Thursday, June 25, 2015

2015 Convention Shoot Schedule and Pricing

You put a ton of effort, love and artistry into your costumes - so why not get photos worthy of your characters?



Pricing: For 2015 conventions, commissioned shoots are $80 for an hour, $40 for a half hour. Hour shoots produce 6 fully finished, high resolution photos; 30 minute shoots result in 3 fully finished, high resolution photos.

Adding cosplayers costs $10/$5 each, depending on the length of the shoot, and increases the total number of photos delivered.  I prefer to work with groups of no more than six, but I'll make exceptions for well-organized groups. Groups of 3 or more cosplayers have to book at least an hour so we can do justice to everyone in the group. Extra time is available - contact me for details.

Returning Customers: if you have ever hired me for a commissioned shoot, you get a $10 discount on an hour shoot, a $5 discount on your half-hour shoot.

These prices are only good for cosplay photo sessions at conventions. You can book me outside of conventions for my normal shoot prices. Those shoots cost more, but you get more time, more photos and a wider choice of locations (including studio).



Photograph Parallax by Paul Cory on 500px




Conventions I'll be at this year (now booking shoots for all of them):
  • ConGregate (July 10-12)
  • Dragon*Con (Sept 3-Sept 7)
  • NC Comicon (Nov 13-15)



For more examples of my work, check out my Cosplay Portfolio on Flickr and my Facebook page.


Photograph Sweet Innocent Evil by Paul Cory on 500px


Monday, September 8, 2014

Fuji X-E1, The Right and the Wrong

Why review a camera that's been replaced in Fuji's lineup? After all, the X-E2 has been out for months now.

Well, the X-E1 is still available new, and at significantly discounted prices, making it a relatively inexpensive entry point for the Fuji X system. And while some of its shortcomings have been addressed in the X-E2 and X-T1, some of them inexplicably still remain.

This review is based on renting a used X-E1 (firmware v. 2.2) and Fuji 23mm (34.5mm full frame equivalent) f/1.4 lens for the weekend. I shot the camera alongside my Canon 5D Mk III at a Durham, North Carolina, gaming convention, tiltExpo, both in available light and with mixing flash and available light. I shot all RAW files on both cameras, and ran everything through Adobe Lightroom 5.6.

A reminder: the Fuji X-E1 has an APS-C sized sensor. So, multiply all focal lengths by 1.5 to get the full frame equivalent field of view.

In summary

A strong camera for certain uses, inexplicably crippled in certain ways that make it a poor fit for certain photographers.

Maka Lee as Gnar, League of Legends: Fuji X-E1,  Fuji 23mm f/1.4,  1/30th, f/1.4, ISO 1600, ambient light.
The good: Excellent image quality: better than my Canon 60D, though, not as good as my 5D MK III. Excellent dynamic range, e.g.: nice shadow detail, easily boostable. Excellent skin tones. So light. Small enough that staff at venues that ban "professional cameras" may not recognize it as such. Fast AF in good light. Better AF point coverage of the frame than Canon offers in any camera. Relatively cheap. Can utilize YN 622c-tx trigger to manage Canon flashes in manual mode. Focus peaking makes manual focus usably quick. Easy to set up, even without reading the manual.

The bad: Flash only works in single image mode - you have to refocus between every shot if you're using flash, so no locking focus and taking a series of shots while your subject changes poses if you're using flash at all. Lame flash sync speed and high speed sync not an option, even with Fuji flashes. AF trouble on small subjects when backlit, and review zoom too small to truly check focus.

Bad stuff from other people's reviews: Autofocus stinks for moving subjects: this is not the camera for sports, dance, energetic toddlers or dynamic bands.

A bit more detail

Distilling all the above, you come up with a camera that is very, very good for certain types of photography, usable with caveats for others, and completely unsuited for some things. If its strengths match your shooting style and subjects, this is an amazing deal. If not...maybe Fuji will eventually build a camera for you.

