Delivery day

I am looking forward to running the Viltrox JY-2410 Transceivers through the wringer this weekend!

Delivery day

I am looking forward to running the Viltrox JY-2410 Transceivers through the wringer this weekend!

Waves of music in a sea of beer

I have written before about how much I love my Lumopro LP160 and I am going to do it again. Another location that I love shooting in is a nice and dark bar or small club. I was shooting a local band named In Repose last night and I needed to throw in some flashes to help out lighting. I asked the band if they had a problem with lighting the playing area before I did anything. They did not have any problem with it so I went around and placed some flashes around where they were set up.

I love shooting in environments like this when the bands let me light the area as needed. I know that a lot of photographers look down on concert photography with flashes, but when there is not any real stage lighting going on I don't think it's a big deal. I just do what I need to in order to get the bands the images that they are looking for.

I set up three lights around the area that they were playing and set each one to a different group so that I could add them or subtract them from my shooting area. I had a Nikon SB900 set in the very back behind the drummer, another gelled blue with an Expoimaging Rogue lighting filter bounced off a large Rogue Flashbender, and the last one I had on the floor at the front of the playing area aimed up. As I shot the set I was adding and removing the lights via my Opas camera mounted trigger.

As the set went on I was able to turn my flashes on and off as needed from my camera position. If I had not set the flashes to different channels I wouldn't have had this as an option. All of the flashes would have fired every time I shot a frame. The main benefit of shooting this way is that when you change camera position sometimes you will get a flash aimed toward your lens and get an over powering lens flare, so using the channels feature is a great way of controlling this.

The crowd was really into the performance, it was getting rowdy to say the least, and the drinks were flowing. Now what normally happens when a great show is going on along with lots of drinks? Someone ends up spilling something. That’s exactly what happened to one of my flashes. I placed my LP160 on the ground pointed up at an angle to under light the singer and guitar player. What looked like a sea of beer came crashing down and around the LP160 and I thought it was a goner for sure.

It turns out that not only did it survive the waterfall of beer but it also kept on going while it was adrift in the sea of beer that claimed that section of the playing area. No sparks, no burning out, and no misfires.

I have no idea how it survived, but it did. When the show was over I pulled out the batteries, gave it a good cleaning, and let it dry out over night. In the morning there was no evidence of the mishap.

So this and a million other reasons go on the list of why I love the Lumopro LP160 so much. I cannot recommend this flash unit enough to photographers. It has a low price and fantastic connectivity and reliability.

Pick one up and do your best to keep it out of beer tsunamis but if you can't, you have a fighting chance of it making it through.

For more information on this flash unit you can read my review of the LP160 here or head on over to the Lumopro website at www.lumopro.com

Waves of music in a sea of beer

I have written before about how much I love my Lumopro LP160 and I am going to do it again. Another location that I love shooting in is a nice and dark bar or small club. I was shooting a local band named In Repose last night and I needed to throw in some flashes to help out lighting. I asked the band if they had a problem with lighting the playing area before I did anything. They did not have any problem with it so I went around and placed some flashes around where they were set up.

I love shooting in environments like this when the bands let me light the area as needed. I know that a lot of photographers look down on concert photography with flashes, but when there is not any real stage lighting going on I don't think it's a big deal. I just do what I need to in order to get the bands the images that they are looking for.

I set up three lights around the area that they were playing and set each one to a different group so that I could add them or subtract them from my shooting area. I had a Nikon SB900 set in the very back behind the drummer, another gelled blue with an Expoimaging Rogue lighting filter bounced off a large Rogue Flashbender, and the last one I had on the floor at the front of the playing area aimed up. As I shot the set I was adding and removing the lights via my Opas camera mounted trigger.

As the set went on I was able to turn my flashes on and off as needed from my camera position. If I had not set the flashes to different channels I wouldn't have had this as an option. All of the flashes would have fired every time I shot a frame. The main benefit of shooting this way is that when you change camera position sometimes you will get a flash aimed toward your lens and get an over powering lens flare, so using the channels feature is a great way of controlling this.

