​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.

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).

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.

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.

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.

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)

​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.
​

​Where can I get more info
Peak Design
 
Manufacturer (use this link to order):
Peak Design
 
How much is it?
$289.95

​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.

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)

​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.

​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

​Until now my forays into panoramic photography were limited to what I could do with my regular Acratech ballheads. When I first set out to shoot panos, I didn’t pay attention to a certain feature on these heads—that being that you can remove the quick-release clamp from the top of the head and re-mount it to the bottom. You then effectively attach the head to the tripod upside down. I’m not quite clear on what difference it makes except that you somehow create a more efficient, built-in leveling base that works in tandem with the head as a whole. This feature is available on most Acratech ballheads, the notable exception being the new Nomad.
 
Anyway, so when I first set out to shoot panoramas I ended up making do with the head in its original configuration. I would level the head and visually determine the overlap from frame to frame. It seemed to work – at least when generating panoramas in Lightroom, using its Photo Merge/Panorama feature. But I wanted more – I wanted tighter control over my panos and I wanted to try dedicated pano software for this process.
 
So my next step was to talk to Acratech about their pano gear. It’s still somewhat of a learning process, especially in terms of the software – I opted to use PTGui (review to come). But I now feel that I have a much better handle on it, with a greater understanding and appreciation for what’s involved. And that wouldn’t be possible without this Acratech gear.

Note: be sure to click Read More for a guide to Determining the Nodal Point and 10 Tips to Successful Panoramas.

The Acratech Armada
Acratech sent me their Panoramic Head, Leveling Base, L-Bracket, and Nodal Rail. Let’s address each in turn. While I could have added an Acratech QR plate as well, I opted to stick with my Giottos universal QR plate. I should add that Acratech makes plates custom designed around numerous camera bodies and lens tripod mounts with a special back lip that prevents accidental rotation.
 
Panoramic Head. This is a work of art in itself! Much like its siblings, it could easily be mistaken for a museum piece were it not so practical to work with. It’s sexy and solid. Movements are fluid and all the knobs work smoothly and effortlessly, locking firmly in place, with no fear that they’d come loose or shift my viewpoint upon tightening (something heads of lesser quality are known to do). Aside from etched markings for horizontal panoramic movement, there are also marked settings for vertical movement, so the head can easily be used for multi-row panos. For the horizontal panos, there is a movable indicator to notate your starting point. What’s more, the QR clamp rotates (for camera positioning as needed) but does lock in place. And the head is fully compatible with all tripods. This head easily fits on the Acratech Leveling Base (strongly recommended). Verdict: the Acratech Panoramic Head is the perfect tool for the job.
 
Leveling Base with stud. There are two types of leveling base that I’ve come across in researching the topic. One type uses three- or four-point leveling. The Acratech base uses one-point leveling, meaning, the base pivots around a central axis. Less to fuss with, as I see it. The base screws right onto the tripod. There is also a Large Leveling Base, for larger still heads and professional video heads, and a Leveling Base with QR Clamp, for direct mounting of a camera (with QR plate) to the base. A large bulls-eye spirit level makes it easy to level the base. Verdict: With the Acratech Level Base, I can get the camera level or at least to within a few degrees in a minute or two. May take a bit more finessing with the camera mounted, owing to greater torque, but certainly doable.
 
Universal L-Bracket. This bracket is a practical necessity to allow you to simply and effortlessly shoot vertical panos without throwing off camera alignment. It quickly lets you switch from vertical back to horizontal shooting. A larger version, the Extended Universal L-Bracket, is available for cameras with battery grip and oversize bodies. The bracket attaches to the nodal rail. For verticals, the raised L should be on the right, to allow enough room for the grip. When shooting horizontals, that part of the bracket resides on the left. Verdict: it’s so much easier to go from horizontal to vertical and back again with the Acratech L-Bracket, without spoiling the framing. My one concern – attaching the Nikon wired release MC-DC2 being hampered by the bracket – quickly dissolved, thanks to the open channel in the bracket.
 
Nodal Slide. This nodal rail is what you need to ensure accurate, parallax-free frame-to-frame alignment, regardless of which lens you use. There are two stops that you can lock in place to guide positioning of two separate focal lengths (the provided hex wrench lets you adjust them on the fly). Meaning, you don’t have to mark down the positions of the lens along the rail, as you’d ordinarily need to do with conventional rails. The camera, alone or on the L-bracket, just slides into the designated position marked by the stop. The clamp knob should be facing you. The clamp rotates by releasing the hex screw on the bottom (using the hex wrench) to orient the camera as needed. (Of necessity, the orientation changes when using the L bracket.) Verdict: those two stops along the Nodal Slide are a game-changer. Unless you use more than two focal lengths, you’ll find setting up for the lens’s sweet spot to avoid parallax is fast and effortless. And if you need to change it on the fly, that’s quickly doable as well.
​

​In Use
This was my first time working with a panoramic head, L-bracket, leveling base, and nodal rail, despite my many years as a photographer. They’re just not tools I found I needed till now. And now that I’ve found them, I wish I’d had them decades before, although I’m not sure I would have had the wherewithal to make the best use of them back then. What’s more, for many years I simply preferred to shoot handheld. So all this extra gear would just have been gathering dust.
 
Not today. I’ve got my MindShift Gear backpacks configured so they easily tote the Acratech panoramic components along with my Giottos carbon fiber tripod. By “configured,” I mean, I’ve made sure they’d fit easily in the bag without bumping up against other gear or me having to dig for them. Granted, owing to its L shape, the L-bracket is the most cumbersome to carry. I do leave the leveling base attached to the head, since they neatly and snugly fit in one modular section in the pack. (Your mileage may vary.)
 
What I don’t do is leave all this attached to the tripod, because it makes for awkward portage, especially when carried along the side of the pack. And whether side- or front-carried, the head alone (or seated on the leveling base) sticks up, so that it might catch on something or bump into things along the way. Leaving the rail and bracket attached on top of that just compounds the situation. Sure, if you’re going by car or hand-carrying, then leave everything in place on the tripod, although that awkwardness does manifest itself when schlepping the tripod by hand from one location to the other. Remember, the added gear does make the tripod considerably more top-heavy.
 
As to actual use, once I got past the intimidation factor, it was smooth sailing. I’m still mastering the art of the panorama, but I’m confident that I have a firm handle on it, thanks to this Acratech gear.
 
Acratech is a master at designing and machining components that fit well together and fit well in your workflow. I did have to go back to the company’s online tutorial videos once or twice before everything clicked, but now, even in extreme cold conditions, I can manage to rig the tripod in moments ready to shoot panoramas. I’m still getting the hang of the stitching process vis-à-vis the software (specifically, PTGui) but mastering that phase of it is next on my agenda.
 
Zeroing out the bubble level on the leveling base proved fairly effortless. I’d recommend carrying out this operation before attaching the head, but certainly before mounting the camera onto this rig. The greater torque with the added load works counter to making easy adjustments. 

Conclusions
A couple of points worth noting. When using my more stable tripods, I didn’t find it necessary, to lock down the panorama knob on the Acratech pano head as I panned with the camera. This way I could quickly move from one exposure or bracket set to the next. And you can avoid the nodal rail entirely when shooting fisheye panoramas. (Despite claims to the contrary, a fisheye lens can be used – just expect some distortion.)
 
Admittedly, when you add all the components together, shooting panoramas becomes an expensive proposition. But it also has potentially great rewards. And once you’ve got a handle on the mechanics of shooting panoramas, you next find yourself muddling over the software and trying to make heads or tails out of, why don’t these frames fit together the way they’re supposed to? Frankly, it’s a serious commitment in money, time – and patience.
 
There’s one thing in this Acratech gear that puts you on the right footing: Every component has a bullseye level, so you can start working on a level playing field – literally.
 
The pano head itself has a drag/friction knob. Ease back on this just a bit so it allows some movement as you twist the main knob and move the camera. It may take a while to find the sweet spot to control drag for your rig, but keep in mind that the amount of drag will have to be adjusted for different loads. Once locked in place, the camera stays put – there’s no shift when locking the knobs and no drift after the camera is locked in place.
 
In fact, if you’ve worked with any Acratech ball head, working with the pano head shouldn’t be much of a stretch. The only difference: the pano head tilts only front to back, not side to side, as would be the case with a regular ball head. This keeps you level. The forward/backward tilt, aside from leveling the head initially, is to allow you to build horizontal layers and add depth top to bottom so the panorama doesn’t begin to look like a strip mall.
 
Final word: the Acratech pano gear is an investment that will pay for itself before long. As with anything, mastering panoramic photography will take time and patience. But the Acratech gear will put you on the right path and put you on solid footing.

​I’ve reviewed and worked with countless ball-and-socket heads on various tripods. These days my main tripod is a compact Giottos carbon fiber model – you know, one of those with the inverted legs. I love the tripod, but was never thrilled with the ballhead that came with. So I sought an alternative.
 
The nice thing about any quality tripod is that you can swap out the head that came with it. It stands to reason that this is a more prudent step when you just buy a set of legs sans head to begin with. But we don’t always think ahead, pardon the pun.
 
So I went on a quest for the ultimate head that would not break the bank. Well, let me start by saying that any good head will likely cost more than most aluminum tripods and will come with a reasonable expectation of doubling the cost of even a modest carbon fiber, or certainly adding substantially to the overall expense. Coming in at just under $300, the Nomad is no exception.
 
The real beauty of the Nomad is its dual functionality. It can also be used as a gimbal head with long lenses for wildlife photography.
 
Ever since owning the Giottos, I’ve principally relied on Acratech heads. So when Acratech introduced the new Nomad, I was curious to see how this head differed from earlier models, and if it would appreciatively affect how I’d work with my tripod, while providing the same level of confidence and stability.

About the Nomad
One key difference between an Acratech ballhead and ballheads from other manufacturers is the open architecture of the Acratech. What does that mean? The ball on an Acratech ballhead is exposed to the air, unlike other heads which enclose the ball inside the housing.
 
Translation: there’s no way for moisture, rain, and debris to get caught in the mechanism and gum up the works. This construction is also largely responsible for the lighter weight of these heads compared with heads of comparable size.
 
The lighter weight is in no way due to cheap construction or materials. Quite the contrary. Acratech heads reflect American know-how, craftsmanship, and quality control.

The Nomad vs. the GV2
If you’ve worked with Acratech ballheads before, you will notice a stark resemblance of the Nomad to existing heads, specifically the GV2. If you already own that head, then you probably won’t really need this one.
 
Acratech’s Scott Dordick had this to say about the new head: “The Nomad head has the same features as our GV2 head. The main difference is that the Nomad ballhead was designed to be machined on our (new) multi-axis machining centers. This has enabled us to perform more machining operations, faster and without having to handle the part between operations. We are actually able to do the turning (round  work) and much of the milling (contour work) on a single setup. This has lowered our costs and we are able to sell the Nomad for $299.95, which is $70.00 less than the GV2.
 