Landscape Photography

Now that Fuji has released what appears to an excellent 10-24mm f/4 OIS zoom lens (15-36mm in full frame terms), the X-E1 would have to be considered a fantastic landscape photography tool. You can get body and lens for less than the cost of the Nikon 14-24mm f/2.8 lens alone. You can even throw a 35mm f/1.4 lens and still not exceed the cost of the Nikon lens.

It's not weather-sealed, but so what? Most cameras aren't. A tiltable LCD back screen would have made it a perfect landscape camera, but I'm not going to hold its omission against it. My 5D MK III doesn't have a tilting LCD either, and I still manage to get excellent landscape photos out of it.

And, frankly speaking, this baby is so much lighter than either my 60D or 5D MK III, that I would much rather carry this and two or three lenses for a day, or days, of hiking.

And here, the lameness of the X-series lineup at the long end is not really an issue. Your choice, as of this writing, for a long lens is the 55-200mm f/3.5-4.8 OIS zoom. And while that's slow for people photos, that should be just fine for landscape shots where the need for extensive depth-of-field should keep you shooting f/8 - f/16.

If you love macro, though, you may need to think things through a little more. The current macro offering of a 60mm f/2.4 only gets you to 1:2 (half life size) and a lot of photographers, such as myself, like their macro lenses in the 150mm fullframe equivalent category.

People Photography

This is a more mixed bag.

Do you like to shoot natural light or continuous light portraits, maybe with some reflectors for when the natural light needs redirecting? Then the X-E1 will make you very happy. You'll love the dynamic range and all that shadow detail you can pull out. You'll be thrilled with how low you can go with the shutter speed and still handhold the camera effectively. The image quality and lovely bokeh of the Fuji lenses will just make you smile.

For cosplay photographerss, the combination of light weight, fast primes and good high ISO performance might well make this a fantastic hallway portrait camera.

Do your people move forward and backwards (sports, kids playing, performances) while you're shooting them, in circumstances unamenable to zone focus? Forget it. By all reports you need to be looking at the X-E2 or the X-T1. Or a DSLR (or maybe an Olympus OMD-E1).

Note that all the reports on this are so consistent that I didn't even bother trying it.

Do you use flash? Because things get inexplicably odd here.

If you don't mind refocusing between every shot, and shoot in studio, or in very controlled conditions outdoors, you'll likely find the X-E1's limitations survivable, such as no continuous shooting with a flash, and a max sync speed of 1/180th, to be tolerable. The fact that you have limited action stopping capability in mixed flash and available light situations probably won't bother you much, since the AF isn't good for subjects in motion.

On the other hand, if you're like me, and you use flash outdoors a lot, and on moving subjects, to either fill  against backlight, or override the natural light for effect, or shoot fashion or cosplayers or children where being able to set focus and then shoot continuously to keep up with your subjects continuous reposing or changing facial expressions is essential, you're going to want to strangle the Fuji engineers and marketers.

Worse, the cameras that have followed the X-E1, the X-E2 and the "professional" X-T1, have maintained these same, inept, ridiculous flash limitations.

Now I realize inept, inexplicable and ridiculous are strong words. But there's no good reason for the Fuji X-series cameras, outside the X100/100s, to be so far behind the competition in flash capabilities. Let's review some history, and some of the competition, in brief.

In 1984, 30 years ago, Nikon debuted the FM2n, with a 1/250th flash sync across a 35mm frame. Canon had it in the EOS 1 by 1989. The patents on this are long since expired.

Since Fuji is using a smaller sensor, there's no reason they can't provide 1/250th or better flash sync. Canon and Nikon's equivalent APS-C sensor cameras offer 1/250th. Hell, Canon manage to pull off 1/320th on an APS-H sensor, which is bigger than APS-C.

And the inability to use flash at all when in any continuous drive mode, even the low speed 3 frames per second mode, is just jaw dropping. It's a deliberate crippling of the camera. Shutting off hot shoe communication, all of it, as soon as the camera goes into continuous shooting mode, was a conscious decision on Fuji's part. Note that this is not an issue on Canon or Nikon bodies, and hasn't been for decades.

