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Lightweight Portable Power: The Profoto B2 250 AirTTL Off-Camera Flash

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This review was originally published on B&H Photo’s Explora blog where I am a regular contributor.

Profoto has done it again. A little over a year since the release of the revolutionary B1, the company is expanding its Off-Camera Flash System with theĀ B2 250 AirTTL, a portable battery-powered pack with TTL operation for both on- and off-camera use. It has two fully asymmetrical outputs for connecting one or two of the extremely lightweight heads that can be easily mounted on a bracket with your camera, a monopod, or a stand for setting up the lights exactly as you see fit.

Screen capture from Caution: A zombie classic.

Caution!: A zombie classic

Fiction, Film & Video, Home, Uncategorized

Welcome to my work from freshman year of college also known as Spring 2011 Cinema Production 1 taught by Joshua Bonnetta.

A couple of my portraits.

Rethinking Instagram

Home, Thoughts, Uncategorized

Over the months I have written a few posts about how Instagram is bad for photojournalists and how it really shouldn’t be used. However, that is a very specific viewpoint to write from and I feel like I didn’t give Instagram a fair chance.

Rally coverage down in DC

Journalism, Photography, Uncategorized

This past weekend was the Forward on Climate rally in Washington D.C. I was fortunate enough to cover it forĀ The Ithacan. So, myself and a staff of 4 other reporters, photographers and videographers headed to D.C. to check it out. It was a great time, here are some quick shots.

One Hour Photo

Did the “one hour photo” speed the death of film?

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One Hour Photo

The film and prints received from the local shop that still is able to send out film.
Shawn Steiner/In Focus

Recently, I had a roll of 35mm Kodak Ektar 100 processed at a local drug store. I was satisfied. There were 38 developed images (yes, it was a 36 exposure roll, I’m that good) and a set of prints along with a CD. The darkroom chromogenic prints, while appreciated, are atrocious. The scans were better, but still not good enough for my applications. Now, this was expected for my project.

My workflow was always planned to involve taking the negatives and producing my own scans and inkjet prints. The everyday person, however, may have a different reaction. I would image tit to be along the lines of, “This looks terrible!” or “My friend’s new point and shoot looks amazing compared to this!” Basically the person will come to the conclusion that it is time to move to digital.

Amelia Marino

My friend Amelia posing for a shot with some Kodak Ektar 100 35mm film.
Shawn Steiner/In Focus

The prevalence of these one hour photo shops proliferated a change in a desire for quality for the necessity of speed. Digital allows for the best mixture of each for the average consumer. They don’t have access to personal darkrooms to process their film in a timely manner, and they most likely don’t realize the capabilities of their film negatives.

So did these workflows lead to an increasing disappointment with the quality of film?

If I were to imagine being a normal consumer I feel like I would make the change to digital much faster if I thought that the cost of processing film was no longer worth it.

These prints are good enough for being a quick reference, but otherwise I can see this as part of why consumers moved so quickly into the digital realm.