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Connectivity Woes with USB3 and 35mm DSLR Cameras? We’ve got solutions

Have you noticed that most of the newer 35mm DSLR cameras with USB3-tethered connectivity can be a pain at times (especially when you are trying to run further than 15 feet)? Yeah, we have too, but we can also help you out with that. Check out our tips below to help you stay tethered while shooting.

First, when shooting tethered in C1 Pro, make sure to check you camera connection setting in the Preferences. This is not really just a USB3-related issue, but it’s still good to keep in mind. Those settings can be found here, second down from the top in menu bar when clicking on Capture One 9:

fstop1Select Preference then choose the Capture tab from the top bar.

Do you see the provider’s section? This section is pretty handy because the connection code behind 35mm DSLRs is different from Canon, Nikon and Sony cameras. Also, what’s needed to make one run can actually impede another’s ability to connect. It’s best to disable the cameras you are not using and only enable the camera you currently have tethered. You will need to restart the software after checking / unchecking boxes, but this will help you if you are having frequent disconnects.fstop2


This next one is going to sound simple, and also not exactly specific to USB3, but a tether lock of any type can save your day. While MFDBs have longer plug ends and fit snugly and securely, cables for DSLRs wiggle more than a toddler who has consumed too much sugar. Using either a factory tether lock (if available/usable with cable type) or a tether lock/block that screws to the bottom will help cut down the amount of dropped signals due to a moving cable. All of our DSLR camera kits come default with a tether lock.

Most new USB3-equipped 35mm DSLR cameras ship with about a 3-6 foot tether cable from the manufacturer. While this is never enough to tether, adding an active extension to this length of cable offers a fairly stable tether connection. Things tend to get a little trickier when you start using 15 foot tether cables with active extension cables. This is most evident on the Canon 5DS / R and 1Dx MkII, but also affects the Nikon D800/810 family. While this can be vexing, there is a solution: more power. Adding in a device to help boost power across those 30 feet of cable generally solves connectivity issues.

We carry two devices that can help make that happen for you. The first is our studio/location power go-to: The Thunderbolt Dock. Connecting to your computer via Thunderbolt and powered via AC, the dock adds extra ports and supplies two powered USB3 ports, these help maintain power and communication over distance.

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Our next item available is the Tether Tools TetherBoost Core Controller. This little unit can work power via AC in studio / location with juice or via a battery pack when you’re mobile.


There are other options out there, and we are always adding more items that we find reliable. So always give us a shout and we will offer advice on getting the best connection for your shooting situation.

We ♥ The Phase One XF Camera System

We’ve been seeing a large uptick in users making the switch to the Phase One XF camera system and wanted to share our reasons for loving it, in case you haven’t tried it yet.

Design wise, the camera looks a little more like an RZ than the previous DF+ design, the square blocky nature having both a retro feel as well as a more modern look. The grip has a much better feel in your hand than previous models, and the new rubber cladding material is an upgrade from the old camera. The viewfinder is removable, so if you want to use a waist level finder, realistic in landscape mode only, you have that option. Tie in the new programmable buttons, and you can customize the camera to be controlled exactly as you see fit.Copy of FA_Content0325_02_RT

The autofocus system has been completely overhauled, sporting a 1,000-point CMOS sensor to help provide a higher degree of accuracy. When I tested this camera versus it’s predecessor, the new XF outperformed it by far. The focus lock is quicker, and accuracy is higher but (more importantly) much more consistent. A great addition to the system is the AF Assist Light. Gone is the old IR assist beam, which has been replaced with a white spectrum assist light that is either off, at 50 percent or 100 percent. This light allows the camera to be focused in virtually no light at all. At the 100 percent setting, you can focus on a model in a dark room—it’s that bright.

When using the XF camera tethered to Capture One Pro, you are working on fully integrated system designed to work together. From the software, you can completely control the camera and almost all of its settings. This is beneficial when working in situations where the camera is not easily accessible.

The camera also has a host of new tools built in to help make your life a little easier, including the Profoto Air trigger. A small addition with huge benefits as it helps simplify your life by eliminating the need to carry extra items.

Haven’t checked the camera out yet? Nervous to make the switch from your current Medium Format digital system? Totally understandable. Stop by the digital department for a walk through and we’ll show you why this may be your new go-to camera.

Become a Fast Ashleys Intern

The FABK family is looking for enthusiastic interns who are not afraid to get their hands dirty, work hard and who want real world experience. We ask that you commit to two days a week for a minimum of three months. All interns are expected to work one morning shift and one afternoon shift. Each shift allows for different learning opportunities and the ability to really get a handle of what it is we do here on a day to day basis.

