http://photoboxr.com A place for people to read about my exploits, experience, and opinion on film and digital photography Greg Noblin 2008 Today Sat, 09 May 2009 16:02:00 -0700 http://photoboxr.com Richard Renshaw's Photos...]]> PhxChard Sat, 31 Jan 2009 00:46:09 -0700 http://photoboxr.com juan Fri, 30 Jan 2009 15:18:26 -0700 http://photoboxr.com kim Tue, 27 Jan 2009 11:47:27 -0700 http://photoboxr.com This is typical of when I take pictures of my eldest toddler, she is fun, silly, and very happy when it comes to having pictures taken. She is only gives me a specific amount of time for me to take her pictures but she sure can ham it up and make some of the cutest pictures.

]]> ATachnakPhotography Tue, 27 Jan 2009 11:39:45 -0700 http://photoboxr.com ATachnakPhotography Sun, 25 Jan 2009 22:28:22 -0700 http://photoboxr.com here

]]> James Sun, 25 Jan 2009 11:53:17 -0700 http://photoboxr.com www.sdcard.org]]> Greg Fri, 23 Jan 2009 18:51:26 -0700 http://photoboxr.com Tekzilla's latest show where they talk about the best ways to GeoTag your photos. Next up is Systm (episode 83). Systm is a DIY "How-to" podcast and in this episode they show how to hack the OS of your Canon point and shoot cameras to alter settings you normally could not, such as iso, shutter speeds, etc. Be sure to check these out!]]> Greg Fri, 09 Jan 2009 14:30:26 -0700 http://photoboxr.com
Apple Introduces Revolutionary New Laptop With No Keyboard]]> Greg Sun, 28 Dec 2008 12:31:02 -0700 http://photoboxr.com gallery.

was the first image I worked up in Photoshop and "wink" is the second. There are several more I will be fooling around with in the near future. Maybe this will inspire you to begin making images with a ringflash. Happy Shooting!]]> Greg Mon, 08 Dec 2008 20:40:42 -0700 http://photoboxr.com
Though I still have 4 boxes of B&W medium format Polaroid and 37 4x5 exposures remaining I will certainly miss the nostalgia and expediency of Polaroid. Sure, Fuji is picking up the instant film void left by Polaroid's departure, and they are even looking at making a film that allows for transfers of all types but I feel the days of SX-70 are long gone. The world of the "Alternative" process is rapidly disappearing and without the materials to teach people those processes they'll be all but forgotten in the near future.

So, it seems, that digital has finally begun the end game gambit. Not many vestiges of film are left except in the realm of fine art. No longer are the learning of color correction under various lighting conditions or the use of filtration needed to darken skies, enhance greens, or whatever. As digital sensor technology skyrockets and the ability of editing software, such as Lightroom, Capture One, and Photoshop, continues to become more capable, almost anyone can color correct.
The loss of Polaroid is but one milestone on the ever changing timeline of the photographic endeavor. Next will be the complete loss of film and then the final blow will come with everything being video, where large, high quality prints can be made from a single frame. The future is closer than you may know.

Happy Shooting!]]> Greg Tue, 02 Dec 2008 11:33:56 -0700 http://photoboxr.com
* Exceptional noise control from ISO 100 to ISO 1600

* Fast 14-bit A/D conversion incorporated onto the image sensor for high signal-to-noise ratio and low power consumption

* Nikon’s EXPEED image-processing system, utilizing a supremely powerful CPU with 16-bit image processing

* Near-instantaneous shutter release time lag of approx. 0.04 second (based on CIPA Guideline)*

* 5-frames-per-second continuous shooting in FX format and 7 fps in DX crop mode (up to 130 frames)*

* 51-point Multi-CAM3500FX autofocus system

* Scene Recognition System for more accurate AF, AE, and AWB results

* Active D-Lighting for complete control over highlight and shadow detail

* Picture Control: Standard, Vivid, Neutral and Monochrome (Landscape, Portrait and D2x Modes I, II and III are available free via download)

* Live View mode for shooting handheld and with a tripod

* High-resolution (approx. 920k dots), 3-inch VGA-size LCD monitor with tempered glass

