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Field Test: Shimoda Designs Large Core Unit for Explore Backpacks – Extending the Utility of My Favorite Backpack

12/6/2019

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PictureThis configuration may not look as pretty as the factory-installed version, but it was practical and served my needs. I refashioned the Shimoda large Core Unit so it could easily fit either zoom: the Tamron 100-400mm or 150-600 attached to my Nikon D500. Shown here: camera with 100-400, with room for an added lens (compared to the 150-600 configuration). ©2019 Jack Neubart. All rights reserved.
​When Shimoda originally sent me the Explore 30 for review, the pack arrived with a combination of the two smaller Core Units: the medium and small. Shimoda Core Units are interchangeable gear inserts, fully padded, entirely user-customizable, and of a proprietary design.
 
I was able to fit my Nikon D500 with attached Tamron 100-400mm zoom, a Nikon flash, and a few extras besides inside the medium DSLR Core Unit, which occupied the bulk of the pack’s interior. I also had room for extras that I tossed into the various pockets, including my large Nalgene water bottle in the outside water-bottle pocket (which tucks away when not needed). Since I couldn’t fit the small Core Unit in together with the medium insert, it remained at home, and was relegated to storing lenses for quick and easy access.
 
Enter the 150-600 Zoom
But there was one problem. I also own the Tamron 150-600mm G2 – which is a monster of a lens compared with the almost diminutive (by comparison) 100-400. On its own, the larger lens had no problem fitting in the medium insert – even with lens hood attached (in reversed position), with the camera body snuggled into its own module alongside it. (A “module” is simply a subdivision within the Core Unit, formed by the dividers and/or walls of the insert.)
 
However, I prefer keeping the lens attached to the body for ready access. Besides, you never know what dust and grit and even sand are kicked up when a wind gust kicks in – so I always feel it’s best to start my day on the right foot, as it were, with the lens fitted to the camera body from the outset. Granted, I do change lenses in the field, but I try to minimize these occurrences to when and where the situation allows or when absolutely necessary. But with my gear stowed in the medium insert, carrying and using the longer zoom would unquestionably require me to be a quick-change artist in the field. What to do?
 
After some hesitation, I again reached out to Shimoda, this time asking for the large DSLR Core Unit. After comparing measurements for the large Core Unit and long zoom, I felt assured this would be a good fit for my D500/150-600 combo.
 
Shimoda agreed to send the insert. With the large Core Unit in hand, it was now time to test my hypothesis… (See my earlier review – click here.)


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​Field Test: Tenba Roadie Backpack 20 – Built Tough for the Adventure Photographer

9/10/2019

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PictureThe Tenba Roadie Backpack 20 is designed to safely carry the gear you need for practically any wildlife excursion. Photo courtesy Tenba.
​Long ago, and seemingly in a galaxy far away (from where I now live, in Chicagoland), Bob Weinreb had set out to design a photo backpack that would be utilitarian and stand up to the rigors of adventure travel. That resulted in the Tenba backpack, one of a select few soft-sided photo luggage product lines that would hit dealer shelves back then.
 
I recall visiting Weinreb’s shop when it first opened in New York City and being impressed by him, the quality of his bags and his dedication. As a professional photographer, he was well aware of what pros needed – and he'd delivered.
 
It’s been awhile since I’d reviewed a Tenba backpack. So I thought a review was long overdue, and chose the Tenba Roadie Backpack 20. Unofficially, this is version 3.
 
How has my impression of the Tenba pack changed over the years, or, for that matter, did it change at all? Read on…


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​Field Test: Think Tank Photo Digital Holster 150 – Think Big

8/6/2019

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PictureDigital Holster 150, from Think Tank Photo - designed to hold an ultra-long lens attached to the camera for a quick grab. Photo courtesy Think Tank Photo.
Camera holsters are designed with one aim: to hold a DSLR with attached lens ready for a quick grab. The design concept makes sense – for a small outfit. But what about a camera with a humongous lens attached?
 
Let’s cut to the chase. The Digital Holster 150, from Think Tank Photo, is big for its ilk. This bag will carry a DSLR with 150-600mm zoom lens (or equivalent) attached. So how well does it serve that purpose? Read on...


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​Field Test: Shimoda Designs Explore 30 – My New Go-to Photo Backpack

7/28/2019

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PictureThe Explore 30 photo pack, from Shimoda Designs, is designed for practically any outdoor photo adventure. Photo courtesy Shimoda Designs.
I’ve worked with photo backpacks of every design imaginable, big and small, and always managed to find one thing or another that bothered me about the pack. Perhaps I’m nitpicking, but I like comfort, especially on a long, hot day, and I like a pack that fits my outdoor shooting style – whether that be on remote trails or in more familiar surroundings. Is that too much to ask? In particular, I like shoulder straps that don’t slide off the shoulder and to store gear so that it’s not only well-protected but also immediately visible and readily accessible. And I believe I found just that pack in the Shimoda Designs Explore 30.
 
Still, backpacks come and go in my photo arsenal. So let’s see how the Explore 30 measures up inside and out - and whether or not it has staying power for the long haul.


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​Field Test: MindShift Gear’s PhotoCross 15 Backpack – Lightweight and Fun to Use

5/15/2019

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PictureMindShift Gear's PhotoCross 15 Backpack. Courtesy Think Tank Photo.
​There’s no question that, when it comes to outdoor photography, whether close to home or far away, my go-to camera bag is a backpack. Which is why I welcomed the opportunity to field-test MindShift’s new entry in their PhotoCross lineup, the PhotoCross 15. So, did the PhotoCross 15 meet all my expectations? Will it become my go-to camera bag on outdoor adventures? And what features set it apart from the traditional sling or backpack? Let’s see…


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​Review: Think Tank Photo’s Vision 15 Shoulder Bag

4/26/2019

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PictureThink Tank Photo's Vision 15 shoulder bag. Courtesy Think Tank Photo.
​Photo backpacks aren’t for everyone or every occasion. Even hardened backpack users find themselves turning to a shoulder bag or sling bag to carry their precious camera gear. And if you’re looking for a modestly priced shoulder bag that also delivers on quality, then a good starting place is Think Tank Photo. And you might want to consider the new Vision series.


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Field Test Report: Nikon Z 7 FX-format (Full-frame) Mirrorless Digital Camera – Is This Nikon’s Way of Telling Us the DSLR Will Go the Way of the Dodo?

4/24/2019

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PictureNikon Z 7 full-frame mirrorless camera. Courtesy Nikon.
In what promises to be a growing lineup of mirrorless FX (full-frame) interchangeable-lens digital cameras for the pro and serious amateur, Nikon recently unveiled the 45.7MP Z 7 and 24.5MP Z 6. My mouth watered as I awaited delivery of a Z 7 test camera from Nikon – the “big kahuna” in the new lineup – (with Nikkor Z 24-70mm f/4 S kit lens). While bad weather kept me from spending as much time as I would have liked with the camera, I did manage some quality time with the Z 7 on a number of outings, photographing wildlife, sports, architecture and landscapes, and came away with several clear impressions of this formidable mirrorless camera. (Z 7 firmware version tested: 1.03.)

The Burning Questions
The Nikon Z 7 is undeniably a professional tool. But does it have what it takes to bring countless photographers, especially pros, back into the Nikon camp? More to the point, will the Z-series put a big detour sign on future DSLR development from this manufacturer, perhaps stopping it dead in its tracks, as these new mirrorless cameras pave their own path? And will video shooters find in the Z 7 what they’ve been missing in the D850? Granted, the delay in the Z-series introduction may have weakened the initial foothold Nikon had hoped to gain, but time (and timely innovative product introductions, especially lenses) will tell if this icon in the world of photographic image-making will recapture the adoration of photo enthusiast and pro alike that this company once enjoyed.
 
First things first, however… How did the Nikon Z 7 fare in our real-world tests?
 
Even before that, allow me to add, for the most part, I am bypassing tech specs. You can read tech specs on Nikon’s website by clicking this link. Other reviews get bogged down in them. I won’t waste your time.

​And Questions I Ask Myself
My go-to DSLR these days is the Nikon D500, so I naturally had to compare the new Z 7 with my D500. Of course, one key difference, aside from the mirror, is that the D500 sports the smaller APS-C sensor, compared with the full-frame sensor of the Z 7. But if sensor size were the only factor driving you to the Z-series, then you might consider the D850.
 
The D500 serves me well in my wildlife and bird photography, given the fast 10 fps. And, arguably, the cropped sensor proves beneficial in stretching the reach of my long zooms. And, yes, I also own a full-frame D610, which mostly sits idle these days (until I brought it out to compare with the Z 7, in terms of footprint and interface). But both the D500 and D610 DSLRs are a bit on the hefty and bulky side.
 
Still, the D500 is my go-to, and in testing the Z 7, my overriding thought was: Are the smaller size and weight of the Z 7 enough to sway my thinking toward mirrorless, notably the Z 7 (or any Z-series camera)? And are the newer technologies really relevant to what I photograph, notably wildlife, and my style of shooting? Will this camera benefit me, and, if so, how? Also, is it worth the price of admission and am I willing to replace a number of my lenses just to buy that ticket? Further, how much am I focused on shooting movies? This last factor could tip the scales for many photographers these days, though I'm currently on the fence when it comes to shooting video with a still camera. Read more by clicking this link.

Where Do I Get More Info? (click link)
Nikon USA

How Much Is It?

Nikon Z 7 w/24-70mm kit lens: $3,999.95
Nikon Z 7 body only: $3,399.95


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​Test Report: Think Tank Photo’s Photo Accessories – Designed to Ease a Photographer’s Life on Location

2/8/2019

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For the most part, I’ve avoided writing about lens pouches and related accessories because, frankly, I rarely use them. But when Think Tank upgraded their lens pouches, protective covers, and photo belts, I thought, hmm, maybe it’s time to reevaluate my decision. Think Tank was generous enough to send a selection of these items for review.
 
Don’t get me wrong: I still prefer to travel light, unencumbered by anything that might weigh me down. But there are occasions when you need that extra something to make your life easier on the trails or even while negotiating the streets, byways and alleyways of a distant shore and, notably, to facilitate lens changes wherever you happen to be, even close to home. The problem becomes even more pronounced when you’re carrying gear in a backpack and the ground is muddy or wet and you can’t find a dry spot anywhere to conveniently set the pack down so you can get at that gear. Or when you’re in a tenuous situation where it might not be prudent to turn your back for the few minutes it takes to access gear from a backpack that’s sitting on the ground (watch out for that buck behind you!). The Think Tank products that neatly fit the bill here are the Lens Case Duo and Lens Changer series.
 
And, speaking of wet, we don’t all use cameras and lenses that have been waterproofed. Even if we do, some added protection against rain and snow and blowing debris couldn’t hurt. That’s when a water-repellent rain hood comes into the picture. And Think Tank offers two solutions to tackle these nasty situations: the Hydrophobia Rain Cover V3.0 and Emergency Rain Cover series.
 
Finally, you may need some means to carry all these accessories conveniently. Attaching lens pouches to a backpack that you’ll first have to remove is counterproductive. And you can’t depend on the backpack’s waist belt since, sooner or later, you’ll be unfastening it, if you even buckle it in the first place, which I rarely do. And shoulder/sling bags don’t all provide attachment points. Besides, the added weight may add to the strain of carrying the bag at your side. And, whereas you could use the belt that holds up your pants, not everyone wears pants – or a belt. And even if you do, carrying accessories on your belt can be a real drag.  So a special belt might be in order. And here too Think Tank comes to the rescue - with the Thin Skin Belt V3.0. The lens pouches we’ll be reviewing are designed to be carried on this belt, as well as the more heavily padded Pro Speed Belt V3.0 (not reviewed here).

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Test Report: SKB Series 2011-7 Case with Think Tank Padded Insert and Lid Organizer (Model 3i-2011-7DL)

11/8/2018

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PictureSKB model 3i-2011-7DL with Think Tank insert and lid organizer. Courtesy SKB Cases.
​There’s a good argument to be made for using a molded hardshell case, especially one with wheels. And for starters, let’s put it out there in the photoverse… the SKB case model 3i-2011-7DL with Think Tank insert will give you a pretty good ride. But is it a perfectly smooth ride? Read on…


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Test Report: Think Tank Photo’s Retrospective 10 V2.0 Shoulder Bag – Same Chic Styling, Look and Feel, with Added Features

9/12/2018

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PictureCourtesy Think Tank Photo.
​There is something about Think Tank’s Retrospective shoulder bags that has to be experienced personally.
 
I’d previously tested the leather version of the original series and found it eminently suited to my trip to New York. (Read about it here.) But that was a small bag that I chose because it would fit inside my luggage.  And even before that I’d worked with the original Retrospective. Yet another small bag.
 
This time I thought I’d go for something bigger, but not quite as spacious as MindShift Gear’s Exposure 15. And I certainly wasn’t about to tote around an even bigger shoulder bag, although, if you are of that mind, there are two larger versions of this bag available.
 
I was especially curious to see what improvements were made to this series. I would not be disappointed, though I did find room for improvement.

What’s Old Is New Again
As the saying goes. And that easily applies here. The basic design of the Retrospective revolves around a soft, fabric outer shell with a stylish distressed look– specifically, cotton canvas that is water-repellant. The bag is lightweight, yet ruggedly constructed. And for those heavy downpours, it comes with a seam-sealed rain cover. The wide strap webbing encircles the bag, for a more assuring support (without having to deal with connectors), with the addition of a non-slip, shoulder pad.
 
After reading my review of that earlier Retrospective, it makes me wonder why I gave it away, but one only has room for so many bags. When a new one comes through the door, an older one goes out, which makes my friends happy campers, knowing they get a camera bag worthy of their expensive gear.
 
BTW – just heard from the recipient of that bag, who wrote, and I quote: “I liked your review and the bag as well.”
 
Since I no longer own the earlier versions, I have to go on memory and my review when comparing them. Aside from the obvious difference – size (and, to a certain extent, weight), the V2 version offers the same practical advantages, with a fully customizable interior (additional padded dividers included). And there are roomy pockets front and back, including an organizer pocket. The new version makes room for a full-size tablet as well (or a tiny MacBook).

Who Should Use the Retrospective 10 V2.0 ?
Travel photographers, street photographers, photojournalists and documentary/news photographers.
 
Capsule Comments
It’s stylish and practical, and designed to last. And reasonably priced. The new luggage handle pass-through is great when traveling with a wheeled suitcase.

How much is it?
Retrospective 10 V2.0 (tested): $169.75 
Retrospective 5 V2.0: $149.75 
Retrospective 7 V2.0: $ 164.75 
Retrospective 20 V2.0:  $179.75 
Retrospective 30 V2.0: $199.75

Where can I get more info/order this product? (Click link.)
Retrospective 10 V2.0

 
Manufacturer:
Think Tank Photo

The Handy Water Bottle Pocket
A water bottle pocket has been added. I would have preferred a stretch mesh pocket, but I can see Think Tank’s thinking behind the design they used. A nylon pocket would not be in keeping with the retro-canvas styling of the bag. Either way, it now means you don’t need to add an accessory pouch just for a water bottle. You can, however, add a lens case by way of the loop on the flip side of the bag (more on Think Tank’s new lens cases in a later review).
 
You could hold a lens in this side pocket, but I would hesitate to do so for any length of time. There’s no real way to secure the pocket, and a lens could slip out when you’re not paying attention. You know what would have been cool? A sealable lid, via Velcro, a zip, or even a snap or clasp. But, again, it could come in handy when changing lenses, if not already occupied by a water bottle. (Here’s a thought. Attach a carabiner to the opposite side and your water bottle to that, if the water bottle provides some means by which you could do that.)
 
The one thing that bugs me, and I found it to be somewhat of a nuisance on Think Tank's Signature 13 as well, is the tuck-away interior flap that has been added to the new Retrospective bag. As I’d commented previously, I would have preferred a double-zip system. But I’m not sure that would have helped. And here’s why… The pliable shell of the Retrospective, while imbuing the bag with that retro-chic feel, makes it difficult to close the flap.
 
I recommend either not zipping the inner lid all the way once you arrive at your destination, or not using it entirely. If you take the latter route, it means using the noisy and somewhat resistant Velcro system to keep the bag closed. There are noise-silencers built in, but using them (and not closing the inner flap) means you leave the bag entirely open – not a smart move in a crowded bus or subway, or while dashing around town, or putting your bag down on an uneven surface where it may topple over. So you’ll have to use one or the other once you start shooting. But let me make myself clear: Until  you arrive at your destination, unless you expect to stop along the way to shoot, use both means to keep the contents secured. You’ll keep dust and dirt out, as well as prying hands.
 
It may be picayune to quibble over this, and I’m sure you’ll get the hang of it, one way or the other. But, hey, I like to quibble over the small stuff. If the world smelled entirely of roses, we wouldn’t have carnations. Okay, not sure what that means, but maybe you do. Anyway, none of that matters in the long run. The bag does the job it’s designed to do.
​
Conclusions
Oddly enough, I find myself lately taking a shoulder/sling bag out, even on my nature walks, preferring it over my backpacks for immediate accessibility to my gear, provided I’m not toting a heavy load or very long lenses, and don’t need to carry a trail kit or light jacket.
 
Would I use this new Retrospective V2.0? In a heartbeat. Regrettably, I miscalculated. I thought I’d be able to fit my D500 with attached Tamron 100-400, but it didn’t prove to be a comfy fit. A deeper bag would have done the trick. So I’ll stick with my Exposure 15 for that rig. It wouldn’t be a problem if I carried body and lens separately, but I prefer having my gear at the ready – hence my rationale for using a shoulder bag in the first place.
 
All in all, as with its progenitors in the Retrospective lineup, the Retrospective V2.0 looks classy, feels classy, and, in short, is a class act. You’ll look good with this bag hanging off your shoulder or sling-style and you’ll feel good knowing your gear is well protected and within your grasp when the moment counts.
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Test Report: Tamron 70-210 F/4 Di VC USD Model A034 (for Nikon) – A Multi-Dimensional Zoom That Delivers - at the Right Speed, Right Feel, Right Price

8/20/2018

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PictureBokeh is beautifully rendered, with the lens delivering pleasingly soft backgrounds. No cropping. 210mm; ISO 100, f/4, 1/320 sec, flash. ©2018 Jack Neubart. All rights reserved.
​The new Tamron 70-210mm f/4 telephoto zoom (Model A034) won’t break the bank to own or break your back to carry. Cost and heft aside, what really matters is performance. I used the lens with my Nikon D610 – a full-frame DSLR matched to a full-frame lens (although the lens could also be used with my DX/cropped-sensor Nikon DSLRs), photographing a variety of subjects large and small. How well did the lens perform? Let’s see. But first…
​

​Why Do You Need an F/4 70-210mm Zoom?
Well, let’s imagine for the moment that you already own a variable-aperture tele zoom. What’s to be gained? We’ll put aside consideration of an f/2.8 lens, given that glass’s relatively high price and heft.
 
An f/4 lens is a workable compromise. Popularly priced variable-aperture telephoto zooms weigh in at a zoom range of 70-300mm with a corresponding variable aperture range of f/4-5.6, or, worse, f/4.5-5.6. These lenses are more than you need for that portrait session you’re shooting outdoors. Not to mention, those variable maximum apertures can be a royal pain when using a handheld meter to check exposures, especially with studio flash or manual shoe-mount flash. Knowing where you stand with your F-stops always gives you a leg up on your exposures.
 
The story doesn’t end there. Zoom out and that variable-aperture f/4-5.6 lens loses more and more light in the process. At just under 200mm, it’s at f/5, hitting f/5.3 at 200mm and f/5.6 at around 250mm. In other words, an f/4 lens is nearly a full stop faster at 200mm.
 
Photographing kids? You’ll definitely appreciate having a maximum aperture of f/4 to blur out annoying backgrounds as you zoom in, while shooting at relatively faster shutter speeds without having to crank up the ISO. But beyond that, autofocusing is faster with an f/4 lens when trying to capture a precocious toddler in an outdoor setting than with your other zoom, given that focusing sensors are designed around faster maximum apertures, for the most part. 
​
​Zooming and Focusing
I had no complaints when it came to zooming or focusing. Well, only one, which I’ll get to in a moment.
 
What I usually concern myself most with on today’s autofocusing (AF) lenses is manual focusing, since many do not manually focus as smoothly as did strictly manual-focus lenses of the past. That said, focusing on this lens was quite smooth – no complaints there, with manual focus (MF) working well both during AF operation and dedicated MF operation. Zooming was equally smooth.
 
My sole complaint comes with the focusing ring moving past the near and far distance points as you continue to rotate it. I really wish Tamron would make it a point to physically prevent the lens from rotating further at each end. I often don’t feel the resistance during the heat of the moment and have to check to make sure where I’m at. And that means taking my eye off the subject.
​
Where can I get more info, tech specs?
Tamron USA 70-210 f/4 (model A034)
 
Manufacturer:
Tamron USA
 
How much is it?
$799
Available in Nikon & Canon mounts.

​And Now for the Nitty-Gritty – Optical Performance
I’ve used this lens on things you wouldn’t normally use a 70-210, as well as the expected. I shot street candids, landscape, and even birds, bugs, and flowers. With birds and bugs there is a caveat: you keep the subject near or at the center of the frame, expecting to do some tight cropping in post. And for that reason, the lens has to be really sharp, especially toward and at the center.
 
Still, I want good performance out to the corners and edges as well. And let’s not forget that vignetting and distortion, as well as chromatic aberration (color fringing), also have to be taken into account.
 
While we can use vignetting to frame the subject on rare occasion, for the most part we’d prefer to live without it. And shooting without any pronounced distortion would be welcome as well. So, to cover my bases, I also set up some test targets, in addition to my field shooting.

