SnapKnot’s Favorite Beach Wedding & Engagement Photos

SnapKnot’s Favorite Beach Wedding & Engagement Photos

Photographers are always seeking ways to land that one awesome wedding shot. The unique setting, timing, and location of each photo opportunity is what makes the final product so special. In order to share some brilliant inspiration, we had our friends at SnapKnot send five of their favorite beach wedding and engagement photos from their expert photographers. Better yet, they shared the secrets behind their incredible shots. SnapKnot’s Favorite Beach Wedding & Engagement Photos This portrait was taken at sunrise just after a short ceremony with a Canon 5D Mark II and a 24-70 f/2.8L. Only natural lighting was used for this at ISO 320, f/2.8, and 1/1000th of a second. This well-timed candid was taken in the late afternoon after a heavy rain with a Canon 5D and a 24-105mm f/4L using only available light. Taken at ISO 400, f/5.6, and 1/250th of a second. This trash-the-dress shot was taken early in the morning with a Canon 5D Mark III and 135mm f/2L. No flash was used; instead, King captured the moment by taking super quick, multiple shots. Taken at ISO 800, f/6.3, and 1/1000th of a second. This scenic portrait was taken at sunset with a Canon 1D Mark IV and a 16-35mm f/2.8. To light the scene, Joy used 2 Canon 580EX II flashes triggered in ETTL mode with remotes. Final settings: ISO 200, f/2.8, and 1/1600th of a second. White balance was manually set. To learn more about triggering flashes at high shutter speeds, see Syl Arena’s tutorial on using high speed sync with Canon flash. This romantic silhouette was taken at sunrise with a...
Hidden Gems – The Canon 400mm f/5.6L

Hidden Gems – The Canon 400mm f/5.6L

Here’s something that’s going to make Canon shooters looking to get started in wildlife or sports photography pretty darn happy. For years, Canon has made this often-overlooked piece of glass that, as the headline for this blog entry suggests, is a true hidden gem. Presenting: The Canon 400mm f/5.6L USM lens.   One of the things I like doing as a hobby is photographing birds. That’s quite apart from my usual genre, so I don’t really own any gear that appropriate for photographing birds. I usually end up renting something, but those large super-telephotos (like the 600mm and above optics) aren’t exactly cheap (though they are way more affordable to rent than own). After a bit of research, I stumbled onto the Canon 400mm f/5.6L USM lens. Surprising small and compact, it’s thinner and lighter than Canon’s 70-200mm f/2.8L IS USM II lens, while being about the same size. It’s got an integrated metal hood that collapses down over the lens when not in use, and, when paired with a body like Canon’s 7D, equates out to be a 640mm lens. That’s the combo that was used to make the image above. The neat part? It’s only $42 to rent for three days. Compare that with, say, Canon’s 400mm f/2.8L, which is $300 for three days. You get an extra two stops with that lens, which is pretty handy for sports shooters shooting in stadiums (just ask Scott Kelby), but if you’re just starting out, or even if weight is a concern, the 400mm f/5.6 is a fantastic, razor-sharp lens for a fraction of the cost. In fact, it’s...
Fuji Meets Leica: One of the Best Street Cameras Gets Even Better

Fuji Meets Leica: One of the Best Street Cameras Gets Even Better

To hear some photographers tell it, Fuji is the new Leica. The company, which saw rave reviews for its X100, has been on something of a tear of late. What began with an interesting concept morphed into a camera with a cult following, and was followed up by an entire system that has turned much of the photo world on its head. The X100s, for example, is a body we can’t seem to keep in stock (though it is right now – go get it before it sells out again!), and the interchangeable lens-capable X-Pro1 is one of the finest low-light performers we’ve ever seen in a body that size. That X-Pro1 has now gotten a breath of fresh air. Fuji seems to be the sort of company that really listens to its users, and with the latest firmware update, has made a lot of those users very, very, happy indeed. The 3.0 firmware update for the X-Pro1 brought with it one very important feature: focus peaking. For those of you who don’t know what that is, focus peaking is something that’s made its way over from the video world. It’s a tool that helps photographers and videographers ensure that they’re achieving critical focus in manual mode. When enabled, this feature adds white outlines to objects that are in focus, as shown below. As you can see, the subject’s eyes and parts of his nose have what we colloquially refer to as “white squigglies” on the edges. This tells me that those are the parts of the frame that are currently in focus. In the image above, I’m using the...
Small Cameras with Big Impact: Traveling Light without Compromising Quality