“When you see the Nomad and GV2 together there are some differences in the shape of the body and there are some steel locating pins in the sliding mechanism of the Nomad quick-release clamp. The steel pins in the clamp have sped up our manufacturing of the clamps and although it looks a little different than the GV2 clamp, the performance is almost identical. The Nomad weighs 40 grams less than the GV2. The Nomad is only available with a knob-type quick release clamp, whereas the GV2 does have a (quick-release locking) lever option.”
 
In Use
In order to use my BlackRapid sling strap with a tripod without first having to unscrew the connector from the camera, I opted to connect one of BlackRapid’s QR plates as a permanent fixture on my Nikon D610. Owing to the design of the head that came with my Giottos tripod, this BlackRapid QR plate and the Giottos head were incompatible. Hence my need for a more workable solution. That and the fact that the Giottos kit head couldn’t adequately handle unbalanced loads without undergoing the tripod head equivalent of lens creep. Specifically, the head I refer to is the Tamron 70-300mm on the Nikon.
 
With any QR plate, you have to make sure that the locking pin on a tripod head will provide a secure hold on the plate, preventing it from slipping off, taking the camera in tow. The pin on the Nomad is spring-loaded, so if the QR plate is solid, rather than hollowed out, it will simply be pushed down and out of the way. With the BlackRapid and several other plates at my disposal, including Acratech’s own Arca-compatible QR plates, the underside of the plate is hollowed out, allowing for the pin to do its thing.
 
That said, this won’t do anything for you if the QR plate is not properly and securely seated in the first place. Once the camera is seated, use the locking knob to secure it. Jiggle the camera side to side to make sure there’s no give. And do a visual inspection to check that the QR plate is correctly seated and fully level. If you’re not careful, it’s possible to tighten the knob and give yourself a false sense of security, but a visual inspection will quickly confirm your error, even if the camera appears firmly seated.
 
Be careful when using a Giottos QR plate. At least in the case of the one I own, the underside will prevent slippage off the head in only one direction.
 
Many of Acratech’s own QR plates are designed around different camera models, with versions for lenses with tripod collars. The benefit to these is a raised back lip that prevents the camera/lens from twisting around. Universal plates are also available from Acratech.
 
So far, I haven’t found any Arca-compatible QR plate to be incompatible with the Nomad. However, I should point out that when a manufacturer, distributor, or reseller claims the plate is universal and Arca-compatible, that does not necessarily make it so.
 
One thing I should further note. The base, where the head connects to the tripod legs, will fit a full-size leg assembly with a wide mounting plate. Even though this means the head slightly extends beyond the mounting plate on my compact tripod, I didn’t find this to be a problem. (If you’re looking for a more custom fit, then check out Acratech’s GPS or GPSS, each with a smaller-diameter base.)
 
One of the reasons I especially prefer to use my Giottos tripod when testing heads is the way the Giottos pod locks down the head. There is a tiny retaining hex screw under the base that, when tightened, comes to rest against the base of the head seated on the pod. So when you’re panning, the head won’t come loose, regardless of the direction of movement. What’s more, the Giottos center column has an anti-twist feature that further prevents or minimizes unwanted movement if you leave the column unlocked.

Using the Nomad as Gimbal Head
One of the really cool features of the Acratech Nomad is its dual functionality. The  Nomad can also be used as a gimbal head.
 
To use this feature, attach a long lens to the head via its tripod collar. Make sure camera and lens are fairly well balanced so gravity and inertia don’t take their toll. This is easily enough accomplished with the right-size QR plate or with an Acratech Nodal Rail. Then tighten the drag and locking knobs just enough to allow you to nudge the camera to its resting place, without the camera falling over on its own. Grab hold of the camera as you make these adjustments. It doesn’t take long to achieve the right balance. Note: the drag, or friction, knob is the smaller circular knob. The main locking knob is larger, rubberized, and shaped like a flower. Below these two is the panning knob, and at the very top, the QR locking knob.
 
Is this head as effective as a true gimbal head? Not having used a gimbal head myself, I can’t say with any certainty, but I doubt it would compete one on one. Still, this does beat having to carry around that bulkier head if you only use this function occasionally.
 
Unlike the GP head, the Nomad can’t be used as a leveling head. I misread the instructions and spent countless moments trying to figure out what I did with the hex wrench, only later to be made aware this function was not available and that the QR base could not be removed. The same goes for using the Nomad as a leveling base. It may be easier and preferable to use a dedicated leveling base (also available from Acratech). But if you only shoot panos occasionally, then why carry the added weight, and take up valuable space in your camera bag.
 
To use the head as a leveling head (and keep in mind, it’s still a head, not a leveling base to which another head is attached), simply remove the QR clamp at the top of the head. Use the supplied hex (Allen) wrench for this purpose. 

The moment I unpacked this photo backpack and unzipped the main flap, I had a sense of déjà vu. I’d seen this bag before.

Then I took a look at my Think Tank Photo StreetWalker and realized where I’d seen this design. 

​The new TrailScape largely mimics the interior of the StreetWalker, or perhaps more correctly the StreetWalker Pro, since the dimensions more closely match that pack. But there are substantive differences. What are they? Read on.

The TrailScape – On the Outside
Gone are the two zippered side pockets found on the StreetWalker. They are wisely replaced by two roomier stretch pockets. Granted, some may lament the loss of these zip pockets, but I always found them a bit too cramped for my taste.
 
Instead, you now have room for a 32-oz. Nalgene water bottle on one side, counterbalanced by your tripod snugly secured by compression straps, with two feet (spikes retracted) resting inside the opposite stretch pocket.
 
On the front, there is a very spacious pocket that will hold a 13” laptop and a 10” tablet, not that I ever carry either into the field. But I do make use of these sleeves for maps, pads, and various accessories. There are also organizer pockets in this section.
 
In front of this large pocket sits another pocket, diminutive by comparison, designed to carry your sunglasses, with a very softly textured fabric lining that shouldn’t scratch. I’ve got a pair of those sunglasses that are so bulbous when closed that they require a custom case. They fit here. But I was so afraid they’d get crushed at some point, that I removed them and put them back in their hard case. In their place went my Giotto’s rocket blower.
 
The zippers run very smoothly. However, I would have preferred contrasting colors for the zipper pulls on the front pocket. Yes, the zip pulls, which are designed to be easily handled with gloves, are smaller on the pocket. But I did manage to grab them by accident. So my solution was to rest them on the side, with the main zips up top. Problem solved.
 
Because this is a trail pack, in contrast to the zips on the StreetWalker, the zippers are not interlocking (for the purpose of inserting a TSA lock). Besides, locking a bag only makes it that much more tempting to those looking to steal it.
 
There are four lash points on the front of the bag, but you’ll have to supply your own rope or bungee cord. If you need to carry stuff inside the front pocket to keep it safe from the elements, you can lash a jacket to the front of the bag. I keep a light jacket inside this pocket.
 
There’s a carrying handle on top – more of a strap, really, coming to rest on the back of the pack. While not nearly as substantial as the one on the StreetWalker, such straps have been used on other packs (I believe also from MindShift or Think Tank), and I’ve never known them to fail. Besides, in contrast to that other bag, this handle doesn’t add to the height of the bag – which could make a difference when you’re trying to squeeze into a tight overhead bin or under a seat. (By the way, if you’re going to carry the pack for any distance, by any means other than fully on your back with both straps, use one of the shoulder straps, not the carrying handle.)

​On the Inside
This pack is not nearly as deep as even the original StreetWalker. What does that mean? Forget about carrying a pro-grip camera, unless you insert it face-up sans lens. That said, my Nikon D610 rides much more secure in this bag, because it’s less of a bouncy house (although, I must admit, I always secure the camera with a Velcro band over the dividers or I’ll seat another divider over the lens for a snug fit).
 
There are plenty of padded dividers. As is, this pack is fitted for a slew of lenses, accessories, and a flash. My dividers never sit in one place for very long, however. That’s the beauty of a customizable system.
 
There are also two mesh pockets inside the front lid for small, chiefly flat items.
 
In Use
The first thing I have to comment on is the backpack harness system and airflow/lumbar padding. In a trail pack, this is of utmost importance for your comfort and safety during long treks, especially over arduous terrain. While this pack is not meant for such outings, by its very nature, still, it’s comforting to know it will stand the test.
 
The harness system on the TrailScape feels better than the one found on the StreetWalker. The straps are wider at the shoulder. The straps on both packs are contoured top to bottom to fit the body nicely, but this one is decidedly a better fit.
 
As with the StreetWalker, the unpadded waist strap is removable. (Keep it inside the bag, or you’ll lose it. Better yet, leave it attached – reattaching can be a chore if you didn’t take notes on how the straps originally attached to the bag).
 
The sternum (chest) strap on the TrailScape is longer and a bit stretchy for larger chests or someone wearing lots of winter layers. On my initial outing, I didn’t find it necessary to use either the waist belt or chest strap. The pack rode comfortably on my back without requiring constant adjustments.
 
By the way, when you first get the pack, it’s important to loosen all straps. Tighten them when the pack is on your back, and adjust them once on the trail.
 
You’re probably thinking that it’s odd this pack doesn’t allow for a hydration bladder, whereas the more compact SidePath, which is essentially an enhanced daypack, will accommodate a bladder. I’m guessing, that, when you start with one basic design, namely the StreetWalker, it would be difficult to create a custom passageway for a drinking tube without destroying the solid fabric of that pack. And frankly, I’m not a fan of bladders, so this doesn’t bother me in the least. If you must use a bladder, MindShift has several alternatives available, currently the rotation 180 packs.

​Back at Abraham Lincoln High School, in Brooklyn, I was captain of the AV Squad – might have only been for one semester, or for the full year. It’s a faint memory. But any way you slice it, yup, I was a geek or nerd, or whatever term was popular at the time. I didn’t really enjoy it. Mostly we were responsible for setting up film projectors. Admittedly, I was terrible at threading the projector, so I’d try to send someone out other than myself when that job was required. I don’t remember using a slide projector back then, but I’m sure that was woven into the fabric of the AV Squad.
 
It wasn’t till years later, as a professional photographer, that I started working with a slide projector in earnest – a Kodak Ektagraphic, to be precise. I became a whiz at running that projector. After all, I didn’t have to thread anything. And I didn’t have a bunch of strangers looking on making me nervous.
 
Fast forward to the 21st century and the digital age. Projecting digital files now required a digital projector. So when I tried my hand at conducting my own photo workshops, I turned to Epson. Little did I realize what a painless experience running a digital projector would prove to be. In fact, one might say it was fun.
 
When I sent Epson pics of the space I’d be using initially, they recommended a brighter projector than I’d at first requested. The projector they sent me on temporary loan was the EX9200. Along with it, they sent a screen. Again, they found a more suitable choice than the one I’d originally requested. They sent the ES3000 Ultra Portable Projector Screen.

​Setting Up and Using the EX9200 Projector and ES3000 Screen
I removed the projector from its soft, padded case. (Note: if you’ll be carrying this around extensively, you might want to look into a more substantial case, with a better carrying strap system). Then I plugged the AC cord into an outlet at one end, the projector at the other.
 