The crowd was really into the performance, it was getting rowdy to say the least, and the drinks were flowing. Now what normally happens when a great show is going on along with lots of drinks? Someone ends up spilling something. That’s exactly what happened to one of my flashes. I placed my LP160 on the ground pointed up at an angle to under light the singer and guitar player. What looked like a sea of beer came crashing down and around the LP160 and I thought it was a goner for sure.

It turns out that not only did it survive the waterfall of beer but it also kept on going while it was adrift in the sea of beer that claimed that section of the playing area. No sparks, no burning out, and no misfires.

I have no idea how it survived, but it did. When the show was over I pulled out the batteries, gave it a good cleaning, and let it dry out over night. In the morning there was no evidence of the mishap.

So this and a million other reasons go on the list of why I love the Lumopro LP160 so much. I cannot recommend this flash unit enough to photographers. It has a low price and fantastic connectivity and reliability.

Pick one up and do your best to keep it out of beer tsunamis but if you can't, you have a fighting chance of it making it through.

For more information on this flash unit you can read my review of the LP160 here or head on over to the Lumopro website at www.lumopro.com

Expandable Photography Studios

Here is some information about one really cool tool for photographer. Check out the Expandable Photo Studio.


Here is what the makers have to say.

We hate that people have to cut their rates, beg for work, build home studios, or go without a studio at all. First and foremost, we are photographers who love photographers. That's why we made the Expandable Photo Studio. Compact, durable, portable, and affordable. Up in 4 minutes, weather resistant, withstands up to 20 mph winds, and gives you the space you need to expand your creativity, reduce your cost, and attract attention over the next person. Its time to improve your life. To celebrate a better future. You're ready!

All parts are made and built in the USA (Hackensack, NJ). We refer to each unit being manufactured as the customer's name. Its a personal experience for us. They are built when they are ordered. The Expandable Photo Studio (or EPS2) is roughly the size of a suitcase folded up. It fits into a duffle bag and only weight about 40 pounds. It comes with all the accessories you need; including military grade ground stakes, rope, fan, remote power control (to control the fan from inside the unit), and manual. In just a few minutes it expands to 300-600 sq feet. That's 20 ft by 15 ft by 13 ft high. Or the larger units span up to 20 ft by 30 ft by 15 ft high. The two variations are to be completely dark for studio lighting only, or a diffused roof to allow for natural lighting (and the option to use a cover for total darkness). Recently we have found most people are wanting the EPS2 for special events, catering, workshops, classrooms, VIP lounges and greenrooms, and even staging areas for productions. It withstands straight line winds up to 20 miles per hour. As inexpensive as it is, there really is no reason not to have this tool in your toolbox.

The Expandable Photo Studio is sold worldwide and can be found in the United States at Adorama and B&H Photo.

Expandable Photography Studios

Here is some information about one really cool tool for photographer. Check out the Expandable Photo Studio.


Here is what the makers have to say.

We hate that people have to cut their rates, beg for work, build home studios, or go without a studio at all. First and foremost, we are photographers who love photographers. That's why we made the Expandable Photo Studio. Compact, durable, portable, and affordable. Up in 4 minutes, weather resistant, withstands up to 20 mph winds, and gives you the space you need to expand your creativity, reduce your cost, and attract attention over the next person. Its time to improve your life. To celebrate a better future. You're ready!

All parts are made and built in the USA (Hackensack, NJ). We refer to each unit being manufactured as the customer's name. Its a personal experience for us. They are built when they are ordered. The Expandable Photo Studio (or EPS2) is roughly the size of a suitcase folded up. It fits into a duffle bag and only weight about 40 pounds. It comes with all the accessories you need; including military grade ground stakes, rope, fan, remote power control (to control the fan from inside the unit), and manual. In just a few minutes it expands to 300-600 sq feet. That's 20 ft by 15 ft by 13 ft high. Or the larger units span up to 20 ft by 30 ft by 15 ft high. The two variations are to be completely dark for studio lighting only, or a diffused roof to allow for natural lighting (and the option to use a cover for total darkness). Recently we have found most people are wanting the EPS2 for special events, catering, workshops, classrooms, VIP lounges and greenrooms, and even staging areas for productions. It withstands straight line winds up to 20 miles per hour. As inexpensive as it is, there really is no reason not to have this tool in your toolbox.

