Review - Spider Holster

For the past few weeks, I’ve been testing out the Spider Holster camera belt, and I have to say, I am completely hooked. 

Crafted from stainless steel and hardened aluminium, this is one camera holster that feels as durable as a tank. The guard underneath the holster keeps heavy camera gear from bruising your leg, while the thick velcro belt makes wearing the Spider Holster a pleasure instead of a pain. If security is your concern, fret not, Spider Belts have a 3 point locking system and the holster itself has an auto-lock feature. The camera plate is thick and sturdy, with a lip on one side to stop your camera from twisting on the plate, and a built in alan wrench to tighten the no-slip screw into your camera. The wrench is also used to tighten the pin (the part that actually slides into the holster) into one of the plates four pin attachment points. It seems the engineers at Spider Holster have put an equal amount of thought into the safety of your camera as they did the build quality of their product. 

For such a high quality piece of equipment I was actually surprised to see it priced at only $135. Yes, some of you are thinking “$135 is still a lot for a belt.” While I might have agreed with you before trying the Spider Holster, but now I can’t imagine living without it. I inherited my mom’s troublesome back, and since using the Spider Holster, I havent felt any discomfort in my back after shooting. To me, my back is worth way more than $135.

In conclusion, Spider Holster is the most well built, thought out, and easiest to use piece of equipment I have seen in a long time. At $135 it’s an affordable, back saving accessory every photographer should invest in. 

For more information on Spider Holster visit the link below;

http://www.spiderholster.com/

Review - Zacuto Z-Finder and Target Shooter

I was recently given the opportunity to try out some of Zacuto’s camera gear, including the Z-Finder Pro 2.5x, and the Target Shooter stabilizer. 

The Zacuto Z-Finder 2.5x comes with all the expected and necessary adapters to fit it to most any camera. It’s build quality is superb, and it feels very sturdy in your hands. It’s eyecup is very comfortable and the 2.5 magnification makes viewing the LCD screen a pleasure, instead of a hassle. The only down side I can think of is the price. At nearly $400, I would actually have to think twice about purchasing the Z-Finder. However, after having used it, I must say you certainly get what you pay for. 

Zacuto’s Target Shooter is a basic point of contact stabilizer. It certainly does help with camera shake, is very adaptable, and even uses the same convenient Gorilla Plate as the Z-Finder. While the Target Shooter is a handy little tool, it isn’t for long hours of use. The point of contact with your body is made of hard plastic, not even padded for comfort.  Unlike the Z-Finder, the Target Shooter is not something most photographers will use all the time. While it’s compact build and light weight make it a very quality piece of equipment, $500 seems a little pricey for something that will only be used occasionally.

In summary, Zacuto’s build quality is superb, and their products certainly set a high standard for the competition. The only downside is that you also pay top dollar for such a high level of quality. The Z-Finder is probably worth the cost, though. Especially to anyone using a lot of video. Chances are, I’ll wind up buying one myself. 

For more information on Zacuto and their products, click the link below.

http://www.zacuto.com/

Reflections on Being in the Business of Love - Part 2

• Friday, February 18th

It’s 8:30am when the lunchbox sized aircraft hops across the asphalt of LAS. Tires squeal with the same sound heard every time an aircraft lands in a film, just before the thunderous engines roar into reverse. The moment we dock, all passengers with working legs jump from their seats, hastily grab their conveniently sized luggage and make a break for the door before stopping dead, realizing they aren’t going anywhere just yet. After shuffling out, following detailed road maps and makeing eye contact with exactly no one, my caffeine deprived brain manages to remember where I’ll be laying my head for the next few nights.

Twenty minutes, six dollars, and a cramped shuttle ride later I am dropped off in front of Signature Tower Number Three, which my more WPPI experienced friend tells me is the best place to stay during our week long indulgence in all things photographic. The floors pass by as I ride up to my room. Eleven, twelve, fourteen, and some time later 23. One of my roommates must have already arrived, as the suite looks well lived in, though empty and dark for the moment. Through the twenty third story, plate-glass windows the city seems glaringly manufactured. A pool here, a roller coaster there, casinos, strip clubs, and photo opportunities galore. What more could a young and adventurous photographer ask for?

As I gaze down on the surreal city that rises from the dusty desert, I realize that the tower I am standing in is reflecting a golden shimmer across half of Las Vegas. From here, all I see is a play of highlights and shadows, poetry in light scattered across a rough, textured, urban landscape. The city is my subject, and the hotel is my reflector. Now where did I put my camera?

Behind me, from the darkness, the door beeps and flies open. A young man quickly walks in before jumping nearly clean out of his skin, swearing, gasping for breath, and finally exclaiming that he might need a new pair of underpants. Obviously, he didn’t expect me so soon. We chat for a few moments, making the small talk new roommates always do, before he realizes hes late for his next class and leaves as quickly and noisily as he entered, minus the swearing.