With the projector turned on, the rest seemed to happen as if by magic. I connected the EX9200 to my iMac via USB and everything went smoothly after that. Absolutely no bumps or hiccups to report. Using the projector with a flash drive for that first workshop proceeded flawlessly. The only thing worthy of note: I recommend you get a separate laser pointer. The laser pointer built into the remote drags across the screen and proved counterproductive. Other than that, working with the wireless remote was a breeze.
 
Setting up the screen seemed more intimidating. It had been a very long time since I’d last set up a projection screen. This one was big and clunky, and the illustration that served as the only instructions that came with it didn’t help. But this thing is built so tough that it’s hard to do any damage, and eventually it stood tall and facing the projector squarely. For a test run, I’d set the projector up on a small step stool, making sure to leave room for the cooling air vents.
 
Since it was a sample, the screen arrived without its roller case. Luckily, the classroom I’d be using for my first workshop was right across the street. So schlepping it there was easy enough – and I had help bringing it back.

MindShift Gear first came on the scene with rough-and-tumble photo backpacks. If you wanted to go into the wilderness with your camera gear, this was the way to go.

But with time, the company has mellowed in its direction, it seems, and has started producing photo backpacks with more mass appeal. Is this a good or bad thing? Well, it depends on which side of the fence you’re leaning.

I, for one, like some of the more city-slicker-oriented designs for those of us who don’t spend days trekking into the great outdoors. But, then again, I lament that the company feels a need to trim down their packs at the expense of all-around utility.

​Enter the SidePath.

The SidePath – On the Outside
Don’t get me wrong. When it comes to materials and workmanship, MindShift doesn’t skimp. Granted, a bag such as the SidePath doesn’t share the same go-anywhere body of this company’s heftier backpacks. After all, this bag was designed to be light on your back for light hikes, walks around town, and sightseeing. Toward that end, the materials are also lighter weight.
 
Where I feel MindShift has gone wrong with this lightweight pack is in the shoulder straps. They may be comfortable over several layers of clothing, but, as the day wears on, you may begin to feel it, especially if all you’re wearing is a t-shirt under those straps.
 
OK, granted, I did go ga-ga over the previous lightweight pack, the UltraLight. And I had used that bag for much of the year. But over time, I did notice a difference, especially after testing Think Tank Photo’s ShapeShifter V2.0 and MindShift’s Moose Peterson V2.0, with their heftier, more substantial backpack harness systems. And that made me long for those stockier backpacks.
 
But, then again, I’m a stocky person. Someone with a more slender frame will likely appreciate and prefer the lighter-weight of the SidePath. And, by extension, would be very happy with the existing shoulder harness.

​On the Inside
This is a twin-tier design. That means that there’s a roomy upper compartment and a lower level. Traditionally, the lower level is where camera gear goes. Which is the case here. So you can expect the required padding and the customizable interior.
 
The upper level is where your personal stuff goes. It has a tent-like zipper flap. The front flap has an inside mesh pocket, which is quite spacious. There’s also a thinly padded sleeve to hold a tablet. Alternately, you can fit a hydration bladder in this sleeve. I personally avoid inserting a hydration reservoir inside a pack, for fear of leakage.

​Who Should Use This?
Anyone out for a light hike, a walk around town, or sightseeing, or simply enjoying a fun outing with friends and family.

Capsule Comments
Despite my complaints about the lack of padding in the shoulder straps, they did manage to do a nice job. I would have liked a roomier top section, so I could fit a jacket in there with my extra gear, but I’m sure I could find a way to do that when push comes to shove. The lower section was a perfect size for my D610 and attached 70-300mm zoom. Alternatively, it would also carry my D610 with Tamron 15-30mm f/2.8 attached just as snugly. If you don’t mind carrying camera body and lenses separately, you could fit more gear in here, provided none of the lenses were long or of wide girth.
 
Conclusions
I found myself liking this bag. Of course, when MindShift sends over their TrailScape, I may shift my attention to that roomier bag. Still, the SidePath does have a place among my other packs, but, more importantly, on my back. It’s compact, lightweight, and is the perfect solution for a day out with my camera.
 
Still, MindShift, you might consider coming out with a slightly larger version, with a heftier shoulder harness. That would be my perfect bag for sauntering about town.

​They may seem bulky, but rolling cases are a necessary evil for the traveling photographer and location shooter. While I prefer to carry my gear in a backpack, that doesn’t work for everyone, in every situation. And even I find myself switching to a roller when needed. Think Tank’s Airport Security V3.0 would be a top contender in such situations.
 
Rollers vs. Everything Else
I like to be flexible, and I prefer my portage gear to bend to the occasion. When I moved from New York to Chicagoland, roller cases saved the day. When I later moved again, from burb to burb, I used my rollers to move glassware (a padded case is better than those boxes movers sell you). I brought the gear over to the new digs in my photo packs, then transferred the gear to the rollers for storage. Rollers let you see everything when you open the lid. That’s the beauty of a roller. They’re also ideal for lighting equipment.
 
Of course you could choose a shoulder bag. However, I’ve stopped using large shoulder bags a long time ago, finding them too unwieldy and uncomfortable. They cause some photographers to become stoop-shouldered after years of use. And I don’t see shoulder bags as being an easy fit on an airplane. That said, a shoulder bag is the easiest means of carrying and accessing gear on the fly, especially if you’re hesitant to set a bag down someplace, or need to work quickly. And, yes, Think Tank has lots of shoulder bags as well. But we’re getting off track.
 
Once you step out of the vehicle with your luggage at the airport, a roller affords you the comfort of making your way from the front door of the terminal all the way to the gate without feeling any strain. But, sadly, many rollers are not very quiet or designed with travel in mind. Enter the latest iteration of Think Tank Photo’s definitive airline-friendly roller: Airport Security V3.0. Airport Security was designed primarily for domestic air travel. For international travel, Think Tank also introduced the smaller Airport International V3.0. And if you’re thinking commuter jets and regional airlines, Think Tank also debuted the more modestly sized Airport Advantage.

​Inside the Airport Security V3.0…
Any way you slice it – but please don’t slice it; it’s luggage, not pizza, the Airport Security V3.0 was designed with the photographer in mind. It’s fully modular and fully padded on the inside. In fact, Think Tank throws in a number of extra dividers so you have total flexibility in how you configure the interior.
 
As it comes to you, the bag is divided into three long channels, with numerous dividers running up and down each lane of camera traffic. In fact, you can stow two DSLR bodies with attached lenses, and, provided these lenses are not overly huge, you’ll have plenty of room for the rest of your camera gear. On a whim, I decided to see if my compact Photogenic monolight, standard reflector, and ION inverter would fit, along with cables and cords, a flash meter, plus some extras—and it all fit comfortably.
 
Then I switched it back to a camera configuration. Let me tell you, it takes a lot longer to restore an original configuration (or something approaching the original) than to reconfigure it.
 
There are also several see-through pockets inside the lid. And unlike a hardshell case, which provides eggcrate foam inside the lid, soft cases don’t have that luxury. So securing loose items is that much more important. That said, I haven’t found or heard anything bouncing around inside. More to the point, the many flexible dividers ensure a snug fit for everything inside this case.
 
…And Outside
Speaking of the lid. Frankly, this is the only feature I’m not thrilled with. It opens lengthwise, vertically – not like a typical suitcase. That’s a bit cumbersome, seeming to require more ground space when fully opened. Unless you lean the lid against something conveniently nearby, such as a chair or bench.
 
Technically, this is a hybrid design, neither hard-shell nor soft-sided. The walls are fairly rigid, reinforced, protected by a durable, water-resistant nylon shell on the outside. The handles are secure, but again nylon and heavily padded, and very comfy. There’s one handle on top, another on the front. There are also two grab straps (opposite the handles) to help you maneuver the case in the overhead, or retrieve it. Never carry the case by these grab straps – that’s not their purpose.
 
Outside Pockets
There’s a small stretch pocket on the side. That’s not really designed for a water bottle, though it could hold a small one. The real purpose for this pocket is to secure a tripod, using the included straps.
 
There’s also a large stretch pocket on the front, where you could keep that water bottle. More importantly, behind this stretch pocket is a large pocket. Here you’ll find organizer pockets, a padded tablet sleeve, and a much larger padded sleeve for a laptop.
 
There’s one more little pocket on top, leading to a pleasant surprise.
 
Security Is a Top Priority
That little pocket? It holds a reinforced cable tether with TSA-compliant combination lock, so you can secure the case to any immovable object in your hotel room or wherever you happen to be. (Always exercise caution before leaving gear unattended. Better yet, don’t leave it unattended.)
 
But what’s to stop someone from simply opening the case? To show you how well conceived this case is, just look at the two main zippers. They’re each tucked into a TSA-approved locking mechanism, which is governed by a combination lock. I don’t know who came up with this idea originally, but it’s ingenious! Even the laptop pocket uses interlocking zipper pulls. You’ll have to buy a separate lock for this, and make sure it fits the tiny aperture.
 
One more nice security feature: each case comes with a serial number. Take a picture of it with your phone and keep it handy for a worst-case scenario – one you never hope to encounter.
 
In Use
What’s a roller without a good set of wheels? First, the wheels and related components are all user-replaceable.
 
Now, the wheels themselves are quiet as the proverbial mouse. I wheeled this baby over carpeting, tile, cracked and bumpy pavement, cracked asphalt, and grass. It was quieter than speaking in hushed tones at the library. And it handled all impediments with aplomb. Yes, grass did slow it down a bit, but not by much.
 
The telescoping handle was comfy enough and remained extended despite leaning down on it. I didn’t find the case straining to twist and turn at every opportunity when using the handle fully extended. I should also add that the handle reached a comfortable height. (Advisory: never drag the case up stairs or lift it by the telescoping handle. Always hand-carry it in such instances.)
 

​Until now, my favorite photo backpack from Think Tank Photo was the StreetWalker. The original StreetWalker is compact enough to make it onboard practically any flight as a personal item, if you play your cards right. The Shape Shifter V2.0 might not make it as a personal item, but it will certainly fit in the overhead. Of course, you should check with your preferred airline prior to each flight, as carry-on regulations can change at a moment’s notice.
 
What sets the Shape Shifter apart from other packs is its morphing design. It starts out with a tapered look, but unzip the bag and it expands to hold your gear, going from 3 inches in depth to 7 inches. Apart from that, the bag wears just like any photo backpack.

An In-Depth Look: Let’s Start Outside
The Shape Shifter V2.0 has what’s needed for a comfortable hike or walk around town. Namely, it begins with contoured shoulder harness, sternum (chest) strap, and waist belt.
 
The included waist belt is not padded, but it works fine. It’s not removable in the usual sense, as it lacks clips. On the other hand, it can be removed with some effort. However, if you lift up the hook-and-loop-fastened bottom flap (which is padded to protect the bag at the bottom), you’ll reveal a hideaway behind the lumbar pad. If you don’t use the waist belt, then tuck it away. If you remove it, you can replace it with the padded Pro Speed Belt V2.0 (Think Tank, $41.75 - make sure to order in the right size). Instructions come with the pack for replacing the waist belt. The Pro Speed Belt is designed to carry extra gear, courtesy of the numerous attachment loops on the belt.
 
