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Field Report: Acratech Panorama System – Panoramic Head, Leveling Base, Nodal Rail, and Universal L-Bracket – Everything You Need for Wide-Ranging Panoramas

2/16/2017

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PictureThe complete Acratech panoramic rig, featuring pano head, leveling base (underneath head), nodal rail, and L-bracket. (Photo ©2017 Jack Neubart. All rights reserved.)
​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.

Picture
Chicago skyline viewed from Lincoln Park Zoo. To save on system resources, I didn't build this panorama as wide as I would have liked. It's constructed from vertical frames in 3 layers (top to bottom) - in PTGui pano stitching software (individual frames processed in Lightroom to restore the color and tonal depth to the scene and punch it up a bit, so it wouldn't look flat). All done using my Giottos carbon fiber tripod with Acratech panoramic head, Acratech leveling base, Acratech nodal rail, and Acratech L-bracket. I couldn't have done it without the Acratech gear! (Note the wedding party under that structure on the left.) ©2017 Jack Neubart. All rights reserved.
PictureEmily Oaks Nature Center, Skokie. Panorama with Nikon D610 and Tamron 24-70 f/2.8 lens at 24mm, employing full complement of Acratech panoramic gear. ©2017 Jack Neubart. All rights reserved.
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.

FEATURES (prices/features per manufacturer)
10-year warranty
Made in U.S.A.
Acratech Panoramic Head ($379.95)
  • Designed to work as a multi-row panoramic head and as a long-lens head
  • Easily holds over 25 lbs. (11.4kg) at any angle
  • Will solidly support 600 f4.0 lenses
  • Eliminates the need to carry a large, heavy gimbal head
  • Provides easy, smooth balance for long lenses
  • Weighs less than 1 lb. (.45kg) with quick release clamp
  • Fully adjustable tension control
  • Compatible with Kirk, Arca, and many other QR plates
  • Fits all standard tripods (1/4-20 and 3/8-16 threads)
  • Indexable quick-release clamp can be rotated in 90 degree increments
  • Weight: less than 1 lb.
 
Acratech Leveling Base ($149.95)
  • Weighs 1/2 lb. (.24kg)
  • Easily holds over 25 lbs. (11.4 kg)
  • Allows 10 degrees of movement in any direction
  • Fits all standard tripods (3/8-16 threads)
  • Fits all standard 3/8-16 tripod heads
  • Oil free and greaseless ball will not attract or hold dirt and debris
  • Precision bullseye level for accurate positioning
  • Low profile design, only 1.77" tall (not including stud)

​Where can I get more info & order this product?
Acratech
 
​Manufacturer:
Acratech
Acratech Universal L-Bracket ($229.95)
  • Adjusts to fit most SLR and DSLR cameras
  • Precision C.N.C. machined
  • Compatible with Kirk, Arca-Swiss, and many other Arca-Swiss style Quick release plates and clamps
  • Beautiful satin black anodized finish
  • Solid precision feel
  • Long lasting stainless steel hardware
  • Measures 4 3/4" tall x 4 3/4" wide  x 1 1/2" deep (NOT INCLUDING CLAMP)
 
Acratech Nodal Rail (Nodal Slide - $199.95)
  • Easily holds over 25 lbs (11.4kg)
  • Clamp indexes 90 degrees to accommodate lenses with tripod collars
  • Weighs less than ½ lb (0.2 kg) 
  • Precision C.N.C. machined
  • Beautiful satin black anodized finish
  • Laser engraved scale markings
  • Solid precision feel
  • Long lasting stainless steel hardware​

Who Should Use This?
Landscape photographers, travel photographers, and essentially any photographer who wants to create stitched panoramas. ​

​Capsule Comments
Fairly easy to use (small learning curve); relatively lightweight (all components combined); smooth movements; ultra-stable camera platform; durable and easy to maintain (not that I’ve had to do any maintenance to date); priced right – trademarks of Acratech gear; does add height to the tripod, so you may have to take that into account when extending the legs or choosing a tripod; avoid extending center column, since added weight/height raises center of gravity, which could add wobble to less sturdy tripods.

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Field Report: Acratech Nomad Ballhead – Rugged, Lightweight, and Kinda Sexy Looking

12/1/2016

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PicturePhoto courtesy Acratech.
​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. 

​Conclusions
As with Acratech’s other ballheads, I found the Nomad a pleasure to use. Other than not being usable as a leveling head, I found no practical difference. All the knobs locked securely. The camera didn’t drift even with an unbalanced load on top.
 
Yes, the base was a bit wider than the optimum for my Giottos carbon fiber pod. What that meant was that I couldn’t invert the legs and collapse the tripod fully. Was that a problem? No, because I often find myself carrying the pod with the legs down but fully retracted to speed setup, and it makes it easier to carry the pod in one of my Think Tank or MindShift Gear photo backpacks.
 
Whatever the situation, the Nomad came through with flying colors. If you need the leveling feature, then either get a GP head or add a separate leveling base. And while I didn’t test the gimbal feature fully, a quick test did show this head to be capable in that regard.
 
So, would I hesitate to recommend this new head? Not in the least. You and a good carbon fiber tripod will go a long way with the Acratech Nomad ballhead. It’s a long-term investment. I’ve never found an Acratech head to falter or fail. More to the point, they always deliver. And the Nomad is no exception.
​Who Should Use This?
Wildlife and nature photographers, landscape photographers, travel photographers, and essentially any photographer working with a DSLR or mirrorless camera.
 
Capsule Comments
Very easy to use; lightweight; durable and easy to maintain; also usable as gimbal head; priced right.

​Matching a Ballhead to a Tripod
Aside from the overall quality and build of the head, you have to consider the relative weight of the tripod. A lightweight tripod must be matched up with a head that will not make the tripod unduly heavy and especially not top-heavy, or make it unbalanced while carrying the pod.
 