So, in summary, Fuji has sabotaged the X-Series by choosing to be 30 years behind in flash technology. Calling that inept is polite.
Mikki Marvel as Cammy from Street Fighter:
Fuji X-E1, Fuji 23mm f/1.4,  1/125th, f/10, ISO 200, Canon 430EX II in Hexabox.
A faster flash sync would been necessary to shoot this any earlier in the day.

Autofocus

You may be wondering why I'm not spending several paragraphs slamming Fuji for the X-E1 AF tracking performance. It's simple: AF tracking is where all mirrorless cameras prior to the very latest generations (Fuji X-E2, X-T1, Olympus OMD-E1) suck. If you shoot a lot of sports, wildlife, performances or fashion runways shows, you're not giving up your DSLR any time soon.

I will say that with the 23mm f/1.4, the X-E1 had trouble focusing on a smallish subject in the frame that was heavily backlit, even with the focusing point shrunk for extra precision. Unfortunately, I've had issues with my 5D MK III in the same situation, so I can't really bust on Fuji for that. Also, I could have tried manual focus with focus peaking, and I didn't.

Overall Handling

I could get used to the handling. I have bigger than average hands, so things feel a little cramped to me. However, the camera handled well, both with and without the extra grip, and didn't slow me down much. That's pretty impressive given that I didn't read the manual at all before starting to use it.

The extra grip did make the camera more comfortable, but it does block access to the battery and SD card slot, meaning you have to take it off to change either. Given the X-E1's limited battery life, this could get annoying on a full day of shooting.

A bigger change was using the off center, range finder style EVF for vertical shots. That would take a lot of getting used to - during the test I kept turning the camera vertical and putting my eye up to the silver metal where the optical viewfinder is on my DSLRs are. Strangely, I didn't have the same issue with using the camera in landscape mode.

Conclusion

Should you jump on this camera at its current, low, end-of-life pricing?

That depends on what and how you shoot. If you've read the above and shrugged at the limitations I mentioned, then this camera is a real steal. If you cringed at the same things that I found frustrating, you may want to pass.

If I had $1500 to drop on dedicated landscape camera, I'd seriously consider the X-E1. I don't, but I will keep an eye on the system. It's possible Fuji may decide to make a camera with competitive flash features one day, or that I will decided that it's more important to have a lightweight camera, than a fully featured one.


Tuesday, November 12, 2013

Blue Memory

This photo of the talented performer, Memory, working her LED hoop was recently featured on the from page of hooping.org.


I used a tripod mounted camera and a 1 or 2 second exposure to capture the light trails from the hoop. This also allowed the hoop glow to color the shadows. Rear-curtain sync brought the three speed lights (top, left and and right) in to freeze the action and give me a sharp Memory in the middle of the light.

Sunday, April 28, 2013

Way Off the Norrnal Topic - Follow My Musings About Whisk(e)y

One of the other passions of my life is whisk(e)y. I love scotch whisky and bourbon whiskey and irish whiskey, and ....

Anyway, I've started a blog about my favorite spirit, and what's good, great and mediocre over at The Weekly Dram.

And yes, I'm doing my own photography for the posts, as opposed to grabbing shots from official sites. Once I've got it down, I'll be posting about my lessons learned from shooting pics of all these bottles...

Monday, March 18, 2013

Come and See the Show

I know it's only March, but I'm stoked about this and want to get on people's calendars now.

I'll be the featured artist at Cirque De Vol Studios for the month of May. I'll be covering their walls with cosplayers, circus arts performers, landscapes and scenes from nature and more.

Friday, May 3rd from 7-9 pm, is the artist's reception. I'd love to see you all there.

(P.S. - It's First Friday in Raleigh, the monthly arts celebration in downtown, so you should just plan to make a night of it) :-)

https://www.facebook.com/events/146072968893523/

Tuesday, November 13, 2012

Updates

All the commissioned shoots from Dragon*Con 2012 are done, and photos delivered.

Next up is to start working through the pro-bono group shoots, such as the Wonder Woman Universe shoot I did Dragon*Con Sunday morning.




Sunday, September 30, 2012

Damn Canon and Nikon (less) Both

Yeah, I'm grumpy. I've been considering moving up to a full frame camera body. I keep shooting shows and performances in places with spectacularly crappy lighting, and my studio shoots could be improved the slightly wider field of view provided by a full frame camera (it's a tight studio).