The Expandable Photo Studio is sold worldwide and can be found in the United States at Adorama and B&H Photo.

SmugMug Meet up

I just wanted to thank everyone who made it to the Portland SmugMug meeting last night. Had a great time and looking forward to doing it again.

SmugMug Meet up

I just wanted to thank everyone who made it to the Portland SmugMug meeting last night. Had a great time and looking forward to doing it again.

Look at what I got in the mail today.

Looking forward to busting out the Lenspen Sensor Klear Loupe kit and giving my cameras a good cleaning.

Published with Blogger-droid v2.0.4

Look at what I got in the mail today.

Looking forward to busting out the Lenspen Sensor Klear Loupe kit and giving my cameras a good cleaning.

Published with Blogger-droid v2.0.4

Vanished Twin Online Shop

We at Vanished Twin: Photography are proud to announce the opening of our new online store. Merchandise is updated often so head on over and take a look.

You can follow the link below or head on over to www.vanishedtwin.com and follow the shop link at the top of the page.

Vanished Twin: Shop

Vanished Twin Online Shop

We at Vanished Twin: Photography are proud to announce the opening of our new online store. Merchandise is updated often so head on over and take a look.

You can follow the link below or head on over to www.vanishedtwin.com and follow the shop link at the top of the page.

Vanished Twin: Shop

Ralph McQuarrie

The world needs more of the Monkees

Davy Jones 30 December 1945 – 29 February 2012

The world needs more of the Monkees

Davy Jones 30 December 1945 – 29 February 2012

The SpiderPro Single Camera System

The Spiderpro is a sturdy unique camera carrying system that allows you to carry your camera on a belt at waist level. The system is comprised of the Spiderpro belt, holster, plate, and pin. All of the components are made from a very high quality material that feels very sturdy on your camera and person.

The Spiderpro belt and holster pad are made of a highly durable webbing along the lines used by the military. The belt has a three point side clip buckle that requires both hands to unfasten. When you have it locked around your waist it is not going anywhere.

Attached to the holster pad of the belt is the Spiderpro camera holster. The holster is made of Stainless steel and hardened aluminum. In addition to the solid build the Spiderpro holster has a two position lock. Like the belt clip, the holster requires two hands to unlock and release the carried camera.

Understanding that sometimes you do not have both hands free to get to your camera you also have the option of turning the two position lock off. When you lift the secondary locking switch the mounted camera will lift straight out of the holster. I think that this is a very well thought out detail.

The next component of the Spiderpro single camera system is the Spiderpro plate. This plate is made of cast aluminum and screws to the bottom of your camera via the tripod mounting screw. The Spiderpro plate is a uniquely designed mounting plate. It is this unique design that allows you to mount the Spiderpro Pin in one of three locations on the plate itself to choose how the carried camera will hang from the holster, but it also allows you to screw on your tripod mounting plate.

Beyond the ease and comfort I think that the ability to also have your tripod mount on the bottom of your camera is one of the best features of this carrier. With just about every other camera carrier you loose the ability to quickly mount your camera to your tripod. This is one of those sacrifices that is being addresses with other manufactures but it is nice to know that the Spiderpro got it right to begin with.

The last component of the Spiderpro camera carrier is the Spiderpro Pin. This is the key to the comfort of carrying your camera on your hip. The Spiderpro Pin is what allows your mounted camera to comfortably pivot and slightly sway when it is in the Holster. By keeping a small range of motion when your camera is mounted the Spiderpro camera carrying system moves with you. It is that balance of movement that makes the carrier so comfortable.

The Spiderpro is also available as a duel camera system when you have one holster on each hip. The duel system is just as comfortable and easy to access the carried cameras as the single system.