When toting my Giottos tripod, I generally grab one leg—they’re all sheathed in foam for a more comfy grip. I don’t use the bag that came with the pod to avoid the extra strap on my shoulder or around my neck. A heavy head, I’ve found, puts undue strain on the arm holding the tripod.
 
FEATURES
Rugged ballhead
Constructed of aircraft-quality aluminum and stainless steel
Laser etching
Weighs less than 1 lb.
Max. load: 25 lb.
Ball diameter: 1.5”
Arca-Swiss compatible QR clamp/base
Control knobs: QR, main, tension/drag, panning
Built-in spirit level (bullseye type)
Open-air architecture does not retain moisture
Oilless/greaseless ball does not attract dirt or dust
Knobs do not vibrate loose or fall off if you over-loosen them
Can be used as gimbal head
10-year warranty
Made in U.S.A.
 
Where can I get more info/order this product?
Acratech Nomad
 
Manufacturer:
Acratech Inc.
 
How much is it?
$299.95

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Field Report: MindShift Gear’s TrailScape 18L – A Trail-worthy Pack for Nature Outings

11/6/2016

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PictureCourtesy MindShift Gear.
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.
​Who Should Use This?
Hikers and nature enthusiasts.
 
Capsule Comments
Comfortable; protective; durable construction; fully customizable; thoughtfully designed; room for a tripod and full-size water bottle; holds a small laptop and tablet; room in outside pocket for a jacket; won’t accommodate a hydration bladder (important only if you prefer this method of hydration).
 
Conclusions
Despite being built on the framework of the Think Tank StreetWalker or StreetWalker Pro, the TrailScape has a number of useful features that stand it apart from it progenitors. Essentially, this is a trail pack, not a city-slicker pack.

You can, of course, wear the TrailScape around town. Compared to many of MindShift’s other trailworthy packs, this one has a more manageable footprint. That makes it easier to maneuver in tight spaces while wearing the pack, such as crowds and public transit.
 
What most recommends this pack is the harness system. While I didn’t load the pack to capacity, walking around with it on my back never felt like a burden. The shoulder straps kept the bag in place without digging into my shoulders – and, I should point out, I was only wearing a t-shirt and photo vest (sans epaulets).
 
So, in my book, this one’s a keeper. I know, I’ve said that before about bags I’ve later given away. But as new bags arrive, one has to make room. For now, this TrailScape 18L is the perfect size for my outings when I need to carry several lenses, with one attached to the camera, along with a flash, various accessories, and a light jacket.
 
The only thing on my wish list for this bag: a snazzier design. The exterior is a bit bland. Why stop with basic black? I would really love to see some camouflage patterns on MindShift bags – say on the order of Mojave Desert and Amazon Rainforest. Something to think about, guys.

Where can I get more info?
MindShift Gear (order direct).
 
Manufacturer (ordering info):
MindShift Gear
 
How much is it?
$169.99
FEATURES (per MindShift Gear)
  • Dedicated quick access smartphone/sunglasses pocket
  • Tripod/monopod/hiking pole mounting system on sides
  • Two large water bottle pockets with cinch cord
  • Seamless rain cover included for downpour conditions
  • Side compression straps for additional lash points
  • Adjustable dividers to customize the interior for DSLR or mirrorless kit
  • Interior zippered pockets for batteries, cards, filters and other accessories
  • Easy-grip zipper pulls for wet or cold conditions
  • Organizer pockets for pens, flashlight and business cards
GEAR CAPACITY (per MindShift Gear)
  • Holds 1 standard-size DSLR and 4 to 6 standard zoom lenses
  • Holds 2 large mirrorless bodies and 5 to 7 lenses plus a flash
  • Maximum lens size: 300mm f/2.8
Examples:
  • Nikon D810 with 70-200mm f/2.8 attached to a body and the hood in the shooting position and 2-3 additional lenses
  • Canon 5DMIII with 24-70mm f/2.8 attached and 4-6 additional lenses
  • Sony a7mII with 70-200mm f/4 attached and 5-6 additional lenses
 
MATERIALS (per MindShift Gear)
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus a polyurethane coating on the underside of the fabric. The backpack also features the highest-quality abrasion-resistant YKK® RC zippers, 420D velocity nylon, 600D poly, 320G DuraStretch mesh, 350G airmesh, nylon webbing, and 3-ply bonded nylon thread.
​
Interior: P200D lining, high-density nylex with stiffened backing, hexa-mesh pockets, high-density closed-cell foam, PE board reinforcement, and 3-ply bonded nylon thread.
 
SPECIFICATIONS (per MindShift Gear)
  • Exterior: 9.8” W x 18.1” H x 7.1” D (25 × 46 × 18 cm)
  • Interior: 9.4” W x 17.3” H x 4.8” D (24 × 44 × 12 cm)
  • Laptop: 8.9” W x 14.2” H x 1.2” D (22.7 × 36 × 3 cm)
  • Tablet: 8.5” W x 9.8” H x 0.8” D (21.5 × 25 × 2 cm)
  • Weight: 2.8 lbs. (1.3 kg)
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Review: Epson EX9200 Pro Wireless WUXGA 3LCD Projector

11/2/2016

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PicturePhoto courtesy Epson America.
​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.

Picture
Epson EX9200 Pro Wireless WUXGA 3LCD Projector. Photo courtesy Epson America.
​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.
Picture
Rear of EX9200, exhibiting extensive connectivity. Photo courtesy Epson America.

​Who Should Use This?
Anyone who needs a high-quality projector: schools, teachers, workshops, business meetings.
 
Capsule Comments
User-friendly; WUXGA (1920 x 1200) Full HD widescreen resolution; bright picture (3200 lumens color/white light output); sharp picture; great color; HDMI/MHL connectivity; USB; supports flash drives.

