Love the super-clamp! Must get one of those head attachments for mounting cameras - I've done it before by just screwing in a pin directly into the camera, but of course that gives you no flexibility of movement (and they have a nasty habit of coming undone as there's very little surface contact to stop them twisting :/ ). The J-hook looks useful too. Once upon a time, when I shot nothing but landscapes and motor sport, my wife bought me an SB900 speed-light for Xmas. I took some pictures of people with it bounced off the ceiling and hey! it worked! I looked around on Amazon for a book on lighting with speed-lights and Joe McNally's 'The Hot Shoe Diaries' stood out. I read it from cover to cover. Several times. I set out to try and replicate some of the techniques in the book, and bought a bucket load of used SB900's on eBay, hired a theatre, and a ballet dancer from the Royal Ballet, and with no less than 6 willing assistants, we shot some stroboscopic dance. I searched for a long time for the best thing to suspend the speed-lights from, and ended up using Superclamps, and a pin with a vice-like cold-shoe on the end. I attached the clamps to 2.5m long pieces of 21mm doweling rod, which was then suspended from the lighting rig up above the stage on motorised chains. They worked really well - rock solid. I also use them to hold crossbars (bar in the jaws, clamp on the spigot on top of a stand); and to hold an extra light half way down a light stand - clamshell lighting on one stick - and sometimes to create a "wall of softlight" with 2 120cm octa's on each stand. Love these little gear videos Daniel - a lot of the time for me, the challenge is not so much what light I need, but how to to physically get lights where I need em - these little bits of grip gear and tips are brilliant.
Also - There is a removable plastic component stowed in the back of the super clamp (Looks a little like a Toblarone chocolate) That pulls out, and goes between the jaws of the super-clamp, to grip flat surfaces better... It has two pins to locate it into position..
Thanks, Daniel! These are perfect for me, as I'm planning on purchasing some grip and lighting equipment at that level. Super helpful, since I trust your experience and opinions.
Thank you, Daniel! I've adopted what I think is a sensible approach to buying gear, which is "When I'm being paid to do things that I don't own the gear for, I rent it and/or purchase it." I generally am only doing about a dozen paid jobs per year, and don't depend on photography for my living. But I'm getting more (local) inquiries, which would be better served with higher-quality and higher-powered strobes, as well as larger modifiers. (I'm currently using multiple speed lights with relatively-small umbrellas, defectors, diffusers, grids, etc.) So, although I'm generally familiar with that process, (largely thanks to informative videos by you, Seth, and some other Adorama-related photographers) I'm now paying more attention to the brand/model end of things, and as you mentioned, trying to look ahead so that as much as possible, I buy gear that's compatible in the future. A big part of that is of course, the "grip". I know that many people will find clamps, adapters, mounts, and other such things boring, but I don't want to be trapped or limited in the future by making poor decisions on these things. A good example is the discussion I sometimes hear on your Adorama live shoots, where you mention specific adapter rings and other grip, and how it fits some systems and not others. If I boil my plan down, I suppose the main thing I consider is versatility, so these videos are right on target for me. Thanks again.
There's a real knack to using those with a camera. When you hold the camera and line your shot up then lock it off, the whole thing says just a little bit when you let go of it. Not a huge problem when using a wide lens but gets harder to line things up with longer lenses. Still a great bit of kit though.
I use super clamps and magic arms for setting up remote cameras at sporting events. So with a minimum of 4 and sometimes 6 magic arms and 2 super clamps per magic arm, I need a bag that I can carry them around in. Is there something you recommend?
Super clamps, autopoles and all the adapters are indispensable studio tools. But don't forget the Manfrotto Nano clamp www.adorama.com/l/?searchinfo=manfrotto+nano+clamp They're very handy and fit in tighter spaces. With a Super clamp + Flex arm + Nano clamp you can rig gels or flags in front of lights or camera and endless other uses
Original KFC but back when they made it in pressure cookers not deep fried like now. Must have been some magic in it in the old days because I get a craving for it sometimes but I'm always disappointed when I get the deep fried stuff and think that will satiate my craving. It never does.
