Studio 225 Chelsea in NYC. Rental Special.

by JamesNYCJune 5. 2013 03:00

Studio 225 Chelsea in NYC. Rental Special through the end of July.

 

Special 1:

 - Buy 2 days with all equipment included for $450/day.  Total $900
 - Savings $200 off the regular day rate of $550/day.
 - Includes 8 hours in the day rate.
 - Additional Hours are $75/hr.

PURCHASE THIS DEAL IN THE SHOP

 

Special 2:

 - Buy 3 days with all equipment included for $400/day.  Total $1200.
 - Savings $450 off the regular day rate of $550/day.
 - Includes 8 hours in the day rate.
 - Additional Hours are $75/hr.

PURCHASE THIS DEAL IN THE SHOP


Payment can be made in cash, check(credits available upon cashing), credit card, or paypal. 

Feel free to contact me with any questions you may have or to purchase one of the two specials above. Anyone who would like access to the studio's calendar can send that request as well and I'll add your email to the calendar's access page.

Here is the Equipment included in your rental days
 
- Profoto 7a 2400 Kit, which Includes 3 packs + 4 heads, 1 head extension. Additional heads are $25/head/day.
 
- 24" iMac Digital Workstation with Capture One Pro 7.x and Phocus
- Redwing Boom
- 8 C-Stands with arms
- 5 regular Stands
- 4 black/white "V-flats"
- 2 silver "V-flats"
- 2 4'x8' white plexi
- 4 flags/scrims
- 10 Sandbags
- 1 Reel EFX Fan
- 12' White Roll Paper - 1 sweep per rental.  additional sweeps are $20/sweep.
- 12' Gray Roll Paper - 1 sweep per rental.  additional sweeps are $20/sweep.
- 10'x10' Gray Muslin Backdrop - looks like one of Annie L.'s backdrops.
- 10'x20' Gray Muslin Backdrop(has texture)
 
PROFOTO Modifiers included with Equipment Package:
- 1 53" Elinchrom Octobank with Profoto Mount
- 1 7' Elinchrom Octobank with Profoto Mount
- 2 Medium Softboxes
- 1 Medium Strip Softbox 
- 2 Small Softboxes
- 1 6' x 4' Chimera Softbox
- 1 33.5" Mola Euro with diffuser
- 1 Profoto 22" beauty dish with diffuser and grid
- 2 P-50(Magnum) reflectors with Grids
- 2 60" umbrellas
- 2 45" umbrellas
- 1 30" umbrellas
- 20 A-Clamps
- 6 Superclamps
 
Camera's available to rent additionally on site:
Canon 5D Mark III with f/2.8 24-70mm lens, 100mm f/4, and 50mm f/1.2:  $125/day
Hasselblad H3DII 31mp with 80mm, 120mm Macro, and 35mm Lenses: $350/day

For more information, contact James Weber at:
917-882-3724
info@studio225chelsea.com

Studio: www.studio225chelsea.com

Studio 225 on Facebook: http://tinyurl.com/cy2nvdd

Tags: , , , , , , , , , , , , ,

General

Hasselblad announces accessory upgrades following H5D System launch

by JamesNYCJune 1. 2013 20:27

 

Following the launch of its new flagship H5D System cameras Hasselblad has introduced two new angled FireWire cable accessories, a new and more powerful battery grip and a new battery charger.

Announcing the move Ove Bengtson, Hasselblad's Product Manager said: "The H5D System is the next step in the evolution of our medium format cameras and these three latest upgrades ensure our capture device accessories continue to evolve at the same pace."

"The new angled FireWire cables are shipped in two colours. The black connectors, complete with new 'click-lock' features have been developed exclusively for the H5D. The upgraded cables with grey connectors are primarily for HxD/CFV ranges."

"The new connectors are designed to completely eliminate any problems caused by loose fitting cables and possible consequential damage to the internal connection."

He added: "We have also introduced a new, more powerful battery grip which now boasts 50% extra capacity. The new battery product features a more durable surface to provide better grip. It is also a few millimetres longer than its predecessor, enabling greater stability on the tripod shoe. A new charger is also available."

The new FireWire cables will have the same recommended selling price as the older versions but the launch of the new products means the older FireWire cable (1006025) and the old battery grip (3043348) are obsolete and no longer available.

The older battery charger product (3053568) 7.2V will remain available while stocks last.

 

Please note that the new battery will also work on the following cameras: H2D, H3D, H3D-II, H4D and H4X, provided that the latest firmware for these models has been installed.