Small Cameras with Big Impact: Traveling Light without Compromising Quality

Don’t get us wrong – we LOVE our big cameras, especially those pro bodies with huge, high-quality glass. Lugging it around, however, is not so ideal – especially while on vacation or during situations where there just isn’t a lot of room to shoot. High-quality sensors are coming in smaller and smaller form factors, which is good news for globe-trekking photographers or for those who simply need to pack lightly. These small cameras are perfect for: Hiking to get that great sunrise/sunset shot from a high vantage. Inconspicuously taking candids out on the street. Using auto or fully-manual settings on a simplified system. Here are 5 recommended small cameras with incredible image quality: Sony RX1 & Sony RX1R These full frame cameras sport 24 MP sensors and fixed 35mm f/2.0 Carl Zeiss lenses. They shoot full HD 1080p video and have incredible low-light performance. The “R” version lacks an optical low-pass filter, which is ideal for catching extra detail in landscape shooting. The only bummer about these? You’re stuck with that lens. However, on the full frame sensor the 35mm is a great walking-around focal length and the all-metal Zeiss construction is top notch. Another great small-form-factor offering from Sony is their NEX series of mirrorless cameras (with some sample images here). Olympus E-P5 This retro-looking, handsomely-built micro four thirds camera does full HD 1080p video and shoots stills up to 9 FPS on its 16MP sensor. It is very slim and yet still accepts interchangeable lenses, like the fast 17mm f/1.8 M.ZUIKO. Many of our street photographers extol the virtues of this camera. Fuji X100s Another retro beauty, the X100s comes equipped with...
Rolling Stone Contributing Photographer Drew Gurian on the Leica M9

Rolling Stone Contributing Photographer Drew Gurian on the Leica M9

Drew Gurian is a music and portrait photographer based in New York City. For the past five years he has been the first assistant to long-time photojournalist and National Geographic photographer Joe McNally. Last month, Gurian shot the Wakarusa Music Festival, which included running a backstage portrait studio. He used a Leica M9 from BorrowLenses to shoot the event. Read about why Gurian chooses Leica for this work. Music Photography with the Leica M9 by Drew Gurian I’ve been a big fan of Leica rangefinders for the last few years. I own an M6 and am on a wait list for the new ‘M’.  For this particular shoot, I really wanted a digital Leica body (the M6 is film) so I picked up a spotless M9 body and 90mm lens from BorrowLenses. Though I shot the festival with a few different cameras, here’s what I love about the Leica: It’s a completely non-intrusive camera system.  Waving a DSLR with a 70-200mm lens in front of your subject isn’t exactly a comforting feeling for them.  Whether you’re shooting static portraits or street photography (which, in my mind, is what Leicas were made for), I find a noticeable difference in a subject’s mood and energy with a Leica.  You’re there with your subject and not hiding behind a massive machine. It’s as simple as a camera can get and Leica’s design hasn’t changed almost at all since the first models came out in the early 1900’s.  All of their rangefinders are fully manual focus, almost all lenses are fixed focal lengths, and they’re incredibly sharp. The M9 is much slower than a DSLR (though...
Tips for Setting Up Your Kino Flo BarFly

Tips for Setting Up Your Kino Flo BarFly

ABOUT BARFLY Our Kino Flo BarFly 200D 2-light kits and BarFly 400D 1-light kits are professional, energy-efficient lighting systems ideal for filmmakers and photographers alike. They produce 3200K and 5500K (daylight) temperature lighting from florescent, dimmable 55W lamps inside Kino’s signature modular fixtures. Each bank can be switched on and off for full stop exposure changes. The kits also come with: Gel Frames (2 for the 2-light kit, 1 for the 1-light kit). Note that these kits do NOT come with gels. You will have to apply the gel yourself to the provided gel frame using a non-destructive adhesive (also not included). 90 Degree Grids (2 for the 2-light kit, 1 for the 1-light kit) True Match Quad Fluorescent Lamps with padded mini case. 55QK32 55W KF32 Quad Lamps with padded mini case. Light stands (2 for the 2-light kit, 1 for the 1-light kit). AC Power. Heavy Duty Kino-branded  Case. These kits are a fantastic option for those seeking all-in-one kits that produce very natural-looking light that is intuitive to shape because what you see is, generally, what you get. However, they are less intuitive to set up. Please take note of the following tips to prevent bulb breakage and other kit issues. SETTING UP THE BARFLY Kino Flo lamps are aways shipped from BL outside the lamp fixtures to prevent breakage. Inserting lamps into fixture: Insert lamps at a 45 degree angle. It will feel unnatural at first but if you feel any tension at all inserting the lamps, you must restart and try inserting at an extreme angle. They should drop in smoothly. Once down, push the lamps...