* Durable, lightweight magnesium-alloy construction and comprehensive weather sealing against dust and moisture

* Intelligent power management that lets you shoot up to approx. 4,400 frames on a single battery charge (based on CIPA Standards)**

* Compatibility with the Nikon Total Imaging System

Effective pixels 24.5 million Image sensor
CMOS sensor, 35.9 x 24.0 mm; Nikon FX format; total pixels: 25.72 million Image size (pixels)
FX format (36 x 24): 6,048 x 4,032 [L], 4,544 x 3,024 [M], 3,024 x 2,016 [S] DX format (24 x 16): 3,968 x 2,640 [L], 2,976 x 1,976 [M], 1,984 x 1,320 [S] 5:4 (30 x 24): 5,056 x 4,032 [L], 3,792 x 3,024 [M], 2,528 x 2,016 [S] Sensitivity ISO 100 to 1600 in steps of 1/3, 1/2, or 1 EV; can be set to approx. 0.3, 0.5, 0.7, or 1 EV (ISO 50 equivalent) below ISO 100, or to approx. 0.3, 0.5, 0.7, 1, or 2 EV (ISO 6400 equivalent) over ISO 1600 Storage media CompactFlash(Type I/II, compliant with UDMA); Microdrives LCD monitor 3-in., approx. 920k-dot (VGA), 170-degree wide-viewing-angle, 100% frame coverage, low-temperature polysilicon TFT LCD with brightness adjustment Exposure metering TTL full-aperture exposure metering using 1,005-pixel RGB sensor 1) 3D Color Matrix Metering II (type G and D lenses); Color Matrix Metering II (other CPU lenses); Color Matrix Metering (non-CPU lenses if user provides lens data) 2) Center-weighted: Weight of 75% given to 8-, 15- or 20-mm circle in center of frame, or weighting based on average of entire frame 3) Spot: Meters 4-mm circle (about 1.5% of frame) centered on selected focus area (on center focus area when non-CPU lens is used) Exposure modes 1) Programmed Auto (P) with flexible program, 2) Shutter-Priority Auto (S), 3) Aperture-Priority Auto (A), 4) Manual (M) Interface Hi-speed USB Power sources One Rechargeable Li-ion Battery EN-EL4a/EL4, Quick Charger MH-22/MH-21, AC Adapter EH-6 (optional) Dimensions (W x H x D) Approx. 159.5 x 157 x 87.5 mm (6.3 x 6.2 x 3.4 in.) Weight Approx. 1,220 g (2 lb. 11 oz.) without battery, memory card, body cap or accessory shoe cover]]> Greg Tue, 28 Oct 2008 09:13:27 -0700 http://photoboxr.com Greg Tue, 28 Oct 2008 07:29:21 -0700 http://photoboxr.com engadget  have a bit about this new RED body.

This is exactly where I've said in the past about the future of photography. With Nikon's D90 and Canon's 5DMkII both having video capabilities the doors have opened for photography to transition into a more multimedia arena. And now with RED about drop a 25mp DSLR/video camera that has superior video than the Nikon and Canon cameras but can utilize lenses from both manufacturers, the future is just about here.

I'm not sure how this will affect the art world, but if there is a will there is a way. I know I'd love to see or try to figure out a video encaustic process. With video screens becoming thiner and cheaper when will we be seeing video in galleries on a more traditional setting. We shall see what the future holds, that's for sure.]]> Greg Wed, 08 Oct 2008 09:42:10 -0700 http://photoboxr.com
Here is a beautiful book shot by National Geographic photographer Jon Bowermaster called:

Descending the Dragon

Sometimes the longest journey begins with great patience. When Jon Bowermaster proposed an 800-mile kayak expedition along Vietnam's northern coastline, the country's government initially responded, "That will be quite impossible." Negotiation saved the day, and Jon Bowermaster and his team of five—including a Vietnamese-American woman who had fled Saigon as a child on the final day of war in 1975—completed an unprecedented voyage, seeing Vietnam and its people in a brand new light.

You can also visit NPR's (National Public Radio) site and listen to his words on this adventure...
This book is about the people and the culture who live on the water in Vietnam.