Tags: , , , , , , , ,

General

CSI Brooklyn - Opening Monday June 3rd.

by JamesNYCMay 29. 2013 03:43

CSI Brooklyn - Opening Monday


Live in Brooklyn and have to truck all the way to Manhattan just to rent out high-end equipment from CSI Rentals? Well, truck no more: CSI is coming to Brooklyn. On June 3, they will open their new shop at 1138 Flushing Ave. in the East Williamsburg/Bushwick area. The store will have ground level loading, parking spaces and truck drive in—all that just a block away from the L train. They will also offer delivery and pickup in both Brooklyn and Manhattan. Ease and everything a professional photographer or videographer needs.

Visit CSI online for more information: csirentals.com

Tags: , , , , , , , ,

General

How to Fix a Broken Manfrotto Magic Arm

by JamesNYCMay 20. 2013 02:00

An instructional video about how to fix a broken Manfrotto Magic Arm by opening it up and repositioning the bearings inside.

Tags: , , , , , ,

General

ADOBE - Our works do not belong to you.

by JamesNYCMay 19. 2013 10:43

A great response to the Adobe CS Cloud subscription model.

It doesn't belong to them from Digital Skye Media Development on Vimeo.

Tags: , , , , , ,

General

Carl Zeiss Compact Zoom 28-80 Lens

by JamesNYCMay 15. 2013 11:54

The CZ.2 28-80/T2.9 as seen at the NAB Show in Las Vegas

OBERKOCHEN/Germany, April 5, 2013
Carl Zeiss presents its new zoom lenses from the Compact Family at the NAB Show 2013 (8-11 April) in Las Vegas at its booth C9043.Versatile, flexible and yet small and manageable – these are the characteristics that describe the Compact Zoom CZ.2 lenses. For the first time, the new CZ.2 28-80/T2.9 will be presented in the US. The Compact Zoom Family currently comprises the CZ.2 28-80/T2.9 and the CZ.2 70-200/T2.9; the latter won the prestigious iF product design award in February 2013.

The ZEISS Compact Zoom lenses weigh just 2.5 to 2.8 kilograms (5.5 to 6.2 pounds). “For cinema zoom lenses, that is very little. The light and compact design is ideal for hand-held and steadicam shooting,” explains Helmut Lenhof, Product Manager for the Compact Family in the Carl Zeiss Camera Lens Division. The lenses are suited for owner operators as well as episodic television series, documentary films, features and big-screen productions. Especially for shooting projects on a tight budget and time schedule, a ZEISS Compact Zoom lens is an extremely flexible solution. The zoom lens enables faster work and minimizes long set-up times.

Unlike zoom lenses for still photography, the Compact Zoom cinema lenses each have three independently moveable zoom groups. This complex design prevents undesired focus shift and ensures optimal image quality. The lenses have a continuous high aperture of T2.9 over the entire zoom range.

Filmmakers can also look forward to a new shorter super wide-angle zoom lens designed for the owner-operator when the Compact Zoom series will expand to a family of three at the end of 2014. This new zoom lens will replace the Lightweight Zoom LWZ.2.

As members of the ZEISS Compact Family, the zoom lenses are the perfect complement to the fixed focal length Compact Prime CP.2 and ARRI/ZEISS Ultra Prime lenses. Thanks to the exact color matching within the ZEISS cinema lens family, all lenses in this series can be combined flexibly with each other, with no visible deviations.

They cover full-frame format (24x36mm) and can therefore be used on HDSLR cameras, as well as professional HD video and cinema cameras. Being designed as full-frame lenses, they create a sweet spot effect and a uniformity of illumination when used on Super 35 sensors and are ‘future-proofed’ for next generation digital cinema cameras utilizing larger sensors.

Moreover, the interchangeable mount system makes it possible to use the lenses of the Compact Family on various camera models. The mounts currently available are for PL, EF, F, MFT and E. “Investing in this lens family is especially attractive for cinematographers and rental companies because the interchangeable mount also ensures the lenses’ long-term compatibility in the rapidly changing camera market. For all relevant future camera models, mounts will be available which the user can exchange very easily,” adds Lenhof.

Cinematographers can also rely on the quality features that ZEISS is known for:

The T* anti-reflective coating and the internal stray light reduction eliminate bothersome light reflections.

All Compact Zoom CZ.2 lenses have the same front diameter of 95 mm and the gears of the cine-style housing are always located exactly in the same position. This makes it possible to change lenses fast – without any adjustments to the rig or other accessories. The large focus rotation angle of almost 300 degrees and the calibrated focus scales ensure comfortable handling. All lenses in the Compact Zoom Family correspond to 4K production standards and cover a resolution of 4096 x 2160 with no distortion.

