Tony’s Home Brew Studio.

Maximizing your studio space with column stanchions and super clamps.

The Studio Set Up from Anthony Zeh on Vimeo.

Many people have little studios in a bedroom, as I do. The problem I kept having was lack of space. My room is 12x11, more like 10x9 when you figure your tripods and light stands can’t get in close to a wall. Not very big for a studio, but doable. I really wanted more space, but knocking down walls was not an option. So I set out to look at the problems and how to solve them. The biggest problem was tripods and light stands can only get in about a foot from the wall and 2 feet in from a corner. If I could get lighting equipment and cameras up to the wall, I could gain back about 2 feet in useful space. Also I hate tripping over the legs of tripods and light stands which is a problem in a small space.  These were the problems I set out to solve.

Studio room filled with light stands and tripods

I have only 8’ ceilings so I decided to find a way to work with that. I figured I could hang something, but the mobility of equipment would become an issue. Then I thought of something I had seen as a contractor, which were supports for creating barriers for remodeling. They were expandable stands that went from floor to ceiling.   With this I could add a Super Clamp and I could solve both of my issues. I could get my lights close to the walls and even in the corners. And no more legs to trip over. This allowed more options and lots of possibilities.

Studio space with support stanchions and super clamps

For a small cost I added about 46 square ft of usable space to my studio in a room that is about 136 sq ft. That’s tremendous. Depending on how many you use, just one stand set up will run you about $50. I got 6 for my space to offer the most versatility. Most people could work with just 3.  I bought these less inexpensive Super clamps for $20 ea. The Monfrotto ones are very nice, but at about $35 each, I opted for the $20 version. They are still solid units. The safety catch on them are not that great, but I have not had any issues. 

For the Stands I used the ones below from Haul-Master. I wouldn't hang anymore than about 15 Lbs of equipment on these, but they are stable. They will extend up to 114" or 9.5 ft. Best deal for the Support Bar. Depending on your strobe or lighting heads you may have to get longer studs for you Super Clamps or use a Umbrella holder to make the room for your light head.  If you use these Haul master Supports, do not put too much pressure. You may damage your ceiling or break the handle on the support. Just make in nice and snug between the floor and the ceiling. No need to push up your ceiling. The ratings on the supports are mixed, but My feeling are they are stable for the use of light stands, just don't put your strength into tightening as you can break something.

For my crossbar I have a monfortto I bought years ago but for a decent inexpensive one I found a 10' one similar to what I use, see below. For my white vinyl seemless I bought the following and and used Gaffers tape to attach it to a ABS 2"tube from Home depot. It is not attached to the cardboard tube it comes on and the tube is not great for support.



Camera Setup is a cross arm with a lap top stand. Any ball head or pan head with a 3/8" screw will fit. **Note: I did have to modify one of the Super Clamps to make this work.
 I drilled out the center hole on the clamp with a 5/16" drill bit and tapped the hole with a 3/8" tap. These can be bought at Home Depot for about $10.

New Build it as you need it DSLR Slider System

Z Slider - Bolt on camera slider drive kit

***Z Slider Kickstarter Launched! 6 Feb 2012 at http://www.kickstarter.com/projects/anthonyzeh/z-slider-system


** Update 3 Feb 2012 - Check out the Kickstarter page more to come for Monday's Launch! http://www.kickstarter.com/projects/anthonyzeh/z-slider-system

**UPDATE 31 Jan 2012 - Update images below with new Logo and black risers - Finishing video to get on Kickstarter this weekend!
*UPDATE 26 Jan 2012 - Kickstarter launch maybe pushed back a couple of days from the 1 Feb 2012 launch date. Final Version being completed with black risers, silver gears, and ZSS (Z Slider System)Logo. (Prototype version shown in video above.)


Kickstarter intro Video:



Z Slider - Bolt on camera slider drive kit from Z Photo Systems on Vimeo.






