On a recent vacation I wanted to make sure that no subject was going to be out of range of my camera so I needed a big lens. The problem with long focal length lenses are that they are huge, bulky, and usually fixed to a specific focal length like 400mm. I wanted something more portable and with a wide focal length range so I decided to try out the Sigma 50-500mm lens.

Sigma 50-500m / Canon 70-200mm

The biggest lens I own is the Canon 70-200mm f/2.8 is L mk 1. While the Canon lens is a fantastic lens in its own right, on my 7D it is effectively a 112-320mm which is decent for range but pretty long for close subjects. The Sigma is effectively an 80-800mm which works well for close objects as well as having some incredible range.

Pros
The top three things I like about the 50-500mm have certainly got to be the huge focal length range, its image stabilization, and its relatively small size. During my vacation there were days that I used the 50-500mm exclusivly because the wide focal length range covered all of the spectrum that I needed. For most things, the image stabilization system worked quite well and helped make some otherwise impossible shots happen. As for the size, the lens fit comfortably in my standard camera case without having making me decide which gear would be left at home.

Cons
Keep in mind that this lens was never designed to be your daily walk around lens but since I took it with me specifically as a travel lens, I am going to use that frame of reference here. The two things that bothered me were a rather slow autofocus and the weight. While the autofocus did sem slow compared to my regular lenses I use, you do have to keep in mind the massive focal length range of the lens. My 70-200 has a total range of 130mm and my 24-70 only has a range of 46mm. This monster has a range of 450mm so sometimes the autofocus really has a long way to adjust. The biggest issue I had though was the weight. This is one heavy lens, weighing in at 5 pounds, this beast will put some serious hurt on your shoulder after carrying it around all day.

Extended to 500mm

Focus shift
There is one particular quirk to this lens I have not had on any other zoom lens and this is a focus shift between focal lengths. With other lenses I can zoom in to get my focus and then zoom out to compose my shot, if you do this with this lens your zoomed out shot will be out of focus. I wasn’t able to find an effective work around for this and while I don’t think I really missed any shots because of it, it is something that some people might find annoying.

Who is it for?
I have to admit to struggling a little to answer this question as high end sports photographers and wildlife shooters love those big 400mm f/2.8 or f/4 lenses that allow them to shoot at fast shutter speeds. The relatively slow f/5.6 – f/6.4 is going to be a limiting factor if you don’t have bright conditions. The lens is just too big and heavy for wedding photographers. For nature and landscape shooters its probably an ideal lens as shutter speed is less important and the massive focal length range could actually save from having to lug several different lenses. For most people I would probably recommend the 70-300mm as it is a much more portable lens with a focal length that should work in a wide range of situations.

What about the bokah?
I can just picture many of you rolling your eyes and scoffing at a lens with this aperture range. Keep in mind that depth of field is affected by focal length and distance to subject and not just the aperture size so you can get some really short depth of field when using a long focal length with a nearby subject.

Slideshow of samples from St. Kitts

Sigma 50-500 Samples

13 photos

 Image hosting courtesy of SmugMug

Summary
I am a big fan of Sigma lenses and the 50-500mm does not let me down in build quality, sharpness, or results. It isn’t going to be a lens for everyone but if you have a need it can fill you will not be disappointed. At $xxxx it isn’t a quick impulse buy but it is pretty much impossible to find a lens with the versatility that this one has. Despite some of its quirks and the weight I would certainly take it out on other trips where I expect to need the long range but also may have some closer encounters and don’t want to have to change lenses or worse, carry two bodies with different lenses on them.

Website: http://www.sigmaphoto.com/

Overview

The SpiderPro Holster is a unique device that allows you to place your camera on your waist and then be hands-free…and strap free until you are ready to use your camera again. For me, when I am not shooting, I am usually doing something with my hands like working with a product, helping someone to pose, or arranging items for a shot. Having a strap means that my camera is often in the way, sometimes swinging into something or getting in my way. The SpiderPro Holster securely holds your camera via a special plate on the bottom of your camera keeping is close, secure, and still easily accessible.

Features

The main parts of the Spider Holster system include the holster itself that straps to a belt that will hold your camera, the SpiderPro Plate which attaches to the bottom of your camera, and the SpiderPro Pin which attaches to the Plate and allows it to sit inside the holster.

The SpiderPro 1-Camera kit consists of the following components:

• 1 SpiderPro Camera Holster
• 1 SpiderPro Plate
• 1 SpiderPro Pin
• 1 SpiderPro Belt

Setup

There is only a small amount of prep work to get ready to use the SpiderPro. First you have to determine if you are going to wear it on your right or left side so you can put the holding stud into the correct position on the camera bracket. Next, you need to attach the bracket to the tripod mount on the bottom of your camera. The mount tightens with an Allen wrench that is stored in the camera mount bracket. Finally, you need to adjust the belt for your waist. Once you have the belt on, you are ready to start using it.

Usage

Using the SpiderPro holster is a very different experience than using a strap. Once you slide your camera into the holster, you are completely free of anything bogging you down and you are free to use your hands. I have to say, while any strap allows your hands to be free, with the SpiderPro Holster this takes that concept to a new level because there is nothing around your neck or on your shoulders, this is a very liberating feeling. The only issue I have is that I don’t feel overly secure not having any kind of strap on the camera in case the camera slips out of my hands. A simple solution to this is a wrist strap for your camera if you need that little extra piece of mind.

Keeping the camera on your waist instead of your neck and shoulders is actually more comfortable than I had expected. I position mine a little more towards my back than directly on my side so that a lens on the camera tends to ride behind me a little which helps protect my gear as I am maneuvering in tight areas.

My camera feels extremely secure in the holster even when the safety latch isn’t closed.

Results

While the SpiderHolster looked interesting when it first came out I was pretty happy with the existing strap I was using. While I was at WPPI this year I stopped by the SpiderHolster booth and really got some hands-on time with it. I was actually so impressed with it that I felt I really needed to give it a long term try. It only took a few outings with it to be convinced that it was going to be my primary way to carry my camera.

Using the SpiderHolster is comfortable and easy to use and I certainly recommend it to anyone looking for a better system.

Score Card

The SpiderHolster was pretty easy to grade since the only setup is to put the mount on the bottom of your camera and adjust it to your size. As for features, while it has a single purpose, it does it extremely well. The very nice clasp and the lock mechanism add to an already great package. The system is very easy to use and works great to help you from getting sore after carrying your gear all day. At $135 (Amazon) it isn’t cheap but is well worth it for the ease of use.

Website: http://spiderholster.com

Strap used in video: http://www.cottoncarrier.com/

Did Midland score a win with the XTC300VP4? There is only one way to find out….put it to the test!

Features

There are not a whole ton of features, settings, dials, inputs, outputs or really much of anything to the XTC300VP4. The camera is what it is, and what it is, is a video camera. There are only three settings shooting modes:

• 1920×1080 High Definition @ 30 FPS (16:9 Aspect Ratio)
• 1280×720 High Definition @ 60FPS (16:9 Aspect Ratio)
• 848 x 480 Standard Definition @ 60FPS (16:9 Aspect Ratio)

There are only two controls on the entire camera, the on/off slide switch and the video resolution switch. There are no menus to dig through, cryptic codes to remember, just set the video resolution you want and turn it on to start filming.

Last year I took my wife to Maui for our anniversary and on the very first day the hard drive in my laptop crashed. At the time I had the Nexto DI eXtreme portable storage which allowed me to quickly back up my CF cards each night. Without a portable backup solution, I would have been nervous about losing my data until I got home. Data loss is the ultimate enemy of the photographer so the sooner you get a backup the better off you are. With more and more video projects coming in, I wanted to make sure I had a backup solution for video files as well as still images and the Nexto DI NVS1501 was an obvious choice since I had liked the Nexto DI eXtreme so much. Let’s take a look and see if the NVS1501 is a worthy successor to the eXtreme.

 Features

While the very unassuming case features only an On/Off button and a single small joystick style control, the system itself is actually crammed with features.

In addition to backing up your memory cards, the NVS1501 also allows you to copy your files onto other devices, such as USB drives or memory cards, using an external card reader or the optional Ikegami GFPAK. Data can also be burned directly to Blu-ray Discs.

Nexto DI gave this device safety features such as shock protection, in the form of a built-in free-fall sensor and rubber bumpers. The NVS1501 can also detect and recover from bad sectors by moving data to a safe sector.

Back Up from Various Memory Cards

Offload data from various memory cards (CF, Microdrive, SDHC, SDXC, MS) up to 500 GB

Supports SDXC

The NVS1501 supports the exFAT file system used in SDXC.

Copy Mode and Performance

Fast Copy: Make a new folder and copy all the memory card data into the folder
Copy and Verify: Same as Fast Copy, but after copying, the data on the memory card is compared with the copied data on the NVS1501 hard drive. Each bit is verified
Safe Copy: Before copying data, the NVS1501 verifies that its hard drive area is safe. If a bad sector is detected, a new, safe area is found – then copying (Fast Copy) will begin

Performance

CF: 80 MB/s – 6 minutes, 40 seconds to transfer 32 GB
SDHC/SDXC: 22 MB/s – 24 minutes, 14 seconds to transfer 32 GB
SDHC/SDXC, UHS-1: 60 MB/s – 8 minutes, 53 seconds to transfer 32 GB
MS: 12 MB/s – 44 minutes, 26 seconds to transfer 32 GB

Preview Video and Photo Clip

User can preview video and photo clips with the built-in color LCD. A preview of both files on internal HDD and external device (CF, SDHC, SDXC, MS, USB external HDD) is supported

Making a Secondary Copy to USB Hard Drive

User can generate (sync) a second copy onto an external USB HDD. Export internal data to an external USB hard drive without needing a laptop. Each time you plug in an external USB hard drive to the NVS1501, any files recorded since the last sync will be transferred. Automatically compare the video folders by file names and sizesThe wall power adapter should be connected to both the NVS1501 and the USB external hard drive. Supports copy from USB card reader or GFPAK using USB host connectivity through eSATA/USB combo port

Multi-Copy Onto Two Separate HDD at the Same Time

MCopy (Multi-Copy) enables mirrored data to be copied onto the NVS1501 and an external USB HDD at the same time, to achieve maximum data safety

Designed for Data Safety Shock Protection

Featuring advanced data management capabilities including Recover folder from bad sector, shock protection and success (or failure) feedback of previous backup operationShock protection:
1. Built-in free-fall sensor
The NVS1501 senses when it’s being dropped – it will be triggered to move the read/write head of the HDD away from platter, parking at its original position. The main power will be automatically switched-off
2. Supplied with Rubber Bumpers
A pair of rubber bumper supplied for an additional protectionBad Sector Recovery
If a video folder contains a bad sector the NVS1501 recovers the video folder. It copies data onto good sectors and replaces unusable sectors with a format dependent on dummy sectors. The frames that contain dummy sectors block noises but the rest of frames become usableSuccess (or Failure) Feedback
Next time you switch on the NVS1501, it will display the previous backup result, in order to help the user to determine the deletion of data stored on the memory card

Using the NVS1501 As a Hard Drive

Supports high-speed data transfer to NLE systemIEEE1394b (FireWire 800): 75 MB/s – 7 minutes, 10 seconds to transfer 32 GB
USB 2.0: 33 MB/s – 16 minutes, 17 seconds to transfer 32 GB

Versatile Power Options

Its built-in internal battery makes the NVS1501 the perfect companion for working in the field. The NVS1501 can also be powered by the power adapter, interface cables, a ‘AA’ battery holder, or external battery

Specifications

Charging Time

Approximately 5 hours via power adapter / FireWire 800
Approximately 9 hours via interface cable
Approximately 10 hours via ‘AA’ battery holder

Setup

Other than charging the battery, there isn’t anything to setup. I plugged the NVS1501 into my laptop overnight to make sure it had a good full charge on it. Aside from that, you are ready to plug your memory cards in and start backing up.

If you are going to backup to a secondary device, you will want to plug that in and make sure everything is working correctly, for me, I just use the NVS1501 as my initial CF card reader after a shoot, then I plug it into my computer as an external drive to copy the files to the computer for processing. Each night, automatic processes backup the processing system to redundant storage systems, only after I have verified that those backups worked properly do I remove them from the NVS1501. This helps to ensure that I never lose any data.

Usage

As I mentioned, the NVS1501 has a very simple interface with only a single directional controller aside from the power switch. When the system powers up, the initial screen you get will say “XCopy Ready”, at this point you can insert your memory card.

Once you select the copy method, it just blazes through the copy process. If you are a wedding photographer that uses a second shooter, this is a HUGE time saver for you, within only a few minutes you can back up your second shooter’s cards and send them on their way.  I use 16gb cards for everything and the typical backup takes about three minutes.

My big gripe about the earlier Nexto eXtreme was the eXtremely tiny LCD display, it was almost impossible to read and had no preview function.  While the NVS1501 does have a larger color LCD and does support both still and video playback the screen is still too small to check images for focus and delete images you don’t want.

For some people, also being able to do a secondary backup to another device is a really big deal, especially if you are on the road for extended periods of time before getting back to the office to dump your files.

Probably the biggest improvements, besides the faster transfer, larger LCD, and massive storage, are the safety features. With both free-fall and shock detection, your system is likely to survive falls and bumps that would destroy competing systems.

Results

If you believe in the phrase “you get what you pay for” than you will certainly apply that to the NVS1501. Coming in at $999.99, the NVS1501 is not cheap by any standard but when compared to its biggest rival, the Epson P-7000 at $799.99 the Nexto DI NVS1501 wins in a number of areas including storage (500gb vs 160gb), speed, security, safety, and reliability. To give Epson credit, the P-7000 wins on the display side with a large clear LCD that really allows you to manage and display images and video.

For the photographer on the go, the NVS1501 is a big investment but if you value the security of your images and want the speed that the NVS1501 delivers, than you will find it to be well worth the price.

Score Card

The Nexto DI NVS1501 scores top marks for its ease of use, speed, safety features, and overall design. I did ding the NVS1501 on the features due only to the small screen. Even with the small screen, a better job could be done on the image preview and file management, both things that could be solved with a software update.

On the overall value, I did knock off a point because of the price tag. While the NVS1501 is certainly a valuable tool it is priced out of the range of many people. Fortunately, there are products available from as low as $200 but you will be sacrificing the speed and durability of the NVS1501.

Website: http://www.nextodiusa.com/

Features

Before we get into the one feature I really bought the DS214 for (yes, I bought it, full price from B&H, this is how much I wanted it) let’s go through some of the other features that make this unit such a cool device:

• 2 mic channels via the stereo minijack input
• Audio Input Meters
• AGC Disable (to get better SNR from cameras without manual control)
• 30dB typ max gain
• Headphone Amplifier
• Low-noise preamp
• Enclosure fabricated from Aluminum, Approx 3.5″ x 3″ x 1.7″

If you are not an audio expert, you might not know what most of that means, fear not reader, I will do my best to explain it as I understand it.

Our current video DSLR cameras have a single stereo microphone input but usually our microphones only feed in the audio in a single channel (left or right, sometimes combined). Sometimes, we want to use two mics for real stereo input but the difficulty is getting the audio levels to be level between the two channels. With the DS214 (and a specific cable) you can feed two channels into the amp and adjust the input levels with dials on the front of the unit and use the audio level meters to help adjust the levels. Thanks to a headset jack, you can also monitor the audio stream to make sure it is sounding good as well. By integrating a low-noise pre-amp, you can boost the input levels to ensure a goof quality recording.

That is about as technical as I can get without risking the possibility of being completely wrong, so if someone wants to chime in in the comments to help clarify this, please do.

The final feature is the AGC disable (much more on this latter) which rather effectively disables the aforementioned AGC in the camera to allow the camera to record good clean audio.

AGC Disable

There are plenty of amps available with a plethora of features but the DS214 has a feature specific to what I wanted, and this is AGC disable. When you turn on the AGC Disable feature the DS214 mixes both of the left and right channels into a single track that is fed into the left channel while a tone generator feeds a signal into the right channel. The generated tone tricks the AGC system in the camera into thinking there is a lot of noise coming in which causes the AGC to essentially shut off.

While your camera ends up with a really clean audio track on one channel, you also get an unusable right channel that you need to delete in post production. If you are using Sony Vegas or Final Cut, JuicedLink has some instructions for removing the right channel. If you are using Adobe Premiere Pro 5.5, I have come up with the following instructions:

Right click on video clip in the timeline and select ‘Edit Clip in Adobe Audition’
In Audition, right click on sound file in file bin and select ‘Extract Channels to Mono Files’
This will create a file for each channel
Delete the original file and the <filename>_R file
Double-click on the <filename>_L file
Do any processing you want
Save file
Imported new sound file back into Premiere
Right click on video clip in timeline and select Unlink
Delete the audio track
Add new audio track into timeline and align with video track (should snap into position)

How Well Does It Work

To be sure that I was going to get the best results I actually read the DS214 Manual which includes a section on tuning the AGC Disable for the 7D. Once all setup, it was time to try out the new system. I connected an Audio-Technica ATR-3350 Lavalier Microphone ($21) and pinned it up near my collar like normal. The resulting audio was so good you could hear every breath I took. I actually ended up having to move the mic from my collar to about mid-chest and turn down the input gain a little. The result was crystal clear audio at a great volume.

Is It Worth It?

If you are planning on doing a good amount of video work and you really want to save time in post production by not having to sync audio that you recorded to a secondary audio device, the $144 may end up paying for itself in very short order. If I only did occasional video, I probably wouldn’t spend the money, but since I do a large amount of video for different client projects and have a huge amount of video work planned for next year, even saving a few minutes per project will pay for itself many times over.

Built-In Obsolescence?

For me, the DS214 was purchased to overcome a shortcoming in the Canon 7D audio system. That being said, the Canon 5D Mk II had the exact same limitation which was eventually overcome with both a firmware update as well as the Magic Lantern firmware mod. The current firmware on the 7D is not allowing the Magic Lantern team to create a package for the 7D. This could literally change overnight if Canon releases a firmware with the ability to disable AGC or allow a Magic Lantern modification. The question is, does the DS214 becoming nothing but an expensive paperweight when this day finally comes. The answer is….no.

Even when the AGC disable feature is no longer needed, I will still have a great pre-amp with separate audio input controls, visual audio indicator meters, and a headphone jack for live monitoring. With these extra features, the JuicedLink DS214 will continue to serve multiple purposes for my video recording purposes.

What Could Be Improved?

The only real issue I have is dealing with how to mount the DS214 to the camera. For me, almost all of my video work is done in a studio with the camera on a tripod. With a simple adapter, I can put the DS214 on the camera’s hot shoe making it very conveniently placed to plug into the camera’s mic port. What would be ideal (in my opinion) would be a way to mount it under the camera and then attach a tripod quick mount to the bottom of the DS214. This would be more convenient when using the camera off the tripod. If you are using some kind of cage for your camera than you probably have more flexibility in your mounting options.

If you are using the 7D and want to use in-camera audio then you really have no choice right now. Until the 7D has a means of disabling the AGC system, there simply isn’t a way to get really good quality audio into the camera.

Juicedlink: http://juicedlink.com/
B&H: juicedLink DS214 $144
Amazon: JuicedLink DS214 $144

The KCWtechnica Rigging System only uses major industry standard connection points.  5/16″, 3/8″, 1/4″, 5° incremental, 15mm & 19mm.  KCWtechnica’s exclusive innovative clamps/converters allows using 15mm rods to 19mm to imperial standard rods.

Kit Contents

• 2 – 15mm 12″ Extendable Aluminum Lens Support Rods
• 4 – 15mm 6″ Extendable Aluminum Lens Support Rods
• 2 – 7″ Aluminum Hex, knurling Rods
• 2 – 4″ Aluminum Hex, Knurling Rods
• 2 – Aluminum Handles/Weights
• 8 – 15° Locking Rod Clamps
• 2 – Rod to Camera Plate Holders
• 1 – Formed Padded Shoulder Plate
• 1 – Lens Support
• 1 – Camera Mount Plate
• 1 – 3/8″ Mount Screw
• 1 – 5/16″ Mount Screw
• 2 – 3/8″ Flat Head Screws
• 2 – 3/8″ Ball Head Screws
• 2 – T-Handle Wrenches
• 1 – Padded Mil-Spec Ballistic Nylon Organizer Case
• **Added are: 2 additional 6″ 15mm Rods + 1 Formed Padded Shoulder Plate + Nylon & Padding to Mil-Spec

The Stage 1 rigging kit is going on sale soon for $995 but until then they are taking pre-orders at only $845.75. While this may still sound like a lot of money, since it is a modular system, allowing you to build numerous configurations, the kit becomes very affordable instead of buying complete components for all of the different rigging designs.

Head over and check it out at http://kcwtechnica.com/shop/mrk-modular-rigging-kit-basic-stage-i

Features

GoPro Size Comparison

The GoPro HD Hero sports a 5 megapixel sensor mated to a super wide-angle lens with a fixed aperture of f/2.8. The lens also has a fixed focus so this isn’t really going to be a good replacement for a good point & shoot. The GoPro is designed to be used in situations that you wouldn’t put a regular camera. The camera body itself has no mounting points because it is generally used inside of the waterproof case that it comes with. There is also no viewfinder or LCD screen built-in as the camera is usually used unattended such as strapped to a motorcycle helmet or attached to the side of a car.

There are four still shooting settings that include:

• Single shot
• Three shot burst
• Countdown timer
• Timelapse mode

Camera Optics

• Lens Type: Fixed Focus (2ft/.6m – ∞), glass
• Aperture: f/2.8 (high performance in low-light situations)
• Angle of View: 170º ultra wide angle in WVGA, 720p, or 960p mode
• Angle of View: 127º wide angle in 1080p mode

GoPro Left Side View

GoPro Right Side View

GoPro Rear View

The first three options are pretty basic but the Timelapse feature requires a bit of explanation. In the settings you first set the time interval between each shot. When you press the shutter to take a picture, the camera will keep firing shots off, pausing between each shot based on your setting, until you stop the process, the SD card becomes full, or the battery dies.

As I mentioned earlier, the GoPro HD Hero comes with a waterproof case that is rated for up to 60 meters. With this much protection, there aren’t many places that you can’t find a use for the GoPro.

The Bad News

Keep in mind that the GoPro is a specialty camera so while it excels in some areas, there are some gotchas to be aware of. I already mentioned the lack of a viewfinder although an optional one is available for $79. I highly recommend the viewfinder for navigating through the GoPro’s menus and for setting up shots. There is also no flash as the primary use is for shooting video. Out of the box there also isn’t any way to mount the camera to a tripod, for this you need an $8 tripod mount adapter.

There are only two buttons on the camera and a small LCD, combined they are used to change the plethora of setting options. Once you get the hang of it, changing the settings isn’t too difficult, but adding the LCDBak really makes using the GoPro much easier.

If you decide to buy a GoPro HD Hero you should start with a package containing a selection of mounting hardware such as the GoPro Motocycle Hero. The GoPro Motorcycle Hero will start you off with suction mount, helmet mount, and a handful of other parts. Add a bicycle mount and the tripod adapter and you will have a good starter kit.

Why use the GoPro for stills?

No viewfinder, no flash, tricky settings menus, so why would you want to use a GoPro for shooting stills? The main reason is that it is small and unobtrusive. You can easily put the camera in obscure locations and just let it shoot away. Think about putting the GoPro in the arch above a wedding ceremony for some unique angles. Your imagination is your only limitation as to what you can do.

But how good are the images?

The single most noticeable thing you will notice about the images is that the lens is a super wide-angle. I don’t mean just wide-angle, this is seriously a wide-angle, so wide that you get a bit of barrel distortion. Sometimes you want a mega wide-angle shot, other times you may not and you may need to do some lens correction on the images.

In the specs I mentioned that the camera has a fixed focus f/2.8 lens. An interesting note here is that Adobe Lightroom reports it as f/3.4. This is a pretty trivial difference, but something I would point out. Also, if you are looking at the EXIF data you will see that the shutter speed and ISO change from shot to shot. It appears that the GoPro tries to maintain a good exposure by adjusting the shutter speed as needed and then adjusting the ISO to keep the shutter speed from falling too low. Hopefully I can get some clarification on this from GoPro. A few other interesting tidbits are that Lightroom reports the focal length as 5mm (I did mention it was a WIDE angle).

Is a GoPro HD Hero right for you?

The GoPro HD Hero at $269 (Amazon) is more expensive than a good point & shoot camera and may even seem lighter on features. The important advantages have to do with the protective cover that waterproofs and protects the camera body from damage. The versatility of the mounting system allows you to use the camera in all kinds of unique situations from scuba diving to sky diving and pretty much anything in between.

These days I don’t leave my house without a GoPro HD Hero. From a quick snapshot when needed to recording the Camera Dojo GoCast series, the GoPro HD Hero is just fun. Sure, a focusable lens, adjustable focal length, and more control over exposure settings would be nice, having these limitations forces you to think about what you are shooting and how work with what you have.

In this post we have only talked about using the GoPro as a still camera, next week we will look at using the GoPro as a video camera.

Be sure and check out more information about GoPro and enter their daily contest for a chance to win everything they make.

Why a big tripod

A big sturdy tripod platform has several benefits over a smaller model. The main advantages are that it is more stable and can raise up higher. The downside is that a large tripod is going to be heavy. The Auctus Plus 324AT is not a tripod that you will likely strap to you backpack for an afternoon hike. But when you need a big, seriously stable platform, this is where the Auctus Plus 324AT shines.

Features

The Auctus Plus 324AT is more than just three legs and a mounting plate, like other Vanguard tripods, the Auctus Plus 324AT has some unique features that make it sand out from the rest.

How good is it?

Large Plastic Feet

Hidden Spikes

Summary

I have been a fan of Vanguard products for a while and the Vanguard Auctus Plus 324AT Tripod certainly did not disappoint on any level. If you need a high quality, large tripod base, be sure and check out the Vanguard Auctus series and see if there is one that will suite your requirements.

Vanguard Website: http://vanguardusa.com/

Online Ordering

Amazon.com $429.99
B & H Photo $429.99

Features

At first glance the Pro Roller x300 looks like your basic roller case with two zipper pockets on the front. The small pocket is fairly small but expands a little and is good for fast access to small items like lens caps, cleaning clothes, batteries, memory card holders, and other small items. The second pocket is larger and is fairly nicely padded making it ideal for storing a laptop or tablet.

Locking Mechanism

On the left side are two attachment points for adding a tripod holder. On the opposite side is a unique locking mechanism that has a pull-out cable that goes through hoops built into the zipper handles to help keep everything secure. The only thing I wished the lock had was a longer cable to make it easier to lock the bag to a secure object during an event when you can’t keep your eyes on your bag. The fact that it does lock the entire bag, including the front pockets, is a real plus though. The locking mechanism is TSA Approved so you will not have any issues with airport security if you want to check the bag through luggage.

Prop Stand

Turning to the back, there is a hide-away prop stand. I think this prop stand is a very nice addition to a roller bag since it makes it easier to get into your gear without having to bend all the way over to the ground. When you first look at the prop stand you will likely think that it is going to be weak and unstable, however, in use it is quite stable.

Specifications

Capacity: 1-2 pro DSLRs with grip plus 8-10 lenses; accessories, up to 17″ laptop

Inside

Inside The x200

The door features two good size pockets that don’t really expand much so they are good for small cables, gels, and other small accessories. There is also three holders for memory cards that feature small flaps that you can switch to show if the memory cards are full or empty. There is also a little hide-away panel that has a spot for a few pens and business cards. In the main compartment is plenty of space for a couple of bodies and a good assortment of lenses and accessories. The padding is quite thick so your gear should be pretty safe from getting knocked around when traveling. There are two main divider pieces that run top to bottom in the case that really don’t lend themselves to being moved much while all of the other cross pieces are easily moved or removed to customize the bag to your needs.