​​Vignetting. I primarily tested for vignetting by shooting at a uniform area of blue sky in the afternoon (with the included petal-shaped lens shade attached). On my full-frame DSLR, with the lens set to 70mm, vignetting was readily observable at maximum aperture (f/4), diminishing as you stopped down – until you reached the magic number – 2 full stops down (the sweet spot for many lenses), where it practically vanished. (Expect performance to be even better with a cropped-sensor camera, which cuts out much of the offending vignetting from the get-go.) However, the picture was a bit different as I zoomed out. At 210mm I noticed a faint trace of vignetting even at f/8. At f/11 it was no longer a practical concern.
 
In day-to-day shooting, I focused more on my subject than on vignetting, and often found myself shooting wide open, or close to it. Vignetting was not a practical consideration – or a problem. Where necessary, I was able to address it to my complete satisfaction in Capture One using the Light Falloff slider. (I found the lens profile in Lightroom less than optimum for this correction.)

​
Edge-to-Edge Sharpness. I was quite surprised at how well this lens held sharpness across the frame. While you could see a slight loss of sharpness at the corners at maximum aperture, it wasn’t readily apparent. I had to look really hard to see any loss of sharpness, which, in practical terms, means it didn’t enter into the equation when shooting. And, again, count on lens performance to improve beyond that when stopping down. In fact, I was happy with sharpness across the zoom range, especially considering I had to rely on some very tight cropping with my small, skittish subjects.
 
Chromatic Aberration. A bad case of chromatic aberration can make your pictures look blurry, and many of us tend to overlook this aspect of lens performance. You have to view the image at 100% - actual size, to clearly see these colorized ghost images. So, yes, it was there, but the beauty of using Capture One is that it tackles chromatic aberration so effortlessly, with one click, that I also let this aspect of lens performance slide. Or more to the point, color fringing was faint to begin with and absent after RAW processing in Capture One.
 
Distortion. Yes, it’s present, but to a minimal degree, and is easily corrected – even manually (as was necessary in Capture One, given that profiles for this lens are lacking). This lens aberration goes from very slight barrel distortion (outward bowing) at 70mm to very slight pincushion distortion (inward bowing) at the long end of the zoom range, with this inward (pincushion) bowing beginning but barely apparent at around 100mm.
 
Flare and Ghosting. I intentionally pointed the lens toward the sun to see how strong lighting will affect the picture. Flare was very well controlled. Flare ghosts did reveal themselves but not to the point where they haunted me. They were mild. In fact, those of you who like flare and ghosts in your pictures may be disappointed by the degree of control experienced with this lens. Clearly this is a testament to the various coatings used by Tamron.
​

Who Should Use This?
Street photographers, portrait shooters, wedding photographers, photojournalists. Landscape may be a stretch, with wildlife & birds, bugs & flowers even more so, but they all are doable.
 
Capsule Comments
Working with this lens reminded my of my Canon 70-200mm f/4 (when I shot with the 5D). The Canon lens carries a heftier price tag. But just comparing the overall feel and handholdability of this Tamron lens, I felt equally at home with this glass - albeit on my Nikon D610, and equally confident of the results.
Build
The lens certainly felt solid in my hands. All operations were smooth. If you’re fishing for more details, we should note that, despite its relatively low cost, the lens also boasts moisture-resistant seals (get it, fishing, seals?).  Beyond that, the front element features the same smudge-resistant barrier incorporated into Tamron’s costlier lenses, such as the 150-600mm G2 and 70-200 f/2.8 G2, via a fluorine coating. As I’ve pointed out in the past, I wish Tamron would add the fluorine coating to the rear element as well. Still, the front element is the one that fingers, flying insects, and the elements target first and foremost, so having this as a first line of defense, together with that moisture seal, is a welcome step.
​
My Tamron 70-210mm f/4 Experience
I’m not going to rehash all the specs. You can read that on Tamron’s website (link above). But I will mention those things that made a difference to my picture-taking.
 
For starters, I wondered why Tamron had left out the lens lock here. Then I did one of those (picture me hitting myself upside the back of my head) as I was walking along a bike trail in hopes of spotting some White-tailed Deer, thinking to myself, Of course, it doesn’t need it. Zooming on this lens is entirely internal, as is focusing.
 
By the way, I did spot that deer, but this lone deer proved more skittish than others I’d photographed in the past. Is it impossible to shoot a deer successfully with a 70-210? Suffice to say, I managed to capture deer in the same park with my Tamron 90mm f/2.8 macro. You just have to be prepared to do a bit more cropping in the end, but not always, as some deer in often-visited locations may approach to within 10 or 15 feet (no doubt people have been feeding them, despite restrictions to the contrary).
 
Back to the lens. These internal zoom and focus movements have several advantages. With the lens length remaining fixed, you’re less noticeable in a crowd. When someone sees you with a zoom extended all the way out to Mars, it gets noticed – and that’s not something you necessarily want.
 
What’s more, the lens has a more balanced feel on the camera in this configuration. On top of that, front-mounted accessories don’t twist and turn as you twist and turn the zooming and focusing collars. So your polarizer setting remains exactly where you left it, no matter how much you zoom and focus.
 
And the coup de grâce, no lens creep! So a lens lock becomes moot. Which brings us full circle to where we entered this discussion.
 
All this translates to a lens that eminently lends itself to handheld shooting. I did attach the camera to a tripod with the bare lens (sans optional tripod mount), and in theory would have felt more comfy had I opted for the mount. Yet, as I found out, my Nikon D610 with metal lens mount bore the weight with no ill effect. The only time you begin to feel the weight of the lens (it is heavier than my Tamron 70-300, if only marginally) is during extended handheld shooting, such as when waiting for that bird to land on a nearby branch. And, yes, I even photographed birds – hummingbirds, no less - with this lens, not to mention bees, butterflies, and dragonflies. Admittedly, cropping was often required during RAW processing. 

Conclusions
The Tamron 70-210mm f/4 lens did not disappoint. It may not be constructed to the same standards as Tamron's SP glass, but, in day-to-day shooting, that did not faze me in the least. I pointed the lens at a variety of subjects, confident I would get the shot.

I did not rely on Tamron's proprietary Vibration Compensation (or VC, Tamron-speak for image stabilization in the lens) to prevent camera shake, although I did test for it and achieved admirable results. For the most part, I employ VC to steady the viewfinder image and keep focus on critical areas of my subject, usually the eyes in people and wildlife.

I came away from the experience wanting to buy this lens, and would have - if I didn't already own an f/2.8 lens in a comparable focal-length range. 

The subjects I photographed bear repeating, if only to emphasize the utility of this lens: street photography, cityscape, landscape, flowers, butterflies, bees, dragonflies, and hummingbirds - with my smaller subjects relying on tight cropping in post. Still, you have to give it to this lens for delivering where it counts, cropping and all.
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Test Report: MindShift Gear Impresses Us with Two New Outdoor Bags - BackLight 18L Photo Backpack and Exposure 15 Shoulder/Sling Bag

5/6/2018

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When it comes to outdoor photography, we’re used to seeing photo backpacks from MindShift Gear, but we usually turn to sister company Think Tank Photo for our shoulder bags. Think Tank does have some nice shoulder bags, but they’re really not optimized for the great outdoors, which is also true of their backpacks – great utility and construction, but aimed more at the streetshooter, than the nature photographer, which also applies to their shoulder bags.
 
Well, not surprisingly MindShift decided to divert a little bit of their attention to the shoulder bag, while not sitting idle where backpacks were concerned, and introduced a one-two punch in the new Exposure bag, practically alongside the smaller BackLight.
 ​

Where can I get more info, tech specs & order this product? (click on a bag)
BackLight 18L 
Exposure 15 
 
Manufacturer:
MindShift Gear
 
How much is it?
BackLight 18L: $199.99
Exposure 15: $169.99

A Quick Look at the New MindShift BackLight 18L
I’ve previously written extensively about the BackLight series, which, until now, consisted of two larger bags, first the 26L, followed by the 36L – the model number reflecting capacity, in liters. That makes this bag half the size of the largest version, at least in carrying capacity.
 
I still use the 26L, having gifted the 36L to a friend who routinely carries a load of gear, and when the 18L arrived, I thought it would be too small for my Tamron 150-600mm G2. I first tried the 18L out with my Nikon D500 attached to the new Tamron 100-400 (look for a review of this lens shortly). It was a perfect fit. Next came what I thought would be the impossible task.
 
On its own, the 150-600 settled in comfortably. But could I say the same when attached to the camera? Well, I did have to move a couple of the padded divers out of the way, but I managed a good fit. Of course, that shift in the partitions negated the use of the other half of the bag for a second camera with attached lens. Well, I could always carry a second body and lens separately – plenty of room for that.
 
In the backpack's factory configuration, when situating the camera with 100-400 attached (at the top of the bag, lens downward), there was plenty of room for that second body with attached lens (cradled from the bottom of the bag, lens upward). Long and short, I’ll still use my 26L for that monster glass and relegate the 18L for the D500/100-400 combo riding side-saddle with, say, a D610/90mm macro attached – and still have room for a Nissin flash.
 
You can read my earlier reviews by clicking these links:
 
BackLight 26L review 
 
BackLight 36L review 
 
I should point out that I was so happy with the BackLight 18L that I gave my trusty TrailScape 18L to a friend in favor of the new bag. I prefer the interior layout of the BackLight 18L, considering it will hold two cameras with attached lenses right from the get-go.

MindShift’s Exposure 15 Shoulder Bag
When it comes to shoulder bags, my preference runs to smaller bags. I find it more fatiguing when wearing even a small shoulder bag or sling bag than when carrying a fully loaded backpack. Still, a shoulder bag does come in handy on occasion. You won't carry a backpack to a formal occasion, or even when visiting friends. Not to mention, it's so much easier to stow a shoulder bag on the floor underneath  or alongside your seat when dining.
 
I already own and use the perfect shoulder bag, Think Tank’s Signature 13 – elegant styling, functional, and small enough to carry just what I need for streetshooting. So I wasn’t about to make that bag redundant with the Exposure 13. Besides, the larger Exposure bag sported more spacious pockets – and I love pockets.
 
Still, the Signature bag lacks one thing that, to my mind, would have made it perfect: a waist belt to take the weight off my shoulder. It would have been very easy for Think Tank to have fitted the bag with a removable waist belt, but that probably would have run counter to the fashion statement that bag makes.
 
Fast forward to the Exposure series. These bags don’t feature a waist belt, but they come with the next best thing: a security tether, or what MindShift calls a "cross-body stabilizer strap." This keeps the bag from slipping off your shoulder – or swinging around and in your way when you bend down to shoot something low to the ground. It also prevents someone from pulling the bag off your shoulder. You can also wear the bag sling-style, which is how I’d been using it, and how it was primarily designed to be worn. The neoprene shoulder pad is sewn in and runs much of the length of the strap, rendering the strap well suited to either mode of portage.
 
This bag also features new materials that make it practically impervious to the elements, and the lid has flaps at either end to keep out dust, flying debris, and rain/snow. It does not have a zipped inner lid, a trademark of the Signature bags. However, the Exposure uses only a single plastic buckle for fast access. Some Velcro-type closure system wouldn’t have hurt, so you wouldn’t have needed to constantly snap the buckle shut. It’s a noisy prospect when you’re trying to remain quiet while focusing on birds or other wildlife.
 
As for the interior of the bag, it too lacks the finesse of the Signature bag, but, having said that, it does provide the needed protection. I was able to fit my D500 with attached 100-400, standing the rig lens downward inside the bag. With a shorter lens, the camera could have been supported by the dividers along both sides. Still, even with this long lens, the flap closed without any unruly bulge. BTW – carrying this combo was another reason, perhaps the main one, I’d opted for the larger Exposure 15. The Exposure 13 would have been too small.
 
I should also note that the Exposure 15 will carry a 15” laptop, along with a tablet. There are numerous other pockets, along with a luggage-handle pass-through so you can piggyback the bag on your roller luggage. A tripod is carried at the bottom – straps included. Also included is a rain cover, not that you’ll need it in a light rain, since the bag is sufficiently weatherproofed on its own. Oh, and if that’s not enough, there’s also a water-bottle pocket that will comfortably hold your average-size water bottle.

​Conclusions
One advantage a shoulder or sling bag has over a backpack is that it allows immediate access to your camera gear. That precisely is what drives me to use a bag such as the Exposure 15 on occasion. With a backpack, you normally have to find a place to lay the bag down when it comes time to access or stow gear.
 
Well, not so with the BackLight series. You can still wear the bag, open the rear (main) flap, and access your gear. On paper, at least. As I found out with the earlier iterations of this design, this doesn’t really fit my shooting routine – and a reader concurred vis-à-vis her style of shooting. I find it faster and easier to lay the bag down. And if the ground is wet or muddy, then I’ll simply stow the lenses and flash I may later need in accessory pouches or in the pockets of a photo vest. MindShift may not have a photo vest (why not, guys?), but they do have a full line of pouches for pretty much anything you need to access on the trails.

I found myself using both bags in a variety of situations, not least of which was for bird photography. Both bags are thoughtfully designed, practical and durable, to say the least. And each should easily fit in the overhead bin, if not under the seat, on most commercial aircraft.

Who Should Use the BackLight 18L and Exposure 15?
Travel, nature, and wildlife photographers.
 
Capsule Comments
When traversing rough terrain or for long, strenuous hikes, the BackLight 18L is the clear choice, with its extra-comfy backpack harness system. On public conveyances, crowded streets, and travel involving a lot of walking on sidewalks or dirt paths in city, town, or village, the Exposure 15 shoulder bag would be my choice, for fast access, along with added security thanks to the tethered strap.

A rain cover is included with each bag, and both bags will carry a tripod, as well as a laptop (13" in BackLight 18; 15" in Exposure 15), plus tablet. And for those hot days, don't worry - each bag holds a water bottle.

​And, they are very reasonably priced for the top quality you're getting.
​
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Test Report: Think Tank Photo's Airport Advantage Plus - Keep Camera Gear Protected and Organized in a Smaller Profile Roller

1/1/2018

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PictureThink Tank Photo's Airport Advantage Plus. Photo courtesy Think Tank Photo.
​When I stand Think Tank Photo’s new Airport Advantage Plus up next to the Airport Security v3.0, the Advantage Plus looks svelte by comparison. In fact, even when standing on its own it looks  slim and trim.

​Unfortunately, you can’t say it looks stylish as is, but Think Tank has some accessories to lend it a hand in that department, such as colorful wheels with Roller Flair, which also adds other color accents ($35).

Carrying Capacity
When the Airport Advantage Plus arrived, I did more than stand it side-by-side with the Security. I immediately transferred much of my gear into the new case from the Airport Security to compare capacity. One marked difference: the Security is deeper, which means that lenses can stand on end, and that translates to greater storage capacity. But that didn’t trouble me. I actually prefer the cleaner layout with greater visibility in the new Advantage Plus.
 
While I couldn’t get everything that I’d originally packed in the older Security transferred to the new case, I did manage to fit quite a number of items: cameras with attached lenses, additional lenses, and several shoe-mounts, and then some. Afterwards, I removed a couple of the flash units and replaced them with lenses.


Where can I get more info/order this product?
Think Tank Photo (use this link to order direct and get a gift/priority service)

Manufacturer:
Think Tank Photo
 
How much is it?
$289.75

Airline-Friendly
If the slimmer build troubles you, think of it this way. The new Advantage Plus would be more airline-friendly in a variety of overheads. What’s more, you might find this a blessing, limiting you to only the gear you know you’ll need.
 
I also owned the  Airport TakeOff v2.0 backpack roller. I used that case for my Photogenic monolight system (one head plus ion converter, along with reflector and cables). I of course had to move the dividers around to make room, but, once I did that, it was a great fit. Then when a friend needed a backpack roller for a trip to Australia, I emptied the TakeOff contents to another roller I had sitting in my closet and handed him the TakeOff, fondly bidding him bon voyage.


Who Should Use This?
Travel, nature, and wildlife photographers (but I would recommend a photo backpack or shoulder bag once you reach your destination, unless you’re working out of a vehicle or staying put in one location).

Capsule Comments
Thoughtfully constructed with practicality in mind; durable but not, in my view, as baggage-handler friendly as the Airport Security (so don’t stow it in baggage); fully customizable interior with movable padded dividers; holds a practical quantity of camera gear, plus laptop/tablet; also includes a handy satchel for your personal items (satchel occupies a section of the case, replacing some camera gear – if you really want to travel light).
​Soft-Sided Luggage
All Airport cases are considered soft-sided luggage, in contrast to hard-shell cases made of ABS, resin, or metal. As such, they utilize a zipped closure system, but are lockable. I keep TSA-compliant combination locks on hand for this purpose. The only thing to watch for is that you don’t over-expand the case with stuffed outer pockets. One added advantage to practically any soft-sided luggage is the addition of outer pockets to stow anything from a laptop (inside a protective sleeve) to a pair of flip-flops. The flip-flops might even serve to cushion the laptop against bumps, to a degree.
 
Each of these cases has a weather-resistant fabric outer layer, but also comes with a rain cover for torrential downpours. With the rare exception of 4-wheelies, each is two-wheeled, offering an exceptionally quiet ride, with sturdy telescoping handle, plus additional handles to make sliding the bag in and out of the overhead easier.
​Conclusions
Once fully loaded, no camera luggage feels light. Still, if you can shave a few ounces off your burden, it should be welcome over the long haul. While you can’t go wrong with any of the Think Tank Airport luggage, the Advantage Plus has the advantage of a more compact size that affords you greater visibility of your gear, while keeping a lid on how much you carry. The point being, you take what you need and nothing more. Makes sense to me. It’s called planning.
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Test Report - MindShift Gear's BackLight 36L Photo Backpack - The BackLight Supersized

11/17/2017

3 Comments

 
Picture
​It was nearly a year ago that I tested the progenitor to the BackLight series, the BackLight 26L, from MindShift Gear. That pack has become a staple in my stable of carrying gear, which includes a variety of MindShift and Think Tank Photo products. I’ve grown to rely on them for their utility and durability. And these days, I’ve been leaning toward smaller bags that limit what I carry. I prefer to arrive home after spending hours on my feet little worse for wear, and lighter loads allow me to do that. I also find I work faster and more efficiently if I can work economically.
 
Anyway, so this BackLight 36L arrives on my doorstep. It’s a full 10 liters bigger than the previous model, which I use mainly when shooting with my Tamron 150-600mm G2. In fact, what that translates to is, the 36L is taller, wider, and deeper. So the question you have to ask yourself when choosing between the two versions is, how much backpack do you really need?
 
But even before you go there, take a closer look at the pack and you’ll notice something different – something that sets it apart from other MindShift (and competitor’s) backpacks. Hint: it has to do with camera access. The name should give you a hint.

The Design - The Good and the Bad
In contrast to typical backpack designs, the BackLight employs a rear-access panel, rather than a front panel. (Front outer pockets hold a variety of other stuff, as we’ll see.). It’s a zipped, drop-down panel, but by giving you access to your gear from the rear, you keep prying hands away from your precious cameras and lenses. It may take a little getting used to at first if you’ve been using a more traditional pack, but, provided you’re not switching back and forth, as I am wont to do, you should have a firm handle on it after one or two outings.
 
MindShift will try to tell you that you can change lenses on the fly, without removing the bag from your body, thanks to this rear panel and a short neck cord found inside the bag. I tried it with the 26L. It didn’t fly. And with an even bigger and heavier bag, I’m not even going to attempt it. Frankly, I wish they would have removed that cord, since it always came undone on the smaller bag. And it was not very comfortable.

​The Backpack Harness - Designed for Comfort
As is true with every component of each bag they make, MindShift doesn’t skimp when it comes to shoulder straps and other parts of the harness system. The shoulder straps are contoured and well padded for a comfortable fit.
 
Another feature of a well-designed backpack, the contoured and padded waist belt hugs your hips, ensuring a stress-free ride. The waist belt is supposed to take much of the weight off your shoulders, while preventing the bag from shifting around, which is important when negotiating rough, uneven terrain, but even simply for long stretches without a break. And there’s also a sternum (chest) strap, which further prevents the bag from moving around. A stable bag means you’re less inclined to lose your balance and tip over.
 
Another nice aspect of this bag, given its relatively large size, the bag reaches from your hips to your shoulders, with shoulder compression straps for added comfort and stability. I see too many people wearing backpacks that hang down like a loose sack. No chance of that happening here, since the bag just naturally lends itself to being worn properly.
​

Where can I get more info?
MindShift Gear
 
 
Manufacturer (use this link to order):
MindShift Gear

​ 
How much is it?
$289.99 (in woodland green or charcoal)
 

​Who Should Use This?
Hikers and backpackers, bird photographers, wildlife photographers, nature and landscape photographers; professionals and serious amateurs.
 
Capsule Comments
Well designed; solid construction – made with high-quality hardware and materials; weather-resistant; customizable to fit around your gear; protective; comfortable.
 
​The Customizable Interior
Inside, there’s plenty of room for two bodies with lenses attached (a 70-300mm or maybe a 70-200mm on one, a 24-70mm or fast 50mm on the other, for example). If you attach a long, fast lens or something like the aforementioned 150-600mm, sorry, you’ll only have room for one body/lens combo. But you can store a second body by itself, or with a pancake lens.
 
I should point out that the bottom of the bag is a bit more spacious than it needs to be. You might want to stick some foam at the bottom to take up the slack. You may be able to use the included rain cover, but I tend to think the material is a bit on the scratchy side for the LCD. Besides, a better place for the rain cover is in an external pocket, where it’s easily and quickly accessible.
 
The depth of the bag easily accommodates gripped DSLRs. More than that, you can stow some lenses on end. If you’re a glutton for punishment, that means you can carry more gear. There’s plenty of room. While the padded dividers employ a hook-and-loop system so you can customize the interior around your gear, I wish MindShift had used hook-and-loop-covered padded dividers here, as they do in some other bags. That system just gives you an added edge in fitting the bag exactly to your needs.
 
And again, let me point out that my fantasy dividers are closed-cell foam sandwiched between open-cell foam layers, for the ultimate in shock and vibration protection. But no manufacturer is paying attention.
 