Z Slider is a new bolt on slide system for DSLR cameras. It’s in the final stages of development. How is this system different from others? It allows you to build a quality slider system at your own pace, at a price that doesn’t wipe out your wallet. You can start by purchasing an Igus w1080 slider system which starts at $131 at Amazon for an almost 40” rail. If you order from Igus directly you can get up to a 70” rail (the longest they can ship via UPS). This gets you on the ground floor of having a slider system. The least expensive system on B&H for just a track of this length will run you about $400. (They plan on designing systems that connect to other Igus track configurations in the future.)

Z Slider System - Customizable, bolt on system to give Dynamic Motion to video.

When you are ready to upgrade to a drive system to have more control over your camera motion, the Z Slider system will allow you to bolt on a hand crank system to your Igus rail. The goal of the system is to allow an upgrade for about $300-$350. This would put your slider system in at $430-480 for a belt drive slider for your filming needs. The bolt on kit will include, the end blocks with hand crank and gears, legs for your slider, a new mounting plate for your camera head, pre-drilled with a 3/8” mounting screw for your camera head and the belt. They also will offer belts for different length tracks, but the 40” rail belt is standard.  The bearing blocks and legs are all machined 6061 aluminum, fabricated in the US.

Hand Crank belt driven system with riser legs

Next when you are ready to upgrade again for about $50 you will get a machined Aluminum motor mount with mounting hardware for a motor. Z Slider will not be supplying the motors, but they will point you to the motor style you will need for their mounting plate. The geared, high torque motors cost anywhere from $10 -$25. These motors are available in speed from .5 rpms on up, but no more than a 10 rpm motor would be needed. Then you will need to find a motor controller. A motor controllers can cost anywhere from $30 to $250, depending on your needs for either Film or Time lapse. On the low end, that’s a system for $550 for a motorized slider. (They may offer these items in the future, but they allow you to shop around for the best price.)

Shown with optional Motor mount

That is one of the least expensive systems, for a customizable system, which you can afford to build one step at a time to your needs. Not a system that you have to but all at once. Not a system that limits you to only the company's own equipment, and it offers you flexibility. With this rail system, you just bolt on to the pre-drilled Igus rail. Replace the slider plate with the new Z Slider plate with risers, and attach the belt and tighten the belt tension unit and crank away.  

Sample of the Z slider in action

 On the inside track, Z Slider still working out the final phases of production. The plan is to make it available on Kickstarter to help in raising production cost, to make it available to the public. The Kickstarter campaign is set to start around the 15th of Feb. If you are interested in this system, help get it funded. You will be able to help by making contribution, for about $10, for which you will get a Z Slider lens cloth. For a bit more you will get a standard system. And you will be able to get an upgrade system with a motor mount, which will also be available. If this is not in your budget at the moment, but you would want this system down the road, think about the $10 donation to help them get into production.

Z Slider Lens cloth with every order.

Check back here for the KickStarter page, future updates, and any other information we can throw your way. 

The Photographer - A Snap Shot of David McCourt

I came across David McCourt's work while reading about his Slow Photography Camera on another website. After doing a little research, I found David's photo work and liked his  style. I thought people should get to know a little more about the man behind the Slow Photography Camera, which he is starting to make a name for himself. So I decided to contact David to let him know I was posting another blog on his Slow Photography Camera, but to also point out his photography work.  He had a number of images that drew me in with his ominous style. After chatting back and forth with this Scotland based photographer, he was happy to give me a little more insight into his work, back ground and the equipment he uses. I see a lot of talent out there, but most you just see the end product. I like to get into the person behind the camera. 

TZ:  David I know you are making a name of yourself through your Slow Photography Camera, but you are a talented photographer too. Did you go to school for design or photography, and where did you go?


DM: I have studied product design for the past 5 years, first of all at The Glasgow Metropolitan College for 2 years and then at Duncan of Jordanston College of Art and Design, University of Dundee. I never picked up a 'real' camera until about 2 years ago, but it just seems like photography and product design go hand in hand with one another, so I bought my first camera and taught myself everything I know.

TZ:     What influenced moved you into your career field?:


DM: I've always been a total gadget geek, with a tip of the cap to art and design. Studying product design, first at school and then higher education felt like the right move. As for that first influential 'spark', I can honestly say I've no idea where it came from. I just had a knack for concept development. If anything, I've been more influenced to STAY in the field as the years of education have gone by. I always work closely with other great designers in my class, bouncing ideas off of one another. I've had several brilliant lecturers and some esteemed mentors to boot. Dr. Jon Rogers, head of Product Design and Pete Thomas my year head at Dundee are possibly the smartest men I've ever met.


