Posted 7/22/2015 on www.shutterbug.com.

I’ve worked with Adobe Photoshop since it was first introduced. While it wasn’t my favorite image editing software initially, Photoshop grew on me as its capabilities grew, and it has become my go-to editor outside Lightroom.

In fact, Photoshop has led the field among image editors for as long as I can remember. It’s a robust package with an array of tools that far surpasses what many of us would normally use—although, granted, it’s nice to know they’re there when needed. And no pro photographer I know would consider abandoning Photoshop in favor of a fledgling software application. Not just yet, anyway.

However, for the many photo enthusiasts who have yet to dabble in Photoshop or who find it too unwieldy or intimidating, or downright too expensive, something new is always an enticement. This is especially true in light of Adobe’s recent and controversial subscription-based Creative Cloud service, which many photographers balk at. Even some pros I know prefer to stick with the tried-and-true, standard desktop versions to the Cloud-based subscription versions.

Well, Affinity Photo from Serif Labs is here to address the naysayers among us. First of all, it’s available at a one-time price, and a very inviting one at that: for $49.99, you get not only the software, but also all future updates and releases. Affinity Photo is available from the Mac App Store—currently (and likely for the foreseeable future) Mac OS X only, 10.7 or later, 64-bit processor—courtesy of Serif Labs. READ THE ENTIRE REVIEW.

Posted 7/7/2015 on www.shutterbug.com.

Lightroom has always been available as retail standalone software that you buy, install, update, and pay to upgrade when applicable. Well, that has changed, in part, thanks to the Adobe Creative Cloud, which unleashed a torrent of cloud-integrated apps, among them Lightroom CC.

I wasn’t convinced of the necessity to dive into the cloud when Photoshop CC was first introduced, choosing instead to remain firmly grounded with CS6. But things took a turn that would force my hand when Adobe chose to no longer support Lightroom 5 with updates. When testing new cameras and lenses, I found myself resorting to Photoshop CS6 so I’d have access to the latest Adobe Camera Raw (ACR). I was at a crossroads. Creative Cloud, show me what you’ve got. READ THE ENTIRE REVIEW.

Posted 5/28/2015 on www.shutterbug.com.

Shutterbug was fortunate enough to secure a loan of a pre-production version of the much-anticipated EOS 5DS R DSLR for testing and we were off and running with it as soon as it arrived. You’ve no doubt read our earlier report about this camera and its nearly identical twin the 5DS, each boasting a whopping 50.6MP full-frame sensor, which makes them the world’s highest resolution full-frame DSLRs

And undoubtedly your mouth started watering.

Face it, everyone is always clambering to buy the latest and the greatest, but you should also ask yourself, what will I use it for and what will it add to my photography? And perhaps the bigger question, is it time to switch (or switch back) to Canon?

Ever since medium format digital cameras and backs have been hitting us with pixel counts in the stratosphere, the DSLR world has been scrambling to catch up. But those medium-format backs have a purpose: they meet client needs, usually high-end advertising. And it’s not only the high resolution, which sits on a larger sensor, no less. These larger cameras also offer 16-bit color depth, in contrast to the 14-bit capture typically available to our higher-end 35mm style cameras.  But there are many more applications that are not as demanding or that require high mobility, and that is where a 50MP DSLR will find its niche. READ THE ENTIRE REVIEW.

Posted 5/20/2015 on www.shutterbug.com.

There was a time when I’d avoid a zoom lens as much as I’d avoid a swarm of midges. But in the digital age, the zoom lens has taken on new purpose, at least for me. Midges, however, are still a pest that is best avoided—especially when you’re changing lenses. And if you’re out in a marsh shooting spectacular scenic views, the Canon EF 11-24mm f/4L USM lens gives you the needed range of focal lengths so you can reign supreme over any landscape, as you avoid changing lenses while sidestepping concern that those midges will infiltrate your camera. READ THE ENTIRE REVIEW.

Posted 5/13/2015 on www.shutterbug.com.