Conclusions
I should point out that I restricted my use of the projector to USB flash drives and direct connection via USB to my iMac. I had no difficulties with either. In fact, the entire experience with the projector was trouble free.
 
The Epson EX9200 Pro Wireless WUXGA 3LCD Projector proved effortless in operation. The wireless remote definitely makes a difference, as does WUXGA screen resolution. The EX9200 projected crisp images with good color saturation. It was definitely the right choice for a workshop environment.

Where can I get more info?
Epson America
 
One more thing: you might want to look at Epson’s guide to buying a digital projector. Use this link (click here). 
 
Manufacturer:
Epson America
 
How much is it?
$799.99

FEATURES (per Epson)
  • Far more accurate color with Epson — 3LCD, 3-chip technology for 3x Higher Color Brightness* and up to 3x Wider Color Gamut† than competitive DLP projectors
  • One measurement of brightness is not enough — look for both high color brightness and high white brightness. The EX9200 has:
Color Brightness (for more accurate, vivid color): 3200 lumens
White Brightness (for well-lit rooms): 3200 lumens
  • Pro-quality projector — WUXGA resolution (1920 x 1200) offers 4.5x more resolution than SVGA for Full HD 1080p content; plus enhanced connectivity
  • Wireless — project from your laptop, tablet, or smartphone without plugging into the projector, so you can move freely about the room
  • Share HD videos directly from your smartphone, tablet or streaming device — supports MHL-enabled devices, including Chromecast and Roku Streaming Stick
  • Fast wireless setup for your mobile device — just scan the on-screen QR code using your phone or tablet
  • Fast, easy setup, only from Epson — get up and running in no time with easy image adjustments and convenient control
  • Compatible with the latest laptops and media players — supports HDMI, the standard in connectivity, for digital video and audio with just one cable
  • Portability you need for presentations on the go — carrying case included
  • USB Plug 'n Play — use the included USB cable to instantly project content from a PC or Mac
  • Weight: 5.7 lb (2.4 kg)
Full specs can be found by clicking this link. 
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Field Report: SidePath Photo Backpack for Fun Outings and Short Hikes with Your Camera

10/26/2016

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PicturePhoto courtesy MindShift Gear.
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.

In Use
I spent several hours on a nature hike in the woods on a chilly Illinois day, so I was wearing a photo vest and light jacket. With this outerwear, the bag felt comfy enough and the straps didn’t need constant adjustment, pretty much staying in place on my shoulders. Which is a good thing. I really dislike the annoyance of adjusting shoulder straps every few minutes.
 
Since I was carrying my Nikon D610 with Tamron 70-300mm zoom attached for grab-and-go shooting, I had to remove the dividers and store them for later use, setting up one divider in this compartment to hold lens and body caps or other small items (to the right of the lens, which also helped keep the lens from shifting position). With a SpiderPro Hand Strap and 70mm BlackRapid QR plate (for the BlackRapid sling strap) attached to the camera, it was a snug fit, but manageable. On the plus side, that meant the camera wouldn’t be bouncing around. Later on I realized that my sling strap would also fit in here, making for an even tighter fit.
 
Originally I’d kept the strap in the upper section. That section also held a Tamron 90mm macro in a MindShift Lens Switch Case (which I’d customized with my own padded dividers), the Nikon SB-700 flash (in its original soft case), and some odds and ends. All that pretty much precluded squeezing in a light jacket, but a rain poncho would be no problem.
 
One important note: access to camera gear is via the back of the pack. That means that the access panel rests against your back and away from potentially prying hands. Nice touch. It also means, you don’t want to noticeably bulk out this section. The bag should rest flush and comfy on your back. Adjust the straps so the bag ends at your lower back, with the lumbar pad (in this case, the padded camera section lid) resting against your lumbar region.
 
You can attach a lightweight tripod to either side using one of the stretch pockets. I personally didn’t carry a tripod attached to this bag. Really, it didn’t feel like a natural fit, although in testing after my nature walk, I was able to attach my compact 2.5-lb. Sirui with an Acratech head attached.

The outer stretch pockets were too tight for any of my water bottles, so I used one of the lash points on the shoulder harness to attach a water bottle (as well as a small LED flashlight). That worked out even better, giving me quicker access to these items. Had I stowed smaller gear in the camera section, it likely would have afforded more room for that water bottle. But with a long lens attached, no way that was happening.
 
One thing I hadn’t noticed when I requested the bag for review. There’s no waist belt. There is a sternum (chest) strap, however. Did I notice? Nope. I didn’t even bother using the chest strap – simply, no need. As I said, the shoulder straps remained in place and the load didn’t shift as I moved around or bent over. So, despite my earlier complaints, the shoulder harness did do its job, and quite nicely, I might add.
FEATURES (per MindShift Gear)
  • Soft-sided design looks like a daypack and not a bulky camera bag
  • Integrated tripod/monopod/trekking pole mounting system on sides
  • Two oversized stretch water bottle pockets
  • Fits a DSLR, compact DSLR, and Mirrorless camera systems
  • Adjustable dividers enable multiple camera case configurations
  • Seam-sealed rain cover included for downpour conditions
  • High quality YKK zippers, 420D high-density nylon with reinforced stress points for long lasting durability and strength
  • Zippered interior pocket to organize small items
  • Highly breathable three-layer shoulder straps for all day comfort
 
GEAR CAPACITY (per MindShift Gear)
  • Holds 1 large (un-gripped) Mirrorless body and 1-2 standard zoom lenses or primes
  • Holds 1 compact DSLR (Rebel, 3300 or 5300 series) and 1-2 lenses
  • Holds 1 DSLR (5DMIII or D750) with 1 standard zoom or 2 primes
  • Fits up to a 10” tablet
  • 8 liters of capacity for personal gear
  • Maximum lens size: DSLR: 24-70mm f/2.8 attached to a D750 or 6D

MATERIALS (per MindShift Gear)
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. The backpack also has high-quality YKK RC-zippers, 420D Velocity nylon, 600D poly, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
 
Interior: 200D poly, high-density nylex, high-density closed-cell foam, 3-ply bonded nylon thread.
 