TZ: In your photography, what excites you or what do you gravitate in photographing?


DM: I get a lot of influence from books that I've read or movies that I have seen. I done a whole photography project based on 'American Psycho' by Brett Easton Ellis. I love picking movies or photo-set ups apart and figuring out just how they done it.
You might notice that the majority of my work is quite dark, and if not dark, very moody and ominous. I'm a bit of a horror fanboy, so keep your eyes peeled for even more dark shoots!

TZ: Is there a type of photography you wouldn’t do and why?


DM: One of my best friends is a very talented lifestyle photographer who visits families and takes lovely family photos; candid shots of parent's children etc. I just don't see myself in his shoes, but I appreciate the fact that he has the patience to do those kind of shots. Maybe he's just more friendly than I am.


TZ: How would you describe your own style?


DM: I've been asked this a lot lately... it's hard not to sound like a pretentious moron when answering, but I don't think that is avoidable. I like to think I incite a lot of drama and ominous overtones in my photography: I'm an ominous photographer. Don't mess with me, I have a big heavy Manfrotto!


TZ:  How does your design influence your Photography and vice versa?


DM: Having trained as a Product Designer, I think I take in to consideration all the little details more than your average photographer would. I was a designer before I was a photographer, and taught myself how to use Photoshop (my earliest package was Photoshop 6, those were the days!). This aids both my design and my photography obviously. As for photography influencing my design work, it's quite apparent: I love photography, therefore I design for the art. It gives me the most pleasure being able to use my design outcomes in something that I am very passionate about.

TZ:    What type of Camera(s) do use, what are your favorite lenses to use, What do you use for lighting when you do a shoot?


DM: I do things on the cheap. I have a second hand Canon 30D which has served me very well. I use Canon's 50mm f/1.8 MKII for the majority of things along with Sigma's 10-20 f/4-5.6. The Sigma is my newest lens and I can't wait to use it more often. It's a monster of a thing and sharp as a pin (something that the 30D can sometimes struggle with).
As for lighting, like I said, I do things on the cheap. I have two Yongnuo YN640 Speedlites which I trigger with YN CTR-301Ps. I know guys who own Canon 430/580 Speedlites and have no idea how to use them correctly. The good thing about the Yongnuo brand is that they are pretty much fully manual. You need to teach yourself metering and all the little nuances that come with portable lighting.
When lighting a shoot on location, I'll use beauty dishes, shoot through/bounce umbrellas and softboxes, all of which have been modded to fit my speedlites.


TZ: Since you are a Designer are you a DIY’er with some of your photo equipment and what have you built for yourself.


DM: This is possibly my favourite part of lighting set up; making your own kit. It's very easy to buy all the equipment you need off of eBay, but from my experience, it doesn't bloody fit!
I've made two beauty dishes that work great even at nighttime. On top of that, as I mentioned I've modded pretty much all of my lighting kit to my own specification. I've even created new kit for certain shoots because I knew that I would have had to. Lighting is so important when shooting bands or artists, and no two band shoot will be the same or even similar. That's why customisation is important. You wouldn't keep your camera setting the same for every photoshoot you do, so why keep your lighting rig the same?


TZ: How did the Slow Photography project come about and what are your intentions for it?


DM: I was exploring the relationship between analogue and digital photography in our modern digital climate. At first, I thought that analogue was a dying art that only the purists payed heed to. But after extensive research, talking to photographers from all corners of the world and immersing myself in darkroom photography, I soon found out how much joy analogue photography has to offer.
With this in mind, I took in to consideration the processes and methods that analogue photography birthed, that digital photography has adopted. Composition, framing, the film output, aligning shots in TLR camera format, gauging light... all of these things could be applied to digital photography. All of these methods can be applied to digital photography on your mobile phone. Why not?