I thought that Tamron had outdone itself first with its 70-300mm lens and then with the 24-70mm f/2.8  and 90mm f/2.8 Macro lenses: all bearing the SP (super performance), VC (vibration compensation), Di (digitally integrated primarily for full-frame sensors), and USD (ultrasonic silent drive) monikers. There are of course other noteworthy lenses in the lineup, but these are the ones I tested for Shutterbug. Now comes the impressive Tamron SP15-30mm f/2.8 Di FC USD, which the company first previewed way back at photokina 2014. With this lens Tamron has created a near-flawless masterpiece in optics that simply blew me away!

I tested this full-frame Tamron SP15-30mm f/2.8 lens on a Nikon D610, with Picture Control set to Standard (default settings). Raw images were processed first in Adobe Lightroom and, because Lightroom 5 doesn’t yet directly support this lens with a specific profile, I post-processed the files in Adobe Photoshop, which does offer a profile for this glass. Processing was carried out with sharpness at the default settings in each application. (Note: Lightroom CC now supports this lens.) READ THE ENTIRE REVIEW.

I'm a big fan of photo backpacks, and always have been. I find them eminently suited to practically every type of shooting I do away from my home base. In fact, I keep specific gear packed in individual backpacks so I'll be ready to go, with just minor tweaks, as needed. 

Over the past few years, I've grown to love packs from Think Tank Photo, and more recently from their affiliated younger sibling, MindShift Gear. In fact, packs from these two companies have been my go-to bags for practically every photo outing and are the only backpacks I trust to do the job these days. Think Tank has packs geared more toward travel and location photography, whereas MindShift directs its efforts primarily toward the great outdoors, as well as travel. Bags from the two companies are distinctly their own - there's nothing else like them on the market. And each company's packs are easily distinguishable from the other.

Now, with regard to the packs we're reviewing, the newest are (with the latest first), MindShift's FirstLight 20L and rotation180 Horizon, followed by Think Tank's StreetWalker. The FirstLight series is geared toward DLSRs with physically long lenses attached, whereas the rotation series aims at instant readiness in any environment, with considerably shorter lenses on the camera, to put it simply. The StreetWalker has been around for awhile. As the name implies, it's primarily designed for use on the street, but is so compact and utilitarian, you'll want to take it everywhere. 

These three packs are water-repellant and constructed with an ultra-strong, ultra-durable nylon shell.  The MindShift packs in particular are designed to weather the harshest of conditions. All these backpacks are fully padded, with customizable interiors. What's more, they're relatively lightweight without compromising construction or their ability to protect my valuable gear.

FIRSTLIGHT 20L (Click highlighted text for more info.)
I loved this bag from the moment I laid eyes on it. First, it's sleek in appearance, with nice, clean lines. Second, there are two ways to carry a tripod built in--over the front or on either side. I carried a compact Sirui carbon-fiber pod, but my larger Giotto's would also have made a good fit. The side that's free can hold a water bottle (something in the order of a 16 oz bottle). The FirstLight 30L and 40L (L = internal capacity, in liters) will also hold a hydration bladder (optional), as well as more and bigger gear. Third, it comes with its own seam-sealed (translation: keeps water out) rain cover.

To further ensure your comfort, the pack comes with an aluminum stay. The backpack suspension system is especially noteworthy. Unlike most photo backpacks, this bag is adjustable for torso length. This affects how you carry the pack and your comfort level for the long haul. The only pack in recent memory that was arguably a better fit is the rotation180 Pro. To further ensure your comfort, the pack comes with an aluminum stay.

In addition to the heavily padded, contoured, breathable shoulder harness, the pack comes with airflow back padding with lumbar support, a fully adjustable sternum (chest) strap - with a whistle, no less, and fully padded and fully adjustable waist belt. In fact, the waist belt was designed to wrap around to the front so that it takes up less space in storage and to keep the padded wings (flaps) out of the way. There are also compression straps to further secure the bag and add to its comfort: load lifters attached to the shoulder straps on top, stabilizers on the waist belt. Remember, the basic idea behind all these adjustments is to take the weight off your shoulders during long hikes and to keep the bag stable on uneven terrain. The sternum strap also helps keep the shoulder straps from sliding off the shoulder. On city streets, you can make do with just the shoulder harness, as I did - makes removing the bag that much quicker. 