KEY FEATURES per MindShift Gear
  • Daisy chain, ice axe loops and additional lash points for expanding carry capacity
  • Includes tripod/monopod mounting system on front or side
  • Padded waist belt for all day comfort with webbing rail for attaching MindShift accessories
  • Quick-fit waist belt adjustment for rapid and convenient fitting
  • Side compression straps with locking SR buckles for additional lash points
  • Air channel and lumbar support on rear-panel for all-day comfort
  • Ergonomic zipper pulls are easily gripped with gloves or chilled fingers
  • Highest quality YKK RC Fuse zippers, 420D Velocity and 420D high-density nylon for long lasting durability and strength
  • Front stuff pockets for trail essentials: headlamp, gloves, chargers
  • Adjustable dividers for large telephoto lenses, traditional photo gear, or personal items
  • Top zippered pocket for quick access to essentials
  • Interior mesh pockets for storing filters, batteries, cables, etc.
  • Seam-sealed rain cover included
  • Compatible with MindShift’s Tripod Suspension Kit, Filter Nest, Filter Hive and Switch Case
​Room for a Laptop, a Tablet – and a Tripod
Rear access means you can carry a tripod centered over the front of the bag for better balance on uneven terrain. All the accoutrements are in place, but neatly tucked away top and bottom. Or you can carry the tripod on either side, with a water bottle on the opposite side. If you’re mostly traveling over flat terrain, side-carry is not a problem.
 
Keeping the tripod over the center makes more sense for the long haul, but it does get in the way when laying the bag down to get at gear. And if you carry a tripod, you definitely do not want to use that neck cord to change lenses while still wearing the bag.
 
I don’t know about you, but I never take my laptop into the field. Still, if that’s your preference, this bag lets you do that – inside a padded sleeve. Not only that, but you can also carry a tablet. The tablet sleeve isn’t padded, but the surrounding pocket is so voluminous that you’ll likely keep a jacket and other stuff in there to cushion against bumps.
 
​Conclusions
This bag has a lot going for it. Added features not covered above include side compression straps and a padded carry handle – more a padded loop, than a handle, really. The hardware is, as always, uncompromising. And the airflow cushioned back with lumbar support ensures comfort under trying conditions. Plus, there are additional pockets outside and inside.
 
Some may argue, and justifiably so, that carrying the laptop up front is not the best way to go, especially on long treks. Where’s the best place? At the rear of the pack, against your back – and this is something that MindShift fails to recognize, with one or two bags being the exception. Granted, that would be extremely difficult in a bag of this design, but I do think it’s doable. On the other hand, perhaps wiser heads prevailed here.
 
If you think you’d be comfortable with a backpack that grants access to camera gear from the rear, and you need something bigger than the 26L, then the BackLight 36L is your ticket to ride. You’ll find it comfortable and your gear will be well-organized and thoroughly protected. It’s a win-win!
 

MATERIALS per MindShift Gear
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. Features the highest-quality abrasion-resistant YKK RC-Fuse zippers, 420D velocity nylon, 420D high-density nylon, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
 
Interior: 210D silver-toned nylon lining, hexa-mesh pockets, high-density
closed-cell foam, PE board reinforcement, 3-ply bonded nylon thread.
 
 
PRODUCT SPECIFICATIONS per MindShift Gear
Exterior Dimensions: 13.8” W x 22.4” H x 10.2” D (35 x 57 x 26 cm)
Interior Camera Compartment: 12.6” W x 21” H x 7.1” D (32 x 53.5 x 18 cm)
Laptop Pocket: 11.2” W x 16.1” H x 1” D (28.5 x 41 x 2.5 cm)
Tablet Pocket: 10.6” W x 10.2” H x 0.6” D (27 x 26 x 1.5 cm)
Total Volume: 36L
Weight: 4.9 lbs (2.2 kg)
3 Comments

Test Report: Think Tank Photo's Spectral 8 Shoulder Bag - Stylish and Practical

9/11/2017

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PictureSpectral 8. Courtesy Think Tank Photo.
​While the Spectral series from Think Tank Photo may not share the same elegance as this company’s Signature series, the new shoulder bags do weigh in with a couple of nice features I would have liked in the Signatures. On the other hand, a few of the trademark elements found in the Signature would have been welcome additions to this bag. (Click this link for my review of the Signature Series.)
 
Still, all in all, the new bags have much going for them. I chose to review the smallest of these, the Spectral 8, since it’s primarily aimed at the mirrorless camera (as well as compact DSLR) user and I wanted to address a market segment I tend to overlook. The two larger bags, Spectral 10 and Spectral 15, address more robust DSLRs, but without grips.

​The Exterior
The Spectral 8 has a fairly slim profile. There’s only one outside pocket on this bag beyond the cover flap – elastic mesh for a small water bottle. The larger bags in the series have a full width/full depth outer sleeve as well. Not sure why this was omitted on the smallest bag. You can never have too many outside pockets.
 
There’s also a small padded handle on top, but the main mode of carry is obviously the shoulder strap. Sadly, the Spectral series returns to the more conventional sliding pad, in contrast to the narrow, elongated sewn-in-place pad on the Signature. The pad is wide and stiff, but you can still wear the bag cross-body (sling-style). However, the non-slip strip could have been extended for a larger gripping surface.
 
In contrast to the Signature series, the Spectral bags can carry a tripod. A pair of tripod straps are included. They attach on the bottom. Granted, this does make setting the bag down on any surface somewhat cumbersome, but it sure beats having to carry a tripod by hand or in a separate bag. You’d do best with compact tripods, especially for this small bag.
 

Where can I get more info?
Think Tank Photo Spectral Series
 
Manufacturer (use this link to order):
Think Tank Photo


​Going Undercover
The cover flap has a magnetic clasp. Nice touch. Pull a tab to release; just drop the flap back down and it should close on its own. I would have preferred this mode of closure to the metal buckles used on the Signature, although it doesn’t reflect the same level of chic. (I’m always afraid the metal buckles will come crashing down on the camera’s LCD when I use the Signature.)
 
Lift the flap and you come to a small outer sleeve that will hold a cell phone of any popular size. Behind that is a zippered pocket designed to hold an 8” tablet, or accessories, such as maps, a guide book, and such. Sleeves within the pocket will hold spare batteries and a memory card wallet. (The larger bags will carry 10” tablets, and the 15” bag will carry a laptop.)
 
Before we go inside, we encounter a secondary cover flap. As on the Signature, this one is zippered and designed to keep out prying hands, as well as the elements. Unlike the one on the Signature, it’s not pleated (which would have been nice – to accommodate lenses that protrude just a bit when standing on end).
 
Open this second flap to access your gear. You can leave it open and fastened to the cover flap via a Velcro-style hook-and-loop attachment, or tuck it into a sleeve inside the cover flap. To be practical, don’t tuck this inner lid away. Instead, use that additional pocket as a “secret” compartment for valuables (it closes with hook-and-loop fastener). By the way, I prefer this arrangement to the one used in the Signature bags.
 
If you use a sling strap that fastens to the camera’s tripod socket, you may be able to leave it attached, since there is enough room for it.
 
One convenience feature carried over from the Signature line of bags is the trolley sleeve (luggage-handle pass-through). This lets you easily piggyback the bag on your roller luggage.
 
​The Interior
The inside of the Spectral may not be as tricked out as that of the Signature series, but it certainly is functional.
 
The bag easily supports a body with attached lens, and because the camera with lens is suspended from a platform consisting of two padded dividers, it’s an easy grab on the run. There’s also room for an extra lens or two or three (depending on size), and possibly an external flash. There is certainly room to squeeze in a sub-compact flash.
 
Additional dividers let you stack small items. All the dividers are movable, making the interior fully customizable.


How much is it?
$99.75/Spectral 8
 
$119.75/Spectral 10
 
$139.75/Spectral 15


In Use
I gave the bag to a friend with an Olympus mirrorless outfit. She cradled the super-compact Pen E-PL6 with attached 14-42mm lens atop the supporting dividers and stowed the 40-150mm lengthwise bottom left. The 9mm fisheye found a secure berth as well, along with a variety of accessories, including a sling strap.
 
Her one complaint: the bag was too wide for a camera this compact. But she found a way around that, securing the camera in place with one or two pouches filled with accessories. Still, from her expression, she would have been happier with a slimmer bag.
 
Next came the Manfrotto Compact Action tripod.
 
I attached the tripod straps (included) to the bottom of the bag and my friend fastened the tripod in place. As she shouldered the bag and started walking around with it, she did note that the tripod didn’t appear to be held as securely as she would have liked. In fact, she’d resolved to carry the tripod separately, just to be safe. Perhaps, with time, we could have figured out a way to secure the tripod to the bag that would have made her more comfortable, but time was short and we had to be somewhere.
 
I should note that she otherwise found the bag a good fit, even when worn sling fashion. My initial impression was that the stiff, wide shoulder pad might lead to some discomfort, but she found it quite comfortable. The Spectral 8 suited her well.

​​Who Should Use This?
Amateur photographers; photojournalists, news photographers, documentary photographers, street photographers, and travel photographers carrying a light load; the Spectral 8 in particular is ideally suited to mirrorless and compact DSLR systems with small to modest-size lenses (larger Spectral bags for pro-size DSLRs without grip).

Capsule Comments
Affordable, well designed, and somewhat fashionable; a practical shoulder bag; weather-resistant on its own, with rain cover (included) for serious downpours; Spectral 8 is well suited to a mirrorless or compact DSLR system with a smattering of lenses, albeit a bit roomy for sub-compact mirrorless bodies.

Conclusions
Unlike the much more costly Signature series with its leather accents, the comfortably-priced Spectral series is low-key. Yet the Spectral does carry a certain degree of panache with it.
 
More important than looks is functionality. The bag wears well and is easy to work out of.

KEY FEATURES per Think Tank Photo
  • Tablet pocket (Spectral 8: 8”, Spectral 10 & 15: 10”)
  • Phone pocket sized for today’s large phones
  • Tripod attachment points and straps
  • Highest quality materials (metal hardware, YKK RC Fuse zippers, 420D velocity nylon) and the highest quality construction
  • Luggage handle pass-through
  • Comfortably padded non-slip shoulder strap for all day comfort
  • Customizable divider layout with dividers for stacking short lenses
  • Water bottle pocket
  • Seam-sealed rain cover included
  • 15” Laptop compartment (Spectral 15 only)
 
 
MATERIALS per Think Tank Photo
Exterior: All fabric exterior treated with durable water resistant coating while fabric underside is coated with polyurethane for superior water resistance. The bag also has YKK RC Fuse (abrasion resistant) zippers, 420D velocity nylon, double PU coated P600D, heavy-duty nylon tarpaulin, UltraMesh pockets, antique plated metal hardware, Fidlock mangetic buckle, 350G 3D air mesh, 3-ply bonded nylon thread
 
Interior: PE board reinforced removable closed cell foam dividers, 200D liner, PU backed nylex liner, 2x PU coated nylon 210T seam-sealed taffeta rain cover, 3-ply bonded nylon thread
 
 
PRODUCT SPECIFICATIONS  per Think Tank Photo
Spectral 8
  • Internal Dimensions: 10.2” W x 7.5” H x 4.9” D (26 x 19 x 12.5 cm)
  • Exterior Dimensions: 11” W x 8.3” H x 6.1” D (28 x 21.2 x 15.5 cm)
  • Tablet Compartment: 8.3” W x 5.5” H x 0.6” D (21 x 14 x 1.5 cm)
  • Weight: 1.7 lb (0.8 kg)
 
Spectral 10
  • Internal Dimensions: 13” W x 9.1” H x 4.9” D (33 x 23 x 12.5 cm)
  • Exterior Dimensions: 13.8” W x 10” H x 6.1” D (35 x 25.5 x 15.5 cm)
  • Tablet Compartment: 10.4” W x 7.6” H x 0.6” D (26.5 x 19.2 x 1.5 cm)
  • Weight: 2.2 lb (1.1 kg)
 
Spectral 15
  • Internal Dimensions: 15.3” W x 9.8” H x 5.1” D (39 x 25 x 13 cm)
  • Exterior Dimensions: 16.1” W x 12.6” H x 6.3” D (41 x 32 x 16 cm)
  • Tablet Compartment: 12.6” W x 7.6” H x 0.8” D (32 x 19.2 x 2 cm)
  • Laptop Compartment: 14.1” W x 9.6” H x 1” D (36 x 24.5 x 2.5 cm)
  • Weight: 2.5 lb (1.2 kg)
 
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Test Report: Tamron 150-600mm Di VC USD G2 (Model A022)

7/26/2017

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PictureTamron SP 150-600mm f/5-6.3 Di VC USD G2 (Model A022). Courtesy Tamron USA.
​This is how I ended up buying, and testing, the Tamron 150-600mm G2 lens.
 
My interest in bird photography took a decided turn earlier this year. Over the past few years, I’d been photographing deer, mostly with a Tamron 70-300mm on my Nikon D610. However, aside from the occasional waterfowl, birds were largely out of the question. Then I wrote a column for Shutterbug Magazine on the amazingly talented bird photographer Alan Murphy and I’d found the impetus I needed. 
 
Alan’s bird photography is largely reminiscent of the paintings of John James Audubon. His images have this clean, uncluttered look, with a unique depth to them. I could only hope to achieve a modicum of his success. Anyway, you really should check out Alan Murphy's bird artistry on his website.
 
Alan conducts workshops on bird photography, and I had asked him what lens focal length he recommends to workshop attendees. He answered, 600mm. Numerous factors come into play that may affect that choice (species, time of day, situation, for example), but that 600mm is normally the go-to workshop lens for many scenarios.
 
And that got me thinking. My longest focal length until recently was 300mm (in a 70-300mm zoom for my Nikons, as well as a Canon 300mm f/4 fixed-focal lens when I was shooting Canon). Not nearly enough for those birds I wanted to photograph. Even attached to my Nikon D300, that only gave me 450mm – respectable reach, but not ideal, keeping in mind that birds in the wild keep a buffer zone between you and them – and that buffer zone translates to: I need a longer lens!
 
So I explored my options, namely, the cost of a long lens, its size and weight, and how I’d primarily be using it. I usually shoot handheld with most lenses, and largely by available light, resorting to flash only occasionally. When I’d finished crunching the numbers, the choice was obvious.
 
I bought the Tamron 150-600mm G2.
 
Poor AF with fast-moving subjects on the cameras I then owned, namely the Nikon D610 and D300, also meant I needed to update to a more responsive DSLR, and one that could easily work with the maximum f/6.3 aperture on this Tamron zoom. That soon resulted in the purchase of the Nikon D500 (look for a test report on this camera soon). Attached to a DX camera - specifically the D500 (APS-C format with a cropped sensor factor of 1.5x), this lens would give me 900mm out of the gate, and 1170mm when I applied the additional in-camera 1.3x crop factor without adding any converters. That gave me considerable reach, although I’d discover that capturing flighty subjects at nearly 1200mm would prove to be largely a frustrating task.


The Tamron 150-600mm G2: Overall
This lens picks up where the original Tamron 150-600 (introduced December 2013) leaves off. According to Tamron, the new version (G2 = second generation) adds better optical and AF performance, image stabilization enhancements, fluorine coating, and a Flex Zoom Lock, with optional matched teleconverters.
 
While I only checked it out once and have yet to actually use it (haven't found a need for it), the Flex Zoom Lock lets you lock in any zoom setting with the aid of a clutch-type mechanism. And it works easily enough. There is, of course, the more traditional zoom lock at the minimum zoom setting, although I didn’t experience any lens creep with the lens left in a ready (unlocked) state.


How much is it?
$1399 (Canon/Nikon/Sony A mount)
 
Distributor/manufacturer
Tamron USA

More Info:
Tamron 150-600mm G2
​
A Note About the TAP-in Console
This accessory lets you update the lens's firmware and customize the lens. I bought it but haven't found a need for it yet. There were no firmware updates at this time. The link is obscure, so here it is, for your convenience: TAP-IN CONSOLE.
​The Tamron 150-600mm G2: Optics
Optically the lens features low-dispersion glass to deliver crisp images, with proprietary coatings to counter flare and ghosting. Whereas both old and new versions of this lens feature moisture-resistant construction, only the new G2 can boast fluorine coating.
 
While not new in a Tamron lens, and certainly not exclusive to Tamron, fluorine coating, according to the company, makes the lens surface “easier to wipe clean and less vulnerable to the damaging effects of dirt, dust, moisture, and fingerprints.” I try desperately to avoid anything coming in contact with the surfaces of my lenses, so thankfully I didn't have to test for this feature.
 
The one question I have for Tamron is: Why fluorine-coat only the front element? Why not also the rear element? A lens can easily get smudged at either end. (A question I’ve asked before with regard to Tamron’s 15-30mm f/2.8.)
 
Tamron also improved close-focusing on this lens. The original 150-600 focused down to just over 106 inches for a 1:5 reproduction ratio. The new G2 version takes that down to under 87 inches (1:3.9), which is a considerable difference that you may not fully appreciate just from the numbers. Not a true macro lens, but very respectable – and it would prove to come in handy. I managed to capture some fairly tight shots simply by zooming all the way out to the 600mm setting and bringing the lens in as close as possible.

​Adding a Matched Converter
This Tamron lens does have the option of a matched converter. The available converters are 1.4x (TC-X14) and 2x (TC-X20). Keep in mind that adding a converter effectively slows down the lens, by one and two stops, respectively, leading to slower AF response times.
 
I held off adding the converter because I was buying the D500 primarily for its AF responsiveness and didn’t want to hamper the camera in any way. One day I might yet entertain buying the Tamron converter. But not today.
 
In combination with the 1.5x and 1.3x crop factors built into the D500, a 1.4x converter would take this lens to over 1600mm. On top of that crop factor combo, the 2x converter would effectively give me a 2340mm lens. Either would also require a bright, sunny day and birds that remained fairly stationary for less than optimum shutter speeds or which I could photograph in flight, while I panned with the camera. And don’t get me started on handholding limitations. Suffice to say, a sturdy tripod with a  gimbal head would be a practical addition to your field outfit at this point.
 
While this lens does employ Tamron’s proprietary Vibration Compensation (VC) technology, image stabilization only takes a lens so far. Although, it often comes to the fore in situations where neither a tripod nor monopod is a practical solution.

In Use: Handholding the Tamron 150-600mm G2
I own a Canon 300mm f/4 IS lens. I used to complain about handholding that lens. No more. This Tamron lens makes that one feel like a featherweight. Okay, I exaggerate. Still, the Tamron is about 2 lb. heavier, and when held for long periods, that literally begins to weigh on you.
 
I’ve taken to doing curls with a 10-lb. dumbbell to build up endurance and resistance in my left arm, the one supporting the lens – and I’m happy to say, it’s worked, though I don’t feel I’m quite there yet. Still, I’ve been able to reduce shutter speeds at maximum focal length and still achieve sharp results.
 
After all that handholding, I’d decided to make things easy for myself and bring a monopod into the picture. What a difference that made! Granted, it slows me down somewhat and now I have to be careful when moving about, unless I collapse the leg or, better yet, detach the monopod from the camera entirely – two steps guaranteed to slow me down further.

​In Use: Image Stabilization
The lens offers three VC (Vibration Compensation) image stabilization modes. Mode 1 stabilizes the image when the shutter is released, but also maintains a stable viewfinder image while the shutter button is pressed halfway, or the AF button is activated. Mode 2 is used when panning. And Mode 3 foregoes the stable viewfinder image to deliver more certain stabilization of the image (which means, you’ll have to hold really steady to keep critical areas in focus). FYI – according to the official number crunchers, Tamron’s VC will deliver 4.5 stops of optimized shutter speed performance against camera shake when set to Mode 3.
 
In practice, I largely kept the lens in Mode 1. If you have trouble holding the lens steady, your compositions and focusing may be thrown off in Mode 3. Mode 1 at least gives me a good shot at controlling both.

One thing I’ve discovered is that I do much better getting sharp shots with the lens tilted downward to some degree, rather than straight on or upward. Apparently, there’s less tension exerted on the supporting arm this way. I did manage to get a camera-shake-free picture of a flower with the lens at 600mm (= 900mm/full frame) at 1/60 second, which translates to roughly a 4-stop gain for a handheld exposure – in Mode 3. The optimum for a handheld exposure at this focal length would be 1/1000 second.
 
When I was testing the Tamron 70-300mm some years back, I was able to go 5 stops slower than the recommended shutter speed to prevent camera shake, though not consistently. I really don’t like to rely on any image stabilization technology if I can avoid it, but I will resort to it in a crunch. When shooting with the 150-600mm, especially at the longest zoom setting, I often kept to fast shutter speeds, at most stretching to one stop slower. But these settings were also based largely on the fidgetiness and movement of my subjects, which mandated fast shutter speeds to begin with.

​In Use: The Dual Role of the Tripod Mount
The lens comes with a removable tripod mount. Do not remove the tripod mount. You know what will happen if you do: you won’t find it when you need it. More to the point, I use the tripod mount as a grab handle when carrying the lens. And I’ve attached a sling strap to the mount.
 
Also, for better balance, at least with my D610 and D500 (without battery grip), I’ve used the rear screw thread on the tripod mount for this purpose. The lens's tripod mount comes with a built-in Arca-Swiss-style quick-release (QR) plate. There are two tiny screws (provided) that you should attach at the base for added security (hex wrench included). Periodically check them and tighten if required. (A little bit of clear nail polish should keep the screws in. A trick I learned from one of the nicest people in the industry, the camera repair maven, Marty Forscher.)
 
So, why do I carry the camera by the lens’s tripod mount if I’m using a sling? Whenever I use a sling, I always grab hold of the camera as I’m moving about so I can more quickly bring it to my eye. I usually grab the camera by the grip, but that’s not a prudent step with a long, heavy lens such as this. Hence my use of the tripod mount as a handle. (I strongly recommend that you steer clear of picking the rig up by the camera body, and especially in sudden, jerky movements, which may exert sufficient torque force to damage the camera.)

