Capturing the Surf: an Interview with Photographer Seth Migdail

Capturing the Surf: an Interview with Photographer Seth Migdail

Seth Migdail is a surf photographer based in the San Francisco Bay Area. A regular at Mavericks, his work has been featured in a number of outlets, including Surfline.com and theinertia.com. I sat down with Seth to talk about his work, his process, and what it takes to break into the insular surfing community. How did you get started in photography? I grew up as an artist, doing drawing and painting. I found photography in college, and ended up dumping two years worth of art school and pursued that. I have a fine art background, a BFA in photography, so I came up in the analog world. I shot a lot of large format, medium format – that’s how I got started. Back then, in fine-art school, you take a lot of time to try and find your identity. It took me a while, but I eventually did. I did a lot of documentary photography, what I’d call “social landscapes.” I got a solid foundation in the craft that way. I also did a lot of work in the studio. What is your favorite subject, and why? Definitely surfing. I found surfing when I moved out to California. Growing up in New York, I hadn’t surfed at all, and I only discovered it when I moved up to San Luis Obispo. I’d actually put photography aside for a few years and kinda became a surf bum down there. When I moved up to the Bay Area, I suffered an injury that kept me out of the water, and I started shooting again. At the time, Mavericks was just re-forming...
Serene Travel Photography with the Canon EOS-M

Serene Travel Photography with the Canon EOS-M

The Canon 5D Mark II has long been Tristan Pott’s go-to camera for capturing snippets of Japan and Taiwan, where he has been living for the past several years. To save a little space while still getting to use his normal lenses, Pott picked up a Canon EOS-M, Canon’s first mirrorless interchangeable lens camera. Pott’s serene photographs of scenes from his day trips around both countries shows that a little camera can produce some beautiful visual keepsakes. If you’re trying to save on weight, especially if you are a Canon shooter with some lenses already available to you, the Canon EOS-M with the EF to EF-M adapter just may be the ticket! Find out below why Pott chooses the EOS-M. BL: You already have some larger glass, such as the Canon 100mm f/2.8L and the Canon 24-105mm f/4L. What made you want to start using them on the Canon EOS-M? Pott: To be honest, I didn’t think I’d use my L lenses as much as I actually do when I received my EOS-M. I was initially perfectly content with the kit lens, which is a little 22mm prime, but I decided to give the adapter a try. When I actually tried out my 24-105mm f/4L for its zoom capabilities with the EOS-M, I was really happy with a few of the shots I got that day. From there, I realized that an EOS-M plus good glass equals better shots. BL: What are the EOS-M’s greatest weaknesses and what are its greatest strengths? Pott: I consider the greatest strength to be the image sensor. For the price and the form factor, it’s great in terms of image...
Working With Magic Lantern RAW Files

Working With Magic Lantern RAW Files

In case you missed it, we started carrying a version of the Canon 5D Mark III modified with the Magic Lantern firmware modification last year. One of the really cool features of this tweaked body is that you can now shoot 1080p video in RAW format. Still shooters know what this means: better control over white balance and a file that stands up to post-processing really well. RAW is still something of a new bag for video shooters working with DSLRs, however, and there are a few things you should know when you start working with RAW files from the 5D Mark III. Making the Magic Lantern RAW File Usable Let’s start with this: The RAW file you get from the 5D isn’t immediately editable. It’s a single file with a .RAW suffix that none of the popular video editors, neither Final Cut nor Premiere, currently recognize without additional plugins like GingerHDR. So you have to modify this file to work with it. The converters for Magic Lantern RAW files essentially do one thing: they take a single RAW file and split it into a sequence of image files in either DNG, TIF, or JPEG files. Your video clip is then available to you as a folder full of hundreds or thousands of single images, each one representing a single frame of footage. That’s not ideal in that you now have a fairly large number of files to manage, but it’s not too difficult to work with them. But first, you have to get to that point where you have those hundreds of files. For this, you have a...
BorrowLenses Year in Review: The Cameras of 2013

BorrowLenses Year in Review: The Cameras of 2013

2013 is a record year for new camera models at BorrowLenses.com, which means having the biggest selection of models we’ve ever had. There is something for every kind of photographer, from mirrorless pocket cameras to huge 60+ megapixel medium format DLSRs. We selected a bunch of our favorites from this bountiful season. Discover what’s available for exploration in our year-in-review. Mirrorless/MFT/Compact Panasonic’s GX7 boasts in-body stabilization and Light Speed AF all inside a super stylish design with a comfortable rubber grip. Other notable features include an impressive action-stopping 1/8000th of a second shutter ability and flash syncing at 1/320th of a second and a DSLR-esque twin-dial control system. The fully 90 degree tilting viewfinder is also a welcome feature. The GX7 has this crazy 40 FPS mode when using the electronic shutter. However, to use it you are limited to reduced-resolution JPEGs but it’s still a fun option to have. Autofocus on the GX7 is blazingly fast. AF locks onto the subject immediately even in low light where manual focus is often the only option. Continuous AF, however, still tends to hunt around as one would expect with no phase-detect sensors. Overall, the GX7 is comfortable, cool looking, and accommodates a vast array of MFT-mount lenses that are very fast. Pairs well with: Panasonic 35-100mm f/2.8 Lumix G Vario Zoom Lens Fuji’s X100 set the gold standard for retro design when it first came out. Since then it has continued that tradition, packing increasingly advanced technology into the classically designed mirrorless cameras that take their cues more from rangefinders of yesterday than anything else. The success to the X100 is the “s” variant of...
Gear Spotlight: Is the 24-70mm f/4 IS Canon’s Best General-Purpose Zoom?

Gear Spotlight: Is the 24-70mm f/4 IS Canon’s Best General-Purpose Zoom?

The 24-70mm zoom range is one of the most popular zoom ranges on any camera, and most manufacturers have at least one lens in that category. Canon’s 24-70mm f/2.8 zoom was getting fairly long in the tooth, and its replacement, the Mark II, has garnered widespread praise and accolades from users and reviewers alike. Lost in all of that was Canon’s 24-70mm f/4L IS zoom, which was released a few months after the f/2.8 version. This odd lens, which is, ostensibly, the replacement for Canon’s similarly long in the tooth 24-105mm f/4L IS lens, came as something of a disappointment. Why, people wondered, did Canon kill the additional 35mm of zoom range from this lens, and why would anyone opt for this lens over the sharper and faster f/2.8 Mark II? Well, I’ve been using this lens for the last few weeks as I work up a series of video articles for you folks, and I’m starting to think that this dark horse of a lens is a hidden gem. Bad figures of speech aside, there’s a lot to like about the Canon 24-70mm f/4L IS lens. Let’s start with the “IS” part. IS stands for Image Stabilization, and the 24-70mm f/4 lens, like many of Canon’s other lenses, has that. What’s unusual is that this is only the second lens in Canon’s lineup to feature the newer “Hybrid IS” system. Most image stabilization systems have the ability to compensate for movement or vibration in an up-down and side-to-side direction. Canon’s Hybrid IS system goes one step further, adding compensation for camera shift in both vertical and horizontal planes....