The interview is at the bottom of Radio Time Roundtable]]> Nicole Tue, 07 Oct 2008 14:08:33 -0700 http://photoboxr.com
           Shelby Lee Adams has been and still is greatly criticized for his “documentation” of Appalachian Kentuckians. Both locals and professional art critics despise him, yet this attention has brought great exposure to his work, making him very well known. The same sort of story applies to Sally Mann who was constantly criticized for what many believed to be the exploitation of her children to make photographs. These images and attention have brought her so much fame and prosperity that she was almost pigeonholed into an uncontinuable style of work. Being arrested on suspicions of child pornography was the best thing to happen to the career of Jock Sturges. It may not have been a great time in his life but after everything was cleared he went straight to photography stardom. The media publicity allowed for people to view his work and get his name out there. Andres Serrano’s combination of religious iconography and bodily fluids caused quite a bit of controversy as well. Joel Peter-Witkin and Robert Mapplethorpe have done the same thing. They pushed the limits, or rather redefined what controversy meant, yet are now world renown for their work.

           So what does that mean for upcoming photographers? It’s probably safe to say you can’t just offend people and expect to be famous. There are most likely a lot of other photographers to get bad reviews and not become famous. The important thing to remember is that the previously mentioned work of these photographers, no matter how controversial or disturbing, is very thought provoking and beautiful in its own way. They are passionate, determined, and talented. The key point with photography is to be who you are, and let what happens happen. Either people will like the work, or they won’t. As long as you like the work, you are doing the right thing.]]> Eric Mon, 06 Oct 2008 22:13:22 -0700 http://photoboxr.com I enjoyed him, his stories and work...

have a look

www.denniskeeley.com]]> Nicole Sat, 04 Oct 2008 18:26:27 -0700 http://photoboxr.com
Atlanta Celebrates Photography website]]> Nicole Sat, 04 Oct 2008 18:12:56 -0700 http://photoboxr.com
]]> Nicole Tue, 30 Sep 2008 09:57:01 -0700 http://photoboxr.com
The most interesting rumor, and I hope it's correct, is a Nikon camera body much like the new Leica S2 but with a square sensor. Imagine Nikon, or any other 35mm DSLR, being the first manufacturer to produce a square sensor! The speculation is a sensor that measures 36mmx36mm or 48mmx48mm and I feel this would be great.

The past six to eight months has proven to have been an exciting time in digital photography, I just hope the next year shakes out to be just as exciting! All of the competition is beneficial to all of us by bringing new technologies to market and lowering the costs to the consumer and the professional alike.

Happy Shooting!]]> Greg Tue, 23 Sep 2008 10:22:58 -0700 http://photoboxr.com
My suggestion with all of this news? Wait. I'm in the market for a new DSLR and I'm leaning to a certain one, but I want to wait to see what the landscape looks like in 12 months.

Happy Shooting!]]> Greg Tue, 12 Aug 2008 22:46:12 -0700 http://photoboxr.com
Happy Shooting!]]> Greg Tue, 22 Jul 2008 18:48:06 -0700 http://photoboxr.com
The level of detail in Crewdson’s images is nearly flawless. I would say the amount of detail is flawless, however, there are a few things that may be viewed or perceived as flawless, depending on the individual viewer. Take the image from the Twilight series, above; Upon an initial look there are details included that, frankly, many would not have thought of including, such as, the lights inside the second house are on and there is visible detail. The addition of a light in the back right of the image by the tree helps to add some interest and serves to keep the image from going too dark on one side. This light adds a nice balance to the image. There are some things, however, I find a bit off in this image but I do not believe there is a alternate solution to these. Take the lighting from right to left that is shining on the back of the woman in her underwear, the lady with the groceries, the front of the car and the ground in front of the car, and the woman in the car. The lighting, for me, seems like stadium lighting. It’s a bit too strong from that angle to have shadows coming in the opposite direction from the car, groceries, and the two women. One can see there is a shadow cast from left to right by the bag of groceries on the hood of the car, however, there is no shadow cast from the bag on the ground. I suppose if the goal was to make the image seem as though it was an event happening under a few sodium vapor lights on poles those kinds of shadows might happen, but I find it a bit off. It seems odd to me that with this level of detail, Crewdson would like these shadows. But then again, he might be doing this on purpose and I find that possibility interesting. Looking at the image and mentally removing the shadows takes away from the image as does mentally moving the light cast to match where the shadows are falling. Knowing that Crewdson had his images worked up in Photoshop to ensure the best possible exposures for the sky and subject matter I feel the lighting should be a bit different. But hey, I’m not selling $100K prints either.