​In Use: Zooming and Focusing
Zooming, while smooth, is not as fast as I might like. You have to grab the lens’s zooming ring with your whole hand when zooming from one extreme to the other, and it takes several turns or one or two really good twists if you’re a contortionist. When I’m running around, I often prefer to retract the lens so it doesn’t protrude as much and bump into things. But I’ve gotten used to it. A push-pull mechanism option would have proved handy, although I’m not sure that might not play havoc with the lens’s mechanics and long-term durability.
 
For minor focal-length adjustments, by cradling the lens in the palm of your hand and then using both your thumb and index or middle finger, you can easily zoom. The way you position the tripod mount will affect how you zoom. Without it, you may find zooming goes more smoothly.
 
Manual focusing or manual focus override with AF is more to my liking, and quite smooth. I can manage that operation with a finger or two on the focusing ring.
 
Autofocus operation in and of itself is reasonably good. That is, of course, due in large measure to the D500 that I’m primarily using with this lens now. It was not nearly as good with the D610.
 
The old and new 150-600 feature Tamron’s USD (Ultrasonic Silent Drive) ring-type motor, but Tamron does claim better AF performance with this lens. How much of that is a function of the lens itself is difficult to measure, but I’ll take Tamron’s word for it that it’s improved over the previous iteration of this lens, since I can’t compare them side by side. Either way, the G2 is fast but sometimes doesn't seem fast enough with flighty subjects. But I could also be to blame for not responding as quickly as I should in these situations.

​Who Should Use This?
Wildlife photographers, bird photographers, nature photographers, sports photographers – from amateur to seasoned pro.
 
Capsule Comments
A beautifully crafted lens with weatherproofing and protective coating on the front element; takes a bit of getting used to; may be easier to handhold for some than for others; not as fast as I’d like, but the price is right; delivers crisp results.

Conclusions
I made the right decision buying this lens. Granted, knowing I was getting a heavy, bulky lens didn’t entirely clue me into how to manage working with the lens, and that’s something I’m still working on. In the interim, I’ve stared using a monopod to ease the burden. The removable tripod mount is a great asset, both for improved balance when mounted on a monopod (or tripod) and while carrying with the aid of a sling strap.
 
One of my early concerns was finding the photo backpack to use with this lens, but, as it turned out, I had numerous options. I've carried the lens attached to the camera in Think Tank Photo’s StreetWalker Pro V2.0 backpack, and in Mindshift Gear packs, namely, TrailScape 18L, Moose Peterson MP-3 V2.0 pack, and even the new PhotoCross 13 sling pack (a snug fit, but manageable - see photo below).
 
Weight and size aside, the quality of images this lens delivers makes me as happy as the proverbial clam.
 
I just wish it were a faster lens so I wouldn’t find myself resorting to ISO 6400 as often as I do.
 
Still, the close-focusing capabilities and the amazing reach of 900mm on my Nikon D500 combine to give me a very versatile lens. Not only have I used it for birds, deer, and small mammals, but I found it works well when photographing flowers and other plant life that would have been out of reach, as well as with more intimate landscape views, all with nice, soft backgrounds when shot at or near maximum aperture.
 
So what it all comes down to is this: This lens was a great buy. I highly recommend the Tamron 150-600mm G2 to anyone interested in bird photography and wildlife photography in general. Just take the time to get to know the lens and especially the various image stabilization modes before venturing out on that once-in-a-lifetime adventure.

SELECTED PRODUCT SPECIFICATIONS (per Tamron)
Model: A022
Focal Length: 150-600mm
Maximum Aperture: F/5-6.3
Angle of View (diagonal): 16°25' - 4°8' (for full-frame format)
: 10°38' - 2°40' (for APS-C format)
Optical Construction: 21 elements in 13 groups
Minimum Object Distance (min. focusing distance): 86.6" 
Maximum Magnification Ratio: 1:3.9
Filter Size: Ø95mm
Maximum Diameter: Ø108.4mm
Length: for Canon 10.2 in / for Nikon 10.1 in
Weight: for Canon 70.9 oz / for Nikon 70.2 oz (incl. tripod mount)
Aperture Blades: 9 (circular diaphragm up to 2 stops down from maximum aperture)
Minimum Aperture: F/32-40
Image Stabilization Performance: 4.5 stops (using VC Mode 3) CIPA Standards Compliant (For Canon : EOS-5D Mark III is used / For Nikon : D810 is used)
Standard Accessories: Lens hood, lens caps, soft lens case
Compatible Mounts: Canon (w/VC), Nikon (w/VC), Sony A-mount (w/o VC)
Specifications, appearance, functionality, etc. are subject to change without prior notice.


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Test Report: MindShift Gear's PhotoCross 13 Sling Bag Is a Natural for a DSLR with Attached 150-600mm Zoom

7/11/2017

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PicturePhotoCross 13 sling pack (orange ember). Courtesy MindShift Gear.
​If the PhotoCross 13, from MindShift Gear, can hold my Nikon D500 with Tamron 150-600mm G2 attached, imagine what other combinations of gear it can carry! That’s the surprising discovery I made on the third day working with this bag. But first allow me to detour for a moment with some thoughts on choosing between a sling and backpack for your photo gear.

​Sling vs. Backpack
I routinely prefer a backpack for my photo adventures into the wilderness, and even on the streets of Chicago. More to the point, I’ve never been one to wear or even favor a sling bag when carrying camera gear, except when testing these bags. They are favored by the younger generation, I’ll give you that.
 
Granted, when I wear a shoulder bag, namely the Signature 13, I do so largely sling-fashion, but that’s only because the strap on that bag lends itself to easy portage in this manner. And I carry a light load (read more on the Think Tank Photo Signature 13 here.) 
 
The problem with bags that carry the moniker “sling” is, in my experience, that the strap always cuts into my neck, largely due to a shoulder pad that is too stiff and inflexible. And many of these bags try to be a photo pack minus the backpack harness, meaning they strive to fit as much gear as possible, to the point where your neck and shoulder will hate you 15 minutes into your trek.
 
So when MindShift announced the PhotoCross, I approached it with some trepidation. Little by little, the bag started to grow on me. In the end, I may have found the one sling that fits me to a tee.
​
PicturePhotoCross 13 (with orange accents) on the left; PhotoCross 10 on the right. Courtesy MindShift Gear.
​Choosing the Right Size
I immediately opted for the larger of the two new PhotoCross sling bags. In determining what would be a good fit, I began with the product photographs on MindShift’s website – the pictures showing the bags decked out with a complete array of gear.
 
The second thing I did (and do routinely) before requesting a sample bag for testing and evaluation is to watch the product video. MindShift (as well as Think Tank) keeps the introductory video short and sweet. I try very hard to read between the lines, but, I have to admit, they keep the dialog tight and to the point. So the only thing left for me to do was to order the bag I felt would be the right fit. And that was the PhotoCross 13. It proved to be the right choice.
 

​PhotoCross on the Surface
Aside from a choice in size, you have a choice in color schemes. More realistically, it comes down to a choice in color accents. I chose Orange Ember, the other choice being Carbon Grey (hey, MindShift – this is the USA; we spell it “gray”! No need to get hoity-toity on us.). I would have been happier still with a bag that was predominantly orange, with gray (not “grey”) accents.
 
The color accents around the front of the bag key us into the zipper locations. There is an outside pocket, which I wish would have been pleated to accommodate a light jacket. But, as is, it’s still functional enough to hold any non-bulky extras you may need. There’s also a pair of smaller pockets inside this outer pocket. The other zipper leads to the main camera section, with additional pockets.
 
There’s also some accent stitching on the back – not that anyone will notice while you’re wearing the bag. Still, a nice touch. And there are other subtle color accents besides.
 
Okay, color schemes aside, let’s get down to the nitty-gritty. The body of the bag maintains a fairly svelte appearance. That’s not a fashion statement. That’s a practical feature. In the woods there’s less likelihood that the bag will hinder your progress in tight spaces and it won’t bump into people on buses and trains. Well, the tripod hanging off the back might, but you can always hand-carry it till you reach a clear path.

​The PhotoCross Harness System
This sling pack features a one-piece, adjustable shoulder strap, with thin, air-circulating, mesh-covered padding lining much of the strap. There’s a stretch of similar padding extending out from the base of the bag, which falls against your lower back. I wish this padding ran the entire length of the strap for added comfort.
 
That same mesh lines the back of the bag. However, lacking the raised shoulder and lumbar pads usually found on a backpack, this really didn’t provide much cooling. But there’s a way around that (read on).
 
The shoulder strap has no buckles to fasten and unfasten. While fasteners do make it easy to remove the bag when you’re seated, in every other conceivable situation, they’re a nuisance – and a potential hazard. With gravity and inertia taking over, you may lose your grip on one or both straps when trying to snap the ends together, or when unsnapping them, with the potential for the bag to come crashing to the ground.
 
And to sweeten the deal, there is even a set of compression straps – one at the top, another at the bottom – so you can better tailor the shoulder strap and ultimate fit to your comfort level. By this means you can separate the bag from your back a bit more for improved air circulation.
 
What’s more, there’s no sliding shoulder pad that you constantly have to readjust. The padding is part and parcel of the strap, so it moves with the strap. And, again, the soft padding on this bag ensures your neck won’t chafe from a stiff shoulder pad. You may still find yourself adjusting the strap to optimize your comfort level, but that’s something one does normally when wearing any bag.
 
There’s also a tuck-away waist belt. It’s largely there in case you’re negotiating treacherous terrain and want to prevent the bag from shifting and throwing you off-balance.
 
Couple that with a pair of hand straps to help you get a better grip on the bag. Add to that, the bag employs reinforced box-X stitching at stress points on the main handle. And the stitching on the bag overall is immaculate, with nary a loose thread that I could find.

PicturePhotoCross 13. I pulled out the dividers, positioning one as a "floating cushion" beneath the lens, then parked the D500 with attached Tamron 150-600mm G2 cozily in the bag.
​The PhotoCross 13 in Use
The bag is meant for a casual walk in the woods or on city streets, with a modicum of gear. You’re not going to get a gripped DSLR and long, fast lenses in here.
 
The main camera section has three, fully adjustable modules, with movable padded dividers (via Velcro-type hook-and-loop fasteners). What will that fit? I’ve carried a 70-300mm attached to the camera, a flash in the second module, and various accessories including sling strap in the third. Actually, you’ll be surprised at how much you can squeeze into this bag.
 
What’s more, I was pleasantly surprised when I was able to load my D500 and 150-600 zoom into this bag. It was a tight fit and getting this combo back in the bag while I was wearing it required a bit more of an effort than when removing the gear. It was also fairly easy to load this combo into the bag before donning it. I also managed to fit the Nissin i60 in a soft pouch on top when I'd started out.

If you’re wondering, if I had to remove the tripod mount on the 150-600, the answer is no. I inserted the camera into the bag lens first, camera grip upwards (portrait mode). And I rotated the tripod mount so it rested facing upwards, making it easy to grab the mount as a handle and pull up. Once out of the bag, the tripod mount was returned to its original position.
 
There’s also a tablet sleeve inside the camera section, lying against your back. I say “tablet,” not “laptop,” because I can’t see anyone schlepping a laptop of any size, unless it weighs no more and is no bigger than a tablet (contrary to specifications). I’m not even sure I’d carry a tablet, certainly not with the long-lens rig just described. Perhaps I would with a smaller, lighter load.
 
Because I wear hats, the hat does get in the way, requiring its removal when donning the pack, or removing it. A sling camera strap proved equally annoying when wearing this sling pack. I may try to sling the bag to the left and carry the camera at my right (for a fast grab – really, the only way to use a sling strap) and see how that works. Although I’ll probably just keep things as they are, being right-handed.
 
Given that the bag’s hand strap on top falls naturally in position for an easy grab with your right hand when the bag is carried to the left, I’m beginning to wonder if that wasn’t the intended carrying method. I gave it a quick try, but it didn’t feel natural, so back to the tried and true (subject to change without prior notice).
 
A third strap on the bottom would equal the score in terms of making it easy to grab and swing the bag around, but that may interfere with the integrity of the bottom panel, which is designed to be better resistant against wear to vertical placement and scraping of the bag on rocks and dirt.
 
All that aside, what’s important is that the entire time I wore the PhotoCross, I never felt as if it were choking me or cutting into my neck.
 
One thing I should point out. It may take a bit of trial and error to get the shoulder strap just the right length, while adjusting the compression straps for maximum comfort. For now I have the bag flush against my back at the top, but looser at the bottom, which seems to work for me.

Look for a review of the Nikon D500 and Tamron 150-600mm G2 soon.

Who Should Use This?
Hikers and nature enthusiasts; tourists; amateur photographers on a regular basis and even pros on vacation.
 
Capsule Comments
Fairly comfortable and protective; durable construction; customizable; thoughtfully designed; room for a tripod and full-size water bottle; weather-resistance aided by included rain cover; barely room for a jacket in the outer pocket but can be carried in place of a tripod, or perhaps with the tripod; holds a small laptop (PhotoCross 13) or tablet (if you must); PhotoCross 13 was surprisingly roomy – carried my DSLR with attached 150-600mm zoom.
 
Conclusions
On one outing, after detaching the sling strap from the camera, I put the camera down in preparation for returning it to the bag. Then it dawned on me: Hey, this is a sling bag! No need to take that extra step. Of course, I could have left the camera attached to the strap, but who knows how the mind works sometimes? (Either way, I often prefer to separate strap and camera till I reach my destination.) Anyway, I brought the bag around to the front and unzipped it, picked the camera up, tucked it safely into the bag, followed by the sling strap, zipped the bag, and returned it to its resting place against my back. The story doesn’t end there.
 
Going home I boarded a crowded Chicago “L” (subway) train, resigned to stand for much of the trip, when I spied a seat. I shifted the bag to the front, against my stomach, grabbed onto an overhead hand strap, and gingerly swung myself into the seat for a perfect landing that didn’t jostle the passengers on either side. Had I been carrying a backpack, this story would have ended quite differently.
 
Now here’s my full itinerary for the first three days of testing. It went something like this.
 
Day 1: Sweltering heat and humidity, but I managed a short walk around the neighborhood without feeling stressed out by the adverse conditions. Gear: Nikon D500, Nikon 18-200mm attached to camera, Nissin i60A shoe-mount; Custom SLR Glide One sling strap.
 
Day 2: This day saw me on a walking tour of Chicago Riverwalk for several hours, in the evening – cooler, but considerably more walking. Gear: D500 with attached 18-200mm, ultra-compact Sirui T-025X carbon fiber tripod; Giottos compact head carried inside the bag (so the tripod wouldn’t extend out from the bottom); Nissin i60A flash; Glide One sling.
 
Day 3: I headed into the woods sans tripod to photograph deer and wildflowers for a few hours – a mild hike on undulating paths, on a fairly muggy day. Gear: D500, Tamron 150-600mm G2 lens attached; Nissin i60A (although after packing away the camera with sling strap attached, couldn’t find room for the flash so ended up carrying it in a vest pocket); Glide One strap.
 
On that last day, as I set out on the bus, it also dawned on me that I would never have to put the bag down while on a bus or train. I could simply slide it around so that it reposed gently, without the full weight falling on my knees, allowing me to sit comfortably.
 
At this point, I’ve pretty much dedicated the PhotoCross to carrying my D500 and 150-600. Well, until this Sunday, when I hit Chinatown for a festival and will likely switch lenses – but not bags.
 ​

MATERIALS
Exterior: All fabric exterior is treated with a durable water resistant coating while fabric underside is coated with polyurethane for superior water resistance, YKK weather resistant zippers, 420D high-density nylon, heavy-duty nylon Tarpaulin, 350g air mesh, nylon webbing, 3-ply bonded nylon thread.
 
Interior: Removable closed-cell foam dividers, P210D liner, polyurethane backed Velex liner, 2x polyurethane coated 210T seam-sealed taffeta rain cover, nylon binding tape, 3-ply bonded nylon thread.

Where can I get more info/order this product? (Click on highlighted link.)
MindShift Gear (use this link to order direct)

 
Manufacturer:
MindShift Gear

 
How much is it?
$129.99/PhotoCross 13
$114.99/PhotoCross 10

​FEATURES (per MindShift Gear)
  • PhotoCross 13 fits an ungripped DSLR, 2 - 4 lenses including a 70-200mm f/2.8 and some 13” laptops
  • PhotoCross 10 fits an ungripped DSLR + 1 - 2 lenses + 10” tablet or mirrorless body + 3 - 5 lenses + 10” tablet
  • Weatherproof zippers and materials
  • Tripod or jacket carry with included straps
  • Dedicated, padded pocket fits a tablet or a laptop (10 = 10” tablet, 13 = some 13” laptops)
  • Easy rotation for rapid access to gear and accessories
  • 3-point harness for stabilization with tuck-away waist belt
  • Secure your bag by linking the zipper pulls together
  • Water bottle pocket locks in most 1 liter bottles
  • Breathable 320G air-mesh back panel keeps your back cool during long days
  • Internal zippered pockets for batteries, memory cards or other small accessories
  • Easily accessible front pocket for filters, snacks, or a light layer
  • T-pulls are easily gripped with or without gloves
  • Top and side carry handles
  • Fully customizable interior dividers for photo or personal gear
  • Seam-sealed rain cover included for downpour conditions

​SPECIFICATIONS
 
PhotoCross 13
  • Internal Dimensions: 9.4” W x 14.2” H x 5.5” D (24 x 36 x 14 cm)
  • External Dimensions: 12.6” W x 17.7” H x 7.1” D (32 x 45 x 18 cm)
  • Laptop compartment: 9.1” x 13” x 1” (23 x 33 x 2.5 cm)
  • Maximum weight (with all accessories): 2.4 lbs (1.1 kg)
  • Shoulder strap length: 42.5–62.2” (108–158 cm) (includes length of product)
  • Waist belt length: up to 63.8” (162 cm) (includes length of product)
  • Volume: 11 liters




​

PhotoCross 10
  • Internal Dimensions: 7.1” W x 12.5” H x 4.8” D (18 x 31.8 x 12.2 cm)
  • External Dimensions: 11” W x 15.9” H x 6.3” D (28 x 40.5 x 16 cm)
  • Tablet compartment: 8.2” x 11” x 0.6” (20.8 x 27.9 x 1.5 cm)
  • Maximum weight (with all accessories): 2.1 lbs (1.0 kg)
  • Shoulder strap length: 42.5–62.2” (108–158 cm) (includes length of product)
  • Waist belt length: up to 61” (155 cm) (includes length of product)
  • Volume: 7.5 liters


 

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Test Report: Nissin i60 Compact, Multi-Mode Shoe-Mount Flash for On-Camera and TTL Wireless Operation, Including Radio TTL Wireless

7/7/2017

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PictureNissin i60A. Courtesy NEIDLLC.
​Nissin introduced TTL radio wireless capability with the Di700A shoe-mount and Air 1 transmitter (reviewed here). Now this same wireless capability comes to Nissin’s latest flash, the i60A.
 
What sets the i60A apart from the Di700A is the new shoe-mount’s compact size and more extensive feature set. Does this mean it’s a better fit for you and your style of shooting? Let’s see…
​

But First a Few Words about Nissin TTL Radio Wireless Flash
Nissin labels its proprietary 2.4GHz TTL radio wireless technology NAS, for Nissin Air System (not to be confused with NAS, or network-attached storage, drives). Hence the “A” designation in both the Di700A and i60A – for Air-compliant. Out of the box, and without accessories, both shoe-mounts support on-camera and wireless TTL operation – but without radio triggering. It takes one key additional component to activate radio triggering, the Air 1 transmitter.
 
“Air” represents a key link in the system. An integral component (albeit optional) is the Nissin Air 1 transmitter, which sits in the camera’s hot shoe. The Air 1 controls and triggers the Air-compliant off-camera flashes, which are said to be slaved to the Air transmitter, or master.
 
All output and zoom settings are made on the Air 1. Only Group (and, where applicable, channel) settings are made on the remote units. You might want to designate different remote flashes under separate groups for better lighting control of subject and background. (Channel settings are rarely required and usually only come into play to prevent interference with devices on the same channel.)
 
If you use a TTL-dedicated, non-Air-compliant flash, whether Nissin or another brand, simply attach the optional Nissin Air R remote receiving module to the flash by way of the hot shoe and you’re in business, with camera, Air 1, and all remote components talking to each other to deliver reliable TTL flash exposures.
 
Radio control in this wireless system, according to Nissin’s specifications, will work with off-camera flash units to roughly 100 feet. Typically, radio triggering has the added advantage that it works even when those remote strobes are situated around corners or behind obstacles, in contrast to photo-optical and infrared triggering, which require a direct line of sight. And radio triggering is more reliable outdoors.
 
Keep in mind that these A-designated flashes will not trigger TTL dedicated strobes in any fashion (not even other Nissin strobes). They require a separate Master module, whether radio or optical/infrared, to trigger them in order to produce TTL flash exposures. However, they will trigger any flash that has a built-in photo-optical sensor, for conventional flash operation using manual exposure control.
​
​Nissin i60A: A Closer Look
The i60A is rather odd-looking. Seated in the camera’s hot shoe with head down (default position), the i60A presents a remarkably low profile. It manages to fit 4 AA batteries and all the circuitry into a squat little form factor.
 
So, what’s odd about it. Sitting on that compact battery housing/control center is a ginormous flash head. At least that’s how I’d describe it. The base of the i60A measures roughly two-thirds that on the Di700A in height. But the flash head itself is a tad longer than the head on its older sibling – by about 1cm. The depth of the head on the i60A (measured at the face, top to bottom), is about 2cm less (not including that odd bump toward the back of the i60A - possibly housing the capacitor). But when you add it all up, the head looks out of proportion, judging by its size relative to the base. Nothing wrong with that, but the overall size does warrant closer examination.
​
​Small, Yet Packs a Punch
Getting past the look of the flash, let’s see what this little shoe-mount is all about. For starters, the i60A is pimped up with all the shooting modes found on the Di700A, but with even more control. That means full TTL flash operation on camera and remotely. Remote operation extends to optical/infrared TTL wireless, photo-optical non-TTL wireless, and TTL wireless radio operation.
 