The back of the pack is comfortably padded, with an airflow design that makes it breathable. The shoulder straps are similarly configured to be breathable. And while the pack doesn’t have side compression straps normally found on outdoor packs, it does benefit from shoulder compression straps for a more personal fit. Another nice thing: the shoulder straps didn’t slip off my shoulders, which such straps have a tendency to do. That meant I didn’t have to use the chest strap, although to be thorough, I did carry the bag with all straps attached. It was a comfortable arrangement.
 
The main compartment has a single zipper. All other zippers are paired, and many are lockable.

If you want to use the pack as a daypack, for clothing and travel essentials, then you’d do best getting the Naked Shape Shifter. I would imagine that you could easily use the Naked Shape Shifter as a weekend getaway pack without adding any pouches. The Naked Shape Shifter is essentially the same pack as the one I tested, minus the sewn-in accoutrements.
 
Each Shape Shifter pack comes with a removable mesh water bottle pocket on the outside. I don’t know about the 15-inch Shape Shifter, but the pouch on the 17-inch version is large enough to easily hold my 32-ounce Nalgene. And the mesh means that condensation on the bottle’s exterior will be able to evaporate without the water forming puddles.
 
Before we open the pack, I did want to point out that the bag is surprisingly heavy, considering it lacks the usually dense padding inside and on the front and sides. But that’s also a sign of solid construction. As mentioned, the back is fully padded.
 
When expanded, the bag reveals an unpadded nylon shell along the top and sides. For this reason alone, I’d hesitate to take this pack on a strenuous outdoor hike where a backpack might be knocked about. But then again, that was never the design for this bag. It can easily take some jostling on a crowded bus or subway car.

​Plenty of Pockets
One reason to love this bag: there are lots of pockets. First, there are 3 roomy pockets inside the front lid. Now move to the outside of the bag and you’ll find an abundance of pockets. For starters, there’s a padded sleeve that will hold a 17-inch laptop, along with a tablet in a separate padded sleeve – all in a section immediately to the rear of the main section. If you don’t carry a laptop, stick a jacket in here, or maps.
 
There’s a separate semi-padded tablet sleeve on the front of the bag. In fact, this sleeve offers protection for the camera gear, given the padding. I stuck the included rain pouch in a small upper outer pocket for additional padding from the front. There’s also an organizer pocket.
 
There’s even a pocket to hold the tripod legs, when carrying the tripod over the front of the bag (actually, this is the only way to carry a pod with this bag). That pocket can also be used for other stuff, since the included tripod straps should hold a lightweight tripod securely top and bottom (tripod straps included).
 
On the Inside
The expanded bag is deep enough to hold my rather girthy Tamron 15-30mm f/2.8. However, the bag is not really designed to hold a camera with attached lens, and for me that was originally the deal-breaker when Think Tank first introduced the original Shape Shifter. I prefer keeping one lens attached to the camera, so I can be ready to shoot at a moment’s notice. Still, not all situations require your camera to be constantly at the ready, and I was willing to give this a shot. And having said that, the new neoprene wrap may fit a body with a compact lens attached. I just didn’t feel it was worth the effort, since I’d have to swap lenses once I’d reached my destination.
 
In addition to the wrap, there are 4 pockets of varying size. I fit a Tamron 70-300mm zoom, Tamron 15-30mm f/2.8, and Nikon SB-700 flash in the pockets, with my Nikon D610 going inside the wrap. I still had one pocket available. I added a small padded divider to the bottom of the lowermost pocket to further pad that lens against bumps in the event I set the pack down a bit too hard. I would have done likewise with the other lower pocket had I used it. There was also room for a sling strap. If you have small lenses, simply wrap them well and double up to take advantage of the available room. Or if you stack them, add an unused padded divider or other padding between them. These pouches may be sewn in place, but they still leave room for some astute arrangements.
 
The 17-inch standard version leaves you plenty of room to throw in a jacket and some other stuff. And despite what you’re told in the introductory video on the Shape Shifter page, never ever put a water bottle inside a camera bag. And don’t put food inside the neoprene pockets, or you may find crumbs mixing with your lenses – a bad combination. For that matter, I wouldn’t put food anywhere inside the bag if you’re carrying camera gear—accidents do happen, and you wouldn’t want your trail mix mingling with your camera and lenses.
 
In Use
Working out of the bag was a charm. Granted, I still would have preferred to be able to use the bag with camera and my lens of choice attached, but I easily worked around that.
 
This bag comes in really handy if you don’t like to carry too much gear. You can still fit a second camera body in the pack, in place of one lens. But all in all, the gear carried is modest in scope and size. No really long, fast lenses here. This is a pack geared toward a DSLR, with or without grip. Most mirrorless systems will be swimming in the available space.
 
One recommendation. It’s very easy to forget to zip a bag or pocket. One solution is to standardize on how you employ the zippers. For faster access, the left and right zippers should meet at the apex or middle. When it rains, I tend to move them to one side. In other words, I keep all the zippers either centered or on the same side, so a quick glance can tell me that everything is secure. By the way, a rain pouch is included, but I use these only during a downpour. You shouldn’t need it in a light rain.

​A plug-in application fills in the gap where a host application falls short, or it gives you an easier way to do things or otherwise expands your digital editing universe.
 
Nik software was once my go-to for many effects in the plug-ins cosmos. In my workflow, plug-ins enter the picture by way of Adobe Lightroom or Photoshop, but mostly Lightroom.
 
Then, at some point in the timeline, Google decided to swallow up Nik, the way a black hole swallows up surrounding space, phased out parts of it, and bundled other parts as the Google Nik Collection. And before anyone knew it, Google took the next step and made the bundled software free. That, in my view, spelled the death knell for Nik, which, once a nova, is now a dying star. And the fact is, we are no longer seeing support in terms of updates for the software, which has begun to fade and show its age. I won’t stop using it, but, without support – meaning regular updates, a new OS (operating system) will likely herald the demise of this software sooner or later, as has happened with software apps in years past. The plug-ins cosmos is ever changing.
 
So it was time to find a viable substitute. After all, why wait till the last minute? It takes time to learn, let alone master, new software. And I wasn’t about to be caught with my proverbial pants down.

Finding a Replacement
Nik software offers something no one else does, namely, control points. And if you’ve ever sampled them, you know how delectable they are, letting you add just the right amount of flavor and texture.
 
Still, one has to move on. When you put down a favored pet, you eventually find one to replace it. It might never be the same, but over time it keeps you happy and helps you forget.
 
And I expect that will be true of Macphun’s Creative Kit. I’m not crazy about all the apps, which, again, I used strictly as plug-ins primarily in Lightroom. But they do provide enough satisfaction that I expect to keep them around and use many of them.
 
The ratings: a strong like or dislike has an exclamation point following the verdict (“Use it!”; "Skip it!"); a period denotes the app has its good and bad points, but is useful (“Use it.”); a question mark questions the efficacy of an app and indicates my ambivalence toward it, although you may find some redeeming qualities (“Use it?”)

​Creative Kit 2016 – App by App (Overall Verdict: Use It.)
My recommendation for the Creative Kit as a whole is based on the strengths of those apps that delivered consistently reliable and effectively creative results, with enough user settings that I was able to fine-tune each app as needed.
 
Each software application in the Creative Kit has “CK” added to the title, to distinguish it from the unbundled version. We’ll look at the strengths and weaknesses of each app individually.
 
I should point out one advantage to using the CK apps in standalone mode. Once you’re done with one app, you can seamlessly carry over the modified image to another app in the CK suite. That saves time and increases efficiency, creating a smoother workflow – and that’s worthy of consideration. Although, I should add that there is one flaw in this plan, as we’ll soon uncover.
 
But first let me point out that the interface from one to the next is similar, but not entirely or necessarily largely identical. It would be nice if Macphun standardized on the interface, considering all these apps have been bundled into one suite, sharing a number of features.
 
Specifically, there’s no uniformity when it comes to the location of the presets, from one app to the next across all Macphun apps. While Aurora HDR remains outside the mix of the Creative Kit, I don’t mind that it has a different look, but the same can’t be said for those apps that are part of the suite. Granted, bundling them was an apparent afterthought, but it would be nice if Macphun took the next big step to present a unified front. (I’m told some improvements are in store. However, I’m not privy to the extent of these enhancements, but would hope they’d extend to the interface.)
 
On the plus side, you can customize a preset and save it as your own preset. Each preset includes a density slider, to apply the effect at full or lesser strength.
 
Two of the apps support layers, while others support masking, except Noiseless. The masking functions are also not consistent among the Creative Kit applications, where they exist, and masks can’t be saved for future use. Worse still, if you were to use the standalone versions of these apps, the mask is not carried over from one to the next. You have to paint a fresh mask each time you plan to use one. Also, only Intensify and Tonality have fully functioning histograms, with clipping indicators and a full set of adjustment sliders.
 
When upgrading to Adobe Photoshop CC 2015.5, Adobe, in their infinite wisdom, forces you to re-install all the third-party plug-ins from scratch, which I refused to do until I was ready to upgrade to a new iMac. You can’t even import these plug-ins from another location (say an older version of the Plug-ins folder) in Preferences the way you could in the past.
 
So, long story short, my review is based largely on my experience with this set of plug-ins in Adobe Lightroom. And, while I did test the waters with the standalone apps, I prefer working in Lightroom first and foremost.
 
When working with each CK plug-in, I use the Edit in option in Lightroom (under “Photo” in the menu, or accessed via the mouse). When using Edit in with a RAW file, a new TIFF or JPEG file is first generated, so use Lightroom to make initial adjustments before generating this new file. All effects/editing in the plug-in are then applied to the newly created file, which is itself imported back into Lightroom complete with enhancements when you’re done. The original RAW file is never affected.

​Tonality CK. (Verdict: Use it!)
What it does: black-and-white conversion and film emulation.
 
I found this app inviting for the most part. Among the available settings are the usual suspects, namely color filters, tone curve and tonal adjustments, color temperature (yes, this affects the tonal outcome), vignetting, and split toning. You also get various structure settings to give the picture more texture and depth.
 
Two features that bring this app home for me are the Zone System display in the histogram and the ability to layer and paint effects, as well as add a graduated mask. The Zones fall a bit short at either end. Still, they do prove useful and can easily be adapted to your black-and-white workflow. The layering masks let you make adjustments locally – to selective parts of the picture, where needed. However, you can’t selectively leave the original colors in the picture, as you can with other apps.
 
The photo frames option is kind of lame and best avoided, unless and until Macphun can beef up this feature substantially. For starters, these are not frames but borders. And there’s no variability or even a realistic feel to them. A randomizing (random seed) function would be nice, with improvements as noted. By the way, if you’re looking for real frame effects, you can find them in the FX Photo Studio app, which is part of the suite.
 
To spice things up you can add a texture overlay, where you can set the blending mode and amount, using numerous textures. However, you can’t vary the pattern of the textures. Here, too, a random seed option would help immeasurably.
 