Hidden Backpack

The Surprises

There are two big surprises that the x200 has in store for you. The first big surprise is that the whole storage system unzips and comes out of the outside case complete with shoulder straps making the x200 a true hybrid roller/backback system. While this seems basic enough, Lowepro takes it to the next level by having the a zippered cover for the roller shell. What this means is that when I am getting ready to travel somewhere, I can pull out the backpack, complete with all my standard gear, and then use the roller case as my suitcase. When I arrive at my destination I can unpack the suitcase and put the backpack back inside and am back to having a rolling camera bag. This is certainly a unique aspect to this bag system.

Accessory Mount Thread

The second surprise, which I have wanted on my bags for a LONG time, is a threaded hole hidden beneath the logo badge on the handle. This allows you to screw in a standard threaded stud and then attach your camera or a light for a quick mobile platform. This is a very welcome design feature and I am sure I am going to use that heavily instead of having to pull out a light stand when in a hurry. When you open the x200 up you will find an accessory bag with the strap for the tripod holder and a threaded rod for the handle.

Results

There is a lot to like about the Lowepro Pro Roller x200 Case. While there are a few little tweaks I would like to see but overall it is a very solid bag and the little extras really are excellent touches. The Lowepro Pro Roller x200 Case doesn’t come at a cheap price, at $329.95 at B&H Photo, it is on the high side of the camera bag price spectrum. I have said this numerous times, you get what you pay for. A high quality bag like this will last you for many years without any problems. My experience is that a cheaper bag is just not going to be built as good and I used to replace my camera bags every 6-9 months. At that rate you are much better off buying something that is going to last you five years or more. The Lowepro Pro Roller x200 delivers on many levels and is certainly a worthwhile purchase in my opinion. Lowepro Pro x200 product page: http://products.lowepro.com/product/Pro-Roller%20×200,2163.htm Amazon.com: Lowepro Pro Roller x200 Camera Bag $329.99 B&H Photo: Lowepro Pro Roller x200 Case $329.99

So what’s wrong with existing white balance tools and why is the ColorRight Pro supposed to fix it?

Using the ColorRight Pro

The main problem with most white balance tools is that when you take your calibration shot, the gray card or white balance filter can be getting light contamination from different light sources. The theory here is that the only light source that really matters is the main (key) light. If we can narrow down the source of light we are calibrating for to mostly just the main light source, then the subject will generally have the correct white balance.

The ColorRight Pro attempts to solve this by having an angled opening in the dome that collects light from multiple angles yet favors the light from specific angles by “aiming” the dome at the main light source.

Does it work?

This may seem like a simple question but the answer can be fairly complicated. For the sake of keeping things simple, let’s just say “it depends”. This isn’t to say it doesn’t work in some situations, but more that the usefulness may vary from situation to situation which is of no fault to the ColorRight Pro and probably speaks more to improvements in modern DSLR’s ability to have automatic white balance. Let’s look at a few examples:

Automatic 4800k

ColorRight 4850k

In the first example, the ColorRight Pro corrected the white balance by only 50 degrees. Not really enough to make any real difference in the visual appearance.

Automatic 4850k

ColorRight 4850k

In the second example, the ColorRight Pro produced exactly the same white balance values as the camera’s automatic white balance.

Next it was time to see how it would do in a more unfriendly environment…under the hot lights!

Automatic 4150k

ColorRight 2900k

Under the tungsten hot lights the ColorRight Pro really showed what it is capable of. The camera’s auto white balance failed miserably to correct adequately for the extremely warm cast from the tungsten bulb. After getting a shot with the ColorRight Pro and setting the custom white balance, the next shot was perfect and required no color correction in post production.

Is the ColorRight Pro For You?

If you are only shooting outdoors during mid-day or using flash for really solid daylight balanced conditions, you may not need the ColorRight Pro and your camera will probably do pretty good. If you ever shoot in the late afternoon when the color from the Sun has gone into the warm side, ever have to deal with awkward lighting setups, or ever need to shoot JPEG, then you certainly need some kind of white balance tool.

The ColorRight Pro sells for $129.95 at B & H Photo which might be a bit pricey for some people but when you really need to rely on your white balance tools, you want to make sure what you are getting is going to do the job correctly.

Summary

I said it right up front, I don’t often use a white balance tool but when I do need one, I REALLY need one. There is simply no better way to speed up your post production workflow than to be able to completely ignore having to do white balance correction. Secondly, if you find that you need to shoot in JPEG (yes folks, there are reasons like I described above) then white balance is absolutely essential to getting the shots right.  What you have to ask yourself is if it’s worth $130 to have exceptionally good white balance. This is going to depend on you. You can spend $15 for a cheap white balance lens cap and it may be better than nothing or you can spend $130 for extremely accurate color. Only you can place a monetary value on the quality of your own images.

ColorRight Website: http://colorright.com

Lowepro CompuDay Photo 250

Here is my personal dilemma…I want to carry my camera with me much more often but I always carry too much gear when what I really need is a body, a 24-70, a 70-200, a flash, and a modifier or two. I have tried messenger bags and other backpacks but they never really “did it” for me as they were either too heavy, too small, or wouldn’t organize things well.  The folks at Lowepro suggested I give the CompuDay Photo 250 a try and see if it addresses the issues I have had with other backpacks.

Specifications

Capacity:
Compact DSLR with kit lens attached; up to a 15.6†widescreen laptop; accessories; personal items

Using the CompuDay Photo 250

I figure the best way to discuss the CompuDay Photo 250 is to go through the list of issues I normally have and see how the CompuDay Photo 250 stacks up against the rest.

Size

The CompuDay Photo 250 is a small backpack for short hikes or daily carry-around use. Unlike some other bags that are basically small all-purpose camera bags with straps on them. This means less room for gear, but that’s kind of the point. For a nice bag just big enough for a few components, the CompuDay Photo 250 fits the bill quite nicely.

Weight

The empty bag is quite light so it’s much more about your gear and you don’t feel like you are lugging around a heavy bag as well.

Organization

There are lots of pockets and sleeves to help keep your stuff organized but the main storage section is really just a big open space but it is big enough for a DSLR and a lens or two. I really like the external access to the lens pocket which means you can swap lenses without having to dig through the main compartment. This is a nice win for the Photo 250.

Quality

The build quality of the Photo 250 is top-notch. I have nothing negative to say about the build quality at all.

Price

At $99 list price and a current street price of $74.95 at B & H Photo, the CompuDay 250 is reasonably prices for a backpack with these features and quality.

Results

I didn’t really know what to expect from the Lowepro CompuDay Photo 250 as my experience with backpacks in the past has not been overly positive. I really have to say that I actually like the CompuDay Photo 250 quite a bit. When I travel, it makes a nice carry-on bag for my laptop, basic camera gear, and electronic accessories, around town I can keep my camera with me for fast, easy access without bogging me down with my normally excessive gear packing. At the current street price, it’s not going to break the bank and will make for a nice size back for those photowalks, short hikes, and other times I want to be hands free. The only thing I wish it had was a divider in the main compartment to aid in the organization of a lens or two but that is getting a little nit picky.

If you are looking for a good quality backpack at a really good price, it would be hard to do much better than the Lowepro CompuDay 250.

Lowepro Website: http://www.lowepro.com/
Lowepro CompuDay Photo 250: http://products.lowepro.com/product/CompuDay-Photo-250,2249,16.htm

Lowepro CompuDay Photo 250 at B&H Photo: Lowepro CompuDay Photo 250

Build and Feature Comparison

Size is only one of the comparisons I will be making through this article because in the end that is what people are going to ask about.  The bare lenses are very similar in size with the Sigma just a hair longer than the Canon. For comparison we are using the previous Canon model and not the newer Mark II version in order to be on the same playing field price-wise.

The build quality of the Sigma is very nice. I have been a fan of Sigma lenses for a long time and shoot regularly with the 24-70 f/2.8 so I was not surprised that the Sigma had an excellent fit and finish to it.

One surprising difference is that the lens collar on the Sigma is actually better than the Canon one. I actually really dislike the lens collar on the Canon, it’s a pain to spin around when you are in a hurry.

I wasn’t about to take two expensive lens and pour water on them or subject them to a heavy dust storm, but the Canon lens is known for having really good weather sealing which may be a factor in some extreme locations. For the average wedding and portrait shooter, this may not justify the extra cost.

The Sigma has simpler controls for the autofocus controls which plays to Canon’s advantage since the Canon has a switch for two difference focus ranges that can help the Canon lens focus faster. Not that the Sigma is a slouch in the autofocus department but when used properly the Canon will outperform the Sigma is focusing times.

The Hypersonic motor in the Sigma is remarkably quiet and when tested on a Canon 50D the autofocus works quite well and very accurately.

The lens hood on the Sigma (included at no additional charge) is a little longer than the Canon with the two primary petals narrowing at the ends giving it a pretty aggressive look.

The zoom and the focus are arranged opposite differently from the Canon which isn’t an issue if you haven’t used the Canon lens much.

You could nit-pick the differences one way or the other but from a build and quality perspective the lenses are a pretty close match. Where the rubber hits the road is going to be how well does it shoot images.

Lens Tests

Shooting out in the field it was very difficult to tell a difference between the images from each lens so I needed to ramp it up a notch and pull out the LensAlign and see if we could get some actual results.

Sigma

Canon

The test shot here was taken at f/2.8, 200mm at 8’ from the front of the camera body (Canon 50D). At first glance the images look pretty much exactly the same with the exception of the image size. You may be wondering why the Canon image is physically smaller than the Sigma. The reason for this is that they were cropped from the top-left of the LensAlign to the bottom-right of the actual image and there is a focal length difference between the images. I don’t have the equipment here to tell you precisely what each lens is doing  but for the sake of example, let’s say that the Canon shoots a perfect 200mm on a full-frame sensor, so on the APS-C we are getting the equivalent of 320mm. With the Sigma, we are not getting the same maximum focal length, we are probably shy by about 20mm. I would be a little careful here slamming Sigma for being the same as the Canon since the crop/zoom factor on the smaller sensors can sometimes be an issue. Having the Sigma be a little wider than the Canon, in my book, is not necessarily a strike against it, especially with small sensor cameras. Certainly, if you need all the reach you can get, then the Canon may be a better choice.

In the next set of images I have done a 100% crop and cut out the same section for comparison.

Sigma Lens

Canon Lens

My initial take on these was that the Sigma actually seemed a little sharper at the edges of these images. Upon thinking about this for a little while it occurred to me that part of the reason the Sigma appears sharper is that we are not actually comparing apples to apples here. The longer your focal length, the shorter your depth of field, so since the Canon is actually shooting at a slightly longer focal length, as described above, the depth of field is going to be larger. If we narrow our focus just to the “0†location we find that the two lenses are virtually identical in sharpness.

Summary

I need to point out again that this comparison did not use the new model of the Canon 70-200 IS L II and instead used the previous model because I felt from a price point, the new Mark II version of the Canon lens was in a completely different price point. For people considering getting into the less expensive previous model, we wanted to see if the Sigma was a good enough value.

Current Prices (as of 4/3/11)

• Sigma 70-200mm f/2.8 APO EX DG HSM OS FLD $1,399 Street Price
• Canon EF 70-200mm f/2.8L USM $1,549 Street Price
• Canon EF 70-200mm f/2.8L II IS USM $2,599 Street Price

* Street prices taken from Amazon.com

With the Sigma being $200 less than the Canon and, other than the focal length issue which may or may not be an issue for you, the only real difference could be the weather sealing on the Canon. I have shot all over the country in a variety of conditions with lenses that have never claimed to have any weather sealing and have never had an issue. However, if I was going to be doing an African safari or maybe shooting in a rain forest than I would opt for gear that has the best protection possible, which in my case would mean a new camera body as well.

For the vast majority of photographers, I have to give Sigma a win based on price here. I have been shooting Sigma lenses for years and have always been happy with their image quality and performance and I can certainly recommend the Sigma 70-200mm f/2.8 APO EX DG HSM OS FLD as well know.

What is the AC3?

The PocketWizard AC3 ZoneController is an add-on to the ControlTL system that brings a new level of control to your lighting setups. Before we get to deep into this we need to take a step back and look at what the Canon system delivers so we can see how the AC3 ZoneController enhances the original functionality.

While I am not going to go deep into detail here as that would require an entire book, let’s break it down into two main types of control the Canon system has.

• eTTL Ratio Control
  With eTTL Ratio mode you have an A and a B channel that will provide automatic metering through the camera. You can provide more power to one channel while taking power away from the other. This is a very basic ratio control and the only override you have is a general flash exposure compensation. You can then add to that a C channel which operates independently and has its own power adjustment. The downside with this setup is that a simple ratio control sometimes isn’t enough.
• Manual Control
  In manual control you can simply adjust each of the three channels independently. This is generally my favorite mode but the main problem is still the line-of-site issue and that pesky third channel is often now in a good position to get a signal from the main flash.

While the PocketWizard ControlTL system solves the line-of-site issue, the problem has always been that if you still want all of the functionality of the Canon wireless system, you still had to put a 580 EX/EX II flash on top of the MiniTT1 module to enable the full range of controls. What I really wanted was to be able to use ALL of my speedlites off-camera and not have to sacrifice one just for the controls.

This is exactly where the AC3 ZoneController comes in. The AC3 provides you with three different channels to work work (make me now wish for 4 or 5 though) that can be managed in three different ways:

• Off
  Should be self-explanatory here, if not, this allows you to simply turn off each channel by itself.
• Auto
  Uses the Canon TTL system for automatic metering while provide a simple override dial giving you plus or minus three stops.
• Manual
  Provides manual control over each channel from 1/64th power to Full Power.

Using the AC3 ZoneController

I certainly have to admit that I don’t miss having to have a complete speedlite on top of the camera to give me the control of my lighting since this give me one more light at my disposal to use to light the scene. I also should admit that I shoot the vast majority of my work with manual flash. I find it to be more reliable and consistent than using eTTL. The ability to turn channels on/off and adjust the power without having to walk over to where the speedlite is can come in very handy.

For most portrait setups, the Automatic mode will work the vast majority of the time, its usually only when the subject has odd-reflective properties do things have a tendency to get a little wonky. Still, I shoot my camera in manual, and I generally keep my flash in manual.

One of the biggest advantages is the time savings in dialing in your lighting output power. I can start with all of the lights off to adjust for the ambient. Then turn on the accent light to get it’s power set, add the fill light, and then the key light and everything comes together very quickly without multiple trips to each light or having to have a VOLS handy.

Keep in mind that you are paying for this convenience. A three light ControlTL power system would consist of the following components:

• MiniTT1 Transmitter $199
• Three FlexTT5 Transceivers @  $229 each
• AC3 ZoneController $79

So a three light setup will set you back $955.00. While a cheap, manually only trigger kit will run less than $100. While this does sound like a staggering difference in cost, and it certainly is up front, you have to consider the time factor of being able to control everything from your camera. You simply do not always have the luxury of time to run around adjusting lights to get exactly what you want. The time factor can certainly pay for itself fairly quickly since you can dial in all three zones without having to waste your own time or have an assistant.

Putting the AC3 ZoneController to Use

The following sequence of images shows exactly what I described above from starting with ambient light and adding the three lights in order.

Get Exposure for Ambient Light	Setup Background Light
Add Fill Light	Add Key Light

The beauty of the PocketWizard AC3 ZoneController is that turning lights on and off and adjusting their power is all done without have to step away from the camera. If your lights are pointed in the right direction it should only take a few shots to get everything you need dialed in quickly and accurately.

If you have already made the investment in the PocketWizard ControlTL system, plunking down another $79 in order to have the AC3’s level of control should be a complete no-brainer.

Pockwizard Website: http://www.pocketwizard.com/
PocketWizard Blog: http://blog.pocketwizard.com/

Amazon Links

• MiniTTL Transmitter
• FlexTT5 Transceivers
• AC3 ZoneController

I personally love using grids to help control light spread. Grids are great for hair lights, accent lights, and can even be used as a primary light for some really dramatic lighting. The downside to grids is that you basically get what you get. Even the most popular companies that make grids make them in different styles so you can get different amounts of light spreads. If you want any variety you have to buy multiple grids. ExpoImaging has attempted to solve this problem with the 3-In-1 Grid by providing three different styles in order to get different light spreads from a single piece of equipment. How does it work? Well, you need to read the complete article for details.

How Does it Work?

The Rogue 3-In-1 Grid consists of four pieces that work together. First you have the sleeve that fits onto your speedlte, by itself it could actually be used as a small snoot. Next you have the outer bevel that fits onto the end of the sleeve. Then you have a 45Ëš screen and a 25Ëš screen. These screen can be used individually or stacked together to create a 16Ëš screen.

The smaller the grid angle, the smaller the beam size will be on the subject. Having three different angle degrees means you only have to buy one device that can provide you with multiple lighting styles. Since the sleeve is very similar to the FlashBenders, it lays flat and the complete package isn’t any larger than other grids on the market. This is a very welcome design feature for people who have a limited amount of space in the camera bag.

16Ëš Grid

25Ëš Grid

45Ëš Grid

Using The Rogue 3-In-1 Grid

One of the more common used of a grid is to add an accent light such as a hair light. In this shot here, our model Venus is shown being light from camera-right with a beauty dish while the Rogue 3-In-1 Grid is used high and left to provide a hair light (ok, so in the case the word ‘hair’ is used rather loosely).

In this case we used the 16Ëš configuration, had we used a larger grid angle we could have lit the entire side of the face.

What I really like about the Rogue Grid is that it puts out a nice circular pattern. With almost all other honeycomb grids,  they create a more rectangular shape because of their design. Now sometimes that may be what you want, but generally I would prefer as round of a beam as possible.

Background Lights

Beyond hair and accent, another great use of grids is controlling light on backgrounds. Instead of attaching a Velcro strap, then attaching a Lumiquest FX, and then putting the Grid over that, I simply use the sleeve of the Grid to hold the Lumiquest FX in place and fire away.

To get this background shot the speedlite with the Grid and blue gel was positioned just below shoulder and pointed slightly up onto the background.

Summary

The Rogue 3-In-1 Grid hits the mark on a number of key areas. First off its three different grid sizes in one on top of a short snoot and even a nice size catch light card. Any product that is a true multi-tasker is much more welcome in my camera bag than a uni-tasker.  Secondly, it takes up very little space in my bag and since bag space is not infinite, the more functionality you can fit into the same amount of space, the better off you are.

At $49.95, its not the cheapest piece of gear but when you consider the versatility it really is quite a bargain. When you look at competing products that require you to buy multiple units along with attachment straps, the Rogue 3-In-1 is actually a cheaper, and more versatile solution.

If you want to get really creative with your lighting, the ExpoImaging Rogue 3-In-1 Grid should really be part of your lighting gear.

How wide is wide?

With the 8mm designation and the large bulb-like front element you might think at first that you will be getting a fish-eye effect but while the perspective is quite exaggerated it isn’t as bad as a fisheye, and the image fills the entire frame. You do get an amazing 121.2 degrees of viewing angle which can create some very cool images.

The 8-16mm DC HSM is still a rectilinear lens meaning that it creates images where straight features, such as walls or trees, appear straight instead of being curved. A fisheye, on the other hand, is a curvilinear lens which will bend and distort straight lines.

Lens Construction

While most wide angle lenses are rather short, the Sigma 8-16mm DC HSM is surprisingly long. This length is due to the lens having 15 different lens elements inside. Four of the elements have “FLD†coating, which is similar to flourite glass, to reduce color aberrations.

A petal lens hood is built into the end of the lens which not only cuts down on glare but also does a pretty good job of protecting the lens.  The zoom and focus rings a have very smooth feel to them without being too loose or too tight.

The HSM in the name stands for Hyper Sonic Motor which is the drive mechanism for the autofocus. It might as well stand for Hyper Silent Motor as it is one of the quietest lenses I have tested.

Using the Sigma 8-16mm DC HSM

The Sigma 8-16mm DC HSM is classified as an ultra-wide lens and this actually means some strange things can happen when using it that usually won’t happen with other lenses. This isn’t to say you get the fisheye effect as mentioned before, but there is a very unique distortion that occurs. In a shot of a room the ultra-wide will work to make a room seem much larger than it really is. The two images below were taken from the same exact location but one was shot at 16mm and the other at 8mm.

Shot at 16mm

Shot at 8mm

While I am not generally a fan of Ken Rockwell (and he obviously got a bad version of this lens because I completely disagree with him on the quality), Ken does have an article on using ultra-wide angles lenses to their advantage. To briefly quote from Ken:

Distortion

• Ultrawides are not fisheyes. Fisheyes distort and curve everything. Ultrawides keep straight lines straight.
• Ultrawides don’t distort technically, but they distort artistically. This is why we use them.
• Ultrawides exaggerate the relationship between near and far.
• Ultrawides stretch out objects on the sides and the corners.
• Ultrawides exaggerate any slight misalignment of your subject and camera.
• They do all this while keeping straight lines straight.
• This is why we love them! We exploit these distortions to our advantage.

For his complete article,  visit: http://www.kenrockwell.com/tech/how-to-use-ultra-wide-lenses.htm

Just for the width

One of the things I agree with Ken about on the use of ultra-wide lenses is that they aren’t actually that great at simply being used to “get more into the frame. In the following images this is exactly what I went for. I wanted to see how much of the shopping center across the street I could get into the frame. The result was a lot, the problem is that the picture actually loses something from a composition point of view since it also pickes up so much more on the top and bottom.

That’s not to say there aren’t exceptions to this but, generally speaking, the closer you are to the subject, the more dramatic of an effect you will get from the lens. The following example could actually play well to show off a particular venue.

Get Close

The real beauty of this and other ultra wide angle lenses happens when you get closer to an object. Being able to use some of the inherent distortion and unique characteristics of a lens this wide can result in some interesting images. Here are a few fun shots that I took while trying to learn how to exploit the characteristics of the 8mm range.

Summary

There are certain lenses I can recommend for different types of photography very easily. For example, if you want to shoot weddings, you could get a really nice Canon or Sigma 24-70mm f/2.8 and a 70-200mm f/2.8 IS and actually be able to do quite well with just those two lenses. Nature/landscape photographers generally have some wide angle glass and some long focal length glass without much in the middle. The Sigma 8-16mm DC HSM isn’t the absolute, one lens that rules them all, in any given category but it is a great go-to lens to get some interesting effects and extra wide angle shots that aren’t all fisheye distorted. I can see nature, landscape, wedding, product, architecture, and real estate photographers all grabbing for the 8-16mm once in a while. Although if you only do portraits and headshots, this probably shouldn’t be real high on your “must have†list. At $699 on Amazon, the Sigma 8-16mm DC HSM isn’t a horribly expensive lens but its in the price range where it isn’t an impulse purchase for most people. For me its going to be more like my Lensbaby lenses where it won’t be used all the time but will be pulled out for a short time at pretty much every event for some specific shots. The only downside for me is that I don’t actually own this lens yet. Sigma loaned me this lens to check out for a while and its one of the few times I wish I didn’t have to send a lens back.

The problem often is how to connect the new monitor. Unless you have a video card with two monitor ports on it and especially if you want to add a third monitor, this can turn into a real technical challenge. There is actually a fairly simple solution to this with the Sewell vDeck USB to VGA External Display Adapter.

This simple device claims to be able to drive a monitor while using only a USB port. How well does it work? Continue reading to find out.

How Does It Work

The Sewell vDeck USB to VGA External Display Adapter not-surprisingly is exactly what it’s name implies. The device plugs into your computer via a USB cable and on the other side has a VGA connector to connect to your computer.

Now I have tried several USB/VGA adapters in the past and their performance has always been extremely poor. Most of them suffer from really bad screen times, low resolution, or other types of problems.

Because of my experience with similar products, my expectations were quite low when I received the vDeck to review.

The installation process is pretty simple, just install the driver from the CD, and plug the device into a USB port and a monitor onto the VGA port. The setup process should only take you a minute or two.

The Results

If I am going to test this, I am going to push it as much as I can so I connected a Dell 24†widescreen monitor that has a native resolution of 1920×1280. I had absolutely no hope that this was going to work.

To my complete surprise, not only did the monitor come right up, it came up in full native resolution. Ok, just because it came up, how good can this little business-card sized box perform. I grabbed some windows and dragged them around the screen, poor performance will cause an “echo effect†instead of smooth moving of the window around. The windows moved smooth showing that the vDeck really did have enough horsepower to drive a screen this size.

The only issue I came across was I couldn’t quite get the color balance dialed in quite right. I used a Huey Pro to calibrate the screen but it didn’t seem to make any difference. Not that the color was too far off, but it was visible to me since my main monitor is calibrated so I could see a little color shift in it. As a second monitor for email, web browsing, Photoshop tool bars, etc. it was just fine. As a primary screen for editing photos the color shift would concern me a little. It is entirely possible that Sewell will be able to fix this with a driver update. My guess is that it simply isn’t applying the color profiles from the Huey Pro.

Summary

Considering that a good video card will set you back $150 or more, the vDeck at $69.95 can be a very affordable option. Considering you don’t have to know the difference between PCI, PCI-X, PCI-Express, etc, the vDeck is dead simple to get up and running and actually works pretty darned good.

I would certainly recommend it, even with the minor calibration issue because I expect this will be fixed soon, for adding a second or third monitor to your system. While my monitor size is just outside of what the vDeck is rated for, it actually performed quite well. If you need to support bigger monitors with DVI or HDMI connectors, the USB to DVI is $79.95 and the Minideck is $99.95.

For more information about the vDeck and a comparison of the different units, check out: http://sewelldirect.com/Sewell-vDeck-USB-to-VGA-External-Display-Adapter.asp

Update: Jason has offered almost a 30% discount on the DVD using discount code “cameradojo”, this is a very limited time offer so take advantage of it this week!

What is it all about?

As you have seen here on CameraDojo time and time again, I am really big on off-camera lighting to help you make the best images possible. Shooting flash straight from your camera will get you rather flight and unflattering light while off-camera light provides more natural looking shadows to give your subjects depth and dimension.

One of the biggest issues is that people are intimidated with big studio lights, portability and power issues, and how to position them. Jason’s approach to lighting mirrors much of my own style with using inexpensive speedlites, cheap wireless triggers, and simple setups to provide professional quality lighting that is affordable for virtually everyone.

What do you get out of it?

“25†gets you 25 different lighting setups where Jason and his team go through the thought process, setup, and shooting of each situation. Jason then goes into Adobe Bridge and Photoshop to show you detailed lighting diagrams and analyzes the final image.

What really separates 25 from other lighting tutorials is that Jason doesn’t get bogged down into tons of different modifiers, in fact, all 25 shots are done without using any modifiers at all. The only exceptions to this are the use of a reflector and some neutral density filters, other than that Jason gets his shots using just the bare speedlite. Jason also does a great job of showing how to use the zoom function on the speedlites to act as a modifier to give narrow or wider beams of light.

The two hours of content on the DVD goes right from setup to setup without getting into theory or talking about classic portrait styles. Instead, 25 is more of a collection of lighting recipes that show you how to get amazing lighting with simple, easy-to-replicate setups. This is a refreshing difference than many of the products out there in that you can quickly find a few of your favorite lighting setups very quickly and instantly make them your go-to lighting setups.

Is 25 for you?

If you just want to take basic photos of people and are happy with the images you are getting then why spend any money on additional training? On the other hand, if you want to separate yourself from the massive hoard of photographers out there by adding dynamic and creative lighting to your images, then the cost is likely to be a very good investment.

As I said in the into, most of the DVDs I have looked at are generally not worth the money and since I am already a big proponent of off-camera lighting, the first few setups are fairly common but do get less experienced people up to speed quickly. As the setups progress, Jason shows some very unique setups that I had never thought of, one of my favorites being the Ghetto Ring Flash. While this simple ring flash effect creates an interesting effect, you do need to have a cooperative assistant that will gladly invade your personal space to assist in the lighting or a set of light stands if your assistant doesn’t care to be in close proximity to you.

While I rarely ever like most DVDs on the market, I found Jason’s 25 to be a refreshing change, loaded with great setups and unique styles, while Jason’s very approachable personality helps to bring everything together. At $150, 25 isn’t exactly an impulse purchase but it very well could be a valuable investment in helping you to master off-camera lighting.