Australian cinematographer Warwick Brown has already used the Compact Zoom CZ.2 70-200/T2.9 for shooting a television production. “I have just finished shooting a dramatic short film using this lens and the Compact Prime CP.2 Super Speed lenses together. They are a real winning combination. The lens is sharp and handles highlights beautifully.”

The delivery of the Compact Zoom CZ.2 70-200/T2.9 began in early 2013. The Compact Zoom 28-80/T2.9 will be available starting June. Carl Zeiss authorized dealers are now accepting orders on both zoom lenses. The suggested list price of each Compact Zoom CZ.2 lens will be €14,900 or US$19,900 (excluding VAT). 

The lead time for the Compact Zoom CZ.2 70-200/T2.9 is currently six to seven months. A higher demand as expected led to these lead times. Carl Zeiss will increase its production capacities in order to reduce the lead time to three to four months.

 

Tags: , , , , , , , ,

General

Adobe Bets the house on Creative Cloud and switchs to a Subscription-Only Model

by JamesNYCMay 4. 2013 01:18

photo assistant

Adobe announced the end of their: Adobe Creative Suite at its Adobe MAX conference this morning, stating that it's moving to a subscription model and dropping the existing Creative Suite software products. Begining in June, new versions of Adobe's CS software will be available only online, and only as part of a Creative Cloud subscription. 

Let us bow our heads as we say goodbye to: After Effects CS6 and say hello to After Effects CC.
 
You will still be able to buy CS6 products for the time being, but you won't get the latest and greatest, such as all of the new features that were showcased at NAB last month. If you want to stay current with Adobe's line-up, you'll be spending at least $49.99/month for an individual subscription to Creative Cloud with 20 GB of cloud storage (existing users of CS3 or later will get a discounted rate of $29.99/month for the first year) or $69.99/month per seat for a "team" version that comes with 100 GB of storage plus "centralized deployment and administration capabilities" (existing users with a volume license get a rate of $39.99/month per seat between now and August 31). The $49.99 month pricing requires a one-year commitment; users who cancel pay a penalty of 50 percent of the remainder of their contract. Note that the fee gets you access to everything, not just the video apps. All subscribers have access to Photoshop, Dreamweaver, InDesign, and more. (Subscriptions will be available for individual pieces of software, but they're not likely to be cost-effective for pro users.)
 
The move is almost guaranteed to be controversial, especially among users who try to save money on software by skipping the annual upgrade process, or for those who worry about the security implications of putting high-value assets to the cloud. But for users who already stay up to date with Adobe's product releases, the effective annual fee of $840 per seat on a team will look pretty good, especially if they're looking to take advantage of some of the new Creative Cloud features announced today. Those features include access to what Adobe said is $25,000 worth of professional fonts on the desktop through TypeKit, which should appeal to anyone who's built a logo or a title sequence in Premiere Pro or After Effects. 
 
Many Creative Cloud features are design-oriented. Adobe announced Kuler for iPhone, an app that lets you grab interesting color palettes from your environment by pointing your iPhone's camera at something in the real world that catches your eye. Coming soon are a pair of "cloud-enabled hardware" products in development: Mighty, a Bluetooth-connected "smart stylus" for drawing, and Napoleon, a kind of "digital ruler" that, when touched against a tablet screen, helps users draw precisely by displaying shapes for them to trace. Creative Cloud also includes a free subscription to Behance Prosite, a personal portfolio site builder that cost $99 per year before Adobe purchased the company in 2012 and is now integrated with the CC suite of applications. 
 
The company sought to fend off as many objections as it could, noting that desktop applications will remain usable even without an Internet connection. Users will be expected to connect to the web every 30 days to validate their software licenses, but Adobe says products will work offline for 180 days. Adobe is also customizing separate versions of the subscription for business users who can't use the cloud, such as some governmental and educational institutions. A single Creative Cloud membership also lets you install your software on two different machines with cross-platform privileges, meaning you can load up your PC workstation as well as your MacBook Pro. And older versions of all the apps will remain available, beginning with CS6, just in case you need to fall back to an older version for a particular project.
 
Of course, under the new plan, if you stop paying for the Creative Cloud subscription, you'll no longer have any version at all to fall back on. But the files stored on your own computer are yours to keep, and Adobe is allowing users a 90-day grace period after their membership lapses to download their work, or at least get their online stash down to the 2 GB that comes with a free Creative Cloud membership.
 