As the door automatically locks itself, I extinguish the remaining light sources in our suite, blanketing myself in darkness. My nocturnal habits begin to get the better of me as I fall limp onto the sofa, slipping effortlessly into dreamless slumber. My last thought before unconsciousness takes hold is innocently ironic. “I hope this week will be fun.”

Reflections on Being in the Business of Love - Part I

 I recently took part in WPPI, along with 16,000 other photographers. I was so inspired by the event that I began writing again, something I havent done in years. This is part one of an ongoing essay. Tell me what you think, I always enjoy peoples honest opinions of my work :-) 
 

• Thursday, February 24th, 2011. Las Vegas Airport, returning to San Francisco.

Snug in my well worn United seat, I study the golden light of a Nevada sunset as it breaths new-found beauty into the normally dreary asphalt landscape of Las Vegas International. The scenery crawls slowly by my tiny window,  as the liquid gold light spills out across the dessert canvas. Golden towers of glass and steel rise over the snow peaked blue mountain tops in the distance.

As my eyes drift down the alien skyline, they come upon the surreal amalgamation of world wonders that form the Vegas Strip. From the mash-up New York City skyline, down across the pint sized Eiffel Tower, and finally down to a pho-Pharaohs ebony tomb. The warm touch of dessert sunset gives these abnormal structures form and shape that only a trained eye could truly appreciate.

Suddenly the engines begin to roar. The surreal skyline quickly slides out of my view as we are propelled into the very sunset I was admiring. Three, two, one, and we are air-born. The shaking of the plane subsides to a subtle massaging vibration as the horizon tilts to a forty five degree angle for a few moments, before leveling out again. A bell dings, a safety light switches off, and to all watching below, we become nothing more than a tiny speck in the fading light of the night sky.

The vibrant teal blue sky stretched out in front of me fades effortlessly into pastel orange before being devoured by the jagged mountain tops of the Earth. As we hum through heavens, the vibrations of the engines sooth my aching soles, lulling me into quiet reflection. I ignore the subtle burning sensation behind my heavy eyelids and smile as a trickle of recent memories builds to a flood, and I am washed away.

-Watch this space for more essays, coming soon.-

Babiera Wedding Party at Kenyon Estate

I recently had the privilege of shooting a wedding party for Roland and Kristina Babiera. They were already married on a cruise ship, but wanted a party and formal photos for all those that couldn’t make it to their nautical ceremony. Thanks to Kristina and Roland for giving me the opportunity to photograph such a beautiful wedding party. Special thanks to my assistant Mike Malerba, wedding planner Jason Diavatis, Bay Area Entertainment, and all the good people at Kenyon Estate.

How To - Floating Nude

A few months back I created an image that has brought me a lot of compliments and questions. So I figure, why not explain exactly how I created this image.

“Floating Nude” was inspired by an image from David Turner, one of my teachers at Hallmark Institute of Photography. The materials he used were of a bit out of my budget while being a student, so I MacGyvered a few details. Lets start from the top down. (Below is a straight down shot of the setup, underexposed to show details)

My camera was suspended about fifteen feet above the model on a boom stand with a camera attachment from Alien Bees. I was shooting tethered to a computer, so that I could see and control my shots, but a remote trigger will do the same job. Don’t forget to set your camera to auto-focus, you don’t want to climb a ladder to re-focus every time the model moves.

First in our setup is a sheet of Plexiglass. You can find this at any Home Depot, or order it here. I didn’t have enough money at the time for a large, thick piece, so I taped two clear thin sheets together and spray painted them white.

Next, I used cinder blocks (much to the dismay of my back!) to support the Plexi. However, milk crates or wood blocks will do fine, as long as they are sturdy enough to support your model safely. I added extra block on top of the corner supports to sandwich the Plexiglass and reduce the chances of the Plexi moving around.

Finally, you’re going to need a large piece of white paper, or a white blanket. This will help reflect the light back up through the Plexiglass and towards the camera. 

I’ll admit, lighting is one part of this that might be hard to come by. I used four Profoto 1x4’ soft boxes, one on each side, set on the ground, aimed towards the center. By doing this the light is even across the entire sheet of white paper, and thus produces an even illumination through the Plexiglass. If you don’t have softboxes, try cutting some white Foamcore into reflector panels.

Once it’s all set up, help your model get to the center of the Plexiglass (over the support block). Then, simply expose and compose! The best part about this is that the giant light source so close to the model creates a beautiful wrapped lighting that accents highlight, shadows, curves and shapes. 

Thanks to David Turner, Julia Rodriguez (best assistant ever!) and our lovely model Nika.