Jason Groupp’s Website: http://jasongroupp.com/

Jason Groupp’s 25 Information Page: http://jasongroupp.com/25dvd/

If you believed that line than you are obviously living on a different planet than I am because I am constantly trying to get the right color on the screen as I saw with my eye. I know this as sure as I know that the color Ferrari Orange is not a real color.

X-Rite ColorChecker Passport

So solve this problem, our software needs to know what the colors in an image are supposed to look like. If we can make our software understand our specific cameras, then we are certainly going in the right direction. Adobe made an excellent attempt to solve this on a very broad scale in Lightroom 3 with camera calibrations. What Adobe did was to take a color chart under different lighting conditions with different cameras and then use that data to create a calibration that is designed for specific cameras. I have to admit, this works pretty darned good and I have relied on this for my image processing since the day it came out.

Is it perfect? No, its darned good, but I always felt it wasn’t quite 100% there. Maybe my lighting conditions aren’t perfect, maybe there is a variation in camera bodies/sensors, maybe Adobe had to compromise to make it as good as possible for a broad range of users. Whatever the case, I always thought I could do a little better if I had a calibration profile designed specifically for MY camera and MY lighting…and this is where the X-Rite ColorChecker Passport comes into play.

X-Rite ColorChecker Passport

The ColorChecker Passport is a combination of a shooting target with different color swatches and a piece of software the will analyze the resulting image to create a custom calibration profile for your specific camera.

All you really need to do is to shoot the target so that it fills about 10% of the image and have a good exposure and the software will do the rest. Ok, it’s not exactly that easy, the image has to be in DNG format so I use Lightroom to Copy as DNG (which I do most of the time anyway) at least the shot of the target. Then open the folder with the ColorChecker Passport software and drag the image file onto the application. In a few seconds, you have a custom calibration.

X-Rite ColorChecker Passport Software

Once you have completed the calibration and saved the file, you will need to restart your editing software (Photoshop or Lightroom) so it reads in the calibration profile.

Can you really tell the difference in finished images? I will let you be the judge of that with the following images:

Mouse Over Image To See The Corrected Version

With the Viper, the red’s are definitely richer. This has always been a complaint of mine with my Canon camera’s. The Lightroom Camera Standard calibration setting does really good at fixing that but is not quite as good as the ColorChecker Calibration.

Mouse Over Image To See The Corrected Version

Again with the Ferrari, the yellows with the corrected version are much richer. To see how these colors shift, let’s take a look at the ColorChecker colors using the Adobe Standard, Camera Standard, and a custom calibration created with the ColorChecker Passport software.

Passport Profile

ACR 4.6

Camera Standard

The biggest differences are in the blues and reds. While Camera Standard is very close, and probably perfectly usable for a large number of people. When you really need accurate color, a custom calibration is the way to go.

DNG vs Dual Illuminat

What Adobe did for their calibrations is to shoot a color target under different light conditions so that their camera profiles would hold up in different situations. What we have looked at so far is creating a single image calibration which is appropriate for a single lighting situation. The X-Rite ColorChecker Passport also allows you to create your own Dual Illuminat profile as well. Simply use two images shot with different lighting, like one with flash and the other with tungsten hot lights. The ColorChecker Passport software can then use both of those images together to create a more robust profile than we have been able to create for ourselves in the past.

ColorChecker Target Size Comparison

Is it Worth It?

While you can look at the images above and certainly see a difference, is that difference worth $99 to you? For me, the majority of the work I do is product photography and usually very little color is involved. However, when I am shooting weddings, portraits, cars, or other things that really have vibrant color, I want to be as accurate as I possibly can. I would certainly recommend that every camera club buy one and let all of the members have a shoot day where they can create their own calibration files.

Gray Card Function

But Wait…there’s more!

We have only looked at 1/3 of the functionality of the ColorChecker Passport, albeit a very important function.  Flip the target around and you also have a decent sized gray card that is just slightly bigger than a small WhiBal card.

The large gray card is ideal for product or food photography since you can get it into the scene and then use that image in Lightroom or Adobe Camera Raw to get a really good white balance. For People and Landscapes, its the next function that is really interesting.

Creative Enhancement Target

Creative Enhancement Target

The the calibration target over and you get what X-Rite calls the Creative Enhancement Target. There are two main purposes of the Creative Enhancement Target:

• Allow for one-click white balance across a range of swatches
• Allow you to easily see white and black clipping

The middle two rows are designed for portrait (top) and landscape (bottom) photography so you can easily select a white balance that is best suited for your situation. Often portraits are added a little warmth and landscapes with different color temperatures can really help make the sky bluer or grass greener.

At the bottom you can use the clipping swatches while adjusting exposure and blacks to make sure you are not overclipping those settings.

X-Rite ColorChecker Passport

Summary

If you are like me and strive for accuracy in your colors, then the X-Rite ColorChecker Passport is absolutely a must-have. If you are not shooting images where color accuracy is critical, then go in with a few friends or your local club and buy one just to have a good calibration profile for your camera.

X-Rite ColorChecker Passport on Amazon.com

X-Rite Website: http://xritephoto.com/

X-Rite Blog: http://blog.xritephoto.com

Full Disclosure

Let’s be clear on one thing here, I sell a competing product to the Cactus triggers. My triggers are quite affordable, work well, support 4 channels, and have a range of about 90 feet. The reason I am pointing this out is not to pimp out my own products but to be honest about it and I promise to be as fair and unbiased as possible during this review.

Features

Most low cost wireless triggers have a transmitter and then separate receivers. The Cactus V5 only come one way, as transceivers. Each transceiver can be either a transmitter or receiver depending on how you are using it.

A nice feature change from my old V2′s is the use of standard AAA batteries. Push on the back and the tray pops out. Replace the batteries and push it back. No more ordering strange and expensive batteries for the receivers.

Specifications (each V5 transceiver)

• Working radio frequency: 2.4GHz;
• 16 channels selectable;
• Support sync speed: up to 1/1000 second (subject to camera’s sync speed limitation);
• Compatible with all DSLR and SLR cameras with standard ISO hot shoe or PC sync output;
• Compatible with portable flashes and studio strobes;
• Low battery indicator;
• Maximum effective area: 100 meters (328 feet);
• Operating temperature: -20°C to +50°C (-4°F to 122°F);
• Flash voltage handling: up to 300V;
• Camera voltage handling: up to 6V;
• Power input: 2 x AAA 1.5V batteries;
• Connection port: 3.5mm (1/8″) mono mini-phone;
• Dimensions: 82mm (L) x 70mm (W) x 37mm (H);
• Weight: 58g;

On the left side you have the TX/Off/RX swide switch while the opposite side has a 16 position rotary dial. Again, a nice step up from sliding DIP switches. While this does make it easier to change channels, it also makes it easier to accidentally change it. The left side also has a 1/8″ port that can be used for connecting to PC Sync fired flashes or for remote firing of a camera.

Probably the biggest change is that each unit, being a receiver, has a hot shoe mount to fire a speedlite, but this also allows you to use a speedlite on top of your camera while also using the transmitter. If you are using an off-camera light for a key light, then you can have a flash on-camera for some fill light.

On the bottom the Cactus V5 is outfitted with a metal hot shoe which is really nice to see on a budget piece of hardware. There is also a 1/8″ threaded  port so you can attach the V5 to a light stand.

On top of the hot shoe mount is the clamping wheel. While the threads on the wheel are fairly fine, which helps keep it secured to a swivel mount, the wheel size itself is pretty small and I have some difficulty in adjusting it with my large fingers.

The build quality is very nice has a very professional feel. If you didn’t notice in the specs, the Cactus V5′s use the 2.4Ghz Spectrum allowing for close to 300 feet in range.

Does it work?

The big question is does all these new features and upgraded specs add up to an improved product? The answer is “it depends”. The Cactus V5′s certainly have an exceptional range. I tested them out and ran out of space at right at 300′ and they still working fine. Will you ever need to use a flash 300 feet away? Most likely not but the theory is that you will always have a strong signal that is less likely to suffer from interference.

The Big Question

So the big question, especially considering that I already mentioned that I sell a competing product, is would I recommend the Cactus V5. Let’s break it down and see where the Cactus V5 stacks up.

• 2.4Ghz for longer range and less interference
• 16 Channels
• Easy channel change via rotary dial
• AAA Batteries for easy replacement
• Metal hot shoe
• Hot shoe passthru
• Ability to work as a remote camera trigger (not at the same time as flash trigger)
• Up to 1/1000 sync speed (dependent on camera body)
• Retail price of $59 for two transceivers

Given the features and price point I have to give the Cactus V5′s a big thumbs up. In fact, if I can buy them at wholesale I will sell them myself. Can you save a few bucks with less expensive triggers? Of course you can and while they may work just fine there are certainly situations where the cheaper units can misfire with certain types of interference and the 2.4Ghz and 16 channels can certainly help avoid that.

The metal hot shoe and good lock down screw will help keep your gear more secure and the hot shoe pass-through is something unique to Cactus V5. For the price, the Cactus V5 is an excellent value.

The Cactus V5 is available now from Gadget Infinity: http://www.gadgetinfinity.com

A Solution in Search of a Problem?

When discussing the frio with a handful of photographers some didn’t see the need for it while others see the frio as an absolute God-send. It really depends on the gear that you work with. Cheap cold shoe swivel mounts often don’t have enough surface area for a good solid fit and combined with inexpensive flash triggers that have rather course threads, its really hard to get a secure and solid fit. I have aimed swivel mounts and had the flash literally fall right out.

With the frio, one end is closed so your gear can’t fall out of the front. What is really different is that and hinged plate that pops up to secure the back side. With the lock down feature of your gear, the pop-up plate provides a second level of security.

The narrow design also makes it very easy to tighten down your gear onto the cold shoe area. This is a big time saver and when you are on location, being able to setup and tear down quickly is a huge advantage.

The only real issue is if you are an umbrella user. With a typical cold shoe swivel mount with a built-in umbrella holder your flash is relatively close to the umbrella shaft. If you are using a swivel mount with a mounting stud (as shown above) you can end up adding a couple of inches between your gear and the umbrella shaft, this might can cause some uneven lighting.

Does it fill the bill?

While I do use umbrellas on a regular basis, more often I am using on-flash modifiers such as Rouge Flashbenders, softboxes, Quick Spots, or other types of gear. Other than the umbrella issue (which isn’t that big of a deal for me) there really isn’t downside to using the frio…almost.

Let’s face it, the frio costs money, at $15 it may seem trivial to some people  and if you are buying 3-4 you will be set back up to $45.  Since you can buy an inexpensive cold shoe swivel mount for about $16-$18, the frio isn’t cheap.

The question for you is really if the cost of the frio is worth the security of your gear. I can only speak for myself but there really wasn’t a question that it was worth it. Just to be clear on this, I have never had any contact with enlight photo, or distributor. I bought three of these units, they weren’t given to me to review. I heard about the frio from my buddy Syl Arena who said “The frio is ingenious. For me it was love at first sight.â€

As I said earlier, I have actually had flashes and triggers slide right out of some of the swivel mounts that I own. Fortunately none of my gear has ever been broken during one of these incidents. However, it only takes one time to have a couple hundred dollars smash to pieces on the ground. For around $15 I consider it cheap insurance.

I always like innovative solutions and the frio is definitely innovative and solves a real world problem.The only thing that would make it perfect (or closer at least) would be a real short mounting stud to keep it lower when using umbrellas. Given this unique design, I would also like to see versions designed for 2 or 3 flashes.

I love how easy it is to get gear on and off my lightstands now and the extra security is well worth the price. I absolutely recommend the frio to help keep your gear secure.

Official Website: http://www.friocoldshoe.com

Frio on Amazon (link)

The Quick Spot is a basic grid spot designed to fit over the end of your flash without needing an extra strap or Velcro. A unique feature of the Quick Spot is that is comes apart in order for you to put different colors gels (several included) in order to color balance the light or provide special effect lighting.

What is a Grid Spot

A grid spot at its most basic description is a series of straws that take the light from the flash and confine it to keep it from spreading out like a bare flash would. The smaller the size of the straws, the more confined the beam of light will be.

Some people have tried to simply use the Zoom function on their flash to create a similar effect but it doesn’t really do the same thing. Let’s take a look at how the zoom function works.

Flash Zoomed at 24mm

Flash Zoomed to 105mm

As you can see at 24mm almost the entire frame is filled with light and at 105mm we get distinctly smaller source  but it still has a pretty large pattern.

When you want a much tighter pattern with less light fall-off then a grid spot can be your best choice. Harbor Digital Design has the Quick Spot in both 1/4†and 1/8†patterns. The system is designed to custom fit most popular speedlites. I ordered the units for the Canon 580 EX/EX II and was very pleasantly surprised to find that it fit perfect on the YN560 as well.

Let’s look at the light pattern when using the Quick Spots.

1/8†Quick Spot

1/4†Quick Spot

For portrait work, grid spots work great for hair lighting so you can get a nice shine on the hair without spilling the light into places you don’t want. With product photography you can really control where you want the lighting to be.

For an example of using the Quick Spots, check out the following article:
http://cameradojo.com/2010/12/18/using-multiple-flashes-evolution-of-a-shot/

At first glance, $34.95 might seem a little much for a small piece of plastic but considering it is close to $10 less than competing brands when you factor in extra straps you need.  Also consider you also get a decent gel kit to go along with it and you have yourself a pretty good bargain. If you need to attach the Quick Spot to different flashes, you can order just the adapter piece for about $13 and just interchange the outer Quick Spot attachment.

Harbor Digital Design may not be a household name but if they continue to make innovative products like the Quick Spot I am sure you will hear about them more and more.

I am quite happy with the Quick Spots and certainly recommend them as an inexpensive accessory that you should have in your camera bag.

Harbor Digital Design
http://www.harbordigitaldesign.com

• 1 Wireless Flash Trigger Transmitter
• 3 Wireless Flash Trigger Receivers
• 3 Light Stands
• 3 Swivel Mounts
• 3 Umbrellas
• 3 YN560 Speedlites
• 1 5-In-1 Reflector

All kits come with a $50 Gift Certificate to Nations Photo Lab. You get this entire three-light kit for only $499!! [More Information]

Be sure and check out the new Blackbelt Lighting website at http://blackbeltlighting.com

Features

These are four channel wireless flash triggers for using off-camera flash with either speedlites or studio lights. The transmitter can be triggered either by having it on the hot shoe of your camera or via a PC Sync cable connected to your camera body. The receivers can fire a flash either from the hot shoe or via PC Sync as well. Unlike many similar products available, these also include a built-in umbrella holder.

Specifications

• 4 channels with hot shoe connector for external flashes
• Transmitter Power: 23A 12V battery
• Receiver Power: 2 AAA Battery (Not included)
• Maximum Working Distance: 30m (open area, without interference)
• Operates on Frequency: 433MHz
• Sync speed up to 1/320s (depending on camera)
• Standby time: one year
• Triggering life: up to 20,000 times

Compatible with

Canon SpeedLite 580EX II, 580EX, 550EX, 540EZ, 520EZ, 430EZ,430EX, 430EX II, 420EX, 420EZ, 380EX
Nikon SpeedLite SB900, SB-800, SB-600, SB-28, SB-27, SB-26, SB-25, SB-24
Olympus FL-50R, FL-50, FL-36R, FL-36
Pentax AF-540 FGZ, AF-360 FGZ, AF-400 FT, AF-240 FT
Sigma EF-530 DG Super, EF-500 DG Super, EF-430
Sunpak Auto 2000DZ, 622 Pro, 433AF, 433D, 383, 355AF, 344D, 333D
Vivitar 285HV, DF-400MZ, DF-340MZ, 2700
Other flash models with a trigger voltage of 12V or lower

Setup

The only real setup you need to do is to make sure the switches on the transmitter and the receiver are set to the same channel. Press the test button and make sure the LED on the receiver flashes. If the two are talking you are good to connect your flash to the receiver and put the transmitter on the camera.

In my tests I can reliably get 90 feet of range, any more than that and reliability starts dropping fast with almost no firing occurring at 100’.

Usage

There is nothing really magical about using wireless flash triggers, you press the shutter and the flash goes off. What really matters is being able to put your light where you want it, when you want it. Over the years there have been plenty of times when I wanted to set up a quick remote flash but my light stands were out in the car or worse, back at home. However, I always have my tripod with me attached to the side of my camera bag. With the built-in umbrella holder I can now pull out my tripod, put the flash trigger on the tripod, and pop in an umbrella for a quick lighting setup.

If you are expecting complete control of your remote flashes just as if you were using the wireless system built into your Canon or Nikon brand flashes, then your expectations are going to be off a bit. These wireless triggers are designed to fire remote speedlites or studio monolights that have manual output control. Once you manually set the power output on the flash, then these are good to go.

In the Camera Dojo Store we are now selling these wireless flash triggers as a kit with a transmitter and two receivers for $49.95 and additional receivers for $19.95. Until the end of November, get 15% off with discount code Dojo15. Check them out at the online store at http://blackbeltlighting.com. We also have a mini-site for all of the lighting products at http://cameradojo.com/blackbelt.

Welcome to BlackBelt Lighting products here at Camera Dojo. These videos were created specifically for you to help you make the most out of your equipment.

Testimonials

Just got my flash triggers today and did some test shots. Everything worked great, for $49.99 these are a steal! Just remember they are for manual flash only, which is a great way to really learn to use off camera flash. I have two holiday family portraits to shoot this weekend and I’m looking forward to using them. I’ll be buying one or two of the YN560 speedlites soon to supplement my Canon 580EX ll.
Chris from Grand Island, NY

Features

I want to start off with the negative to get it out of the way. This is a manual flash, it does not talk to the camera to determine the correct amount of flash to fire like the Canon or Nikon flashes do with their associated camera bodies. With the YN560 you set the amount of power the flash is going to put out. Do not panic! Learning to set correct lighting power is fairly simple and there are some basic guidelines to use to get dialed in quickly, more on that is the Usage section.

Enough with the negatives, this flash is otherwise loaded with features. From a power point of view it is virtually identical to a Canon 580 EX II or Nikon SB-800. The head rotates 90 degrees to the right and 180 degrees to the left while being able to tilt just over 90 degrees.

Just like the Canon 580 EX/EX II, the YN560 features a pull-out Wide Angle lens and Catch-light card. The head also allows you to zoom the focus point of the light from 24mm to 105mm. The flash power is fully adjustable from 1/128 power to full power.

One of the big problems with many manual flashes with optical slaves is that any flash will cause them to fire. Canon or Nikon flashes send out a pre-flash to determine exposure and then send out the final flash for the exposure, this pre-flash will fire most manual flashes. The S2 mode on the YN560 will ignore the pre-flash and only fire when the main flash goes off. Along with optical slave firing, the YN560 also has a PC Sync Port and can be used in the hot shoe of your camera.

• Flash zoom from 24mm – 105mm
• GN58 @ ISO100
• Optical Slave
• Hot Shoe Trigger
• PC Sync Port
• External Power Port
• Audible Ready Tone
• Fast Recharge Rate
• Granular control from 1/128 to full power
• Vertical Rotation angle: -7~90 degree
• Horizontal rotation angel: 0~270 degree

Setup

The only thing you need to do in order to start using the YN560 is to install batteries. In “M†mode, the YN560 can be used in your camera’s hot shoe or can be connected to your camera with a PC Sync cable. In “S1†mode the YN560 will use the optical slave and fire when any other flash goes off. This setting is fine when using other YN560’s or studio strobe lights. As mentioned earlier, the “S2†mode will ignore the pre-flash of TTL flashes allowing you to use the YN560 along with those flashes.

Usage

If you have never used a manual flash before it can seem rather intimidating but with just a little knowledge you can learn to use the YN560 as even your main flash in just a few minutes.

If you need to add some light to a scene, unless you have had a ton of experience, it is rather hard to simply know what the flash settings should be. Here is a quick shortcut to getting the right settings within just a few test shots.

1. Power up the flash by holding down the On/Off button until the flash is fully powered up
2. Use the left/right buttons to adjust the power output to the middle position
3. Take a test shot
4. If the scene is too bright, press the left button twice / If the scene is too dark, press the right button twice
5. Fine tune the lighting with single presses left or right
6. If you cant get the scene bright enough, you will need to increase your ISO or open your Aperture up more
7. If the scene is still too bright even on the lowest setting, you will need to lower your ISO or close your Aperture down more

That’s really it. Assuming you are already in the ball park with your aperture and ISO settings, you should generally be able to get the power output dialed in within three test shots.

When using the YN560 off-camera, turning on the audible ready alert is a great way to be sure that the flash is fully charged and ready to fire without being able to see the ready light.

A cool trick I learned from David Ziser a year or so ago was to use the flash’s zoom feature. A good example for using this is when you shooting a table of people at a reception. Let’s say you are shooting the table with a 100mm focal length, with a Canon 580 EX/EX II the flash will automatically zoom to 100mm to help focus the light, this can cause the people at the back to be lit but the people that are much closer can be too dark. By zooming the flash back to 24mm you get a wide angle of flash to light the entire table evenly. Conversely, you can zoom all the way out to 105mm when shooting a short focal length and the zoomed flash will give you a snooted effect with a natural vignette around the subject.

Results

The light from the YN560 is consistent in power and temperature and the unit recycles nice and fast. It’s actually fairly hard to say anything bad about the YN560 unless you just have to have TTL control in which case this is not the flash for you. For anyone wanting to have a very affordable lighting kit, the YN560 is really a terrific purchase considering you can buy three of them for the cost of a single 580 EX II or SB-800.

The fact is, the YN560 impressed me so much that I bought several hundred of them in order to sell to people wanting to get their lighting kits started. If this batch sells I will continue to bring them in and offer them on CameraDojo.com.

The list price of the YN560 is $120 which includes free shipping. Camera Dojo readers can get an additional $20 off by using the discount code Flash20. To purchase the YN560, please visit http://blackbeltlighting.com.

I have both Carbon Fiber and Aluminum tripods in my arsenal.  I use them pretty much interchangeably in my every day photography use.  Some are lighter so I choose them for travel.  Some are sturdier, so I use them for heavier applications.

But there are features of some tripods that really make them stand out from the pack.  The Vanguard Alta Pro 263AT is one of those unique tripods.  And its not that each of it’s individual feature are not available in other 3-legged competitors, but that all of these features are available in this single tripod for a great price.

The first, most unique feature to point out is it’s innovative Multi-Angle Central Column (MACC).  This feature allows you to move the central column from angles of zero to 130-degrees in multiple vertical and horizontal positions, making things like macro photography and specialty wide-angle shots much easier to create.

In this photo, you can see how the center column can be flipped 180 degrees to suspend the camera completely upside down.  I often shoot many table top items like food, and this feature gives me exactly what I need to get the camera into position.

The center column quickly releases with something that Vanguard calls the Instant Swivel Stop-n-Lock (ISSL) System.  With one simple movement, you can easily and securely reposition the center column while maintaining it’s stability.

The central aluminum alloy column moves from 0 to 130 degrees and can be reversed in the mount, giving you more than full range of motion.  Even with the center column fully extended, the tripod is amazingly stable with my 5D Mark II, battery grip and heavy Canon L glass.

Another feature, which is also common to many other tripods, is the legs that adjust to 25, 50 and 80-degree angles.  Combined with the sturdiness of the patented premium magnesium die-cast canopy and head, you feel comfortable that this tripod can truly support your camera with stability in most any position.  But combined with the flexibility of the center column and the angles it can obtain, this makes the tripod about as versatile as you could ever need.

This tripod ships with a triangular canopy that hangs between the legs and holds your camera or other gear.  It also comes with a carrying bag to tote it around.  There is a spring-loaded, retracting hook at the bottom of the center column for hanging weight or a bag.  The feet have spikes built in that you can retract with the rubber feet, depending on the floor or ground you are on.  And my personal favorite feature over the 284CT is the fact that it has flip locks on the leg extensions instead of the twist locks.

From the Vanguard website, here are the specifications:

Extended height(mm): 1650
Extended height(inch): 65
Folded height(mm): 630
Folded height(inch): 24.75
Weight(kg): 2
Weight(lbs): 4.41
Maximum loading capacity(kg): 7
Maximum loading capacity(lbs): 15.4
Titled Loading Capacity(kg): 5
Titled Loading Capacity(lbs): 11
Number of Leg Sections: 3
Leg Diameter(mm): 26

With a street price under $150.00 and after looking around online, I can see that I am not the only one who loves this tripod. You can read some great reviews (and find about the best price out there) here:

Vanguard Alta Pro 263AT – Tripod

Score Card

You can visit the Vanguard Website at: http://www.vanguardworld.com

What is a Photo Book

Put simply, a photo book is a printed book of images bound together in some way. Nations Photo Lab offers sizes from 5â€x7†to 11â€x14 with a few unique features. First off, NPL actually sews their bindings instead of the more common “glue and press†technique. Along with the stitched bindings, NPL also uses acid-free covers and papers to maintain true archival quality. Along with the different sizes, there are also four different types of covers in a handful of colors. Along with the cover options, the following options are also available:

• Custom photo covers
• Imprinting
• UV Coating
• 6-Color printing
• Color Corrections
• Lay-Flat bindings

Putting Your Photobook Together

Nations Photo Lab has a tool called ROES to help you design your pages. With simple drag and drop controls and the ability to choose any of the available options, ROES is a complete design and ordering tool. While ROES may suffice for many users, if you want more complicated designs you can design them in a tool like Photoshop and then just import the finished graphic to place on the page.

ROES comes as a Java applet for your web browser which makes it a popular, cross-platform ordering solution for both amateur and professional photographers. Most printing companies have their own customized version of the software for you to install on your computer that allows you to design your layouts, add photos, and even address fulfillment.

What Is The Finished Book Like

I am quite pleased with the finished product and because I used a good selection of my sample images, I can use the finished book as a portfolio piece. For my photobook, I got the 11×14 book with linen paper and a canvas photo cover. This has a base price of $99 for 20 sides. I added for more sides at $2.20 per side so my total was $107.80. The canvas cover is very vibrant and really makes for a great first impression. The large size is quite impressive as well although its too tall to fit on most bookshelves. I suspect the most common sizes will be 10â€x10â€, 8â€x8â€,  or 8.5â€x11â€. I personally am a big fan of the square formats so my next book will likely be a 10â€x10†book and I expect to sell these to customers pretty easily since its quite a bit cheaper than the much more expensive wedding albums I have typically been selling.

Are Photobooks For You?

It really depends on what you want to do with your images. While simple 5â€x7†prints are the most common print sizes these days, there is something special about having them done up nicely into a book that will last for many, many years. For those extra special events such as graduations, weddings, special birthdays, etc., having those memories easily accessible and in a format that is simple to handle can really mean the difference between pictures that are stored in shoeboxes in the closet and ones that are actually viewed over and over again.

For more information on Nations Photo Lab’s Photobooks, go visit:
http://www.nationsphotolab.com/photobooks.htm

The Flashbenders are available in three different sizes so you can find one that is most appropriate for the type of shooting you need to do.

The Flashbender Family

As I mentioned in the introduction, the Flashbenders come in three different sizes. The smallest version, the Bendable Bounce Card/Flag measures approximately 5†x 9†(127mm x 228mm. The Rogue FlashBender Bounce Card can be used either as a reflector to bounce light onto a subject, or as a flag (using either the built-in white surface, or included black fabric attachment) to shield light away from it.

When using an accessory flash on-camera for fill light, I like to use the Bounce Card to help diffuse the light and create a nice catchlight in the subject’s eyes.

The medium sized unit is actually called the Small Positionable Reflector and measures approximately 10†x 7†(254mm x 178mm). The Rogue FlashBender Small Positionable Reflector can be used either as a reflector to bounce light onto a subject, as a flag to shield light away from it or as a small snoot to produce a wide circle of light. I like using this version when I am shooting people outdoors and have nothing to bounce the light from the flash off of. Using this Flashbender it raises the height of the light to provide a little directional light and also helps to eliminate red eye.

