Great Idea – MindShift Gear’s Contact Sheet Protects Valuable Photography Gear While Shooting Outdoors

MindShift Gear (the outdoor photography bag spin-off company of Think Tank Photo) announces the release of its multi-purpose Contact Sheet.   Designed for photographers who work in wet or dirty environments and who need a clean, dry work area, this 3.5’ x 5’ ultralight, waterproof ground tarp provides a barrier from the elements.  The 3.5’x5’ Contact Sheet stuffs into a mesh pouch for easy transportation and storage.

Contact Sheet
The Contact Sheet solves one of nature and outdoor photographers’ biggest headaches, which is how to create a safe work area when operating remotely in the out-of-doors.  Made of a mixture of 30D Ripstop PU and Nylon mesh, it can easily be spread out and valuable electronics gear laid on it safe in the knowledge that it is protected from the elements.


Tarp:  5′ X 3.5′ (152cm X 107cm)

Stuff Sack:  7″ x 4.5″ x 2″ (17.2cm x 11.43cm x 5cm)

Weight:  5 ounces (142 grams)

MindShift Gear ( is a group of professional photographers and designers committed to conservation of our natural resources and global environment. Founded by the creators of Think Tank Photo and conservation photographer Daniel Beltrá, MindShift is dedicated to building carrying solutions for those who are passionate about experiencing the natural world. Their slogan, “Engage with nature,” challenges people to not only become involved in outdoor activities, but to create a conversation about nature and our relationship to the environment.

Painting With Light Book Review

Painting With Light: Light Art Performance Photography

By JanLeonardo Woellert and Joerg Miedza

Rocky Nook, Santa Barbara

ISBN: 978-1-933952-74-1

The Painting With Light book is a documentation of a body of work and a process of creation that is interesting and extending of the bounds of photography.

This is not a how to book. Rather the bulk of the book documents the work of these two performance artists, because that is how I see them. The stunning images that illustrate the book document an event. So there are actually two creative works going on here: the performance itself and the artefacts (photographs) that result from it.

As I said above, this 220-page book is mostly a gallery of stunning and surprising work that is definitely worth careful examination. The imagery illustrates a real mastery by the practitioners of lighting and movement. Written sections take you through their philosophy in creating the work, the techniques, how to plan and choose a site and the actual performance. The writing is concise and effective. It gives you enough to understand the work and to give it a try yourself without become a laborious handholding.

The book is a large, landscape format book, printed on paper with a significant sheen, as you can see in the illustrations. So you may need to tilt the book to see the images well, depending on the lighting. I also found the binding glue separated partly on mine pretty quickly with handling. This wasn’t really a problem as it meant the front cover nicely lay flat when reading on a table. I haven’t had this with other Rocky Nook books, so I think it is a product of the unusual shape of the book.

This is a great book. They are all beautifully executed. I can happily recommend this book. It belongs on the bookshelf of every photographer who aspires to create rather than find the images they shoot and will give you ideas well beyond the bounds of light painting. Very highly recommended.

Mullock Heaps of Creswick Through Infrared Photography

In the area around Creswick in central Victoria there are the often large remains of tailings from the gold mines that dotted the area in the 19th Century. These are called Mullock Heaps and mainly consist of overlying rock and quartz.

While to some these are a blot on the rural landscape, to a photographer they present many opportunities for photography. A recent trip there with my converted for infrared photography Canon 350D and a selection of lenses produced the images below. The camera used a custom white balance and I shot in RAW. These were processed in Adobe Camera RAW and then in Photoshop. Most had levels adjusted individually in each colour channel, a slight contrast improving curve and an increase in colour vibrancy.

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