SPECIFICATIONS (per MindShift Gear)
  • External Dimensions:  10.6” W x 19” H x 5.9” D (26 x 47 x 15 cm)
  • Camera Compartment: 9.1” W x 6.7” H x 5.5” D (24 x 15 x 14 cm)
  • Tablet Slot: 8.3” W x 9.8” H x 0.6” D (22 x 25 x 2 cm)
  • Total Volume: 14L
  • Weight: 1.6 lbs (0.7 kg) (includes rain cover)

Where can I get more info?
MindShift Gear (order direct).

Manufacturer (ordering info):
MindShift Gear
​ 
How much is it?
$99.99 (available in Cardinal Red or Charcoal)​


​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.
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Field Report: Think Tank Photo Airport Security V3.0 – The Ultimate Photo Roller Case

10/21/2016

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Picture
​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.)
 
​Who Should Use This?
Commercial and editorial photographers; travel photographers; nature and wildlife photographers (provided you’re switching out your gear to a photo backpack when you reach your destination, or carry the gear in the backpack, inside the case).
 
Capsule Comments
Thoughtfully designed; durable; quiet; holds one or two pro-grip DSLRs with attached lenses plus numerous additional lenses, shoe-mounts, accessories; also holds a 17” laptop, 10” tablet, and tripod; airline-friendly - obviously.
 
Conclusions
This is the best photo roller to come my way. Everything about it spells quality workmanship. The design is pragmatic. There are no cute touches that have no practical value. You have only to look at the security locks alone to realize what a great value this is. The wheels provide effortless and quiet transport; the interior keeps gear snug enough so it doesn’t rattle around, and well-cushioned against bumps in the road. Simply stated, the Airport Security V3.0 is made to last. All in all, this is one sweet ride and clearly made with your gear’s security in mind!
​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/Airport Security V3.0 (per Think Tank Photo)
  • Interior Dimensions: 13” W x 21” H x 7–8” D (33 x 53.3 x 17.8–20.3 cm)
  • Exterior Dimensions: 14” W x 22” H x 9” D (35.6 x 55.9 x 22.9 cm)
  • Tablet Compartment: 9.4” x 10” x 0.5” (24 x 25.5 x 1.3 cm)
  • Laptop Compartment: 11.4” x 16.1” x 1.2” (29 x 41 x 3 cm)
  • Weight: 11.1–12.9 lbs. (5–5.8 kg)
 
Where can I get more info/order this product?
Think Tank Photo (order direct).
 
Manufacturer:
Think Tank Photo

​Key Features (per Think Tank Photo*)
  • *Specially designed interior to maximize gear for carry on: the Airport Security meets U.S. domestic and most international carry on size requirements. (Author’s note: The website ebags.com covers airline regulations for many carriers. The website shows that 45 inches is doable with practically any airline, with a few exceptions. They also show weight limits for many airlines - and that in itself may be more limiting than the size of the bag.)
  • Dedicated padded laptop and tablet compartments located in a lockable pocket
  • TSA-approved zipper locks for the main compartment, and high-strength coated cable and combination lock for the laptop compartment and securing your bag to an immovable object
  • Custom designed retractable handle with inset channel on aluminum tubing for added strength and durability
  • Quick and easy access to the retractable handle
  • Tripod mount pocket on side (additional straps included for larger tripods)
  • Expansive top compartment cradles large camera bodies for the perfect fit
  • Unique serial number for Lost & Found registration
  • Interior zippered pockets for batteries, memory cards, filters and accessories
  • User-replaceable retractable handle, wheels, wheel housings, feet and kick plate extend product life
  • Extra tall wheel housings protect your bag from scrapes and scratches
  • Seam-sealed rain cover included
  • Stretchable front pocket
  • *Padded handles on two sides with grab straps ensure rapid and easy retrieval from overhead bins, car trunks, etc.
  • Reinforced dividers support heavy gear and maintain strength over time
  • Hypalon reinforced rear corners for increased durability
  • Business card holder on top for easy identification
*Indicates statement modified by the author.

​How much is it?
$429.75
  
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Field Report: Shape Shifter 17 V2.0 Photo Backpack – The Street Photographer’s Dream Pack

8/28/2016

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PictureThink Tank Photo's new Shape Shifter V2.0 series. Photo courtesy Think Tank Photo.
​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.
​Who Should Use This?
DSLR photographers, street photographers, photojournalists, documentary photographers, travel photographers, nature photographers with modest-size lenses.
 
Capsule Comments
Sturdy construction, but without the heavy padding associated with most photo backpacks; neoprene pockets replace the traditional modular, padded interior; a bit on the hefty side, but not uncomfortably so; comfy to wear and shoulder harness stays in place, not sliding off; comes with chest strap and simple unpadded waist belt, both of which work well.
 
Conclusions
I’m not exactly sure why you’d want to compress the bag, except when storing it empty in a closet. That aside, I’ve done a full 180 in my view of this bag. Originally I wasn’t too keen on the neoprene pockets, but now that I’ve actually used the bag, I see nothing wrong with them.
 
Oddly enough, you’d think the neoprene would make this bag a featherweight, but there is actually considerable heft to the bag, thanks in large measure to the fully padded back panel and shoulder harness, both designed for your comfort while touring your favorite city or on short nature hikes over mild terrain. The pack is not designed as a rough-and-tumble hiking pack, but in the city it certainly passes muster.
Where can I get more info?
Click this link.