The Large version measures approx. 10†x 11†(254mm x 280mm). I find the large version is a bit too intimidating to use when the flash is on-camera but when I have the flash off-camera it makes for a quick-setup light source that will provide a much larger light source than the flash itself. This is a great setup when shooting small groups  or single subjects up to 3/4 body shots.

These aren’t just big white reflectors, the metal strips on the back (1 on the bounce card, 2 on the small reflector, 3 on the large reflector) allow you to bend, twist, roll, and otherwise modify the shape from being a large flat shape to a tight snoot and pretty much anything in-between.

The white side cleans up very nicely so its quite simple to keep it nice and bright.

I have been using the Flashbenders more and more since they provide you with so much flexibility in how you can shape the light and reflect it in any number of ways.

I was a bit skeptical at first of the bendable strips but they don’t add much weight and are able to hold their shape without any sagging.

Like I mentioned in the introduction, each of the Flashbenders has the attachment strap built-in so you can never lose it. While this may be redundant if you have the entire family of Flashbenders, it ensures that you can’t lose a separate strap and you don’t need to purchase straps for each flash you may end up using it on.

The straps have plenty of adjustment to them so they should be able to fit on any speedlite that is on the market today.

Using the Flashbenders

I have been using the Flashbenders from everything from wedding shoots to product shoots because they do such a great job at creating a larger light source that makes for nice lighting for people and helps to evenly light products.

The results have been quite good and the Flashbenders have found a permanent home in my camera case. Since they lay flat when wide open they are pretty easy to fit most anywhere

The Rogue Flashbenders are also priced competitively as well.

Rogue FlashBender Bendable Bounce Card/ Flag – $29.95

Rogue FlashBender Small Positionable Reflector – $34.95

Rogue FlashBender Large Positionable Reflector – $39.95

I highly recommend the Rogue Flashbenders for anyone that is using speedlites and is looking for an affordable, flexible, and efficient light modifier. Be sure and visit their website for additional information.

The following are additional images taken while using the Flashbenders:

Expo Imaging
http://expoimaging.com

Overview

There are a handful of pistol grip heads on the market today but most of them are pretty low quality units without much in the way of features. The Vanguard GH-100 has a handful of advantages over these other units, and most other squeeze-type ball heads as well.

First off, the ball system itself is has to different slotted sections giving you a lot of front-to-back tilting ability as well as the ability to flip very quickly between portrait and landscape mode.

Secondly, the bracket connector can also rotate 360 degrees around a labeled head for accurate positioning. Tension for the head rotation and ball locking is handled by two different knobs that allow for very secure positioning that stays right were you put it without any release sagging.

What is very unique is that the silver collar in front of the pistol grip handle retracts and allows the pistol grip handle to rotate 360 degrees giving you a lot of flexibility in exactly how you want to use the handle.

Features

• Dual-locking quick shoe mechanism
• 72-click point panorama
• 360-degree horizontal movement and 90-angle tilt

Specs

Usage

My initial impression was quite with the only issue being that I needed to crank down mounting plate onto the camera pretty hard if I was using a heavy lens and the design of the mounting plate makes it a little difficult my my giant sausage fingers to get to the screw handle. Once its tightened down securely, there are no other issues with it.

I’m not sure how helpful the bubble level inside the mounting section really is but if you do need to make sure the entire platform is level at least it is there and you can get a good level, drop the camera on and you are ready to go.

The main tightening knob on the back rotates about 260 degrees to adjust the tension but you will rarely need more than the last 90 degrees to come from loose to locked down. The lever on the side for the rotating head has 90 degrees of travel but you will only use the last 5 degrees or so to lock it down or loosen it up. These aren’t problems by any means, its just an observation.

To rotate the handle I can reach forward with my top two fingers and grasp the lock ring from the top and bottom and pull it back, rotate the handle to the new position and release the lock ring. This takes a little practice, but once you get it down you can manipulate the handle pretty easily.

Results

As I said before, replacing something like your tripod head is not something you do on a whim. While I have replaced tripod legs three times, I have still been using the same ball head on each set of legs. It had it’s quirks, but I knew them inside and out. After getting the GH-100 from Vanguard I decided to really give it an honest trial and use it exclusively for a month or so and see if I could get as comfortable with it as my long time head from the past. To be honest, it felt pretty awkward at first. If I was to make any design change it would be for the front-back tilt slot to be on the opposite side from where it is but this is a trivial change. The GH-100 handle feels a little “plasticy†but very very solid at the same time. Had the entire handle been made from metal it would have added significantly to the weight.

Well, its been a couple months since I got it and the GH-100 is still sitting atop my tripod. I am under no obligation to use it nor would I do so simply because Vanguard is a sponsor of CameraDojo.com, I actually have come to really prefer it over my old head and if you see me at any shooting event with my tripod handy you will see the GH-100 mounted on top.

I feel I have more control with the GH-100, it flips nicely from landscape to portrait and you can even get some fairly fluid panning and tilting by adjusting the tension and a little practice. Sure, it wont ever be as smooth as a true fluid head but its better than any other traditional still head in a pinch.

Score Card

Website: Vanguardworld.com

Purchase now for $99.99 on Amazon.com

Introducing the ikan Multi-K Variable Color Temperature  LED Light.  This is one of the coolest little on-camera lights I have ever seen, and the results are amazing.  Never before have I been able to control the color space appropriately in video… or close-up stills, for that matter.

So, let’s look at the physical details.  The box is around 5.25″ wide by 3.5″ tall, 1.5″ thick and weighs .8lbs with 6 AA batteries in it.  All in all, a relatively light unit.  The Multi-K runs on 6 AA batteries, or can be powered with the included 12v DC transformer and D tap power cable to an input on the rear of the light.  Here you can see the light mounted to the top of my Canon 5D Mark II.  As it is a cold shoe mount, it is not camera dependent and can mount to any camera’s hot shoe or cold shoe mount.

On the front of the light are 144 LED bulbs.  These are not the high-powered CREE style LEDs, but the lower power, softer light LEDs.  The majority of the bulbs are a very cool white light – somewhere over 6500ËšK, but there are a bunch of yellow and red LEDs that are turned on in different patterns and brightnesses to actually warm up the outgoing light.  This technique is both brilliant and unique.  For the first time I have ever seen, you can actually control a forward facing light source from your camera and actually dial in the color in 6 different steps using a button on the back of the light.  The functions are pretty simple.  There is a variable output source knob on the top to dial output level and a button on the back to step through the 6 color temps.

Tungsten light is somewhere around 3200˚K and is a common light color that we run into in a church, in many homes and in many indoor arenas where we often shoot.  Outdoor Sunlight can run 5000˚K to 6500˚K, depending on the sky and clouds.  If you are shooting in either of these situations, and need a bit of source light from your camera, having the right color of light will make a lot of difference in your end video or still product.  With the exception of using a gel over a halogen or incandescent camera light, I am not aware of any other on-camera light source that has the ability to change color temperature.  This light is very unique.

As the light changes colors, there are slight differentiations in the amount of lumens that the light can project.  ikan has provided a chart to show us the difference in the output with the different settings from the light itself.  At certain colors, you will need to take into account the light output levels and adjust settings accordingly.  Overall, ikan claims that the light output is equivalent to a 50W tungsten light bulb.  From our tests, that seems about right.  It won’t overwhelm a scene, but provides a nice kicker of light over all.

Here is a short video clip of the light from the front and then illuminating the inside of a piano.  Although it is not terribly obvious from the brightness of the video, I flip through all of the color settings in this video while looking at the front of the light and the light cast while on the camera.  It may appear subtle here, but the right color of light makes all the difference in the world.

I also used the light when shooting some Macro shots. I found that indoors, this was very helpful under tungsten lighting when the ambient light tends to be too strong.  Simply warm the light color up and the richness comes out.  And being small and battery powered, it is easy to move this light around to where it is needed in the shot.

ikan states that the light will run for approximately 90 minutes of consistent use on a set of new batteries.  If you are shooting short takes, turning them off and on, you can get several hours of use from 6 AA cells.

ikan Multi-K
Variable Color Temperature LED Light

SRP: $499.00

Specifications:

• Operating Volts: 12v – 18v
• Dimension: L 4.9″ x W 4.3″ x H 1.6″
• Weight (lbs): .8 with batteries
• Bulb Type: LED
• Color Temperature: 2800k – 6500k
• Shipping Weight: 2

Features:

• Variable Color Temperatures
• Uses 6 AA Batteries
• Lux equivalent to 50W Tungston
• Weighs less than a pound
• 144 LED Bulbs in red, white and yellow

If you are looking for a variable color light, there just aren’t many options out there. This ikan Multi-K is certainly a great early entry into the arena.

ikan Lighting website: http://www.ikancorp.com/

Purchase now from B&H Photo

Setup

Almost no setup at all, install the batteries, secure the latch, power up the camera and start shooting. From unboxing to shooting should take less than 30 seconds.

Features

The Intova SS1000 Snap Sights Sport Utility Digital Camera is an incredibly durable and waterproof pocket camera for divers, surfers, skiers, and all sorts of adventure seekers who wish to document their experiences in pictures. Of course it is also ideal for taking worry-free pictures in the rain or at the beach.

This low-cost camera is an alternative to waterproof single-use type cameras, yet the SS1000 offers full digital convenience, including: 1.4″ LCD viewfinder, USB computer connectivity, micro SD card to 2GB, casing waterproof to 50′ (15.24m)

• Waterproof to 50′ (15.24m)
• 1.4″ LCD viewfinder
• USB computer connectivity
• Micro SD card to 2GB

Usage

Using the SS-1000 is simple enough, one button turns the unit on and it is ready to shoot. Pressing another button switches to video mode. The simplicity of the design allows fairly young children to use the camera. I found it almost impossible to use the tiny screen as an LCD viewfinder, it just isn’t big enough or possibly my eyes are not young enough anymore. Being underwater simply made viewing the screen even worse.

Getting to your images is pretty simple, just plug in a USB cable and your computer should recognize the camera as a drive and you should be able to easy copy or import the images.

Results

Well….to say I am disappointed in this camera would be a fairly accurate and yet not surprising statement. The sensor is just sitting behind a piece of clear plastic, there is no real lense at all. At best, you might get ok results under some conditions, but generally its just got the good to deliver anything that is destined to end up on a wall anywhere.

For a kid’s camera, the $35 SS-1000 will be a digital camera that they can take to the beach, the pool, or pretty much anywhere. For anyone looking to get good quality underwater pictures, this is just not the camera for you.

http://www.youtube.com/watch?v=C_KGEOySA5s

Final Score:

Features

The Nexto eXtreme is yet another device designed to backup your memory cards in the field without having to have a computer handy. The unit supports a handful of common memory card types including CF cards. SD, and. handful of others. With 160gb of storage it should have plenty of space to hold any event or even an entire vacation’s worth of images.

http://www.youtube.com/watch?v=g_PJm3PGH1E

Memory Card Support

• Built-in CF Slot
  • Compact Flash type 1 and type 2 / MicroDrive
• Built-in 4in1 Slot
  • SD / SDHC / MMC / MMCPlus / MemoryStick /
  • MS Pro-HG / MS Pro MagicGate
  • xD type S and type M and type H
  • * with SD or MS adapter(not included)
  • miniSD / TransFlash / MMC mobile / RSMMC
  • MS Duo / MS Duo MagicGate / MS Pro Duo /
  • MS Pro Duo MagicGate
• Built-in USB Hosting
  • Mass storage devices : USB card reader
  • Hard drive type camcorder /Memory type camcorder
  • Still image capture devices: Digital camera

Transfer Rate

• Memory card to ND2700 : Max. 66MByte/sec, Avg. 25MByte/sec
• ND2725 to computer : eSATA avg. 60MByte/sec, USB avg. 25MByte/sec

Hard Drive Interface

• 2.5′ SATA Hard drive Capacity up to 2,000GB

Battery

• Internal : 3.7V 1550mAH rechargeable Li-Poly battery. 60GB backup on a single charge
• External : 3.7V 2200mAH rechargeable Li-Ion battery. 80GB backup on a single charge
  • Rechargeable via USB or external power adapter.
  • Takes 5hr for full charge

External Power

• Adapter : 100-240V AC to 5V/2A DC
• USB : Runs on USB power from a computer

Computer Interface

• eSATA : 3.0Gbit/sec, USB2.0 : 480Mbit/sec

File System

• Hard drive : FAT32, Memory Card : FAT12/16/32

Setup

There is virtually zero setup, the drive comes formatted and is ready to go. I would suggest putting it on a charger overnight just to get a real good initial charge and then you should be all set to go from there.
That being said, I do suggest you spend a moment Nd read through the manual as it explains how to use the menu system and the single button interface to traverse the menus and make selections.

Usage

The Next eXtreme is about as easy to operate as it gets, even easier if you enable Auto-Copy which will automatically backup a memory card as soon as you insert it.

What kind of bothered me a bit was the LCD screen that is about the size of a postage stamp. Seriously, I think the display is smaller than the display on my cheap digital sports watch. If it means raising the price another $10 to have a display that doesn’t require near-perfect vision to see, I certainly wouldn’t mind paying a few bucks extra.
The interface is interesting since there is only a single button to press, depending on what you are doing you will be prompted to use either a short click, a long click, or a double click. Usually there aren’t multiple options availae unless you are in some kind of menu. While the menuing and interface are simple to learn, the super small screen makes some things more difficult to do and causes it to take a hit on the usage ranking.

Results

I have been using devices like this for several years and have liked different devices for different reasons, sometimes size, one had a nice LCD display, but what I really like about the Nexto eXtreme is that it is FAST! It easily is the fastest backup unit I have tested so far. Coming back to the hotel after a day of sightseeing, speed isn’t that important. Shooting a large wedding with a second shooter and needing to copy their cards before you go home, speed is essential. Also, the faster you can copy your cards, the more images you can backup per charge. The first generation of these types of devices could do about 1000 images per charge which wouldn’t backup a large wedding on a single charge.

I have been very happy with the eXtreme and other than the small screen, its an excellent device due to its speed and price. I simply set it up for Auto-Copy so all I have to do is turn it on, and start plugging CF cards in and it will tell me when they are finished.

Final Score:

NEXTO eXtreme3 160GB Digital Hi-Speed OTG Backup Storage at Amazon.com

ExpoImaging

The ExpoImagaing team knows that if something doesn’t “just work†and doesn’t provide clear advantages, it stays in the bag or worse, doesn’t go in it.  FlashBenders are exactly what you might expect from the name, but with unexpected simplicity and control.  FlashBenders are designed for people who hate inconvenience – they’re all-in-one, flash-mount light shaping tools that take any shape and hold it until it’s time for them lay flat and go back in the bag.

Features:

• Unique patent-pending positionable design allows for unparalleled light control
• Fits any standard shoe-mount flash
• Durable, top-quality materials
• Won’t change the color temperature of reflected flash
• Reflective surfaces may be wiped down
• Packs flat for portability

These bendable units mean you can really shape the bounce or flag side into whatever your want. If you want a snoot, flag, gobo, bounce card, catchlight, or any other type of shape, just bend it to suite your situation and start shooting.

For more information, check out:

http://www.expoimaging.com/product-detail.php?cat_id=13&product_id=21

Setup

The LiquidMask is just like any regular snorkeling mask in terms of getting it ready for use. I recommend hitting up your local sporting goods store for some lens cleaner and anti-fog. You should use the lens cleaner before your first use and after any usage when the mask may be put away for a while. A good anti-fog solution is essential to having a good time underwater, spit has just really never done the trick for me.

To get the LiquidMask ready to shoot you will need to install the batteries and a micro SD card if you want additional storage ability. I dropped a 2gb card in mine which set me back around $6.00. Make sure all the caps are screwed back on well and you are good to go.

Features

The LiquidMask doesn’t rank high on features because a) there aren’t very many and b) the one it does have aren’t very spectacular. It does feature a 5mp camera which is pretty good since most images will need some cropping. The video is decent although at 20fps you will see some pixelization, but it’s not horrible. Fortunately it actually is a decent snorkeling mask and during our entire eight day trip it was the only mask I used even though I had access to many and even had my own mask with me. The convenience of knowing I always had a camera with me was nice when a simple swim would often turn up an unexpected surprise worth shooting.

Specifications

• Image Sensor: 1/3″ 3.1 Mega Pixels CMOS sensor
• Pixels: Still Image 3.1MP***
• Image Resolution: Still Images (2048×1536) + Video (640×480-VGA)
• Digital Video Recording Rate: Up to 20fps@VGA
• Internal NAND Flash Memory: 16MB
• Storage Medium: Micro SD (up to 2GB)
• Lens: 1G3P Fix lens
• Lens Aperture: F/2.8 Feet=8.5mm
• Lens Focus: 1.5m to Infinity*
• Shutter Speed: Stills (1/15 to 1/1000 seconds)
• Sensitivity: Automatic (ISO 100) + White Balance: Automatic
• Status LCD Panel Display
• 2GB Storage Capacity: 2100 Still Images at 2048×1536 (.jpeg format) + 72 minutes of video (m-jpeg)
• Supports: Windows XP/Vista and Max 9.x or x.x. (no software requirement to retrieve files) + full USB 2.0

Usage

I found myself a little torn on how to rate the LiquidMask for it’s usage ranking. On one hand, I don’t see myself ever snorkeling again without one for the reason mentioned above, but on the other hand the camera leaves something to be desired. The camera doesn’t appear to do any auto white balancing, daytime above water shots look great but change the lighting by going underwater and you HAVE to do post production white balance to correct them. While not a show stopper the less processing I have to do with jpeg files the better I can retain their image quality. Secondly, the refresh time on the camera is slow, you can only take one image every few seconds. The last issue I have is the indicator LED. if you are out snorkeling on the surface during the day, give up all hope of seeing the indicator light, only by pressing the shutter and listening very carefully for the click sound will you know the camera is on.

While it may seem like I am really bagging on the LiquidMask, the fact remains that it IS a highly convenient camera system seemlessly integrated into a nice snorkeling mask. I felt compelled to rate it high because I wouldn’t stop using it but also felt compelled to ding it a little due to some of it’s shortcomings.

Results

The important thing to keep in mind when swimming with the LiquidImage mask is to move slowly and try not to bring your hands in front of your face when filming video. If you take your time you can get some good images. If you have time to practice in a pool before going on an important trip, it will go a long way towards helping you get the best shots and video.

LiquidImage Website: http://liquidimageco.com/

Understanding the problem

In the intro, we stated that the Canon wireless speedlite system has a lot of features and is reasonably flexible in how you can use it. While that is true, there are some serious limitation to the system that Canon has yet to address, and given the installed base, probably isn’t likely to address in the near future.

The primary problem is that the Master light needs to communicate with the slave units and does this via bursts of flash just before the main flash goes off. This “pre-flash†happens so fast that you can’t tell it from the main flash. This works quite well in optimum environments like inside your studio. However, once you get outside and you have issues like the sun interfering with the speedlite’s communication, trying to use modifiers that block communication, or worse, trying to put speedlites in places with no direct line of sight such as outside a door, or around a corner, and the Canon system by itself starts to have issues very quickly.

While there are inexpensive radio triggers available and some of them work very reliably, the problem is that they only allow you to use use speedlites in manual mode only. Now this may be ok for you, and it is for many people, they lack several very key features:

1. The ability to use Canon’s eTTL system for automatic exposure control
2. The ability to remotely adjust the power output of the slave units
3. The ability to use high speed sync

Again, these things may not be of interest to you based on the style of shooting you do, but for many people, these are critical components of getting the lighting they want.

How the ControlTL System Solves the Problem

While I will go into more technical detail in a moment, simply put, the ControlTL system intercepts the signals going to the speedlite and transmits the information over radio frequencies to the remote receivers.

There are two available components as part of the system, the MiniTT1 transmitter and the FlexTT5 transceiver. At a minimum you need one transmitter and one transceiver which would allow you to do off-camera lighting in eTTL mode and allow you to adjust power output by adjusting the flash compensation on your camera body.

Adding additional transceivers and speedlites adds to the flexibility of the system and allows you to build up to using multiple zones, ratio control, and remote setting of manual settings.

Why is eTTL Important?

Is eTTL over-rated or the magic bullet? For the most part, eTTL does a pretty good job the majority of the time. Let’s say we are shooting a scene and we set our camera to ISO 200, f/5.6, and 1/60th of a second shutter speed. The Canon speedlites will do a pre-flash to determine the best flash output for those settings and adjust accordingly. If we then change our camera settings to ISO 400, f/5.6, 1/100 of a second, even though we have effectively adjusted the camera settings by two stops, the eTTL system will determine that it simply needs less flash output to properly light the scene. Of course, with any system that is trying determine how to light something, it isn’t always going to be perfect because the camera simply can’t read your mind to figure out what it is you are trying to do, but generally speaking, eTTL does a pretty good job most of the time and can be a big time saver in getting your lighting dialed in.

ControlTL Modes

The new PocketWizard ControlTL system has several basic operating modes, the following are explanations of the basic setups.

• Basic eTTL Mode
  In the most basic mode you need either a MiniTT1 transmitter or a FlexTT5 transceiver on the camera’s hot shoe shoe and a flash on a FlexTT5. In this basic mode, all speedlites  are grouped together into a single zone.
• Ratio eTTL Mode
  This mode requires Canon 580 EX or EX II be in the hot shoe of the MiniTT1 or FlexTT5 that is in the hot shoe on the camera. Remote flashes can be assigned to zones A, B, or C by selecting the zone switch on the remote FlexTT5 module. The ratio control is managed on the speedlite mounted on the camera. You can also use a Canon STE2 Commander on top of the camera to adjust the lighting ratios.
• Wireless Manual Mode
  “Wireless Manual†system allows setting a remote flash to a desired manual level from the MASTER flash. You must use a 580EX II on the MiniTT1 or FlexTT5 as transmitter. The original 580EX or earlier flashes cannot perform
  this function via ControlTL radios. “Wireless Manual†uses controls similar to ratio mode.

In both of the eTTL modes, the new PocketWizards double the output of the pre-flash boost for determining exposure making it more accurate, usable at longer ranges, and improves functionality when using modifiers such as umbrellas and softboxes.

One feature that I love is being able to use high speed sync. The way high speed sync actually works is that the flash will output thousands of small bursts very quickly to provide virtually continuous light output when the shutter is moving at high speeds. The downside to HSS is that it’s pretty harsh on batteries. The MiniTT1 and FlexTT5 communicate directly with the flash and PocketWizard came up with a means of optimizing the burst output to match the shutter speed which can result is massive improvements, 2-4x improvement in output power, 2-4x increase in battery life, and 2-4x faster recycle time.

There is yet another mode called HyperSync which allows high shutter speeds with studio strobes. While you do take a light output hit in this mode, it can enable some incredible shots that were previously impossible to get. This is a mode I am really looking forward to playing with more.

Finally there are even optimizations for rear curtain sync that ensure the flash goes off as late as possible ensuring a proper exposure while making sure the shutter is in the right position when the flash goes off.

Although you may have heard that putting a ControlTL device on your camera’s hot shoe will fool your camera into thinking there is a flash there, this is not completely accurate. The only in-camera flash control you have is Flash Exposure Compensation. Any zone control or ratio adjustments have to be done with an actual 580 EX/EX II mounted on top of the MiniTT1 or FlexTT5 device.

When the Zone Controller is available, this will help solve the ratio issue by allowing independent adjustment of three different zones without having to have a speedlite on the camera itself. This will allow photographers with two speedlites to use them both off-camera with individual output control. The Zone Controller can also operate each zone in manual or eTTL mode for maximum flexibility. The Zone Controller should be shipping at the end of May for around $70.

How I use the PocketWizard ControlTL System

I can’t really address every possible scenario but I can tell you how I have been using the ControlTL system in the shooting I have been doing. This generally breaks down into a couple of different situations. As seen in this first image, a remote flash on a lightstand is outfitted with a Lumodi Beauty Dish to provide directional lighting and make it appear as if the subjects are being lit by the sun. Shooting at this distance and still having eTTL control of the flash is a huge benefit. This is also used with high speed sync to be able to properly expose for a bright sky and still get a proper exposure on the subjects.

Usually only a simple adjustment of the flash compensation is all that is needed to dial in the exact look that I am going for.

The second most common usage is the ability to place a subject is complete shade to minimize harsh shadows from the sun but still provide the look of an afternoon sun but with far greater control over the contrast.

The bottom line is that the ControlTL system provides the means accomplish the style of images that I try to create with minimal setup time and quick remote adjustments.

Is the ControlTL System for you?

You are the only person who can decide if the ControlTL system is the right fit for your photography style and especially your budget. The components are not cheap, this is a system designed for professionals. The MiniTT1 transmitter sells for $199 while the FlexTT5 transmitter sells for $225. With the Canon 580 EX II selling for $445, a multi-light setup starts to get expensive very quickly.

Why not just use studio strobes and radio triggers? There are certainly situations where that is appropriate and even preferred. However, studio strobes are not as portable, do not offer eTTL control, cannot do high speed sync, and can’t dump their light fast enough for higher speed shots. The small speedlites are extremely flexible and having them be able to be used at fairly long distances gives you control over your lighting that you simply can’t get with a studio strobe.

For more information as well as numerous instructional videos, check out the PocketWizard website at http://pocketwizard.com

Disclosure: CameraDojo, Kerry Garrison, and associated editors do not receive any monetary compensation for any reviews or articles written for the
CameraDojo.com website. PocketWizard supplied loaner equipment to use for this article as well as several upcoming lighting tutorials.

At the recent PMA show the PR rep for Purosol had given me a small sample bottle and although, as I said earlier, I generally do not use any liquids, I tossed it into my camera bag. Ok, before I get into it, let’s look at Purosol’s pitch.

According to Purosol’s website, it was originally developed for NASA and the US military for use on high-end multi-coated optics.

“Using the latest in surface chemistry, it breaks the molecular bonds that dust, dirt and grime use to adhere to the lens. Purosol Optical is streak-free and leaves an anti-static barrier which repels dust, meaning you will have to clean your lens less frequently.”

Purosol also states that it is non-toxic, hypoallergenic, nonflammable, sterile and completely biodegradable.

So it sounds like pretty good stuff…the question is…does it work?

I sprayed a little into a good microfiber cloth and dabbed at the spots on the lens. One by one they started coming right off. Within just a few seconds the lenses looked absolutely perfect. This certainly got my interested up and I started cleaning things. Purosol does an excellent job on oil-based smears, such as fingerprints and other body oils that get on eyeglasses and the LCD screen on the camera.

While I am not going to toss my LensPen, I am convinced there is a spot in my camera bag for a bottle of Purosol. For those times when you need to cut through the oils or sticky sand/salt specs, Purosol will certainly help keep my gear nice and clean.

Amazon: Purosol cleaing products

Purosol website: http://purosol.com

The UpRise is what is referred to as a messenger bag as it is an over-the-shoulder bag with a large area inside to store gear. Inside you will fine a removable inner section with movable sections so you can customize the layout for your own needs.

Setup

Unless you want to customize the interior right off the bat the only thing you need to do is to attach the shoulder strap, remove the tags, and load it up with your gear. The UpRise came configured with a large area in the middle and smaller champers on each end, this seemed to work pretty nice to have a couple of lenses handy and being able to drop my camera in lens-down, flip the cover back over and go.

Features

Usually a camera bag doesn’t boast a lot of extra features besides it’s basic design and layout but the UpRise actually has some features to it that help separate it from the pack. On the front and practically invisible is a zippered pocket the is perfect for a wallet, keys, cleaning cloth, memory card holder, or other small items you may want access to without having to open the bag. On the top a zipper can open to allow access into the bag without having to flip the main cover over. A nice little piece of detail here is a small flap that is held in place with a magnet keeps this top zipper from opening accidentally. On the back is another zippered compartment that is great for flat items like boarding passes, a notepad, or some magazines. The back is also designed so the bag can slide down onto the handle of a rolling suitcase.
On the inside you will find two outside pockets, one with pen holders, a larger pocket area, a zippered mesh pocket, two small pockets for memory cards, a padded section for a laptop and the removable storage system. Attached to a lanyard is a rain cover for those inclement weather conditions.