Interns will learn a variety of skills from handling photography equipment to high end client relations. Some of the things asked of you will be cleaning eq, putting away eq, facilitating client needs, helping maintain the studios appearance, painting, sweeping and running light errands.

This is an amazing opportunity to get to know the industry, while shadowing professionals.

If you are interested in pursuing this opportunity at Fast Ashleys Studios we ask you please provide the following:

-Cover letter



-A brief essay explaining your experience in the photoworld, and what it means to be a part of it and the work ethic required to stay afloat in it.

-In the body of the email please provide a little blurb about yourself. What got you into photography? What do you like to shoot? What kind of camera do you use? Who is your favorite photographer?


studioOne is Open!

We’re open!

Contact us for a tour of our private studio on Calyer Street!

ADDRESS Fast Ashleys Studios
76 Calyer Street, Brooklyn, NY, United States 11222
PHONE  +1 718-782-9300
FAX  +1 718-782-9400

FABK Digital – Now Available!

Fast Ashleys now offers digital and we’re fully loaded with brand new gear from all major brands. Whether you’re in studio or on location, FABK makes producing a shoot easier than ever. We offer 24/7 pick-up and delivery options. All digital can be rented a-la-carte or as packages.

Get in touch and we’ll hook you up with everything you need.

P: (718)782-9300

Fast Ashleys Studios

Behind the Scenes with Lexus

Lexus partnered with WIRED and photographer Daniel Thomas Smith to tell the story of the technologies in the Lexus LS in multi-media campaign exploring the Lexus LS. Let’s take a look behind the scenes of the shoot in studio B!

A GIF depicting a more complete view of an action. Shot with four still cameras, fired remotely to freeze each moment. Composited together, it can be used to calculate space, distance and position. It is inspired by the available stereoscopic camera in the Lexus LS, which helps track road lanes ahead.*


A static image inspired by the available infrared camera aboard the Lexus LS. Shot on a still camera fitted with an infrared filter and using a long exposure time, it reveals wavelengths beyond those visible to the human eye.


View the whole campaign here.

Jack Waterlot’s Video Component for L’Officiel Singapore

Featuring: Sarah Brannon, Tess Hellfeuer & Chiharu Okunugi

ONES TO WATCH: Ernesto Gonzalez

Ernesto Gonzalez

How did you get started in Photography?

I came to New York City from Mexico with the goal of becoming a Cinematographer/ Photographer and went to school at the International Center of Photography. After the ICP and some odd jobs I started assisting photographers and landed a full time position as first assistant for Enrique Badulescu for a few years. From there I made the transition to shooting my own work.


How did you develop your aesthetic?

When I started assisting everyone was still shooting on film. All of our light tests were done on Polaroid. We would travel with cases and cases of Polaroid to every shoot. Every trip we went on, I would take photos and play around while documenting our travels. I started experimenting with a lot of different types of Polaroid and processing methods and fell in love with the medium.

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How do you continue to work on a disappearing medium?

Polaroid stopped making film all together in 2008, but there are still manufacturers of instant film with no news of discontinuing their product. No news is good news.
I use film I find from old camera stores and on different web sites. I also spend time hunting around for discontinued stock. I have a fridge I keep stocked with film and currently I own 23 different Polaroid cameras. From my perspective I see no sign of disappearance. 😉

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How do you manage to push your aesthetic in the digital age?

I also shoot digitally. I am not a purist. But to me the nature of Photography is experimental regardless of whether it’s digital or film. Cameras are just tools, and what matters at the end of the day is the photo, not what you made it with.

I like experimenting with both technologies and merging them. The magic of Polaroid is that it is an object and that to me is precious. It cannot be reproduced in its original form.

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What’s the selling point of Polaroid from your perspective?

In my opinion in recent years photography went very artificial. There is no room for happy accidents and it has become very boring. I’ll flip through five different magazines and the images all look the same.
We have been told what “good” looks like. Sharp, crisp, well lit, no wrinkles, perfect. Ugly can be good. Moody can be beautiful. And I miss that in photography these days.

A strong selling point is that Polaroid offers an alternative to the current aesthetics. Polaroid has evolved from being a tool to check your light and exposure into a process with an aesthetic of its own. Even when manipulated for commercial or editorial use, it offers happy accidents that can be controlled and repeated which provide uniqueness.

img001 as Smart Object-1 copy 2Do you think its catching on?

