Revolutionary Promaster Paper Here Now

Puff. Puff. Pant. Gasp.

Just stocked the shelves with the new Promaster inkjet and darkroom papers. There are a LOT of new papers there - and a new size as well.

Lett's start with the darkroom paper for analog users. Promaster make packets of Glossy and Luster  paper in 8" x 10" size - there are 25 sheets of paper in each packet. The packets are marked for a new wider range emulsion. The paper is shipped out of Connecticut so it may be Kodak ( but probably isn't ) or Oriental. The packets have been kept plain so be sure you read the label on the bottom - the two types look very similar.

In the inkjet papers there has also been a commendable plainness in packaging but they have put colour coding on the boxes to let you differentiate between fine-art surfaces or materials and plainer photographic paper. The following types are in stock:

1. Glossy
2. Pearl
3. Bright White Cotton
4. Soft Gloss Dual-sided
5. Glossy canvas
6. Metallic

The intriguing thing about these new papers - apart from them being new - is that their size is US Letter. This means that it is 8 1/2" x 11 "......or 215.9 mm x 279.4 mm. I looked into the printing section for my Epson driver and found that it does indeed include this size and the preplanning images can be shuffled about to see where the margins will occur. It will mean a little different proportions for my general work, but not by much. If I elect to shoot my images using a 4/5 ratio it becomes even easier.

Okay - why? Why do we get a different paper size like this when we are generally used to seeing the European A system - A4, A3, A3+ etc. Because there is a large part of North America that does not work in metric measurements. Squeak or sneer about this as you will, but there it is. So they can cut good quality paper at a very competitive price specifically for the market. If your images will fit here, this is a good substrate.

One final note - remember that these papers have 6 sides but you are generally restricted to printing on just one - in the case of the dual-sided glossy you can also do it on the back with equal success.

Epson Wish To Pelt You With Money. Hold Still.

Big Epson printers work like small Epson printers - well. They are consistent winners for clean reproduction and accurate media handling. They are fast. They are economical with ink. They can work all day every day.

And now they can put money back into your pocket.

Epson have announced a factory rebate for purchasers of the Stylus Pro 7900 and Stylus Pro 9900 printers if they are ordered prior to October 31st, 2013. Do the deal now and you qualify for a factory rebate of:

1. $ 1000 on the Epson Stylus Pro 7900 printer - this is the 24" wide model.

2. $ 1500 on the Epson Stylus Pro 9900 printer - this is the 44" model.

Here is the chance for the professional printer or the company who needs the best in roll or flat work to get in on the ground floor  and get the cash for it. Don't hesitate.

Goat Feet

Tripod manufacturers up till now have generally based their products on memories - generally the memory of the mount for the Vickers or '08 Maxim machine guns. Perhaps they used to make them in the good old days. In any event they have big spikes and knobs at the ends of the legs designed to lock into the terrain and take the recoil of a wide angle lens on a DSLR. Them 24mm' s can be vicious...

Manfrotto have re-thought the idea with an eye to the wedding market. Their new MVT502AM tripod has all the features that a lightweight videographer needs to support a DSLR or small videocam, and the feet are designed for the indoors.

Look up at the top first - the fluid head is big enough for whatever the legs will support and there is a captive ball and socket leveller to let you reach equilibrium quickly once you are in place.

In the middle are twin-shanks and clip locks for fast set-up. Light and rigid - the spreader folds with the legs.

Down the bottom there are rubber-covered goat feet to grip a smooth surface without marking it. No longer do you have to panic about turning the spikes inward when you put it down on a parquet floor. You can pick it up and chase the bride and plunk it down fast when you corner her.

This is a good sign for the future - Manfrotto have sometimes over-engineered and over-weighted their pro products. Now they have realised that we want to move faster, smoother, and lighter. Now they need to get someone in the front office to invent better names for the products - names that people will remember.

I vote for " Goat Feet ".

March To The Sound Of The Canon

You might wonder how much noise a Canon can make - in the world of motor sport, a very big noise indeed. We found out yesterday when we attended the Camera Electronic Canon workshop at Barbagallo raceway in Wanneroo.

The track is well-provided for the actual racers - we were there on a Motorcycle Club practice and tuning day. There is a function room at the start of the main straight with trackside seating - McCracken House - and we use it for a lecture theater and lunch venue.

Mark Horsburgh lectured us last year on basic race car photography but this year he added new discoveries in lighting with the Canon 600 speedlights. His work has a really new and sparkling look with these portable lights and it takes on very much of the studio illustration aspect even when taken out in the field. The ability to control three groups of flashes with radio transmissions rather than infrared is the thing...you can send the signal even in bright sunlight or around corners. My camera system uses the IR system and I am so jealous of Canon users...

