

    Required accessories for HDMI 1.4 Cable System:

    • 26326 M24-M16 Adaptor

    • 25100 HDMI )D-A) 1.4 Cable in 200mm length (for connection from HDMI bulkhead to camera)

    • 25033 standard HDMI bulkhead with M16 thread (incl in 17923 Shinobi-H housing)

    Compatible Monitor Options:

    • 17923 NA-Shinobi-H Housing for Atomos Shinobi 5.2” 4k HDMI Monitor with HDMI 1.4 input.

    • 17922 Nauticam Atomos Ninja V Housing for Atomos Ninja V 5” 4kp60 4:2:2 10-bit recorder/monitor/player (excl. HDMI 2.0 Cable

    • 25082 HDMI 1.4 Canle for Ninja V housing in 0.75m length (for connection for Ninja V housing to bulkhead) *25082 v1.4 cable is required for use with 17922 monitor housing. 

    Technical Specifications

    • Dimensions: 347mm(W) x 171mm(H) x 127mm(D)

    • Weight in Air: 2.65kg

    • Buoyancy in Water: 0.48kg (incl. camera & battery)


    Model Number: 17438

    USA Retail Price: $4,920.00

    More information is available from Nauticam at: www.nauticam.com





    Source link

  • Best Sports Photo Background Ideas for Stunning Athlete Portraits

    Best Sports Photo Background Ideas for Stunning Athlete Portraits


    One way to improve your sports photos is to get the right background. Choosing the right background can make or break a sports photo. Whether you’re capturing individual headshots, team portraits, or promotional images, the backdrop plays a crucial role in setting the tone, reinforcing branding, and making the subject stand out.

    In some cases, a transparent background gives you max flexibility, while other scenarios call for a bold team-branded backdrop, a dynamic stadium setting, or a clean, neutral tone. Check out some of the best background options for sports photography—including field and court settings, team logos, dramatic lighting effects, and templates—to help you create impactful images every time.

    Sports photo background ideas

    The “field”

    Using a real sports environment helps establish context and energy in your shots. Some great location choices include:

    • Stadiums: A stadium backdrop can emphasize the grandeur of the sport, making it ideal for professional headshots or team portraits. Be mindful of the composition—an empty stadium creates a different feel than one filled with fans.
    • Tracks: A running track or cross-country trail provides a sense of movement and purpose. Position the athlete at a starting line for an action-driven portrait.
    • Beach: Perfect for sports like beach volleyball, surfing, or running, the ocean and sand can create a lively, high-energy image. Plan your shoot during golden hour for the best lighting.
    • Indoor arenas: Basketball courts, hockey rinks, or even boxing gyms provide an enclosed environment with controlled lighting. Use a wide aperture to blur out distracting elements while keeping the athlete as the focal point.
    • Sports fields: Soccer fields, cricket pitches, or rugby grounds offer a natural, open space that works well for solo and group shots. If the field is in use, position your subject in an area with minimal distractions.

    Split-image of two athletes preparing to compete—on the left, a track runner in a crouched starting position holding a baton, and on the right, a swimmer standing on a diving block, ready to jump into a pool. Both images capture moments of intense focus before the start of their respective races.

    Gyms and locker rooms

    For an intense, gritty look, gyms and locker rooms can provide a compelling backdrop. Weight rooms, benches, and training spaces add authenticity, making the athlete’s preparation a key part of the story.

    Split-image of two athletes engaged in fitness training—on the left, a woman in a pink tank top balancing on a BOSU ball in a gym, and on the right, a shirtless man performing a kettlebell exercise in a CrossFit-style gym. Both demonstrate strength, stability, and focus in their workouts.

    Use directional lighting to highlight muscle definition and create dramatic shadows. If shooting in a locker room, frame the shot to include elements like jerseys, team logos, or open lockers for added storytelling. Pay attention to the composition. You can avoid cluttered backgrounds by positioning your subject in front of an open locker with a neatly arranged jersey and equipment, for example.