Absolutely. Purple issue 23 has a Polaroid of Kim Gordon on the cover.
Industry and Interview magazines have also been using Polaroid in recent issues as well as some fashion brands for their advertising, and Self Service has been using Polaroid for quite some time.
About a month ago, just before this interview I read an article about fine art photographers that also work commercially. It talks about how commercial clients are becoming more interested in individual voices and vision. A particular eye rather than technical skills.
This to me says that the creatives making decisions are looking for alternatives today.

I have been showing and publishing my Polaroid work since I started shooting on my own and the attitude towards images captured on Polaroid has definitely shifted.

How do you suggest young photographers find their visual voice, yet also find a place in commercial work?

The accessibility that digital technology has brought into photography is huge.
Film is and was expensive. But now you can take photos and video with your phone, and Photoshop is ten dollars a month, so if you have the drive, there are far less limitations. It is really about your eye and finding something that you believe in. That being said, shoot shoot and shoot.

We all need commercial work, but I think it is important to develop a vision for your own self satisfaction. It’s a matter of mental health. Good Luck!

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Where do you find inspiration?

Oh man… Many different things. The list is endless. From movies to old TV shows. Music. Doing dishes in the morning… ha… books, photo history
I love photography and many things that relate to the craft.
Like most creatives, everything in life becomes an inspiration.

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What are some recent projects you are exited about?

I shot two editorials that are out this month. One for S magazine, who I have been collaborating with for sometime and also a recent collaboration with Out of Order. Both stories were shot on 1993 Polaroid stock from my secret stash.


How would you describe the culture at Fast Ashleys?

Rock and roll and I like it! I came here way back when Fast Ashleys first opened. I worked in Studio A as an assistant and I’ve had the pleasure of shooting there myself. Fast Ashleys is a really big supporter to a lot of us in helping to kick start our careers. They get that the assistants of today are the photographers of tomorrow. It is more than a studio, it’s a community. The crew at Fast Ashleys are family.

Learn more about Ernesto Gonazalez by visiting

Follow: Facebook, Instagram, Linkedin, Blog


We and our partners at Smashbox Studios love demanding customers. Tight deadlines, high pressure, unique needs – this is where we thrive. Meeting and exceeding those demands requires attention to every part of the business, from the training of our employees and the upkeep of our facilities, to the selection of the world’s best photographic equipment for our rental inventory. That’s why we’re so excited about the Phase One XF; its features, build quality, and specifications are ready for the rigorous demands that our clients will surely place on it.


Our sister division in LA, Smashbox Studios, is proud to be the first place you can see the Phase One XF on the west coast.  Digital Transitions hand carried two of the very first units directly from Copenhagen, Denmark for the open house. Friends in the west, please stop by to see the new EQ in action on June 3rd: 1pm -9pm! Doug Peterson, Digital Transitions Product Manager, will give a presentation on the Phase One FX; Origin Story & Features Overview and Capture One 8.3: New Features & XF Integration.


The XF boasts a host of features that will make it shine in any location. The body has a Profoto Air transmitterbuilt in. No more transmitter poking up from the camera, obscuring the view, and requiring battery changes. Moreover, it syncs at 1/1600th which means it will be easy to use flash and stop motion even in bright daylight.


Medium format cameras have always had nicer viewfinders than 35mm cameras. The physically larger light path provides a larger and brighter view. The standard Phase One XF viewfinder, however, is in a league of its own. The optics have been improved over the previous DF+ viewfinder, making it crisper and even brighter.

There is also a waist-level viewfinder (WLF) which provides both autofocus and metering. For those that haven’t used one, a WLF is a joy to use when shooting models, allowing the photographer to interact with the model without a camera directly in front of their face, allowing them to shoot from a more natural height without bending over. This should greatly reduce our clients’ chiropractic bills. The view is highly three dimensional; the subject almost appears to pop off the ground glass, though newcomers will have to get used to the one major drawback – everything is backwards!


The new Phase One IQ3 digital backs and Phase One XF body can share power. So when the battery in the back is running low the power is drawn automatically from the body. This means much better battery life, fewer on set battery changes, and less chance a low-battery indicator will halt a shoot.


Our digital techs have unrivaled skill in Capture One, providing our clients with the most seamless and powerful tethered shooting in the industry. The XF body and IQ3 digital backs provide even tighter integration, giving us more tools with which to serve our clients while shooting tethered. For instance, every single control available on the body can be accessed from Capture One including exposure, autofocus mode, mirror-up, the channel of the Profoto Transmitter, and the modification of every button function (e.g. to change focus to the rear button). When a change needs to be made we don’t need to go to the camera position to execute, making such changes faster and less disruptive.