Everyone turns to a black-and-white plug-in/app for its film emulators. You may be disappointed on this score. I didn’t find the film emulators very realistic or broad enough in scope. If you want a more faithful look and more film options (especially if you’re into pushing and pulling black-and-white film), then go elsewhere. But you can overlook this failing, since I haven’t seen any film emulator convincingly imitate any film. So we can cut Tonality some slack in this area.
 
As a final note on film emulation and black-and-white conversion in this plug-in, the grain setting is adequate, although not very realistic. I would have preferred an additional setting that varies grain clumping (the Roughness setting in Lightroom). In the interim, I can simply add grain, with the precise qualities I want, after importing the image back into Lightroom.

​Intensify CK. (Verdict: Use It!)
What it does: adds structure and detail enhancements.
 
There are numerous settings for you to infuse the image with just the right amount of structure and detail, along with tonal adjustments.
 
A histogram with highlight and shadow clipping heads the adjustments palette. You can also paint in the effects and add a graduated adjustment filter. What’s more, Intensify supports layers, in the sense that you can layer one effect over the other. So, for example, you can add one effect to the background layer and paint a layer mask with a second effect (in a new layer) over another part of the frame.
 
While some of you may welcome the wide array of available presets, others, such as myself, find them just a bit too much. The available adjustments let you tailor the presets to your needs, and create your own custom presets. On the plus side, you can delete presets or move them into a new folder you created, which I’d label “junk folder” (in case you change your mind later). I would also like the option to rename the presets, so I could use more descriptive names that actually tell me what a certain preset does. This would apply to all the apps in the suite.

​Focus CK. (Verdict: Use It.)
What it does: lets you selectively blur parts of the image anywhere within the frame while bringing other parts more into focus.
 
There are five presets (Portrait, Nature, Architecture, Macro, Tilt-Shift) plus Custom. Each preset presents you with options to strengthen or soften focus. The mechanisms in place give you plenty to work with. However, just to clarify, Tilt-Shift does not emulate a tilt-shift lens. In fact, it’s misleading. What it is really is, the graduated filter mask is skewed at an angle. That’s it, thereby controlling focus/blur, not depth of field. You can skew any of the masks, I should point out.
 
In Custom, you paint a mask over the areas you want to retouch. To fine-tune the mask, use low Diameter and Hardness settings, then gently push outward or inward when painting or erasing. The process is tedious, but you can get some nice results with practice. I would have liked it if the paintbrush could have been adjusted for shape as well, since a rectangular brush would have helped considerably. And the paintbrush in general needs further refinement, down to one or two pixels.
 
Focus won’t pull the proverbial rabbit out of the hat. Meaning, if it’s not sharp, this won’t fix it. But, you know those situations where something in the same plane of focus competes with your subject? Well, this will apply a graduated mask so the sharpness tapers off naturally, when done right. You do have to be vigilant that the effect is gradual, not like falling off a cliff.

​FX Photo Studio CK. (Verdict: Use it.)
What it does: enhances the image with all kinds of color and tonal variations, but also adds picture frames and quasi-kaleidoscopic effects.
 
There are a number of fun effects here, many of which you’ll find, in one form or another, in Photoshop. My favorite is “Symmetry,” where the app mirrors the image in quasi-kaleidoscope fashion. As in other apps in the suite, you can edit the mask that you use to apply effects, invert it, and turn it on (applying effects to selected portions of the image) or off (applying the effect to the entire picture). Also, you can make selected adjustments to the settings used.
 
Unfortunately, you can’t edit all the parameters that you use. For instance, I might have liked to create a true kaleidoscopic image, but there are no settings that let me do that. Elsewhere, where a preset adds a vignette, you don’t have the option to modify the vignetting, even when the effect itself adds vignetting. The same applies to modifying flare ghosts and the array of colors in effects where splashes of color are added. In short, a complete palette of settings as found in Intensify would help tremendously, with additional settings for the esoteric and exotic effects added. To that add a randomizer (random seed) for utmost variability.
 
A couple of quirks that I’d uncovered, among them: (1) After making adjustments following masking, the mask clears. You can backtrack by undoing the steps and thereby restore the mask. So I recommend that you make adjustments first, mask second. (2) This app has a stability issue and has crashed on more than one occasion.
 
The bottom line? I like the app. I’d just like to see it elevated to the next level. I want not just effects I can do with Photoshop but a whole new set of effects involving fractals – to go where Photoshop can’t take you on its own, or at least not without a lot of user entanglements. And that’s especially important if I don’t step outside the Lightroom universe.

​Noiseless CK. (Verdict: Use It?)
What it does: noise removal.
Digital noise blurs detail. But, when done to excess, noise removal (NR) can blur the image even worse, to the point where the picture has a plastic toy quality. So there’s a fine line we have to tread. This plug-in has proved more effective with some images, less so for others, and in at least one instance that I tested, made things worse. It does offer some advantage over using Lightroom’s own NR filters, in that there are more ways to customize NR here. Of course, if you don’t use Lightroom, and especially if you’re shooting JPEGs, then this would be the way to go. This is often a better choice than using NR on JPEGs in camera, which later cannot be undone. Simply stated, if you’re unhappy with the results in Lightroom (or Photoshop), or if you shoot JPEGs, then try Noiseless, since you’ve already paid for it.

​Snapheal CK. (Verdict: Skip It!)
What it does: healing, cloning, and retouching tool.
This app hasn’t changed much, if at all, since it came out. I wasn’t thrilled with it then; I’m even less thrilled with it now. The process of healing and cloning is so time-consuming and laborious here that the app tries to entertain you with fun facts. The time it takes for one fun fact to flash on the screen is the time it should take to complete the process. Instead, you find yourself reading one after another after another—to the point where you just have to throw your hands up in the air and terminate the process. But when you do allow the process to finish, you’ll discover artifacts cropping up. I’ll stick to Lightroom and Photoshop when it comes to cleaning up my images. There are other problems with this app, among them a distorted histogram, which is really a bad sign.

​The Moose Peterson MP-3 V2.0 photo backpack marks a departure for MindShift Gear in two respects. First, MindShift doesn’t normally take on camera bags designed and previously marketed by a third party. And, second, the interior is different from anything MindShift has offered before now. The first marks a prudent step toward expansion, which, in today’s world, makes economic and business sense for a forward-thinking company. The second signifies a long-awaited and highly significant step toward making MindShift products more user-friendly and utilitarian.
 
As you may have figured out, this pack is the baby of wildlife photographer Moose Peterson--for wildlife photographers. It’s a vast improvement over the original Moose Peterson pack, which I’d reviewed some years back for a major photo magazine. And it stands head-and-shoulders above a similar design from another camera bag company. In fact, even hinting at any similarity is an insult to the Moose pack.

​An Inside Look
Professional wildlife photographers use long, fast lenses. These lenses are, by and large (no pun intended), ginormous. But many photo backpacks are not designed to easily hold them, without sacrificing much, if not all, of the available space, leaving little room for anything else.
 
What makes this bag eminently suited to this pursuit is its tripartite design. The longest compartment is specifically designed around a long, fast lens attached to the camera or an even physically bigger lens on its own. Two smaller sections house the camera (when detached from the lens), along with a second body and even a third, several additional lenses, converters, a shoe-mount or two, and filters. When the main section is not fully occupied, there’s plenty of room for other gear. In fact, whichever size Moose pack you buy, it will comfortably hold at least one body with pro-grip, with lens attached.
 
Each item of gear is securely nestled in place thanks to the thick but flexible Velcro-friendly dividers—a serious departure from the dividers MindShift has been using in its other packs, and a welcome change. The new dividers let you customize the interior almost infinitely, with various-sized sections. The new dividers also do a better job of hugging and grabbing your stuff so it doesn’t slide around, or out of the bag, should you open it while it’s in an upright position. All this is safely contained within a fairly rigid, padded wall that encompasses the pack.
 
Protecting everything at the front end are three separate zipped access panels, which are padded. What’s noteworthy about these panels is that, rather than remaining open and exposing the contents to the elements, they drop back down. Just make sure to zip the panels shut before donning the pack. What would have made this even sweeter is if MindShift would have used the magnetic-locking clips, similar to the ones used on the Rotation packs, so the panels would stay closed. Then again, someone might see that as an encumbrance to quickly getting into the bag.

​Is It Perfect?
This pack will also hold a tripod over the large front panel or on the side, using the mesh pocket. However, I’m sure you’d rather reserve this sizable pocket for a large Nalgene water bottle. Either way, it’s a workable arrangement.
 
There’s no space for a hydration pack. In fact, as comfy as the bag is to wear, it’s best use comes from taking short hops away from your vehicle or traversing mild terrain. It’s too bulky to negotiate tight spaces. Still, I’m pretty sure you don’t plan to use this bag on long, arduous hikes over treacherous terrain or to scale steep slopes. And even if you did, feel assured that the bag will remain steadfastly on your back.
 
There’s no room for lunch, a jacket, rain poncho, first aid kit, guide books, and other hiker essentials, unless you want to clear out a section of gear. A spacious front pocket or upper tier, where stuff like this goes, is lacking. There is a small pocket on top, where you can store filters, lens tissue, and the like, plus mesh pockets inside each flap, but none of these is well-suited to a sandwich or a change of clothes.
 
The Moose pack is perfectly suited as a bag you’d want to work out of. The self-closing flaps help toward that end. When laid flat, the pack serves as the perfect workspace. And it’s designed to keep you well organized. To say that this pack is thoughtfully designed would be an understatement. 

​In Use
I loaded the bag up with about 25 pounds of gear. I don’t usually carry this much gear around and dreaded the thought. Still, once I got over the shock of how heavy it felt when I first picked it up (before actually weighing the load), after donning the pack, I must say that it felt good. In fact, I’d noted that the shoulder straps didn’t slide off my shoulders. Sliding shoulder straps are a big bane on most backpacks. Still, to make carrying this load even easier, I cinched the included waist belt and sternum strap. The shoulder straps, by the way, are well padded to handle the load, as well as contoured and breathable for a comfy ride.
​
I should point out that the waist belt, while included, does not come attached to the bag. Slide it through the lumbar pad on back of the pack. You’ll note that the strap has two hook-and-loop strips. They attach to their counterpart on the inside of the lumbar pad, so make sure to insert the strap properly (the breathable mesh goes against your waist). The tapered waist strap is thin enough to be easily stored out of the way when not in use, but ample enough to give you the needed support and comfort.

You’ll note that there are no compression straps anywhere. They’re not really needed. Compression straps are required on bags designed for arduous hikes and backpacking. But to protect the zippers, at least around the circumference of the bag, there is a narrow rain flap, just wide enough to do the job, not too wide that it gets in the way.

Speaking of straps, I almost forgot to mention a few things. First, there are two padded carry handles – one on top, another on the side, so you can carry the bag like a suitcase.  While I haven’t had the opportunity to test it out, the bag’s squarish design makes it well-suited for overhead stowage on most airlines. And to further your efforts toward that end, the shoulder straps tuck neatly behind the airflow shoulder pads that lie against your back. (In fact, that’s how the bag is delivered to you.) Also, you can wrap the waist belt and secure it in front, to maintain the bag’s svelte lines.

