Gifting gear can be tricky when you're shopping for a photographer or filmmaker. Everyone has different needs depending on what they do, so here are a few different gift ideas, sorted by category. Be sure to click the red "Read More" buttons below to learn more about each category and get direct links to collections and products.
If you'd rather browse through all holiday gift guide items in a single collection, click here. Don't miss out on 20% off everything in the collection (offer valid 12/01 through 12/03)!
While macro photography is sometimes considered niche, it's a very easy type of photography to get into. Although you may be considering macro lenses, there are a lot of the tools below that help give close-up functionality to lenses that may not perform so well at close distances.
Macro extension tubes put distance between the lens and camera. The farther away the lens is from the camera, the closer your lens will be able to focus. Extension tubes come in two major varieties: basic and automatic. Basic tubes don't have any electronics, making them super affordable, and the different sizes of included rings make it easy to come up with different combinations to find the one that works for your set-up. Automatic extension tubes give you control of any electronic functions your lens may have, like aperture control, autofocus, and even image stabilization.
Macro bellows work similarly to extension tubes, but offer a lot more distance between the lens and camera while also allowing for fine-tuned changes thanks to the adjustment knobs.
Macro Reverse Rings are a bit more experimental than the other two macro options. Instead of adding space between the lens and camera, macro reverse rings allow users to mount a lens backwards, by its filter threads. It may take some time to get used to it, but you can come out with some really spectacular results.
Honorable mention: the DLX Stretch series of lens adapters works like a standard lens adapter, which lets you mount vintage/older lenses on your mirrorless cameras. When fully-compacted, the adapter works as a standard adapter, but twisting the ring moves the lens away from the sensor, giving you some macro functionality.
Technology has grown rapidly in the past decade, and while cameras were primarily photo-oriented, it's rare to find a camera that doesn't also take video. This has made filmmaking more accessible. The gear listed below still has utility for those who solely do photography, but they're also great tools for filmmakers.
If you're using a camera rig that uses a 15mm rod system, this follow focus is a great tool to allow for smooth focus pulling. It's customizable allowing you to mount the focus knob on either side of the camera set-up. Plus, the white ring can be marked with a dry-erase markers so you can easily reference different stopping points.
For a more compact run-and-gun set-up, focus handles can be a great alternative to a follow focus system. The bread and butter of a focus handle is being lightweight while still offering a way to finely tune and pull focus.
With a standard 1/4”-20 thread at each end, magic arms help you put extra gear to your rigs. Reposition easily adjusting the large tension knob that connects the two arms to readjust as you see fit.
When shooting outside, camera settings can be tricky, since you can't always use the settings you want. Shooting 1/50th in-studio with your lens wide open is easy because you can adjust your lighting until the scene looks right. But when you're outside, at the mercy of the sun, you don't have that same level of control. Thankfully, if you're someone who adapts lenses, the ND Throttle gives you variable neutral density between the lens and camera to give you more flexibility. No more blowing out your scene; just dial in the neutral density until you're at the right exposure for your project.
When getting into flash photography, you're opening all sorts of possibilities for new set-ups. Here are a few tools to make the magic happen:
If you're setting your light away from the camera, you need flash triggers, so the camera can sync up to the light. The PocketWonder and WonderBurst are affordable options. These kits come with a transceiver for the camera, and receivers for the flash.
Mini softboxes are small modifiers for on-camera flashes that can soften your light. They're small enough to fit in your camera bag, with various different shapes and sizes available.
For something a little bigger and more robust, the F60 Quick-Collapse flash softbox is a 24” softbox suited for off-camera hotshoe flashes. The six spokes on the softbox pop out easily, and the handle can be used without the softbox as an umbrella bracket for added flexibility.
Our WonderPana system gives you the ability to use threaded filters on ultra-wide-angle lenses that don't have their own filter threads. Every WonderPana-compatible lens has its own dedicated, custom-fit filter holder, and users have multiple options for available filters.
Shift stitching has never been easier than with the RhinoCam Vertex line of adapters. RhinoCam vertex adapters use the camera sensor to capture the four corners of a lens' image circle when used with a medium format lens. The images can be stitched together in post-production to create a high-resolution image with a wider field of view.
For smooth, buttery waterscapes and cloudscapes, landscape users need long shutter speeds, and it's not uncommon to have shots that were taken across multiple seconds. ND1000 filters give you 10 stops of neutral density to help you get that dreamy look.
Content creation comes in many forms, and every creator likely has different needs than another. Thankfully, the gear below covers a lot of different bases:
Chromakey background kits are essential for keying yourself out. Get a quick-collapse frame for easy set-ups and teardowns, or a Complete Portable Background Kit for a rigid, sturdy, free-standing backdrop.
Lighting is an easy way to level up your content! Selfie Starlite LEDs offer plenty of output and have adjustable brightness and color temperature. Choose between ringlights for that classic look (and the cool ring-shaped catchlights), or the Selfie Stix if you want a more flexible light. If you want something more akin to a studio light, the DLX EZ-Light is an affordable all in one solution, a LED light with built-in softbox and comes with diffusers, an eggcrate grid, and a stand.
We also have some smaller lighting options that still pack a punch! The curved Radius Pico covers a wide spread and allows you to adjust your color temperature. And the RGB Prizmo Pocket to add a splash of color. Both lights come with adapters that let you mount them directly to your camera's hotshoe, making them solid options for vlog set-ups!
Phone camera qualities are only getting better, and some creators are using their phones for full-time content creation. Our Phone Clamp Kit gives you an easy way to mount and adjust your phone placement. You can easily switch from vertical to horizontal shooting, and the included tripod can also be used as a handle.
Tabletop studios are staples for product photographers, and the LED Studio-in-a-Box is no exception. The box folds out into a cube, so the reflective interior let the dimmable, built-in LED lights light your product evenly. The kit includes 4 different backdrops, and the top panel also includes a slot so you can easily take top-down shots as well.
The arched leg tripod is a compact tripod if you have a smooth, sturdy surface to put your camera on. The tripod keeps steady, and the ballhead allows for easy adjustments so you can get the perfect angle.
5-in-1 collapsible reflectors offer lots of flexibility. Use the silver or white to bounce light to fill in shadows. The black panel can flag off unwanted spill from outside light sources. Removing the out cover completely also reveals the diffuser that can help soften your light source.
For larger products or clothing items that require a model, you'll likely need a full-size studio, but who doesn't love the look a seamless paper backdrop? If you want to save a few trips up and down a ladder, grab a paper drive set to quicken your set-up time.
If you're just looking for smaller gear or accessories to give as a gift, here are some ideas that also don't focus too much on a singule niche:
You can never have enough caps! They're easy to lose, so why not snag a few extras? If you want a cap with more flair and personality, the designer body and rear lens caps come in bright colors that are easier to spot when you're out on location.
L-brackets are a convenient way to change camera rotation without moving the entire head. The Exxi Omni Sr fits a wide variety of cameras and the Arca Swiss mount on both sides make it easy to slide the camera into position.
While it may look unassuming, the Universal Mini Ball Head is a versatile tool. It's compatible with any accessory with a ¼”-20 thread and can tighten onto any hot shoe or cold shoe. Get creative and mount anything from small lights, microphones, or on-camera monitors.
We have straps for certain vintage cameras like Rollei TLR or Hasselblad V cameras. If you have a more modern camera like a DSLR or mirrorless camera, our Ultra Hand Strap lets you buckle in so you can keep the camera on you for long periods of shooting.
GoTough accessories are all-metal, brightly-colored accessories for your GoPro that give your gear a distinct look and a sturdy connection. Try our screws, extenders, or GoTough Sharkbites that double as bottle openers!
The Ninja system of smartphone accessories allows you to adapt filters, lens hoods, and more onto any smartphone. These accessories are lightweight and can be easily used whenever inspiration hits you.
Whatever this semester brings you one things for sure, it’s another round of classes and creating work. You probably own a digital camera of some sort. Possibly mirrorless with how times have changed. You probably also have a film camera.
Did you know you can adapt those lenses onto your digital camera? Well, you can if the film camera you own has in interchangeable lens mount.
If you know what mount your film camera has, you can use this tool to find the lens adapter you need. If you don’t own a film camera and haven’t joined the film photography bullet train, that’s alright. You should still consider lens adapting.
Why?
Vintage lenses offer unique characteristics not available with modern lenses. Whereas modern glass offers clinical and consistent results, vintage glass does not. The results will vary, some lenses will give you swirly bokeh; others will give your photo a 3D look.
Lens adapting also builds your lens kit and is very budget-friendly if you aren’t doing anything crazy like sports or action photography.
A couple things to note before you lens adapt. First things first, there is no auto focus or any electronic control of any kind. You will have to use manual exposure mode or aperture priority mode on your camera. And lastly, you will have to manually focus and make sure “shoot without lens” is enabled on your camera. We have an extensive knowledge base on how to do this by the way.
Some unique characteristics you can get from vintage lenses are:
Here are some lenses we recommend:
Any of them. Medium format is known for creating images that pop due to how sharp these lenses are. They have to be due to them being designed for 120 film that is twice the size of 35mm film.
]]>Whether you are shooting weddings or graduation photos, you're probably using the sun as your main light source. We all know the sun is harsh and isn't always the most flattering kind of lighting for portraits, unless you're doing high key style portraits.
But that's beside the point! You are doing conventional portrait work for the masses, so here are some essential light modifiers you should consider:
Our DLX Beauty Dish Softbox is a quick-collapse light modifier that also doubles as a beauty dish and a softbox. It includes a deflector plate, which is the part that makes a beauty dish light modifier work. When removed, it acts as a standard double-diffused softbox that offers circular catchlights.
It also includes a grid attachment that narrows your beam angle and reduces spill. These softboxes are lightweight and easy to carry around. They also feature an interchangeable mounting system to work with the most popular flash mounts, such as Bowens, Balcar, Profoto, and more.
Using this modifier outside can help fill in shadows or act as a key light in the shade under a tree. All while offering the same quality of light as seen in studio.
In the example below, we compare what using no modifier under full sun is like versus our DLX Beauty Dish Softbox:
Our Sun Scrims are designed to modify large light sources such as the sun and artificial lighting. The Sun Scrim is lightweight and uses a quick-collapse frame. It is available in three styles with various sizes options:
Sun Scrim - Quick collapse frame with diffuser and a silver/white reflective fabric.
Boom Sun Scrim - Includes a boom arm to hold the modifier above your subject and includes a diffuser and a silver/white reflective fabric.
Giant Sun Scrim - Giant quick collapse frame with diffuser only. Designed to be used with light stands (not included).
We used the Giant 12x12ft Sun Scrim to diffuse the sun, giving us greater control over our outdoor shoot. From here, we are able to build up our lighting and get the results we want:
Our 5-in-1 reflectors come in various sizes and are an inexpensive light modifier for outdoor shoots. These collapsible panels have five different sides that include diffusion, gold reflective, silver reflective, white reflective, and black flagging fabric.
You can use these to add fill to your shot, block off light, or diffuse light. We recommend holding it up at a 45° angle to get the most flattering reflective light, as seen here with the white reflective side:
Another inexpensive light modifier for outdoor use are umbrellas, and we have options! Our umbrellas come in different materials such as diffusing, white reflective, and silver reflective. We even offer softbox-style umbrellas for more flattering light.
These modifiers are a classic go-to due to their ease of setup and low cost. Here, we used a reflective umbrella softbox with an off-camera flash. This style of umbrella offers the softbox glow without the bulk.
If you found this guide helpful or would like to add to the conversation, please comment below!
]]>If you're upgrading from a different Sony E-mount camera you'll likely have plenty of lenses to choose at your disposal. But if you're coming from an older system or want to experiment with vintage lenses, Fotodiox has a wide variety of adapters to choose from. The Sony E-mount has a relatively short flange focal distance which opens many lens adapting opportunities.
Mounts like the Canon FD, Minolta MD, and M42 (to name a few) are all popular lenses to adapt. These vintage lenses bring wonderful qualities, like the tactile feel, fully-manual operation, and adding character to your photos. Older lenses can typically be found on eBay, KEH, UsedPhotoPro, and sometimes even your local thrift store.
You can even adapt medium format lenses such as Mamiya 645, Hasselblad V, and Pentax 67. These workhorse lenses are known for having great optics, serving professionals for decades. Although the A7R V's resolution-packed full-frame sensor can't utilize the full image circle of medium format lenses, it captures the sweet spot of the lens right in the middle. This offers the best optical quality and depth of field.
Many of our adapters are completely manual, however, the Fotodiox Pronto adapter allows autofocus on manual-focus lenses. Natively, the Pronto adapter accepts Leica M-mount lenses, so you can use your favorite Leica M glass. If you don't have any Leica M lenses, you can double adapt different Fotodiox M-mount adapters to the Pronto to expand your options!
We also make lens adapters catered towards filmmakers and landscape photographers through our ND Throttle line. ND Throttle adapters have a built-in variable neutral density (2-8 stops) filter, giving you an extra layer of control. Bright daylight, which would usually drastically overexpose your scene, can be shot with a wide-open aperture using our ND Throttle.
While a lot of newer Sony E-mount bodies have the Pixel Shift Multi Shooting function to allow for high-res images, our RhinoCam Vertex adapters offer an alternative way to get more resolution.
Sony's Pixel Shift works by taking several pictures and compositing them using software. The final result gives more clarity and detail, as well as more megapixels. In contrast, the RhinoCam Vertex lens adapters are offers a much more transformative stitching process. It takes advantage of a larger image circle by shooting four overlapping shots and combining them in post-production. The final image is wider than the full-frame field of view.
Browse through all of our Sony E lens mount adapters here.
With a sensor as pixel-rich as the A7R V, why wouldn't you use it to get extreme close-ups and macro shots? There are plenty of macro accessories available depending on what you need specifically.
Extension tubes are a great place to start. Putting space between the lens and camera lets you get up close and personal with your subject. Your basic, fully-manual extension tubes are affordable and easy to install. The extension tube kit includes a mount for both the lens and camera, as well as three different-sized metal tubes that can be threaded together in any combination to suit your needs.