If you need something just a little bigger on occasion, the UpRise has an external zipper that will allow the bag to expand by almost three inches.

Usage

During.our Maui trip there were basically two different times I had lots of gear with me, either driving around the island or out on a boat. If we were driving around, my large camera bag was in the trunk and I would keep the UpRise in the cab of the car with less gear in it for quick grabs to scenic spots. On the boats I would keep a couple of lenses handy in the UpRise and the rest stowed away until I wanted to switch hints around. Mid way through our first day I took as much out of the UpRise as possible to cut down on the weight I was carrying while hiking up and down trails and down rocky slopes. With the gear capacity of the UpRise it’s pretty easy to pack too much gear in it and end up with a pretty heavy bag. Packed efficiently it is comfortable to carry and still carry a good variety of gear.

Results

The UpRise may not be the perfect camera bag for every situation but neither is a roller or a backpack. For quick gran-and-go, it’s hard to beat the UpRise since you don’t have to take it off to get to your equipment like other bag styles require you to do. The features, layout, attention to detail, the quality, and the bag’s convenient pockets earn it high marks across the board.

Scorecard:

Amazon lists the Vanguard Up-rise 38 Zoom Expandable Camera Bag (Black) for $149.99

Vanguard Website: http://vanguardworld.com/

Note that the dish on the right actually came with my studio logo on it. This is an option that is available for an extra nominal charge.

First Impressions

My first thoughts as I was unboxing them were “don’t treat these like the rest of your gear or you will destroy them faster than Godzilla walking through Tokyo”. To say that they are not made from thick plastic is a severe-understatement although this is not meant to imply that they are shoddy products at all. They are extremely lightweight and since they attach to the front of your speedlight, you want to keep from stressing your more expensive equipment. Being uber-light is also a key benefit when using “Poverty Wizards” such as the Cactus V2 which are notorious for not being able to hold much off-axis weight.

The mount is simply a friction-fit around your particular speedlight so you do need to specify which brand and model of speedlite you are going to be using.  Other than popping it onto your speedlite, there is no other setup required. However, if you are not used to firing your flash off-camera, you will need some way of doing that, a good starter solution is a long eTTL sync cord from FlashZebra.com.

In this final shot, one of the dishes is covered with the available diffuser sock that simply stretches around the dish to stay in place.

Stay tuned for a complete review of the Lumodi Beauty Dishes in the next couple of weeks while we figure out how to really make the most of them.

I still need to round up some subjects for a shoot, but in the meantime you can check out Lumodi’s website and their Lumodi Flickr Group.

Here are a few test pics from today:

There are many cool features to talk about here.  Let’s look at them one at a time. The first and most obvious of new features is the display on the front of the drive.  This is called the “Smart display custom e-label”, and it is a very cool new feature.  Those who are familiar with the newest line of My Book Elite 1TB, 1.5TB & 2TB and My Book Studio 1TB, 1.5TB & 2TB recently introduced for the desktop will be familiar with this new feature.  It allows you to both label the drive with a 12 character description and to monitor the status of the drive, including available space and security status… even when the drive is unplugged!  And this label lasts for up to 6 months without plugging the drive in.  The next time you plug it in, it recharges itself for up to another 6 months.  With the price of drives these days, I find that I often store client projects on a drive on a shelf for 6 months, a year, sometimes more.  With the e-label system, it is easy to see which projects you are storing.  And the WD SmartWare software that is included makes changing the label (among other things) really simple.

The next feature to discuss is interface/connectivity.  This drive is the Mac drive for a couple of reasons… most importantly being the connection options.  This drive has the option of both USB 2.0 and Firewire 800 connections directly on the drive, and Firewire 400 adapter to connect to machines without Firewire 800 connections.  This gives you just about every possible connection you could need to get to your data.  The included cables are short (15″ or less), but that is all that is needed to connect to your MacBook.

Security is the next great feature, and it ties right into the software that comes with the drive.  The WD SmartWare software mounts to the desktop the first time you connect to the drive.  Setup is easy through this very well designed application.  You can set up the drive, the label, the security and even backup options through this software.  Once you assign a password to the drive, the password is required every time you plug the drive into a Mac.  This is a great option and makes you feel good knowing that if someone acquires your drive, they will not be able to get to your data.

This screen shows the settings options for the drive.  As you can see, you simply type the label in, choose a normal or inverted display, and save the label settings.  From here, you can choose other options to set up including sleep timer, diagnostics, virtual CD and other options.  The software is clean and easy to understand.

The WD SmartWare software has built in backup software.  It analyzes your drives(s) and allows you to select which folders you wish to back up and restore.  The design is very graphical and seems very easy to grasp and understand.  With the limited time we have had this drive, there has not been the time needed to dig into the use of this application.  But we do intend to look more at it at a future date.

The next feature to talk about is performance.  We wanted to get a feel of just how fast this drive is for backup and use.  We did some basic speed tests around the FireWire 800 and USB connectors, and we compared it to another commercial, portable USB drive that we commonly use.  It was a simple test where we drug a folder full of 450 different 20 to 40MB RAW photos to the drives and tested the performance.  This folder was 11GB in size, and should represent a typical copy that photographers would go through in backing up their data.  The results were good and about as we would expect.

The testing was not “milspec” or overly thorough, but very real world.  We took this new WD My Passport 640GB drive and tested both of it’s connectors and then tested a year old 120GB external drive that has served us very well over the past year.  This is about as real world as we can get in this amount of time.  Yea, yea, not a fair comparison to an older drive, etc., but the numbers are still true and comparable.  And beyond these numbers, I think we are chasing too small of details.

The WD My Passport Studio drive is small, but large in storage.  It is versatile and comes with great software.  It has features offered on no other drives available today (e-label).  It comes with a 3 year warranty backed by one of the largest and most reputable drive manufacturers on the market today.  What else could you want in a drive to trust your valuable photos and video?

Available March 1st, 2010 at retail stores like Best Buy, and click the links here to see reviews of this product and purchase the 320GB, 500GB or 640GB My Passport Studio.

Score Card (scale of 1 to 5)

You can visit Western Digital’s website here.

This article is only going to be my first impressions of the lenses since I just got them and haven’t had a chance to use them in more diverse environments yet.

The Setup

For this initial use of the new lenses, I had a Canon 50D which has an APS-C lens so I don’t quite get the full effect of the FishEye lens, but still, it works quite well.

Unfortunately, the weather conditions weren’t ideal either since I had to brave 20 degree temps to walk around getting these shots (may not seem cold to some people, but I live in Southern California). With an overcast sky and snow on the ground, its not as if colors were popping as much as I would have liked, but you can’t beat a morning stroll through East Aurora New York in the morning, so off I went.

The Soft Focus Lens

Ok, this lens is NOT for everyone by any means, however, I absolutely love it! The soft focus lens diffuses the light coming into the lens by filtering through a series of small holes. The goal is not to create a completely defocused image, but to give it a softer quality. When I get home and get some more images, you will see how this can look with portraits. For now, I had limited subject matter to work with to demonstrate with.

The image here of the flower was the one shot I managed to snap off before throwing the camera in the suitcase and heading to the airport. While you can see plenty of detail, there is still a softness to it and the defocused background has a really beautiful look to it.

Here are some more shots with the soft focus lens:

Fish Eye Lens

A fish eye lens is another one of those lenses you don’t tend to keep on your camera much but when you need a REALLY wide angle, nothing can beat them. Since the Canon 50D does not have a full frame sensor you dont get a complete circular effect but the fish eye effect is still plainly visible. With some creative cropping and vignetting, you may not even realize a shot was taken with a fish eye.

Below is an example of a pre and post crop of the same image:

With a little cropping, the really distorted edges are far less noticeable.

Another thing you can do is use a fish eye to capture more of a scene than you could with a regular lens and then us Photoshop’s lens correction to straighten it out somewhat. The following images are before and after the lens correction was applied.

Here are some additional shots taken with the fish eye lens:

Summary

If you have a Lensbaby Composer or are thinking about getting one, the Fish Eye and Soft Focus lenses can be a terrific addition to your Optic Swap lens collection. Maybe they are even just the right excuse to go get a Composer now. For me, they are a very welcome addition to my collection and I cant wait to use them even more.

For more information, check out Lensbaby at http://www.lensbaby.com.

Features

The new Think Tank Airport TakeOff is a new roller bag…no wait..its a backpack bag…no, it has wheels and and handle so it’s a roller…noooo…it has straps so its a backpack…ok, so maybe Think Tank Photo should have named this the FrankenBag or maybe the Schizophrenic. Regardless of the name, the Airport TakeOff is both a roller bag and a back pack. As we all know, usually when you try to make a hybrid of something, you end up with something that doesn’t do anything well. Knowing the folks at Think Tank Photo, our bet is that they managed to pull it off.

Designed to comply with international airline carry-on requirements, the Airport TakeOff accommodates pro-sized photography gear, including two pro or regular size DSLR bodies with or without lenses attached.  Its features include:

• Holds up to a 300mm f/2.8 and other assorted lenses
• Quickly deployable and concealable backpack straps
• Front cable and lock to secure laptops
• Lockable zipper sliders
• Transports tripods or monopods easily
• Adjustable sternum straps for tailored usage
• Holds Think Tank’s Artificial Intelligence 15 protective laptop case

Specifications

• Internal Dimensions:  13â€W x 18.4â€H x 5.25-6.75â€D (33 x 47 x 13 cm)
• External Dimensions: 14â€W x 21â€h x 8â€D (35.5 x 53 x 22 cm)
• Weight: 8.6 – 10.3 (3.9 – 4.7 kg) depending on accessories used

Setup

Like most Think Tank Photo bags, the insides have a virtually unlimited amount of flexibility and come with tons of pieces to allow you to create almost any configuration you would want. Included are same layouts for Nikon and Canon equipment or you can customize it to suite your needs.

For traveling, I want my bodies to be in the bag like their example, but going to a local wedding or engagement shoot I will have my primary body and lens outside the bag as I am always ready to get a shot right when I arrive or as I am leaving an event.

Regardless of how you want your setup to be, odds are you can manage to get there with the AirPort TakeOff.

Usage

At first glance, it appears that the TakeOff is a little smaller than the Airport International 2.0 although they are really both designed for international carry-on sizes. The main differences from the front is that the take-off has a very expandable front pocket with a latch while the Airport International 2.0 has a pocket but once you have any gear inside, the outside pocket is useless for anything fatter than a manila folder. Because of this, I have kept my reflectors in a bag outside of the Airport International 2.0. With the Airport TakeOff, I can fit two large reflectors in the pocket and still get my 14†laptop into it. Both bags allow me to strap my tripod to the outside securely and both roll easily while fully loaded with gear.

From the side you can see how the reflectors make the outside pocket bulge out in the front and I am a little bummed that the zipper lock from the Airport International 2.0 is missing from the Airport TakeOff. While there is a lock in a pocket under the front flap that can be used to lock the zipper, the cable isn’t long enough to lock the bag to something like you can with the Airport International 2.0. The ability to lock the bag securely and to lock it to a table or other immovable object is a a real win for the Airport International 2.0.

As a backpack, the TakeOff feels pretty balanced and the shoulder pads are comfortable and easily adjustable for different size people.

As for packing my gear into the TakeOff, I was surprised that I could actually fit everything into it very easily and although my 70-300mm won’t stand up in it, it still fit nicely and also made for a nice spot to put my Cable Management 10 on top of it. This is a typical wedding configuration with 4 lenses in the bag, a backup camera body, Lensbaby Composer, two flashes, video camera, light meter, filters, diffusers, grids, snoot, bounce card, cleaning cloths, Rocket Blower, Wolverine ESP backup system, SensorPen SensorLoupe, Canon CP-E4 Battery pack, roll of Gaffers tape, Pixel Pocket Rocket, as well as a stash of batteries, WhiBal card, cable releases, and a bottle of sunscreen. On the outside pocket I can fit my laptop, two large reflectors, and a tripod.

Results

Quality of a Think Tank bag is second to none, the zippers are the best quality, the seams and material are top-notch. Every single feature, pocket, corner, strap, D-Ring, and component has been chosen to provide a photographer with a camera bag that is going to hold up to the rigors of every day use. These are not cheap overseas bags. These bags are professional quality, so they do not come at cheap, eBay prices. With an MSRP of $299, even with discounted street prices, the Airport TakeOff is still going to be a fairly pricey investment but if you want a professional quality camera bag that is going to last years of hard-core daily use and help keep your gear is top shape, then its hard to go wrong with a bag from Think Tank Photo such as the AirPort TakeOff.

Score Card

Think Tank Photo Website: http://thinktankphoto.com

I figured I would give it a try and see if I could keep my brand new Canon 50D looking brand new for a long time.

Features

It’s kind of hard to come up with an extensive features for the Snug-It Pro since it really consists of three basics parts. First off there is an LCD screen protector that adheres to your screen to protect it from scratches whether or not you are using the Snug-It Pro cover.

The Snug-It Pro cover itself is a rubbery slip-cover that goes over your camera and also has a plastic LCD cover for further protection.

In the image to the right, what appear to be brown spots are just thinner areas of the Snug-it Pro cover to make getting the lenses off and so you can see the camera model. With the Snug-It Pro cover in place, you can still get to all of the controls and ports on the camera.

Setup

Setting up the Snug-It Pro is pretty simple. The first thing to do is clean your LCD really good so that the first screen protector will go on good and not have anything underneath it. I lined up one edge with the LCD screen and kind of rolled it into position. Using a microfiber cloth was able to rub out a couple of air bubbles easily.

Next, I took my lens off and put on a body cap to help keep any dust out, and then slid the Snug-It Pro down over the top of the camera and worked it into place. There is a video later on in this article showing how to use the Snug-It Pro.

Usage

There are some pros and cons to using the Snug-It Pro although most people are going to be pretty happy with it. The few things that are issues for me are because of how I use my camera. I am a pretty heavy shooter so I always have a battery grip on it. This creates a problem in that the Snug-It Pro wraps around the bottom of the camera preventing a good fit with the battery grip causing the camera to not want to power on. A little trimming of some of the bottom allowed me to be able to get the grip on and working, but this caused another issue of the Snug-It Pro bulging a little making closing the CF card door difficult. Again, this is only going to be a problem if you use a battery grip. If you don’t, then you won’t have these same issues.

A second issue I have is that the top of the Snug-It Pro slides into the Hot Shoe mount which causes an issue if you use an accessory flash since you then have to pull out the top of the Snug-It Pro which causes it to bend backwards awkwardly. The last thing that is a little annoying is that the plastic LCD cover can tend to move around sometimes.

Results

Issues aside, the Snug-It Pro does what it is supposed to do and while it isn’t going to protect your camera from a long drop onto the sidewalk, it is going to keep your camera looking good for a long time.

At a street price of $34.95, the Snug-It Pro offers really good external protection of your camera although it may not be suitable for all shooters. If you use a battery grip or an accessory flash and you want to use the Snug-It Pro then you may end up doing a little cutting to make it fit your style better, but seeing as how trimming it up isn’t a major ordeal, I am not going to ding my grade on it too harshly for that.

Video

The following video shows putting the Snug-It Pro on the camera and talks about some of the pros and cons as I have talked about them in this article.

Score Card

Related Links

Delkin: http://delkin.com
Snug-It Pro Product Page: http://www.delkin.com/products/snug-it-pro/snug-it-pro.html
Snug-It Pro on Amazon: Delkin Snug It Pro Skin

The TrekPod XL is adjustable from 39†to 62.5†and can handle camera gear weighing up to 13.5 pounds, making the TrekPod XL an extremely versatile unit.

Summary

The TrekPod is part monopod and part tripod which isn’t really the first of its kind but Trek-Tech has done a pretty good job of creating a really usable hybrid. Like any device that is a hybrid of two other products there are some compromises that need to be made to combine the benefits of each into one new product, the big question is if Trek-Tech was able to bring the strengths of a tripod and monopod together without sacrificing too much.

Features

The TrekPod XL is made from carbon fiber, high strength polymers, and stainless steel to create a high quality, heavy duty, and super ultra lightweight unit. Unlike most monopods, the TrekPod XL breaks down into four pieces that fit nicely into the included travel bag that is small enough to fit into almost any suitcase or carry-on bag.

Specifications

Usage

At first glance I wondered if there was any right or wrong way to assemble the TrekPod but it turns out there is only one way that the system can be put together and it only takes a few seconds to figure out which ends go together. At a little over a pound, the TrekPod XL is exceptionally light which, while great for hiking or traveling, can be a negative since with about half of the leg spread of a medium tripod, stability can be an issue. I wouldn’t put my camera on top of the TrekPod if there is any wind. Secondly, since you can’t adjust the legs like a regular tripod, you cant stand it up straight on an uneven surface. Then again, the TrekPod isn’t a tripod, its more like a monopod with pop-out legs.

The MagMount is a very unique feature of all of the Trek-Tech products The MagMount uses a pair of high-strengh Rare Earth Neodymium Magnets to hold the camera to the ball mount.

Although tests showed that just the magnets would probably be sufficient for almost any setup, the bottom section has a small clamp that swings around to give you a little more piece of mind.

The TrekPod XL comes with two different attachments, the “jagged†version shown in the image here that is tightened down with an included Allen wrench and a smooth version that has a knurled outside for hand-tightening.

The ballhead moves smoothly and locks with a large paddle which also locks down the rotation of the ballhead.

Setup

The TrekPod comes in four pieces that fit together. The leg piece has a threaded top that the first tube (the one with the TrekPod XL logo on it) attaches to. The second piece, the tube with the foam handle on the top, slides into the lower tube. Finally, the top tube section, the piece with the ballhead on it, slides into the top of the tube with the foam handle.

All that’s left is to take one of the attachment points and screw it into the tripod mount on your camera, pop it onto the top of the MagMount and flip the lock into position.

The entire build process takes about 20 seconds so its really quick to setup and start using. This means the TrekPod is useful more more than just your camera. For me, I have been looking for a quick to setup and light-weight light stand for use with my speedlites and the TrekPod is just about perfect for this. If the plastic cap actually had an umbrella hole and a hot shoe mount, it would pretty much be ideal (hint hint Scott and Ken).

Results

As I said earlier, anytime you take two diverse products and create a hybrid, you have to compromise somewhere. On the other hand, if you look at the TrekPod as a monopod with pop-out legs, then it does that job very well and it can be used in some places that you wouldn’t have enough room to setup a tripod. If you have an angled or uneven surface, well, at least you can use it as a tripod. In thinking about this, something like the ballhead to connect the legs to the first tube might allow more varied surfaces but would also negatively impact the price. With the TrekPod XL running around $360 at Amazon ($399.99 list), and a high-end carbon fiber monopod being around $200 with a good ballhead running around $120, you are going to pay a little bit of a premium for the TrekPod XL’s design and tripod legs, not bad when compared to a high-end monopod.

If you want to save some money, you can get the TrekPod Go! PRO which is made of aluminum and is a little heavier, but will only ding you for $179.99 at Amazon ($229.99 list). If the ability to break it down so much isn’t such an issue, you can really save some money with the Trek-Tech TrekPod II for only $74.17 at Amazon ($99.99 list). So regardless of your budget, there is a TrekPod for you. You will be quite happy with a TrekPod if you think of it as a replacement for a monopod instead of a replacement for a tripod. For me, the TrekPod XL fills a need I have had for a lightweight stand that can be used for a camera or a light but takes up less room than a tripod or light stand.

Score Card

Trek-Tech: http://www.trek-tech.com
TrekPod XL: http://www.trek-tech.com/products/trekpods.html

Summary

With modern DSLR’s, these cable releases have become electronic triggers with the remotes being able to perform all kinds of additional functions. More often than not, all I need is just a simple push-button remote to fire my camera and so I have used a Phottix Wireless Remote for almost two years now. In fact, the only reason it wasn’t featured in recent photo shoot tutorials is because the battery in the transmitter is dead and I have been too lazy to go buy a replacement.

Fortunately, Phottix has come to the rescue and come out with an all-new wireless remote, saving me the hassle of buying a simple battery.The Cleon I and Cleon II are newer wireless remotes to replace the original one. We need to see if the new systems are better than the original.

Features

The Cleon I and II are very similar with the primary differences (more on this later) being that the Cleon II has a 2 second delay timer built in and the Cleon II uses the same receiver for each camera with interchangeable cables for the specific camera you are using. The Cleon I had the camera cable hardwired to the receiver.

Specifications

Differences between Cleon I and II

As I said there are some other differences between the Cleon I and Cleon II, the following chart will outline all of the differences between the two models.

Setup

The Cleon II should be ready to go right out of the box which mine was. If you need to synchronize the transmitter and receiver you just need to follow these simple steps:

To synchronize the receiver to the transmitter:

• turn receiver on by holding down “set/power” button for ~3 seconds until RHS LED turns on
• press “set/power” button on receiver 5 times until LED on left hand side flashes red
• press shutter button on transmitter
• LED on left hand side of receiver should turn off

Usage

As much as I have liked having a wireless remote for the past two years, more often than not I was using it within a foot of the camera. With the Cleon remotes, the receiver can be used as a wired remote. The nice part about this configuration is that the receiver does not have to be turned on for the wired function to work. For me, I will use it in the wired configuration quite a bit which should significantly improve the battery life.

To use the wireless mode you hold down the set/power button on the receiver for three seconds to turn it on. On the receiver, move the slide switch to the desired position:

• S/B – single exposures or bulb mode (hold transmitter button down for 3 seconds to lock the shutter open in bulb mode)
• 2S – single exposure with about 2 second delay
• multiple exposures – Automatically takes 5 exposures

Once set, push the button 1/2 way to focus and all the way to take the picture. It doesn’t get much easier than that.

Results

The Cleon system simply works great. At about $36 its hard to beat the price for a wired and wireless remote system. It doesn’t have some of the features of higher end remote like interval settings, longer delay settings, and time lapse, but that’s not what it is designed for. The only negative thing I have to say at all is that I simply could not get the advertised range out of it. The best I could get was about 120 feet. Now granted, I have never needed to be 120 feet from my camera when taking a picture and if that would have been the advertised range I would have accepted it. However, since the claimed range is around 300 feet, I am going to drop the final score down in the ratings for that. Otherwise the system is flawless and I would highly recommend it.

Score Card

Phottix Website: http://phottix.net

Features

As we have already said, the core purpose of DSLR Remote Pro is to allow for tethered shooting. While that seems like a pretty trivial thing, its all of the extra things that DSLR Remote Pro brings to the table.

• Take control of your Canon DSLR camera from your PC (supported models)
• Retain full control from the camera
• Photos automatically downloaded to the PC and displayed in a large preview window
• Large high quality live view display on the  PC with live histogram, autofocus and intuitive manual focusing using mouse wheel with Canon EOS 40D, Canon EOS 50D, Canon EOS 500D/Rebel T1i, Canon EOS 450D/Rebel XSi, Canon EOS 1000D/Rebel XS, Canon EOS 5D Mark II, Canon EOS-1Ds Mark III or Canon EOS-1D Mark III
• Photos are saved on the PC’s hard disk and can also be saved on the memory card in the camera
• Full size preview window can display a critical area of the photo e.g. the eyes and face of your model during a portrait shoot
• Flashing highlight display to highlight over exposed areas
• Grid overlay display for accurate alignment of studio shots. The size and color of the grid is user definable
• Color management and sharpening options for more accurate display of preview images
• Auto bracketing of up to 15 shots ideal for HDR images, interior shots and product photography
• Timed bulb exposures controlled from the PC – ideal for astronomy (Canon EOS-1Ds Mark III, EOS-1D Mark III, EOS 5D Mark II, EOS 40D, EOS 50D, EOS 500D/Rebel T1i, EOS 450D/Rebel XSi and EOS 1000D/Rebel XS only)
• Focus point overlay display for more precise control of auto focus
• Automatic screen blank option – blanks the screen before taking a photo so that the light from the PC display doesn’t affect the subject lighting
• Fullscreen mode for large, uncluttered display of images
• Automatic edit option – automatically loads the image after downloading into the editor or program of your choice
• Automatically stores a short comment in the shooting data of images for easy identification e.g. the person’s name when taking id photos. The comment can also be used for the image filename to make it easier to identify images when taking product shots, school portraits etc.
• Automatically stores IPTC data in images as they are downloaded
• Time-Lapse feature which allows the number of photos in a sequence and the interval between shots to be specified.

Stack it and Bracket

Typically if you want an exposure bracket for HDR images you are limited to the camera’s 3 shot bracket. While three shots is often sufficient, there are times you really want to use more images, with DSLR Remote Pro you can do bracket sequences using either shutter speed or aperture of up to 15 shots. Using tools like PhotoMatix, you can get really incredible results when using larger groups of images.

Another interesting thing you can do with multiple images is called focus stacking. With Focus Stacking you take a series of images of the same object with the focus positioned at different points. When you combine the images you can achieve a super sharp image with a longer depth of field. Photoshop CS4 now has this ability and there are some free tools that can do the processing as well. To use Focus Stacking you actually need a script that will automate some of the steps in DSLR Remote Pro. If you are interested in this functionality, read more about it at http://www.breezesys.com/DSLRRemotePro/focus_stacking.htm.

Live and in Color!

With the newer Canon cameras that support Live View, a whole realm of possibilities is opened up to you since you can display full-screen Live View with a live histogram. The Live View mode also allows you to zoom into the frame at 100% magnification to ensure that your focus is dead on. This is exceptionally useful when doing macro, product, or food photography.

What’s really unique is the ability to do autofocus while in Live View mode. Hitting Ctrl-F will perform a contrast detection routine that may be a little slow but is usually quite good. This however will not work well with moving objects.

Another interesting feature is Onion Skinning. Onion Skinning is a term that is used in animation to be able to see an overlay of the previous image in order to draw a smooth animation. With DSLR Remote Pro in Live View mode you can load in another image or the previous image in order to get precise alignment. This is good for stop motion animation or to accurately align images for panoramas.

Step into my booth

One thing you really wouldn’t expect from a program like this is the Photo Booth mode since there are a handful of companies that make specific photobooth software. With DSLR Remote Pro you can setup a nice photobooth station, even build a whole booth around it, and offer prints right after a series of images are taken. This can be a fun option to offer your clients at different events.

Integrating with Lightroom

Since Adobe Photoshop Lightroom doesn’t have direct tethering ability at this time, the next best thing is to use DSLR Remote Pro and Lightroom together. Lightroom has a feature that allows it to watch a folder and import any files that it sees show up in the folder. This allows you to take full advantage of all of DSLR Remote Pro’s features while having the images go into Lightroom automatically.

Summary

If you want to take tethered shooting to the next level than DSLR Remote Pro is probably worth looking into. The only real downside is that you are limited to the length of cable between the camera and the computer. For $95 you pick up a ton of functionality that the free EOS Utility doesn’t have. For my own studio shooting, I rely heavily on DSLR Remote Pro and as it continues to evolve it just keeps getting better and better.

Breeze Systems Website: http://www.breezesys.com

Overview

The Canon EOS 50D is a 15.1 megapixel DSLR with an APS-C sized sensor. The 50D is available in a body-only or as a kit with a 28-135mm f/4-f/5.6 IS lens. If you are getting into a DSLR for the first time, the kit lens is actually a really nice general purpose lens which, by itself, sells for $410 making the kit with the lens a really good bargain.

Features

As already mentioned, the 50D features 15.1 megapixels, built-in sensor cleaner, ISO ranges from 100 – 6400. Besides some better overall specs, what really makes 50D different from previous models is the high resolution LCD display. With a large LCD with high resolution you can really see when an image is clear and sharp. Another enhancement over previous models is face detection when in Live View mode to help focus on individual faces.