With a very well thought out design and high quality components the Spiderpro camera system is an easy, comfortable, and secure way to carry your camera or cameras in or out of the studio.

You can find out more information about the Spiderpro system at: www.spiderholster.com or on Facebook at:www.facebook.com/spiderholster 

The SpiderPro Single Camera System

The Spiderpro is a sturdy unique camera carrying system that allows you to carry your camera on a belt at waist level. The system is comprised of the Spiderpro belt, holster, plate, and pin. All of the components are made from a very high quality material that feels very sturdy on your camera and person.

The Spiderpro belt and holster pad are made of a highly durable webbing along the lines used by the military. The belt has a three point side clip buckle that requires both hands to unfasten. When you have it locked around your waist it is not going anywhere.

Attached to the holster pad of the belt is the Spiderpro camera holster. The holster is made of Stainless steel and hardened aluminum. In addition to the solid build the Spiderpro holster has a two position lock. Like the belt clip, the holster requires two hands to unlock and release the carried camera.

Understanding that sometimes you do not have both hands free to get to your camera you also have the option of turning the two position lock off. When you lift the secondary locking switch the mounted camera will lift straight out of the holster. I think that this is a very well thought out detail.

The next component of the Spiderpro single camera system is the Spiderpro plate. This plate is made of cast aluminum and screws to the bottom of your camera via the tripod mounting screw. The Spiderpro plate is a uniquely designed mounting plate. It is this unique design that allows you to mount the Spiderpro Pin in one of three locations on the plate itself to choose how the carried camera will hang from the holster, but it also allows you to screw on your tripod mounting plate.

Beyond the ease and comfort I think that the ability to also have your tripod mount on the bottom of your camera is one of the best features of this carrier. With just about every other camera carrier you loose the ability to quickly mount your camera to your tripod. This is one of those sacrifices that is being addresses with other manufactures but it is nice to know that the Spiderpro got it right to begin with.

The last component of the Spiderpro camera carrier is the Spiderpro Pin. This is the key to the comfort of carrying your camera on your hip. The Spiderpro Pin is what allows your mounted camera to comfortably pivot and slightly sway when it is in the Holster. By keeping a small range of motion when your camera is mounted the Spiderpro camera carrying system moves with you. It is that balance of movement that makes the carrier so comfortable.

The Spiderpro is also available as a duel camera system when you have one holster on each hip. The duel system is just as comfortable and easy to access the carried cameras as the single system.

With a very well thought out design and high quality components the Spiderpro camera system is an easy, comfortable, and secure way to carry your camera or cameras in or out of the studio.

You can find out more information about the Spiderpro system at: www.spiderholster.com or on Facebook at:www.facebook.com/spiderholster 

I love SmugMug!

I just received this fantastic hoodie in the mail today from SmugMug.

If you would like to learn more about the Portland SMUG group send me an email and I will fill you in on all of the cool stuff we have going on.

I love SmugMug!

I just received this fantastic hoodie in the mail today from SmugMug.

If you would like to learn more about the Portland SMUG group send me an email and I will fill you in on all of the cool stuff we have going on.

Opas transceiver by Pixel

The Opas is the latest radio trigger from Pixel. These triggers are non TTL transceivers so you can use them as either a transmitter or a receiver. The units themselves can determine which function the trigger is being used for and act accordingly by switching from trigger to receiver as needed.



There is no shortage of connectivity with these triggers. They are shipped with several connection cords such as: DL 3.5, DL ¼, DL DC0, and a DL DC2. When you open the box you will also find a great little carrying case with the transceivers within, all of the aforementioned cables, a strap, hot shoe protector, cold shoe mount with adhesive on the underside, and the instructions. Everything for your needs and then some.


Pixel really did a great job with the packaging and included accessories. One of my favorite accessories is the cold shoe mount. The purpose of this is to adhere it onto your larger mono light and then to use it to mount the transceiver onto the light. This little item is a great add on, in my opinion, and really shows Pixel is looking after the needs of their customers.