On the face of it, this Moose pack looks like a piece of handsomely crafted luggage. In fact, the pack appears so innocuous that there’s nothing about it that even remotely screams camera bag. Well, if you don’t count the tripod hanging in front…

​MATERIALS​ (Mfr. specifications)
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. The bag also features highest-quality abrasion-resistant YKK® RC-Fuse zippers, 420D velocity nylon, 600D polyester, 1680D ballistic nylon, 320G DuraStretch mesh, nylon webbing, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
 
Interior: High-density velex, 210D silver-toned nylon lining, hexa mesh pockets, high-density closed-cell foam, 3-ply bonded nylon thread.

​I can’t remember ever using a camera holster. Fact of the matter is, I find them too limiting. More to the point, I’m a photo backpack guy.

Still, I was intrigued by the moniker Multi-Mount, so I opted to test out this new bag from MindShift Gear, one of my two favorite camera bag companies (along with Think Tank Photo).

I chose to review the largest holster in this new lineup, the Multi-Mount Holster 50. And when the bag arrived and I initially holstered my Nikon D610, my first thought was: big mistake. What was I thinking? This bag is too roomy for a camera without a pro-grip. I should have ordered this bag one or two sizes smaller.

So I let it sit around, and sit, and sit.

Until one day, when I was retrofitting a backpack to give to a friend.

​Unlike some reviewers, I recycle my older camera bags. I even ask that the bag recipients make a small charitable contribution in place of paying me for the bag.

Anyway, I came upon a padded divider that I’d stored. That’s another thing I do. Some packs—not any from MindShift or Think Tank, I might add—are just not worth giving to anyone, so I gut them and keep the dividers for later use, relegating these bags to other purposes, or just leaving them in the laundry room for any takers.

​Retrofitted to Suit My Needs
So, here was this wedge-shaped divider that turned out to be a perfect fit for the Multi-Mount 50. Well, almost perfect. To make this an even better fit, I added a thick pad covered in Velcro-friendly material to the bottom of the holster. Which now meant I could secure the divider on three sides using its hook-and-loop tabs. (And, yes, that pad came from yet another old pack.)
 
I wasn’t done. The holster included two narrow, thinly padded dividers. I don’t even recall where they were placed initially, but the first thing I did was to pull them out. It turned out that the wedge-shaped divider fell a bit short, leaving the top of the camera with the pentaprism housing exposed to bumps from anything sitting in the newly partitioned adjoining section. So I simply used these spare dividers to add to the height of the barrier. The arrangement was flexible enough to accommodate the top of the camera while isolating the two sections.
 
Granted, I probably could have used the two spare dividers alone, without adding anything, but the divider that I did add was thicker and of a heavier density and I felt it would do a better job of separating one section from the other.
 
Now I had room for my Nikon SB-700 flash in the ancillary section, with the D610 and attached Tamron 70-300mm zoom (or Tamron 24-70mm f/2.8 zoom) in the main, larger section. Could I do even better? (Note: the manufacturer recommends using the outside pocket for the flash, but I prefer keeping my flash where it would be better protected while on the move, then possibly sticking it in a photo vest pocket once I arrive at my destination.)

​Room for More
One day I’d decided to do some macro shooting, replacing the zoom with my Tamron 90mm f/2.8 macro. That meant I’d also need my Metz ring flash. Hmm, could I also make room for the SB-700 inside the bag?
 
Why bother with the SB-700? I’ve often used a shoe-mount in place of the macro flash. The trick is to use the flash in bounce mode with the dome diffuser (diffusion dome) attached. That produces a soft, feathered light that doesn’t overwhelm the subject or create heavy, disturbing shadows behind it.
 
Anyway, that step was simple enough. I added a layer of protection (another padded divider from the storage bin) over the ring flash and lay the shoe-mount on top.
 
Next I wondered if I could make room for a second lens. Okay, something would have to give. I removed the ring flash. After all, the shoe-mount had greater utility. The Tamron macro was still on the camera, but I also wanted to take my Nikon 60mm macro, and as luck would have it, this lens was compact enough to fit in place of the ring flash, with the shoe-mount again riding on top.
 
And There Was Room for Even More
There is a zippered inside pocket—mesh so you can see what’s inside. I stuck the rain cover and a filter (inside its case) in there.
 
I wasn’t done. I had an outside front pocket waiting to be filled. This space was relegated to anything that wasn’t easily damaged, which included batteries for the camera and flash, a white balance target, and Rocket blower.
 
I was a happy camper.

​In Use
First, you’re probably asking, how easy was it to get at the camera, now that I’d crowded it in with all the extras? Very easy indeed.
 
I should point out that I’d attached a SpiderPro Hand Strap to the camera, with a BlackRapid Tripod Plate 70 at the bottom, which now lets me readily use a tripod when needed.
 
While the bag would have accommodated a neck strap on the camera, a sling that attaches to the tripod socket would have been a bit much for this configuration. I would have had to make room, at the expense of the second section.
 
The nice thing about this Spider wrist strap is that I’ve gotten so used to it that I no longer feel a need to hang the camera around my neck or deal with a long strap getting in my way.
 
Wonder how I manage to hold onto the camera with that wrist strap for long periods without a neck strap or sling? Intermittently I rest the camera in my free hand, relax my grip for a moment or two, and flex my fingers. Simple, really.
 
The holster comes with a waist belt. That made a big difference, securing the bag in place so it wouldn’t swing around as I bent over to shoot low when focusing on macro subjects. That meant that I wouldn’t constantly have to divert attention away from the subject and toward the bag in an effort to reposition the holster behind my back, where I generally like to keep it, rather than at my side. (Okay, it did slide around a little, since I don’t like to cinch the waist belt too tight, but it wasn’t enough to prove an annoyance as I was shooting.)
 
The waist belt also takes some of the weight off your shoulder. However, it didn’t go far enough. Because I’d weighed the bag down by filling it to capacity, I found myself having to swap out the shoulder strap for one with a more substantial all-rubber shoulder pad, which also did a better job of gripping my shoulder. (Again, another remnant from a bag relegated to the throw-away pile.)
 
That said, the shoulder pad on the shoulder strap that came with the bag is pliable enough so that it won’t dig into your neck when you wear it sling-style, if that’ how you prefer to wear a shoulder bag. The strap would also work well if you opted to wear the bag as a chest pack, with the strap draped around your neck. This holster bulked out too much for me to comfortably wear it in this fashion. That’s something I might have done with one of the smaller versions.
 
I didn’t even try the other carrying modes. Again, if this were one of the smaller holsters, I would have entertained the notion of attaching it to my backpack. The bag also comes with a pair of tether straps that let you secure the holster to the back of the backpack; in front, as a chest pack but this time in tandem with the backpack; and as a waist pack, attached to the waist belt of the backpack, albeit at the front, lower down than you’d normally wear a chest pack. By letting the Multi-Mount ride tandem with a backpack, you can keep the camera in the holster, at your beck and call, while the rest of your gear rides comfortably on your back.
 
What can I say? The Multi-Mount Holster gives you the best of all worlds, keeping gear safe and ready for use the moment inspiration strikes. I didn’t think I’d like it, but I do. I use it regularly. And now I’m glad I’ve got the Multi-Mount Holster 50, the biggest holster in the lineup, since it lets me carry enough gear to tackle whatever I expect to encounter during the day, or night.

A NEAT ACCESSORY
Keep memory cards at the ready with MindShift Gear’s Card-Again memory card wallets. The CF version holds 4 cards; the SD version holds 6. If you get the CF version, as I did, you can store 2 SD cards in each slot.

Before creating an HDR, you have to ask yourself: Is the process adding something of value to the picture? Am I rescuing key highlight and shadow information that would otherwise be lost? Am I adding something of aesthetic value to the picture?

Each time I export images to an HDR application, I ask myself these questions. Or I should. Sometimes, in the excitement of trying to do more, I end up doing less, and then I go back and chastise myself for forgetting to address these questions.

I’ve worked with numerous HDR apps, most often as plug-ins to Adobe Lightroom, always in search of the ultimate HDR solution. When Adobe endowed Lightroom with an HDR merge function, I thought, bye-bye plug-ins. I was wrong. Lightroom’s HDR is nice, but it’s bland and unimaginative in comparison to the independent third-party apps out there. The one thing Lightroom HDR has going for it is that all the processing remains under one roof.

But you have to step out the door every once in a while. And Aurora HDR Pro – for Mac only, co-developed by Trey Ratcliff and available through Macphun Software, is a nice breath of fresh air when you do step across that threshold.
​
Of course, as with any HDR app, when you do step outside, you may still encounter the odd cloud or two that unleashes anything from a drizzle to a downpour, destroying that carefully coiffed ‘do. But if you cover yourself with a simple umbrella – no overly elaborate steps needed, you’ll step back in with a more lustrous head of hair than when you started.

​Aurora HDR Pro’s Interface and Settings
Each HDR app brings to the table certain features and foibles. To begin, they all like to think they’re the flavor of the month. And that is true to a degree, because when they’re new, we all flock to them. But for some, that flavor soon fades or even sours. And just in time, another steps in, in this instance Aurora HDR, to pick up the gauntlet.
 
One of the things I look at is the set of presets and settings each app uses to create an HDR. Some use esoteric settings couched in an exotic language that doesn’t readily fall off the tongue. Not so with Aurora HDR.
 
First, the interface is clean and simple. Presets are shown along the bottom of the screen, with a settings panel on the right. My only complaint here is that the preset image is truncated – I’d like to see the full preview image.
 
The settings themselves are largely readily understood, but if any are new to you it just takes a few tweaks to see what they do. Just remember to Undo them afterwards, unless they’re to your liking, or hit the preset to start over. And if you’re really enthralled with your tweaks, save them as a User preset, so you can use them next time.
 
The one thing missing here is User Preferences. I may want one preset to initially apply to my HDR merges when launching Aurora HDR or perhaps I’d like to use the previously used preset, but, for now, I can’t dictate that. Also, you may want to default to a specific file format when exporting the HDR image. And you may want to customize the filename extension added to the resulting HDR image (although I’m sure most would be happy with the default).

​Step One: Choose RAW or TIFF Files
You can work with the standalone app or the plug-in (Lightroom, Photoshop and even the now defunct Apple Aperture). I prefer the plug-in, since I do my RAW conversions first – in Lightroom. A wide range of file types is supported. The standalone version has the advantage of being able to export the HDR to social media and to a broad range of applications, including Photoshop, Lightroom, and Macphun’s own Creative Suite.
 
Aurora HDR Pro installed itself effortlessly in Lightroom and Photoshop. In Photoshop, it’s listed under Filters. In Lightroom, the plug-in pops up in the list of export options: choose to work with the original, meaning RAW, files or adjusted (converted) TIFF files. I’ll be discussing the plug-in’s use in Lightroom.
 
As with any HDR app, the first thing to do is to select the bracketed exposures that will contribute to the merged image. When I shoot handheld with my Nikon D610, the maximum number of exposures for auto-bracketing is 3, and that’s worked well so far, usually at +/- 1 EV increments.
 