Product Features

• 15.1-megapixel CMOS sensor with improved noise reduction
• Enhanced Live View shooting includes Face Detection Live mode
• New Lens Peripheral Illumination Correction setting; HDMI output
• Capture images to Compact Flash Type I or II memory cards (not included)

Technical Details

• Camera type: Digital single-lens reflex AF/AE camera with built-in flash
• Image sensor size: 22.3 x 14.9mm
• Compatible lenses: Canon EF lenses (including EF-S lenses)
• Lens mount: Canon EF
• Sensor type: High-sensitivity, high-resolution, large single-plate CMOS sensor
• Effective pixels: Approximately 15.10 megapixels
• Aspect ratio: 3:2 (horizontal: vertical)
• Color filter system: RGB primary color filters
• Low-pass filter: Fixed position in front of CMOS sensor
• Dust deletion feature: Yes
• Recording format: Design rule for camera file system 2.0
• Image type: JPEG, RAW (14-bit Canon original), sRAW, RAW+JPEG
• File size: Large/fine: 5 MB (4752 x 3168); large/normal: 2.5 MB (4752 x 3168); medium/fine: 3 MB (3456 x 2304); medium/normal: 1.6 MB (3456 x 2304); small/fine: 1.7 MB (2352 x 1568); small/normal: 0.9 MB (2352 x 1568); RAW: 20.2 MB (4752 x 3168); RAW+large/fine: 20.2+5 MB (4752 x 3168); sRAW 1: 12.6 MB (3267 x 2178), sRAW 2: 9.2 MB (2376 x 1584); sRAW 2+large/fine: 9.2+5 MB (2376 x 1584)
• Color space: sRGB, Adobe RGB
• Picture style: Portrait, landscape, neutral, faithful, monochrome, user defined 1-3
• Image processing type: Auto, daylight, shade, cloudy, tungsten light, white fluorescent light, flash, custom, color temperature setting
• Auto white balance: Auto white balance with image sensor
• Color temperature compensation: White balance correction: +/-9 stops in full-stop increments; white balance bracketing: +/-3 stops in full-stop increments
• Viewfinder type: Eye-level pentaprism
• Coverage: Approximately 0.95x (-1m with 50mm lens at infinity)
• Eyepoint: Approximately 22mm
• Focusing screen: Interchangeable (Ef-D: grid lines, EF-S: point of focus, EF-A: standard focusing screen)
• Mirror: Quick-return half mirror
• Depth-of-field preview: Yes
• Autofocus type: TTL-CT-SIR AF-dedicated CMOS sensor
• AF points: 9
• Metering range: EV 0.5 to 18
• Focusing modes: Auto, one-shot AF, predictive AI Servo AF, AI Focus AF, manual
• AF point selection: Automatic, manual
• Selected AF point display: Superimposed in viewfinder and indicated on LCD panel
• AF-assist beam: Small series of flashes fired by built-in flash
• Metering modes: 35-zone full-aperture metering: evaluative, partial (9 percent of viewfinder at center), spot (3.8 percent of viewfinder at center), center-weighted average
• Metering range: EV 1-20
• Exposure control: Program AE (shiftable), shutter-priority AE, aperture-priority AE, depth-of-field AE, creative auto, full auto, programmed image control modes (portrait, landscape, close-up, sports, night portrait, flash off), manual exposure, E-TTL II autoflash program AE
• ISO speed: Automatically set: ISO 100 to 6400 (in 1/3-stop or 1-stop increments); basic zone modes: ISO 100 to 3200 set automatically; extension settable: ISO 12800; high-tone priority settable: ISO 200 to 1600
• Exposure compensation: Manual: +/-3 stops in 1/3- or 1/2-stop increments
• AE lock: Auto and manual
• Shutter type: Veritcal travel, mechanical, electronically controlled focal-plane shutter
• Shutter speeds: 1/8000 to 1/60 second, X-sync at 1/250 second; 1/8000 to 30 second, bulb
• Shutter release: Soft-touch electromagnetic
• Self timer: 10- or 2-second delay
• Remote control: Yes, with N3-type terminal
• Flash type: Retractable auto pop-up
• Flash metering: E-TTL II autoflash
• Recycling time: Approximately 3 seconds
• Flash-ready indicator: Viewfinder icon
• Flash coverage: 17mm lens angle of view
• FE lock: Yes
• Flash exposure compensation: Up to +/-2 stops in 1/3- or 1/2-stop increments
• Compatible flash: EX-series Speedlites
• Drive modes: Single, high-speed continuous, low-speed continuous, and self-timer
• Continuous shooting speed: 3 shots/second to 6.3 shots/second
• Live View shooting modes: Live View, remote Live View (with a personal computer installed with EOS utility)
• Live View focusing: Manual, autofocus
• LCD monitor: 3-inch TFT color LCD
• Resolution: Approximately 920,000 pixels
• Coverage: Approximately 100 percent
• Brightness adjustment: 7 levels
• Interface languages: 25
• Display format: Single image, single image + image-recording quality/shooting information, histogram, 4- or 9-image index, magnified view (approximately 1.5x to 10x), rotated image (auto/manual), image jump (by 10/100 images, index screen, by shooting date, by folder), slide show (all images/selected by date/folder)
• Image protection: Yes
• Erase: Single, check-marked images, or all (except protected images)
• Compatible printers: PictBridge
• Printable images: JPEG compliant to design rule for camera file system and RAW/sRAW images
• Interface: USB 2.0, NTSC/PAL selectable, HDMI mini out
• Battery: Rechargeable battery pack or AA alkaline batteries
• Camera width: 5.7 inches
• Camera height: 4.2 inches
• Camera depth: 2.9 inches
• Weight: 25.7 ounces (body only)

Setup

While you  can certainly take the camera out of the box and start shooting, I will run through the setting changes that I did and why.

C. Fn I : Exposure
Custom Function 3 changed to 1 to enable ISO expansion. This is needed to shoot at ISO ranges above 3200.

C. Fn II : Image
Custom Function 3 changed to 1 to enable Highlight Tone Priority. This enables Highlight Tone Priority which can help from overexposing important aspects of your image. Note however that when this is enabled, you will not be able to go over ISO 3200 regardless of the previous setting.

C. Fn III : Autofocus/Drive
Custom Function 3 changed to 1 to enable Multi-controller direct. This option enables you to select the autofocus point by using the multi-controller (mini joystick).

Live View Function Settings
Live View Shoot set to Enable to allow for Live View mode

Expo. Simulation set to enable so the LCD show how the exposure will look when the shot is taken

Grid Display was set to the rule of thirds overlay

Other Settings

Image quality was set to RAW.

Highlight Alert was enabled in order to show “blinkies†on the LCD to show overexposed areas

Finally, I made sure the date and time was correct, dropped in a compact flash card, formatted it and I was ready to go.

Using the EOS 50D

The first thing I get asked is “How good is the ISO performance?†so let’s start there. By default the 50D can shoot ISO 100-3200. If you enable ISO Expansion then you have ISO 6400 (H1) and 12800 (H2). However, just because you CAN go up to ISO levels like that doesn’t mean it really usable. The following image demonstrates the ISO performance from ISO 800 – 12,800.

As you can see, the ISO performance even up to ISO 6400 is actually pretty usable. Keep in mind that no noise reduction software was used to create this image, this is right out of the camera. Even some basic noise reduction will clean up the ISO 6400 images while the ISO 12,800 images would require some significant noise reduction to really make them usable.

Differences from the 40D

After the ISO question, the second most common question is “Is the 50D worth upgrading from the 40D?†so let’s compare a few key features between the two:

While not everyone will need the new features, I certainly think that many people who are more serious shooters like wedding photographers will really appreciate the high ISO performance, the larger megapixel count and the high resolution display. Those are certainly the key selling points for me.

50D Coolness Features

We have already looked at some of the biggest of the 50D’s features but there are a number of features hidden in the 50D that are actually pretty cool even if they don’t make the short list that everyone talks the most about.

• Peripheral Illumination Correction: This feature corrects vignetting that happens with certain lenses
• Live View Enhancements: Two different focusing modes are now available as well as a new face detection system for locking focus onto faces.
• User Settings Modes: Two modes on the main dial allow you to create two custom modes for your custom settings.

How big are the images?

Well, they are pretty big. The following chart shows typical sizes for the different quality modes:

Coming from using a 30D (8 megapixel) this means that my storage requirements have just doubled.

Does it take good images?

Of course it does. Here are some samples:

ISO 100 f/22 1/100 12mm

ISO 3200 f/4.0 1/60 12mm

ISO 100 f/4.0 1/1600 18mm

ISO 200 f/16 1/160 24mm

The 50D Controversy

There is quite a lot of debate about the sensor’s pixel density and how the smaller pixels and density are a recipe for more noise. While this is a very hotly debated topic a lot of it depends on your shooting situation. You will most certainly see extra noise in areas of images that are underexposed while if you are shooting well, or slightly overexposed images you can really move up into the higher ISO ranges. As we have discussed in previous articles, digital sensors loose detail in underexposed areas while maintaining more detail in overexposed areas, thus its safe to slightly overexpose to help reduce noise and maintain detail. A good rule of thumb is to overexpose by 1/3 – 1/2 of a stop, even more if you can without clipping. Learning the nuances of how your particular camera works and where it’s unique “sweet spot†is will help you to get the best images from your camera.

Is the 50D the best choice for you?

You are the only one that can decide if any particular piece of equipment is the right choice for you. What I did was to rent the body from Borrowlenses.com for a week to really put it through its paces and do some major comparisons. After using it in a variety of conditions, I knew it was the right choice for me at this time.

Features

The Photobasics Green Screen kit is available as both a video kit or a still photography kit with the difference being the disk of backgrounds, the trial software that is included, and the educational DVD. The system is as complete as it gets with the following items:

Setup

Usage

Green Screen Setup

Using the kit is quite simple. The most important thing is to get the background as evenly lit as possible to make your editing go as easily as possible. If you have those two dialed in, then the process of using your green screen images is a simple matter of following along with the DVD.

Results

Taylor Shot 2

Fun Shot with David Esquire

And as you can see in this final shot, you not only can have fun, but you can even create some high-end fine art pieces.

Summary

At first look, the sling style would allow you to rotate the back to your front to have access your gear and then fling it back over your shoulder where it acts like a normal backpack.

As someone who does a variety of different types of shooting, I figured that I could really put the Pampas 57 bag to the test and see if this was going to be something I would really use on a regular basis.

Let’s get into it and look at the bag and then see what I thought of it.

Features

The Pampas bags are designed for comfort and functionality by allowing you to wear the bag as a regular backpack and then rotate the bag over your shoulder to your front for access to your gear. The Pampas bag has a good number of access points points and the build quality is top notch.

The back is covered in a nice breathable material over nice thick padding to help keep the bag comfortable on you and reduce sweating.

• Sling style design
• High Quality 600D x 600D Strong Polyester
• Secure Side Opening
• Extra padded inside dividers
• Contact areas offer breathable fabrics
• “Grab and shoot†quick access pocket
• Opens from front and side for instant access
• Front and top pockets for accessories

Usage

The Pampas bag certainly was comfortable as I used it during several small shoots as well as a 10 hour wedding shoot. Inside the dividers come setup for a handful of lenses and a DSLR body with a small size lens attached. I found that this wasn’t the optimum setup for me since once I am shooting I need access to the lenses and the main section was empty without the camera in it. Since the dividers can be arranged for your particular style, you can easily change it to match how you work.

Access to equipment from the side access section is very easy once you rotate the bag around to your front. However, getting to items that are further into the bag proves to be a little more challenging. While the large back section opens wide for easy access to the rest of your gear, I found myself quite nervous about having something fall out of the bag while it was open like that. To help prevent any issues like that, the side opening stays attached via some clever side webbing, but it just felt a little weird, this is probably something I will get over with more use of the bag.

I tended to keep my CF cards in the top outside pocket since it is pretty small but my CF card holder fit into it perfectly and was easy to get to. In the large top pocket I kept a container of batteries and my second flash head. Inside the main body I could have a 17-40, 24-70, 12-24, 50mm, and a Lensbaby Composer and still had room to spare.

Results

The Pampas bag did prove to be quite comfortable and the side access area was very easy to get to. I really only had some issues with the larger rear access area since it felt a little awkward getting to the equipment but not so much that I wouldn’t continue to use the bag. At weddings I normally have been using a Think Tank Photo Modulus Speed Belt which has worked out really well for me with one main exception. The speed belt fits lower on you around your waist and adds a good six inches of width on each side of you so navigating quickly between tight chairs in a reception can sometimes be difficult. With the Pampas bag sitting higher on your back I didn’t have as much problem squeezing through chairs at the receptions and I tended to carry more lenses in the Pampas bag simply because I could without adding any additional size. Where I really like the Pampas bag is when hiking or other situations that require lots of walking around between shots, I can put the entire camera with a lens on it into the backpack and not have to worry about the camera swinging around into things.

One of the best things about the Pampas 57 is the price you can get it for. While it is a good deal at the list price of $108, I found it online  Amazon for only $69.99. While it is to small to be my complete camera bag, it is certainly a great bag for keeping your most used items on you, its a great day bag or hiking bag, and its certainly a great bag for when I need to travel and want to take a good selection of gear without taking my entire kit.

Product Score Card

Product Website: http://www.vanguardworld.com
Author: Kerry Garrison
Photographs by John Loyola

Vanguard Supreme 53F

We have looked at different types and styles of camera bags but the Vanguard 53F isn’t your normal camera bag. The Supreme 53F is a hard-sided case more at home in the cargo compartment of an airplane than it is being used as a daily equipment hauler. While other companies selling hard cases have been around for many years, Vanguard has a lot to live up to. Let’s take a look at at the Supreme 53F and see if Vanguard has succeeded in building a better mouse trap.

53F with Handle Extended

Overview

Vanguard’s Supreme line of cases are watertight and airtight up to a depth of 15 feet, dustproof, virtually indestructible, resistant to corrosion, and can withstand extreme climate variations.  All of the Supreme cases are design to withstand temperature variations from -40° to 203°. The Supreme cases have quick release latches that are easy to use, and the comfort grip handle is ideal for carrying heavy equipment. With pad lock receptacles on each case, they are ideal for airline travel.

Features

The Supreme 53F is as rugged of a case as you are going to find anywhere. The case itself in extremely strong and durable with very well designed latches that lock easily and securely. The retractable handle locks into place in both the extended and retracted positions. The main handles have nice padding to make it more comfortable to carry. Internally, an O-ring helps keep the case water and dust resistant while the octagonal pluck-foam allows for almost any shape of object.

Secure Latches

• Water, air and dust tight
• Resistant to 264.5 pounds weight pressure
• Automatic pressure equalization valve
• Padded handles
• Metal lined padlock holes
• Waterproof name tag
• Locking travel handle
• Two layers of thick pluck-foam

Specifications

• Inside dimensions: 22†x 17 3/4†x 7 7/8â€
• Outside dimensions: 24 3/4†x 20 1/2†x 9 1/2â€
• Weight: 22.93lbs

Usage

Rubberized Handles and Pressure Relief Valve

The 53F is nice and big, too big for carry-on luggage on an airplane but not too big to be considered oversize for regular check-in luggage. The wheels roll smooth on flat surfaces but are too small to work well off-road or and in grass.  With two layers of foam included, you could have two levels of regular camera gear or remove one for larger items like studio strobes. The travel handle locks securely when retracted so you don’t have to worry about it coming out when it is being shipped.

Results

Having used other hard cases that are similar, the others just don’t stack up to the Supreme 53F. The latches are the best I have seen on cases of this type and the padded handles make it more comfortable to pick up when loaded. Knowing that when the case is closed my gear is safe from water and dust because of the integrated O-Ring gives you piece of mind. The only thing I would change if I could is the thickness of the pluck-foam. The 53F comes with 2 very thick sheets of foam but I would prefer 3 or 4 thinner sheets for more versatility but that is just being picky. It’s not everyday that you need a super rugged hard case, but when you do, the Vanguard Supreme series of cases is as good as it gets and with a street price of around $230, you get quite a case for the money.

Big Roomy Case

Product Review Scorecard

Author: Kerry Garrison

Overview

I often see posts in different forums from people trying  to figure out how to provide remote power for on-location shooting. I have seen everything from picnic coolers full of electronics to generators with expensive inverters strapped on.  or the cost of building one of these picnic cooler power packs and your time to buy all the parts and assemble it, you are just as well off to spend the $349 for the Explorer XT and have a professionally built package that you know is going to work well.

Features

The Explorer XT is rated at 350 watts of continuous power and 1200watts peak power. For studio strobes this can handle up to 2400ws. The Explorer XT is designed as a portable power source for most flash and power pack units to be used on location, away from available power.

The Explorer XT is equipped with two (2) 12V, 7Ah sealed lead acid batteries, with an auto volt-charging feature which accepts 100-240V. It also has a 14V car battery charging where an internal circuit converts the 12V/14V source to a 24V. It also has an auxiliary battery port, allowing the user to connect another battery in case you need extended battery life. Battery power level indicators with beeper and charging indicators allow you to monitor power consumption and charging status.

The Explorer XT comes with a handy carrying bag to make hauling it around easier. The bag opens on both ends to allow access to all of the ports without removing it from the bag.

Specifications:

• Power Output: 350 watts (continuous)/ 1200watts (peak)
• Number of output sockets: 2
• Battery: Two (2) 12Vdc, 7AH SLA provision for external battery pack
• Charging Voltage Input: 100V-240V / 14Vdc (car battery charger)
• Charger: Built-in
• Weight: 8.5 kg (18 lbs)
• Dimensions: 14.5″ x 5.5″ x 7″
• Available Models: 115V/60Hz (North American, Japan) 230V/50 Hz (EU, Asia-Pacific, Middle East
  230V/60Hz (Philippines)

Setup

What setup? You take it out of the shipping container and its ready to go.  The only thing you need to do is keep it charged up. According to the instructions, you should keep in plugged in even when not in use, this will keep the lead acid batteries in optimum condition as well as always being ready for use.  This was a concern of mine since a fan is running and even though the instructions say it will use a trickle charge, I wanted to know how much power draw it was really taking. Using a Kill-A-Watt to measure to power draw I found that while the system is charging (charge light is blinking) was 80 watts, wow, that would be pricey to have plugged in all the time. However, as soon as the system hit a full charge (charging light went solid) then the power draw dropped to only 6 watts, now that’s more like it as I have numerous electronics around the house that use more than 6 watts when in standby mode so keeping the Explorer XT plugged in all the time.

Usage

The Explorer XT is designed to be dead-simple to use. Just turn it on and plug in your devices and use them like normal.  The Explorer XT has two outlets on the front that output clean power from the Explorer XT’s internal pure sine wave inverter.  Having a top-notch pure sine wave inverter is important as it helps protect the devices that you have plugged into it. Besides just being a portable battery solution, it can also be used in between your equipment and a low-cost gas generator. At first that may not make sense, why would you need the Explorer XT if you have a generator? The issue is that low-end generators can’t handle the peak demands that studio strobe lights require and they don’t have pure sine wave inverters. By using both a generator and the Explorer XT the Explorer XT will handle the load of the strobes while the generator will work to keep the batteries charged up.

Results

The only way to really test out the Explorer XT was to hook up some strobes and start shooting. While the unit is rated for up to 2400ws, I don’t have anything near that power, nor do I need it in my home studio. I hooked up two PhotoBasics Strobelites (150ws each) and one PhotoBasics StrobeLite Plus (200ws) for a total of 500ws and started shooting away with all three lights on full power.  The Explorer XT has three charge level indicator lights, High, Mid, Low, at 225 shots the light flickered between Hi and Mid and finally went solid on Mid at 250 shots. The only difference from being plugged into the wall socket is that the recycle time dropped from four seconds to five seconds, and if I was shooting as fast as they could recycle would creep up to about six seconds. A short pause in the shooting and the recycle rate would speed up again. At 250 shots and only having drained about 1/3 of the battery charge I finally ended the test since I don’t like putting unneeded wear and tear on my lights or camera but it did show me that I can easily do most any typical shoot that I do and still have plenty of power left to also run other accessories like a blower or laptop.

I am very impressed by the performance considering the small size and relatively light weight of the unit.

Opening the Box for the first time

How Does It Work

Renting from BorrowLenses.com couldn’t be easier. Browse through their website and find the product you want, select the term of the rental you want, and select if you want to get the op

tional insurance (highly recommended). As soon as you place the order, an authorization hold in the amount of the order total is automatically placed on your credit card. This doesn’t withdraw funds from your card, but merely holds them. They will actually charge the credit card the day your order ships. (see their website for information on using debit cards).

Your package will arrive from FedEx ground and your rental period begins as soon as the package is dropped off.

Detail of the shipping box

My First Rental

I simply had to get my hands on the new Canon 5D Mk II and when I saw that BorrowLenses.com had the 5D Mk II available for rental I just had to get my hands on one. A few days later my package arrived with the 5D mk II, a manual, and battery charger all stuffed tight into thick foam padding.

It’s no surprise that the camera was in perfect

condition since it is brand new after all

Inside the box was instructions for sending the package back at the end of the rental period as well as a shipping label  When you are finished, simply pack it back up, seal it with some packing tape, slap the shipping label on the box and drop it off at any FedEx drop-off point.

The Cost of Renting

Canon EOS 5D Mk II

The big question is does renting something you will use on a regular basis make sense to rent versus purchase? Let’s say you really want to step things up and use some professional glass for your weddings, the 70-200 IS L f/2.8 lens will set you back around $1,600,then let’s assume you will need this lens for 15 different weekends over the course of the year. Since the lens will cost you $51 per week to rent, you would have to rent it 31 times before you would have spent enough to buy the lens, that’s two years of use that you can easily add to the cost of the individual jobs and not have to eat the entire $1,600.

Final Thoughts

There have been multiple times that I wished I could get a certain piece of equipment to rent but the local places are expensive, have a small variety, and require massive deposits.  The entire process with BorrowLenses.com is fast, easy, and painless. If you are wanting to try out a new piece of equipment before buying it, or if you need some extra for a special shoot, then do yourself a favor and call BorrowLenses.com. I will certainly be using them a number of times this year for different things. I will be evaluating the EOS 50D, Checking out Tilt-Shift Lenses, and probably using some high end glass for certain events. If you use them, be sure and tell them that I recommended them.

Author: Kerry Garrison

Getting the Camera

Since I am not sponsored by Canon (any help here would be appreciated – wink wink) and I haven’t been able to justify the cost yet, I decided that another way to get one for a little while was to call up the good folks over at BorrowLenses.com. I hooked up with Max to get a weekend rental on the 5D Mk II so I could use it on a wedding shoot I had planned as well as to play around with the other features. If you have never rented equipment, you can’t go wrong by using BorrowLenses.com as their prices are great and you don’t get slapped with a huge deposit (no deposit in fact), but more about BorrowLenses.com in an upcoming article as I review their service.

I got the camera and couldn’t wait to slap in a card and start playing with it.

First Impressions

When picking up the body the first thing you notice is the surface has a much better texture on it than previous cameras making it easier to hold. The form factor is much like the 30D/40D/50D/5D. For users of those mentioned cameras, the control layout will be very familiar with the only noticeable exceptions being that the delete button has shifted due to the large screen and the top LCD illumination button has been moved to the right side of the display. For people moving up from a 30D/40D you will notice the lack of a pop-up flash and no preset modes on the mode dial (this is much more of a Pro camera than a consumer camera after all).

The large LCD on the back is just stunning with its much higher resolution display which enables you to better see if an image is sharp and in focus.

The new menu system is super clean and sharp looking on the big display although a little hunting around the first few times to find some of the features will be in order. The only thing that threw me for a loop for a minute was figuring out how to setup exposure bracketing. Not wanting to turn to the manual, I figured it out quickly enough. What I did have to crack the manual for was to figure out how to  use the video mode. Simple enough, go into Live View mode and press the Set button in the middle of the large dial on the back to start/stop recording.

First time setup

Before really being able to push the 5d Mk II to it’s limits, you will need to go into the menus and setup a few options first. Here are the things I did to get it ready for my tests.

C. Fn I : Exposure
Custom Function 3 changed to 1 to enable ISO expansion. This is needed to shoot at ISO ranges above 6400.

C. Fn II : Image
Custom Function 3 changed to 1 to enable Highlight Tone Priority. This enables Highlight Tone Priority which can help from overexposing important aspects of your image. Note however that when this is enabled, you will not be able to go over ISO 6400 regardless of the previous setting.

C. Fn III : Autofocus/Drive
Custom Function 3 changed to 1 to enable Multi-controller direct. This option enables you to select the autofocus point by using the multi-controller (mini joystick).

Live View Function Settings
LV Func. Setting set to Stills+movie, Screen Settings set to movie display

Image Quality
Image quality was set to RAW.

Finally, I made sure the date and time was correct, dropped in a compact flash card, formatted it and I was ready to go.

Shooting the 5D Mk II

Like many people getting the 5D Mark II, I have been shooting APS-C sized sensors for the past few years as I use a 30D as a primary and a 20D as a backup. Functionally, the 5D Mk II is virtually identical in how to operate the camera although the shutter sound is different and quieter. The big difference comes into play when using the same lenses you were using on the smaller sensor. If you aren’t familiar with this phenomenon, the smaller sensors in the 20D/30D/40D/50D are smaller APS-C size sensors versus the full frame sensor in the 5d Mk II. The smaller sensor size introduces an effect referred to as a zoom factor (also known as crop factor) which, in essence, magnifies the focal length of your lenses by 1.6.  To put it into simple terms, subjects on an APS-C sized sensor will appear closer (as if zoomed in by 1.6x) and the same lens on the 5D will give you an wider field of view. If we take a 50mm lens and put it on a camera with an APS-C sensor, what we get is basically an 80mm lens. A 70-200mm on the 50D becomes a 112-320mm lens on the APS-C sensor. This is interesting to note that a telephoto lens will get you more reach on a smaller sensor but you lose width at the smaller focal lengths. With my typical lenses, I now have to move closer to the subject to get the same effect as before, but I now have the added bonus of wide angle lenses being wider than before.

Image shot with 50mm on 30D (APS-C)

Image shot with 50mm on 5D Mk II (Full Frame)

Ok, so how about this ISO stuff, how good is it really? Yeah, well, its pretty damned good. On my 30D, it pained me to go up to 1600 ISO, on a 40D, 1600 would give you a very usable image but 3200 got to be a bit much, on the 5D Mk II, 3200 is a no-brainer and 6400 will give you very usable images. Moving up into 12,800 gets to be noisy but should be usable with a good noise reduction software while 25,600 ISO is basically unusable unless you convert the image to black and white and then you will get something looking like an older newspaper image.

Comparison of ISO settings from 5D Mk II

A feature that first appeared on the 40D is Highlight Tone Priority which can be a saving grace in numerous situations. Instead of going into how great this feature is, please refer to David Ziser’s post about Highlight Tone Priority.

What’s missing from the 5d Mk II?

Yes, the 5d Mk II is a huge leap forward for Canon, so much so that some shooters with the higher end 1Ds Mk III are actually “downgrading” to the 5D to get the improved sensor cleaning and higher ISO performance. But surely the 5D Mk II is not the Holy Grail of cameras, something must be missing right? Well, of course, otherwise it would be an $8000 camera. So what is it that we don’t have on the 5D Mk II that it’s big brother has?

• Dual memory card slots
  Many people think this is a major disappointment that the 5D wasn’t outfitted with dual memory slots to provide real-time redundancy when shooting.
• Built in battery grip/portrait grip
  The original 5D didn’t have one, and the 5D Mk II is aimed at the high end Pro-sumer market, not the professional market so this is an option. Unfortunately, the 5D Mk II uses a redesigned grip so existing ones will not work.
• Long life shutter
  The big gun 1Ds Mk III is rated as about double the shutter activations as the 5D Mk II (150,000 (5D) vs 300,000 (1Ds)).
• Dual Digic processors
  While the 5D Mk II does have the newer Digic IV processor, the 1Ds Mk III has dual processors for faster image processing.1

Granted, the higher ISO performance, larger, higher resolution LCD screen, improved dust reduction, 21 megapixel , full frame sensor, full HD video, and significantly cheaper price does make for a very compelling camera.