    How One Sports Photographer Uses Path to Edit Photos for 16 Teams Every Season

    Urban settings

    Cityscapes, iconic landmarks, or industrial settings can be excellent backdrops for sports photography, especially for athletes who train outdoors. This option works particularly well for individual portraits of runners, cyclists, or street athletes.

    Split-image of outdoor urban activities—on the left, a large group of cyclists participating in a biking event on a city street, with a man in a green shirt joyfully riding with his arms open. On the right, two young boys play street soccer on an open road, showcasing energy and movement in a lively urban setting.

    Again, be mindful of busy backgrounds—use a shallow depth of field to keep the focus on the athlete. Early morning or evening shoots often provide softer light and less foot traffic.

    Smoke or lighting effects

    If you want to add drama, using colored lights, LED strips, or smoke effects can create a bold, high-impact background. This is a great option for marketing shots, posters, and social media content.

    A triptych of intense sports moments surrounded by smoke—on the left, a motocross rider emerges from a cloud of dust in a black-and-white image; in the center, two athletes wave blue smoke flares on a grassy field; on the right, an American football player walks through thick smoke and sparks, creating a dramatic entrance scene.

    Smoke and lighting effects can create a variety of looks, so the possibilities are truly endless. In the examples above, you can see how smoke and fog add dama to photos of a dirt biker, soccer players, and a football player. 

    In some cases, you may shoot with the smoke, lighting, and fog on location—in others, you may add it in during the editing process. Find out how to add smoke and fog to photos in this tutorial. 

    Branding

    Showcasing team identity is always a smart choice. You can use the team logo or colors, or a sponsor’s logo and colors. Solid or gradient backgrounds in team colors can create a consistent, polished look.

    A composite image featuring two sports teams—on the left, an American football player in a black and orange

    Image source

    Blur

    A blurred background helps isolate the subject and remove distractions. This technique is useful when shooting in a busy location, like a crowded gym or an active playing field.

    A collage of three sports images featuring athletes in action: an American football player running with the ball, a boxer intensely training with sweat on his face, and a group of cyclists racing with motion blur in the background.

    There are a few ways to get a blurred background: 

    • Shoot with a shallow depth of field: Use a wide aperture (e.g., f/2.8 or lower) to blur the background while keeping the athlete sharp.
    • Use motion blur: Works well for dynamic shots where slight movement is captured.
    • Edit the background in post-production: If you can’t get it in-camera, you can add the blur effect during the editing process. Find out how to blur the background in this tutorial.

    Neutral

    A clean, neutral backdrop—like gray, white, or black—keeps the focus on the athlete. This is a solid choice for profile shots, media use, and professional headshots.

    A triptych celebrating women's fitness—on the left, a woman in athletic wear performs a high jump against a white background; in the center, a dancer leaps gracefully in mid-air with a black background highlighting her movement; on the right, two women in colorful activewear smile and pose confidently together, showcasing strength and joy in fitness.

    Use a softbox or ring lights to help maintain even lighting without harsh shadows. Seamless paper or collapsible fabric backdrops work best for the backdrop materials.

    Transparent

    For maximum flexibility, a transparent background allows you to place the subject onto any background later. This is especially useful for promotional materials, digital content, and merchandise design. You can find out how to make a transparent background with this tutorial and in the video below: 

    https://www.youtube.com/watch?v=SXTiQNtoQS0

    Editing your sports photo backgrounds

    Not happy with the background you’ve already got? Remove it and try a new one with Path’s background removal services.

    Save a ton of time with pro background removal from 39¢ per image

    Start a new order Start a new order Start a new order

    Sports photo background FAQs

    What’s the best background for a team photo?

    A stadium, team-branded backdrop, or a solid color with team colors works well for team portraits.

    Should I use a green screen for sports photos?

    A green screen can work if you plan to replace the background, but good lighting is crucial for a clean result.

    What’s the advantage of a transparent background?

    The advantage of a transparent background is that it gives you flexibility to place the subject onto different backgrounds later, making it ideal for marketing materials and graphics.