While we rarely use Guide Numbers (GN) in this day and age of TTL dedicated flash, the GN does give us a sense of the effective reach and power of the unit. And in that sense, it serves as a practical guide, hence “Guide” Number.
 
At ISO 100, the i60A will cover a distance of 89 feet (27 meters) at the 24mm zoom setting. At the 200mm setting (ISO 100), that jumps to 198 feet (60 meters). Compare that to any camera’s built-in flash. The i60A’s built-in diffuser panel and included dome diffuser will knock these numbers back a bit.
 
By the way, the i60A is a bit more powerful than the larger Di700A. At the 200mm zoom setting, the GN for the Di700A is 178/54 (ISO 100, ft/m). And the new flash is considerably more capable than the even smaller and older Nissin i40. The i60A is also the most expensive flash in the current Nissin lineup, even more than the flagship Di866 Mark II. The i60A draws on much of the functionality from the 866 Mk II while replacing more esoteric features and expanding on others.
 
The i60A adds one more feature not found on most shoe-mounts: a video light. This light, consisting of two LEDs (diffused), can be adjusted in brightness. And it’s bright! I didn’t realize it at first, but this video light would really come in handy at some point in a studio setup. And, if nothing else, it makes a great flashlight in a pinch. (You’ll also find this feature on the earlier i40.)
​
​The Interface – User-Friendly… to a Point
The interface on the i60A consists of a color LCD panel, dials, and buttons. The LCD panel is small but easily readable, if you have fairly good eyesight, that is. It is, however, difficult to read under bright lighting. I recommend you shade the display outdoors when changing settings.
 
Somewhat disconcerting, the panel dims almost immediately and there’s no way around this. But you can bring it back to full brightness by a press of any button, except, obviously, the on/of switch, or when changing modes.
 
The control dials may be a bit harder to read for some, especially if you suffer from astigmatism. The lettering is tiny and the detent marker on the mode dial doesn’t precisely align with the mode settings - nor is it clearly marked (it's raised), so you may do better paying close attention to the LCD display to get a better sense of the flash mode than to the mode dial itself. And in dim light, that may be the only way to read flash modes, unless you bring a flashlight or a cell phone with you.

Picture
Nissin i60A interface showing flash in full TTL mode (non-wireless), at -2 EV. To use the TTL wireless modes, shift the mode dial down to the Group settings: A, B, or C (with matching settings on the Master controller/transmitter/trigger). Courtesy NEIDLLC.
Picture
Nissin i60A interface showing flash in Manual mode, at reduced output, with zoom set at 105mm (zoom setting uses dial on the right). Courtesy NEIDLLC.
​Speaking of Those Control Dials
The dial on the left is for flash modes, with the following options. For on-camera (hot-shoe) usage: the green “A” is for fully auto TTL flash, whereas “TTL” gives you more complete TTL flash control, with the added option of onboard flash exposure overrides (to +/-2, in 1/3-step increments).
 
For remote operation, the dial offers SD (for pre-flash digital), SF (non-TTL-flash exposures with any optical flash/trigger), and A/B/C. The A/B/C settings are used with the Nissin Air radio-controlled system. (More on wireless operation below.)
 
The dial on the right provides settings for wireless radio channels (1 to 8) and manual zoom. The other settings control audio (beeps) and high-speed sync for cameras that don’t have that option built-in (not applicable to Nikon DSLRs). The key problem with these controls is that they’re so small that you need a fingernail to access them. Hold down the button until the display changes to the required parameter, for example, zoom focal lengths. Then turn the outer wheel, which is also used to change output settings for the applicable modes. The central button locks in settings.
​
​Wireless Operation
By the way, and this may confuse the issue somewhat, my D610’s built-in flash can be used to trigger the i60A in any wireless mode. In the absence of the Air 1 trigger, the A/B/C settings can also be used for non-radio (that is, optical/infrared) wireless TTL operation of either or both the i60A and Di700A, in the current example, with Nikon CLS controlling exposure.
 
You should also be aware that the i60A (and the Di700A) respond to the built-in flash on the Nikon D610 regardless of channel setting made in the camera or on the i60A. (There are no channel settings on the Di700A.)
 
In the final analysis, what’s really important is that TTL wireless control works reliably, whether via radio or optical/infrared control.
​
​Now More on That Flash Head
The flash head itself raises, lowers, and swivels without the use of a release button. The detents appear to be well enough engaged that the head won’t drop easily when you’re running around with the flash head up at an angle. Adding heavy bounce panels or other accessories to the head may, however, cause a precipitous and unexpected drop if you jostle the flash too much. However, the flash appears constructed well enough to tolerate a bit of mistreatment.
 
We should point to one practical consequence of this disproportionate head on the i60A. When you raise the head fully erect and position it on the mini-stand, the flash will topple over backwards, owing to a high center of gravity. Either lower the head two or three notches or, better yet, reverse-mount the flash on the stand for better support while still maintaining the original stance.
​
​Size Matters
The raison d’etre for this flash is its compact size. Compactness is one thing. But we do have to evaluate how this shoe-mount’s size affects performance. As it turns out, size does matter. But not as much as you’d think.
 
One of the reasons we avoid using the camera’s built-in flash with people (and sometimes animals) is because the on-axis light produced by the flash results in red-eye, where the pupils take on a pronounced blood-red color (due to bounce-back of light off the back of the retina). To mitigate against this possibility, we prefer to use flash off camera, or at the very least use a full-size shoe-mount flash. You could use a red-eye reducing pre-flash, but that destroys the spontaneity of the shot – not to mention the likelihood that your subject will move during that interval.
 
The i60A sits low enough that it could conceivably result in that same red-eye effect encountered with a pop-up flash. We can’t say that categorically, since numerous factors come into play – but I’m just throwing it out there as a possibility, perhaps even a strong probability.
 
We also have to consider the lens barrel and/or lens hood (lens shade) getting in the way and blocking the light. The good news is that tests with my Tamron 70-300mm lens, with and without lens shade, on my Nikon D610, bore out that, at normal shooting distances, you don’t get that arc-shaped shadow at the bottom of the screen, which would typically occur when the lens blocks the flash. So I decided to push it further. It proved to be true even when I moved in close with the lens.
 
I had even used a Tamron 90mm macro lens with attached lens shade on my Nikon D500 with no observable ill effects, shooting some very tight close-ups, I might add. I also tested the flash with my Tamron 15-30mm f/2.8 lens (with built-in lens shade), which has an 82mm filter diameter – a wide schnoz going up against a compact head – with no ill effects to report in terms of light blockage.
 
However, and this is not directly related to size, further tests revealed that light coverage was uneven at very wide lens focal lengths, as tests with the aforementioned 15-30mm lens on my D610 bore out. In fact, I’d recommend you shoot no wider than 24mm, even with the diffusion attachments. You may not notice this in everyday subjects, unless you’re shooting a wall or other uniformly toned flat surface.
 
PictureNissin i60A shown seated atop the included mini-stand, in bounce mode, with both panels in place, along with the included soft box (dome diffuser). Photo @2017 Jack Neubart. All rights reserved.
​No Confusion about Diffusion
In contrast to the Di700A, the i60A does come with a dome diffuser (diffusion dome), or “soft box,” in Nissin’s parlance. There is also a built-in diffusion panel that you pull out of a slot (for use with ultra-wide lenses) – but, in contrast to other shoe-mounts, here this panel extends from the floor, as it were, not from the roof of the unit.
 
What’s more, Nissin cleverly separated the bounce/kicker panel so that it slides out from the top of the unit, somewhat like an awning. On most flashes, trying to extract this panel means first withdrawing both the diffusion and bounce panel together, then returning the diffusion panel to its default position. Much simpler this way when you quickly want to add a catch light to someone’s eyes when using bounce flash.
 
Take all this to the next level. Let’s say you want to diffuse the light further. Simply raise the diffusion panel in place, then snap on the diffusion dome.
 
Now let’s take this one step further. Shooting with bounce flash but feel you’re losing too much light? Simply slide the bounce panel in place – without even removing the plastic dome. This flash opens up a world of opportunities in lighting, and we haven’t even taken it off the camera yet or added other strobes to the mix.

​In Use
Even after a few days, I’m learning new things about this flash. That’s not to say that there’s a long learning curve. Quite the contrary. I put the i60A to use as soon as I pulled it out of the box and installed batteries. But that may be easier for me, since I’ve only recently worked with the Di700A, not to mention a spate of Nissins in the past.
 
I first set about creating a tabletop set with a musical jewelry box in the form of a grand piano, with twirling ballerina on top. The initial setup used the i60A and Di700A as off-camera flashes triggered by the Nissin Air 1 transmitter seated in the Nikon D500’s hot shoe. I’d set the background flash – the Di700A – as Group B with a lower output setting, with the i60A at full power as the key light from in front and to the side. Everything worked as expected. Now came the next phase, capturing the ballerina performing a pirouette atop the piano. But, as is, there wasn’t enough ambient light to record the movement.
 
So the next day, I made a few changes. First, I draped black velvet inside the light tent. Black velvet has a way of catching the light as undulating waves, which adds depth to any still life set.
 
Then, just when I was about to set up the i60A as the key flash, with the Di700A again playing a supporting role, a voice in my head loudly chastised me, saying, Hey, use the video light! So I did. A few tests later and I had the light at the right brightness level.
 
I don’t know that I would call either shoe-mount the key light in this instance. After all, the contribution made by the video light was just as important to the shot as the flash illumination provided by the Di700A. By the way, to soften the light from the flash, which does not come with a diffusion dome, I added a small bounce panel.
 
What did the video light do? I set the exposure for slow-sync flash. That means, I used a relatively long exposure. At first I tried a half-second, then a full second. Still not quite what I wanted. So I pushed it to two full seconds – and that did the trick. The spinning figurine recorded as a soft blur of movement by the video light (which we’ll consider our ambient lighting) and was at the same time frozen in time by the flash.
 
I also added a silver panel directed at the front of the piano, notably for the legs and foot pedals (see the set shot). And if you’re wondering why I raised the piano lid all the way up, that’s because the ballerina kept bumping into it and getting knocked off balance – and the rod supporting the lid partially blocked the dancer.
 
I also took the flash outdoors. But I’ll let the pictures and captions tell the rest of this story.
​
Who Should Use This?
Any amateur just starting to use flash or who wants to add something extra to an existing flash setup.
 
Capsule Comments
Fairly easy to use and compact; multiple operating modes for both on-camera and off-camera use, including TTL optical/infrared and TTL radio wireless flash; digital LCD plus an array of dials and buttons (which may be difficult to see/use for some); dome diffuser included, along with built-in diffusion and kicker panels; powerful for its size; built-in adjustable video light. 
​
​Conclusions
The i60A represents a step up for Nissin. This flash builds upon the flagship Di866 Mark II and improves upon it, while doing all that in a smaller form factor.
 
For starters, the i60A is a complete package. It offers full TTL flash operation on camera and TTL wireless operation off camera, including radio triggering (as a slaved unit). The only thing missing is being able to use this flash to trigger remote strobes in a TTL configuration. Hopefully that will come in the next generation Di866, which is due for a refresh, complete with that “A” (Air) designation and radio control (both transmitter and receiver).
 
A welcome first for a Nissin flash, when the i60A is set to a non-wireless mode, which includes the video light, the flash enters standby when the camera is switched off, and is re-animated when the camera comes back to life. Previous Nissins failed to be put to sleep or awakened by the camera. (Wireless operation mandates that the flash remain in a ready state.)
 
Complete mastery of the controls does involve a bit of a learning curve – considerably more so than with the Di700A – but you’ll get the hang of it soon enough. I’d say this unit is better suited to younger individuals. Those with failing eyesight and arthritic fingers would do better with the Di700A.
 
Finally, Nissin stands head-and-shoulders above those cheap knockoffs of OEM (original equipment manufacturer) shoe-mounts. Some may argue over whether these Nissin flashes can go toe-to-toe with gear from the original manufacturer. However, given a very inviting price point combined with a full feature set that includes every practical mode of TTL wireless flash operation, Nissin gear can’t be beat. And the Nissin i60A shoe-mount is certainly a step in the right direction.
​
Compatibility
The Nissin i60A is available for Nikon, Canon, Sony, Micro Four Thirds, and Fujifilm systems.
 
SELECTED PRODUCT SPECIFICATIONS (per Nissin)
Guide no. (at ISO 100): GN60 (in meters, at 200mm zoom head position)
Focal length coverage: 24mm – 200mm (16mm when using built-in diffuser)
Power source: 4 size-AA batteries
Recycling time: 0.1- 5.5 sec
LED video light operation time: 3.5 hours
Flash Duration: 1/800- 1/20,000 sec
Color temperature: 5,600K
  Wireless mode: 2.4Ghz Nissin Air System radio wireless, Optical wireless TTL slave, non-TTL Slave (SD, SF mode)(*4)
EV compensation on flash: +/- 2EV in increments of 1/3 EV
Bounce/swivel: Up: 0°- 90°, left/right: 0°-180°
Operation panel: Color LCD with dial control
Manual mode power ratio: 1/256 - 1/1 (1/3-step increments)
Mode: Auto, Manual, SD, SF, Wireless with A, B, C & channel selection (2.4Ghz Nissin Air system & optical) (*4)
Dimensions: 112 (H) x 73 (W) x 98mm (D) / 4.4 (H) x 2.9 (W) x 3.6” (D)
Weight: 300g/ 10.8oz (excluding batteries and soft box)
​
Manufacturer
Nissin
 
Distributed by/Order From/More Info:
www.neidllc.com (order from authorized resellers)
 
How much is it?
$339.99
​
Additional Reading (click the highlighted link)
Read my introductory feature story on TTL wireless flash in Shutterbug Magazine (online).
 
Read my feature story on No Strings Attached With Wireless TTL Flash for multiple-flash photography in Shutterbug Magazine (online).
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Test Report: Nissin MF18 Macro Ring Flash Revisited

6/29/2017

3 Comments

 
PictureNissin MF18 Macro Ring Flash. Courtesy NEIDLLC.
​I originally reviewed the Nissin MF18 digital ring flash several years back, for Shutterbug Magazine. I loved the flash back then, but, since I already had a ring flash that worked wirelessly with my Nikon D300, which at the time I’d paired with a 60mm Micro Nikkor, I had all the macro TTL flash lighting I needed.
 
Fast forward to today. We’ll skip past the phase where I was using the Nikon D610 also for TTL wireless macro flash photography and jump to the Nikon D500. But perhaps I should clarify. With the introduction of the D300, Nikon introduced CLS (Creative Lighting System), which involved TTL wireless triggering of off-camera flashes. The beautiful part of the system was that the camera’s built-in flash could be used as the trigger, or transmitter, without contributing to the flash exposure. But that worked great when the camera came with a built-in flash.

​The D500 “D”-lemma
Now, with the D500 in hand, I suddenly found myself without a pop-up flash that I could use to wirelessly trigger that remote flash. Hence no CLS, leaving my wireless ring flash orphaned.
 
Yes, I could use one of my existing Nikon flashes as the transmitter but that would be more of a nuisance. And buying the Nikon SU-800 Wireless Speedlight Commander wireless IR transmitter, which costs more than some shoe-mounts and slightly less than my wireless ring flash by itself, would be a pricey option. Not to mention, it would be one more thing that requires a battery and which could easily get misplaced or lost in a tiny nook or cranny.
 
What’s more, as is, I always found wireless shooting with the built-in flash somewhat precarious. You see, I like to wear hats, and my hats would always push down on the pop-up flash. The upshot of this was: the wireless flash would fail to be triggered. So, even though I liked not having cables that sometimes get in the way, having a flash that I could depend on to fire 100% of the time, what’s more, without worrying about moving the brim of my hat out of the way was more important. What’s the wireless ring flash I’m referring to? The Metz Mecablitz 15 MS-1.
 
So, when you do the math, it made good sense to switch to the Nissin MF18. (You can get all the particulars about the Nissin macro flash in my Shutterbug review and tips about using a ringlight in those other Shutterbug articles listed below). 
​In Use
Since the MF18 comes with a variety of ring adapters to fit all popular lens filter sizes, there was little doubt I’d find the right adapter for the Tamron 90mm I was now using. You just have to make sure to bring it with you, and the way I usually do that is either by first attaching it to the flash ring housing before leaving home, or to the lens itself. The only problem with attaching to the lens is that it may block reverse-mounting of the lens hood. In fact, once you attach the ring to the lens, there’s no room for a lens shade any way you slice it.
 
One of the unusual aspects to the MF18 ring is that it elongates to sort of an oval shape. The original design was to accommodate larger-diameter lenses, but I use it with larger subjects, so the light fully wraps around them.
 
In use, the bright color LCD display proved easy to see in practically any light, even outdoors on a bright day. If you have a problem with strong sunlight, for example, simply turn your back to the sun so the flash housing is in shade. The large numerical display made it easy to read and set flash exposure overrides for subjects that may need it – perhaps a tad too distant from the camera/flash or highly reflective so as to cause the flash to underexpose. It was far simpler than with other ring flashes I’d worked with – and more direct.
 
The color quality of the resulting images, while difficult to compare without side-by-side comparisons, could be evaluated as quite satisfactory on its own, if not exemplary.
 
One other nice thing about the flash. The ring is very well diffused, further ensuring an even wash of light surrounding the subject.
​Who Should Use This?
Any photographer interested in close-up and macro photography, from novice to advanced and professional.
 
Capsule Comments
Easy to use with a very user-friend interface (color LCD panel) and very few buttons; well designed; reliable; consistent; adapter rings are metal, not plastic, so they’ll last. Only negative I can think of, at least where my Nikons are concerned, the flash doesn’t enter standby when the camera is turned off – a minor point, but it still needed to be mentioned (the flash will power down on its own after a user-defined period).
 
Conclusions
Adding a ring flash takes your close-up and macro photography to a new level. You no longer have to shoot at large apertures. Given that depth of field is minimal the closer you get to your subject (the larger the reproduction ratio/subject magnification), it’s important to have the capacity to stop down considerably (short of encountering and being limited by diffraction at the smallest F-stops). The added light output gives you that ability to stop down.
 
What’s more, since it’s electronic flash, you can freeze both subject and camera movement while you’re at it. Admittedly, it won’t stop a breeze from blowing a flower out of frame, but if you wait for a lull, you’ll capture a sharp image now matter how minimal the existing lighting conditions are.
 
What’s more, another benefit of using a ring flash is that, by limiting the reach of the flash illumination (owing to the lower light output of a ring flash to begin with), combined with the use of a small F-stop, you can minimize background illumination. I’m often able to create a stark black backdrop behind my subject. And if you find the light is too strong, the MF18 gives you the ability to reduce that light output, as do other settings on the camera.
 
Also, and not to be overlooked, the MF18 features four powerful LED lights that will help you focus under the dimmest of lighting conditions. As you get closer and closer to your subject, the camera increasingly blocks ambient light. This continuous light source will prove invaluable in the field. Simply hold the Set button down for 2 seconds to switch it on.
 
In the final analysis, if your top priority is to photograph flowers, bugs, and other critters close up and personal, or even if you’re a forensic photographer or dentist, doctor, or engineer that needs to light small discreet areas for research or records, you won’t go wrong with the Nissin MF18 ring flash. In fact, you’ll find yourself looking for projects to go out and shoot once this flash is attached to your camera. Once you experience the MF18, you’ll wonder how you ever managed to shoot close-ups without it.

​PRODUCT SPECIFICATIONS (per Nissin)
  • Guide Number: GN.16 * (ISO100)
  • Focal length Coverage: 80°x80°
  • Power source: 4 x AA Alkaline, 1.2V NiMH battery
  • Recycle time: 0.1-5.5 sec. (Alkaline, NiMH)
  • Number of Flashes: 120-800 *Depends on the mode using
  • Flash Power Control System:
    Full Auto mode: E-TTL, E-TTL II (for Canon), i-TTL / i-TTL (for Nikon) 
    TTL mode: E-TTL, E-TTL II (for Canon), i-TTL / i-TTL (for Nikon) with Ev compensation adjustment
    Fine Macro mode: 1/128-1/1024, 1/6 Ev steps
    Manual mode: Full-1/64, 1/3 Ev steps
  • Rear curtain sync.: Yes
  • High speed sync.: Yes (available in TTL mode only)
  • Ev Compensation on flash : -0.3 - +3.0, 1/3Ev steps
  • My TTL setting : -0.3 - +3.0, 1/3Ev steps
  • LED modeling lamps: 4 units
  • Color temperature: 5600K at full power flash
  • Flash Duration:
    1/700 seconds at full power (When A and B tube flash together)
    1/300 seconds at full power flash (When A or B tube flash individually)
    1/700-1/30,000 seconds (When A and B tube flash together)
  • Wireless Remote flash:
    Wireless TTL: Master, 4 Channels, 3 Groups (A, B and C)
    Mode: TTL / Manual, TTL flash ratio is adjustable
    Slave flash: Digital (infrared) Slave / Film (photo-optical) Slave
    * In Wireless TTL mode, Group C is slave flash setting and EV compensation can be adjusted independently. MF18 only supports Group A or C as slave flash.
  • Energy Saving: 
    Auto power Off, 10, 15, 30, 45, 60 min
    Stand-by mode: 30 sec.
    Display off (Display screen switch off)
  • Operation Control mode: Color Display (Auto Rotation)
  • Firmware Update Terminal: USB
  • X terminal: Yes
  • Adapter Rings: Suitable for lens from 49 to 82 mm. Package includes 52, 58 , 62, 72, 77mm (49, 55 and 82mm are optional for purchase)
  • Accessories: Sturdy leather case
  • Dimensions: 
    Main body: 115 x 65 x 85mm (4.5 x 2.6 x 3.3”
    Ring flash: 120 x 134 x 41mm (4.7 x 5.3 x 1.6”)
  • Weight: 446 gr (15.7 oz) w/o battery


Compatibility
Dedicated versions for Nikon, Canon. Tested with Nikon.
​
Manufacturer
Nissin

Distributed by/Order From/More Info:
www.neidllc.com (order from authorized resellers)

​How much is it?
$439

Why You Should Use a Ring Flash for Close-up and Macro Photography
You may be asking, why use a ring flash? And, if you’re not entirely familiar with the concept, you may also be asking, what is a ring flash?
 