Automatic extension tubes are a little pricier, but they do offer some quality-of-life improvements. The bayonet mount on both sides makes them much quicker to swap out, and the electronic contacts allow for features like autofocus, aperture control, and image stabilization.
Macro helicoid adapters offer versatility if you have a lens with a different mount. When it's fully-contracted, it acts as any old lens adapter (as mentioned earlier in the article). But as you twist the ring to extend the adapter, you instantly improve your lens' close-focus distance. It's the best of both worlds!
Out of all of our macro accessories, bellows give you the longest extension. You also get precision; the rail mounts and knobs make the bellows easy to adjust.
If you have an ultra wide-angle lens like the Sony FE 12-24mm f/4 G or the Sony FE 12-24mm f/2.8 GM, you're well aware that the lens' built-in lens hoods doesn't allow for a standard filter thread. Our WonderPana filter holders clamp onto your lens and let you screw on our large round UV, CPL or ND filters. The Sony FE 12-24mm f/4 G filter holder uses our 145mm filters, while the Sony FE 12-24mm f/2.8 GM filter holder uses our larger 186mm size. If you're interested in our rectangular graduated ND filters, attach the upgrade brackets to your WonderPana filter holder.
The solid ND filters range from ND4 to ND1000, which are indispensable tools for getting smooth, long exposure photographs. If the idea of an ND1000 excites you, we do have them in standard filter sizes as well.
Sony offers plenty of amazing lenses at a variety of price points. It's an incredible ecosystem with lenses to fit all scenarios. But why limit yourself there? Adapting lenses gives us the chance to experiment with new looks and use lenses from other systems as well. And our macro accessories and our WonderPana filter system are great tools for bringing out the maximum potential of the lenses we already have.
]]>These small and useful items are great for gifting to multiple people or simply spoiling that special someone with more gifts!
These small, all-metal hardware pieces add style and functionality to anyone’s GoPro camera. This line of products comes in various colors and is compatible with all GoPro models and action cameras that use the GoPro 2-prong mounting system.
This universal, magnetic adapter allows you to adapt filters, lens hoods, and more onto any smartphone. The best camera afterall, is the one you can pull out of your pocket anywhere you are! These accessories are lightweight and can be taken anywhere as well! This is great for photographers and filmmakers.
If the person you are gifting to has one of those fancy flashes that go on their camera then look no further than our mini flash softboxes. These accessories are easy to use and soften the flash for more flattering photos of people. This humble gift goes a long way and makes a great tool for any photographer's lighting kit.
Making videos and livestreaming has risen in popularity in recent years, and it's never been easier to get into it than now. If someone in your life likes to make YouTube videos or livestreams on Twitch or anything in between than look no further than these great options:
Green screens are great for replacing the background in editing with anything you want. This piece of equipment is essential for live streamers and we have designed ours to be durable and compact. You can order our standard 5x7 green screen that comes with a stand or our new portable background kit that comes with self standing feet! Both styles of green screens come with a green and blue side.
Good lighting is important for anyone who is in front of a camera. Content creators also need lighting that's simple to use with effortless control over color temperature and power output. That is where our Selfie Starlite beauty lights come in! These plug and play lights come in two styles: a ring light design and a two headed flexible arm fixture. Our Selfie Starlites are centered around being able to mount your camera onto them and provide amazing lighting in an instant. Get that TikTok star this gift now, you won’t regret it.
This is one of the coolest easy to use, feature packed gifts you can get for a content creator. It will add color to anyone’s video in an instant without taking up much space. These include our Prizmo Stick 512 wand light (App Controlled), our Prizmo Globe dome light with magnetic base (App Controlled), and our Prizmo Pocket mini panel.
Filmmakers are always looking for great gear to add to their tools of the trade. Luckily we have plenty of nifty gadgets they’ll love.
What the heck is an ND Throttle? Well filmmakers love ND filters which are basically tinted filters that make things darker, providing more control over the lighting during a shoot. We designed a lens adapter with a built-in variable ND filter. This means there are multiple degrees of darkening that our ND Throttle adapter series offers, perfect for shooting in bright situations where lighting can't be controlled. This allows filmmakers to speed up their workflow without sacrificing quality when adapting lenses. Simply find out what lenses and camera your filmmaker giftee has to find the right adapter.
Focus handles and belts are used on lenses and provide smooth, more refined focus pulls.
We stock a wide range fun gift items catered towards photographers and more. These include:
LenZCoasters: a coaster set in the shape of a popular lens that any photographer or filmmaker would recognize.
Union Keyboard Tray: designed to fit the Apple Magic Keyboard and Trackpad 2 in one tray for improved ergonomics
Mirage Trio: a camera replica that works as a charging station for smartphones and Apple Watches
Crystal Cam: crystal camera replicas of popular cameras that work as bookends, display pieces, and more.
Our WonderPana filter adapter system is highly regarded in the landscape photography community. If the person you are shopping for has any of the compatible lenses, consider buying them a simple kit such as our CPL, UV, or ND kits. These are essential filters for a landscape photographer.
This is a great adapter for vintage lens collectors. With the RhinoCam Vertex, landscape photographers can use their vintage glass to capture four images in different positions. With these images, they can be combined in editing softwares like photoshop to create high detail images of scenic landscapes.
If you know someone who likes taking landscapes and scenic photos check out this practical filter. Our ND1000 filter is a tinted filter that blocks light by a lot. This helps create those moody photos with clouds and water that look blurred.
Not sure what to get that photographer in your life or video buff? It's okay. Macro accessories are the best gift because they unlock a whole new world of photography and video. Consider buying them one of our many macro extension tubes or even our macro bellows rail system.
We also have macro reverse rings which allows for mounting of the lens in reverse for quick macro capabilities. To get the correct version you’ll need to know the filter size of the lens and the mount on their camera system.
Lastly, consider our Ninja Macro Kit (or Complete Kit) which includes a 20x macro lens. Trust us, they will have hours of fun with this little trinket!
Need help figuring out which model of adapter, macro accessory or WonderPana you need for your giftee? Shoot us an email, we’re here to help!
]]>The camera was designed in response to commercial photographers in the tourism sector needing a camera that had the operational suave of a 35mm rangefinder with of course being compatible with 120 film.
The first production model was known as the Fujica G690 which used the 6x9 frame size, a similar aspect ratio as 35mm film. This frame size paired with Fujinon glass meant that commercial photographers could offer higher image quality on prints and work more efficiently.
The Fujica G690 and the lenses the system left behind might entice the average film shooter these days but even without the body, the lenses are still worthy workhorses. That is why we are the first to commercially offer a lens adapter for the Fujica GL69 bayonet to various mirrorless cameras. This professional grade, all-metal adapter is available for:
Canon RF-mount
Fujifilm X-mount
Fujifilm GFX G-mount
L-mount Alliance Cameras
Nikon Z-mount
Sony E-mount
Like many medium format lenses, the GL69 lenses used a leaf shutter which would be cocked via mechanisms within the camera. However, our adapter has a built-in cocking ring that keeps the shutter in the lens open. It’s a simple process that only requires the lens shutter speed to be set to ‘B’ (Bulb). With our adapter, you have access to the following lenses:
Fujinon 50mm f5.6Medium format lenses like these will excel on mounts such as the Fujifilm GFX G-mount, a platform that is still continuing to grow its lens selection. It's interesting to see a legacy mount like the GL69 being given a chance to be used on a breakthrough camera like the GFX.
Although these can be large focal length equivalents, medium format glass has found its place in the filmmaking space. Normally you hear about Mamiya 645, Pentax 645, and even Hasselblad lenses being used in this way. We believe our GL69 adapter can offer another high quality alternative. Checkout the full collection here.
Portable handheld lights are extremely useful and some of the most versatile pieces of equipment in any lighting kit. The Prizmo Stick 512’s cylindrical shape allows us to use more LED chips, a whole 234 of them, while maintaining its compact form factor. Two columns of bicolor chips and one RGB column line the board of the Prizmo Stick and are diffused by a 180° frosted polycarbonate shell. With this many LED chips, the Prizmo Stick is bright enough to be used as a small keylight.
The Prizmo Stick 512 can be used almost anywhere since it is powered by a rechargeable lithium ion battery. The run time for the battery is around two and a half hours at full power. A USB-C charging cable is included and the Prizmo Stick is compatible with Quick Charge 3.0. When used with a 5V 1.2A charger, the light will fully charge in 3.5 hours.
Using the Prizmo Stick 512 is simple, so you focus more on getting your shot rather than navigating through settings. There are only six menu options available on the Prizmo Stick 512 with real time adjustments displayed on an OLED screen:
All adjustments are made using the four capacitive touch buttons that only require a finger tap to change settings. Due to the sensitivity of the buttons, there is a lock feature on the power switch that prevents accidental changes to settings. This isn’t the only way to control the light; the Prizmo Stick 512 is compatible with our manufacturing partner’s mobile app. The app allows you to group multiple lights or control the settings of individual units via bluetooth.
The Prizmo Stick 512 also has a standard ¼-20” tripod socket at the base of the light for use with a variety of mounting hardware like our table top tripod, power arms, goosenecks, and more.
The Prizmo Stick 512 can be used in a variety of photo and video applications. It is bright enough to be used as a key light to light your subject whether it's a person or an object. The light emitted from the Prizmo Stick 512 is diffused so there is no need to worry about additional gear.
When we got the Prizmo Stick 512 in our shipment we immediately unboxed it and got to it. We did a quick test shoot inspired by the HBO series Euphoria because of the heavy use of RGB lighting in the show. In this shoot we did a traditional two light setup with one light at half power acting as a fill. Here are the results:
The addition of the Prizmo Stick 512 adds the versatility of a tube light to our handheld lighting selection. This includes models such as the Prizmo Pocket which uses the form factor of a smartphone while being just as bright as the Prizmo Stick 512. The Prizmo Globe is yet another handheld light that is also app controlled. And lastly the Radius W5 Pico 180° curved light is another notable compact light we carry. Be sure to checkout our handheld lighting collection here.
]]>Despite having one of the largest lens adapter selections, we do not always make standalone adapters for a given combination. There are a lot of factors as to why this is, with with the biggest reason being the popularity of a specific lens mount.
Double adapting, at least for Fotodiox, revolves around mirrorless systems and expanding the range of lens mounts using Canon EF lens adapters.
So what does this mean for the Nikon Z system? Currently we only support 22 unique lens mounts for the Z system through standalone PRO adapters. Using our EF-NKZ-P adapter you can create 20 additional lens combinations not available in our standalone offering for Nikon Z.
The possibilities don't stop there! With the Nikon Z system, things are a bit different due to the system having one of the smallest focal flange distance of any mirrorless cameras (beaten only by the Pentax Q). The Z system’s short flange allowed us to create an adapter for Sony E and Fujifilm X mount lenses to Nikon Z! Using the SNE-NKZ adapters lets you create 24 new combinations and the FX-NKZ creates 19 new combinations.
You can even mix and match with our specialty adapters for Sony E or Fuji X that may not be available to the Z system. This includes our DLX Stretch lineup for some macro functionality, our ColorFlare adapters if you’re feeling a bit artsy, and our TLT ROKR adapters for those SLR lens mounts.
For a full breakdown of combo adapter possibilities please checkout the Google sheet here. And if you need help getting a specific combination to work, by double adapting or otherwise, leave a support ticket here.
]]>The Warrior 1000XR is weather-resistant, which means it can operate in rain-like conditions (natural or artificial) for up to 15 minutes. Both the light head and the power supply are designed to be resistant to damage from water. This includes gaskets in all of the ports, sealed internals and wiring, and even the V-mount plates on the power supply. This allows the Warrior 1000XR to be used more on location in temperatures of -4° to 113° F (-20° to 45° C).
The Warrior 1000XR is our brightest bi-color LED unit that uses a hybrid 500W Daylight and 500W Tungsten COB LED. At one meter, the bare lens of the Warrior 1000XR can output ~18,830 lux (5600K). With the included 15° reflector, the output is amplified to ~230,000 lux (5600K). To give some perspective, the Warrior 1000XR is able to output the equivalent of a cloudy day with the bare lens and bright daylight with the 15° reflector. The COB LED has a lifespan of ~50,000 working hours.
The Warrior design is based around separating the power supply and control panel from the light source to conserve weight and maximize brightness. The Warrior 1000XR shares a similar interface as seen in the Warrior 600X with some differences such as a dedicated battery power button and a lock/stand-by button which locks the buttons on the power supply. The lock/stand-by button also provides the ability for instant-on functionality with your Warrior 1000XR when timing is critical to your shoot.
Here is a quick look at the interface buttons:
Brightness and color temperature can be fine-tuned or toggled to do broader stepped adjustments. This is done by long pressing the multi-function interface dial/button; this allows the brightness and color temperature to be changed in larger values for quick changes on set. Brightness can be adjusted from 0-100% and is flicker-free thanks to the PWM integrated circuit.
This menu button is used to adjust the DMX address range from 1 to 512. There is also an option for wireless DMX which can be enabled or disabled.
This allows the Warrior 1000XR series to be paired with the free app or to a remote (sold separately).
The special effects mode emulates real-world lighting scenarios and includes lightning, fireworks, flash, breath, cop car, SOS, faulty bulb, turn signal, screen, and alternating beam effects.
This adjusts the speed of the fan between low, medium, high, and auto.
Toggles between English and Chinese
The Warrior 1000XR power supply has a working AC voltage 100-240V and has a dedicated SF-20 port for DC 36-48V power. The power control box features two slots for V-lock batteries which can run for 18 minutes at 80% power using two Fotodiox 130h V-mount style batteries. Switching from V-mount battery power and AC power is quickly done by pressing the dedicated battery power button. The Warrior 1000XR can also be put into stand-by mode using the lock/stand-by button. This button cuts power to the light head only but keeps the power box on for instant-on functionality.
Along with the release of the Warrior 1000XR is our new Bowens mount spotlight modifier. This focusable 20° lens comes complete with an 18-blade iris insert, 12 M-size gobo disc inserts, a 100mm gel filter holder, and a 4 direction shutter, acting as internal barn doors for flagging the light.