Focusing on Video

Yeah, the 5D Mk II is the Grand Poobah of DSLR’s that can shoot video with its full 1080p video capture. Being able to use all of the lenses at your disposal to shoot video is quite awesome indeed to achieve the same shallow depth of field that you can get in stills. So look out Sony, your days of being a video camera manufacturer have come to an end and the 5D Mk II is taking its rightful place of the King of all things video…..well….not exactly.

There is no question you can get stunning HiDef video out of the camera, there are plenty of examples online. But let’s look at the reality of shooting video with the 5D Mk II.

First off, abandon all hope of using autofocus when shooting video. If you are using the on-board microphone, you will hear constant whirrrr whirrrrrrrr whirrrrrrrr as the contrast-based autofocus “attempts” to focus. In some situations it may do alright, but the majority of the time you will end up with lots of times where the camera is trying to focus but tracks back and forth a few times before locking on. You really need to consider the camera as a manual focus camera when shooting video. Use autofocus in still mode to get your focus, then switch to video mode with autofocus off for best results. As for the built-in microphone (located just underneath the 5D logo), its alright for playing around, but anything serious will require an external mic plugged into the microphone jack on the side of the camera.

5D Mk II LowRez Video from Kerry Garrison on Vimeo.

Sample HiDef Video from 5D Mk II from Kerry Garrison on Vimeo.

Megapixels = Mega Storage

Oh sure, we all SAY we want more megapixels, but you really have to think of the ramifications of that. Here is a comparison of the same image taken with several of the different available image quality settings:

This means that a RAW file from the 5D Mk II is 4 times larger than a RAW from a 30D and even the 5D Mk II’s Fine JPEG is 2mb larger than the RAW file on the 30D. That’s 1/4 of the number of images I can fit on the same memory card and a typical wedding shoot for me will balloon from 10gb to 40gb. Add to that the additional disk space required to hold the images, and the addition computer horsepower (CPU and RAM) needed to process these huge files and you need some seriously beefy hardware to use this camera to its full potential.

For best results, UDMA Compact Flash cards are recommended, using these will speed up write times to the disc. Keep all of these things in mind if considering moving up to the 5D Mk II as it could turn out to be a bigger investment than just the camera itself.

Using the 5D Mk II

The first project I had was a small wedding reception, shooting out on a golf course at 11am presented some really harsh lighting conditions, the highlight tone priority system did a great job at keeping the subjects from getting blown out. One thing that I noticed was that the autofocus was really fast and super accurate. This is compared to the 30D that I normally shoot with. Normally I will get a handful of out of focus shots for no apparent reason, of almost 500 shots, there were only two that were out of focus, a significant improvement in the autofocus system over my camera.

The shutter noise is fairly quiet and doesn’t draw attention which is nice for quiet ceremonies and for catching candids without disturbing anyone.

For all your Shamu fans out there, here are some shots from Sea World.

5D Mark II - 70mm 1/640 f/9 ISO 200 Mode: Program sRAW1

5D Mark II - 70mm 1/5000 f/8 ISO 200 Mode: Program sRAW1

5D Mark II - 70mm 1/500 f/8 ISO 200 Mode: Program sRAW1

5D Mark II - 24mm 1/25 f/6.3 ISO 400 Mode: Manual sRAW1

5D Mark II - 42mm 1/60 f/2.8 ISO 400 Mode: Manual sRAW1

Is the 5D Mk II Right For You?

I only had the 5D Mk II available to me for a few days but I am completely impressed with it from a technology point of view. One of it’s biggest selling points is also one of its biggest problems, and that is the size of the images. A typical wedding will take up 30gb of space and just a simple day at an amusement park could easily eat up 6gb.  The ability to use the smaller sRAW sizes is a plus, but its painful to have to limit the camera, something I think I could get over easily enough but it remains to be seen if it is too limiting for doing paid wedding shoots in the reduced file format sizes.

Unless you already have a beefy uber-computer and have more compact flash cards than pairs of underwear, then there are going to be some hidden costs of getting into the 5D Mk II. I am probably fairly typical (or at least not abnormal) in that I am currently shooting with a 30D and put together some numbers as what it would take for me to purchase and use the 5D Mk II, and this is not upgrading the CPU or RAM in my machine as it isn’t that terrible to work on images with what I have.

That’s well over $4,000 with tax and shipping and isn’t counting having another as a backup. I would certainly recommend the 5D Mk II to anyone who can afford one, but, for myself, I need to take a look at the 50D before deciding to save up for the 5D.

Author: Kerry Garrison

Rental Equipment by: http://BorrowLenses.com

Overview

The VerteX is designed to give the ultimate in lighting control from a typical speedlight by allowing almost an infinite amount of adjustment. The VerteX is a mechanical device that can accept one or two panels on it to allow you to send the light in the specific direction(s) that you want.

The VerteX works by having a swinging arm that can have either one or two flaps attached to it that can rotate 360 degrees. Each flap has a mirrored side and a white diffusion side.  By adjusting the swing arm and the flaps you can split the light coming out of your accessory flash and send the light in different directions. Nothing else on the market today gives you this much control over your lighting.

Setup

Normally I would go into a real lengthy section and maybe even some step-by-step pics showing how to assemble a product. Bust seriously, the VerteX takes about 30 seconds to setup, you will spend more time reading this paragraph than you will spend setting the VerteX up. You take the two arms and snap them into place in the holes on the sides of the rubber band, push them together over the cross piece, and push the flaps into place, which are held there with magnets. That’s it. I find it easier to get onto the flash if you attach the rubber band to the flash head right after putting the two arms on and before attaching the cross bean and flaps. In under a minute you are ready to start taking pictures with the VerteX.

Usage

I am going to be really honest here, if you really don’t understand lighting, you may have trouble previsualizing what you can achieve with the VerteX. However, if you are the type of person who can look at a scene and know, for example,  that you want a slight shadow from one direction, a little fill up front, and some top lighting, then you will be able to use the VerteX to it’s full potential. Since you can split the light and send some forward, some up to bounce off the ceiling, some left to bounce off a wall, you can achieve lighting effects that otherwise would have required multiple strobes.

Results

Before getting into wedding photography I did mostly product photography so using multiple lights was second nature, getting into wedding photography felt very limiting as it really isn’t practical on most shoots to lug around multiple light sources, radio remotes, light stands, etc and the current light modifiers on the market work very well in specific situations, but there hasn’t been a product that could really give you the flexibility of multiple light sources from a single strobe head until the VerteX. Here are a few shots from a recent wedding where I used the VerteX to get some really nicely lit indoor shots.

Summary

While the VerteX may look like a homing beacon for an alien spacecraft, it does exactly what it is intended to do. I am thrilled with the control over the light that it gives me and enables lighting that simply wasn’t possible before.  For $49.95, it isn’t any more than other brand-name modifiers but it does give you a level of control that other products do not. I have used the VerteX at several weddings now and it has not come off my flash yet. The only real negative thing I can say is that if you happen to bump something and one of the flaps comes off, they are so light that you stand a good chance of not noticing since you usually wont hear it hit the ground. Most of the time I use it as pictured in the image to the right with only one flap, so if I actually lost one for good, I could get by for a while, so keep an eye on the panels wqhen you are moving your equipment around.

Here is a little video showing more about the VerteX and how I use it.

VerteX Light Modifer from Presslite from Kerry Garrison on Vimeo.

Product Review Scorecard

Product Page: http://www.presslite.com/vertexinfo.php
Company Page: http://www.presslite.com

Author: Kerry Garrison

So call up Santa and add this complete rig to your Christmas list. Oh yeah, and it will only set you back $4,930.

Source: Zacuto

I have had the hardest time dealing with camera bags over the years, from my first backback that got so heavy I couldn’t lug it around anymore to my uber cool Airport International 2.0 which is great for big jobs but what about when I want to go a little lighter? My old backback is too large, and my Airport International is too big, and my Modulous Speed Belt can’t hold enough nor is appropriate when traveling. So what does that leave? Fortunately, Think Tank Photo’s Mike Sturm has come to the rescue. Mike is the designer responsible for the newest and coolest backpack design from Think Tank Photo, the revolutionary ShapeShifter.

Why is the ShapeShifter so cool?
The problem with most camera bags is that they are designed for particular purpose, either trying to be lightweight and carry minimal equipment or being big enough to carry a large amount of gear. The ShapeShifter is designed for both, in expanded mode it can carry a couple of full size DSLR bodies, a few large pieces of glass, a good amount of accessories, AND a 17″ laptop.

Ok great, you can haul a bunch of stuff with you and your laptop easily, so what, the bigger rollers from Think Tank Photo allow you to do that easily enough. What is different with the ShapeShifter is that oncd your camera gear comes out (possibly moved to your Speed Belt) you can pull a zipper around and compress the backpack down to about three inches thick with your laptop still in it.

Features include:

• It can be compressed to 3 inches in width once your equipment is removed.
• Dedicated neoprene pockets for 2 pro size DSLR’s, 70-200 2.8, 24-70 2.8, wide angle 2.8, and strobes.
• Holds up to a 17†laptop in rear compartment.
• Front pocket organizers for your digital essentials.
• It can carry tripods and monopods.
• The Pro Speed Belt can be attached and quickly released.
• After your gear is removed, you can continue to carry your laptop and accessories, but in a much smaller package.

Who is the ShapeShifter for?
Since neoprene equipment bags inside the ShapeShifter don’t provide a lot of padding, the ShapeShifter is certainly not the best solution for travelers if there is any chance that your bag may have to get checked as luggage. For domestic flights the ShapeShifter is a great solution since domestic flights allow for a carry-on bag and a personal item such as a camera bag or laptop case. Since the ShapeShifter can hold you basic gear as well as your laptop you should always be able to carry it on and stuff it overhead or even under a seat.

Sports photographers who want an easy way to get their gear down onto the field but then want to compress the bag so there is a smaller profile to interfere with other photographers and easier maneuverability.

For photographers that use a modular belt system, you can remove most of your gear and still keep a few accessories and flashes in the backpack and still compress it to save space.

Any photographer that has to carry a laptop around safely as well as a decent selection of gear but doesn’t need a large backpack just to carry the laptop after the gear is taken out.

How well does it work?
I am super impressed with the versatility of the Shapeshifter already and have had it less than a week. I can carry a good selection of equipment comfortably and securely. The first day I got it I packed it up for a wedding with my Airport International Roller keeping the lesser used equipment and spares locked safely away, I could keep a small amount of gear with me at all times. The next day I took off to shoot a protest rally and loaded up with lenses and strapped my tripod onto the back. Out in the sun for a couple of hours all the extra shoulder and back padding made very comfortable to haul around a day pack of gear. A few days later I needed to make a day trip to San Fransisco to give a talk and I wanted a minimul set of gear along with my laptop. Even with a camera body, flash, several lenses, and my laptop I was able to compress the Shapeshifter down to the smaller size making it very easy to walk through the airports, take the BART into downtown, and walk to the convention center. Without the Shapeshifter I would have taken a large laptop case and probably not have taken any camera gear, or I would have taken a small camera bag that could hold a body and one lens. Thanks to the Shapeshifter I was able to take a 30D with battery grip, a 17-40 lens, a 24-70 lens, a 12-24 lens, and a 70-300 lens, and a 580 EX II. I could have taken some larger glass but then I wouldnt have been able to compress the bag down as much. Also in the Shapeshifter is the power supply for the laptop, a Zoom H2 audio recorder, and Jobo DSLR tripod.

The Shapeshifter isn’t going to be for everyone as there are some people who take too much gear everywhere they go and while the Shapeshifter can hold a decent amount of gear, it certainly can’t hold as much as the roller cases from Think Tank Photo. But if you need mobility and a roller is too inconvienent, the Shapeshifter is a great solution.

The bottom line
It didn’t take long for me to be a complete convert to the Shapeshifter for most of the assignments that I do although there are certain situations when I would rather have my larger roller with me. For the typical day assignment, for traveling, vacations, business trips, sports shooting, and many other situations, the Shapeshifter will be loaded up and hanging off my back.

The Think Tank Photo Shapeshifter backpack is scheduled for released in December of 2008 with a price of $249 US. If you have a photographer in the family that needs something like this, the Shapeshifter is an excellent Christmas gift.

Review Points

Setup
There is basically no setup of the Shapeshifter, open the zippers, load your equipment, adjust the straps, and off you go. If you want to use the monopod/tripod straps they are included inside the bag and will need to be attached to the outside before use. I keep the short sider attached at all times and when I am not using the long adjustable side I detach them and put them into a pocket in the bag to keep them out of the way.

Features
The Shapeshifter is like no other bag available today, loaded with more pockets than you would imagine and the ability to hold large equipment and compress down for smaller gear as well as having a padded laptop area that can take a 17″ laptop, the Shapeshifter is the ultimate in photographic mobility. Pockets galore! There are more pockets in this thing than you can count. The quality of the construction is simply incredible, I have full confidence this bag is going to last for many years.

Usage
Your biggest issue with the Shapeshifter is going to be deciding on what pocket of the dozens of available are you going to put your accessories in. Obviously this large number of pockets, holders, built-in bags, etc was built for someone with a better memory than me because there are so many places to put things you may well forget where something is. I am certainly a big fan of the Shapeshifter now and have taken it around to show all my friends.

Results
Sure, you can get a camera backpack on eBay for $30 and you may even be happy with it, but the ones I have bough have fallen apart, had the shoulder straps break, and are big and bulky. At $249 the Shapeshifter is not cheap, but neither is the contruction quality. Camera bags of this caliber are not designed for the budget-minded hobbiest, these are serious tools designed with professional photographers in mind. If you want to spend once on a backpack that will outlast several cheap ebay bags and you want to be sure you are not going to have zippers pop, seams break, and have it wear out prematurely then the Shapeshifter is the right choice.

Product Review Scorecard

Product Page: http://thinktankphoto.com/shapeshifter
Company Page: http://thinktankphoto.com

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Think Tank Photo Shapeshifter Camera Bag from Kerry Garrison on Vimeo.

We knew when we sat down to write this review that many of your would be sitting there thinking that the guys at the Dojo had totally lost it if all they can come up with for a product review is a simple camera strap. In all seriousness, we have appealed to every company we know to come up with a better camera strap. The two main issues we have are comfort for shooting all day long and the security that your camera won’t fall off your shoulder. If someone could solve these two basic issues then it would surely rate a full blown product review article, BlackRapid has done exactly that with the new R-Strap.

David using the R-Strap

Overview
Take 10 pounds or more of camera equipment and hang it on your shoulder for 8-10 hours and you are simply going to be sore, this is just something we have come to expect over the years. Some manufacturers have tried to overcome this with thick padded sections so while this may help a little the fact that the weight is still pulling down on one shoulder cannot be overcome. The second main issue is security. Most straps have some kind of rubberized surface to help keep them from slipping off your shoulder. We have never found a strap that combines both comfort and gives you confidence that it’s not going to fall off. I often carry two cameras at a wedding and am in constant fear that one of them is going to take a header onto the pavement, so when I know I am not going to use one for a while I bring the strap up over my head to make sure it won’t fall off, but this makes it very difficult to shoot. BlackRapid took this simple idea and created the R-Strap.

Kerry wearing the R-Strap

How it works
Think of the R-Strap as an oversize camera strap, but instead of the strap attaching to the standard strap mounts on your camera, it is a continuous loop. The camera is attaches to the strap via a sliding ring so the camera can move around without the strap moving. The sliding ring attached to the D-Ring on the bottom your tripod mount or via at attachment piece that comes with the R-Strap.

Because the strap goes around one shoulder and the camera rests at your hip on the opposite side, the weight of the camera feels more like its down the middle of your body instead of one shoulder. This is significantly more comfortable and it completely eliminates the possibility of your camera slipping off your shoulder.

When I first saw the R-Strap and tried it on, my first reaction was something like DUH!!!! How is it that the greatest minds on the industry that have taken us into the digital age and into sensors that can push 60 megapixels haven’t improved on the single most important interface you have to the camera since the introduction of the SLR?

I’m really being serious here. The lowly camera strap hasn’t been improved virtually at all and it took BlackRapid to finally take the basic camera strap and make it comfortable and safer around your neck. I really hope this makes the big camera makers feel stupid for not addressing this most basic needs of ALL camera owners.

In Shooting Position

Setup
Since the R-Strap connects to the D-Ring on the bottom of your tripod mount plate, many of us who keep the plate on our cameras have only to connect the strap to the D-Ring, adjust the length and stopper and you are set to go. This is FAR easier than trying to connect any traditional strap to a camera.

Once you have it on, you will want to adjust the length, this is going to be personal opinion but you will find there is a certain “sweet spot” that gives you the best position when the camera is down and allows you to bring it up fast and get the camera into position easily. There is piece that you will want to adjust down to the camera when it is resting at your side, this will help you to quickly position the camera and keep it from sliding back.

Adjustment Point

Usage
You first want to get the R-Strap adjusted properly. For most people you want to be able to pull the camera up and be able to hold it 6-7 inches away from your face, this will give you plenty of freedom to move around.

I will certainly admit I was a little uneasy at first dangling a couple grand worth of hardware on a $49 strap that connects to the D-Ring on the tripod mount, but within a short period of time I became very comfortable with it and the ease of using the camera with the R-Strap paid for itself over and over again. After while it becomes very natural to place the camera at your side and then reach for it and sling it into shooting position.

R-Strap hanging at David's Side

Results
Ok, so you have a strap that won’t fall off your shoulder, feels very comfortable to use, and doesn’t cost a fortune, But wait! There’s more! Not only does the R-Strap keep your gear secure, there is a side benefit of not being nearly as sore after a long shoot. Both David and I have both been using the R-Strap for about a month now and have shot a handful of weddings and events, because the weight is distributed differently, the neck pain normally associated with long shoots is greatly reduced. While the security and comfort make the R-Strap worthwhile, the comfort level makes it priceless. Every camera should come standard with and R-Strap!!

With the R-Strap I can easily put my camera down at my side and walk up to people to pose them without poking them with a big lens.” – David (Esquire Photography)

Summary
I’m sold! I am not taking the R-Strap off my camera! I vow to never use a regular camera strap again. David (Esquire Photography) is also a convert and uses a R-Strap on every shoot.

Final results:

Website: http://www.blackrapid.com
Author: Kerry Garrison

I have been a fan of Wolverine products for almost four years now and my trusty Wolverine FlashPac was in need of an upgrade. Not that the FlashPac didn’t do it’s job, its just that it was pretty slow and didn’t have a display that could be used to view the images. Without hesitation I turned back to Wolverine to see what they had available and I found the new ESP Digital Photo Album and Multimedia Player. While the full name may be a bit long, it does convey a lot more of the ESP’s features as well as being a card reader, external hard drive, and FM radio.

Overview
The ESP is an incredible multimedia device that can handle most all of your portable multimedia needs from listening to MP3′s, watching videos, playing a photo slideshow, or listening to FM radio. While many people will love all of those features, from a photographers point of view the most important things to me are the ability to do backups of my compact flash cards in the field, review the pictures on the device, and to have a portable device to show potential clients a slideshow of my work. The ESP does all of these tasks quite well and at a price that won’t make you wonder why you didn’t just buy a nice laptop instead.

Top view of the ESP

Features
As already mentioned the ESP has a multi-function card reader that can either make backups to the internal hard drive of the ESP or when connected to your computer’s USB port your cards will appear of drives that you can access directly.

• Store and View Thousands of Photos

• • Download images directly from any digital camera without a computer
  • Use it to backup and carry all your digital images
  • Display JPEG, Bitmap, Tiff, Text and RAW images (most popular SLR Cameras)
  • Print directly to printers

• Store and Play Thousands of Songs

• • Supports five music Formats: MP3, WMA, OGG, WAV, AAC (MP4-audio) & CDA
  • Easy, drag and drop music files from your computer and play them instantly

• Store and Play Hundreds of Hours of Video

• • Supports: MPEG-1, MPEG-4, WMV9 and Xvid

• Built-in FM Radio

• • Listen and RECORD your favorite talk shows or music from any FM Radio Station
  • Scan and preset up to 18 different Radio Stations

• Plugs to TV and Stereo System

• • With the included Video/Audio cable connect the ESP directly to any TV or Projector
  • View a slide show of your favorite photos or watch recorded videos on the big screen
  • Connect to a stereo system to enjoy and share your music collection

Setup
The setup of the ESP is quite simple, it comes with both an AC adapter and a USB cable, be sure and plug it in until fully charged before using it the first time, after that the simple to navigate menu system walks you through everything you need to know.

“The ESP was a lifesaver for us at a fashion shoot when the assistant left the CF cards back in the car. With the ESP we would fill up a card, tell everyone to take a five minute break, dump the cards to the ESP and get right back to shooting.” – David , Esquire Photography

ESP Controls

Usage
The ESP’s operating system is very simple to use and works the way I would expect it to, when I insert a card it pops up and asks me what I want to do with it, I select backup and it just starts working. The main controls consist of the “joystick”, a menu button, and the ESC button.

Using just these three simple controls you can manage everything on the system. The “-” and “+” buttons control volume. The only other control is the power button on the right side as well as a lock control to keep the power from coming on accidentally.

At the bottom you can see a small mic port for doing audio notes and near the top are the LED indicator lights.

The has an optional docking station that can also be used for capturing video and audio from remote devices. Since I don’t have a use for that right now I didn’t get one yet to see how that works.

ESP Menu System

The menu system is an icon driven system with easy-to-read captions to help you navigate. Pushing left/right or up/down on the directional pad will move you from application to application and then pushing in will select the item. The Menu key will give you a list of available options from wherever you are while the ESC key will back you out one step at a time.

The main thing to keep in mind is that images that are backed up from a memory card are found in the Backup application instead of the Pictures application. You have to specifically copy images into the Pictures folder for them to be viewed there. This is a great way of having a photo slideshow of images without getting confused as to what images are from your current photo shoot.

What I actually like to do is to backup my images to the ESP and then if I have time, review them for focus issues or just for being a bad image, I can delete them right from the ESP and save time later when importing the images into my computer.

ESP playing video

For client meetings, I also created a couple of really nice slideshows using Proshow Gold and output them formatted properly for the ESP. Let me tell you, the image shown here does not do the ESP justice, the screen may only be 320×240 but the slideshows and pictures look fantastic on it. So far, everyone that has seen the slideshow videos on the ESP have been very impressed.

The ESP has a bunch of other features that I could spend a few more pages writing about but they really don’t have much appeal to me, these include the mp3 player, the FM radio, the audio recorder, and the Tetris-like game that is included. While those are nice add-ons, they really aren’t the main reason a photographer is going to want the ESP.

Tested Transfer Speeds (1gb of data)

Reader to Computer    3:31 minutes
Reader to ESP    3:43 minutes
ESP to Computer    1:44 minutes

Why the ESP?
Why would I choose the Wolverine ESP over the Epson P-5000? The simple answer is a cost/benefit analysis blows the Epson out of the running. For almost twice the price of the Wolverine ESP, the Epson P-5000 offers basically a nicer screen. When the folks at Wolverine decided to make a new device, they interviewed tons of photographers and asked them what they would like to see that would compete against the Epson units and the top answer was that they wanted a much more affordable device even if it meant having a lower resolution LCD display.  If I am going to spend $800 for a portable media device, its going to be a new laptop, not a small box I throw into my camera bag and use mostly as an external drive and card reader. Coming in at $329, the ESP is much more affordable and does it’s job exceptionally well. It’s a nice upgrade from my old FlashPac in terms of functions and download speeds which is a nice bonus as well.

What’s in the box
In the box you will find the ESP unit itself along with the nice quality carrying case along with the user documentation and CD, AC charger, USB cable, Audio/Video cable (to connect to TV), and Earphone.

Summary
The Wolverine ESP competes nicely against other units offering similar features and at a price that doesn’t give you sticker shock. The base features do exactly what they are supposed to do while there are enough extras to add even more value to the package. I don’t leave for a shoot without my ESP in my bag and often will be making my backups of my cards on the drive home. With my old Flashpac I would have to be quite far away to actually finish a large backup on the drive home but now it takes a fraction of the time.

Final results:

Website: Wolverine Data
Author: Kerry Garrison

Summary
As I said in the intro, the Photo Basics line is aimed at users that may not already know how to use lighting equipment. Not only do you get the lights and umbrellas you also get an instructional DVD that goes th

rough a number of different types of lighting setups by several top photographers. To help place your lights a floor positioning guide goes on the ground that shows you were to place the subject, the lights, and the camera. You also get two regular light stands and a backlight stand along with a carrying case to make it easy to transport everything.

Features
The StrobeLites are technically moonlights since they are self-contained units that each plug into AC power. To help visualize the lighting, each strobe head is equipped with a 100w modeling light. A dial on the back controls power from ¼ to Full power. The main power switch controls overall power to both the flash unit and the modeling light and the modeling light has three settings, off, full, and variable. If the modeling light is on variable then as you adjust the output for the flash, it will also adjust the output of the modeling light.

An audible beep and ready light let you know that the unit has recycled and is ready to fire again. A standard PC Sync cable is included as well as an optical slave so you can tri

gger one unit and have all the rest fire at the same time.

Setup
One of the big advantages of moonlights is that there is virtually no setup since they are completely self-contained units. Fresh out of the box the only thing you have to do is screw the modeling lights into the sockets. Other than that, you are ready to setup the light stands, attach the strobe heads to the light stands, pop on the reflectors and attach the umbrellas.

For testing I used a Canon 30D which has a built-in PC Sync port that the included cable plugs right into. If you have a camera without a PC Sync port then you may need to get an adapter that will go onto your camera’s hot shoe port. I connected the main light to the camera via the PC Sync port and the other lights are then triggered from the optical slave.

Usage
While I normally recommend constant lights for beginners since you can easily visualize exactly what the scene will look like in the camera. With strobes, the actual flash is much brighter then you are probably used to so it can become frustrating for beginners to get the hang of using strobes since it rather easy to overexpose the scene. Because it is more difficult to setup lighting with strobes unless you have, and know how to use a light meter, it is better to start off with a single light and a reflector before moving up to multiple lights. Fortunately, the DVD tutorials that are included walk you through exactly this. The examples start with a single light and build up with reflectors and then on to multiple light setups.

The light output is much greater than when using constant lights like the Westcott TD5′s so they are much better for working with movement such as flowing hair, kids, pets, or other moving objects since you can use a faster shutter speed. By cranking up the light output you can also work with a wider range of f-stops and faster ISO speeds. Since the StrobeLites use a standard three-prong attachment system, numerous accessories are available such as softboxes, larger reflectors, barn doors, snoots, gel holders, gobos, grids, and other things.

Results
The Strobelites are wonderful moonlights that are available at an excellent price. With a little practice anyone can be taking amazing images in a short period of time. On Amazon.com we found the kit for $649.90 making it an amazing value at that price. Light output is great, the control is terrific, and the features are just right for a beginner. The higher end StrobeLite plus units take you from 150ws to 200ws, the ability to turn off the audible ready indicator, the ability to turn off the optical slave cell, and give you a metal tilting bracket to be able to use heavier softboxes and attachments. When you are ready to move up, the StrobeLite Plus units are fully compatible with the regular units. We applaud Westcott for creating the entire Photo Basics line and the new StrobeLites are an excellent product that was previously not attainable for people on modest budgets.

The following images were all taken with the StrobeLite kit.

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Final results:

Website: http://photobasics.net
Author: Kerry Garrison
Models: Jessica Sterling, Christopher Kennedy,  Daniel Ban

Overview
dpMagic installs into Windows operating systems in order to provide thumbnails or supported RAW image files. The new 2.0 version adds:

• Support for over 360 cameras
• New functionality, such as printing, exposure warning
• Improved look and feel
• Improved performance

In previous versions you could view larger versions of your images in a viewer that was similar the Windows Picture Viewer but the new 2.0 version has a new image viewer that is much more professional and allows you to view the histogram and EXIF data.