Better yet, tethering speed of the IQ3 and XF have been further improved. As we wrote about in our Capture One Speed article, Capture One and Phase One already provide the fastest tethering experience for our clients. But with speed, you can never have enough, so this latest round of optimizations are greatly appreciated.


The XF is the largest jump in medium format autofocus we’ve ever seen. The body snaps immediately into focus even in traditionally challenging situations. The reason is a bit of technical obscurity involving the use of a pixel array rather than the line sensors used in every other SLR.  But to really understand the level of improvement you’ll need to try it yourself. It’s fast and ultra precise, which is so important for our clients shooting 80mp images wide open where depth of field is razor thin.


Check out Digital Transitions for everything you want to know about Phase One’s announcements. The DT Blog features a First Look: The New Phase One XF Camera System including the Top 17 Things to Love as well as The Phase One IQ3 – What You Need to Know.

Also, see all of the latest specifications for the XF Camera System, IQ3 Digital Backs as well as on the new 35mm and 120mm Leaf Shutter Lenses.

Ones to Watch: NADYA WASYLKO

How did you get started in photography professionally?

I was interested in photography at an early age and in college, at the S.I. Newhouse School at Syracuse University, I had the opportunity to pursue it further with the dark room facilities, classes, and lots of side projects. After college I moved to London where I worked as a photo assistant for Rankin, founder of Dazed magazine. From London I moved to New York and assisted for several years before going out on my own. Being a photo assistant was where I really learned the hard and fast of photography, from the technical aspects of lighting, the extensive protocols of production, to the art of business and selling.

How was the transition coming to New York?

I moved to New York at a time when a lot of colleagues and friends also moved here, so it was exciting for several reasons. The photo industry in New York is vast and it offered opportunities for me to assist a variety of photographers working in very different styles and specialties. Then a former colleague, Karen Goss, a dear friend and fellow assistant from Rankin’s studio, came to town working for the photographer Daniel Jackson and brought me on for a few jobs. They eventually relocated to New York and I began working with them regularly. The pace and caliber of work really nurtured my own interest in fashion and portrait photography.

What inspires your work as a photographer?

I find so much inspiration in observing the world around me. I love people watching, seeing different faces, gestures, body language and styles of dress. Especially in New York, there is such a convergence of so many different people and cultures in this city. I grew up abroad, my parents worked in the U.S. Foreign Service and every few years we packed up our home and moved to a new country. The experience of living in so many different places and being immersed at an early age in different cultures and customs has definitely had an influence on my life and work. Experiencing art and architecture, music, performance and films continues to be a major source of inspiration for me. As is observing the everyday magic of life – seeing inspiring combinations of light and shadow, reflections, color, composition, form, movement, the fleeting beautiful interactions of things out in the world.

Where does your eye for color come from?

I do have a deep love of color and this is likely inspired from my heritage as a Ukrainian-American. Growing up with the rich traditions of Ukrainian folk arts, the intricately dyed eggs, embroidered clothing and decorative motifs, all of these vivid colors and geometric forms became second nature to me. Color, and its manipulation, was always a major part of my life. And I am very much a product of my journey.

What kind of projects have you been doing recently?

I’ve been shooting a variety of editorial fashion stories, portraits and beauty, as well as commercial and advertising work for fashion and beauty brands, look books for designers. I recently had the pleasure of photographing Marilyn Minter, a supremely wonderful artist I have long admired, who also went to Syracuse by the way. And I have several new projects coming out soon, editorial portraits for Yahoo Style, some new creative beauty NadyaWasylko_headshotprojects, and shoots for Bloomingdale’s and Gap.

What do you like most about working in photography?

I love the collaboration. I think people often don’t realize how many people can be involved in these types of shoots. It’s been really important in my work to bring together a team of great collaborators. It’s synergy. I see it as an opportunity to combine everyone’s talents to create something wonderful. This is a team sport – we’re building something together and everyone can be proud of their own mark on the work. And the connection with others is what makes all of this so meaningful. From my early days as an assistant, and since I’ve been shooting on my own, Fast Ashleys has been incredibly supportive and an amazing place to create. The team here is always so warm and open and generous. It’s a real community and the friendships I’ve formed while working on set here are very dear to my heart.

To check out more of Nadya’s work visit her website, and be sure to keep up on social via Instagram, Twitter, Tumblr, and LinkedIn.