The only way they could have made this a more pleasurable experience is with an instructional video illustrating the torso adjustment and overall fit of the pack (I had to play around with it to get it just right). There is, however, a set of instructions inside the bag.

The pack has two roomy front pockets, plus one small one on top (I would have also liked an organizer pocket for a pen, pad, and other small stuff). The largest of these pockets will hold up to a 15-inch laptop, but you'll have to provide your own padded sleeve. I'd normally carry a light jacket in that pocket. There are additional see-through pockets inside. 

Now to the key feature of the FirstLight series. These packs are designed to hold a DSLR (HD-SLR) with long lens attached. For the FirstLight 20L, maximum lens size attached to the camera body, according to MindShift, is a 200–400mm f/4 or 300 f/2.8, with room to spare for additional lenses, shoe-mount flash, and accessories. Because of the bag's shallow depth, some lenses that I would have stored vertically (upright) in another pack had to be stored horizontally (lengthwise). Still, what I particularly liked is that the bag holds the camera snugly in place. I had to adjust one of the vertical (long) partitions to accommodate the width of my Nikon D610, but that was it.

The limited depth did have one other consequence: I had to detach the sling strap that I normally leave attached to the bottom of the camera (this may vary with sling strap design). The 30L should have no problem dealing with sling straps or with standing some lenses on end. That should be even less of a problem with the much more spacious 40L.


Street price/FirstLight 20L: $229.99 direct; $229.99 @B&H

ROTATION180 HORIZON (Click highlighted text for more info.)

There isn't that much more to say about this version of the rotation180 other than it's bigger than the Panorama (read that review here). 

Well, concomitant with that larger size comes a roomier rotating waist-belt camera pack. Aside from that, the Horizon accepts the same optional camera insert as the Panorama, but leaves room to spare, which is a big plus in my book. With the insert, the Panorama left practically no room for anything else. Now, with the Horizon, you can store that light jacket, some snacks, and a guidebook or two, and even make room for a tablet, plus additional pockets give you added space. There is a pocket on the side that will hold a water bottle, but it's not mesh, meaning the bottle could slip out on a rugged trail. To counter that, this pack will also hold a hydration bladder (optional). Rain covers for the main pack and belt pack are optional.

While not on the same level as the rotation180 Pro, the shoulder harness and related straps on this pack make for a comfortable and secure carrying system. Inexplicably, I found the waist belt release mechanism that governs the rotating belt pack easier to use on this backpack than on either the Pro or Panorama.

Suffice to say, this pack has replaced both the rotation Pro and Panorama packs. I do wish it stood on its own (which is true of the Pro, as well as the other packs reviewed here). Still, it awaits the next snowfall, when I won't need to put the pack down on a wet or muddy surface to get at my camera with lens attached - that's what the rotating belt pack is for. And if I do set it down, I'll know I can access the remainder of my gear through the top panel, without laying the bag flat on the ground.

Street price/Rotation180º Horizon: $259.99 direct; $259.99 @B&H

STREETWALKER (Click highlighted text for more info.)

The StreetWalker proved the ideal choice for a recent trip to Hawaii. I wasn't initially certain whether I'd be checking any luggage or not, but, in case I didn't, I wanted to be sure my camera bag would be big enough to hold the needed gear yet would fit comfortably and unquestionably underneath the seat in front of me on each flight, going and coming. And all this without compromising the security of the gear or my comfort. What I didn't know at the time is that the bag would have to fit in the storage compartment on a helicopter and a storage locker on a boat.

Prior to this trip, I'd been using the StreetWalker Pro when tooling about town, but found it too spacious for my Nikon D610. Plus, as I mentioned, I wanted something small - something that would accompany me onboard as a "Personal" item if need be. When the smaller StreetWalker arrived, I inserted my D610 with a Tamron 15-30mm f/2.8 lens and Nikon SB-700 flash. That left room for the Samsung NX500 and any additional Samsung lenses I'd be receiving (on loan) during my Hawaii stay. And it all fit uncrowded yet snug enough so nothing would be bouncing around (I generally make use of unused dividers to ensure a snug fit, or add a couple of spares from an old bag).