Manufacturer:
Think Tank Photo
 
How much is it?
$279.75/Shape Shifter 17 V2.0

KEY FEATURES (per Think Tank Photo)
Shape Shifter 15 V2.0 & 17 V2.0 (17 V2.0 tested)
  • A great travel bag with extra space to fit a jacket, food, or additional gear
  • Tripod attachment on front of bag keeps tripod weight centered and allows access to gear without detaching the tripod
  • Easily accessible, plush pocket fits smartphones with displays up to 5.5”
  • Roller handle pass-through sleeve to attach to rolling luggage
  • Detachable water bottle pouch
  • Pro Speed Belt or Thin Skin Belt (sold separately) can be attached
  • Contoured shoulder harness with air channel for all body types
  • YKK RC-Fuse zippers with lockable sliders (lock not included)
  • Upper front pocket with organizer for accessories
  • Lower front pocket with zippered pocket for accessories
  • Removable waist belt
  • Shoulder harness pockets, D-Rings, and sternum strap
  • Seam-sealed rain cover included
Note: Naked Shape Shifter comes without neoprene pockets (they’re optional).
MATERIALS (Think Tank specs)
Exterior: For superior water-resistance, all exterior fabric has a durable water-repellant (DWR) coating, plus the underside of the fabric has a polyurethane coating. The bag also has 600D twill, YKK® RC zippers, 320g dry-flow airmesh, nylon webbing, 3-ply bonded nylon thread.
 
Interior: Removable closed-cell foam dividers, polyurethane backed liner and dividers, 200D polyester, laminated non-woven backed nylex liner, 2x polyurethane coated nylon 190T seam-sealed taffeta rain cover, 3-ply bonded nylon thread.

SPECIFICATIONS (per Think Tank Photo)
Shape Shifter 17 V2.0 (bag tested)
  • Exterior Dimensions When Expanded: 20” H x 12.5” W x 7” D” (51 x 32 x 18 cm)
  • Exterior Dimensions When Compressed: 20” H x 12.5 W” x 3” D (51 x 32 x 8 cm)
  • Laptop Compartment Dimensions: 19” H x 12” W x 1.5” D (48 x 30.5 x 4 cm)
  • Tablet Compartment: 10.2” W x 12.2” H x 0.6” D (26 x 31 x 1.5 cm)
  • Smart Phone/Glasses Pocket: 7.1” W x 4.7” H x 1.6” D (18 x 12 x 2 cm)
  • Weight (with all accessories): 4.6 lbs. (2.1kg)
 
Shape Shifter 15 V2.0 
  • Exterior Dimensions When Expanded: 18.9” H x 12” W x 7” D” (48 x 30.5 x 18 cm)
  • Exterior Dimensions When Compressed: 18.9” H x 12” W x 3” D (48 x 30.5 x 8 cm)
  • Laptop Compartment Dimensions: 16.8” H x 11.4” W x 1.5” D (42.7 x 29 x 4 cm)
  • Tablet Compartment: 9.4” W x 12.2” H x 0.6” D (24 x 31 x 1.5 cm)
  • Smart Phone/Glasses Pocket: 6.7” W x 4.5” H x 1.6” D (17 x 11.5 x 2 cm)
  • Weight (with all accessories): 4.3 lbs. (2 kg)
 
Naked Shape Shifter 17 V2.0
  • Exterior Dimensions When Expanded: 20” H x 12.5” W x 7” D” (51 x 32 x 18 cm)
  • Exterior Dimensions When Compressed: 20” H x 12.5 W” x 3” D (51 x 32 x 8 cm)
  • Laptop Compartment Dimensions: 19” H x 12” W x 1.5” D (48 x 30.5 x 4 cm)
  • Tablet Compartment: 10.2” W x 12.2” H x 0.6” D (26 x 31 x 1.5 cm)
  • Smart Phone/Glasses Pocket: 7.1” W x 4.7” H x 1.6” D (18 x 12 x 2 cm)
  • Weight (with all accessories): 3.8 lbs. (1.7 kg)
GEAR CAPACITY (Think Tank specs)
Shape Shifter® 17 V2.0 (bag tested)
  • Holds a 17” laptop, tablet up to a 12” or 13”, plus one to two DSLRs (gripped or un-gripped) and three to four lenses (detached) and personal items
 
Shape Shifter® 15 V2.0 
  • Holds a 15” laptop, tablet up to a 12” or 13”, plus one DSLR (gripped or un-gripped) and three lenses (detached) and personal items
 
Naked Shape Shifter 17 V2.0 
  • Holds a 17” laptop, tablet up to a 12” or 13”, plus four to seven modular pouches or lens changers and personal items

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Software Review: Macphun Creative Kit 2016 for Mac – A Little Creativity Goes a Long Way

7/29/2016

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Picture"Wizard"
​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?”)
Picture"Chewbacca"
​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.

​Capsule Comments
6 apps (standalone and plug-in); most worthwhile apps are Tonality and Intensify; FX Photo Studio is good but glitchy; Noisless is passable; skip Snapheal.

Conclusions
You can have a lot of fun with Macphun’s Creative Kit 2016. It’s not the be-all and end-all in the digital imaging world, but I found myself seriously engrossed in several of the apps, namely Tonality, Intensify, FX Photo Studio, and Focus, using them as plug-ins in Lightroom, following RAW processing.

Tonality adds Zone System steps to the histogram, making it an even more utilitarian black-and-white converter, although where film emulation was concerned, I found it wanting.

Intensify, along with Tonality, supports layers and masking, bringing the involvement level up several notches.

​FX Photo Studio also supports masking, but has stability issues that can frustrate your efforts.

Focus doesn’t really do much more than Lightroom’s graduated and radial filters do, yet I found myself taking my images in directions I hadn’t considered when working in Lightroom.