The Warrior 1000XR is designed for big sets or large studios. This includes productions for filmmaking, commercials, editorials, broadcasting, and other industry projects. Its price point makes them accessible for freelance creators and smaller content creation teams.
To learn more about the Warrior 1000XR click here.
For information on other Warrior models checkout our Warrior 600 or Warrior 150 articles for more details!
Medium format cameras have always been around to deliver high detailed images with the most ease. These cameras still retain the traditional SLR design, making them portable and practical to use for a variety of shoots. However, medium format cameras come with a high-ticket price since they are considered professional tools reserved for commercial photography. Despite becoming more accessible through offerings such as the Fujifilm GFX system, not everyone has thousands of dollars to spend on these ecosystems.
Consider this: what if you could get medium format quality images with your current gear? - That is where our RhinoCam Vertex comes into play.
The RhinoCam Vertex is a compact stitch adapter that helps create medium format style images with standard digital sensors and vintage lenses. The Vertex allows you to take four images around a lenses’ image circle that can then be stitched together in editing software, such as Adobe Photoshop.
The RhinoCam Vertex mounts the camera off-center to capture the corners of the lens' image circle. The camera side rotates in four stages which represents the number of shots required to create the final stitch. These adapters feature an arca-swiss style tripod foot with a standard 1/4-20” thread. To properly use the adapter, it must be mounted on a tripod.
The four images can then be imported into Photoshop and combined using the stitch feature. Depending on the complexity of your shot, some retouching may be required to get the desired results. For example, if you are shooting a scene with moving objects you will have to carefully examine the photo to correct anything that is out of place. This includes things such as clouds and vehicles.
The final stitched image will be two times[three times] larger than what the sensor you are using can produce with a native lens - this also doubles your field of view. The image will also be sharper since the Vertex revolves around the sweet spot of the lens being adapted.
The RhinoCam Vertex has been optimized for mirrorless camera systems only and a main design principle is to utilize lenses of a larger format than than the camera it is made for. For example, we support Canon FD, Minolta MD, Canon EF, and Nikon G lenses on sensors smaller than full frame. This includes Canon EF-M, Sony E APS-C, and Fujifilm X cameras.
Camera Mount | Supported Lens Mount |
---|---|
Canon EF-M | Canon FD / Minolta MD / Canon EF / Nikon G |
Fujifilm X | Canon FD / Minolta MD / Canon EF / Nikon G |
Sony E (APS-C) | Canon FD / Minolta MD / Canon EF / Nikon G |
We also support full frame cameras and crop digital medium format cameras. These Vertex adapters are for Sony E Full Frame, Canon RF, Nikon Z, Fujifilm GFX, and Hasselblad XCD cameras to medium format film lenses. These include Bronica ETR, Hasselblad V, Mamiya 645, Pentax 645, and Pentax 67 lenses all of which cover a larger frame than the cameras they can be adapted to with the Vertex.
Camera Mount | Supported Lens Mount |
---|---|
Sony E (Full Frame) | Bronica ETR | Hasselblad V | Mamiya 645 | Pentax 645 | Pentax 67 |
Canon RF | Bronica ETR | Hasselblad V | Mamiya 645 | Pentax 645 | Pentax 67 |
Nikon Z | Bronica ETR | Hasselblad V | Mamiya 645 | Pentax 645 | Pentax 67 |
Fujifilm GFX | Bronica ETR | Hasselblad V | Mamiya 645 | Pentax 645 | Pentax 67 |
Hasselblad XCD | Bronica ETR | Hasselblad V | Mamiya 645 | Pentax 645 | Pentax 67 |
The RhinoCam Vertex is for anyone seeking high res images with the most detail and megapixels. It is a great tool for creating images needed in large format printing for fine art or advertising. Vertex is a cost effective solution compared to purchasing a Hasselblad H6D, especially if you already have any of the supported cameras/lenses. Despite vintage medium format lenses going up in price, its still more affordable to buy the lens and a Vertex adapter. Additionally, the final stitched image can be cropped to any ratio while still preserving megapixels and detail.
One thing to note about this adapter is that you lose the ability to photograph scenes with moving objects such as streets. It is best to use it in a controlled environment such as studio or for scenes with little to no movement. Of course everything can be fixed in post to an extent making the RhinoCam Vertex limited to the skill and comfort level of the photographer.
The original RhinoCam line came into existence in 2013 when we released the first version of the system. The first generation of the RhinoCam was bulkier than the Vertex. It utilized a board with an interchangeable lens mount that allowed the camera to shift in two linear paths. There were three versions made: one for DSLR cameras, one for APS-C sensors, and one for the full frame Sony A7’s of the time.
For a comparison on both systems, check out our past article here!
To view our RhinoCam Vertex collection, click here.
The NAB Show has everything to do with the people behind radio, tv, and everything that makes it happens and everything that comes from it.
How do we tie into this? Lighting of course! But this year we saw a new trend emerging from newsgroups and more: short-form media and livestreaming using smartphones. This comes from two years of a broader shift towards TikTok’s short-form media and Twitch’s livestream influence during the the absence of the NAB Show. For companies like us, this is where our smaller accessories come into play, like our new Ninja smartphone filter system and our GoTough action camera accessory.
Alright, back to our lighting…
We showcased our diverse assortment of light models around our booth and had a dedicated studio set up to highlight our new Warrior 1000XR. We piqued the interest of the video crowd with our square panels like the Prizmo Go 120W, SkyFiller Wings, and Factor 1x2. The video crowd can agree that square panels are the norm but are divided between the obvious standard of RGB. There was a lot of color at this show, and it solidified RGB LED units as a standard in lighting. But again, there are mixed feelings about it.
On one side you have filmmakers and broadcasters who are looking to upgrade their lighting kits to include something that has the RGB features, and on the other, those who want to stick to the traditional daylight-balanced lights. Interesting enough, this anti-RGB crowd would rather settle for a bi-color unit.
With this in mind, our Prizmo Go 120W captivated RGB enthusiasts because of its thin form factor, easy to use interface, and the value of the light. For just under $1,100 you get a panel with a CRI/TLCI of >95 that outputs 2,895 lux at one meter. It includes a barn door, grid, softbox, and remote, as well as a travel case.
For the more traditional crowd, our Factor 1x2 and 1x1 bi-color units were the preferred style of lighting. Both units are all-metal, include barn doors, and have a color temperature range of 3200k-5600K. On top of that, they eliminate the need for diffusers and rigs because the light produced from these panels is soft from the source.
[NAB5] [wings shot]
However, everyone agreed that our SkyFiller Wings 2x2 was an interesting light due to its ultra-thin form factor and its ability to fold in half for storage. A Kino Flostyle ball head mount keeps the panel propped up and EVERYONE liked that. It was the common consensus that this ballhead was a better option than our competitors models seen at the show. The SkyFiller Wings come in three sizes and in two LED chip flavors. We offer 36-inch round, as well as 2x2 and 1x4 rectilinear panels; all sizes are available in both bi-color or RGB versions. The concept of having the ballast separate from the light was very appealing to everyone since it offers the flexibility to mount the panel anywhere with ease.
Speaking of ballasts separate from the light, our Warrior 1000XR–Fotodiox’s crown jewel at the show–uses that same design principle. This bowens mount bi-color (2700-6500K) LED unit is our first weather resistant light. With the included hyper reflector, the Warrior 1000XR outputs 230,000 lux at one meter, and without it, 18,830 lux (readings taken at 5600K @ 1m). The Warrior 1000XR appealed to freelancers because of its power compared to its relatively compact form factor and competitively priced.
When it comes down to it, our professional LED panels come standard with a travel case and are V-mount battery compatible (sorry, Gold-mount battery users). We are also committed to offering the highest CRI chips and creating lighting units that output soft light from the source.
Now back to smartphones and NAB.
As stated earlier, media groups are using smartphones for their content creation. Aside from accessories, lighting is important which is why our Prizmo Pocket was a hit with these groups. Its small form factor pairs well with a phone rig or mirrorless camera setup. This all-metal panel is adjustable with four lighting modes to work with: CCT, HSI, RGB, and FX mode. The Prizmo Pocket is perfect for short-form content creation on the go. It uses an internal battery that can be charged using the included USB-C cable and can even act as a battery bank.
Another small LED light that made the rounds at our booth was our Factor Radius Mini. A first of its kind, the Factor Radius series features curved LED panels with a 180° beam angle, perfect for lighting large groups of people with no hotspots. The soft, diffused light eliminates the need to use additional accessories to create flattering light. The Radius Mini is bi-color and runs on one NP-F style battery (included). This was an appealing option for camera operators who do interviews at commercial events or work with reporters on location.
Other notable products that caught attendees’ eyes this year were our WonderPana filter system and lens adapters. Our WonderPana system was mostly met by people wanting to know what our ‘matte box looking thing’ was. And if you’re reading this wanting to know what a WonderPana is, it's a Fotodiox-original filter system designed for wide angle lenses that do not have traditional filter threads.
As for lens adapters, people were amazed by our ND Throttle lens adapters. These adapters have a built-in 2 to 8 stop variable ND filter. They offer behind-the-lens filtration while adapting non-native lenses to your camera, and minimize image degradation because the filter is on the rear of the image plane. The PL mount ND Throttles were the most talked about, but our auto focus EF mount versions were also captivating attendees.
For those ‘stills’ guys, our RhinoCam Vertex was asked about due to its unique nature. The RhinoCam Vertex is an adapter that rotates the camera’s sensor in four positions around the image circle of the lens it’s adapted to. These images can then be stitched together to create a square format image. Imagine getting hi-res stills on set with one of these!
Overall, we left a good impression on those who did not know about us. Our large lighting catalog amazed everyone including our loyal customer base who paid us a visit. Although this NAB was somewhat slower than previous years, it gave everyone an idea of what to expect from lighting moving forward. RGB is now the industry standard and weather proofing is the next key feature witnessed at this year's show. The NAB expo confirmed that we are definitely a solid choice in lighting for freelancers and studios. Our lighting catalog reflects that with models for all experience levels. If you want to learn more about our lighting be sure to check out our blog and website or reach out to us with any questions or concerns. We’ll check back on this topic in 2023, see ya then, cowboy.
Our starter lights include compact LED panels that have a high output. These are great options for anyone on a budget.
LED-98A
The LED-98A is a daylight-balanced bare-bulb LED panel that runs a rechargeable Sony NP-F style battery. It includes two magnetic filters, tungsten and diffusion, as well as a cold shoe ballhead for mounting it onto a camera.
LED-209AS
The LED-209AS is a bi-color LED panel that offers a color temperature range of 3200K (warm) to 5600K (cool). It includes a magnetic diffusion filter, a cold shoe ballhead, and runs on a rechargeable Sony NP-F battery.
LED-312DS
This is a similar unit to the 209AS but includes more LED builds and a removable barndoor attachment. This is a versatile light that can be used for live streaming and other content creation.
Prizmo Pocket
The Prizmo Pocket is a low-profile RGBW+T LED light packed with features. With four modes to choose from, the Prizmo Pocket is a powerful and soft light source that can quickly be used to add color or special effects to your scene.
Radius Pico + Mini
The Radius Pico and Mini are curved LED panels with a 180° beam angle. These bright LED panels are great for lighting large spaces thanks to their widespread. The Pico is the most compact version of our Radius lights while the Mini packs more power while maintaining a small form factor.
Our Selfie Starlite ring lights are a great choice for live streamers since they are easy to use and cost less than other professional-grade lighting options. Our ring lights offer soft, even lighting without any need to attach diffusers or other panels. They are also lightweight and compact!
We offer three versions of our ring lights which include a 12-inch phone-oriented version, an 18-inch bi-color, and an 18-inch RGB version.
We also recommend our Selfie Starlite Stix which are defined by their unique design that features two slim panels mounted on heavy-duty, flexible arms. The panels include built-in diffusion and can be positioned at various angles. We have a light stand version and a tabletop version that wraps around monitors.
At this time we offer a live streamer kit that pairs one of our Selfie Starlite models with a blue/green screen portable background kit. This background quickly collapses to a quarter of its size and includes a background support stand. This bundle is perfect for cutting your background out in streaming software such as OBS. Click here for more information!
If you are at the level where maintaining your personal brand is a priority then look no further than to our professional-grade studio lights. These LED panels are high-intensity and offer a premium, compact build. They are compact and include a heavy-duty travel case. All of these options offer soft, diffused light and produce an always flattering look on camera.
FlapJack C-700
The FlapJack C-700 is an award-winning LED panel known for its ultra-thin profile and circular form factor. Its shape helps create circular catchlights in the eyes and provides even coverage on your subject. The FlapJack C-700 brightness can be adjusted from 10-100% (flicker-free) and has a color temperature range of 3200-5600K. This panel can be battery powered with the included Sony NP-F style batteries and also run on AC power with the included power supply.
SkyFiller Bi-Color 2 + 3 Light Kits
The SkyFiller is a series of high-powered, thin LED panels. The purpose of this design is to create a lightweight panel that can still produce high-intensity light. It can be adjusted to your desired position thanks to the magic arm mounting system. The SkyFiller bi-color panels come in a 1x2’ and 1x1’ form factor and also include premium light stands.
Prizmo GO + JUPITER
Our Prizmo Go and Prizmo Jupiter are compact, production-level LED panels. Both models are high-output and feature four lighting modes for white light adjustments, creating color, and special effects. These lights are also DMX-512 compatible and can be battery powered using a v-mount battery (not included). The Prizmo Go has a traditional rectangle form factor and comes standard with a barndoor attachment for adjusting the beam angle. The Prizmo Jupiter, on the other hand, uses a circular form factor.
These options are catered for anyone who needs the brightest lights we got. These lights are battery power ready and use the industry standard v-mount battery (not included). A premium travel case is included with the light, making storing and transporting them hassle free. They are also DMX ready if you're into that.
Warrior 300 + 600
Distinguished by their cubical shape, the Warrior 300 and 600 are both powerhouse lights. Both units are brighter than any of our panels and include a Bowens mount. This allows you to easily shape the light with various light modifiers such as softboxes, lanterns, and more.