Simply, a ring flash is a circular flash housing that sits on the front of your lens. The advantage is that the flash now has a direct line of sight with your subject. In contrast, the flash seated in the hot shoe experiences a form of parallax – aiming past the subject to some degree, if not entirely, and possibly blocked by the lens itself.
 
The other advantage is that the ring flash bathes the subject in a wash of light, more or less evenly. On many ring flashes, such as the MF18, you can actually assign a lighting ratio between two halves of the circular flash tube (it’s actually two semi-circular tubes) – for shadowing and depth, as opposed to completely even lighting.
 
On some ring flashes the flash tube is fully circular. This also means there’s no way to proportionately adjust output from left to right (or top to bottom, if you rotate the ring). That also means it’s an inexpensive flash.
 
That Metz ring flash mentioned earlier features twin linear flash tubes on opposite sides of the flash head assembly. That means the so-called “ring” is not really forming a ring of light.
 
In my experience, with nature subjects, I’ve often found it best to simply leave the output even on both sides, without setting ratios, since time is not always on our side to make these adjustments and the situation itself may not warrant it. Anyway, by encircling the subject, the ring of light fills in shadows, leading to what many describe as “shadowless” lighting. In truth ring lighting is really virtually shadowless at best, since some shadows can be seen and help to create a sense of depth with any three-dimensional subject. Light-toned areas behind the subject may still exhibit shadows, although these shadows tend to be soft-edged, rather than distinct.
 
The ring assembly may clip directly onto the lens, but more often than not, an adapter ring (supplied in most popular filter sizes) is required. The adapter screws onto the front of the lens much like a filter. The ring housing then clips onto this ring, which has a grooved channel that allows the ring head to rotate. Why rotate the head? If you’ve set output ratios for the ring, that lets you control where the stronger light will fall, just as if you had a key light and supporting light.

​Additional Reading (click on highlighted links)
Read my review of the Nissin MF18 macro ring flash in Shutterbug Magazine (online).
 
Two reviews I wrote for Shutterbug on the Tamron 90mm macro lens.
- Tamron 90mm macro review 1
- Tamron 90mm macro review 2

An overview on macro ringlighting for Shutterbug (including LED and fluorescent lights – in short, don’t waste money on them; if you’re going to use a ringlight, make it a ring flash).

A more recent roundup of macro lighting tools for Shutterbug.

An early but very comprehensive introduction to using a ring flash for close-ups.
 
Read my introductory feature story on TTL wireless flash in Shutterbug Magazine (online).
 
Read my feature story on No Strings Attached With Wireless TTL Flash for multiple-flash photography in Shutterbug Magazine (online).
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Test Report: Manfrotto Pro Light Bumblebee-230 Photo Backpack

6/24/2017

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PictureManfrotto Pro Light Bumblee-230. Courtesy Manfrotto.
When Kata first introduced the Bumblebee photo backpacks (distributed by Manfrotto), they soon became a favorite – at least for a time. What I liked about one bag in particular – and forgive me for not recalling the exact name – was its light-gray reflective exterior and the bright yellow (or yellow-orange?) interior that revealed every piece of gear stored.
 
Fast forward to the present. These bags no longer come under the Kata brand, being instead not just distributed by Manfrotto, but manufactured under the Manfrotto brand as well. The Bumblebee backpack I received kind of resembles the old Bumblebee, but that’s largely superficial. So has Manfrotto improved the backpack in the redesign? (Spoiler alert: read past the first few paragraphs to find out how I really feel about the bag. Don’t be dissuaded by my introductory comments.)

​Preliminary Observations: New Pro Light Bumblebee-230
The reason I’d requested the larger Bumblebee-230 was because the 130 was touted for CLC mirrorless systems. And since I’d planned to use the pack with either with my Nikon D500, possibly with battery grip, or D610 and various lenses, the larger bag seemed the logical choice.
 
So the bag arrives. And now I remembered one thing that had always bothered me about the original bag. The design of the backpack harness adds depth to the bag and it extends out in front like someone who’s had a few too many beers. What that means is, this bag will very likely not fit in the overhead bin on any aircraft I’ve been on, despite claims to the contrary. OK, technically it may fall under carry-on guidelines. However, you can’t argue with airport personnel or airline crew, especially if you’re among the last to board – what they say goes, and if they say it’s not a good fit, it’s not a good fit. And this is not the time when you can turn around and shift gears to a sleeker, more airline-user-friendly bag.
 
Okay, forget about air travel. What about everyday use? Well, try using public transit with a backpack that sticks out as far as this one does. You won’t get many smiles from the people you’ve jostled. Then let’s head to the woods. As you attempt to negotiate narrow trails and dense thickets you realize it’s going to be a tight squeeze and you approach the hike with some trepidation.
 
That aside, the interior design is a bit odd. There’s an upper shelf with an aperture for a lens to stick through. But the aperture is not centered over the central channel in the lower part of the bag, so how exactly do you fit things properly? You have to shift one of the main dividers over to align everything.
 
What’s more, the interior is dark. And the foam is thick – too thick, in my opinion. Yes, I like my gear cushioned and cuddly in a pack, but the thick foam kind of imposes itself and gets in the way. It takes on a cavernous appearance.
 
Okay, you’re saying, pull out the upper shelf and stretch the two main red dividers to their full length. Well, guess again. These were apparently fitted for the 130 and they’re too short to extend fully top to bottom in the larger 230.
 
So, where does this leave us? Well, all is not lost. In fact, there’s quite a lot to be said for this backpack.
​Now, What I liked About the Bumblebee-230
The pack is well constructed and will deliver years of good use. The backpack harness works admirably. I especially like the padded pocket in the padded waistbelt – keep a lens or flash here (a 70-300 will fit, although a flash would be a better choice, just in case you hit a lot of bumps in the road).
 
And the bag is comfortable. Which brings us back to the backpack harness. The waist belt does a beautiful job of keeping the weight off your shoulders. More to the point, it puts it on the hips – exactly where it should be. Few photo backpacks (or I should say backpack manufacturers) understand this, or even among those that do, few follow it in all their backpack designs.
 
Carrying a tripod comes second nature to this bag. There’s even a laptop sleeve. And there are enough pockets to house all essentials. Well, except for a jacket. The outer front zippered pocket should have been pleated to allow more room. I tried getting a lightweight jacket in there without luck.
 
I should also mention that there are two ways to get inside the bag. The upper and lower sections zip open separately. However, there is a flap that stands between the zippers on one side. Lift this flap up (it uses Velcro-type hook-and-loop material) and you can gain access to the entire interior with one smooth zip movement.
​Who Should Use This?
Bumblebee-230: bird and wildlife photographers with long, fast lenses. (130: the smaller pack may be better suited to a wider range of applications, such as street and travel photography, as well as hiking).
 
Capsule Comments
Still a great concept, despite my nitpicking; comfortable harness system with airflow mesh back panel; protective; well padded throughout; water repellant, with rain cover providing added protection against torrential downpours; spacious but deceptively so since movable, padded dividers are quite thick; difficult to see inside bag, unless you zip it open fully; heavy for a Pro Light bag.
 
Conclusions
Manfrotto had an opportunity to take the Bumblebee and make it the photo backpack for the ages. They dropped the ball. At least when it came to the Bumblebee-230. I imagine the smaller 130 would have been more to my liking. Had I seen the bag up close or perhaps if I’d paid closer attention to the product pages, I would have realized that. The large bag is best if you have a fast, long lens attached to the camera. For anything else, I would likely choose the smaller 130 instead, which would have assuaged most, if not all, of my complaints.
 
So, is the Pro Light Bumblbee the photo backpack for you? Give it a shot. In the long term, you’ll find it has a lot going for it. Again, consider the size and fit (for your gear, as well as you) before you decide.
 
I will say one more thing for this pack. This is the most comfortable Bumblebee photo backpack of any I’ve used to date. More to the point, it should be easily wearable for an extended outing on the trails.

PRODUCT SPECIFICATIONS/Bumblee-230 (per Manfrotto)
Weight: 93.47 oz
Color: Black
Material: Nylon, RipStop, Synthetic Fabric
External Height: 20.9”
External Length: 12.6”
External Width: 10.2”
Internal main compartment height (H): 20.1”
Internal main compartment length (L): 11.8”
Internal main compartment width (W): 7.5”
Laptop Compartment H: 20.1”
Laptop Compartment L: 11.8”
Laptop Compartment W: 1.2”
 
Manufacturer
Manfrotto
 
Distributed by/Order From/More Info:
Manfrotto
 
How much is it?
$279.99/Bumblee-230

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Test Report: Nissin Di700A with Air 1 Radio Commander and Air R Radio Receiver Shoe-Mount Flash System for On-Camera & Wireless TTL Flash Photography

6/23/2017

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PictureThe Di700A offers full tilt/swivel control, TTL flash on camera, and wireless control, including optical/infrared and radio remote wireless TTL flash. It comes with built-in diffusion and bounce panels. Courtesy NEIDLLC.
I’ve reported on Nissin flashes for years (see Additional Reading below). And these strobes never disappointed. The one thing that always struck the right chord with me about Nissin shoe-mounts in the past was their system compatibility with my Nikon gear, or, more specifically, with Nikon CLS (Creative Lighting System).
 
Well, Nissin has upped the ante, bringing you a user-friendly, priced-right multi-mode wireless flash system that will take your flash photography to the next level – with radio remote TTL flash control as a featured mode in the Di700A. Don’t really care about radio control or wireless operation in general? Well, this flash doesn’t stop there.

​Di700A and Air 1 Commander Combo
Out of the box, the Di700A can simply be used as an on-camera flash. As with its predecessor, the flagship Di866 Mark II (which remains in the lineup), it features a tilting/rotating head and full TTL-flash integration. TTL flash practically guarantees usable exposures.
 
Unlike that found on the flagship model, the control panel on the Di700A is simpler, yet stylish in its simplicity, as it’s an uncluttered color display. It certainly beats the uninviting display found on the Di600.
 
You can purchase the Di700A ($259) and Air 1 ($89) separately. However, you’ll save about $50 when you order the combo package at $299. The Air 1 commander/controller is only necessary if you plan to use the Di700A as a radio-controlled remote (off-camera) TTL flash. Otherwise, the flash is fully functional on its own or in other wireless setups. (Note: you can’t mix and match radio and non-radio triggering and still achieve full TTL flash exposure control.)
 
Separately, the Di700A is actually less expensive than the Di866 Mark II, which sells for $275, and in my book a much better buy than the older flash, unless you need esoteric functions such as built-in sub-flash (for fill with bounce lighting) and stroboscopic mode. 
​Di700A TTL and Manual Flash Modes
The graphical user interface on the Di700A offers up numerous operating functions. A, for Auto, is the most basic TTL-flash setting and doesn’t allow you any additional options on the flash itself. The flash takes over, but it remains tied to the camera’s settings, where overrides (such as ISO, f-stop, shutter/sync speed, and flash exposure compensation) still come into play.
 
For more control, use TTL mode. At this setting, you’re presented with the option to increase or decrease flash output on the flash unit itself, up to +/- 2 steps, in half-step (but not third-step) increments. I’m not sure why, but I’ve always found that setting flash compensation on the flash proved more reliable than making similar settings in the camera. And since Nikon cameras only give you +1 flash compensation (albeit going as far as -3), the maximum override of +2 on the flash itself may prove handy.
 
M (Manual flash output) lets you set output from full to 1/128, in whole-step increments. (If you need an interim setting, try diffusing the flash or moving the flash further away from the subject to decrease output, moving it closer to increase.) Manual mode should ideally be used in conjunction with a flash meter, but you can play around and arrive at usable settings without that handheld accessory. 
​Wireless Flash Modes: Non-Radio Triggering
Next we have the wireless settings that come into play with the Di700A as the sole off-camera flash or in tandem with other flash units positioned off camera. There are two modes for use with conventional (non-radio) wireless triggering. The first is SD (“D” for Digital). Use this setting when you use any TTL flash system that emits a pre-flash, which would typically be any camera-dedicated TTL-flash. The triggering pulse is infrared or optical/infrared. When it comes to Nikon, the Di700A supports Nikon CLS for non-radio-triggered TTL flash exposure control. The camera can be set to any of these modes: Manual, Aperture-priority, Shutter-priority. You should manually set ISO.
 
SF (which I take to mean “Standard Flash”) wireless mode is for use with non-dedicated strobes that are used to trigger the Di700A, such as a studio flash (for instance, in this setup you might use the Nissin flash as a kicker for a highlight or as a hair light). That said, the built-in flash on my Nikon D610 did also trigger the remote Di700A. The triggering pulse for SF is photo-optical. Set the camera to Manual shooting mode for SF triggering, so that you have full control over both flash and ambient light components, via, respectively, F-stop and shutter/sync speed. You should also manually set ISO.
​Radio-Frequency Wireless TTL Flash
The final, and newest for Nissin, wireless flash mode is radio-frequency wireless TTL-controlled remote, or simply TTL radio (radio TTL) remote. For this mode there is an icon, which kind of looks like the more familiar podcast icon. The working distance is about 100 feet, about three times the reach of typical infrared or optical triggering. What’s more, radio signals are not blocked by trees or walls, in contrast to infrared and photo-optical signals. So you can trigger a flash in another room, to prevent the space from being seen as a black void if it shows in the picture. However, electrical wiring, steel beams, and electronics may interfere with the signal. I’m told that even an intervening snow bank can limit the effective reach.
 
Important: this radio remote system operates at 2.4GHz and, according to industry sources, can be used around the world without interfering with other devices. (But when in doubt, check with local authorities.) Devices that use other frequencies may be restricted and categorically illegal overseas.
 
When in radio remote mode, the Di700A is not typically triggered by a camera flash. However, if there's no radio signal, Nikon CLS kicks in with the built-in flash on my Nikon D610, triggering the Di700A for full TTL flash control.

As with all radio systems, a triggering device, or transmitter, is required. For radio-controlled TTL flash, that trigger is the Air 1, which sits in the camera’s hot shoe, electronically carrying on a conversation between camera and flash. (Note that the foot on the Air 1 has all the needed pins to coincide with those in the camera’s hot shoe.)
 
When I first set up the system, I wondered why my Nikon D500 had the radio setting grayed out. Typically, when using Nikon’s own dedicated radio transmitter, this setting must be activated. Well, I learned that Nissin’s system, as with other third-party TTL wireless radio systems, bypasses such settings. In fact, you still get full TTL flash control. More to the point, in contrast with Nikon’s own system, which currently limits wireless radio TTL flash control to Nikon’s own system and the D500 and D5 bodies, the Nissin system can be used with any Nikon DSLR that supports TTL flash control. Which is why I ended up using it with the Nikon D610 – and did so without any hassles. It worked every time.
​In Use
I tested the Nissin radio-controlled TTL flash system with both the Di700A and with a Nikon SB-900, in conjunction with my Nikon D610 DSLR. The only difference: the Di700A was triggered directly, without requiring any accessories, as it has a radio receiver built in. To trigger the Nikon flash, I had to attach the SB-900 to an optional Nissin Air R module.
 
The Nissin Air 1 is the radio trigger that was seated in the camera hot shoe, triggering both off-camera strobes – the Di700A and, via the Air R, the SB-900. Everything worked fine, with the setup reliably delivering usable TTL flash exposures.
 
When testing the flash in SD (pre-flash digital) wireless remote mode, I used the built-in flash on the D610 as the trigger, setting the flash internally so it wouldn’t fire and contribute to the flash exposure, but instead would simply trigger the remote unit. No problems here either, with everything working smoothly.
  
In short, when it came to shooting with my Nikon D610, I’d call my tests with the Nissin Di700A and Nissin dedicated Air system a resounding success. I’ll put the next Nissin flash – the compact i60A – to the test with my Nikon D500 when that flash arrives.

PRO TIPS – Keep These Things in Mind
- The shutter speed controls the amount of ambient light (background or surrounding existing illumination) that you allow into the picture; the F-stop controls the amount of flash illumination hitting the subject.
 
- If you want subtle fill-flash, use a small F-stop to limit the reach of light; if you want to overwhelm or balance the surrounding available light, use a large F-stop.
 
- If you use one of the camera’s autoexposure shooting modes with TTL flash, you’ll likely end up with balanced fill flash or even a brightly lit subject, but watch that bright backgrounds don’t underexpose (they may need a boost in ambient exposure compensation).
 
- When using TTL flash, you can also control the amount of flash hitting the subject with the flash AE/FV override (+/-) settings either on the flash or in the camera, as applicable. When using both settings – on camera and flash – note that the effect is cumulative, but a negative setting on one will cancel out or reduce a positive setting on the other. For example, if you set +2 on the flash and -3 on the camera, the net effect is a loss of 1 stop in flash illumination, so watch your settings.
 
- When employing available-light AE override (AE exposure compensation) settings, these may affect the entire flash-plus-ambient TTL exposure or only the ambient TTL exposure, depending on the camera or your menu settings. These settings may also affect Manual shooting mode settings made with the camera, again depending on your system. You should test your setup beforehand.
 
- When using the flash in any TTL mode, flash output is read by the camera, through the lens, and so changes in distance are automatically compensated, as is the use of filters or lens extension.
 
- Keep in mind that when using the flash in M mode, flash exposure of the subject is tied directly to flash-to-subject distance. Any decrease or increase in that distance will affect the flash exposure for the subject, respectively increasing (with decreased distance) or decreasing (with increased distance) the amount of flash exposure for the subject. Also affecting flash exposure when setting the flash to Manual: the use of filters and lens extension, each requiring an increase in flash exposure (the amount varying with filter density and color and amount of lens extension).
 
- Very important: keep in mind that for photo-optical and infrared triggers to successfully trigger a remote flash, there must be a direct line of sight between them. This is critical outdoors. Indoors the signal can bounce around (although not a guarantee, so line of sight is recommended). If you position the flash behind a tree, it will not be triggered, unless something nearby happens to reflect the triggering beam in the direction of the flash receiving the triggering pulse. Also, outdoors the distance between transmitter and receiver may be limited to no more than 20 or 30 feet.
 
- Getting technical: the triggering device (which emits a photo-optical, infrared, or radio frequency pulse) is called the Master. The Master triggering pulse usually comes from a flash seated in the hot shoe, a built-in flash, or another device that’s seated in the camera’s hot shoe. The remote (off-camera) flash being triggered is called the slave. Remote flashes are said to be slaved to the Master flash or triggering device. With both infrared and radio remote triggering, you can assign different off-camera flashes to a group designation, which is commonly A, B, or C. The reason for doing that is so that you can independently set output for each group. This way you can have one or more flashes off-camera assigned to Group A as your key light at one output setting, and Group B could be one or more flashes at the same or different setting illuminating the background, with perhaps a Group C flash at reduced output as a hair light.

​Who Should Use This?
Any photographer from novice to advanced; even pros will find it does the trick for them.
 
Capsule Comments
Offers multi-mode remote operation, especially radio TTL flash, as well as other wireless TTL and non-TTL modes; user-friendly; consistent; supports various sync settings (verify for your camera); reliably worked with my Nikon D610 for TTL flash control on or off the camera. The only thing missing is a dome diffuser. (Why’d you leave that out of the package, Nissin?)
 
Conclusions
When choosing among Nissin strobes, if you want enhanced capability without unnecessary extras, the Di700A is the way to go. And for the difference in price compared with the Di600, the Di700A is well worth the investment. You’ll also find it much less intimidating than the top-of-the-line Di866 Mark II, with a much more user-friendly interface. And it’s more fun to use than any Nissin flash I’ve worked with to date. What’s more, you can start using this flash right out of the box, the moment you insert the batteries, with the full assurance that you’ll get the job done.
 
Set aside all the features, which include full radio TTL flash control, and you’re left with a friendly price, user-friendly operation, consistency, and reliability – and that alone marks the Nissin Di700A + Air 1 (radio controller) combo as a winner. Then add the Air R for your flashes without built-in radio TTL-flash control and you’ve got a full studio in a bag. What’s not to love about this system!
 
Compatibility
Dedicated versions for Nikon, Canon, Sony. Tested with Nikon.

Di700A SELECTED PRODUCT SPECIFICATIONS 
Type: shoe-mount flash
Shooting modes: Auto TTL, TTL (with onboard override settings); wireless operation (infrared, photo-optical, radio remote)
Guide no. (at ISO 100 in M): GN54 (at 200mm zoom head position); GN48 (at 105mm zoom head position); GN28 (at 35mm zoom head position)
Flash duration: 1/800 to 1/30,000 sec.
Color temp: 5600K
Bounce/swivel: Yes/yes
Control panel: digital color panel + control wheel/Set button
Wireless operation: 8 channels, 3 groups
Power source: 4 AA batteries
Included accessories: soft pouch, mini-stand
Dimensions: 140(H) x 75(W) x 115(D) mm/ 5.5 (H) x 3(W) x 4.5(D) inches
Weight: 380g/13.4 oz (w/o batt.)
 