I can take or leave Noiseless. The noise removal algorithms didn’t do a convincing job.

And I wouldn’t even waste my time with Snapheal. This app hasn’t changed much, if at all, since it was first introduced, and it’s slow as the proverbial snail.
 
However, given the price of the entire suite, I’d so go for it. You’ll have fun, challenge your creativity, and will likely come away with numerous images you’d be proud to hang in your living room.

System Requirements
Mac OS 10.9 and above
iMac/MacBook Pro/ MacBook Air/Mac Pro/Mac Mini late 2009 or later
4GB RAM and more
512 MB Graphic RAM and more
Creative Kit is integrated as plugin with Lightroom 4,5,6 and CC; Photoshop Elements 10-14 (App Store version is not supported due to Apple Sandboxing); Apple Aperture 3.2 or later; Adobe Photoshop CS5, CS6 or CC 2014, СС 2015, СС.
Photos extensions support - for 10.11 only
 
Image Formats Supported
RAW (.NEF, .CR2, .DNG, .ORF etc.)
TIFF 8-bit, 16-bit
PNG
JPEG
 
Tested Platform/Hardware: 
Mac OS X 10.11 (El Capitan); 21.5” iMac equipped with a 3.1 GHz Intel Core i7 processor, 16 GB RAM, NVIDIA GeForce GT 650M 512 MB.
 
Where can I get more info?
Click here.
 
Who publishes it?
Macphun Software
 
How much is it?
$129.99 (complete suite/6 apps)

Free trial available:
Yes


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Field Report: Moose Peterson MP-3 V2.0 Photo Backpack for Wildlife Photographers

7/24/2016

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Picture
Courtesy MindShift Gear.
​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.
PictureJust a few of the possible layouts for a mix of gear that's ready for any eventuality. Courtesy MindShift Gear.
​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. 
PictureA few more possible layouts to prepare you for any situation. Courtesy MindShift Gear.
​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…


​Who Should Use This?
Wildlife photographers, hikers, nature enthusiasts.
 
Capsule Comments
Built tough and structurally sound; comfy; holds a lot of gear, including a long, fast lens attached to the camera; keeps gear safe and even more secure thanks to new padded divider system; three fully customizable compartments make it easy to stay on top of your gear.
 
Conclusions
This new version is a big step up from the original Moose Peterson backpack. It’s easily superior to a well-known competitor’s pack with the butterfly-wing design (based on my latest experience with that pack). And, if you’re a wildlife photographer, you shouldn’t even be thinking twice about getting this bag. Buying it should be a no-brainer.
 
I especially appreciate the new interior, which is a change of pace for MindShift. And the three separate compartments let you allocate your gear in terms of importance. Or keep one set of camera gear for wildlife in one section, another for macro in the second compartment, and a third with wide-angle lenses for landscapes—three outfits ready to go at a moment’s notice.
 
This pack will hold practically everything you need, short of snacks and a rain poncho. But the photographer’s vest you’ll likely be wearing will take care of that. Okay, this pack won’t hold a laptop or even a tablet, but how important is that? And if you’re overnighting, chances are you’re carrying more bags besides your camera gear, so don’t make the tablet or laptop the deciding factor. Consider the Moose Peterson backpack as a long-term investment and you won’t go wrong.
Manufacturer (ordering info):
MindShift Gear
​KEY FEATURES (per MindShift Gear)
  • Original 1998 ‘Moose Ears’ design with auto-close compartment flaps protect the interior from dust, spray, wind, etc.
  • Three-compartment system allows you to keep lenses attached providing the quickest way to access gear
  • Tuck-away harness system with removable waist belt easily allows you to streamline your bag when loading it in a train, plane, or automobile (MP-1 & MP-3 only)
  • Sized for carry-on, allowing you to get the maximum amount of gear on the plane
  • Long glass carrying solution with body attached
  • Tripod/monopod mounting system on side and front
  • Flap guard protects front zippers
  • Highest quality RC Fuse YKK zippers, 600D and 420D nylon construction for long-lasting durability and strength
  • Dual-density foam padded shoulder harness, cushioned with air mesh
  • Zippered side pockets fit full-sized flashes (MP-7 only)
  • Stretch water bottle pocket fits 32 oz. water bottle
  • Robust zipper pulls are easily gripped with or without gloves
  • Seam-sealed rain cover/drop cloth included protects against rain and dust


GEAR CAPACITY (Mfr. specifications)
 
Moose Peterson MP-3 V2.0 (tested)
  • 3 gripped DSLRs with lenses attached, 1–2 additional lenses and 1–2 flashes and accessories
  • Or, 3 gripped bodies and 1 ungripped body detached from lenses, 4–5 standard zoom lenses, 1–2 flashes, a 2x teleconverter and accessories
  • Maximum lens size: Holds 600mm f/4 detached or 500mm f/4 lens attached to a gripped body
 
Moose Peterson MP-1 V2.0
  • 3 gripped DSLRs with lenses attached,3–5 additional lenses, 2x teleconverter,1–2 flashes and accessories
  • Or, 3 gripped bodies and 1 ungripped body detached from lenses, 7–8 standard zoom lenses, 1–2 flashes, a 2x teleconverter and accessories
  • Maximum lens size: Holds 800mm detached
 
Moose Peterson MP-7 V2.0
  • Holds 1 gripped body attached to 70–200mm f/2.8 and two ungripped bodies with primes attached, two flashes and accessories
  • Or, holds 1 gripped body and one ungripped body with 70–200mm f/2.8, 24–70mm f/2.8, 14–24mm f/2.8 (or 16–35mm f/2.8), a 2x teleconverter, two flashes and accessories
  • Maximum lens size: 200mm f/2 attached to a gripped body
MANUFACTURER SPECIFICATIONS
 