The design of the Opas is reminiscent of the Pocketwizard Plus II, but I think that Pixel has done a far better job:

On the left side of the transceiver is the PC socket and the channel selection switch. The front of the device has the test/shutter button, and the group selection buttons, which have a light up group indicator display to let you know which channel is selected. You are also able to select multiple groups simultaneously to give some extra flash options for your shooting set up.


One of the Opas best extra features is also located on the front of the unit: the hot shoe mount. You have the ability to use the Opas without any cables on your speed lights via the hot shoe mount. Just slip your flash onto the hot shoe and you are set. There is a ¼ 20 thread located on the opposite side of the unit so you can also use it as a flash mount.



Over on the right side of the Opas is the power switch and the mode switch. The mode switch is a pretty cool feature. The switch has two settings: 'All' and 'Stand by'. In the “All” mode the transceiver is always on until you turn it off. In the “Stand by” mode the unit will go to sleep after 15 seconds of not being used and then can be woken up with a test flash.


The back of the unit has the battery compartment and the female ¼ 20 thread that I mentioned earlier. This is used for mounting the unit onto a stand as a flash mount. The Opas use two AA batteries and for me that is one of the features that made me look at the Opas in the first place. I cannot stand having to use different types of batteries. The AA's are fantastic!


The reliability of the Opas have been outstanding. To date I have not had a single misfire. I do not have a single criticism for these transceivers. I think that the build and design are well thought out and well executed. The accessories that each unit come with are more than necessary. Out of the box you will have everything needed to connect and get shooting. With the low price of just around $70.00 the Opas transceivers are, in my opinion, the best triggers that I have ever used.

Opas transceiver by Pixel

The Opas is the latest radio trigger from Pixel. These triggers are non TTL transceivers so you can use them as either a transmitter or a receiver. The units themselves can determine which function the trigger is being used for and act accordingly by switching from trigger to receiver as needed.



There is no shortage of connectivity with these triggers. They are shipped with several connection cords such as: DL 3.5, DL ¼, DL DC0, and a DL DC2. When you open the box you will also find a great little carrying case with the transceivers within, all of the aforementioned cables, a strap, hot shoe protector, cold shoe mount with adhesive on the underside, and the instructions. Everything for your needs and then some.


Pixel really did a great job with the packaging and included accessories. One of my favorite accessories is the cold shoe mount. The purpose of this is to adhere it onto your larger mono light and then to use it to mount the transceiver onto the light. This little item is a great add on, in my opinion, and really shows Pixel is looking after the needs of their customers.

The design of the Opas is reminiscent of the Pocketwizard Plus II, but I think that Pixel has done a far better job:

On the left side of the transceiver is the PC socket and the channel selection switch. The front of the device has the test/shutter button, and the group selection buttons, which have a light up group indicator display to let you know which channel is selected. You are also able to select multiple groups simultaneously to give some extra flash options for your shooting set up.


One of the Opas best extra features is also located on the front of the unit: the hot shoe mount. You have the ability to use the Opas without any cables on your speed lights via the hot shoe mount. Just slip your flash onto the hot shoe and you are set. There is a ¼ 20 thread located on the opposite side of the unit so you can also use it as a flash mount.



Over on the right side of the Opas is the power switch and the mode switch. The mode switch is a pretty cool feature. The switch has two settings: 'All' and 'Stand by'. In the “All” mode the transceiver is always on until you turn it off. In the “Stand by” mode the unit will go to sleep after 15 seconds of not being used and then can be woken up with a test flash.


The back of the unit has the battery compartment and the female ¼ 20 thread that I mentioned earlier. This is used for mounting the unit onto a stand as a flash mount. The Opas use two AA batteries and for me that is one of the features that made me look at the Opas in the first place. I cannot stand having to use different types of batteries. The AA's are fantastic!


The reliability of the Opas have been outstanding. To date I have not had a single misfire. I do not have a single criticism for these transceivers. I think that the build and design are well thought out and well executed. The accessories that each unit come with are more than necessary. Out of the box you will have everything needed to connect and get shooting. With the low price of just around $70.00 the Opas transceivers are, in my opinion, the best triggers that I have ever used.