To minimize the possibility of shooting long exposures, I often set an ISO that will deliver relatively fast shutter speeds. The benefit there is in minimizing the gap between exposures, with the camera set to capture sequential frames at the highest rate, which minimizes camera and subject movement and possibilities for ghosting.
 
Working in Lightroom, I’ve worked with both RAW and TIFF files. In some instances, surprisingly or not, the TIFF files worked best. For the most part, though, my first choice is to merge RAW files. That means that none of the adjustments made in Lightroom carry over – and hence can’t taint – the resulting merged HDR.
 
The down side to using RAW files, at least when working with some lenses, is that the HDR image that Aurora returns to Lightroom doesn’t carry complete or entirely accurate EXIF data. For example, when I try to apply a lens profile in Lightroom, the profiles for images shot with Tamron and Sigma lenses are all wrong, judging by the ones tested so far. I’ve had to use a different lens profile, then further adjust that, or make the adjustment from scratch. Not a big deal, per se, just a minor annoyance. (And this quirk is not exclusive to Aurora HDR.)
 
When you work with converted TIFF files, you first apply the lens profile, so that’s written in stone. In other words, there’s no longer a need to concern yourself with that aspect of the editing process.

​Step Two: The Opening Dialog Window
When you export the files for the HDR from Lightroom to Aurora HDR Pro, you’re greeted by a dialog box, which gives you three options: alignment, ghost reduction, and chromatic aberration (color fringing) correction. When working with RAW files, I check all three. Alignment is especially important when shooting handheld, on a monopod, or even with tripod shots that show even the slightest discrepancy between frames. Note: when working with RAW files, even though you are using chromatic aberration correction in Aurora, you should also enable Remove Chromatic Aberration in Lightroom, since there may be a residual amount of color fringing that remains in the HDR.
 
When ready, click Create HDR.

​Step Three: Choose a reference Image and Deghosting Strength
Moving on, now you have to choose a reference Image and the amount of deghosting (ghost removal) to be applied. I’ve found that selecting an overexposed frame that involves movement as the reference Image tends to result in ghosting that can’t be corrected by the software (this applies to Aurora and other HDR apps). So choose the metered exposure or the one below it.
 
If you’ve come this far, take the next step: click Create HDR (same command, different dialog box).

​Step Four: Making Your HDR Shine in Aurora HDR Pro
You’re now on the main screen, the Aurora HDR interface. It takes a few moments to get here while the program is processing the HDR, so be patient.
 
The easiest way to start is to select a preset. I find the ones labeled “realistic” are the best place to start. You can then tweak the settings in the panel on the right.
 
Presets have cute and clever names – a bit too cute and clever for my taste, but, hey, that’s me. What I would have liked is if each preset, when scrolled over, would offer a brief description that differentiates it from its neighbors. You can, of course, create your own presets, and the nice thing here is that presets are grouped by the overall impression they’re designed to make or a subject or situation they address, or by the person who customized them (Trey Ratcliff or User). There’s also a Favorites group, and a way to get more presets off the Web.
 
To Aurora’s credit, however, when you click on a preset, you’re presented with a slider that globally modifies the HDR look of the image. Specifically, this slider addresses the Layer Opacity (not to be confused with other Opacity settings, such as Denoise Opacity).
 
More to the point, changing this Opacity setting directly affects the histogram. For instance, you can use this setting to reduce clipping (lost highlight and shadow detail). Click on the two triangles top left and right above the histogram to see shadow and highlight clipping, respectively, which are shown as blue and red in the image.
 
You may find that you’re overwhelmed by all the settings. Don’t be. Creating an HDR image that’s worth sharing is worth the effort. You can use the presets for a quick fix, but step through all the settings to show that you really care about the image, at least initially. Over time you’ll discover that certain settings are more relevant to delivering the look you’re after.

​The Final Step
Next, export the image back to Lightroom. Here you can make the necessary lens corrections that weren’t previously applied, add sharpening, and finesse the image further to deliver the look you want.

paired with a Minolta SR-T 102. I burned plenty of Kodachrome with that glass.
​​
​That 90mm macro lens focused to half life-size (1:2 reproduction ratio) but required an adapter—a multi-element extension tube in this case—to go to life-size (1:1). What’s more, the Vivitar lacked internal focusing, so as you focused closer, the lens barrel extended out awkwardly.
Many newer macro lenses thankfully offer internal focusing, making them easier to handle. Case in point, the Tamron SP 90mm f/2.8 VC macro model F004 and the brand–new F017 90mm macro.
When the new Tamron SP 90mm F/2.8 Di VC USD 1:1 Macro (Model F017) arrived, I was really eager to see the what this updated model brings to the table. The new lens is currently available for Canon and Nikon, with the Sony Alpha mount on pre-order at retailers.  READ THE ENTIRE REVIEW.

​In the past, working with the PM-260, I’d output a stack of prints from this earlier-model PictureMate,  take them with me on trips and hand them out to people I met. It was a great icebreaker. Those prints brought smiles to people’s faces. So now it was time to see if Epson’s latest iteration in this series would have the same effect. Spoiler alert: it did.
 
Very recently I led a group here in Chicago on a photo workshop. Toward the end of the day, I pulled a pack of 4x6 prints out of my vest pocket and shared some of my photographs with the group. I didn’t mention the printer I’d used. Instead I opted to wait for someone to ask. It didn’t take long, when the question popped up: What printer did you use? The Epson PictureMate PM-400, I responded with a smile. They were duly impressed.
 
I also used these prints at other photo workshops that I’d led locally - to illustrate photographic technique or just to give the group a feeling for what to expect, what they might photograph or how they might approach different subjects. Again, there was a round of positive responses. These prints made my pictures look good.
 
This approach was certainly easier than using my tablet. And I didn’t have to worry about a tablet slipping from my grasp or being knocked from my hands by an errant passerby. Not to mention, I didn’t own a tablet back when the PM-260 was around. But even now, I find it much easier to carry 4x6 prints. Someone even remarked that they look like postcards. I wasn’t initially sure what to make of that comment, but decided the reference was to the prints, not the images on them, so I took it as a compliment.
 
A Small Package, Big Potential
When the PM-400 arrived, I opened the box and looked at the unit. It was tiny, certainly compared with the old PM-260. Maybe half the height, generally smaller all around, and it proved to be much lighter. In fact, you basically had to carry the old printer with its handle. You can pick up the PM-400 with one hand and barely feel it.
 
But is size and weight alone enough to make you buy this printer? Certainly not. What’s more, you may be saying to yourself: I can get a letter-size photo printer at a much cheaper price? Of course you can, but, as you’ll see, this tiny printer offers numerous advantages.
 
There are many benefits, some of which this printer shares with its larger siblings, but in the end you have to look at the total package. You can use the PM-400 to print with or without your computer. Without the computer, just insert an SD card or USB flash drive into the appropriate slot or, using your own USB cable, connect a compatible USB device (including a PictBridge-compatible camera) into the USB port on the PM-400. Or print wirelessly from any supported device.
 
What’s more, the PM-400 is quieter than those full-size printers, which can be relegated to printing letters and manuscripts, or homework, while you print keepsakes on the PictureMate. And you can run off a batch of prints without disturbing anyone in the house, right from your living room, while watching The Walking Dead, and without missing a beat – that’s more than we can say for the zombies.
 
But we’re getting ahead of ourselves…

​Setting Up the PM-400
I set up the PM-400 to run with a 21.5-inch iMac, under OS 10.9.5. The computer is equipped with a 3.1 GHz Intel Core i7 processor and 16GB RAM.
 
Setup was a snap. Once you plug the PM-400 into an AC outlet via the included AC adapter, open the lid (the output tray then drops open – be sure to flip open the extension), lift up the LCD panel, turn on the device, and follow the on-screen prompts. It couldn’t be simpler.
 
At the outset you’re prompted to install the included printer cartridge. Even though the unit comes with a sample 4x6 print pack with only a handful of sheets, the cartridge itself is full capacity, enabling me to output a full 20-pack of 5x7’s and more besides. I also received a 100-capacity cartridge/4x6 paper pack with the review unit (not included in the retail edition), but didn’t want to crack open the box just yet. Epson also sent a box of 40 semi-glossy sheets (again, not included with the printer).
 
If you print 5x7’s or other sizes, you’ll throw off the cartridge/sheet ratio in that 100-capacity cartridge/paper pack, so you might consider buying the cartridge and paper separately. Just make sure the printer supports the paper you’re buying, which includes Epson Ultra Premium Photo Paper Glossy, Epson Premium Photo Paper Glossy, Epson Photo Paper Glossy, and Epson Premium Photo Paper Semi-Gloss. The one paper surface not supported is matte (which was supported on the old PM-260).
 
Other brands of photo paper can be used, but you may not get the image permanence benefits that come from the Epson cartridge-Epson paper matchup. As to popular sizes, they top out at 5x7, with a mix of formats thrown in, including #10 envelopes. Borderless printing is supported.
 
Loading Paper
One other advantage to this printer is that loading paper is as straightforward as it gets – no need to open the unit. Paper drops into the slot right behind the LCD/control panel. When inserting paper, gently use the edge guide to slide the paper toward the left edge in the slot. Once the edge guide is in place, you can drop paper into the slot without resorting to the edge guide, unless you change paper sizes.
 
Paper is always loaded with the printable (glossy) side up. (Epson papers show the Epson logo on the reverse, non-printable side.) You can load up to 20 sheets of photo paper. For envelopes, see the online manual. Make sure you're not stacking paper above the indicator on the inside of the edge guide.
 
Load paper with a portrait orientation, vertically. When printing directly from the PM-400, prints automatically orient themselves – portrait or landscape – to match the image being printed. When printing from the computer, you’ll need to manually make that selection up front, along with a number of other settings.
 
Printing with the PM-400
Printing with this device couldn’t be simpler. I printed wirelessly from my Apple iMac and iPad and directly from the printer itself, in standalone mode.
 
I used the network connection to output from the computer, primarily from Adobe Lightroom but also Photoshop. I had no problem printing from Lightroom, but did initially encounter a bump in the road with Photoshop. So I retraced my settings, step by step, and easily corrected the situation. Once I had the settings I needed, I saved them as a Preset for this printer. (In Lightroom, under the Print menu option, adjust settings under Print Settings or Printer on the Print page; in Photoshop, select Print and adjust settings. Each time you go to print from Lightroom or Photoshop, you may have to re-select the “scale” options, so make sure to do that; I also found it best to re-select the paper size, which then further selected “scale down only.” See the screen grabs.)
 
Each time you load paper into the printer, the PM-400 asks you to either confirm the current choice or to choose the paper you’re using. When printing from the device itself, in my case from a USB drive, I followed the prompts in selecting a number of images to print. It’s all fairly straightforward. The online manual should clear up any confusion about a scant few settings that may be unclear.
 
I was a little disappointed when printing wirelessly from my Apple iPad – not in the PM-400, but in Apple’s AirPrint. I could find no way to direct the printer to output other than borderless full-bleed prints, which tended to crop out some of the image area. But I was otherwise very pleased by the quality of the print.
 