Factor
Our Factor bi-color series are all-metal LED panels designed for large production sets. Despite their size, they are easy to transport and setup. Our Factor LED panels come in various sizes and shapes as well as attachments such as grids and barndoors.
Factor Prizmo
Much like our Factor bi-color, the Factor Prizmo shares the same premium features and power. However, the Factor Prizmo are RGB lights and include the same awesome lighting modes we’ve described previously on our other RGB lights. The Factor Prizmo are available in a 1x2 rectangular and a 1x1 square style. They also feature a barndoor, grid, and softbox attachment for light shaping and a remote!
Factor Radius
We mentioned the Radius Pico and Mini at the beginning of our list and how they are a wide-angle light. Well, get ready for the Factor Radius, the supercharged version! The Factor Radius packs a punch like our Factor panels but of course, have the advantage of covering a larger area than traditional lights. These are great for lighting a large group or a full body.
We hope to see the awards show make a comeback in 2023! Like all great things, they have to start somewhere and its not always going to be pretty. But with dedication comes great things. Think of the first Stream Awards as the early days of your favorite big streamer. They didn't give up, they kept pushing through with all the ups and downs defining who they are today. You did great QTCinderella and Team!
]]>With the announcement of the OM System OM-1 and the Panasonic Lumix GH6, we are reminded that the MFT system is still around, especially in a time when multiple full-frame mirrorless cameras offerings are available. Despite the smaller sensor size, the MFT system has proven time after time that sensor size does not matter. With a strong user base, we have supported the system by providing a large selection of Micro Four Thirds lens adapters. These range from different lens mounts and specialty adapters.
If you’re considering getting the OM-1 or the GH6 or simply curious about adapting lenses on your Micro Four Thirds camera, we will point you in the right direction with this guide.
But before you adapt lenses, keep in mind that there will be a 2x crop factor on Micro Four Thirds cameras when compared to full-frame or 35mm film - this is due to the small 17.30mmx13mm sensor. For example, a 50mm lens would have a field of view equivalent to a 100mm lens. Wide-angle lenses are well suited for general shooting while longer full-frame focal lengths are best reserved for portrait, wildlife, macro, or astrophotography.
That being said, let's dive into the adapter types we offer for Micro Four Thirds along with our suggestions. We’ll also include the top 5 selling adapters for Micro Four Thirds of 2021 at the end.
Standard
Our standard lens adapters are inexpensive and offer an all-metal aluminum build. Their accessibility is great for beginners and also for quickly adapting a lens. view more.
PRO
PRO adapters feature a premium build that includes a reinforced lens mount, leaf springs, and stronger metal alloy construction. These adapters are made for professional use or for anyone who wants the best gear. click here to view more.
FUSION
Our FUSION adapters restore electronic functions to a lens such as aperture control and autofocus. Our FUSION series primarily supports Canon EOS EF lenses due to their abundance. We offer two firmware upgradeable options for MFT systems with one having a 0.71x focal reducing optic - known as the MFT FUSION Redux. With this optic, the lens image circle is refocused to fit the camera sensor while widening the focal length and f-stop. This means that a 50mm f/1.2 lens with our MFT FUSION Redux would be reduced to a 35mm f/0/9! view more.
TLT ROKR**
With our TLT ROKR adapters, you can turn any supported mount into a tilt-shift lens, a style of lens that the MFT system has yet to offer. Our TLT ROKR adapters offer 10° of tilt, 9mm of shift, and 360° of rotation. This is a great option for architectural photography, miniaturization effects, and perspective control. view more.
ND Throttle
A first of its kind, the ND Throttle is a series of adapters that have a built-in variable neutral density filter (2-8 Stop). Our ND Throttle is a very popular choice for filmmakers and landscape photographers. We recommend this adapter for video shooters who use any of the Lumix GH cameras. view more.
DLX Stretch**
The DLX Stretch series are helicoid adapters that provide macro focus and correct back focus issues. These adapters also include three magnetic drop-in filters: ND4, ND8, and ND16. view more.
Macro
Macro photography is extremely popular and we offer adapters that make it easy to do. We carry macro lens adapters that use a helicoid to expand, turning the adapter into an extension tube. We also have macro reverse rings for mounting a lens in reverse via the filter thread. This essentially turns your lens into a macro one. view more.
Misc
Shift
A lens adapter that shifts 9mm side-to-side with 360° of rotation. view more.
DLX
A premium lens adapter designed with a long-throw aperture control dial. We currently support Nikon G lenses with this style of adapter. view more.
ArtFX ColorFlare
Our ArtFX ColorFlare adapters create organic flaring for a stylized video or photo effect. view more.
Polar Throttle
A premium lens adapter with a built-in circular polarization filter. Much like the ND Throttle, intensity is controlled from a dial on the adapter. view more.
**Not Compatible with Olympus OM-D E-M1 Mark I/II, E-M1X, E-M5 Mark I/II, E-M10 Mark I/II/III
Our suggested lens adapters:
Nikon F
Wide-angle lenses are highly recommended when adapting, that is why we recommended looking into Nikon’s vast collection of wide-angle lenses. There are 60 wide-angle lenses to choose from going as far back as the 1960s. Nikon lenses are well-regarded for their sharpness and build quality which makes them perfect to start a simple lens kit with. view adapter.
Canon FD
With about 30 wide-angle lenses to choose from, Canon FD lenses are the second-best full-frame lenses to adapt with. There is also a variety of great, longer focal lengths to choose from when going down the Canon FD route. view adapter.
Pen F
The Olympus Pen F system is a half frame camera that produces two images on a single frame of 35mm film. The image area is 18x24mm which is similar to a Micro Four Thirds camera. The crop factor of Pen F lenses on MFT cameras is 1.39x. This means a Pen F lens such as the Olympus G.Zuiko Auto-W 20mm F2.8 would be equivalent to 28mm on your MFT camera. This smaller crop factor makes a difference when compared to the 2x crop factor on full-frame. view adapter.
Pentax 110
There is virtually no need to worry about a crop factor when using Pentax Auto 110 lenses on MFT cameras. The Pentax Auto 110 is a 110 cartridge film camera that uses a 13x17mm frame. You also get the added benefit of using Pentax glass known for its amazing resolving power - they’re sharp lenses. view adapter.
C-Mount
C-mount was once used by 16mm movie cameras and is commonly found on security cameras and industrial applications. Both are fun to try out since the image circle is smaller than MFT meaning that you will not always get full sensor coverage. Despite this, C-mount lenses are plentiful and we highly recommend the 16mm lenses. view adapter.
D-Mount
D-mount lenses were made for 8mm movie cameras and have lenses with an even smaller image circle. Wait until you see what stylized looks you can get from these lenses. If you love lomo style photos or video, this is the one for you. You will need to pair this adapter with the C-mount to MFT adapter. view adapter.
MFT TOP SELLERS OF 2021
1. Fotodiox Lens Mount Adapter - C-Mount CCTV / Cine Lens to Micro Four Thirds (MFT, M4/3) Mount Mirrorless Camera Body view.
2. Fotodiox Lens Mount Adapter - Nikon Nikkor F Mount D/SLR Lens to Micro Four Thirds (MFT, M4/3) Mount Mirrorless Camera Body view.
3. Fotodiox Lens Mount Adapter - Olympus Zuiko (OM) 35mm SLR Lens to Micro Four Thirds (MFT, M4/3) Mount Mirrorless Camera Body view.
4. Fotodiox Lens Mount Adapter - M42 Screw Mount SLR Lens to Micro Four Thirds (MFT, M4/3) Mount Mirrorless Camera Body view.
5. Fotodiox Pro Fusion Adapter, Smart AF Adapter - Canon EOS (EF / EF-S) D/SLR Lens to Micro Four Thirds (MFT, M4/3) Mount Mirrorless Camera Body with Full Automated Functions view.
We hope you found this guide into our Micro Four Thirds lens adapter useful. If you want to see our catalog visit the link below to view all of our MFT adapters!
We’ll show you our top 5 lens adapters for 2021, but before we start - what is a lens adapter?
A lens adapter is an accessory that makes it possible to mount and use lenses not originally intended for your camera.
And we know lens adapters, considering that we have the largest selection of them in the world. Our adapters are precision-made and feature all-metal construction. If you’re considering gifting one, just know the person is receiving a premium gift. Here are our top 5 lens adapters of 2021:
Starting off our list is our FUSION smart adapter for Canon EF lenses to Canon RF-mount cameras. This adapter restores electontric functions to the Canon EF lens which include features such as autofocus. This is a good adapter to give someone who are getting started or just got a new Canon RF-mount mirrorless camera. It gives them access to the entire Canon EF and EF-S collection which is decades of lenses! Check to see if they have the following cameras:
Canon EOS R, RP, RA, R5, R6
Our FUSION ND Throttle for Canon EF lenses to L-mount cameras is a popular lens adapter in the video community. This is a smart adapter that enables electronic control of Canon EF lenses from an L-mount camera such as the Sigma Fp. This enables features like autofocus and image stabilization to function, as well as EXIF data transmission of lens data.
Our FUSION ND Throttle has a built-in variable ND4 to ND256 filter, another favored accessory in the video world. This smart adapter is also firmware-upgradable with future updates that improve and expand the adapter’s functionality where needed. If the person you are shopping for has one of the following cameras, then this is a good choice:
Panasonic Lumix S1, S1R, S1H, S5
Sigma fp, fp-L
Warning: this might cause gear acquisition syndrome since the world of Canon EF adapting offers an extensive variety of affordable lens options.
Tilt/shift photography is very technical but when it comes to breaking the rules, it creates stunning creative results - when done right. That is why our TILT ROKR tilt-shift adapter are so popular amongst photographers. Our TLT ROKR lens adapter for Nikon G lenses to Sony E-mount cameras takes the #3 spot.
It's no surprise considering that Nikon G lenses are more controllable when adapting than Canon EF lenses. Not only does our adapter allow Nikon lenses a tilt-shift ability, it can also mechanically adjust the lens aperture. This adapter will also allow you to use Nikon F-mount manual focus lenses giving you access to 400+ high-quality lenses from over 60 years, which are plentiful on the used market. If your photographer has one of the following camera, consider gifting them this tilt-shift adapter:
Sony Alpha α7 I / II / III / IV, α7R I / II / III / IV, α7S I / II / III, α7C, α9 I / II, α1
Sony Alpha α3000, α3500, α5000, α5100, α6000, m α6100, α6300, α6400, α6500, α6600
Sony Alpha NEX-3, NEX-C3, NEX-F3, NEX-3N, NEX-5, NEX-5N, NEX-5R, NEX-5T, NEX-6, NEX-7
Sony Smartshot QX1, QX10, QX30, QX100
Sony Security SNC-VB770, UMC-S3C
Sony Handicam NEX-VG10, NEX-VG20, NEX-VG30, NEX-VG900
Sony NXCAM NEX-EA50, NEX-FS100, NEX-FS700, NEX-FS700R
Sony XDCAM FS5, FS5 II, FS7, FS7 II, FX3, FX6, FX9
Sony CineAlta VENICE
This humble adapter is great to give to someone who absolutely loves photography, and is a Canon EF shooter. This adapter allows a wide range of vintage M42 screw-mount lenses to be used on any Canon EF mount camera. M42 lenses are abundant and using them offers a nuanced experience.
This adapter is slim and has no optics which means whoever gets this adapter will be able to get the full optical characteristics from the adapted lens. This is a great option for anyone as it gets their foot in the door to the world lens adapting. Once you start, you cannot stop as the possibilities are endless. Here are the cameras our M42 to Canon EF lens adapter is compatible with:
EOS 10D, 20D, 20Da, 30D, 40D, 50D, 60D, 60Da, 70D, 80D, 90D
EOS 5D/II/III/IV, 5DS/R, 6D/II, 7D/II
EOS 1D/II/IIN/III/IV, 1Ds/II/III, 1D C, 1D X/II
EOS Rebel, XT, XS, T1i-T7i, SL1, SL2, SL3
Blackmagic Pocket Cinema Camera 6K (Canon EF)
Z CAM E2-S6 Super 35 6K, E2-F6 Full-Frame 6K,E2-F8 Full-Frame 8K Cinema Cameras
Consider pairing this adapter with our M42 retention ring. This accessory expands the compatibility of our adapter with more recently-made M42 lenses.
It's no surprise that our PRONTO autofocus lens adapter for Leica M lenses to Sony E is at the top. That's right, autofocus adapter! Our PRONTO adapter uses an internal motor to focus Leica M lenses. It doesn't end there, our adapter can also be combined with other adapters. This enables autofocus for a wide range of vintage lenses on compatible Sony E-mount cameras. Checkout our website to see all the combinations we offer!
Not only can our PRONTO adapter autofocus, it is also firmware upgradable. Here are the Sony E-mount models our PRONTO adapter is compatible with:
Sony α6100, α6400, α6500, α6600
Sony α7 II, α7 III, α7c, α7R II
Sony α9, α9 II
Sony α1
That wraps up our list. If you are interested in browsing the rest of our lens adapter catalog checkout the links below. Happy holidays. ❄️
All Lens Adapters - checkout our lens adapter finder tool!
PRO Lens Adapters - professional grade lens adapters
ND Throttle - built-in variable ND4-ND256 filter adapters
TLT ROKR - tilt/shift lens adapters
FUSION - smart lens adapter
RhinoCam Vertex - shift/stitch lens adapter
PRONTO - autofocus lens adapter
]]>That's right, the best deal.
Our Selfie Starlite vlog lights have been the go-to for many content creators because of their ease of use and affordable price point - plus our two year warranty and dedicated tech support. 🤓
This holiday season, give someone or yourself one of our various Selfie Starlite Gift Packs! This holiday bundle pairs one of our FIVE Selfie Starlite LED lights with one of THREE blue/green collapsible background kits.
Okay here is why you or someone you love, appreciate, or cherish would need this kit:
Our Selfie Starlite LED lights offer soft light from the source and can be positioned anywhere you would like. It totally beats using the ceiling light in a room and offers more control over your stream. They are also LED which means they do not get as hot as other lighting sources! This also keeps our lights compact, taking up less space in your setups.