The new viewer also allows you to see over and under exposed warnings, view a slide show of images, delete images, and print selected images. This was certainly a step up from the more clunky image viewer from before.

dpMagic Plus 2.0 sells for $24.95 and I would expect an updated version of the MiniLab which has more features to be available soon.

If you use RAW from virtually any camera, you should certainly check out dpMagic to help speed up your workflow and asset management. Given the price, it is one of the least expensive pieces of software you will buy and once you have it you will wonder why the functionality wasn’t simply built into Windows in the first place.

I can’t recommend dpMagic Plus enough. It is a killer app that any serious photographer shouldn’t be without. The fact that I have been using the previous versions for several years and have recommended it to pretty much everyone I know should tell you that I really think this is a valuable product.

Site: http://dpmagic.com

Overview
When you are on the run constantly, your camera bag is the home for all your equipment and having confidence that your equipment is safe and secure shouldn’t have to be something else for you to have to think about. A good camera bag should protect your equipment from the inevitable bumps and impacts but it also has to travel well and be able to help keep you organized so you aren’t scrambling around trying to find something. The very first line of Think Tank’s mission statement really gives you a clue what to expect:

“We are a group of designers and photographers focused on studying how photographers work, and developing innovative new carrying solutions to meet their needs.”

If you have ever used a cheap no-name brand bag and then got yourself a Think Tank bag, you would simply be amazed at the difference.

Features
As I mentioned in the intro, the Airport International 2.0 roller is an ideal choice for someone that carries a good amount of equipment and has to travel. The Airport International 2.0 was designed to fit all international carry-on requirements to help ensure that you should never have to check your bag as luggage. While that doesn’t guarantee that a plane won’t be overloaded and they may force you to check your bags, at least it won’t be because the bag doesn’t meet their requirements. Hidden in the back is a hefty cable and padlock that can be used to secure the back to an immoveable object. In the front is a smaller cable that can be used to secure your tripod or other bags, and on the side is a unique lock that will secure the front zippers to make sure nobody can get access to your equipment.

Inside is plenty of soft padding and more dividers of different size than you could ever possibly use. It’s so nice to be able to completely customize a bag for how you want it to be instead of how some designed thought you should put things. On the smaller zippers are small string handles which have been improved over previous models with a molded handle instead of a knot that can come undone.

• INTERNATIONAL carry-on size
• TSA Security combination lock
• Front cable & lock secures laptops
• Back cable & lock secures to fixed object
• Security Plate with unique serial number
• Holds up to a 500mm lens
• Optional 15″ or 17″ laptop case
• Optional “low divider” set
• Interior organizer
• Replaceable wheels
• Front stretch pocket
• Front organizational pocket
• Business card holder
• Bottom handle
• Outside Diameter: 14″ wide x 8″ deep x 21″ tall

Usage
I swear, if I had to call Think Tank and order the bag with just the right amount of dividers and only with the exact tripod straps that I would use so that they could save money on shipping out all the extras it would still be worth it but having all those things means that everyone who buys a bag from Think Tank Photo can personalize it to their specific needs. For me, I keep one lens on one body all the time so I can get to it quickly and easily. I keep my other lenses handy and a second body tucked away in case I need it. Other people do not travel with lenses on their bodies or need to be able to have three or even four bodies. The diversity of the interior dividers that come with the Airport International 2.0 is simply staggering. On the outside, there are a handful of straps and even a small bag to allow you to accommodate anything from a monopod to a very large tripod.

Hauling the gear around with the Airport International 2.0 is simply a breeze thanks to the rollers (which are replaceable) that roll smoooooth and straight. In a crowed area, being able to secure your equipment and focus on your shoot is a piece of mind that only enough money to hire an assistant to sit on your bag and protect it can buy.

Results
I have mentioned this before with reviews of the other Think Tank Photo products I use but it needs to be mentioned again, you will simply not believe the quality of the construction of these products. You look at RC-Fuse zipper which actually melts (fuses) the thread with the plastic coil to create an exceptionally durable zipper, or the thought that goes into adding just the right amount of structural support to keep the entire system stable without adding extra weight, or even just the overall construction and you know you do not have an El Cheapo bag you sniped off eBay for $20.

Let’s be honest though, this is NOT a $20 bag my any means, the cheapest price we could find was $328.95 at Samys Camera which is a whopping 5 CENTS off list price. The question you have to ask yourself is “do you need a $330 camera bag?”. The answer depends on you. If you are a professional photographer and are going to be using a camera bag on pretty much a daily basis, then yes, you absolutely need a bag like this. If you pull out your DSLR every other month to shoot the cat with its head stuck in your wife’s purse strap again, maybe not. If you are like me and shoot on a regular basis, often needing to leave your equipment out of site for a few minutes (weddings and receptions) then the safety and security of the Airport International 2.0 pays for itself in piece of mind the very first time you use it.

Website: http://thinktankphoto.com
Author: Kerry Garrison

Equipment Used

What is white balance?
While we have another article that goes into more detail, let’s do a quick summary refresher about what white balance is. Light actually comes in different temperatures, measured in degrees Kelvin. Daylight and flash is typically around 5200 degrees which is considered to be neutral. Late afternoon/evening light and incandescent is warmer (more orange) and is usually around 6200 degrees, Fluorescent light is on the cooler side (around 3800 degrees) and has a greenish tint. While your camera will generally do a decent job of estimating the white balance, the problem is that the camera is measuring the white balance based on the reflected light on the subject. This method works alright most of the time but it is not going to be absolutely perfect, nor will it even be close under some conditions. A very common example of this is shooting a scene in the snow, this can really throw off the sensor and you can end up getting a blue color cast on your images. If you are shooting in RAW, you can easily compensate for poor white balance but this just adds to your workflow. If you are shooting in JPEG, this poor white balance makes it much harder to recover the scene without losing image quality.

Good Balance

Too Warm

Too Cool

Getting a good white balance
The best way to get a good white balance is measure the light temperature from the position of the subject towards the camera, while a camera is looking at the subject and can only measure reflective light and not direct light. Other methods for measuring white balance include placing an 18% grey card where the subject is and setting the white balance against that. While this is the most common method used by experienced photographers, the theory that you are still using reflected light instead of measuring the direct light.

Using the Colorright
To get the best results from the Colorright so put yourself in the position of the subject and aim your camera towards where the camera will be when you take the shot, place the Colorright disc over the lens and take your picture. Using the custom white balance settings on your camera, select the image to use as your white balance reference. Now go back to the camera position and you are ready to shoot. This should result in a perfect white balance since your camera measured the light from the light source and not a reflected light that can be altered by the reflective property of the subject.

If you cannot put the camera in the position of the subject, you can also use it by aiming it at the subject like you would use a gray card. While this may not be ideal, it is certainly far better than not having other means of getting a good white balance.

Results
The results are absolutely spot-on. While the design is very similar to the Expodisc, the difference with the Colorright is that is doesn’t allow light from all directions to hit the sensor, instead a smaller area ensures that the light hitting the sensor is exactly what you are looking for. The Colorright disc sells for $89, and the obvious question is “is it worth it?” Like many other things this depends on how many images you take and how much time you end up spending doing post correction. In some places you may only need to get a good white balance setting once or twice and you are good, in other places like weddings and receptions there can be several different locations that have radically different lighting and when you have to process hundreds of images from a place like that, the Colorright can pay for itself in post production time savings the first time you use it. If you shoot fewer or smaller events it may take longer for you to realize the benefit of getting your shots right in-camera versus processing the images later.

Website: http://colorright.com
Author: Kerry Garrison

Summary
It’s one thing to know that throwing your aperture open to 2.8 will give you a shallow depth of field and closing it down to F22 will extend the depth of field. If you do a lot of portraits you probably have a good formula you use for a particular lens like setting your 50mm prime lens at F11 so that at a 10′ shooting distance you will get 12″ of depth so that an entire head is in focus. You may have learned this from numerous shots until you instinctively have a base setup even if you don’t have notes on your exact setup. But what do you do when you want a very specific shot and don’t want to spend all day doing trial and error?

Features
The Expoaperture² kit comes with two discs, one covering focal lengths from 15 – 135 and focal distances of 2′ to about 30′. The second disc covers 70mm – 600mm and focal distances from 30′ to about 1200′. The nice thing about how the discs work is that you set your sensor size and then you can use any combination of variables to come up with the remaining number. For example, if I set the dials for 24mm I can see that at f4 I will get 2.5 zones, if I then turn the disc over I can calculate the shooting distance I will see that a shooting distance of 3′ will give me a DoF from 2.5″ to 3.75″. If I am unsure of the aperture to use to obtain a 1′ DoF at a 6′ distance I can see that I will be looking for a 1 zone width so by making sure my focal length is at 24mm I see I will need an f1.6 aperture for the short distance I want or if I move to a 50mm I will need to shoot at f8 for the same result. Using the discs in this way will not only help you determine the amount of DoF you can get, but it can also be used as a tool to help you plan what lenses you will need for a given shoot.

Let’s say we want to shoot a football game and want to know what kind of shots we can expect from different lenses. Knowing that my long lenses is a 70-300 and the average shot will be around 100′ away, I want to make sure I have about a 10′ +/- DoF, I see that I will only need about ¼ of a zone I can quickly see that shooting at 70mm will give a HUGE amount of DoF because the maximum aperture for this lens is 4.0 so that’s going to give me a DoF range from 55′ to 150′. If I move to 150mm and shoot at f5.6 my DoF drops to about 60′ to 160′, and shooting at 300mm at f5.6 cuts the DoF down to about 90′ to 120′ which is going to give me the DoF I am looking for, not too short, not too long.

Usage
To demonstrate how this system works, we decided to set up a shoot that would utilize how the discs work. For this shot to work we wanted to show the model’s face and hands but wanted the gun barrel to be out of focus. Since we are using a Canon 30D, we first set the sensor size/format to 1.6 as that is the crop factor for the 30D sensor. Second, we are going to start with a 50mm Prime lens so we set the yellow focal length to 50mm. On the back of the disc we look at the shooting length of 10′ and we can see that the focus length we want to work with is within 1 zone in each direction, flipping the disc back over and finding the #1 on the dial (for 1 zone) we see that the actual aperture we want to use is going to be between f8 – f11 to get the entire rifle and model in focus and using f5.6 is going to give me about 18″ of focus distance so I can either get the model and part of the rifle or the front part of the rifle to about the mid-point. Before using the disc, I would have probably started up at f2.8 and then would have spent quite a bit of time and test shots getting the DoF correct. With the Expoaperture disc I actually had the shoot planned out with a handful of shots I wanted prior to even setting up the camera.

Results
The discs may seem a little confusing at first because there are multiple ways to actually use them. If you watch the video and work through some scenarios in your head a few times like I did above, it won’t take long at all to get a really good feel for how they work. Using the discs to pre-plan a shoot like I did for this article is a huge time saver, especially if you are using assistants since you can just give them a shot list and have them setup your camera almost perfectly before you even look through the shutter. The discs themselves are made from what feels like a plastic laminate that should hold up to a lot of usage and they come with their own soft plastic carrying cases to keep them from getting dinged up in your camera bag. Unless you simply have a knack for understanding what settings you need to obtain the exact depth of field you want, then getting a set of Expoaperture discs is a worth considering. As a training tool, using the discs a few times will help you to understand the correlation between the settings and will help you to learn how to judge the settings you want better.

Equipment Used

Author: Kerry Garrison
Model: Taylor Thorne

What’s in the box

The box arrived and I couldn’t wait to open it and see what I got with this early Christmas gift to myself. The picture shown here is half of the actual kit. There is one large carrying case that everything fits into and then a smaller case that the heads and bulbs go in. The two lightstands go in the bottom of the main bag and the second bag and two softboxes fit on top. The quality of the bags, softboxes, and light stands are VERY heavy duty and look like they will take a good amount of wear and tear. The softboxes are nice, big, 24″ x 30″ and are rated for 1000w bulbs so using the 5 pack of fluoresencts doesn’t even begin to push the softbox material. The lighthead itself is quite good construction and is made of good quality metal components. Everything about the light head just screams quality. The light stand was a big surprise as it is now the heaviest duty light stand in my arsenal, its just massive and extends up to 10′. There are a few basic manuals included but the system is so easy to setup that you shouldn’t need anything more than that to get started.

Features
As we have already mentioned,the Westcott Spiderlites are a unique lighting system that uses multiple bulbs to create a large soft light source. The basic kit comes with daylight balanced compact fluorescent bulbs. These can be replaced with halogen bulbs and even strobe bulbs (more on this later). With the fluorescent bulbs you get a total of 115w which appears as to be about equivalent to around 350 watts with a halogen bulb.

(2) Spiderlite TD5 Fixture

(2) Tilter Bracket

(2) Softbox, Silver Interior, carbon steel rods - 24×32″

10 Pack 27W Fluorescent Lamps for TD5 (120V)

(2) Heavyweight Black Light Stand

Travel Case

1 Year Manufacturer’s Warranty on Fixture, Fabrics and Stand

Lifetime Manufacturer’s Warranty on Softbox Rods

Setting It Up
Somewhere I read a review of the TD5′s that said he never tears down the softboxes because its a two-man job to put them together. Since I have actually had some pretty difficult softboxes I was a bit concerned that these were going to be a pain in the butt. The first thing you do is to insert the steel rods into the corner holders and work them all the way to the end. Next you start by putting one end of a rod into one of the holes in the fixture. Just push the fixture into position and insert the next rod, and work your way around putting in all of the rest of the rods. Close up the softbox with the built-in velcro. After the softbox is all assembled you can now install the lightbulbs. For me, the entire setup or teardown process takes about 2 minutes. Actually, it takes longer to screw in the 5 lightbulbs than it takes to setup the softboxes.

If you want a really diffuse light you can install the internal baffle although this will cut down on the light output somewhat. Without the internal baffle you will get a little nore light but it will be a little harsher which will add to the contrast on the image.

Additional setup shots:

The following is a video showing me setting up one of the lights so you can see exactly how easy it is.

Results

Well, time to see what these things can really do. I use constant lights a lot so it was going to be interesting to compare the difference. First off I use my 1000w heads quite a bit so I did notice that the light output wasn’t as much as I am used to but the light color and quality as absolutely superb. The softboxes are bigger than my existing ones so the size of the light source is much nicer than I have had in the past. So let’s take a look at a few examples:

First off I setup a basic butterfly configuration (lights set at equal heights on both side of the subject) and took some shots of a wine bottle.

The tall softboxes provided a very interesting reflection on the bottle. Overall a very very cool shot.

Ok, let’s see how it does with people. I was the only home around so you get stuck with a few examples with some self-portraits.

This first setup is a typical dual-light portrait setup with the key light to camera left and the fill light pulled back a ways on camera right. The photo was taken straight out of the camera with no processing at all. You can see how nice the colors are and how even the lighting is.

With the second example we added a Photoflex boom arm to hang the light directly overhead. For the actual photo a reflector was added right (subject’s left) to fill in some dark areas. This setup created a more dramatic look with some shadowing on one side of the face and created a nice hair light (thus highlighting my thinning hair quite nicely).

Ok, so a little testing on myself isn’t going to really test these lights out and the light when you are used to overlighting everything they do take a little getting used to. So we rounded up some models for a holiday pinup-shoot. During this shoot we were moving the lights all over for different angles and were really appreciating how light they are, even the smallest person had no problem holding lights or taking them on or off the light stands. So let’s take a look at a few examples:

While the pictures were pretty good, I still wasn’t quite happy with them as I just didn’t feel like I was getting ENOUGH light, even dropping the ISO just didn’t seem like enough. In order to really get the most out of these takes a little more practice and this shot was done after only having them one day. As a final test I setup another shoot, this time I really moved the lights in closer than I am used to, but since there is very little heat off them, it was not a problem for the model. This time the results were exactly what I was looking for.

The Spiderlite TD5′s are certainly top-notch lights although they do take a small amount of getting used to if you have been using other types of lighting but with a little bit of practice you can really get some incredible images from them. If you still need more light in a given situation, an off-camera flash will be at the same color temperature as the Spiderlites providing that extra bump in light without messing causing you extra work.

What really sets the Spiderlites apart is their ability to morph into something else. You can replace the flouresencts bulbs with a set of strobe lights turning them into monolights (strobe plus modeling light). There simply isn’t a more versatile system on the market. This kit doesn’t come cheap though, at $1,350 for the two-light kit with lightstands and carrying case, this kit is certainly geared towards much more serious amateurs or pros.

Final Results

Purchase Westcott TD5′s at Amazon.com
Company Website: http://www.fjwestcott.com

Author: Kerry Garrison

Overview
DSLR Remote Pro is at its core a control and capture utility for shooting tethered to DSLR cameras. DSLR Remote Pro allows you to set all of the camera’s settings remotely, do time lapse shooting, do advanced bracketing, and much more. While you can do most of the same things with the free software that comes with your camera, DSLR Remote Pro goes well beyond what the included software can do.

Features
Depending on the camera you are connecting to, you connect your computer with either USB or Firewire, use the software to connect to the camera, take control and start shooting.

• Take control of your camera from your PC
• Photos automatically download and displayed in preview window
• Live Histogram and intuitive auto focusing with Canon EOS -1D Mark III and Canon 40D cameras
• Flashing highlight display to show overexposed areas
• Grid overlay for accurate alignment of studio shots
• Color management and sharpening options for more accurate display of preview images
• Auto bracketing of up to 15 shots ideal for HDR images, interior shots and product photography
• Timed bulb exposures controlled from the PC – ideal for astronomy (Canon EOS-1D Mark III and Canon EOS 40D only)
• Focus point overlay display for more precise control of auto focus
• Control multiple cameras from a single PC (Canon EOS-1D Mark III, 40D, 30D or 400D/Rebel XTi on Windows Vista or Windows XP)
• Automatic screen blank option – blanks the screen before taking a photo so that the light from the PC display doesn’t affect the subject lighting
• Fullscreen mode for large, uncluttered display of images
• Automatic edit option – automatically loads the image after downloading into the editor or program of your choice
• Automatically stores a short comment in the shooting data of images for easy identification e.g. the person’s name when taking id photos. The comment can also be used for the image filename to make it easier to identify images when taking product shots, school portraits etc.
• Automatically stores IPTC data in images as they are downloaded
• Time-Lapse feature which allows the number of photos in a sequence and the interval between shots to be specified.

Usage
DSLR Remote Pro is actually very simple to use, the interface is pretty intuitive since you can just hit F8 or press the Release button to release the shutter and the camera will fire and download the image to the computer. The camera settings on the DSLR Remote Pro control panel will either be active or grayed out depending on how the setting dial on your camera is set, for example, if your camera is set to Aperture Priority mode you can change the aperture setting but the camera will determine the shutter speed. If you set the camera to Manual, then you have full control over all the settings in DSLR Remote Pro.

A few things that DSLR Remote Pro can do that the Canon utility cannot do are:

• Select individual focus points
• Select up to a 15 shot exposure bracketing sequence
• Time lapse photography
• Live preview on Canon cameras that support it (EOS 1D Mark III and 40D)
• Live Histogram on Canon cameras that support it (EOS 1D Mark III and 40D)

This is to name just a few of the extra features, but they are some that stand out at a quick glance.

Results
As someone that actually uses tethered shooting on a regular basis I find that the extra features that DSLR Remote Pro offers over the free Canon utility are certainly worth the price. While $95.00 may seem like a lot for a tool that basically does the same thing as a freely included tool but if you have been using the Canon Capture Utility, it only takes a few seconds to see the power and flexibility that DSLR Remote Pro gives you.

If you need to shoot tethered more than once, you need to take a serious look at DSLR Remote Pro, from enthusiasts to seasoned pros, DSLR Remote Pro is an excellent tool.

Website: http://www.breezesys.com

Author: Kerry Garrison

Summary
The Phottix Wireless Remote Control (C3 model) is designed for use on Canon DSLR cameras. The receiver plugs into the remote controller port on the camera and there is a transmitter model you use to operate the remote. The wireless system supports all of the shutter modes such as pressing half-way to set the focus/exposure, single shot, continuous shot, and bulb mode.

Features
There isn’t much to say about a remote control that performs basic shutter functions, the system has a single task and that’s all it does.

Usage
Using the remote is a pretty simple process. You should turn off the camera, plug the receiver cable into the remote control port, press the button on the receiver to turn it on, then turn the camera on. To use bulb mode, put the camera into bulb mode and then hold down the button on the transmitter to set it to bulb mode.

To test it, we used the remote control in a variety of conditions. The first setup was in the studio to do some simple product shots, this is absolutely the best time to use a remote as often you want to use a longer shutter speed and the vibration of pressing and releasing the shutter can cause camera shake. Being wireless, you don’t even have to worry about vibration from accidentally pulling on the remote control wire.

But what about range? The specs claim 320 feet without obstacles, and since I figured that would also be without any other type of radio interference I decided to come up with a simple distance test. As you can see from the photo, I put the camera on a tripod on the sidewalk and paced off 350 feet. I slowly started walking back towards the camera pressing the shutter button every few feet. After reviewing the images to see the first shot that was captured, I could then go back and check the distance. While there was a direct line of sight, there were trees and cars on both sides of me and I ended up four houses down the street, this actually measured out to about 250 feet. Considering the possible sources of interference along the way, the houses, trees, cars, light poles, mailboxes, etc., this is a very respectable distance. For setting up a remote camera at most sports events, a wedding, or similar event, this range is quite usable. The Phottix wireless camera remote has earned a spot in our standard studio equipment bag and will be used quite often.

Website: http://phottix.com

Author: Kerry Garrison

Features
The kit comes with three light heads that are actually identical except for the color. The color difference is just to help you with the placement when following the directions for setting them up. Two 500w bulbs are included for use with the key and fill lights while a 100w buld is included for the background light. Each lamp has an included reflector and two silver umbrellas. Two full size lights are included for the key and fill light while a mini light stand is for the background light. The kit also contains a nice slate colored background with hooks that can be attached and removed from a wall easily. The two things that really set the kit apart from any other kit are the DVD and the floor mat. The DVD contains two hours of tutorials that walk you through using the kit as well as camera techniques and shooting ideas. To work with the DVD is a unique floor mat that helps you lay out the lights and the subjects. All this fits nicely into a well fabricated carrying case.

• 1-Yellow constant light

• 1-Red constant light

• 1-Blue constant light

• 2-7.5′ non air cushioned light stands

• 1- 3′ Backlight stands

• 2-45″ Silver/White Umbrellas

• 2-500-watt Photofloods

• 1-Modeling Lamp 100-watt

• 1-5′X8′ Slate Gray Background with bag

• 2- 3M Command Strips

• 1-Floor positioning Mat

• 1-Instruction Sheet

• 1-Floor Mat Insructional Card

• 1-Instructional DVD

• 1-carry case

Usage
The floormat uses a unique design that has different shapes and pictures that are used to help you lay out the lights. The DVD instructs you to put the key light to the left of the camera positioned one foot above the subject’s head with the umbrella shaft pointed at the subject’s nose. The fill light then goes to the right of the camera with light at the same height as the camera, again with the umbrella shaft pointed at the subject. The background light is then positioned behind the subject to add some contrast betwen the subject and the background. This certainly makes setting up the lights a no-brainer. If the results are good, then this just may well be a useful setup.

So let’s take a look at some very simple shots of myself to see the effects of the different lights.

Key Light Only

Let’s start with the main key light. As you can see, the one side of the face has some nice light angles but it falls off fast to the right of the image and fades into the background. While you may actually want to accomplish this more dramatic look on purpose, what we want to get to is a really nice professional looking headshot and this does not accomplish what we are looking for.

Key and Fill

Once we add the fill light we now get some real even lighting and nice highlights. The only real issue here is that the subject (me) is not the most attractive model around. Secondly, there is no real detail t0 the background so there isn’t any depth to the image because the subject appears flat against the background.

All three lights

With all three lights on now the subject is now seperated from the background and the picture looks much better. While the Photo Basics Three-Light kit can’t help you get more attractive models, it certainly can help you take better pictures. Since the lights are constant-lights and not flashes, the kit can be used with with any camera from a professional DSLR to your basic point and shoot camera.

Camera Settings

As we have discussed in the past, getting a good white balance is very important to cut down on your post processing. If you are used to flash or outdoor lighting, your pictures may turn out with an orange color cast to them. This can occur if your white balance is set for strobe or sunlight and is not set properly for the bulbs that come with the kit. If you don’t have a gray card or a white balance cap to set your white balance, then try manually setting your white balance to 3000 kelvin if you can.

Extras

While the Photo Basics product line may be designed for beginners, it is a division of Westcott so the lights use standard speed ring attachments so you can easily swap out the reflector dishes for other accessories such as soft boxes and snoots. This really makes the kit a lot more flexible and allows you to grow along with the kit.

The DVD may not have the production quality of The Bourne Ultimatum but it does provide a ton of useful information to help make the most out of your kit. The DVD has beginner, intermediate, and advanced tutorials for camera operation, and the light kit as well as a section on using the 5-in-1 reflector. If you are the type of person that this kit is targeted for, then the DVD will be an excellent resource of information to help you learn the basics of lighting. Used along with the positioning floor mat, you are virtually guaranteed to get good results.

Warnings

These lights get HOT, seriously hot. These are 500 watt bulbs and can cause some serious burns. Every time you use hot lights you should always have a fire extinquisher handy. Another caution I want to give even though the DVD will contridict this, is that I highly recommend you never touch the bulbs with your bare fingers, even when cold. Touching the bulbs with your hands will transfer oils from your hands to the bulbs and then the bulbs get hot there is a chance that this can contribute to the bulbs popping. Wether its from age, oils, bumping, or even just bad karma, there is always a risk of hot bulbs popping and sending hot glass flying. Because of this risk, never point the lights with the bulbs facing people or animals. Always point away and use a reflecting umbrella or shoot towards the subject through a shoot-through umbrella or softbox so that if a bulb were to burst, it would be caught by the umbrella or softbox.

Overall

Lighting can be tricky to get right but with the floor mat and DVD even a first timer can get excellent results. This is exactly what the entire Photo Basics line is designed for, to bring easy-to-use, simple-to-learn, and affordable lighting products to beginners and intermediate level photographers. If we have one complaint at all it would be that the lights have nice distinctive Photo Basics logos on them which may not look too professional if you go on to doing paid photo shoots. Other than that, there is nothing not to like about the Photo Basics kits. If you are starting off, this is an excellent lighting kit and the price is as good as it can get.

Features: 5
Quality: 5
Results: 5
Price: 5
Value: 5
Overall: 5.0

Website: http://photobasics.net/

As we have been impressed in the past with the price and quality Mennon’s products, we decided to take a look at some more items from their product line. Today we looked at the Mennon Camera Grip for SLR cameras and a couple of straps for SLRs and Digital Video Cameras.

There is not a whole lot to say about the “Camera Belt for Mini DV”, other than that it is a very high quality product. We did find the width of the straps to be a little wide for the eyelets of our particular camera, but the end result was a nice, tight fit. When compared to the factory straps, these were as good if not superior in quality. These straps are a neutral gray in color with a black pads and lining.

The “Camera Belt for Mini DC” as they call it, is a little more complex of a strap. It is designed for small PHD cameras ( a phrase my wife coined years ago for simple point and shoot cameras. As she defined it, PHD stands for Push Here, Dummy). It has a thumbscrew on one end with a mount point on the bottom of it so that the camera can still be mounted to a tripod. It has a triangular ring on one end of it for attaching to the camera’s single strap mount point.

Here I have mounted the strap in the photo here to my SLR to show the mount in place. You can see how the mount point for the tripod transfers to the bottom of the thumbscrew. The plastic mount on the end of the cable has a groove for proper positioning and can be tightened down into many different positions. If you are looking for a more deluxe, shoulder capable strap for your PHD camera, then this should do the trick quite nicely.

The more interesting piece in this set of straps was the camera hand grip (HS-SLR). Having a hand grip on your SLR camera is not unlike the feeling of using a modern camcorder. That is probably the best comparison I can make for how this functions. The quality of the grip is very good. The strap and connector are made of fine materials and seem very durable and comfortable.