Moose Peterson MP-3 V2.0 (tested)
  • External Dimensions: 14” W x 20” H x 8” D (35.5 x 50.8 x 20.3 c m)
  • Large Camera Compartment: 6.8” W x 18” H x 6.8” D (17.3 x 46 x 17.3 cm)
  • Small Camera Compartments (each): 6” W x 8.5” H x 6.8” D (15 x 21.5 x 17.3 cm)
  • Weight: 3.2–4.6 lbs. (1.5–2.1 kg) (Lower weight excludes all dividers and accessories)
 
Moose Peterson MP-1 V2.0
  • External Dimensions: 14” W x 23” H x 8” D (35.5 x 58.4 x 20.3 c m)
  • Large Camera Compartment: 6.8” W x 21.8” H x 6.8” D (17.3 x 55. 4 x 17.3 cm)
  • Small Camera Compartments (each): 6” W x 10” H x 6.75” D (15 x 25 x 17 cm)
  • Weight: 3.7–5.1 lbs. (1.7–2.3 kg) (Lower weight excludes all dividers and accessories)
 
Moose Peterson MP-7 V2.0
  • External Dimensions: 15” W x 15.5” H x 8” D (38.1 x 39.4 x 20.3 cm)
  • Large Camera Compartment: 5.3” W x 14” H x 6.5” D (13.5 x 35.5 x 16.5 cm)
  • Small Camera Compartments (each): 5” W x 6.3” H x 6.5” D (12.5 x 16 x 16.5 cm)
  • Weight: 2.5–3.3 lbs. (1.1–1.5 kg) (Lower weight excludes all dividers and accessories)

​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.
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Field Report: MindShift Gear’s Multi-Mount Holster 50 – When a Regular Shoulder Bag Just Won’t Do

7/14/2016

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PictureMindShift Gear's Multi-Mount Holster collection. Courtesy MindShift Gear.
​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.)
PictureMulti-Mount Holster 50 customized to hold a DSLR with attached lens, a second lens, flash, rain cover, and filter, as well as additional items in the outside pocket. ©Jack Neubart. All rights reserved.
​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.

Capsule Comments
Uncompromising quality and craftsmanship; lightweight; highly durable; multi-use: carry it alone or attached to any backpack; the largest bag in the lineup, the Multi-Mount Holster 50, carries enough gear to cover a wide range of situations.
 
Conclusions
I managed to pack a Nikon D610 with attached lens, a Nikon SB-700, and either a ring flash or extra lens in this bag after I retrofitted it to my needs. As is, it will easily fit a pro camera with a pro-grip and lens attached, and some extras.
 
This Multi-Mount Holster has become a replacement for my UltraLight Dual when I want to be really light on my feet. I did swap out the shoulder strap for one with a more robust shoulder pad, and, once I did that, I found myself wearing this holster for hours on end. The included waist belt was especially welcome, making the bag so much more comfortable and secure, no matter how much I moved around. You might want to consider the Multi-Mount 30 or 20 (one or two sizes smaller) for a DSLR without a pro-grip, for a snug fit without reconfiguring the bad as I did.
 
In the final analysis, from my experience, the Multi-Mount Holster is a better, more practical choice than a shoulder bag. And it’s a compact alternative to my photo backpacks.
 
On a long hike, I’d definitely consider one of the smaller Multi-Mounts attached to my backpack. No matter how thoughtfully designed the pack, nothing beats having a camera immediately at hand in one of these holsters.

Who Should Use This?
Travel photographers who like to travel light, hikers, nature enthusiasts, mountain climbers, rock climbers.
Picture
Multi-Mount Holster climbing to new heights. Courtesy MindShift Gear.


FEATURES AND BENEFITS (Mfr. specifications)
  • Designed for today’s DSLRs with attached quick release or L-bracket
  • Integrated multi-mount adjustable strap system tucks away into three dedicated pockets
  • Weight bearing shoulder strap features stretch-free neoprene comfort, slip-resistant shoulder pad, lightweight clips, and two-sided length adjustment including one ladderlock
  • Front harness weight-bearing pack mount straps feature quick-release SR buckles for instant removal and pivoting lightweight clips that attach to any pack’s shoulder harness with daisy chain webbing
  • Lightweight and compact stabilizer waist belt is designed to easily pivot the shoulder bag configuration around over the webbing
  • Stabilizer straps, stored in tuck-away pockets, quickly wrap around any backpack shoulder strap and create triangulated stabilization from low and high points on the front end of the bag
  • New YKK zippers are coated with an anti-corrosion substrate, providing enamel-finish durability. These zippers are less prone to freezing and much lighter than standard slides. They also pass YKK’s industry-renowned production fastening standard with a static pull test at three angles result in smoother zipping in all conditions.
  • Exterior shell is constructed with 420D nylon with Durable Water Resistance finish for long lasting durability and strength
  • Front expandable pocket includes organizer pocket, two separate loops for memory card holder and keys, and double sliders
  • Domed top creates room for attached camera strap storage
  • Comfortable air mesh back panel includes stabilizer waist belt pass-through
  • Internal zippered lid pocket for added protection from the elements
  • Removable LCD screen protector and adjustable divider(s) for different lens configurations
  • Main compartment security loop secures camera to lanyard in exposed environments
  • Top grab handle
  • Ergonomic zipper pulls are easily gripped with gloves
  • Shoulder strap loops double as clip-in point for water bottles, etc.

​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 holsters also feature high-quality YKK zippers, 420D high-density nylon, 420D velocity nylon, 320G, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
Interior: 200D poly, velex, high-density closed-cell foam, belly-o mesh, 3-ply bonded nylon thread.