With the blue/green background, you can put yourself over your stream whether you are gaming or DJing on Twitch. This is easily done through your preferred streaming software such as OBS. The same can be done if you are creating content for YouTube or TikTok videos; this technique is not exclusive to streaming.
In this guide, we’ll break down our five Selfie Starlites and our blue/green collapsible backgrounds kit sizes.
Ring lights are a great choice for beginners since they are easy to use and cost less than other professional-grade lighting options. Our ring lights offer soft, even lighting from the source - no need to attach diffusers or other panels. They are also lightweight and compact! Here are the three versions we offer:
Our most popular is the 18 inch bi-color ring light that includes a beauty mirror and articulating phone clamp, all packaged in a premium travel case. This easy-to-use light only has two dials that control color temperature and brightness. The color temperature can be adjusted from 3200-5600K (or warm to cool white), and has a 10-100% dimmable range. This ring light is AC power only and a great fit for spaces of all sizes. It also mounts to any standard light stand laying around and can articulate 180°.
The Selfie Starlite features an industry-standard 1/4”-20 screw port centered above the control dials and a cold shoe slot. This leaves plenty of room to mount the included beauty mirror with the phone clamp or a camera and microphone. Using the ring light in this fashion gives you the iconic ring catchlight and also the most favorable look... yaasssss. Overall, this is the most versatile, user-friendly option.
For those looking to add color, we offer a Prizmo Edition with a 360° color range! This version of our Selfie Starlite Ring Light allows you to change the color temperature range, choose a color from a 360° color wheel, mix your own color, and create presets. The Prizmo Edition is still 18 inches and uses the same mounting base as the bi-color version. It is also AC powered but if you want battery power, the Prizmo Edition is Sony NP-F compatible (batteries not included).
The Prizmo Edition comes with everything you need to power the light, an articulating phone clamp, and a remote control all bundled in a premium travel case. The Prizmo Edition also has two cold shoe mounts and a 1/4”-20 screw port at the center.
For phone heavy streaming or content creation, such as TikTok or SnapChat, we have a 12-inch size called the Selfie Starlite Mini. This is a tabletop version of our classic Selfie Starlite which includes a beauty mirror, phone clamp, ballhead, and table top tripod all bundled in a travel case. The Selfie Starlite Mini is also compatible with a Sony NP-F style battery (batteries not included) meaning you can have high quality lighting no matter where you stream!
The Selfie Starlite Stix are defined by their unique design which features two slim panels mounted on heavy-duty, flexible arms. The panels include built-in diffusion and can be positioned in various angles. This ultra bright light is available in two editions, both of which are bi-color (3000-6500K) and have a 0-100% dimmable range.
The Selfie Starlite Stix Vlog light is a complete vlogging kit that instantly gives any content creation a production quality boost. It includes a phone clamp that uses the same heavy-duty gooseneck arm as the LED panels. It also includes two 1/4”-20 screw ports that allow you to attach a wide range of photo/video accessories such as the phone clamp. The light is AC power but is Sony NP-F battery compatible, but keep in mind batteries are not included. The light also has a USB port for powering your phone, camera, or whatever accessory you mount onto the light. This Selfie Starlite Stix also comes with a remote and a 6ft light stand packed in a premium travel case.
If you are someone who streams their arts and crafts this is a good option for positioning your lighting just where it needs to be. This is also a very popular choice among makeup and tattoo artists who use the Stix as a work light. Overall, if it's something that requires being hands-on, this is the light for you.
Much like the Selfie Starlite Stix, the Stix TT version is exclusively made for desktops and rather than featuring a light stand bracket, the Stix TT includes a weighted base. This allows it to be securely positioned behind a monitor. There are three sizes to choose from, each accommodating for your setup. Whether you’re streaming on single or multi-monitor setup, we offer the Stix TT in a 95cm, 110cm, and 125cm width.
The Selfie Starlite Stix TT is AC-powered and is also Sony NP-F battery compatible. It includes a gooseneck phone clamp and retains the same USB and 1/4”-20 screw ports as the original Selfie Starlite Stix.
We are well known for our collapsible blue/green backgrounds that fold down to a quarter of their size due to a foldable frame structure. These premium backgrounds make green screen work accessible to anyone without having to worry about space. The kit includes a heavy-duty background holder stand that helps position the background exactly where you need it.
With our Selfie Starlite Gift Pack you have the option of pairing any of our five Selfie Starlite LED lights with a 40x60in, 48x72in or 5x7ft blue/green collapsible background kit.
No matter which option you select, if this bundle is for you or someone else, it's a great addition to your content creator journey. Having good lighting boosts your production quality and is one of many elements needed to grow your following. These bundles are great for anyone who is starting off or looking to upgrade their current setup. Like most things these days, it's very plug-and-play so you can spend more time creating and less time worrying. Which option is right for you? Give us a shoutout if our Selfie Starlite Gift Pack ends up on your stream!
For more articles like this be sure to subscribe to our newsletter or follow us on social media to stay up to date. Happy holidays. ❄️
]]>Keep in mind that colors possess the power of duality. They can be used to invoke a wide range of positive emotions while also holding the power to be a bit more sinister… we’ll begin in ROYGBIV order!
Red
Red is one of the most prominent colors used in the horror genre. The color of our own blood is used to emphasize fear. It can also represent bottled-up rage and violence. Red lighting is used in conjunction with the antagonist to depict them as the threat whereas the protagonist is seen as the victim of what is to come. This can be seen in the film, Insidious, where red fill lighting sets the tone for the chain of events that unfolds in the demon’s lair.
In the film, Ex Machina, red lighting is strictly used to manifest the movie’s brutal final act. Red becomes the main light, telling us that there is nowhere to hide and nowhere to run. This monochromatic approach is as immersive as it gets drawing the viewer into the scene to relate to the protagonist.
Orange
In terms of lighting, orange is used sparingly in horror but a general theme can be drawn from this color. We feel as if orange is a great way to add a sense of false hope by providing a warm, comforting atmosphere that can quickly shift to red when the sense of hope is broken. The color itself serves as a motif.
In the film, Beyond the Black Rainbow, the characters are promised a better version of themselves but considering that it’s a horror film, it doesn’t go as planned. Orange highlights this delusion, letting us know that something ominous is in the works. The color along with red are used extensively throughout the film.
The same can be seen in the film Green Room where, in a not-so-green room, the orange tungsten glow from light bulbs is used in scenes where the chance of escape is in the minds of the characters but in reality… we know it never was.
Yellow
Yellow sits between red and green on a color wheel. We do not mean to spoil what green represents but how rotten of us to do so. Green is the color of all things grotesque and symbolizes a demise. Because of this, yellow depicts a premonition and much like orange, it is a motif. Yellow lighting can be used to emphasize that a character or event will be met with an unexpected tragedy. Yellow can also symbolize a character losing control of oneself or to highlight the trauma a character is being put through. It can also depict a shift in emotions or state of mind. This is apparent in the film, The Perfection, where the color by itself is used in scenes where the characters have lost it.
Green
Green is a prominent color in the horror genre as it represents death and decay, a sickening feeling, and the grotesque. We see this represented in the film, Beetlejuice, when a character is depicted with a distorted face while being backlit by intense shades of green.
Blue
Blue is a very versatile color in the horror genre that represents a wide range of emotions. It pairs well with elements that involve isolation, being trapped, or lost. Blue lighting was widely used in horror classics like A Nightmare On Elm Street and Friday The Thirteenth to depict nighttime. It also serves to keep the viewers focused on the premise that you are in a world in which you cannot escape what is hunting you.
We are sure there are better examples of blue being used in modern horror movies that do not involve color grading but we will use the recent film, Censor. The blue lighting cast on the subject plays with the film’s narrative of being lost and trapped in one’s own obsession.
Indigo/Violet
Variations of indigo and violet have been used extensively in countless psychological horror films. It can be seen in films such as The Neon Demon or CAM. These colors have found their place in the subgenre and honestly, we are all for it. For that reason, purple works well in creating a dream gone bad atmosphere. It complements the surreal story building seen in psychological horror.
This is solely our opinion and our take on the colors of horror. Color is open to personal and cultural interpretation. How we use and perceive color in media can change its meaning over time. These are just the general themes one can see in films. If you haven’t experimented with color we highly recommend giving it a try. An easy way to get started is by checking out our Prizmo LED lighting lineup. We offer professional grade RGB lighting in different shapes and sizes.
Click here for more information on our Prizmo Lineup!
We hope this quick read was insightful. If you like this and want to see more from our blog subscribe to our newsletter or follow us on your preferred social media.
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We live in a time where video streaming is thriving. Services such as Twitch and Zoom have dominated the digital space in the last two years. Whether you take meetings or present remotely, stream, or vlog, you definitely find yourself in need of lighting!
Our Selfie Starlite Stix TT tabletop vlog light makes lighting easy. This compact unit is designed to wrap around your setup and offers soft, bright light with brightness and color temperature adjustments. The Selfie Starlite Stix Tabletop vlog light sits at the center of your setup using a weighted base. The light panels extend from the base using heavy-duty gooseneck arms that can be adjusted to any angle desired. It also includes a gooseneck with a phone clamp for phone video purposes.
Phone video purposes? Of course, it's great for taking a Zoom call on your phone while having the most flattering lighting available. Or maybe for creating hot takes for your social media (we’re looking at you, TikTok creators 👀).
The Selfie Starlite Stix TT is flicker-free with a dimmable range of 0-100% that can be adjusted using the dial on the base of the light. The output at one meter is 4,800Lux which is just as bright as many of our professional on-camera broadcasting lights. In other words, it's really lightweight and it's brighter than your ceiling light or the light coming from your window.
The same button used to control the brightness can be pressed to access the color temperature range. This can be adjusted from 3000K to 6500K to match the lighting in your vicinity. This range will allow matching of a wide variety of light sources, such as warmer tungsten light (3200K) or cooler daylight (5600K). It is common practice to use the daylight setting for video.
The Selfie Starlite Stix TT vlog light runs on AC power with the included power supply but is also compatible with two Sony NP-F style batteries of any size (batteries not included). If you don’t already own a set, NP-F series batteries are very common these days and affordable options are available from many manufacturers. With this in mind, the Selfie Starlite Stix can be used on the go.
And speaking of taking it on the go, the Selfie Starlite Stix TT comes bundled in a padded carrying case for easy transport and storage. The Selfie Starlite Stix TT comes in three sizes that reference the overall spread of the gooseneck arms: 95cm, 110cm, and 125cm. We picked these three sizes based on the most common computer monitors on the market so that you can find the right size for your setup.
Our Selfie Starlite lineup does not end with the Stix TT tabletop vlog light, it also includes the original Selfie Starlite Stix and three different ring light options.
The first addition to our Selfie Starlite lineup, this 18-inch bi-color ring light comes in a padded case and includes a mirror, gooseneck phone clamp, and AC power cord. This version supports AC power only.
This ring light is our RGB version with a 360° full-color gamut and pre-programmed special effects modes. The Prizmo Edition comes in a padded case with a gooseneck phone clamp, AC power supply, and wireless remote control. The Selfie Starlite Prizmo Edition supports operation on battery power with NP-F series batteries (not included).
The Mini is a 12-inch diameter bi-color ring light that includes a tabletop tripod, ballhead phone clamp, and AC power supply in a carrying case. The Mini can also be operated on battery power with one NP-F series battery (not included).
The Selfie Starlite Stix has all of the same features as the Stix TT, excluding the weighted base for tabletop use. Featuring adjustable arms with a 60cm spread it’s great for vlogging, makeup or small product photography. The Stix comes with a gooseneck phone clamp, AC power supply, wireless remote control, and light stand all in a custom padded case. The Selfie Starlite Stix TT can also be powered by NP-F series batteries (not included) making it a great on-the-go solution.
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If you are looking to upgrade your lighting kit to something versatile and easy to transport, then we have a pretty good option for you. The Prizmo Go is a feature-rich, all-metal LED panel with a color temperature range of 2800K to 10000K and a complete 360° HSI color selection. The Prizmo Go produces soft lighting that can be modified with the included metal barndoor attachment and the optional softbox or grid options (sold separately). The panel has several pre-programmed modes and a crystal clear display to see adjustments in real-time. Our user-friendly panel also comes standard with a custom-fitted travel case and is V-lock battery compatible, making it a great on-location option.
In this overview, we will highlight all the features that make the Prizmo Go one of our “go-to” LED panels.
It's RGB+W on the GO!
The Prizmo Go has an array of RGB+W LED chips meaning it can produce red, green, blue, and white light. The Prizmo Go does not have a ‘Tungsten’ diode that is common on our studio LED units. Instead, the RGB diodes help create the warm white color range in this model. This still allows advanced users to adjust the green and magenta shift for accurate color rendering.
The Prizmo Go’s LED array is diffused by a specially designed acrylic diffusion panel that reduces color shifts. And speaking of color, since the Prizmo Go is using the latest in LED chip technology, it boasts a high CRI/TCLI of ≥95 which renders colors very accurately to a camera sensor.
The Prizmo Go delivers the following outputs at one meter (100% power):
2800K - 2632Lux
3200K - 2803Lux
5600K - 2894Lux
10000K - 2640Lux
The brightness can be adjusted continuously from 0-100% and remains flicker-free across the range due to the integrated PWM circuit design.
The Prizmo Go can be powered using the AC power adapter and included accessories for general use on set. It also features a dedicated 15V DC socket for a 4-pin XLR connection. The Prizmo Go can be battery-powered via the V-lock battery plate with a run time of 1.1 hours at max power. The V-lock plate is also used to hold the AC power adapter in place, keeping it tidy and out of the way when on set.
To ensure a long product life, the Prizmo Go dissipates heat via the milled heat ports found on the back of the light. The aluminum frame also helps keep the internals from overheating.
The Prizmo Go uses a yolk so the panel can be mounted in various positions. Whether it’s a light stand or a sky rail, the angle can be adjusted by loosening the tightening knob on the side of the yolk.