Of course each year from Canon brings new lenses and bodies. The Canon reps bring some along and the troops get to fire them off out on the track. Mark mentioned trying something new each year himself - even to using tilt/shift and fisheye lenses in his work. Most of the motorcycle shots were taken using different types of telephotos but I did get some good views using a wide angle.

On the subject of the business of motorsport photography, Mark was quite candid about the time pressures and stress that are put on the shooters by the event organisers and the editors of various publications. It would appear to be a fertile field for experimentation but don't expect to eat regular...

Anyway, I took some views of the activities, including a very lovely model and an almost equally lovely set of photographers wearing fluoro vests. It was a great day and the results that the photographers got from the Canon lenses means that a number of them will be coming to talk to us over the shop counter.

Wireless, Cordless, Or Radio? Olympus Owners Take Note.

If you are fussy about it you can call it wireless - if you are easier call it radio. The thing will be the same in any case - control of your Olympus camera at a distance, with no cord in between.

If you are using an E-P3 or E-P4 or the OM-D you might need to shoot from a concealed position or away from the camera while it is on a tripod. Both the Hahnel Giga T Pro and the Hahnel Combi T will do this - they quote a range of 100 metres on the packaging. Attach the receiver to the hot shoe, plug the control cable from it to the side of the camera, and press the go button.

Why two different controllers? The blue box contains the one to use if you want the additional facility of firing a flash gun at a distance. You reverse the connection - transmitter on the camera and receiver under the flash and away you go.

The yellow packaging has the clever timer and interval controller in the trigger - but it doesn't do the flash thing. Use this one if you are going to do star trail photos or speeded up pictures of flowers blooming.

If you are going to insist on using the Nikon, Canon, or Pentax systems you can also get these products. But this posting is just for Olympus users and we won't mention that, okay?

Coil and Recoil

The modern speedlight flash is a marvel. Gone are the days of a complex guide-number chart on the back or a dial that has four different circles in four different colours. The new flash may have nothing more than an on-off switch. It is nevertheless capable of full TTL operation with the computer in your camera and the resulting exposure can be balanced far better than ever we did when we were pacing off the distance between ourselves and the subjects.

The trick is the dedicated contacts in the hot shoe - 3 for Nikon and 4 for Canon. They pass the coded signals back and forth at the speed of light. It is perfectly feasible to take flash pictures all day and not touch any of the controls. Yay.

But when you need the direction of the flash to be different than stuck on the top of the camera you need to get that same control at a distance. Here is where Promaster comes in. They make double-ended TTL cords for both the Canon and Nikon systems - you can get them as short as 150 cm and as long as 10 metres in either coiled or straight form. Attach one end to the hot shoe, put the flash in the other end and shoot macros, street shots, product shots, and Hollywood portraits.

In-store right now.

Ivory And Ebony

The advance of digital photography has seen some remarkable trends - none more so than the photograph that slows a waterfall to a mist - or levels a moving sea. Or removes all the people from a busy city street. We mean the interposition of a very dark neutral density filter into the light path which permits a very slow shutter speed.

The name that is on everyone's lips is Big Stopper - it is the catchy tag for the Lee company's 100mm x 100mm resin filter. It fits into their standard holders and drops 10 stops of light. I wish I had invented the name Big Stopper - it is the sort of thing that you can bandy about at a camera club meeting and sound really cool.

Oh, would that you could go into a shop and buy one. Like into our shop, for instance. Because of their great popularity and the drought that has been affecting the English filter fields...we never seem to have enough of them delivered to satisfy the clubmen. Please do not think that I am criticising English manufacturing practice - I am sure that if you wanted a Quad amplifier or a Manton shotgun you could find them at any corner store...

But for whatever reason, the Lee filters are hard to get. We have found another good answer for the landscape photographer. B+W make 1000x filters in screw-in sizes that will do the same job as the Big Stopper. Kenko make an ND 400 that gives you 9 stops of darkening. And Promaster make a wonderful variable neutral density filter that looks as though it would do 1 to 10 stops. To prove it to myself I put one over a light box at the two extremities of adjustment - have a look at how dark it gets.

The video people can also use this sort of a variable filter to do fade-outs at the end of video shots.

I should purchase one in the largest size lens that I use, then adapt it to smaller lenses with simple step-dow rings. The whole deal would be cheaper than Lee, but don't let that influence you.