The amount of preparation and work during these shots is tremendous. Take the above image for example. Upon first glance this image seems like any, “normal,” snapshot. I suppose anyone could get lucky and get this same image, but it would be a luck shot. Crewdson takes that and make it in such a way where the image can be recreated, in other words he makes lucky shots a common occurrence for himself. The person lucky enough to have gotten an image like this would have had to be at that exact location with all the elements in the correct place and the fog, wet streets, and proper exposures for all the lights, Crewdson creates this with preparation. The amount of preparation for these, “everyday,” image is immense. Nailing down each individual detail from organizing the lighting crew to arranging the fire department to come and wet the streets down to removing unwanted elements, like street signs is a tremendous task for an image like this. What I find compelling and repelling about this image is relativity, how everyday it is. That’s the simplicity of it, everyone can relate having seen, in person, a scene like this. This image is as I would have remembered this scene if I had been there in everyday life. As people we tend to romanticize our memories and a peaceful and calm evening like the one depicted in this image would be the way I’d romanticize the memory. It’s as though Crewdson makes his outdoor images in reverse. He takes a scene or location and thinks of a scenario then creates the image from what would be a future memory of the scenario. With his use of lighting Crewdson remakes that memory with a cinematic feel, matching lights exactly where one would expect streetlights and reflections from wet pavement.

This image is one my favorite Gregory Crewdson images, even with some lighting I’m not too fond of. The light in the front left on the ground make absolutely no sense to me and I find it rather distracting. And though I do not like that light there, I do. I get the feeling that Crewdson is taking some lighting elements and placing them in positions that are irritating, distracting, and against some rules to really say, “hey this is my idea,” in a defiant way. I like that, he’s a little rebellious at times and though I may or may not like what he did, I enjoy the rebellion. The most noticeable element, of course, is the magnificent beam of light coming from the sky and into the bushes, right on the third I might add. This beam element really makes this image say something to the viewer, it is an element that will stop someone and makes the potential viewer look longer at the image. In the end that is what photography is all about, getting someone to stop and really look at the image. There has to be something within an image that is compelling, gripping, something that says, “hey look at me!” This untitled image from Crewdson’s Twilight series does this expertly. Once again Crewdson takes elements of the ordinary and puts a twist on it. In other images he make the image look like a romanticized memory in cinematic form or he creates interest with interesting subject matter. This image is no different. By adding that single beam of light, Crewdson makes the viewer stop and think about why that beam is there, where is it coming from? These are good questions to be asked when making image.

Gregory Crewdson has taken the ordinary, the everyday, and given them a breath of air into his images. By manipulating light and other elements of the scenes one can easily see the high level of importance he places on atmosphere. Using his nuanced ambiance Crewdson then places his subject matter elements to tell a story. What I find enlightening is he doesn’t tell the whole story, that is the beauty of the whole thing. Crewdson give us just enough to go on and by pointing us in a particular direction with the images, more nudging than pointing, he leaves the rest of the story up to us to interpret. Art is supposed to make the viewer think, to fill our inquisitive minds with fuel of the imagination. If Crewdson told the entire story we’d be looking at commercial work instead of art. His images are not a pack of gum or a car where everything is spelled out for the viewer to say, “I get it,” and that would resonate with millions of viewers. Crewdson’s images, rather, suggest a story and with a million viewers there very well could be a million different conclusions about the story, what it means, how it started, and where it will end. So, with an open mind and a further investigation of Gregory Crewdson’s pictures, the viewer can really gain a respect for what he is trying to accomplish in his images.]]> Greg Sat, 12 Jul 2008 10:02:37 -0700 http://photoboxr.com Going Medium Format? post I talked briefly about the $9000 price drop bringing to price of a 31mp Medium Format camera down to just under $18,000. With a price drop like that is there any surprise that Hasselblad had something new up their sleeves? Not really. So here it is, the HD3II-50.