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Love the super-clamp! Must get one of those head attachments for mounting cameras - I've done it before by just screwing in a pin directly into the camera, but of course that gives you no flexibility of movement (and they have a nasty habit of coming undone as there's very little surface contact to stop them twisting :/ ). The J-hook looks useful too. Once upon a time, when I shot nothing but landscapes and motor sport, my wife bought me an SB900 speed-light for Xmas. I took some pictures of people with it bounced off the ceiling and hey! it worked! I looked around on Amazon for a book on lighting with speed-lights and Joe McNally's 'The Hot Shoe Diaries' stood out. I read it from cover to cover. Several times. I set out to try and replicate some of the techniques in the book, and bought a bucket load of used SB900's on eBay, hired a theatre, and a ballet dancer from the Royal Ballet, and with no less than 6 willing assistants, we shot some stroboscopic dance. I searched for a long time for the best thing to suspend the speed-lights from, and ended up using Superclamps, and a pin with a vice-like cold-shoe on the end. I attached the clamps to 2.5m long pieces of 21mm doweling rod, which was then suspended from the lighting rig up above the stage on motorised chains. They worked really well - rock solid. I also use them to hold crossbars (bar in the jaws, clamp on the spigot on top of a stand); and to hold an extra light half way down a light stand - clamshell lighting on one stick - and sometimes to create a "wall of softlight" with 2 120cm octa's on each stand. Love these little gear videos Daniel - a lot of the time for me, the challenge is not so much what light I need, but how to to physically get lights where I need em - these little bits of grip gear and tips are brilliant.
Great story! And a fantastic book.
This is a great answer to the age old question; "now what is that for?" Thanks Daniel.
Thanks!
Thanks Daniel,more great info as usual.
Thank you!
Also - There is a removable plastic component stowed in the back of the super clamp (Looks a little like a Toblarone chocolate) That pulls out, and goes between the jaws of the super-clamp, to grip flat surfaces better... It has two pins to locate it into position..
Yup!
Thanks, Daniel! These are perfect for me, as I'm planning on purchasing some grip and lighting equipment at that level. Super helpful, since I trust your experience and opinions.
Great! If there is a specific need, let me know and I can show stuff that may help.
Thank you, Daniel! I've adopted what I think is a sensible approach to buying gear, which is "When I'm being paid to do things that I don't own the gear for, I rent it and/or purchase it." I generally am only doing about a dozen paid jobs per year, and don't depend on photography for my living. But I'm getting more (local) inquiries, which would be better served with higher-quality and higher-powered strobes, as well as larger modifiers. (I'm currently using multiple speed lights with relatively-small umbrellas, defectors, diffusers, grids, etc.) So, although I'm generally familiar with that process, (largely thanks to informative videos by you, Seth, and some other Adorama-related photographers) I'm now paying more attention to the brand/model end of things, and as you mentioned, trying to look ahead so that as much as possible, I buy gear that's compatible in the future. A big part of that is of course, the "grip". I know that many people will find clamps, adapters, mounts, and other such things boring, but I don't want to be trapped or limited in the future by making poor decisions on these things. A good example is the discussion I sometimes hear on your Adorama live shoots, where you mention specific adapter rings and other grip, and how it fits some systems and not others. If I boil my plan down, I suppose the main thing I consider is versatility, so these videos are right on target for me. Thanks again.
awesome!
There's a real knack to using those with a camera. When you hold the camera and line your shot up then lock it off, the whole thing says just a little bit when you let go of it. Not a huge problem when using a wide lens but gets harder to line things up with longer lenses. Still a great bit of kit though.
True!
I use super clamps and magic arms for setting up remote cameras at sporting events. So with a minimum of 4 and sometimes 6 magic arms and 2 super clamps per magic arm, I need a bag that I can carry them around in. Is there something you recommend?
Oh wow! I typically carry grip in an old shoulder camera bag.
I was in that shop when i was in New York this year , well in Daniel.
Did you see Seth?
@@DanielNortonPhotographer No it was in September and think he went to France that same week 👍
ah yes, he is Jet Set
Super clamps, autopoles and all the adapters are indispensable studio tools. But don't forget the Manfrotto Nano clamp www.adorama.com/l/?searchinfo=manfrotto+nano+clamp They're very handy and fit in tighter spaces. With a Super clamp + Flex arm + Nano clamp you can rig gels or flags in front of lights or camera and endless other uses
So many clamps, so little time lol
Original KFC but back when they made it in pressure cookers not deep fried like now. Must have been some magic in it in the old days because I get a craving for it sometimes but I'm always disappointed when I get the deep fried stuff and think that will satiate my craving. It never does.
Ah! That's what changed!
Not impressed. I prefer Bat Clamp, Clamperine or She-Clamp.
I applaud you on your awesomely bad joke :)
@@DanielNortonPhotographer Thank you. If you're happy and you know it, clamp your hands!
😹