Several pockets, including an organizer pocket, keep you organized, with additional pockets for a water bottle on either side. Carrying a tripod with this pack is not as convenient as with the larger StreetWalker Pro, but is certainly doable and without any major inconvenience. And it comes with a rain cover.

So, not only did the StreetWalker fit nicely underneath the seat on the plane, but it had no complaints when relegated to the storage area of either the sightseeing helicopter or the whale watching boat. And I was a happy camper - er, photographer.

Street price/StreetWalker: $169.75 direct; $169.75 @ B&H and Adorama

In Conclusion
I can't say enough good things about MindShift Gear's newest FirstLight 20L as well as the rotation180 Horizon and Think Tank Photo's older StreetWalker. They're all comfy, do a great job keeping my gear well balanced on my back and protecting my gear, and are a perfect fit for my various needs, whether it's communing with nature, walking the streets of Chicago, flying in a helicopter, or whale watching in a motorized inflatable craft. I always felt assured that my gear was secure, and I never felt worn out after any shooting experience with these packs.

(Click highlighted text for more info.)
FIRSTLIGHT 20L 
ROTATION180 HORIZON 
STREETWALKER

Which Backpack Should I Get?
Listed in order of preference under each criterion...
- If you carry a long, fast lens attached to the camera: FIRSTLIGHT 20L
- If you carry a short, fast or short zoom lens attached to the camera and need it ready to go at a moment's notice: ROTATION180º HORIZON
- If you're a wildlife, landscape, or travel photographer: FIRSTLIGHT 20L, ROTATION180º HORIZON
- If you expect to be on foot for long periods at a stretch: FIRSTLIGHT 20L, ROTATION180º HORIZON
- If you expect to be negotiating rugged terrain or spend extensive time in wilderness areas: ROTATION180º HORIZON, FIRSTLIGHT 20L
- If you expect to be on snowy, wet, muddy terrain (especially anywhere you can't conveniently put the bag down to access gear): ROTATION180º HORIZON**
- If you need a backpack that is airline-friendly*: STREETWALKER, FIRSTLIGHT 20L, ROTATION180º HORIZON
- If you carry a tripod: FIRSTLIGHT 20L, ROTATION180º HORIZON, STREETWALKER 
- If you carry a laptop: FIRSTLIGHT 20L 
- If you carry a tablet: FIRSTLIGHT 20L, ROTATION180º HORIZON
- If you want a backpack that's compact and cozy yet capable of carrying a small DSLR outfit comfortably: STREETWALKER
- If you want a backpack for light travel photography: STREETWALKER

*Subject to individual airline carry-on allowances.
**The FirstLight 20L has a ruggedized bottom panel, but does require it to be positioned on the ground for access to gear, whereas you can grab a camera and lens out of the Rotation180º rotating hip belt on the fly while still wearing the pack.

(Click highlighted text for more info.)
FIRSTLIGHT 20L 
ROTATION180 HORIZON 
STREETWALKER

Posted 5/11/2015 on www.shutterbug.com.

I’ve often wished I had a camera that could go from 24mm to 2000mm at the touch of a button and without being weighed down by a ton of glass. Okay, maybe not all the way to 2000mm and perhaps not in a power zoom, but you get my point. The Nikon Coolpix P900 superzoom (super-duper-zoom?) camera gives you that reach in a fairly compact body, relative to a lens with such a broad range of focal lengths.

And the Nikon P900 does so in a camera build that looks and feels like a lightweight DSLR, more or less. This combination is what initially enticed me to take a closer look at this new Cooplix model from Nikon. But are the Nikon P900’s eye-popping zoom specs just glitz or is there a substantial picture-taking machine underneath this façade? READ THE ENTIRE REVIEW.

Posted 4/1/2015 on www.shutterbug.com.

If you’re going to test a new camera, I can think of few places better suited than the Big Island of Hawaii. And that’s precisely what I, and a number of my colleagues in the photo press, had a chance to do recently with the new 28-megapixel Samsung NX500 camera. We put Samsung’s newest mirrorless compact system camera (CSC) through its paces in diverse settings on the island, each designed to challenge the NX500 and ourselves. READ THE ENTIRE REVIEW.