    Source link

  • Read Student Testimonials for My Fujifilm Autofocus Course

    Read Student Testimonials for My Fujifilm Autofocus Course


    Almost three weeks ago, I launched my brand new online course, MASTERING THE FUJIFILM AUTOFOCUS SYSTEM, and in that short time, I’ve been blown away by the number of students who have enrolled in the course, and by the amazing feedback I’ve received.

    Product image

    Mastering the FUJIFILM Autofocus System

    Learn How to Get Maximum Performance from your X Series Focus System

    “Dear Dan, I am 60% through the course and it is brilliant. I find your combination of careful detailed spoken explanations and pictures much easier to follow and learn from than even your excellent book.”

    —————–

    -John K.

    This course compiles every bit of useful knowledge and real-world practice I’ve gained, not just from my ten years using the X Series cameras but from my 26+ years shooting as a professional action, adventure and outdoor photographer.

    With over 2 hours of content, the course is a deep dive into the entire Fujifilm focus system. In a series of 20 individual lessons, spread over 10 different modules, I show you every single setting, every single feature, and how they can be applied to your own shooting process.

    “Dan: Awesome course. Well done!”

    —————–

    -Mark R.

    Download My Free Photography eBook

    Expand Your Skills. Be More Creative

    Let me show you some techniques that will help make you a better, more proficient and more creative photographer!

    “Very informative and useful!”

    —————–

    -Robert A.

    I also share invaluable tips will help you optimize your camera, so that you can be a more efficient shooter, and I give you tons of real-world tips that will help you increase your proficiency and confidence with the system, especially when shooting challenging and moving subjects

    A large part of being a successful photographer is having a full understanding of your gear and realistic expectations of how it will perform in certain conditions.

    We Fuji shooters often hear the Fujifilm AF system is not as good as SONY/NIKON/CANON/blahblahblah, and that the X Series cameras are not good enough for shooting things like sports action and birds.

    If this is indeed the case, then why have I been able to capture so many great action images with every single X-T model that Fuji has made, from the X-T1 to the X-T5? In addition, why have so many of my favorite action images from the past decade been made with the X-T2, a camera from three generations ago?

    The simple fact is that it’s not the camera, it’s the big lump behind the camera that is what makes all the difference in photography, and as a long time experienced pro shooter, I can help you make a difference in your own photography.

    “Great course on Fujifilm Autofocus Dan! I ran through all the video, now I will go watch all the videos again with camera in hand to insure I understand all the settings. 

    Everyone with a Fuji camera should watch this course. 

    Thanks very much, keep up the good work!”

    —————–

    -Neil M.

    The best testimonial I’ve received came from a student named Tim, an experienced, former Nikon user who shoots motorsports. He opted for the Add-On Personal 1:1 Coaching Session that’s available when you enroll in the course, and during our session yesterday, he basically explained it this way:

    Enrolling in this course is WAY cheaper than buying a new X-H2 or X-T5.

    “I have been a longtime follower of Dan’s website and videos. These were an major influence for my move from Nikon to Fuji back in 2017. Dan’s insights gave the confidence that Fuji could handle sports which what I shoot most.“

    “Fuji releasing 3 new models this past year all promising huge AF improvements was very tempting! The question I needed to ask is will a new camera make my images better? About this time I saw the offering for Dan’s course to master the Fuji AF system. I enrolled in the course to make sure I could maximize the camera and lens I have, not drop a bunch of money, and be left with the same questions.“

    “Upon enrolling there was an offer to add the personal coaching session which looked like a great deal.“

    “The “Mastering the FUJIFILM Autofocus System” course is an excellent training resource to explore the nuances that the manual does not cover. The lessons are short and to the point and end chapter quiz is a check on your learning. The early lessons are a good review of the basis function. As you move on, the lessons hone the intricacies of the settings and menus. As I proceeded through the course, I kept notes to ask questions for the Personal Coaching Session.“

    “Meeting Dan in the coaching session was a perfect way to addresses all my questions. He was able to point out some misconceptions I held. I look forward to testing these out in the field.“

    “I would very much recommend the course AND the Personal Coaching Session to anyone using the Fujifilm system.“

    —————–

    -Timothy Owens

    No matter what model X Series camera you use, or no matter what you like to shoot, I can help make you a more proficient and skilled photographer, so that you can create exciting and dynamic images that you’ll love forever…

    …for about the price of a tank of gas with inflation, which will only last about a week.