For more information, including details on different membership plans and a detailed FAQ, visit: www.adobe.com/products/creativecloud.html

Tags: , , , , , ,

General

Patrik Andersson Fell in love with Instagram

by JamesNYCApril 1. 2013 01:18

Check out Patrik Andersson Instagram series here

 Copyright © 2013
Patrik Andersson Studio
www.patrikandersson.com,
All Rights Reserved

Tags: , , , , , , , , , , , ,

General

Giant wet Plate Camera project Part 2

by JamesNYCMarch 30. 2013 01:08

Our friend James Weber who when not shooting fashion and beauty, has become a serious Wet Plate photographer. And like every American he too wants things bigger. To achieve that James did a great deal of research and came up with the idea of using an "Indoor Grow Room" as a camera.

check out his full story with more images videos and details here.

Tags: , , , , , , , , , , , , , , , ,

General

Fuck you, Pay me – a discussion of adventures in contracts, negotiation, and payment

by JamesNYCMarch 25. 2013 11:03

This video made the rounds a few years ago and it seems to be making a resurgence once again on several photography & creative blogs. It may be long and the speaker presents his view from the point of a creative at a design company, but it's really worth the time to watch as most of what they talk about will apply to commercial photographers too.

2011/03 Mike Monteiro | F*ck You. Pay Me. from San Francisco Creative Mornings on Vimeo.

Our speaker at the March 2011 San Francisco, CreativeMornings (www.creativemornings.com) was Mike Monteiro, Design Director, and co-founder of Mule Design Studio (www.muledesign.com). This event took place on March 25, 2011 and was sponsored by Happy Cog and Typekit (who also hosted the event at their office in the Mission).

Mike's book "Design is a Job" is available from A Book Apart (www.abookapart.com/products/design-is-a-job)

A big giant thank you to Chris Whitmore (www.whitmoreprod.com) for offering to shoot and edit the video. Photos were graciously provided by Rawle Anders (twitter.com/rawle42).

The San Francisco chapter of Creative Mornings is run by Greg Storey (twitter.com/​brilliantcrank).

Follow us on Twitter at twitter.com/​SanFrancisco_CM

Tags: , , , , , , , , , ,

General

Stuff people say

Any photographer who says he’s not a voyeur is either stupid or a liar. - Helmut Newton

 

"The Camera does not lie, Post Production and Publishers do". - James-ism 09/06/2013

 

"Papa, ... Music is your love, but Photography is your Religion." - Joya D. Hall-Sullivan | Age 10

 

"All photographs are accurate. None of them is the truth." - Richard Avedon - 1984

 

 "I have not failed. I've just found 10,000 ways that won't work." - Thomas Alva Edison

 

"Any photographer who says he’s not a voyeur is either stupid or a liar." - Helmut Newton

 

"You don’t have to sort of enhance reality. There is nothing stranger than truth." - Annie Leibovitz

 

"When you find yourself beginning to feel a bond between yourself and the people you photograph, when you laugh and cry with their laughter and tears, you will know you are on the right track." - Weegee

 

" The camera is much more than a recording apparatus. It is a medium via which messages reach us from another world." - Orson Welles

 

"Some people's photography is an art. Not mine. Art is a dirty word in photography. All this fine art crap is killing it already." - Helmut Newton

 

"Our virtues and our failings are inseparable, like force and matter. When they separate, man is no more. " - Nikola Tesla

 

"I think all art is about control - the encounter between control and the uncontrollable." - Richard Avedon

 

"The first 10 000 shots are the worst." - Helmut Newton

 

“If I have any ‘message’ worth giving to a beginner it is that there are no short cuts in photography.” – Edward Weston

 

"Men often become what they believe themselves to be. If I believe I cannot do something, it makes me incapable of doing it. But when I believe I can, then I acquire the ability to do it even if I didn't have it in the beginning." - Mahatma Gandhi

 

"Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man." - Edward Weston

 

"If you want reality take the bus." - David LaChapelle

 

"You don't take a photograph, you make it." - Ansel Adams

 

"When I have sex with someone I forget who I am. For a minute I even forget I’m human. It’s the same thing when I’m behind a camera. I forget I exist." - Robert Mapplethorpe

 

" Great photography is always on the edge of failure." - Garry Winogrand

 

"I don’t think photography has anything remotely to do with the brain. It has to do with eye appeal." - Horst P. Horst

 

"Be yourself. I much prefer seeing something, even it is clumsy, that doesn't look like somebody else's work." - William Klein

 

"Avedon claims to have been the best photographer in the '60s - bullshit - Bob Richardson was - despite or because of being insane and strung out on drugs, I managed to do photographs that are considered iconic - being known as the 'photographer's photographer' means I lead and they follow - I'm broke and they are rich." - Bob Richardson

 

"If you're absent during my struggle, don't expect to be present during my success" - Will Smith

 

"Either take the lead or follow behind, just stay the fuck out of my way." - James Sullivan

----------------