Manufacturer
Nissin
 
Distributed by/Order From/More Info:
www.neidllc.com (order from authorized resellers)
 
How much is it?
$299/Di700A + Air 1 combo
$259/Di700A
$89.99/Air 1 (on-camera TTL-flash radio transmitter)
$69.99/Air R (TTL-flash radio remote receiver – attaches to off-camera flash other than Di700A, such as Nikon SB-700 or Nissin Di866 Mark II)

​Additional Reading
Read my review of the Nissin Di40 pocket-size flash here on this site.
 
Read my review of the Nissin D866 Mark II in Shutterbug Magazine (online). 
 
Read my review of the Nissin MF18 macro ringflash in Shutterbug Magazine (online). 
 
Read my introductory feature story on TTL wireless flash in Shutterbug Magazine (online).
 
Read my feature story on No Strings Attached With Wireless TTL Flash for multiple-flash photography in Shutterbug Magazine (online).
 
Read my roundup of the original group of Nissin flashes in Shutterbug Magazine (online).

2 Comments

Field Report: Think Tank Photo's StreetWalker Series Photo Backpacks Take to the Streets as Version 2.0

6/15/2017

1 Comment

 
PictureStreetWalker V2.0. Photo courtesy Think Tank Photo.
I used my original StreetWalker for a long while, eventually replacing it with MindShift Gear’s TrailScape 18L when that bag came along. What I liked about the StreetWalker (version 1.0) was its small size: It could easily fit under the seat of a commercial airliner and would be a comfy fit in a puddle jumper as well. But when the TrailScape came along, I figured, Hmm, a bit bigger and a roomy outer front pocket for a light jacket – OK, I’ll use this one when I need a smaller bag.
 
Now that the StreetWalker V2.0 (SW V2) is here, I find myself switching back to this smaller pack. After all, if I need something larger, capable of storing a jacket and some extras, I still have my MindShift BackLight 26L, which I recently discovered will snugly hold my Nikon D500 with attached Tamron 150-600mm G2 lens (look for a review of both products soon).
 
Think Tank also sent me the new StreetWalker Pro V2.0 (SW Pro V2) – the larger sibling in this family, but not the largest in this series by any means. There’s an even more spacious pack, the StreetWalker HardDrive V2.0 (which fits a full-size laptop), and new to the lineup, the StreetWalker Rolling Backpack V2.0 (roller and backpack in one). The two largest bags looked tempting, but I felt that two bags was enough to deal with for now.

​Inside and Out
The new SW V2 and SW Pro V2 are roomier on the inside than their original counterparts and slightly larger overall. Other than that, the new models add room for a 10” tablet on the bag. The tablet sleeve is the same size on both bags.
 
One of the problems I had with the original SW V2 (can’t recall if this also applied to the larger pack) was the small water-bottle pocket on the small bag. Think Tank addressed the issue in both V2 bags with an expanded, pleated zipped pocket behind the mesh pocket. Small water bottle? Use the mesh pocket. Large 32 oz Nalgene, use the zipped pocket.
 
I would have preferred that the pockets were pleated all the way around to the bottom. That would make an easier fit for a large water bottle and allow for a grommet at the base. A bottle with cold water subjected to a warm, humid environment will form condensation, and that condensation will pool at the bottom. A grommet allows the water to safely drip free of the bag.
 
The pocket on the left (with the bag on your back) has a small smartphone sleeve as well. I don’t know about you, but I carry my phone in a vest pocket, where I can easily reach it, not in the backpack, where it’s impossible to reach (unless you’re a contortionist) without taking the pack off your back. Some things appear cool on paper but are not very practical in the real world.
 
One of the more subtle changes revolves around the main padded partition. It’s now hinged toward the bottom to make room for a second camera with lens attached. Simply swing the hinged section over to the right to make room. When carrying two cameras with attached lenses, this provides for a well-balanced carrying situation, which your back will thank you for. Obviously, this reduces your ability to carry very long lenses, but, hey, you can’t have everything – unless you switch to a larger-size pack.
 
Any way you slice it, either bag is roomy enough to hold fast lenses attached to a DSLR, within limits. I would even venture to say that each bag could hold a medium-format camera, possibly with a lens, at the bottom. At the very least, the larger bag should hold two gripped DSLR bodies with attached lenses; the smaller one should accommodate one DSLR at the top and, on the bottom, one gripped body, each with lens.
​In Use
Air-flow mesh padding in the back and shoulder straps was welcome relief on a hot muggy day as I found myself walking around several popular birding areas in the Chicago area, wearing the StreetWalker Pro V2, on a bird photography outing with a friend.
 
I had the SW Pro V2 loaded with my Nikon D500 and Tamron 150-600mm G2 – lens attached, I might add, and resting comfy, cozy, and snug inside the pack. I also added a Nissin Di700A shoe-mount (which I’m also testing) and sling strap, that I sometimes left attached to the camera – or more correctly, the tripod mount for better balance.
 
And yes, I kept the tripod mount attached to the lens. Otherwise, you tend to forget these things when you need them, or misplace them entirely. I also find it much easier to carry the camera by grabbing onto the mount, although at times I may cradle the camera, varying with the moment or the situation.
 
The tripod mount was positioned fully downward inside the pack, an arrangement I found raises the entire assembly to the point where camera and lens practically hug the closed lid for a snug fit so things don’t bounce around. Still, as a further precaution, I tend to secure lens and camera with either an elastic band that attaches to either side surrounding and hugging the lens, or I position an unused padded divider over the lens barrel for this purpose. I should add that I left the lens shade reverse-mounted on the lens.
 
The lens being this new, I take one more precautionary step – I slide the packing Styrofoam collar that came with the lens in place beneath the hood, just as it arrived from the factory, to prevent distorting the hood. It’s probably overkill, I know, and I may discontinue this practice, but it stands for now.
 
One thing that bothered me about both bags: the lack of headroom above the camera. The D500 has a very deep grip. The Nikon D610 not so much, but it still had difficulty being comfortably seated in the smaller V2 pack. I almost gave up, till I realized I could reshape the central divider somewhat to make room. And that worked. I have the Tamron 24-70mm f/2.8 attached to the camera, and there appears to be room for a bulkier and longer lens in its place. The fit in the larger Pro V2 was also tight with the D500 in place, but not to the point where I had to make any further adjustments to the main divider.
 
As for comfort level, I’m not sure why – and this will no doubt differ with the individual – I found the smaller of the two packs rides more comfortably on my back. Perhaps it’s due to the heavier load packed into the Pro V2. Then again, I’ve loaded the BackLight with the same gear, and it was a smooth ride – as good as it gets. It may have something to do with the added depth of the SW Pro.
 
As a side note, I should point out that the added depth on the StreetWalkers offers one distinct advantage: It lets them stand upright easily, unassisted and without having to lean against something for support, without fear of the bag tipping over, which is certainly a plus.
​Conclusions
I’ve always admired the StreetWalker series and would have continued to use my StreetWalkers all these years if other bags hadn’t come along to replace them. Now the StreetWalker V2.0 (the smaller of the two new backpacks) will replace a MindShift pack of similar size and design.
 
I hold onto photo packs this size for air travel. But aside from that, they work for me and do the job I need them to do, protecting my gear and making it readily accessible, while allowing me to carry what I need most to meet practically any challenge.

​Who Should Use This?
Street photographers; travel photographers; photographers of all levels.
 
Capsule Comments
Well constructed, durable design, water-repellant (with rain cover for added protection); easily carries a tripod over the front, plus full-size water bottle in side pocket; room for tablet; best suited for DSLR outfits or larger mirrorless systems. Should keep you going for many years.

​How much is it?
$169.75/StreetWalker V2.0
$199.75/StreetWalker Pro V2.0
Manufacturer/Order From/More Info:
Think Tank Photo
 



FEATURES (per Think Tank Photo)
StreetWalker Backpacks V2.0
  • Tripod mount on front panel (tripod cup for larger tripods included on Pro and HardDrive versions)
  • Padded shoulder straps comfortable for all day trekking
    • YKK RC Fuse zippers, ballistic nylon, high density Velex and closed-cell PU foam are the highest quality materials in the industry
    • Seam-sealed rain cover included
    • Adjustable dividers allow you to customize the fit of your DSLR or Mirrorless gear
    • Two side water bottle pockets and two side zippered pockets
    •  Dedicated smartphone pocket fits today’s large phones with a 5.5” (14cm) screen size
    • Removable webbing waist belt detaches easily (applicable to SW Pro V2)
    • Interior clear zippered pockets for accessories
    • Organizer pocket
    • Shoulder harness pockets, D-rings, daisy chain and adjustable sternum strap
 
WHAT FITS (per Think Tank Photo)
StreetWalker Pro V2.0
  • Holds 2 gripped DSLRs, 4–6 standard zoom lenses, and a 10” tablet
  • Holds 1 gripped DSLR, 5–7 standard zoom lenses, and a 10” tablet
  • Holds 2 large Mirrorless cameras, 4–6 lenses, a flash, and a 10” tablet
  • Maximum lens size: 400mm f/2.8
Examples:
  • Nikon D4s with 70–200mm f/2.8 attached, 24–70mm f/2.8, 14–24mm f/2.8, 105mm f/2.8, 50mm f/1.4, SB900 flash and a 10” tablet
  • Canon 1DxII (x2), 24–70mm f/2.8 attached, 70–200mm f/2.8 attached, a 16–35mm f/2.8, and a 10” tablet
  • Sony a7mII with 70–200mm f/4 attached, 4–6 additional lenses and a 10” tablet
StreetWalker V2.0
  • Holds 1 standard DSLR, 1 gripped DSLR, 3–4 standard zoom lenses, and a 10” tablet
  • Holds 1 standard DSLR, 4–5 standard zoom lenses, and a 10” tablet
  • Holds 2 large mirrorless cameras, 4–5 lenses, a flash and a 10” tablet
  • Maximum lens size: 300mm f/2.8
Examples:
  • Nikon D810 with 70–200mm f/2.8 attached, 24–70mm f/2.8, 14–24mm f/2.8, 105mm f/2.8 macro and a 10” tablet
  • Canon 1DxII with 24–70mm f/2.8 attached, Canon 5DMIII with 70–200mm f/2.8 attached and 16–35mm f/2.8 and a 10” tablet
  • Sony a7mII with 70–200mm f/4 attached and 4–6 additional lenses and a 10” tablet
 
MATERIALS (per Think Tank Photo)
Exterior:
  • Durable water-repellant (DWR) coating
  • Polyurethane coating
  • 1680D ballistic nylon
  • YKK RC Fuse (abrasion-resistant) zippers – lockable (lock not included)
  • 420D velocity nylon
  • 550D poly-spun
  • 320G air mesh
  •  Ultra-stretch pockets
  • Y-buckles
  • Antique plated metal hardware
  • Nylon webbing
  • 3-ply bonded nylon thread
Interior:
  • Closed-cell foam and PE board reinforced dividers
  • 200D polyester
  • Polyurethane backed “super-stick” Velex liner and dividers
  • 2x polyurethane coated nylon 210T seam-sealed rain cover
  • Laminated clear mesh pockets
  • 3-ply bonded nylon thread
 
PRODUCT SPECIFICATIONS (per Think Tank Photo)
StreetWalker Pro V2.0
Internal Dimensions: 9.4” W x 17.3” H x 7.5” D (24 x 44 x 19 cm)
Exterior Dimensions: 9.8” W x 18.5” H x 8.3” D (25 x 47 x 21 cm)
Tablet: 7.7” W x 10.4” H x 0.4” D (19.5 × 26.5 × 1 cm)
Phone Pocket: 3.9” W x 7.5” H x 0.6” D (10 × 19 × 1.5 cm)
Weight: 3.5 lbs (1.6 kg)

StreetWalker V2.0

Internal Dimensions: 9.4” W x 16.1” H x 6.3” D (24 x 41 x 16 cm)
Exterior Dimensions: 9.8” W x 17.3” H x 7.1” D (25 x 44 x 18 cm)
Tablet: 7.7” W x 10.4” H x 0.4” D (19.5 × 26.5 × 1 cm)
Phone Pocket: 3.9” W x 7.5” H x 0.6” D (10 × 19 × 1.5 cm)
Weight: 3.3 lbs (1.5 kg)
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Field Report: Peak Design Everyday Backpack 30L

5/17/2017

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PicturePhoto courtesy Peak Design.
​Peak Design’s trademark, if you will, is out-of-the-ordinary photo accessories. They made their mark on the photo industry with the Capture camera and lens clips, which heralded a different way of carrying a camera and lens – essentially attached to your body. Now they’re looking to do the same with their line of Everyday line of camera bags, specifically the Everyday Backpack. Did they succeed?
 
Perhaps I should begin by saying that, while I thought the Capture clips were a clever idea, I never found them very practical. At least not for my style of shooting. And there’s the rub. We each have our own shooting style, so what works for one person may not work for someone else, or, to look at it another way, what doesn’t work for me may work for you.

​A Little Background
I’ve been working with photo backpacks ever since Ultimate Experience introduced the very first one several decades ago, in the pre-digital age (look it up, I think museums have a hall dedicated to it). That pack was well-constructed and very lightweight, but it had numerous shortcomings, to the point where I was happy when new packs started to arrive on the scene. Back then Lowepro stole the show. Today MindShift Gear is setting the benchmarks in outdoor/wilderness packs and Think Tank Photo in travel packs.
 
Anyway, when the Peak pack arrived, the first thing that struck me was, hey, this is one stylish bag. I was really curious to see how well it would hold up under actual use. I took a peek (no pun intended, well, maybe just a little) inside the Peak, and, again talking to myself, said, hmmm, let’s load this baby up and take it for a spin. So I did just that.
​Design: Exterior
Peak sent me the ash-gray pack, which features leather accents. Too early to tell how this leather will hold up, but it does add a modicum of refinement any way you slice it. The charcoal pack is entirely fabric (sans leather accents).
 
The backpack harness consists of thinly padded shoulder straps, with sternum (chest) strap and waist belt. The ends of the waist belt are hidden in the outside pockets. If you have arthritic fingers, you may have a tough time accessing them – get a friend to help.
 
In addition to the backpack harness, the bag features a handle on each side, as well as on top – nice touch. On the ash bag, the handle is a composite of fabric and leather layers.
 
There are stretchable pockets on the outside hiding compression straps. You can use one pocket and its respective compression strap for a tripod, the other pocket on its own for a water bottle.
 
What gives the side pockets their stretch are elastic bands. I was able to fit a 32 oz. Nalgene water bottle in the pocket, but I fear that over time the elastic may wear and break. (Other straps are hidden away under the front of the bag, in a hidey-hole, so to speak.)
 
There’s also a zipped sleeve, accessible at the top, on the back, which will hold various accessories, a tablet, and laptop.
 
The main zipped flaps afford you entry to the camera section, one zipped flap on each side. And that’s where the story gets especially interesting. You can access the bag through a side flap by swinging the bag around to the front, sling-fashion, while keeping the bag attached to your body via one shoulder strap. This way you won’t have to put the bag down, which is a decided plus when you’re standing in the muck or surrounded by water or snow.
 
But before we look inside, I should also note that there is a stiffened top lid that also leads to the bag’s interior. The top lid has a magnetic closure. There’s no way to lock the bag, although the side zips do provide a modicum of security. Still, most thieves will get at a backpack through the top, not the side, and they’ll have little trouble doing that here in a crowded setting. I would recommend keeping a rain cover on the pack to help keep prying hands out, but, alas, none is provided. That’s another point of contention.
​Design: Interior
The interior of the pack features three, what Peak calls, “FlexFold” dividers, with Velcro-type hook-and-loop fasteners. You position these three dividers as shelves. They can be modified to hold more gear in a somewhat unusual fashion, without adding more dividers: Each shelf end folds upward, forming a mini-shelf. If you’re having trouble picturing it, think of bookends. That’s kind of how they look, if not how they function.
 
It looks and sounds really cool, but here’s the problem…
 
The upshot of this divider system is that you can’t fully customize the interior. For starters, bookending either side leaves less cushioning on the remaining end section of the modified shelf/divider. What’s more, the end sections offer rather flimsy support. It’s even possible for something small to fall over the edge of a shelf, into the gap left between shelf and side flap, since the ends just float there, with nothing to secure them to the sides.
 
On top of that, the FlexFold dividers can’t be repositioned horizontally along the shelf – they’re locked in place at each end. You either use them or you don’t. But you can’t further modify the amount of space devoted to each piece of gear – that is without moving the entire divider up or down. Unless you wrap, say, a lens in soft foam or bubble wrap to keep it snug.
 
With conventional dividers, you can form a virtually unlimited array of shapeable modules, more with some bags than with others. And you can even shape dividers around lenses, so they don’t move, no matter how much jostling they undergo.
 
There’s another drawback to this system. Actually more than one. You can access some gear on the top shelf through the lid, but the rest of the gear must be accessed through one of the side panels.
 
So, what happens if you have one short lens on a mini-shelf on one side of the pack and a second short lens on a mini-shelf on the opposite side? You have to open each flap. And that assumes that you remember where you put which lens. Not to mention, there’s always the possibility of forgetting to close one of the two side flaps that you’ve just opened – unless you open and close them one at a time. (This is where accessing the bag sling-style can actually prove to be more of a bane than a boon.)
 
One more issue I have with this bag. The dividers use a very dense closed-cell foam. Open-cell foam absorbs vibrations and is ideal for dividers when not overly spongy (that Ultimate Experience pack used very spongy open-cell foam). Closed-cell foam is better shock protection, which works great for the exterior shell and to some degree for dividers. (I’ve always contended that a layered mix of open and closed would be the ideal.) The dividers here are so dense that things just bounce off them. So if there’s too much room, a lens will bounce around – and you don’t want that. You want the lens as snug as the proverbial bug in a rug.
 
I should add that there is a way to set this divider system up so that one very long lens can stand on end from the very bottom of the bag, but I found it highly impractical. And again, you’d have to cushion the lens against being bounced around.
 
I also need to point out that the side flaps each have pockets. However, don’t overfill these, as that may get in the way of the gear you can store on each shelf.
In Use
I strongly recommend you view the video on Peak Design’s website outlining all the features of the bag. But read between the lines. It’s not all as smooth-sailing as the video would lead you to believe. (Click here for video.)
 
I’ve already outlined all my issues with the interior design of the pack (see Design: Interior). So no need to repeat myself.
 
I like the magnetic latches, despite the fact that you can’t lock them. But what I don’t like is that the flap is open at either end, which, in a torrential downpour or with gusty winds at the beach, means water or sand will find a way in.
 
The bag desperately needs a rain cover. It was shortsighted of Peak Design not to include one, or at least optionally offer one custom made for this pack. Finding one online that fits just right is just too iffy. Not to mention, third party rain covers advertise some other company. I’d like to think that Peak Design would prefer to promote their own products, not someone else’s.
 
When I tried the empty bag on, it was a comfy fit. And I initially made a point of mentioning that to Peak Design. Fast forward to my experience after I loaded the bag up and the experience was radically different.
 
I found the shoulder straps with a loaded bag dug into my shoulders. To keep straps from sliding off, which is typical of most packs, I employed the sternum (chest) strap. I found this equally uncomfortable. The one-piece chest strap hooks onto each shoulder strap (instead of two pieces snapping together) – sounds simple in theory, more troublesome in practice.
 
Then I added the waist belt. Using a waist belt is supposed to take some of the weight off the shoulders. It didn’t do that. There was no added support whatsoever. And the waist belt is too narrow and neither contoured nor padded.
 
To make matters worse, I noted that, had I been a stockier fellow, the straps would not have fit. This bag is not made for someone with a stocky frame. I also wonder how it would do with layer upon layer upon layer of heavy winter clothing. I didn’t have to dress for winter to figure that one out. It would be a tight fit, if that.
​

​Who Would Use This Backpack?
Novice photographers and photo enthusiasts; this should be a fun pack to use when sightseeing, going to the zoo, or on a nature walk – provided you watch your back(pack) in crowded settings.
 
Capsule Comments
While I may quibble with the overall design of the bag, I still find it fashionable, and on someone else’s shoulders, it may prove to be just the right fit. With the right gear optimally packed, and with a few layers of winter outerwear to cushion the shoulder straps, this would be a good choice, provided you added a rain cover.
MATERIALS per Peak Design
Ultralight waxed Kodra synthetic canvas with DWR coating for weatherproofness, poly-spun mixed twill interior, compression-molded high-density EVA foam dividers and protective panels, die-cast and stamped anodized aluminum hardware with sandblasted finish and protective clear coat. Charcoal bags have Hypalon touchpoints, Ash bags have natural leather touchpoints.
PRODUCT SPECIFICATIONS  per Peak Design
Everyday Backpack 30 (Charcoal or Ash)
Outer Dimensions: 20” H x 13” W x 7.75” D (51 H x 33 W x 20 D cm)
Laptop Sleeve: 16"x10.75"x1.5" (40x27x4cm); designed to carry up to a 15” Macbook Pro Retina, 2009 or later.
Tablet Sleeve: 14" X 9" X 0.4" (33x23x1cm)
Weight: 3.4 lb (1542g)
Carry-on Approved: Carry-on approved for all airlines - fits under airline seat easily (according to the manufacturer)
​Conclusions
I wasn’t overly thrilled by the carrying capacity, how the bag felt on my shoulders, or the weatherproofing. Granted, at first glance, I did find myself falling for this bag – but that was short-lived. Once I started to load the bag with gear, the limits of this divider system became all too apparent. Suffice to say, I have smaller backpacks that will hold more, and do it more securely. I would not use this pack when hiking over uneven and rugged terrain, unless you first secure all your gear snugly.
 
Still, I do feel that Peak Design has a promising design here. I just wish they’d find a more utilitarian way to implement it. Given a few tweaks in the modular dividers, the addition of a rain cover, more heavily padded shoulder straps, the switch to a padded or otherwise more supportive waist belt, and some way to keep prying fingers out, the Everyday Backpack could go far in everyday use, and beyond. For now, I would only take it on short hops sightseeing or on nature walks.
 