Finishing Up
When closing shop, lower the LCD panel. Remove any unused paper and return it to its original packaging. Then return the tray to its original upright position – where have I heard that one before? - and hold it while lowering the lid with its magnetic closure. You can effortlessly achieve both motions with one hand, using your thumb to hold the raised tray in place (after restoring the extension to its original position as well).
 
You can see the screen shutting off even under the lid. And of course the indicator light on the front extinguishes as well.
 
By the way, each time you use the printer, you’ll get an annoying reminder on the printer’s LCD to register. Register and get rid of the message. 

Complete with full resolution test images.
By Jack Neubart • Posted: Feb 1, 2016

Without telling us why, Olympus ferried a number of the photo press to Austin, Texas last week, myself included. As it turned out, the purpose was to debut the new Olympus Pen-F Micro Four Thirds digital mirrorless camera ($1199.99, body only). We got to test out the new 20-megapixel Olympus Pen-F for several days in Austin, and all I can say is: Wow! 

Read the full review here: Olympus Pen-F.

​I've had a love affair with MindShift Gear photo backpacks from the first. Over time, with the introduction of newer packs, I’ve had to displace older ones – not because I disliked those older packs but because the newer packs more closely addressed my needs and style of shooting. Not to mention, I just didn’t have the space for all of them.
 
The Rotation180 Panorama pushed aside the Pro size pack, but was in turn replaced by the Horizon because this pack was of the right size to hold the camera/lens combos I often use stored ready for fast retrieval in that built-in rotating waist pack.
 
Then along came the FirstLight 20L, which I really liked, but it did not meet my needs for a pack I could use in the snow or in muddy conditions without laying the pack on the ground. So the Horizon stood its ground, even though I found it (and the Panorama) a bit on the heavy side.
 
More recently, MindShift Gear introduced the BackLight 26L, which lets you work out of the bag while still wearing it – hence a workaround when negotiating snowy or muddy terrain. But that pack wasn’t enough to push the Panorama and FirstLight out of contention. I still wanted a pack that would only carry a limited amount of gear while I was running around Chicago yet would also let me carry some extras - more than would fit in an outside pocket, as spacious as the one on the BackLight is.

Specifically, I often challenge myself to make the most of a one-camera-one-lens combo, which usually means my Nikon D610 with attached Tamron 15-30mm f/2.8 primarily for landscapes and architecture, Tamron 24-70mm f/2.8 for landscapes and street shooting, or Tamron 70-300mm for wildlife, or sometimes the Tamron 90mm f/2.8 macro for the obvious, but also for wildlife and scenic views with a different perspective.
 
Enter the UltraLight Dual 25L. Would I now being saying goodbye to my Horizon and FirstLight packs as well?

Light Weight But Not a Lightweight
The UltraLight Dual is not MindShift Gear’s first dual-tier system, since technically the Rotation180 series would also fall into that category. Then again, the Dual is not your typical two-tier pack either.

Two-level packs traditionally have separate top and bottom compartments – the bottom compartment thoroughly padded to accommodate a variety of camera gear, including one camera with attached lens; the top compartment unpadded for personal items (lunch, books, jacket, etc.), as is true here. Often, and applicable in this pack, the partition separating the two sections opens to let you extend one compartment into the other, for whatever reason (converting the entire pack to a daypack, for example).

Traditional two-tier packs feature either a clamshell camera section (opens like a clamshell) or a camera section that opens from the front. I used to like either design until I realized that opening a clamshell can become rather inconvenient if it’s top-heavy. And when the camera section opens from the front, the view or access inside was often obstructed in some way. And both designs required you to put the pack down.
 
MindShift’s UltraLight Dual builds upon a combination of two concepts: the dual-tier combined with a side-access panel. The side-access panel means you don’t have to put the bag down to get at your camera. Instead you sling the bag off the left shoulder, lift the bottom up so the bag is level, and reach over with your right hand, unzip the panel, and grab the camera. And to make things even sweeter, that camera compartment is actually a removable bag that comes with its own shoulder strap. You can even loop a belt through the back so it doesn’t shift as you’re moving about. The internal bag has its own zippered lid as added security (I usually leave this zipped only partially for faster access to the camera, unless negotiating rough terrain). If you keep the removable bag inside the pack, which makes more sense to me, rather than toting it on your shoulder, make sure to keep the outer panel zipped. 
 
How I Use the UltraLight Dual 25L
First, I begin with a lens attached to my D610. That really doesn’t leave room for an extra lens or flash, so I do the next best thing. The Nikon SB-700 came with a nice, semi-rigid, padded pouch, which I now use so I can store the flash in the upper compartment. When I get where I’m going, I can transfer the flash to a pocket in my photo vest.
 
Now, with regard to extra lenses. That’s where the MindShift Switch Case comes in handy. I added some extra padding on the bottom of the Switch Case. This also goes into the top compartment. I can transfer this pouch to the outside of the backpack when needed. And if I need more lenses, I’ll find a workaround. For now, this is fine. As I said, I don’t usually run around with a slew of lenses. If I’m traveling, then I’d likely use one of my other backpacks. Which pack? Depends on where I’m going (Think Tank's StreetWalker is often my go-to pack for travel). Then again, I may just decide to take this one. You have to remain flexible, and owning more than one photo backpack allows me to do just that.
 
Features (my comments in parentheses)

• Dedicated compartment for laptop, tablet or hydration reservoir. Fits 2.5L hydration or 15” laptop.
• Large capacity for personal gear: extra layers, a light jacket, food, etc. (ya gotta love this – don’t forget maps, guide books, instruction manuals for gear or functions you don’t use often).
• Removable camera compartment converts to a chest pack with the optional Tripod Suspension Kit (I prefer keeping this inside the pack, but don't forget that it can also be worn as a shoulder bag with the included shoulder strap).
• Integrated tripod/monopod mounting system on front (since this pack doesn’t open from the front, no fear of the pod getting in the way).
• Trap door platform allows you to use the entire bag for personal gear (in other words, you have two packs in one - daypack or photo backpack, although I'm keeping this as a photo backpack).
• Seam-sealed rain cover included (nice touch).
• High quality YKK RC Fuse zippers, 420D high-density nylon reinforced stress points for long lasting durability and strength (MindShift build quality is second to none and better than most).
• Highly breathable three-layer shoulder straps with daisy chain for additional gear (they’re comfy).
• Internal compression strap and drawstring collar maximize capacity and minimize bulk.
• Stretch side pocket (fits a standard-size water bottle).
• Internal zippered mesh pocket for small items.
• Zippered lid pocket and zippered waist belt pocket for quick access to small items (I would also have liked a pleated, outside front pocket).
• Accessory loop for mountain axe or hiking poles mounting.
• Lid closure doubles as a lash point for a large jacket or other bulky items (adds to capacity of pack).
• Ergonomic zipper pulls are easily gripped with gloves or chilled fingers.
• Adjustable dividers for different camera gear configurations (doesn’t apply to the way I carry my gear, since I just carry the camera with sizable lens attached – a configuration that completely fills this compartment; I can comfortably fit a Nikon D610 with attached Tamron 15-30mm f/2.8 or Tamron 70-300mm).
• Adjustable sternum strap.
• Camera compartment lid tucks into side opening lid for quick access.
• Nylex LCD protector provides a place for your camera strap while covering your LCD (I even managed to squeeze a BlackRapid sling strap in here, with a hand strap attached to the camera as well; the camera's hot shoe may catch on this lid where it attaches to the bag, but you can simply nudge the obstruction out of the way).
• Compatible with the Filter Nest/Hive and Switch Case, Tripod Suspension Kit and Panorama/Horizon photo insert (snug fit with photo insert).

Call them what you will – ultra-wides or super-wides – I love ‘em. By covering a breathtaking expanse, these types of extreme wide-angle lenses are not only capable of capturing most landscapes, they also help sweep you into that landscape, making you feel a part of the scene in the process.

Of course, not every ultra-wide shot has to be expansive. Sometimes we just want to capture the full scope of a structure or geologic form or even a tree without having to step back more and more until we find ourselves on the edge of a precipice—or standing in the middle of traffic. And of course there’s always that in-your-face forced perspective that lends a dramatic flair to any subject photographed close up with these lenses.

Normally, I’d say, go with an ultra-wide zoom. But zooms, even at f/2.8, can be considered slow when we’re shooting at dawn or dusk, and especially after nightfall or in a dimly lit interior, without cranking ISO all the way up. What about using a tripod? I often prefer to leave my tripod at home, opting instead to shoot with the camera handheld. This way I’m free to move about, without worrying about the attached tripod bumping into people on a crowded street, or catching it in brambles or scraping against rock along the side of a trail, or having to take everything apart and set it up from scratch each time the tripod is needed.

Enter the Sigma 20mm f/1.4 Art lens. This lens, which Sigma is calling "the world's first" 20mm f/1.4 lens for full frame digital SLRs, is eminently suited to handheld photography. That said, it would work just as nicely seated on your favorite pod. In fact, it has one advantage for tripod users. You know how you always forget to disengage the image-stabilization (IS) mechanism on a lens equipped with this tech when the camera is on a tripod? Well, I always do. (That can result in blurred shots.) This lens does not feature IS, or OS (optical stabilizer) in Sigma parlance, so no worries. Now, is that entirely a good thing? Let’s find out.
​
Read the full review here, at shutterbug.com.

I was never a big fan of film emulators, so any time I used one, it wasn’t in an attempt to replicate the look and feel of a film as much as to lend a distinct character to an image. Besides, what I remember about film are scratches and fading, although a few films did leave an indelible mark in my memory. Well, almost indelible, as memory does fade over time, along with film.
 
But I do remember the rich colors of Kodak Kodachrome and the grainy texture of Kodak Tri-X, the increased contrast and grain when pushing film, and the look of some Polaroid instant slide films and how easily they were scratched.
 
When it came to E-6 reversal (slide) films, Fuji fast became a favorite, with Velvia and Provia leading the pack. Ilford’s black-and-white emulsions also had a unique place, capturing a certain depth of tone. Agfa color film never quite did it for me; ditto their black-and-white emulsions. Fuji black-and-white, too, was one I rarely used, although it did have its adherents. There was also 3M and Konica – each a poor but economical substitute. Some of these films are still available today, although I doubt they’re the same. On the other hand, for the more adventurous film shooter there is Lomography film, for a unique twist on analog photography.
 
One of my favorite black-and-white films was known as chromogenic—a favorite not because it was processed in color chemistry and yielded a black-and-white negative, but because it could be exposed over a wide range of ISO settings – kind of like what we do today with our digital cameras – one film fits all, kinda.
 
What I don’t miss about film is changing cassettes amid a storm of midges, the time wasted to change film cassettes, the need to change film cassettes whether because you’ve run out of exposures or to suit the lighting or the subject – and the need to carry around all those canisters of film. Good thing back then that airline travel was a simpler thing.
 
Still, I wonder if I’ll ever recapture the feeling of looking at a cardboard-mounted frame of Kodachrome on a lightbox, seeing  those rich colors, that fine grain. I know I won’t recapture it in a film emulator, but at least this software can imbue my images with a quality they did not have before. And that’s what I’m going for. And that’s what I found so remarkable about Alien Skin’s Exposure X.