*Uses new Kodak 50 megapixel sensor, measuring 36×48mm, twice the physical size of the largest 35mm DSLR sensors * 300 MB files
* More creative freedom when cropping and altering
* Incredible enlargement potential
* Less moiré
* 1 fps capture rate thanks to 4-channel read-out structure
* ISO 50 to ISO 400
* ISO 800 with Hasselblad’s Phocus software
* Full access to all Hasselblad lenses

No word yet on pricing but you can bet it's gonna be up there! 50, a nice round number. I wonder if this sensor is sharper than the image their lenses can muster, like with the 39mp.

Happy Shooting]]> Greg Fri, 11 Jul 2008 17:58:28 -0700 http://photoboxr.com
The class structure is fairly easy to figure out. Basics, intermediate, graduation portfolio. At some point it is vital that a photo student begin assisting professional photographers. This is just as important as going to school. By assisting you'll get to learn things you'll never learn in school, like how to work with an Art Director with a bad attitude. Also you'll learn a bunch of different equipment from cameras, to flash power packs, to lights. You'll learn how to shoot big things in tight places and still get good lighting. You'll be in the studio doing product work with an Art Director, a Food Stylist, and anyone else involved with the image. You'll work with make-up artists, models, hair stylists, product stylists, and other assistants. You'll be on location with mobile lights. You'll learn what a butt plug really is. In other words, ASSIST!

Back in your classes it is important that once you know what you are doing with something to go and help someone that is struggling. Your fellow students are sometimes you best lifeline. Bounce ideas off of other students and instructors. Being in school is your time to get all those exposure problems and composition issues out of your system. Use this time to spend hours and hours watching Photoshop tutorials and practicing. Learn how to profile and print correctly from digital RAW files. Live in your Digital Darkroom or Lab.

Okay, here are my tips for success in photography school. First off you need to know there really aren't that many really successful photographers in the world. For every Helmut Newton and David Lachapelle there are tens of thousands of broke photographers. About 2% of photo students become full time professional photographers with a client list that can pay the bills. So with that in mind, and don't let it discourage you from chasing after your dream, here are the tips.
1. Show up first and leave last for your classes.
2. Work harder than everyone else at school
3. Eat, breath, and live: ad loaded magazines, photo journals like Grafis, International Archive, etc., go to tons of photo websites
4. Get a firm grasp on graphic design
5. Stop putting your images on Flickr
6. Be honest in critiques with others and yourself
7. NO EXCUSES!
8. KNOW your ISO, Aperture, and Shutter speed scales
Be the one that is always prepared. Have tons of extra gear. A client doesn't care if your battery is dead, nor will you instructors care what difficulties you had. If you are always the one that has everything you need and then some you will also be the one that always seems to get the job done!

If you are all those things you will be successful in photography school. You simply have to want it more than everyone else, you have to love the hard work. Everyone there is gunning to be better than everyone else. If you are not the best you can possibly be you will not get the best jobs you could possibly get. It's really tough but it can be done. I believe every single person has the ability to be brilliant at something. So go out there, follow your dream to do what you love to do, make pictures!

To see what I have done in school go to gregnoblin.com And as always!
Happy Shooting!]]> Greg Wed, 09 Jul 2008 00:29:30 -0700 http://photoboxr.com 4K RED ONE is available now. Imagine a Canon 5D at 30 frames per seconds. Having video resolution much higher than the typical 2.1mp HD CCD sensors at a really low price would be, and is, great. RED is about to release several more cameras in 2009. The RED 3K Scarlet is one piece of hardware, almost a dream machine. An ultra high definition video camera that shoots 12mp stills. All for under $3,000! Here are the specs:

* NEW 2/3" MYSTERIUM X SENSOR
* 1-120 FPS (180FPS BURST)
* UP TO 100 MB/SEC REDCODE RAW AND RGB RECORDING TO    DUAL COMPACT FLASH
* 4.8" LCD
* 8X T2.8 RED ZOOM LENS
* FULL AUTO OR FULL MANUAL SHOOTING MODES
* HDMI and HD-SDI
* FIREWIRE 800 and USB2
* STILL MODE
* COMPATIBLE WITH MANY RED ONE ACCESSORIES
* WI-FI CONTROL

The thing about this camera is not so much about what it offers but, rather, what it could mean for photography. With this camera, or one made like a DSLR that performs like it, would be fantastic for photojournalists. Who knows where this will lead, right now it seems to me that it'll make many DIY podcasters very very happy. I'll keep my eyes on this one to see if any of the technology comes out of these cameras.

Happy Shooting!]]> Greg Mon, 07 Jul 2008 10:12:31 -0700 http://photoboxr.com
Here's the ISO Scale: 25 50 100 200 400 800 1600 3200 6400 12,800 25,600

Each ISO stop represents sensitivity to light by a magnitude of 2. So, just like Aperture, ISO changes the amount of light recorded of a DSLR sensor or that is seen by film. The only difference is to change ISO settings with film you have to physically change film but with a digital camera you only need to change the setting. The difference between ISO 100 and ISO 200 is that ISO 100 is sensitive to half as much light as ISO 200. ISO 200 would be twice as sensitive to light as ISO100. There is a trade off though, higher ISO films produce a grainier image where the DSLR will make noiser images at higher ISO settings.

Changing your ISO will allow you to make exposure changes without having to compromise compsitional elements by having to change aperture that could cause you to lose focus on the areas you want in focus and without having to change shutter speeds that may keep you from capturing the action of your shots. By changing the ISO you get to keep you composition the same but alter the exposure. This allows you to either increase or decrease the amount of light reaching the sensor.

Happy Shooting!]]> Greg Fri, 04 Jul 2008 07:56:49 -0700 http://photoboxr.com Sunny Bright rule, otherwise known as the Sunny 16 rule. Here's the rule: On a sunny day, between the times of 10am and 4pm, it's a sure bet to nail the exposure all you have to do is set your camera at 1/125th sec shutter @ ƒ16. Many people now have DSLRs and knowing this rule will make life really easy. If you are dealing with partly cloudy situations, depending on how much the clouds block the sun, you may have to stop down to ƒ11. A good way to prepare for a day like today is to possibly set your camera to shutter priority. This will keep the camera at a fixed shutter speed, I recommend 1/125th sec., while allowing the camera's light meter to adjust the aperture for the proper exposures. This will really make life a lot easier for those taking pictures outside but under tents and things like that. The fast shutter speed will allow for you to freeze the action while adjusting the aperture will allow for proper exposures under the varying lighting conditions. Secondly, I would leave your camera's white balance set to daylight. Don't bother with that Cloudy or Shade setting. Just know that when you are shooting with a daylight white balance setting things in shaded areas tend to go a bit cool, or blue.

Photographing fireworks is a little different. You camera settings will need to change from the daylight conditions from earlier in the day. My suggestion to shooting fireworks would be to leave the shutter speed around 1/125th sec. to freeze the action of the show. Use the aperture setting, and I suggest going manual for this, to alter your exposures. You're going to have to do some fiddling to nail down the exposure but I would say to start wide open, like ƒ1.4 if you can, at the lowest ƒ-stop you can get with your lens. If you are using a zoom lens then your probably looking at ƒ3.5 on the widest angle to ƒ4.5 on the longest range of the lens. Since you will be far enough away from the fireworks your depth of field will be deep enough with a low aperture. I would not recommend setting the camera to Aperture Priority at this time, as the camera will shoot at such a slow shutter speed the fireworks will blur. So I suggest shooting: 1/125th sec.-1/60th @ ƒ3.5-4.5 Take a lot of pictures and pick the best ones later.