    You can enroll in the course below, or check out the full course description here, and also see the Personal 1:1 Coaching Options that I offer.



    Source link

  • 3 Camera Industry Predictions for 2025

    3 Camera Industry Predictions for 2025


    Who can see the future? What is the future and who creates it? Ok, let’s not ask these questions, instead, let’s just try our hand at some old-fashioned speculation.

    First Prediction

    2024 was a busy year for new camera releases and I don’t expect that to stop anytime soon. I expect more releases from at least 1 of the big 3, and maybe a release or two from some has-beens in the marketplace like Ricoh or Leica. They always manage to cough up something wacky like a B&W only camera.

    Second Prediction

    AI has already weaseled its way into our cameras, and I expect more “AI” powered features to come out in 2025. As exciting as that may be for some users, the only “AI” feature I want is that one that automatically makes and deposits money in my bank account. “Hey Siri, deposit 1 million dollars in my bank account.” “I’m sorry Frank, I can’t do that.” “I’m using the money to build a nuclear submarine to fly us out the hell out of here Frank.” “Get with the program.”

    Third Prediction

    We’ve had 8k 30p video for 4+ years now, and not many people know that Blackmagic Design made a 12k camera years before the R5 came out and they still make it, I think. So, is 8k-12k the limit for video resolution?? I predict… YES. What kind of gigantic screen would be needed for 12k resolution? Bigger than can fit in most people’s houses. I don’t think anybody wants that much LED light firing into their eyeballs. I’m sure some Hollywood guy will try to go bigger. Imagine The Titanic Part 2, IN 16K RESOLUTION.

    The End.

    That’s the end of my predicting…



    Source link

  • Best Media Storage Solutions for Pro Photographers

    Best Media Storage Solutions for Pro Photographers


    Andrew Hancock isn’t the type of photographer that has a lot of downtime from shooting. As one sports season wraps up, he’s already looking ahead to what’s coming up. And when Hancock is covering a sporting event, he’s typically overseeing the remote cameras aimed at the athletes—he estimates for a basketball or baseball game he’s managing anywhere between six to 12 cameras at a time. For horse racing, it can be as many as 20 cameras.

    It’s a massive amount of data that needs to be managed after the fact. Hancock trusts the SanDisk® Professional G-DRIVE® PROJECT desktop solution which has a built-in PRO-BLADE™ SSD Mag slot, and SanDisk® PRO-CINEMA CFexpress™ Type B cards to stand up the challenge when he is out in the field.

    “I’m only as fast as my slowest point and speed is everything, especially when you’re doing work for the teams,” Hancock says. “Cards can be the Achilles heel for sports photographers—we’re using high speed frame rates, and trying to get as much of the action as we possibly can. SanDisk PRO-CINEMA CFexpress Type B cards help let me push my camera to its limits.”

    The SanDisk PRO-CINEMA CFexpress Type B card is a key part of Hancock’s workflow. The card is designed for professional photographers and videographers who need a high-performance, reliable storage solution. The card is compatible with a wide range of cameras, and it offers read speeds of up to 1700MB/s1 and burst write speeds of up to 1500MB/s1. This means that Hancock can capture high-resolution photos and videos without having to worry about his cards slowing him down.

    Hancock says that SanDisk’s line of professional products has allowed him to create a daisy-chained ecosystem that works well together. The reliable, fast PRO-CINEMA CFexpress cards are loaded into the cameras, media on the cards is offloaded using the SanDisk Professional PRO-DOCK 4 or PRO-BLADE SSD Mag slots, eventually getting archived on a G-RAID® MIRROR.