People, especially young people, are being exposed to the world of photography via the camera built in to their mobile phone. While this is not a bad thing (the iPhone has become the second most used camera in the community of Flickr), the traditional processes and practice are being forgotten in lieu of applications such as 'Hipstamatic' doing them all for you.
The point I raise with my Slow Photography camera is that there is a definite mid-point between taking photographs on your iPhone or mobile phone (and calling yourself a photographer) and using a professional grade DSLR. The Slow Photography camera fits that mid-point to let people experience the processes and choices they will have to make once they buy their first DSLR.

I think David's work is something to keep an eye on, whether it's his photography or Design. More can be found at his website www.dmccourt.com.The images in this article are the property of David McCourt and were used only with his expressed permission.

We are always looking for new and upcoming photographers to write a feature story on. Please send us a link to your website, a friend, or someone whose work you admire. If they are selected, they must be willing to allow us to post their images on our site with credit to them and agree to a short interview. Please email to tony@photzeh.com.

Slow Photography Camera

Slow Photography - David McCourt - www.dmccourt.com.

Another great concept for Photography Junkies. I was surfing forums and Blogs and came across this cool design by David McCourt for a Mobile camera Mod. I collect old cameras, but have a passion for new technology. This grabbed my eye. You just drop in your mobile phone and give it that medium format camera feel. Not sure if this is something that would hit the market, but if it does, I would be so tempted on snatching one of these just for fun. I would take it out, walking around taking pictures on an art walk or some other event. This is the type of thing that would actually draw subjects in, due to pure curiosity. Check out more at David's Website at: www.dmccourt.com

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Beyond David's design for a cool camera box, he is a talented photographer with some nice edgy images. David is a UK based photographer in Scotland. I really dig his Portraits and band photos with their rather dark ominous feel.  So if you are looking for a portrait photographer or a Wedding Photographer in the UK, check him out. Don't worry his dark ominous feel doesn't cross over to his wedding images. Also check out this video by David of one of his earlier designs.

So cool. Reminds me of my art school days. See more of David's behind the scenes videos Here.

Canon 35mm F/2 on the Trail

Panoramic, ISO 160, f2.8(mistake) 1/1600 (Pay attention to your settings)

Ok, after finally taking this lens out for a test run, I was happy with the results. I like the feel of a "normal" lens.  I have a 50mm, which a lot of photographers have. Mine is a f1.4. However, I run a ASP-C sensor, so what is normal on say a 5D or a 35mm is not on the cropped sensor.  And like many who shoot with an ASP-C you might think it looks pretty normal to you.  As a 7D owner, and previous owner of a 40D, 20D, and a Rebel 300D, you get use to the focal length of your lenses and until you switch to a full frame, you are always at a loss, without really knowing it. So I decide after an article I read about shooting panoramic images with a normal lens, to find a truer  normal for my ASP-C camera.  (For about the search and options for a normal lens: http://zehphotoblog.blogspot.com/2011/03/going-normal-with-35mm-lens-on-7d-for.html)

ISO 160, f2.8(mistake) 1/800

So I took this out on the trail into the Superstition mountains, in Arizona.  I took a variety of landscape images, including a panoramic. Now I did have to hand hold the panoramic so the results are not that great, mainly because I usually shoot a panoramic on a tripod, with a Nodal Ninja. On this day I didn't bring my extra equipment. I was hiking with some new people, and I didn't want them to have to stop for me, or for me to lose my group as it was my first experience on this trail (Hieroglyphics Trail.) Next time, I will go out on my own, since I know the hike, but temps are already getting ready to hit the mid 90's two weeks into March.  This hike starts in the desert, so the heat factor with added equipment rather sucks. Lucky that day was only in the low 70's but the next day was already jumping into the 80's. (Spring in Arizona, is actually springing from the 70's to the 100's in like 2 to 3 weeks) Anyway, I digress.  So I did take a number of photos, mainly with my newly converted 40D IR. The shots were stunning (ok that's my opinion, but many others thought they were great too.)  I shot a couple of compositions I really liked, but I was rushing and not paying attention to my f/stop which I had at 2.8. Duh! Not good when you want a large depth of field in a landscape shot.  Nevertheless, if it wasn't for my screw up this was a champ for a lens.  