What’s more, the design may be too clever. I prefer a bag where I can get at all my camera gear by simply opening one flap. That’s not the case here, requiring you to use multiple access points to get at all your photo gear. You can’t even see what you’ve got without opening both side flaps.
 
In the final analysis, would I recommend this photo backpack? Yes, provided you keep the load light and keep your expectations light as well.

​Where can I get more info
Peak Design
 
Manufacturer (use this link to order):
Peak Design
 
How much is it?
$289.95
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Field Report: Think Tank Photo Signature 13 Shoulder Bag – Elegance and Functionality Combined

4/11/2017

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​There are occasions when even a hard-nosed photo backpack user like myself must resort to a shoulder bag. In these times, sadly, backpacks may be seen as something other than the innocent carriers of your photo gear. There’s even one institution here in Chicago, namely Shedd Aquarium, where I’ve had the unfortunate experience of a security person literally ripping through my MindShift Gear photo pack to gain access, instead of simply using the zippers as intended – or asking me to open the bag. Happily, no harm done, except for some frayed nerves on this side of the inspection table (good thing MindShift uses high-quality hardware that resists such mistreatment). It was more intrusive than past TSA inspections I’d experienced (although maybe not as bad as some recently reported).
 
In the past, I was very happy using my Think Tank Retrospective 5 Leather bag, although over time I’d come to realize the small size was both a boon and a bane, keeping me from carrying too much but often proving too small for anything more than the minimum of gear. Even a 15-30 f/2.8 or 70-300 attached to a DSLR was too much and the 24-70 f/2.8 on the camera just barely made it. So it was time to trade up.
 
Thankfully, the Signature series entered the scene. Here I had a choice between two sizes. And this time I opted for the larger bag for one very good reason: The bag was longer and deeper than the Retrospective, but it still maintained a slim profile. That would remove the temptation to overfill the bag and also meant it would ride comfortably at my side, without bulking out.
 
What’s more, as I was soon to find out, I could shift the bag around to my back when wearing it sling-fashion. Of course, as a shoulder bag, it lends itself nicely to being worn over the shoulder. In fact, this bag is almost perfect. Almost.
Stylish Design
Think Tank seems to have reinvented camera bag fabric when it came to the Signature series. This is a softly textured polyblend with the feel of finely woven wool. Unlike the Retrospective, this bag does not use Velcro-style hook-and-loop fasteners on the outside. In fact, I’d caution you to keep Velcro away from the exterior, as it may ruin that clean look (and, no, I didn’t test it, out of fear of ruining the bag). And if you’re wondering, the bag has been treated with a water-resistant finish. That aside, there is a rain cover included, which came in handy when I found myself pelted in a downpour.
 
Enhancing this bag’s sophisticated appearance are leather accents. Soft leather graces the bottom of the bag. And there is leather on the carrying handle and shoulder strap, as well as the fastener straps. The buckle fasteners are metal, not plastic, further heightening the impression of quality.
 
Advancing the impression that this is a well-crafted bag is this: There is not one stitch out of place, not one loose thread.

The Interior
This is where the Signature bag really shines, for the most part. The entire interior is Velcro-friendly. You can reposition the padded dividers to your heart’s content. Better still, they are more heavily padded than the typical Think Tank dividers. What’s more, the two central dividers are supportive enough to hold a camera upright, with attached lens facing downward. And if you feel you need more dividers, they’re included. I originally put these in storage, since I found the original set of dividers did the job well enough.
 
Two things I did not like about the interior centered on the bottom of the bag. Instead of one contiguous cushioning base, there are two, what are essentially, padded dividers lining the bottom. And the bag lacks a stabilizing bottom platform to help keep the bag’s shape and prevent a sagging bottom, while offering enhanced protection to gear. So, I pulled the three extra padded dividers from storage and lined the bottom of the bag with them. Now the bag is firmer at the base and offers even better protection for my gear.
 
Keep in mind that a soft-sided bag is intended to be pliable. A heavily padded, stiff outer shell would make the bag less convenient to carry. The back of this bag is the most heavily padded, enough so as to cushion you against bumps and practically prevent anything from bulging out intrusively. The front of the bag is more pliable, so keep the top of the camera to the front. That also places the grip on the right, for a quick grab.
 
There is enough room in the Signature 13 for me to keep a BlackRapid sling strap attached to my Nikon D610. BlackRapid straps tend to protrude more than most sling straps when attached to a camera body, which is why it’s worth noting.
 
A couple of more points worth noting. Unlike the Retrospective, the Signature bags feature an interior zippered lid. Keep this zipped when on the move, prior to reaching your destination or when in iffy spots to keep out prying hands.
 
In theory, the top flap fully covers the top of the bag. In practice, the sides bulk out just enough to leave a tiny bit of the interior exposed on each side. Which is why you may want to keep the inner lid zipped when moving about, or in situations where dirt or debris or errant water drops or snowflakes might enter the bag.
 
And speaking of this inner lid. I would have preferred two zippers to make it easier to open and close more rapidly. That aside, Think Tank thoughtfully designed it so that it could be attached to the main flap for quick opening when unzipped. And they’ve added another option: You can tuck the lid inside the bag, so it remains out of the way entirely. I prefer the first approach, since you can leave it attached to the main flap and still zip it open and closed. This inner lid, by the way, is pleated, making room for a lens that may stand taller than would ordinarily be accommodated.
In Use
At the outset, I loved that I had room to store a DSLR with attached lens on a dedicated support system (composed of two sturdy padded dividers, each with an overhang). You can position the overhanging lip facing inward or outward, depending on what you’ll be storing in the modules on either side. Keeping the camera/lens in the center also provided better balance.
 
Another aspect of the bag that I truly admired is the shoulder strap. Conventional shoulder straps use an extra-wide pad that slides all over the place and has to be constantly readjusted.
 
The padded section of the Signature shoulder strap is just wide enough to be comfortable whether worn over the shoulder or sling-fashion. Beyond that, not only is it fixed in place but it also occupies much of the strap. So, you never find yourself having to adjust the shoulder pad. It’s simply there all the time.

Where can I get more info?
Think Tank Photo Signature 13
 
Manufacturer (use this link to order):
Think Tank Photo

How much is it?
$279
Who Should Use This?
Photojournalists, news photographers, documentary photographers; street photographers; travel photographers; pro and consumer alike.
 
Capsule Comments
Thoughtfully designed and fashionable; a thoroughly practical shoulder bag that can just as easily be carried as a sling bag.

Conclusions
For the most part, the bag is easy to use. The interior is fully adjustable. Think Tank has apparently spent considerable time rethinking their divider system, and I believe they’ve hit upon the ultimate solution.
 
I might quibble with one or two design elements, but on the whole Think Tank Photo has taken shoulder bag design to the next level in the Signature series. Even the outer fabric is a masterful touch. In fact, when wearing the bag slung around the back, I found I could bend over and the bag seemed to grip my back without sliding around – a problem ordinarily encountered with other bags. And the zippered inner lid is yet another smart feature.
 
In short, I like this bag so much that I look for opportunities to use it. And, again, keep in mind, it’s the perfect solution where a photo backpack may be verboten. Think Tank will have to really go out of their way to design a bag that would make me want to replace this bag. The Signature 13 is the shoulder bag I’ve been waiting for. Gladly the wait is over.


KEY FEATURES per Think Tank Photo (with my comments in italics)
  • Modern wool-like fabric that is soft to the touch and stands-up to everyday use.
  • Full-grain leather bottom and detailing, plus antique finished metal hardware.
  • Zippered flap provides full closure and security to the main compartment, or tucks away when not in use.
  • Dedicated laptop/tablet compartment: Signature 10 fits a 10” tablet; Signature 13 fits a 13” laptop. (In the Signature 13, you can tuck the tablet in the sleeve dedicated to the inner lid and leave the larger laptop sleeve for a thin notebook.)
  • Secure clasps on front flap with one-handed operation. (Be extra careful with the metal fasteners as they may come in contact with the exposed LCD on back of the camera or with exposed glass when a lens is positioned front end up without a lens cap.)
  • Dedicated phone pocket fits up to an iPhone 6s+ or S7 Edge.
  • Wide handle pass-through for attaching to rolling luggage.
  • Large front pocket for an extra strobe, rain cover or small book.
  • Long, cushioned neoprene shoulder pad positions easily when worn cross-body (sling-style, that is).
  • Zippered front pocket provides security for small items and includes a built-in organizer for pens and business cards. (There’s also a zippered sleeve on the back, where I keep the rain cover for easy access.)
  • Quilted Velex dividers can be customized to fit gear.
  • Shorter dividers can be made into shelves to stack short lenses. (I try to avoid stacking stuff, for easier access.)
  • Dividers and bottom foam can be removed for a completely collapsible bag.
  • Although the bag’s outer fabric is treated with water resistant coating, a seam-sealed rain cover is included for downpour conditions.
 
GEAR CAPACITY per Think Tank Photo (with my comments in italics)
Signature 13
  • 1 standard-size DSLR with mid-range zoom attached plus 2–3 additional lenses. (I was able to squeeze in a D610 with Tamron 70-300mm zoom attached; a flash easily fits in the main section in a fully upright position, with room for one more lens.)
  • 13” laptop fits inside a dedicated compartment
 
Signature  10
  • 1 standard size DSLR with 3–4 prime lenses and accessories
  • A complete Mirrorless camera system with 3–4 lenses and accessories
  • 10” tablet fits inside a dedicated compartment
 
MATERIALS per Think Tank Photo
Exterior: All fabric exterior treated with durable water resistant coating while fabric underside is coated with polyurethane for superior water resistance. The bag also has 240D wool-like 195G nylon/poly blend, full-grain leather, antique-plated metal hardware, highest quality YKK RC-Fuse zippers, 550D polyspun, nylon seatbelt webbing, neoprene, 3-ply bonded nylon thread.


Interior: 210D silver-toned nylon lining, polyurethane-backed quilted Velex liner and dividers, high-density closed-cell foam dividers, 2x polyurethane coated nylon 210T seam-sealed taffeta rain cover, nylon binding, 3-ply bonded nylon thread.
 
PRODUCT SPECIFICATIONS  per Think Tank Photo
Signature 13
  • Internal Dimensions: 13.3” W x 9.1” H x 5.1” D (34 x 23 x 13 cm)
  • Exterior Dimensions: 14.6” W x 10.4” H x 6.3” D (37 x 26.5 x 16 cm)
  • Laptop/Tablet Compartment: 13” W x 9.1” H x 1.2” D (33 x 23 x 3 cm)
  • Weight: 3.1 lbs. (1.4 kg)
 
Signature 10
  • Internal Dimensions: 11.8” W x 7.8” H x 5.1” D (30 x 20 x 13 cm)
  • Exterior Dimensions: 13” W x 9.1” H x 5.9” D (33 x 23 x 15 cm)
  • Tablet Compartment: 11.4” W x 7.8” H x 0.8” D (29 x 20 x 2 cm)
  • Weight: 2.8 lbs. (1.3 kg)
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Field Report: Think Tank Photo Airport TakeOff V2.0 – Roller and Backpack in One

2/26/2017

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Picture
​Not long ago, I reviewed the Airport Security V3.0 rolling camera case from Think Tank. I couldn’t sing its praises loud enough.

Well, the TakeOff V2.0 may unseat the Security as my favorite roller, and here’s why. (For reasons why you should use a roller for your camera gear in the first place, I direct you to that earlier review.)
 
At the outset we should point out that all of Think Tank’s Airport-series rollers are what we’d consider “soft-sided” luggage. That means it's fabric-covered and pliable yet quite rigid.
​

​Airport TakeOff V2.0 vs the Original Airport TakeOff
On the surface, they appear to be very similar. You’d be hard pressed to tell the difference. However, there are a few noteworthy design changes, from what I can discern in the specifications.
 
To begin, the new bag uses a 1680D nylon shell, which is better quality, higher density, and more abrasion-resistant than the 420D used in the original. Second, whereas both employ user-replaceable in-line skate wheels, V2 uses “high performance, 80mm super-quiet wheels with sealed bearings.” Not having used the original, I can’t speak to a quantifiable difference, but I can say that the new wheels are smooth-rolling and super quiet. The Airport Security uses the same wheels, so there was no need to put them through the same tests. Suffice to say, they pass muster on carpet, cracked pavement, and grass.
 
Aside from that, the pocket that was originally inside the cover flap has moved to the outside, for faster access, except that it’s fully opaque nylon, not see-through plastic. There are also some cosmetic differences and the included tethered lock has been moved to the side, underneath the side padded handle.
​
​Airport TakeOff V2.0 vs Airport Security V3.0
The TakeOff has a smaller profile than the Security, so it should be a better fit in the overhead on smaller aircraft. That said, you should always check airline allowances before packing your gear and leaving for the airport.
 
The Security is designed to serve as the name implies. The primary lock is built into the case, with both zipper pulls (the metal tabs) locking in place inside the combination lock – it’s an ingenious design! The tethered lock, however, is a standard combination lock and removable from the tether. Both are TSA-compliant (meaning TSA can easily unlock them if needed).
 
The TakeOff features only a tethered combination lock, also TSA-compliant, but this lock is permanently attached to the tether. And the tether is much shorter here than on the other bag, if that matters. Also, as mentioned, the tether is found on the side of the bag, in contrast to the top-loading tether on the Security (not sure if that really makes a difference from a practical standpoint). The zippers to the TakeOff’s camera section are interlocking to accept the TSA combination lock.
 
The front pockets on the two rollers are different, yet similar in some ways. Both will hold a laptop plus tablet. The laptop sleeve on the TakeOff is a smidge larger and appears to have thicker padding in front. The TakeOff will hold my 17” Gateway with protruding battery attached. This laptop is quite thick. The fit was snug, and removing the battery would have been a prudent move. The TakeOff features an organizer pocket, whereas, oddly, this feature is missing on the other roller.

The biggest difference between the two cases is in how you access the outside compartments. On the Security, everything but the outer mesh front pocket, is zippered, with interlocking zippers – hence, lockable. The TakeOff lacks the large outer mesh pocket, and only the organizer pocket is zippered – but with no way to secure it. The laptop/tablet sleeves are accessible via a snap-closure mechanism – not at all difficult to get into when your back is turned. So you wouldn't want to leave the TakeOff with a stranger while you head to the restroom or while you step away for a quick cup of java.

An even greater overriding concern for some of you: If you work with pro-grip DSLRs, then you'll definitely choose the deeper Security over the TakeOff. A point that should not be overlooked.
 
The telescoping handle is fully exposed on the Security, whereas on the TakeOff it is hidden beneath a zippered flap, and for good reason. What really sets the TakeOff apart from the Security and other Think Tank Airport rollers is the built-in backpack harness.

​Why a Backpack Harness?
Despite the fact that Think Tank does a really nice job with its padded handles, making them ultra-comfy and ultra-strong, there are times when you want to move more quickly and with better balance over uneven, perhaps gravelly, rock-strewn, or muddy terrain, and hand-carrying just won’t cut it.
 
Carrying a roller by the handle makes you kind of wobbly. Besides, you may need your hands free to carry something else or to help you negotiate stairs or rough terrain. Enter the backpack harness.
 
Unlike the traditional backpack harness found on rollers equipped with these straps, where you first have to attach the harness or go through some lengthy process of digging them out, using the harness on the TakeOff couldn’t be easier. Unzip a flap on the back, and voila! You’ve unveiled the backpack straps. They slide out and back in effortlessly.
 
The first thing you’ll notice is that the flap leading to the harness secures to the bottom of the case and out of the way via hook-and-loop material, popularly known as Velcro. What you will notice is that these shoulder straps don’t extend all the way down to the bottom edge of the case – at least not from the outside. That means there’s no waist belt, which is unnecessary in this kind of arrangement.  There is, however, a sternum (chest) strap to help secure the bag so it doesn’t shift weight as you’re trekking over rocky areas.
 
Granted, this is a heavier setup than a traditional soft-sided backpack alone without wheels or cart handle. But you won’t be going on long hikes. You’re just donning the harness to negotiate a short stretch of difficult terrain, or to climb the stairs. (Advisory: never drag the case up stairs or lift it by the telescoping handle. Always hand-carry it in such instances, or use the backpack harness.)

​In Use
Rollers traditionally have one failing. To allow for the wheelbase and telescoping handle, sections of the interior are raised, leaving what we might describe as wells or channels. You can simply work around that  without it hampering you in the least. I arranged my gear in minutes.

The interior lets you stash two bodies sans pro-grip with attached lenses and a whole slew of additional glass and one or two shoe-mounts besides. There are more than enough padded dividers and many of these are hook-and-loop compatible, letting you configure the interior to your heart’s content.
 
As for the backpack straps… Well, keep in mind this is not a traditional backpack. Owing to the constricted way the straps extend outside the bag (not as loose as the traditional harness), the straps did pinch a bit under the arms, but not to the point of unbearable discomfort. You should try it out for yourself, as all body types are different. Remember: these straps are just a temporary means of traversing terrain that would prove difficult for wheeled luggage. In the main, wheeling this case along is just a dream.

​Who Should Use This?
Commercial and editorial photographers; travel photographers; nature and wildlife photographers (if you plan to backpack for short hops or switch to a traditional photo pack when you arrive at your destination); wedding photographers; location portrait photographers.
 
Capsule Comments
Much of what I said about the Airport Security applies here as well: thoughtfully designed; durable; quiet-rolling; holds one or two DSLRs (without pro-grip) with attached lenses plus numerous additional lenses, shoe-mounts, accessories; also holds a 17” laptop, 10” tablet, and tripod; airline-friendly - obviously.
 
Conclusions
Frankly, I’m torn between this new Airport TakeOff V2.0 and the Airport Security V3.0. What would sway me one way or the other would be the following: (1) Do I need more security for my gear and my laptop? Answer: Airport Security. (2) Will I be flying in a plane with cramped space? Answer: Airport TakeOff. Do I want faster access to my laptop or tablet while either is in the sleeve? Answer: TakeOff. Will I be carrying a whole lot of gear, including one or two pro-grip cameras attached to lenses? Answer: Security. Will part of my trip involve negotiating rough terrain for short stretches? Answer: TakeOff. Will I be carrying a bulky 17” laptop (I added this because it does apply to some of us)? Answer: TakeOff. Do I want a dedicated roller (answer: Security) or a roller that also works as a backpack (answer: TakeOff)? What if I don’t need to carry a ton of gear or pro-grip bodies? Answer: TakeOff. What if I want to carry a slim laptop and a tablet? Answer: either the Security or TakeOff will do.
 
Other than that, everything about this roller smacks of quality, from the replaceable hardware to the cozy and secure fit of my gear inside to the multiple transport modes outside: roller, soft and sturdy carry handle (x 2), and backpack harness.

​
What Fits? (per Think Tank Photo, with my comments in Italics, in parentheses)
  • 2 DSLRs with lenses attached plus 2–4 additional lenses, 15” laptop* and a 10” tablet (I managed to fit a 17” with attached battery into the sleeve)
  • Max Lens: 400mm f/2.8 attached (hood reversed)
​Key Features (per Think Tank Photo, with my comments in Italics in parentheses)
  • Integrated backpack straps with comfortable shoulder harness and back panel padding (may pinch a little)
  • Holds up to a 400mm f/2.8, two standard bodies and other assorted lenses (don’t forget the shoe-mounts)
  • Large front pocket fits up to a 17” laptop and a 10” tablet (not sure I would try to squeeze my iPad in with that bulky Gateway laptop, but shouldn't be a problem with a slimmer laptop)
  • Specially designed interior maximizes gear capacity for carry on yet still meets most U.S. domestic and international airline carry on requirements (verify with airline in advance, for each leg of your journey)
  • Custom designed retractable (telescoping) handle with inset channel on aluminum tubing adds strength and durability
  • Pocket for tripod mount or (small) water bottle on side; tripod pouch/straps also included
  • Cable and combination lock included for securing the lockable zippers (or to an immovable object, if you use a separate TSA lock for the zippers)
  • YKK RC Fuse zippers, ballistic nylon, high-density velex and closed-cell PU foam are the highest quality materials in the industry
  • ​Zippered organizer pocket on front of laptop compartment
  • Interior zippered pockets for batteries, CF cards, filters and accessories
  • Custom-designed, high-performance, 80mm wheels with sealed ABEC grade 5 bearings for quiet rolling
  • User-replaceable retractable handle, wheels and feet
  • Extra tall wheel housings protect your bag from scrapes and scratches
  • Seam-sealed rain cover included
  • Grab handles on three sides for lifting bag into the overhead bin (two heavily padded handles)
  • Reinforced dividers support heavy gear and maintain strength over time
  • Business card holder on top for identification
​Materials (per Think Tank Photo)
Exterior: For superior water-resistance, all exterior fabric has a durable water repellent (DWR) coating, plus underside of fabric has a polyurethane coating. The roller bags are also constructed with 1680D ballistic nylon, YKK RC Fuse (abrasion-resistant) zippers, custom designed extra tall skid plates, high performance 80mm super quiet wheels with sealed bearings, SpanKodra front pocket, rubberized laminate reinforcement, nylon webbing, and 3-ply bonded nylon thread.
 
Interior: 210D silver-toned nylon, polyurethane backed Velex liner and dividers, 2x polyurethane coated nylon 210T seam-sealed rain cover, closed-cell foam and reinforced

Specifications (per Think Tank Photo)
Internal Dimensions: 13” W x 18.5” H x 5.3 – 6.8” D (33 x 47 x 13–17 cm)
Exterior Dimensions: 14” W x 21” H x 8” D (35.5 x 53 x 22 cm)
Laptop Pocket: 11.4” W x 16.3” H x 1.4” D (29 x 41.5 x 3.6 cm)
Tablet Pocket: 9.8” W x 9.4” H x 0.8” D (25 x 24 x 2 cm)
Weight: 7.0–8.7 lbs. (3.2–3.9 kg) depending on accessories used
​
Where can I get more info/order this product?
Think Tank Photo
 
Manufacturer:
Think Tank Photo

How much is it?
$369.75
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