So, I was extremely excited about the new "entry-level" full-frame DSLRs Canon (6D) and Nikon  (D600) were rumored to be announcing at Photokina this month. Outside of the rumor mill price on the D600 seeming to be way too low (it was off by $600), these cameras seemed like they might be the way forward for me. The 6D because I shoot Canon and I thought they might be ready to seriously compete again, and the D600, because it appeared to be enough camera to make a platform switch feasible.

And then the cameras were announced.

The Canon 6D? A huge miss. The announced AF system appears to be a joke - 11 points, but only one worth a damn. That's right - 1 cross-type sensor (sensitive to both horizontal and vertical lines). My 7D has 19 cross type sensors, my 60D has 11. The current Digital Rebel, the lowest end DSLR in the line up has 11 cross type sensors.  So what if the lone good  6D AF sensor goes down to -3 EV - I don't shoot many portraits by candlelight. And I doubt it will help when the performer on that dimly lit stage is wearing a dark outfit - that's when it really helps to have good outer AF points, so you can put an AF point on the face, which will be reflecting enough light to focus with.

The D600 is frustrating because it's almost enough camera to get me to switch. Almost. Apparently, Nikon decided that a dedicated rear AF button is a pro feature, so it got dropped from the D600 (the D800 has it). $2,100 camera, not pro enough for the one button I use all the time, according to Nikon marketing. It's a small thing...except for the fact that I use that functionality on every photo. Yes, I could reprogram the AF-L button, but it's not the same.

And there's sort of an issue with the D600 AF. It's the same AF module as the D7000 - which means it doesn't cover as much of the bigger D600 sensor as I would like. This makes off-center compositions harder than they should be, but hey, according to Nikon marketing, I need $3,000 "pro" camera to get a proper artistic tool .

Where both the D600 and 6D fall down is in a place I didn't expect: flash sync.

The D600 syncs at 1/200th, and the 6D at an execrable 1/180th. Considering that Nikon solved the full frame sync at 1/250th of a second problem in 1983, and Canon shipped cameras syncing at that speed in 1989, there's just no technological excuse for the backsliding.

Those sync speeds limit what I can do in mixing ambient light and flash. It limits the action-stopping ability of the shutter when I'm using flash to fill in the ambient light, rather than override it. It even affects the shutter's ability to control user lens shake. The portrait below was shot with a 200 f/2.8 at 1/250th. Dropping down to 1/180th would have put me below the 1/focal length rule for shake free exposures, and screwed up up the already dicey flash to ambient ratio.

And, yes, that's an outdoor portrait - the background was terrible, so I worked hard to choose a place where I could override the ambient with flash enough to kill the background, and I almost didn't make it (reminder to self, get high output reflect for Alien Bees).




Nick Fury

So, what's a boy to do? If I want to go full frame, on paper the D600 is the better camera: faster frame rate, better sync speed, twin card slots, a stunningly good 24 MP sensor, and you can buy it now (at the time of writing, it's estimated to be another two months before a single 6D will ship to a consumer).

If the D600 had come with a dedicated rear focus button and a 1/250th flash sync, I'd probably be selling my Canon gear right now. But those omissions make me hesitate. Hesitate enough to where the pain of doing an entire system swap comes to front of mind.

The 6D is not an option, not unless that AF system turns out to be a miracle. And I'm not dropping $3,500 for a 5D MK III, because it's just not worth it.

The option that makes the most sense is to wait, I guess. Canon's rumored to have a new APS-C sensor coming soon (the size in my 60D and 7D), and if it catches up to Nikon's APS-C sensors in image quality, that might be the ticket.

It used to be simpler - camera capabilities increased as you moved up the line. Now, Canon and Nikon do price-point marketing, as opposed to functionality marketing, or even market segment marketing. And they make strange decisions about what to leave out to distinguish between camera models. And both seem to think that photographers have never-empty wallets, at time when it's harder to make a buck at photography than ever before.

Maybe it's time to consider Pentax.