Happy 4th and Happy Shooting]]> Greg Thu, 03 Jul 2008 01:06:29 -0700 http://photoboxr.com
So let's take it slow. First thing is to think in reverse. The lower the aperture number (f-stop) the bigger the opening (aperture). The thing to remember is that the wider the opening (aperture) the less you'll have in focus (depth of field). So in lower light situations you'll want to shoot with a wider aperture (smaller number) to let more light onto the film/sensor plane. The sacrifice is less depth of field (less of the image that is in focus in front and behind what you are focused on). Everything in photography has a trade off.

The Aperture Scale: ƒ: 1, 1.4, 2, 2.8, 4, 8, 11, 16, 22, 32, 45, 64, 90, 128

What do the ƒ numbers actually mean? It's all math. The ƒ number is equal to the focal length of the lens divided by the iris diameter.

So remember, the higher the ƒ-stop, the more everything will be in focus but the less light you'll get because of the smaller opening (aperture). It is also worth mentioning that each stop has a light difference of 2, meaning that if you change your setting from, say, ƒ5.6 to ƒ4 you are effectively letting in twice as much light. If you go the other way, say, ƒ4 to ƒ5.6 then are are letting in half the light you were from the ƒ4 setting.

Happy shooting!]]> Greg Tue, 01 Jul 2008 10:33:56 -0700 http://photoboxr.com gregnoblin.com  is my liveBooks|edu site. I love this product and will continue using liveBooks well into my professionanl career. For those of you looking to have a website like gregnoblin.com and you are a teacher or student that needs a website that is user friendly and built for the image based professional, liveBooks|edu is for you. If you use promo code 11791 you will get a free trial month. The yearly cost for students and educators is only $99 a year. You will not find a better looking, more user friendly web application to show off you work, skill, and talent that will help draw in clients and fans! So, again, liveBooks|edu is the best web tool for visual students to have a great looking web presence! And don't forget to use promo code 11791 to get your free month trial!]]> Greg Mon, 30 Jun 2008 20:41:12 -0700 http://photoboxr.com Nikon D700 pdf or go to Nikon's official site. The SB-900 speedlite is there as well.]]> Greg Thu, 26 Jun 2008 12:35:20 -0700 http://photoboxr.com Weather you are there to make the client happy or to capture a fantastic vacation photo that all of your friends will be impressed with, knowing the basics are key. Learn those basics and then go out, have fun, and make some great images!   Happy shooting!]]> Greg Tue, 24 Jun 2008 08:58:06 -0700 http://photoboxr.com Mamiya 645 AFDII going for $3000 (less if you are a student) and the option of getting a digital back for under $7000. This was the first camera to come along where we began seeing a price drop. For less the $1000 more than the original cost of the old Canon 1DsMkII someone could have a complete medium format digital rig.

Contax stopped making it's 645 camera (that's 6cm x 4.5cm 120 film) a while ago. The Contax 645AF is relatively cheap. You'll find them all over the place with a lens, viewer, and film back for under $1700. The thing about the Contax 645AF is it can utilize many different digital backs from the old Kodak Dcs PRO Backs and Mamiya ZD backs all the way to the Leaf and Phase One backs. This give shooters a 14MP to 39MP range in resolution. Another great thing about the Contax 645AF is the Zeiss lenses, they are super sharp.

So, in walks Hasselblad, the Big Daddy of the Medium Format world. They revolutionized digital MF when they released the H series. They are currently at the H3DII model and, let me tell you, they are EXPENSIVE! Not many people could conceive of buying a $35,000 camera, but some can and here's why. Imagine you are a top pro shooter that routinely shoots $10,000 in film a month. This is not that difficult considering a roll of 120/220 goes for $8 and it's another $8 to get it processed. Get the digital MF and you've just cut $10,000 out of your monthly expenses, and you've paid for the camera in 4 months. Here's the big news, Hasselblad has just dropped the price of the H3DII-31 (31 mega-pixels) $9000! I know, still out of the range of the average shooter but a Hasselblad at $17,995 shows the direction digital is going. The Hasselblad H3DII-31 is an awesome camera proving that one day everyone will have super high resolution cameras at an affordable price. Happy dreaming!]]> Greg Mon, 23 Jun 2008 10:13:39 -0700 http://photoboxr.com jpg or pdf ) on how to do a basic low key set up. You do not have to have all the studio equipment to get an awesome low key portrait, you can do it with the simplest of lights, even natural lighting or tungsten lights, but remember to check the white balance when using tungsten lights. Example low-key portrait.]]> Greg Mon, 16 Jun 2008 18:47:57 -0700 http://photoboxr.com Canon 5D or a Nikon D3 easily have the quality and resolution to successfully shoot for any magazine ad. There are many things that require the use of a medium format digital back, but the photographer could easily rent that equipment. I’m not saying that 12 mega-pixel resolution on a full frame sensor is the be all and end all for advertising photography, not even close. Many clients demand higher resolution, but these cameras are capable of being successful in that arena.