ISO 160, f8(much better) 1/250

The lens makes a little noise, but overall not enough to scare anything off. It focuses quick and accurately. And if you are looking for a decent, fast, and Normal lens for an ASP-C sensor-ed camera, I would definitely recommend this one.  If you can afford the high end version which is the 35mm f/1.4 for $1400, go for it, but if you want something in at about $310, I would jump on this one.

ISO 160, f/8, 1/200

I often will shoot at 160 instead of 100, due to Canon's slightly off ISO's seem to be there prime ISO's which get a little better quality from what I have read.

Going normal with a 35mm lens on a 7D for Panoramic images.

Searching for the perfect "Normal" Lens for a ASP-C camera under $400.

Salt River Area outside of Phoenix, Arizona. 

I just got my new Canon 35mm f/2 lens from Canoga Camera. First let me say, if you are anywhere west of the Mississippi, I would recommend them over B&H or Adorama (unless you are in California, and you are trying to avoid Taxes). They are in California and you will usually receive it in half the time, and their pricing is competitive. They will charge for shipping, but I have asked them for free shipping, and they obliged.

Now I am an avid panoramic photographer, who does both IR and HDR panoramic images. And as many people who love to learn, I research everywhere I can. I explore everywhere, whether on the net or reading magazines.  While reading Outdoor Photographer in the new March issue, I came across an article about Brandon Riza's panoramic photography and his techniques. I usually shoot many of my panoramic images with a 10-22mm canon EF-S Lens, and still will when I am doing spherical Panos. Riza makes the case for using a normal lens for panoramic images, to get more of the viewer sight of the subject. He is running a 50mm on a 5DmkII. The wide angle far away aspect, so I decided for a landscape panoramic I would go as normal as possible. I started by looking as lenses that would be most "normal" for a 1.6 APS-C sensor. I came across three options that were in my budget under $400.

 I first started with a Sigma 30mm f1.4, which is closest to Normal (50mm) which comes in at about 48mm. This lens is designed specifically for APS-C cameras and does not fit full frame cameras. I found it at Adorama for around $440. I like how fast this lens is. However, after reading up, as much as I could, it seems for many (not all) that this lens has some focus issues. After I had seen this was somewhat a common issue I decided to pass, though I liked it came with a hood. I also read it's a great lens if you use Manual focus, where then it is sharp. The Auto focus on this lens is said to be quiet.       

   

My second choice was a move to the Canon 28mm f/2.8, a bit slower lens than the Sigma 30mm. This image is about 45mm with the ASP-C sensor.  This lens would allow me to use it on a full frame if I ever upgraded my camera. The build quality on this lens feels less than that of the Sigma, but at a price tag of only $259.00. Many positive reviews of this lens, but something that popped up in many reviews, was that there was sharpness  loss toward the edges of the image. I wanted to find something that could have as much sharpness as possible, since I do stitching of images.  So I decided to search some more.  

Finally, I checked out the Canon 35mm f/2.  This lens's drawback is that the lens doesn't have a USM motor, so it's not quiet when in auto focus.  If you are in a room with noise, it is not a problem. However, if you are in a room that is silent, this noise will stick out. But for my needs, that is not an issue. This lens runs at 56mm on the ASP-C sensor. So out of the three lenses, it's the least normal, but within the range, so I could handle the small difference. The best thing I read in most reviews, is that this lens is sharp across the entire image. This lens is also faster than the 28mm f/2.8. Furthermore, I read the color from this lens is in addition, better than the canon 28mm. At $305 from Canoga Camera, I thought this is the lens for me. Being in Arizona, it got here in two days. Better than the week or more it takes from B&H or Adorama.  I do like both those store, but sometime I just can't wait to play.  

The people at Canoga Camera were helpful and gave me free shipping when I asked, because I told them I would prefer to shop with them. Mainly, because the wait for being located on the west side of the US becomes too long, when everything seems to come out of NY. I will write a review of the 35mm f/2 once I take it out for a good test run. So check back in later if this lens interests you for Panoramic or general photography. If you are interested in knowing some specifics on this lens, drop a question or interest in the comments, and I will do what I can to answer your question.

PART: 2 Canon 35mm on the Trail