The Prizmo Go is also designed to accept accessories such as a barndoor assembly or honeycomb grid using a clip-on system. This system allows the honeycomb grid or barndoor to be added or removed quickly.
Two metal handles are attached to the backside of the panel for hand holding the light, easily connecting a safety cable or securely mounting the light in situations where a light stand may not be suitable.
Since the Prizmo Go is a compact unit, the control interface is placed on the light with six easy-to-access pre-programmed modes as well as a full ‘menu’ and ‘back’ button. To adjust and navigate the settings, three control knobs are used, with one being a multi-function button/knob that can be used to save a preferred setting.
The Prizmo Go is also designed to be firmware upgradable!
The Prizmo Go has six pre-programmed modes:
CCT - Adjusts the color temperature from 2800-10000K.
HSI - Access to a 360° color wheel with saturation and intensity control.
RGBW - Create custom colors by fine-tuning the red, green, blue, and white values.
Filters - Access a library of emulated Rosco gels.
Special Effects - Nine special effects options: party, candle, clouds, club lights, color chase, police, fire, fireworks, and lightning
Scenes - Save 15 preset scenes (5-CCT, 5-HSI and 5-RGBW) for quick changed or to make sure settings remain the same throughout a project.
There are three control knobs used to adjust the values in each mode. There is a multi-function selector knob, a saturation knob, and a brightness knob. With the multi-function selector knob, five settings can be saved for CCT and HSI mode simply by holding down the button.
By using the ‘menu’ button, users will be able to access the six pre-programmed modes and also access a language menu, DMX settings, and remote pairing option.
The Prizmo Go is made for studios or on-location work, hence the name. It is a portable version of our higher-tiered studio LED units such as our Factor Prizmo. The CCT mode allows for practical use on most projects that require general lighting such as interviews, social media content creation, portrait work, filmmaking, and more. The Prizmo Go also replaces the need for gels and helps replicate real-world lighting scenarios such as the neon lights of a city. The standard barndoor attachment allows for quick and easy light modification and our kit offering includes two extra light modifiers for even more creative control.
Despite all of the features, the Prizmo Go is an easy-to-use light that allows users to do more shooting with less setting up. Whether you’re a solo user or a team, the Prizmo Go delivers all the power of a broadcasting light and more in a compact, portable solution.
]]>The Warrior 600 and 600X easily outcompete traditional lighting seen on set. The Warrior 600 and 600X both utilize a high-intensity COB LED which draws less power and generates less heat than HMI lighting. Modifying the light is made simple with the built-in Bowens mount, allowing access to the most popular light modifier mount in the industry. The Warrior 600 series lights come standard with a travel case and can run on AC or DC power. These lights are also all-metal and firmware upgradeable.
With the addition of the Warrior 600 and 600X, the Warrior series offers an option for commercial film and production use as well as an ultra-bright, self-contained lighting solution for all. In this overview, we will go over the specs of the Warrior 600 and 600X
The Warrior 600 series lights come packed in a premium, custom-fit case with everything one needs to operate the light. The light is stored with a protective cover mounted over the LED chip. Included in the case is a 15° reflector designed to amplify the brightness of the light. The power control box and power accessories are also included. Altogether, each Warrior 600 series kit has a light head that weighs 12.1lbs and a power control box that weighs 8.5lbs, a drastic difference from traditional tungsten and halogen lights.
Both Warrior 600 lights use high-power COB LEDs with a lifespan of up to 50,000 working hours and less than 2% decay over 6000 hours working time.
The Warrior 600 has a daylight-balanced (5600K (±300K)) chip with a CRI/TLCI of ≥96. When at 100% power and unmodified (120° beam angle), the Warrior 600 outputs 21,480 lux at one meter. With the included 15° reflector, that number is ≥300,000 lux at one meter.
The Warrior 600X adds more versatility for every shoot with a bi-color design providing a CCT range of 2700K to 5600K (±300K). The CRI on the Warrior 600X is ≥96 and has a TLCI of ≥95. The unmodified light output on the Warrior 600X is 14,000 lux at one meter and 204,300 lux at one meter with the included 15° reflector.
With that much output, the Warrior 600 series lights do get hot. The heat mainly collects in the front of the light but is dissipated through a heat pipe radiator and an automated cooling fan. The shell of the Warrior 600 series is made from solid aluminum which further enhances the cooling capabilities of the light. These features are implemented to help keep the LED chip and internals safe from damage to ensure a long product life with consistent, accurate output.
Creating a compact unit is a key design element in our Warrior series. That is why the Warrior 600 series use a ballast that controls all functions of the light. The Warrior 600 features a solid aluminum shell not just for heat dissipation but also for protection against falls and bumps. With the help of the disc brake locking knobs, the Warrior 600 lights can easily mount modifiers up to 60 inches. With its U-type bracket, the light can be adjusted to a user’s desired angle or mounting preference. A handle is placed at a diagonal behind the light to make adjustments with heavy light modifiers easier to manage. This design also prevents fingers from getting caught between the handle and the U-type bracket!
As for the power control box, it has everything needed to operate the light. It features an LCD screen that displays real-time data. All functions can be controlled by the six menu buttons and the multi-function selector knob found next to the display. All of the power and DMX sockets are grouped together on the other side of the power control box. This includes a fuse, the power button, the AC power input, DC output, DMX in/out, DC input (DC36-48V), and a USB port.
If the power control box is paired with our StandCuff (sold separately), it can be mounted to the light stand holding the light for convenience.
The Warrior 600 series has a working voltage of AC100-240V and DC36-48V. We of course include the AC power cable but also offer an additional DC input socket. The power control box also features two slots for v-mount batteries. With two Fotodiox 130h v-mount style batteries, both Warrior 600 series lights can run for 30 minutes at 80% power.
The Warrior 600 and 600X have six menu options that control the light. Since the Warrior 600 is daylight-balanced, it has an ‘intensity’ menu button that adjusts the brightness continuously from 0 to 100%. As for the Warrior 600X, the ‘intensity’ menu button is replaced with a ‘CCT’ menu button which adjusts the brightness and color temperature. Both units have DMX, address setting (for optional remote), FX (special effects), fan, and language menu buttons. The multi-function selector knob is used to select the available options in each menu button while changing the value using the dial.
DMX
This menu button is used to adjust the DMX address range from 1 to 512.
Address Setting
This allows the Warrior 600 series to be paired to a remote (sold separately).
FX
The special effects mode emulates real-world lighting scenarios and includes lightning, fireworks, flash, breath, cop car, SOS, faulty bulb, turn signal, screen, and alternating beam effects.
Fan
This adjusts the speed of the fan between low, medium, high, and auto.
Language
Toggles between English and Chinese
The built-in USB port allows the Warrior 600 series lights to receive a firmware upgrade. Whether it's adding more special effects, or fine-tuning its performance. The Warrior 600 series also has various features that prolong the life of the internals including robust heat dissipation technologies. Its all-metal build also ensures that it can survive years of use and travel among sets and locations.
The Warrior 600 series is made to take on a wide range of projects. Its main application is on big sets or large studios. This includes productions for filmmaking, commercials, editorials, broadcasting, and other industry projects. Its price point makes them accessible for indie video teams and smaller content creation teams.
In the still above, a Warrior 600 was used to create the dramatic effect in this scene from a short film. The Warrior 600 was placed 10 feet from the window and powered by two v-mount batteries.
For more information on the Warrior 600 series lights click on the link here.
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Out of the box, the Prizmo Pocket comes stored in a stylish EVA case that has a zipper and strap. Inside the case is the light itself, one USB-C charging cable, one USB-C OTG discharge cable, one all-metal cold shoe adapter, and the user manual (which we recommend reading), all organized and held in place by the mesh nylon pockets inside.
The Prizmo Pocket is designed to be an LED panel with the portability and feel of a smartphone. It is five by three inches with a thickness of 0.41 inches, and the light only weighs 5.82 ounces (185 grams). The Prizmo Pocket frame and rear cover are constructed from aluminum alloy for maximum durability,a critical feature professional gear needs considering the amount of use and travel it might get.
The panel offers two 1/4”-20 screw mounts, one on the bottom and one on the side. These can connect to various mounting accessories such as ballheads, tripods, magic arms, and more. On the back of the panel is a OLED screen that displays real-time data such as settings and remaining battery life. The panel is controlled by four all-metal buttons found on the right side of the frame. The front of the panel is covered by a durable, frosted diffuser that softens the light emitted by the LED chips. There are a total of 135 LED chips carefully arrayed on the panel with 63 RGB chips, 36 cool white, and 36 warm white diodes.
The Prizmo Pocket is powered by a rechargeable 3.85V 4000mAh (15.48Wh) lithium polymer battery. When fully charged, the Prizmo Pocket offers 1.5 hours of use at 100% power. The battery icon on the display will have four bars with each bar representing 25% battery life. When it's time to charge, the Prizmo Pocket is QuickCharge 3.0 compatible; with a 5V 2A power source. the light will charge in just two hours.
The Prizmo Pocket can also be used as a portable charger that can power other devices such as your phone. The included USB-C OTG discharge cable can be used to adapt other power cables. The max output is the same as the max charging input and the panel will not light up in this stage.
The Prizmo Pocket delivers soft, flicker-free light with an incredibly high color accuracy. The Prizmo Pocket has a CRI(Ra) of 95+ and a TLCI(Qa) of 97+, a must-have feature for any modern day LED panel.
When it comes to brightness, the Prizmo Pocket packs a punch despite its compact size. At 100% power, the daylight (8373K) chip outputs 315Lux at one meter and 255Lux at its tungsten (2500K) setting. As for the individual colors at max power, red is 88Lux, green is 188Lux, and blue is 51Lux at one meter. This makes the Prizmo Pocket an ultra-bright light.
Simplicity is everything, whether it's design or operation, the Prizmo Pocket is operated by only four buttons: power/mode, settings, and +/-. The power/mode button is used to turn the light on and toggle between four lighting modes. To turn the light on, users must press and hold the power button to fully commit to using the light; the delay exists to eliminate accidentally turning the light on in your pocket, bag, or hands. Once on, the power button becomes the mode button and short-pressing it will toggle between four mode options. The settings button can now be used to toggle between the available adjustments found in each mode. With the +/- buttons, the value of each available adjustment can be increased or decreased.
Yes…four modes. There is a CCT, HSI, RGB Mixing, and Scene mode each with their own unique functions.
When in CCT mode, users can control the color temperature and brightness of the light. The brightness can be adjusted from 0-100% and color temperature from 2500K to 8500K. This broad color temperature range is enough to match the lighting in most shooting scenarios. This mode can be used to operate the Prizmo Pocket like a traditional bi-color LED.
HSI mode will allow users to select a Hue from a 0-360° range as seen on a traditional color wheel. The saturation value will control the amount of white light the diodes emit; 0% means only white light is being used while a value of 100% represents no white light. The intensity, also known as brightness, can be controlled from 0-100%. HSI mode is a convenient, user-friendly way to use the full color feature on the Prizmo Pocket..
This is one of the most interesting modes on the Prizmo Pocket. It will allow you to independently control the red, green, and blue values from 0 to 255. This allows users to create up to 16 million unique color combinations and fine-tune color to perfectly fit the scene. Users can replicate colors seen on a hexadecimal chart as long as they know the RGB values.
Our Prizmo series offers preprogrammed scenes that emulate real-world lighting scenarios and our latest collection of special effects is included in the Prizmo Pocket. When in scene mode, users can cycle between 20 effects and adjust the brightness value to the desired level.
These effects include: two lightning options, tv screen, police, ambulance, fire truck, two color chase speeds, SOS, candlelight, fireworks, party, paparazzi, faulty bulb, breathing, fluorescent light, sunrise, bomb, emergency light, and fast flash.
The Prizmo Pocket is a high-quality LED light and users will quickly recognize this when handling the panel. It does not shy away from this notion when in use, its performance on set is a reflection of its build quality. When it comes to photo work, the Prizmo Pocket can be used on location as a key or fill light. It’s compact design allows it to be used practically everywhere in a more versatile and discrete form factor than our smallest professional LED light. The Prizmo Pocket is also great for adding color to your shot and that is where it excels for video/filmmaking.
With up to 16 million color combinations, an easy to use color mode, and special effect selections, the Prizmo Pocket can easily set the mood in your scene. In this demo, Sean uses it to create an ominous atmosphere by adding blue.
The Prizmo Pocket offers multiple professional, high quality features at an affordable price. Our light can be picked up by any content creator wanting to invest in the quality of their videos. With one light, creators can create studio grade lighting wherever they go.
The Prizmo Pocket can be used for a variety of tabletop applications. The main benefit of using the panel is its compact size and ability to stay cool since it is an LED. Whether you’re shooting for fun or creating a commercial, the Prizmo Pocket is great for lighting those closeup shots. As seen here, it is used to light a small diorama or figurine.
Light painting is a simple yet captivating technique that everyone should try. With the Prizmo Pocket, light paintings can easily be created with plenty of room to experiment.
Beyond photo and video, the Prizmo Pocket can be used like a flashlight or area lamp. Take it camping to keep the nights safe or to up your fire pit cooking photos for the socials.
Many contractors from various fields have used our light from construction to mechanical work from hairstylist to producers. Prizmo Pocket has vast potential and accessibility beyond the photo and video world.
We hope that this overview gives you a solid understanding of our Prizmo Pocket. Make it part of your kit today! Happy shooting.
To let you know first about my background, I have used view cameras from when the word “digital” was about something that you would see only on the dial of quartz watches. Then, low end digital cameras appeared, and eventually a few years later it reached the medium format systems with what would be considered today, low resolution backs. Even large format photography with its incongruously named “scan back”, similarly priced to an entry line luxury yacht, would have had to be tethered to a computer to acquire a scanned image over several minutes as I recall.
Not owning a house that I could mortgage, I looked at this from afar and have instead used a variety of APS-C digital cameras while using film for my landscape photography. When DSLR's reached 21MP, I made a pricey jump which incidentally coincided with the closure of the processing laboratory I was working with. With this Canon body, I had also a Mamiya lens mounted on a tilt shift device, which allowed for some higher definition stitched images. But this method was not parallax free, and early stitching software had trouble with intricate images, such as trees, and also at correcting lens falloff.