We are getting very close to the point where 35mm DSLR bodies will have super low noise and high resolution. So what will the market landscape look like when everyone is running around with an $800 24MP Full Frame, 16Bit, 15fps, DSLR? I suppose after the resolution ceiling has been effectively reached the manufacturers will throw in different features. Could you imagine having some sort of high-speed wireless connection in the camera? You could shoot your geo-tagged images straight into your FTP site. There will be Pocket Wizard capabilities integrated into the cameras as well, a new selling point. Yet in the end and after all the fancy features the consumer market will be eventually end up flat. For the past few years camera manufacturers have had the luxury of creating the, “I need more this or that,” and people went out and bought more mega-pixels, bigger sensors, more frames per second, etc.

So in the future I don’t believe it will be much different than in the 70s, 80s, or most of the 90s. In those years everyone could have a nice 35mm SLR and many people had good quality film cameras, but not everyone was a pro. I get the feeling from the professionals out there that there will be tons and tons of people out there who believe they are just as good. That wasn’t the case in the days of film and I suspect it won’t be the case in the digital realm either. There will still be a separation between the casual, amateur, and pro shooters.]]> Greg Tue, 10 Jun 2008 17:41:50 -0700 http://photoboxr.com Rebel XSi to add to it ever growing line of Rebel bodies. The 12.2 megapixel features Live View and the newer DIGIC III Image Processor. All for $799.99. It looks as though Canon is successfully getting back into where Nikon has been so successful the past couple of years, the consumer market. I'm a Nikon user, because I've been invested in the system from my first film camera, and I think Nikon is going to have to step it up. Nikon is too secretive about their direction. However true or not this is, we are about to hit the ceiling on resolution and what is really needed in both the consumer or pro markets. More on the future of the DSLR next time.]]> Greg Sat, 24 May 2008 06:17:33 -0700 http://photoboxr.com The Last Harvest offers an inside look at the lives of Truck Farmers of the South. Truck Farmers generally work small parcels of land and this way of life is disappearing at an alarming rate. Perry Dilbeck captures these forgotten people with respect and sense of nostalgia. As Perry grew up in rural Georgia he saw these farmers slowly disappear due to the urbanization of Atlanta and to the inability of the men and their small farms to compete with the large commercial farms that seemingly rule the day.
In "The Last Harvest," Perry Dilbeck explores the lives of the men who worked these small farms by themselves. Perry's approach to the subject is expertly done with a romantic sense that points to the days when life was more simplistic and straight forward. With the use of the simplest of materials, the plastic Holga camera, Perry captures this way of life in a most honest fashion. His dedication to this project reveals an important part of our history and his life.
"The Last Harvest" is a work complete in beauty, history, and dedication. Be sure to check out his website and pick up "The Last Harvest" at Barnes and Noble and Borders and other fine booksellers. Perry lives South of Atlanta, Georgia and is a Professor of Photography at The Art Institute of Atlanta.]]> Greg Sun, 18 May 2008 16:59:48 -0700 http://photoboxr.com Greg Sat, 17 May 2008 21:30:25 -0700 http://photoboxr.com Greg Sat, 17 May 2008 21:07:02 -0700 http://photoboxr.com
So then Craig came around the corner, saw me perched on a rock, held up his paddle, and with a few hand gestures between us he knew exactly where to go in the rapids. He went in, I shot about 40 frames and then he put up beside me in the water. We discussed what was next. I climbed out of my position and I was off, done!]]> Greg