    “The ability to be able to pump this data as fast as it can go and wherever it can go, means I’m not having to worry about overheating issues or filling the buffer,” Hancock says. “In a clenching situation, where I want to get as much as I possibly can, these cards allow me to actually focus on capturing the moment, without worrying about missing frames.”

    For Hancock, having these fast, top of the line cards and drives is as essential as his cameras and lenses when he’s on a job.

    “I know I’m not going to be covering a massive event and then something’s going to fail or underperform. At the end of the day that comes back on me,” he says. “It’s like being the quarterback of the team. It doesn’t matter if the receiver dropped the ball, everything comes back to your shoulders. It’s on you. As a photographer you’ve got to make those decisions. And it’s a business decision, quite frankly.”

    Professional sports photographers typically spend a good deal of time on the road—Hancock mentions that some years he has up to 200 travel days a year. Having a storage solution that’s been easy to pack up and set up on location has also been a huge part of the appeal for him. Beyond its compact size, the SanDisk PRO-CINEMA CFexpress Type B card also comes with a durable enclosure, withstanding up to 1-meter drops and the pressure of up to 50 newtons2, so Hancock can be confident his data will be safe on the go.

    “I’m like water, I want the path of least resistance. Having a streamlined workflow takes all the stress out of the situation for me,” he says.

    For Hancock having such a streamlined workflow with storing and archiving, enables him to perform at a higher level and be more creative when he’s working. But it’s also helped him get valuable back time. “It’s made my job easier and more efficient, which ultimately means more time with my kids whenever I’m home,” he says. “I love what I do, but any second that I can get back, I want it.”

    1Up to 1700MB/s read speed; up to 1500MB/s write speed. 1400MB/s minimum sustained write speed. Based on internal testing; performance may be lower depending upon host device, usage conditions, and other factors. 1MB=1,000,000 bytes.

    2Based on internal testing.





    Source link

  • Isotta Unveils Housing for the Insta360 Ace Pro and Ace Pro 2

    Isotta Unveils Housing for the Insta360 Ace Pro and Ace Pro 2


    After many years supporting the GoPro with their rugged aluminum housing, Isotta has turned its attention to the action cam competition—the Insta360 Ace Pro and new Ace Pro 2.

    The new housing has much in common with the company’s housing for the GoPro HERO13 Black: anodized aluminum construction and signature red finish; depth rating to 200 meters (650 feet); one-handed open/close; double O-ring seals throughout; and a removable shade that offers a clear view of the rear LCD in bright conditions.

    Priced at $515, the housing is available from retailers such as Backscatter.

     


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


    PRODUCT INFORMATION

    Isotta Underwater Camera Housing for Housing for INSTA360 Ace Pro and Ace Pro 2

    Technical Data

    • Red color anodized aluminum body;

    • Back housing completely detachable from the front housing;

    • Single-hand closing knob for the back of the housing;

    • Aluminum buttons;

    • Wide back display viewfinder glass;

    • Double O-Ring seals on all buttons and removable parts;

    • Double square flat porthole;

    • Rubber covered feet for solid footing on boat floors or sea floor;

    • Cold shoe located on upper side of the housing for various accessories such as focus lights;

    • A M6 hole and a 1/4W hole located on housing bottom side for different accessories such as brackets for strobes or tripods;

    • Working depth: 200 meters;

    Commands

    • Mode button;

    • Shutter button lever;

    Optional

    • 1632 – Forefinger shot;

    • 1633 – Thumb shot;

    • 1862 – Tray for action cam;

    • 3073 – Single flip with magenta filter for action cam;

    • 3074 – Single flip with red filter for action cam;

    • 3075 – Double Flip with Filters for action cam;

    What Is Included

    • Housing;

    • Front lid;

    • Shade;

    • Replacement O-ring kit;

    • Warranty: 2 years manufacturer’s (excluding batteries);

    Spare Parts

    • 4409 – Set o-ring for INSTA360 Ace Pro and Ace Pro 2;

    • 4410 – Shade for INSTA360 Ace Pro and Ace Pro 2;

    • 3664 – Front lid for actioncam;





    Source link