Things have vastly improved over the years, and today we have very capable software which now makes stitching complex images easy and straightforward. Lightroom has been my program of choice. The fantastic Sony sensors are another advancement, not meaning to understate other brands. When the Sony A7R was released, Fotodiox released their RhinoCam for full-frame Sony E cameras. The device had certainly room for improvement, but it was a great addition considering the price, and coupled with the right lenses it produces awesome results. It is probably one of the most profitable gear investments I have made in recent years.
The A7RII had taken care of the shutter shake that was detrimental to the initial A7R, and it now makes justice to some of the excellent MF lenses available on the used market. I have used Mamiya lenses, Pentax 6x7 zooms, and now I use mostly a pair of Pentax 645 zooms. They are as good if not better than many prime lenses. When a perfectly proportioned image is required, I usually shoot two rows. One image in rise, one in fall, then sliding to the next crop slice as the normal process goes, for a total of 6 or 8 frames. The shots acquired this way merge smoothly, as long as the software will find some landmarks in them. Having just sky or water will not allow for their position to be recognized and you may need to stitch them manually in Photoshop.
The beauty of it is that the final image will have exactly the same look as if it were shot on a huge medium format sensor. Using the full image circle of the lens, set in a static position, also allows for parallax free shots, since it is the camera that moves, and not the lens.
However, I now use a technique of a dual shot center, and simply rotate the device on the tripod accordingly. This allows for 360° panoramas, should you wish so. But 90° is still reasonable and I sometimes prefer the kind of anamorphic look that it produces, which still remains natural, to the stretched corners wide angle look. Using only the sweet spot of the lens also produces astounding detail and sharpness. The resulting files are between 150 and 300 MP, and I try not to get over that size. However, even if it is perfect for many nature views, this rotation technique will not produce accurate square shapes, and is therefore not advised when there are oblique lines through the frame either, or for instance when there is a straight horizon line like water. For those subjects, it is better to favor the standard fix parallax shift technique.
Pre-visualisation was an important aspect in using the view camera, and it still is. Some would probably be turned away for having to compose without a complete viewfinder, but it is in fact a very valuable exercise. I still carry in my pocket a set of small, black plastic frames with crop ratios from 4x5, 6x9 to 6x12, which as you can imagine were the sizes of film I could choose from. Through this simple frame I can check if an image stands, and where the best angle of view is before setting my gear.
Others are using this technique and have used it long before us – I think I got this tip from one of Anselm Adams' books. It saves time, and it has spared me probably hundreds of crap images which in the sheet film era weren't particularly cheap. The three dimensional view, and sometimes the viewfinder image as well, can be too flattering or distracting. But a crude flat view seen from only one eye, will tell you if what you are seeing stands as an image or if it needs more breathing or rather cropping. So this viewing technique has served me well with the RhinoCam. The early RhinoCam had a frosted Fresnel, which was a good idea but was only usable with a dark cloth, so I barely used it. But once you have acquired the techniques of pre-visualization, and since most of the cameras are now equipped with LCD screens, you shouldn't really miss that.
Some months ago, the Fotodiox team released a new RhinoCam device that they called “the Vertex”. I immediately put my hand on one of these, and here are my impressions.
This device has undeniable qualities, one being the quick and easy operation. It is also compact enough to fit in the bag as an extension of the lens, and it also provides a sturdy support for both the lens and the camera. The lens coverage is not quite as wide as with the former sliding RhinoCam, but it takes enough of it and it uses the best part of the lens.
I first hesitated to purchase one, because I mostly shoot panoramas and the Vertex produces a square image. Never mind, here is how I get panoramas from it: I first take two frames, adjacent to the left border (or right), and then I rotate the device for 2 thirds of a frame. I take the four frames, then I rotate the device again for 2 thirds of a frame and take the two remaining shots adjacent to the opposite side.
What I discovered to my pleasure is that they merge perfectly in Lightroom. The program has no problem recognizing the upside down frames, and it is a smooth automated process. In the spherical or cylindrical mode, the image will fill the frame. In the perspective mode, the four center frames serve as a reference for the perspective adjustments, and the 2 x 2 lateral additional shots (or even more if you wish) are automatically corrected to fit. The stitching program will automatically crop the corners so that everything aligns and matches the whole image. The preliminary results were excellent for indoor and architecture photography, which was a surprise. The Vertex can be used just in the same way for vertical shots as well.And should you need a shift lens for perspective control, you have it. Using a 35mm for instance or the Pentax 33-55mm, will give you probably more image than you need to crop from. It also opens the possibility for focus stacking, unlike the former RhinoCam.
Will this RhinCam become my device of choice? I always have it in my bag now because it is so compact. But I still take the old modified version with me because it allows me to take some video clips as well during the shooting. Otherwise, I would probably only need the Vertex. I believe it to be a great concept, and is so smooth and easy to operate. If there was some improvement that I could wish for, it would be perhaps a sturdier and slightly longer quick release plate, but I can live with it as it is.
Why do I use a complex process instead of buying a medium format camera? There are “relatively affordable” 100 MP cameras these days, but you have to make it a workhorse to justify the expenses on accessories and lenses. But, I simply don't need a medium format camera. I'm not in the business of shooting people, commercial work and such. I have all my time to take the photographs I want at my pace. And also, once you crop a 100 MP image to a 16/9 ratio, you end up with a much smaller file. Stitching images allows you to obtain the ratio you want, while still retaining a very high image definition. But first of all, it is a fun technique. And certainly like the Fotodiox guys and gals, fun is what we like the most in photography.
A big thank you from the Fotodiox team to Paul for sharing his experience with our RhinoCam system and our latest RhinoCam Vertex adapter. We hope that this articles offered insight and inspiration. We would not be here without people like Paul and our readers. Happy shooting.
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Let's start off by presenting macro extension tubes which are the most popular way to create macro images. The purpose of an extension tube is to create space between the lens and camera. By doing this you are increasing the minimum focusing distance of the lens. The farther away you are from the sensor the closer you can focus. This also increases your lens’s magnification which is like what a teleconverter does but without an optic degrading your image quality.
Our standard extension tubes are sold as sets which are made up of three spacers: 28mm, 14mm, and 7mm. These are metal tubes that can be combined to a total extension of 49mm. For $9.95 our extension tubes are the easiest way to get started. Keep in mind that this style of extension tubes has no electronic contacts which means your lens will default to its widest or smallest f-stop depending upon the lens design.
Tip: Own one of our adapters? Combine it with a macro tube! Here we have a Sony E-mount extension tube combined with a Nikon F lens to Sony E-mount adapter. This is the perfect combo for E-mount cameras because their native lenses rely heavily on electronic control to adjust lens aperture and focus. Vintage lenses do not, which means you are in complete control of all your lens settings.
If you like the idea of extension tubes but want electronic control over your lens, our auto extension tubes do just that. These tubes have built-in pins that relay communication from the camera to the lens which enables aperture control and autofocus. For Sony E-mount and Micro Four Thirds users we offer a set that includes a 16mm and 10mm spacer. For Canon EF we offer a three-piece set of 13mm, 21mm, and 31mm spacers. For Nikon Z-mount and Canon RF we only offer a 35mm and a 15mm tube sold individually. This also applies to Hasselblad XCD and Fujifilm GFX with 20mm and 48mm length tubes available. The price for auto extension tubes are three to five times the cost of standard tubes. For the more advanced photographers these are vital as your subject may require being blasted with light where having aperture control is essential.
Reverse mounting is a method that involves attaching a lens backwards onto a camera. By doing this the lens can only focus on a macro level. The following images were taken using a 52mm filter thread lens to Canon EOS EF adapter:
Nature is beautiful
Things get real shallow here!
Our reverse mount adapters simply mount onto your camera and come in different filter thread sizes. And if you’re a Nikon user we offer kits that enable mechanical aperture control while reverse mounted.
When reverse mounting your lens also inversely changes focal lengths; this means that telephoto lenses will get wider and wide-angle lenses narrower. You’ll also have a couple of millimeters of space to focus but it does get you extremely close to your subject. I find that this option works best with vintage lenses since they can be manually controlled.
We also carry what’s known as a macro coupling ring. Think of it as a step-up/down ring but instead of putting on a filter, you’re reverse-mounting a lens. For best results couple your shortest focal length lens to your longest focal length lens. Remember that reverse mounting inversely changes focal length so a wide-angle lens would behave like a magnifying glass.
For you technical humans, you can determine the magnification by dividing the longest focal length by the shortest.
If you like experimenting and have a couple lenses laying around, then I highly recommend this option.
Our macro bellows is a simple rig that uses a rail system to extend the lens from the sensor. It’s very easy to use and acts much like an extension tube but gives the lens more space to travel from the sensor.
Macro bellows can also be combined with reverse mount adapters and even reverse mount coupling rings for even more creative options.
Aside from selling standard lens adapters, we carry specialty ones such as our helicoid adapters.
These adapters are designed to extend by turning the barrel on the adapter and act like a mini extension tube. This option is great if you want to get macro shots and adapt a lens at the same time.
Our DLX Stretch line of adapters are like the helicoidal adapters, but offer better build quality and the ability to use ND filters. DLX Stretch adapters come with three neutral density filters that drop-in to the rear of the adapter. These filters are magnetic, so no worries about them falling out while you shoot.
The ND filters can be used to photograph very shallow images of flowers or insects during
bright conditions. And for more technical shooters these adapters make a great tool for exposure control when needed. This 3-in-1 adapter delivers more than close focus capabilities and is a great choice for someone who wants that macro available while shooting.
When shooting with macro accessories you will experience light loss whether it’s from the accessory itself or the lens casting a shadow on your subject. One of our most affordable solutions for this is our LED-48a ring light. This LED light is compatible with filters thread sizes from 49mm to 77mm.
The ring light will act as a key or fill depending on the scenario
and it outputs soft, even lighting.
No fill:
Blasted by our ring light:
For more advanced shooting and detail work I recommend the FlapJack C-318RLS ring light. The C-318RLS is compatible with rigs that use 15mm rods and has a 130mm lens opening. With the benefit of LED, you’ll have a continuous light source and the light can be used for both photography and video.
From simple tubes to lens adapters, we have plenty of options for macro shooters.If you’re starting off, I highly recommend macro tubes and reverse mount adapters since those are the easiest and most cost effective. These encourage you to give more thought to your content which provides you a real sense of gratification.
To the advanced shooter and the pros, you can’t go wrong with any of the options. In the end you’ll know what you need. No matter what you pick we encourage you to experiment and
shoot away. Mix and match the options and get the most amazing macro shots you can take. You can show us your works on any social media by tagging #fdxmacro and @fotodiox. Thanks!
Professional photographers and filmmakers see the potential in a wand-style light. The market currently offers straightforward wand lights and in some cases highly specialized versions. But where are the wand lights for the pros? That’s where our DaoLite comes in!
The DaoLite is a wand light designed for professional use and offers many of the popular features found on our other pro-grade LED lights. The DaoLite is a three-foot tube with a control interface at the base of the light that serves as the handle, power source, and mounting point.
The handle and frame are constructed from aircraft-grade aluminum to keep the LEDs from overheating. The LED portion of the DaoLite is housed in a 23-inch translucent polycarbonate tube that helps produce soft light from the source. This also gives the DaoLite a beam angle of 360° which is not seen in other wand light models made for content creation.
The DaoLite is available in two models. The DaoLite (DL-2) is our bi-color version that has a color temperature range of 2800K to 6500K. The DL-2 at 2800K offers approximately 280 lux at one meter and about 360 lux at 6500K (100% power). Our second model is the DaoLite: Prizmo Edition (DLC-2) which adds color to the mix. The DLC-2 features a complete RGBW+T gamut with hue and saturation control. At 2800K, the DLC-2 produces 240 lux at one meter and 320 lux at 6500K. Both models have LED chips with a CRI of 96 and a TLCI of 95. Furthermore, the lights are dimmable from 10-100% and are flicker-free at all ranges.
The DaoLite itself is sold in two kit configurations: AC and DC power. The AC power kit comes standard with a power supply and a 4-pin XLR cable that connects to the base of the handle. The DC power kit will include a battery that connects and extends the base. This battery extends the handle, making it look like a lightsaber! With DC power, both models can run for 70 minutes at 100% power.
The control interface for both models is located at the handle and designed with simplicity in mind. The DaoLite DL-2 has four buttons that control all the functions of the light. The power, function, decrease, and increase buttons are located below its LCD display screen. The mode button toggles between brightness and color temperature. The special effect menu can be accessed by holding the mode button for three seconds. These special effects emulate real-world lighting scenarios and include lightning, fireworks, storm, gradient, and strobe effects.
As for the DLC-2, a power, a function, and two toggle buttons are found below the display. The function button allows access to four menus: CCT, HSI, RGBWT, and FX mode. In CCT, color temperature can be adjusted along with brightness. Color can be used when in the HSI and RGBWT menus with special effects available in the FX menu. The DLC-2 is firmware upgradeable with the firmware available for download on our website as new versions are released.
Wait… HSI and RGBWT? The HSI menu is a 360° color wheel that allows users to dial in a color based on hue, saturation, and intensity. In RGBWT, users enter a custom mixing mode to create their desired color based on the red, green, blue, white, and tungsten properties of the LED chip.
The DaoLite can definitely be used handheld, but we include an all-metal ball head for good measure. The DaoLite comes standard with a 1/4”-20 screw hole on the side of the handle - with a second mounting point at the base of the battery. This allows the ball head to be attached and makes the DaoLite compatible with most light stands or tripod mounts.
What makes the DaoLite special is its tubular shape and 360° beam angle. Any photographer can recognize its potential. It emulates a softbox by providing soft and feathered light which is great for headshots or portraits. Did we mention the catchlights?
Its compact design allows it to be set up virtually anywhere and it can be positioned very close to the subject. This is not limited to photographers, filmmakers can cash in on creating a quick and high-quality set.