Posted 4/15/2015 on www.shutterbug.com.

The first question I’d ask of any camera is this: Is this camera a good fit for me—for my hand, for my style of shooting, for what I want to shoot?

I’ve been looking for a compact interchangeable-lens camera that I could easily carry around when I didn’t need my full-bodied Nikon D610. Yet, I don’t want to compromise image quality or the versatility that my D610 system affords me. So the obvious choices are a mirrorless compact system camera or just a smaller DSLR.

With mirrorless, I’d have to invest in a whole new system. And with DSLRs, well, we have the same cost involvement—unless I remain faithful to the Nikon system. Which led me to the Nikon D5500 compact DSLR. This camera features an articulated touch screen for Live View movie shooting and still captures, along with a typical optical viewfinder for the bulk of my still photography—I like optical finders.

And with its 24MP, albeit APS-C  (cropped), CMOS sensor, I have the real estate to crop or print large. Moreover, the D5500 lacks an optical low-pass filter, which is a step toward capturing sharper images, a feature found in much more expensive cameras, such as the D810, as well as the new D7200. And the D5500 has the grit to tackle low light levels with its top ISO of 25,600. What’s more, wireless enthusiasts will welcome the built-in Wi-Fi, and video lovers will appreciate its full HD capture. And all this and more is driven by the EXPEED 4 image-processing engine.

Still, that’s all well and good, but would the D5500 allow me to effectively respond to my subject and would it impinge on my shooting style? READ THE ENTIRE REVIEW.

Posted 1/16/2015 on www.shutterbug.com. Originally published in Shutterbug Magazine.

One outing with the new Nikon D810 pro digital SLR convinced me that this camera is not only thoughtfully designed, a good fit, and easy to work with right out of the box, but that it’s also a solid performer that’s beautifully crafted. It has looks, smarts, and savvy, without being pretentious. And unlike enthusiast and entry-level cameras, it’s not filled with a bunch of useless toys no one really needs, wants, or uses (well, except for maybe a few of the post/retouching effects that seem to be wasted on this camera).

Boasting a new and improved 36.3-megapixel CMOS sensor, the FX-format (full-frame) D810 ($3296, body only) is decidedly a serious camera aimed at the serious—translation, professional—still photo and video shooter. This camera incorporates features first introduced in the D610 and D7100, while paving new ground. Making it an even better camera than its D800-series progenitors is one missing element, for starters. READ THE ENTIRE REVIEW.

Posted 9/14/2014 on www.shutterbug.com.

(Editor’s Note: Shutterbug contributor Jack Neubart has been testing the new Nikon D810 pro digital SLR. Here’s his hands-on “first look” at the camera. His full review of the D810 will appear in an upcoming issue of Shutterbug magazine.)

I became a Nikon convert back when the D300 was first introduced in 2007. I appreciated the camera’s handling, but mostly they got me with the Creative Lighting System, or CLS. Specifically, on the D300 it was the fully integrated wireless Commander mode via the built-in flash that grabbed my attention.

But I wasn’t entirely happy in the APS-C sensor realm. I wanted a full-frame DSLR and the affordable D600 made that possible. With it’s built-in flash, the D600 let me continue to enjoy wireless flash photography sans peripherals, other than an SB-900 Speedlight.

The new 36.3-megapixel Nikon D810 ($3,296) full-frame pro DSLR builds on that, sporting its own pop-up flash. I even built up my arsenal of FX-compatible lenses. I was largely done with having to extrapolate focal lengths and handholdable shutter speeds around a cropped sensor.

More importantly, with the full-frame sensor, especially the one in the D810, I have the real estate to crop and still have plenty of image to play with. That’s especially relevant when correcting perspective in architectural shots in Lightroom. With the D810’s 36.3 million pixels occupying a CMOS sensor measuring 35.9 x 24mm (FX-format), you can take in the entire structure with plenty of room to spare to fully correct for converging verticals without fear of chopping off vital structural elements, such as the top of a bell tower. READ THE ENTIRE REVIEW.