In this post I will run through a quick tutorial on how to shoot HD video on any non-video recording Canon SLR, such as the canon 40D, Canon 450D or any other Canon camera that features LiveView.

Made from a T-brace and a 1/2" plastic pipe (+ some odds and ends), Allen presents the Dual Bracket Swivel Mount. The "genius involved" is debatable to quote the tutorial, however for about $8 (umbrella excluded) this is quite a find. (I am not really sure about the DIYing of the umbrella, in this case. folding and unfolding it seems a bit risky with cheapo paint).

I started toying around with insect macro photography about 18 months ago. And to be honest, those first few months produced some amazingly bad photographs. But as scientists say, there is no such thing as a failed experiment - as long as it yields data. Well, I've managed to amass quite a lot of "data". And I am grateful that I am able to share some of that knowledge with the DIY community.

Using not much more than old CD lenses, cardboard and some sticky putty, Bhautik was able to construct a mechanism. Now, we had a project on the site before where we combined a DVD lens with an iPhone to create a super macro cameraphone, but Bhautik takes it to the next step.

The next hack is pretty trivial so if you have a seamless backdrop mount already feel free to skip forward, if not here is a way to build such a mount for as little as $5. (Actually, the mount by itself is about $2, the other three are for some extras).

For those reasons (and more) it is a good idea to scan your old film into digital format. If you shop around there are some pretty good film scanners for about $150, and the Nikon monsters that will set you back a few months rent.

Steven Monteau, the out-of-this-world-designer who created the Battlefield Pinhole Camera (and the amazing bokeh video) is back with a new camera the Guillotine (A.K.A Adidas) Camera. It is a homemade camera that creates actions sequences, in a fashion very similar to the Lomo Super Sampler (only better). It does so on 120mm film and with great fineness.

The footage is displayed below, while it is not perfect, and kinda shaky, there is also a valuable BTS. Hit the Just for some behind the scenes and my notes of the video

Before I can cover what kind of gear you need for Wave Photography, Safety is EXTREMELY important! You should have knowledge of the ocean and ocean currents, and have experience in and be more than comfortable in the surf. Know the area you want to shoot, study the conditions… “know before you go”

In this post, I'm going to explain how to get that softness under control to produce images with interesting and more subtle soft focus effects, such as the photo on the left. (I'll even show you how homemade lenses can produce crisp, sharp images, if you like that sort of thing.)

As always with those kinda contests, It was a hard pick and as always, I wished I had more prizes to give away. read on for the five runners up, the winner and another glimpse on the prizes.

The line, which can be made in about 20 minutes total (or less), includes a foamy & Velcro based speedstrap and an assortment of Strobist friendly foamy & Velcro based modifiers:  a snoot, a Gobo and a bounce card. You now I love foamies and Velcro so this is like a small party for me.

At the place where I live there is a dance class for kids 4-16 years old. The manager of that class wanted some pictures to provide the local newspaper for an upcoming article. We talked and decide to take the pictures at her house where there is a nice decorative brick wall. This should eliminate the need to battle the harsh sun on one hand and provide both indoor and outdoor locations on the other.

Why do you want to store them standing up? Because if you store seamless paper lying down you will get rippled paper. The weight of the paper sets on the bottom part of the paper and presses it against the floor. While this does not crease the paper, it reshapes it into an oval, and when rolled out it will show ripples. not that good.

Have you ever wondered what happens to those little raw files in big shoots? I mean, big scale productions gotta worry more than simply unloading the card, importing to light room and get a good night sleep.