When battery operated, it can be used on location without having to worry about cables and outlets. The battery life allows users enough time to capture what they need. In some cases, a light stand will not be necessary as it can be held with one hand.
Shooting an ad? A commercial? For close-up shots, the DaoLite once again provides a compact setup. The quality of the light also does away with a softbox or flash unit. At most, users will need a reflector panel to add fill where needed.
In some situations, you may need more directional control. The DaoLite can be fitted with an optional barndoor attachment that snaps right onto the light.
And lastly, light painting is a bonus with the DaoLite. It is a wand after all and light paintings have a place in professional photography. It can easily be used to create dramatic and creative portraits. With the DLC-2 you can even mimic a lightsaber!
The DaoLite is a complete kit and comes with everything a user needs to get started. It is the professional’s choice when it comes to wand lights. Its potential is there and it makes a great addition to any filmmaker or photographer’s lighting kit. Its unique shape offers soft, feathered lighting ideal for most shooting scenarios. The compact design allows it to be taken and placed virtually anywhere - especially when battery operated. We highly recommend the DaoLite for those looking to quickly and easily add pop to their scene.
Action/sports is automatically out. With the right shutter speed, you could certainly freeze motion. No problem if you’re only dealing with a single image, but it would be nearly impossible to do a fast-moving shot for a four-image stitch.
Similarly, wildlife photography isn’t terribly viable, unless your subject was asleep. It should also be noted that the available lenses for medium format aren’t particularly long by wildlife photography standards, so you wouldn’t have the same reach as using a standard set-up (though a teleconverter could help the situation).
Landscape photography is where the RhinoCam Vertex shines, considering mountains, trees, and lakes aren’t prone to moving all by themselves. The RhinoCam Vertex has been simplified for ease of use. Rather than carefully adjusting the rear plate of a regular RhinoCam, all you need to do is spin the camera mount a few times. To me, it’s a lot less stressful.
But what about portraiture? Sure, portraiture could prove to be a challenge, as the subject could move. If you wanted the subject at the center of the stitched image, composition may be tricky, since your subject would likely be on the edge of at least two (if not all) of the images
Still, there’s no way it’s impossible, right? So we decided to try it. For the least amount of headaches and swear words during post-processing, we put the camera setup on a tripod to prevent any unnecessary camera movement:
With the possibility of camera movement removed, the number one challenge for this project is keeping the subject still. If the subject isn’t staying completely still (or avoiding major movements at the very least), you can end up with strange ghost images like in the picture above. After that mishap, we figured the best course of action was to tell anyone getting their picture taken to be prepared to stay as still as possible.
A few deep breaths later and we were able to come up with some fun images:
The RhinoCam Vertex for portraiture sounds like a wacky idea on paper, but I’ll be honest, it exceeded my expectations. At first, I didn’t actually expect to get easily workable images, but Vertex works surprisingly well, as long as you’re willing to work through its challenges.
]]>Here at Fotodiox we are well known for offering the largest selection of lens adapters. We have primarily focused on bridging the gap between analog systems and modern-day digital options, but optics have figuratively and literally changed with the introduction of mirrorless cameras. We have recently found ourselves supporting adapters for swapping lenses between these mirrorless systems. A sign of how quickly camera technology has advanced since its inception.
We have two new mounting combinations for the Nikon Z system; lens adapters for Sony E-mount and Fujifilm X-mount lenses for Nikon Z cameras, but there is a catch to these combinations. Given how slim these adapters are, we do not have a whole lot of room to include electronic contacts. Because of this, our adapters do not support any features that require an electronic connection (which could be anything from image stabilization, power zoom, autofocus, in-camera aperture control, and even manual focus in some cases).
That being said, these adapters are ideal to use with manual focus lenses made by third-party manufacturers such as Rokinon, 7Artisans, and Lensbaby - just to name a few. They are also great for adapting accessories and adapters with Sony E or Fujifilm X mounts. So when do you adapt?
You might already own some of these lenses or you might have both a Sony and a Nikon or a Fujifilm and a Nikon. With our adapters, you can get the most out of your gear. Some users will find our latest adapters a great money-saving solution. Rather than selling off some of your Sony or Fujifilm gear when switching over to the Nikon Z system consider saving yourself some money and headaches by adapting them instead.
Since Sony and Fujifilm have been making mirrorless cameras longer than Nikon, there are considerably fewer third-party options for the Nikon Z system. It takes time for these companies to make their lens selection available to other mount and sometimes they decide not to. Adapters make it possible to use what is already available rather than wait. The lenses will be manual either way, so adding an adapter will not make much of a difference.
Our latest adapters are also great for getting the right format lens onto your Nikon Z cameras, whether it is full-frame or APS-C. Rokinon, for example, offers 10 manual focus lenses made for Sony full-frame and 14 for Sony’s APS-C line. With Nikon only having two DX lenses at the time of this article, our adapter allows you to adapt 14 different lenses or 9 different focal lengths (8mm, 10mm, 12mm, 16mm, 21mm, 35mm, 50mm, 85, and 300mm) onto your Nikon Z50.
Cinema lenses for the Nikon Z system are scarce. If you take a look at B&H you will see that there are less than 6 cinema lens options available for the Nikon Z mount with Fujifilm having 32 and Sony a hearty 272. Those using their Z6 or Z7 for video can opt into adapting a wider range of cinema lenses or kits using our adapters.
Ever heard of double adapting? We can’t seem to stop talking about it. We currently support 22 unique lens adapter options for the Nikon Z system. With the pandemic still impacting global production, we have been slowly trying to increase that number. Just like it will take time for Nikon to expand their lens options, it will take us time to increase our adapter selection. However, with our SNE-NKZ and FX-NKZ adapter, you have access to even more mounts than before. 19 additional mounts can be created when pairing our Sony E and SNE-NKZ adapters.
This also allows double adapting with our specialty adapter families such as the Polar Throttle, ArtFX ColorFlare, DLX Stretch, ND Throttle, or TLT ROKR.
You will also have access to our macro accessories such as extension tubes, reverse rings, bellows, and more (Many of which are not available in the Nikon Z mount at this time). Any accessory with an E-mount or X-mount can be adapted to your Nikon Z camera.
Due to how slim the adapter is, you will have to be careful not to force the adapter onto a lens or camera if there is significant resistance. This can damage your gear and even cause bodily harm if you aren’t careful (these adapters are sharper than some lenses out there).
Once again, our SNE-NKZ and FX-NKZ adapters are manual adapters and should only be used with manual lenses that lack electronic contacts. Failing to abide by this rule will result in damage to the contacts on your lens.
These adapters are also machined to be as universal as possible. This means the adapter will fit a broader variety of third-party lenses at the cost of the fit varying per lens.
Adding a camera with a different system to your collection comes with the age-old question: should I get new lenses for it? If you exclusively use cameras with native lenses, it’s obvious that the answer is yes, but if you are savvy with using lens mount adapters, you know that you do not need a native lens, especially if you already have something that will get the job done.
Ultimately, you have got to do what’s right for you. There is not a right or wrong way to use your gear or build your kit as long as you get the stills or video you envisioned. We are simply happy to offer photographers and videographers possible solutions. We hope you got a better understanding of what these adapters are good for and when to use them. Happy shooting.
]]>Now that full-frame mirrorless has more options (like the Nikon Z and Canon RF systems), we’re reintroducing the RhinoCam in its newest iteration: the RhinoCam Vertex.
Even at first glance, the new system is very different from the previous versions. If you’re in the market for a stitching solution, this post will lay out the key differences so you can figure out which one works best for your needs.
To compare, we used the same lens, the same camera, and we even kept the tripod in the exact same spot. The only thing we changed was the version of RhinoCam system being used. On the left side is the stitch we created using images from the RhinoCam Vertex, and the right-side stitch was created using the RhinoCam+:
After stitching the image in Photoshop, it’s clear we get a square-format image from both versions, but if we overlay them as such:
You’ll see that the RhinoCam+ offers a much more complete field of view.
The total number of shots for a full stitch is correlated to the total coverage that each device allows for, which is directly affected by the mechanics of each version.
The RhinoCam+ requires six shots for the full stitch:
The RhinoCam Vertex, on the other hand, requires only four shots for a full stitch:
With the A7RII, the native resolution for a full-size image is 42 megapixels, at 7952 x 5304 pixels. Using the area (or total megapixel count of the stitches), we’re able to calculate how much bigger the stitched images are:
After the stitch, the image dimension for the RhinoCam+ stitch was 14360 x 14586 pixels (coming out to 209 megapixels), resulting in an image area 4.98 times bigger than a single shot.
After the stitch, the image dimension for the RhinoCam Vertex was 10366 x 10343 pixels (coming out to 107 megapixels), resulting in an image area 2.55 times bigger than a single shot, which is still pretty good, considering it manages to be a tiny bit larger than a Fujifilm GFX 100 image.
The RhinoCam+ has three different dots (shown below) that must be aligned to the lower dot when taking each image for the stitch. Unfortunately, there are no audible clicks or ball-bearings to give you tactile confirmation of alignment, so it must be done visually.
This process must be done twice: one for each row corresponding to the vertical alignment dots shown below.
Additionally, the RhinoCam+ has a ground glass that you can use to frame your composition before taking your images. This is great if you need a rough idea of what your final stitch will look like and definitely helps smooth out the shooting process.
The RhinoCam Vertex is significantly less-complicated in its mechanics. The back side of the adapter rotates for you to take a picture every 90 degrees.
This is certainly easier than carefully aligning the dots as you would with the RhinoCam+, but the tradeoff is that your final image won’t cover as wide of an area as the previous RhinoCams. The lack of ground glass can also make framing your scene a bit more tricky, however the good thing about this rotating system is that you can clearly see at least one outer edge of the final stitch, no matter where the camera is rotated.
In either scenario, these stitching solutions are going to be lighter than bringing your actual medium format camera with your lenses. Compared to each other, the amount of space they take up differs a lot. That difference can be the deciding factor on how many lenses you can bring, especially if space is at a premium in your gear:
The RhinoCam+ can take up quite a bit of space, while the RhinoCam Vertex is roughly the size of our larger lens mount adapters. If I’m going to be walking around, I prefer a smaller bag, so the Vertex makes the most sense for me.
I think both versions have something to offer, and it depends on what you’re looking for in the product. For a seasoned shooter that’s got an endless reservoir of patience and wants to take the largest and widest images possible, the original RhinoCam is likely the best bet.
If you’re just starting off, have full-frame cameras for the Sony E, Nikon Z, or Canon RF systems, or you just desire a simple, streamlined process, the RhinoCam Vertex is a great way to get into medium-format shooting.
Click here to view our new RhinoCam Vertex adapters. More lens/body combinations coming soon!
]]>The PopSpot v.2 is a new and improved version of the original while featuring the latest in LED technology as seen from the PopSpot Ultra. The new PopSpot v.2 now features a dedicated fresnel attachment that can be removed, rather than being built in. This allows users to harness the full power of the COB (chip on board) LED. This LED chip is daylight-balanced (5600K, ±300K) while offering a CRI and TLCI of ≥95. At one meter, the chip has an illuminance rating of 2,227 lux which is on par with the PopSpot Ultra 50 and blows the J-500’s potential out of the water. The life of the chip has a rating of 50,000 working hours with less than two percent illumination decay over 6,000 working hours.
In its simplest form, the PopSpot v.2 can be used with just the bare LED chip with a 120° beam angle. The light can then be modified with the included reflector, which is designed to amplify the light output to about 9,714 lux at one meter and narrow the beam angle to 50°. The optional “zoom lens”, or fresnel-style optic, kicks it up a notch by modifying the light beam from 23° to 66°. When using this attachment, its narrowest beam angle emits 4,590 lux at one meter and 16,511 lux at its widest. Another feature of this attachment is that the PopSpot v.2 can accept light modifiers featuring the Protofo mount on the fresnel-style optic when the barndoor attachment is removed.
The PopSpot v.2 has been kept compact while retaining the same metal construction as the PopSpot Ultra. The housing is made from aluminum which enhances heat dissipation to keep your light from overheating. The base of the PopSpot v.2 has a dovetail similar to the arca-swiss mount that also takes standard ¼ “-20 and ⅜”-16 mounting hardware. The included L-type bracket quickly mounts to the dovetail and features a V-mount lock for mounting the various external power source options.
The PopSpot v.2 is powered through the included 100-240V power supply and can be battery-operated (13-17V) with a D-tap adapter cable. This adapter cable allows V-mount batteries or our own NP-F battery cradle to power the light. With our NP-F battery cradle and two NP-F750 batteries, the PopSpot v.2 can run for 70 minutes at full power.
The PopSpot v.2 is sold in two configurations both of which are based on the need and level of experience. The “Basic Light Kit”
includes the PopSpot v.2 50 light with its protective cover, custom designed reflector, L-type bracket, remote control, and AC power supply all bundled in a premium carrying case. The basic kit is an entry level option made for users who are looking to light various subjects while adapting their style as they go. It's a simple plug-and-play option that can later be modulated to fit the users’ needs. This kit also makes a great addition to existing lighting setups and will not take up much space thanks to its size.
However, for those advanced users, the “Deluxe Light Kit'' offers the zoom lens, barndoors, our latest NP-F battery cradle, and two NP-F750 batteries. The included accessories allow the user to operate the PopSpot v.2 via battery while being able to modify the light. The zoom lens also acts as a Profoto mount which allows use with a wide range of light modifiers. This kit can act as a key light or support other lights on set.On a different shooting day, we paired the PopSpot v.2 with our EZ-Pro dlx softbox to create heashots.In an environment where space was limited this compact setup overcame the issues of more traditional, larger lights.
The return of the PopSpot v.2 demonstrates that we take our customer feedback seriously and improve where we can for the community we support. We brought back the popular PopSpot with more power packed into a solid, compact housing while retaining its entry level price. This comes at no cost to the build quality as we have ensured one's investment in our products are secured. This is also backed by our manufacturer's warranty and our dedicated tech support. We cannot wait to see what the users of the PopSpot v.2 will create and where they take the light. Happy shooting everyone. #PopSpot
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