​
Where can I get more info?
MindShift Multi-Mount Holster collection

Manufacturer (ordering info):
MindShift Gear
 
How much is it?
$119.99/Multi-Mount Holster 50 (product reviewed)
GEAR CAPACITY (Mfr. specifications)
Multi-Mount Holster 50
  • Holds one gripped Pro DSLR (Nikon D3/D4 series or Canon 1D/1Ds/1DX series) and one standard zoom lens
  • Holds one standard DSLR with L-bracket (Nikon D800/D700) and one standard zoom lens
  • 24-70mm f/2.8 with hood extended (Canon or Nikon); 70-200mm f/2.8 with hood reversed (Canon or Nikon); 300mm f/4 with hood reversed (Canon or Nikon); 80-400mm f/4 AF-S/G with hood reversed (Nikon)
  • Front pocket holds SB-910 (Nikon Speedlight); 600 RT (Canon Speedlite)
 
Multi-Mount Holster 30
  • Holds one standard-size DSLR (5DM3 or D810) and one standard zoom lens
  • Holds one gripped DSLR (1Dx or D4s) and one standard zoom lens
  • 24-70mm f/2.8 with hood extended (Canon or Nikon); 70-200mm f/2.8 with hood reversed (Canon or Nikon); 300mm f/4 with hood reversed (Canon or Nikon); 80-400mm f/4 AF-S/G with hood reversed (Nikon)
  • Front pocket holds SB-910 (Nikon Speedlight); 600 RT (Canon Speedlite)
 
Multi-Mount Holster 20
  • Holds one standard-size DSLR (5DM3 or D810) and one standard zoom lens or two primes
  • Holds one large (un-gripped) Mirrorless body and one standard zoom lens or two primes
  • 16-35mm f/2.8 with hood extended (Canon); 16-35mm f/4 VR with hood extended (Nikon); 24-70mm f/2.8 with hood reversed (Canon or Nikon); 17-55mm f/2.8 with hood reversed (Canon or Nikon)
 
Multi-Mount Holster 10
  • Holds one large (un-gripped) Mirrorless body and one standard zoom lens or prime
  • Holds one compact DSLR (Rebel, 3300 or 5300 series) and one lens
  • Compatible Lenses:  Prime lens; Kit Lens; 16-85mm (Canon or Nikon) with hood reversed; 16-35mm f/2.8 (Sony)

​MANUFACTURER SPECIFICATIONS
 
Multi-Mount Holster 50 (tested)
External Dimensions: 13.25” H x 8.5” W x 8.75” D
Camera Compartment: 11.25” H x 7.25” W x 6.5” D
Weight: 14.875 oz.  (Weight w/ all straps and rain cover: 1 lb. 7.625 oz.)
 
Multi-Mount Holster 30
External Dimensions: 13.25” H x 8.5” W x 6.5” D
Camera Compartment: 11.25” H x 7.25” W x 4.5” D
Weight: 12.875 oz.  (Weight w/ all straps and rain cover: 1 lb. 5.25 oz.)
 
Multi-Mount Holster 20
External Dimensions: 9.5” H x 8.25” W x 6.5” D
Camera Compartment: 7.5” H x 7.25” W x 4.5” D
Weight: 11.625 oz.  (Weight w/ all straps and rain cover:  1 lb. 3.5 oz.)
 
Multi-Mount Holster 10
External Dimensions: 8.5” H x 7.25” W x 6.25” D
Camera Compartment: 6.75” H x 6” W x 3.75” D
Weight:  10 oz.  (Weight w/ all straps and rain cover:  1 lb. 2.125 oz.)


Picture
MindShift Gear Card-Again memory card wallets. Courtesy MindShift Gear.
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.

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Software Review: Aurora HDR Professional – User-Friendly Mac-only HDR Plug-in and Standalone Software

5/11/2016

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Picture
I wanted this shot to have more of a Magic Hour feel, so I built the HDR from TIFF files processed in Lightroom, instead of using the original RAW files. This is a view from Michigan Ave. of Chicago's historic Water Tower.
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.
Picture
Aurora HDR Pro interface. I've enabled highlight and shadow clipping, which show up as scene tones marked by red and blue, respectively. The presets are the frames at the bottom; the settings panel is on the right, including a histogram. The application has practically all the settings you need for tone control, even when used as a standalone application with RAW files.
​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.
Picture
Once the files are uploaded to Aurora HDR Pro from Lightroom, you are greeted with this window. Check off the corrections you want the app to make, then proceed to the next step.
​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.
Picture
Note that the Reference Image is the base (camera metered) exposure. Because there was a constant flow of traffic, I opted for the highest level of deghosting.
​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).
Picture
This is the HDR generated when using RAW files. As you can see, the sky is not nearly as dramatic as the earlier HDR, which used converted TIFF files. Also note the apparent ghosting, which showed up as dark patches in the asphalt. I cropped that out in the final rendition of the TIFF-based HDR shown at the top.
​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.
Pros
  • Admirable results
  • Inviting interface
  • A wide range of user-friendly settings (not couched in an exotic language no one understands), designed to let you tweak the image to your satisfaction
  • Lots of presets arranged in groups, including User presets, so you have a better, faster handle on what you need
  • Fairly robust denoising (noise removal) filters (but also see below, under Cons)
  • Fast learning curve thanks to presets (going beyond the presets may involve more effort and time, but is well worth it)
Cons
  • Deghosting (ghost removal) algorithms are inadequate when it comes to dealing with obvious subject movement within the bracketed sequence
  • One piece of information missing is the dynamic range of the image in numeric values
  • User Preferences missing, so you can’t automatically invoke certain settings that you’d like to use when launching the app
  • Truncated previews (you should see the entire image in a preview to get a greater appreciation for the effect)
  • I’d prefer separate sliders for luminosity and chrominance (color) noise

​Capsule Comments/Aurora HDR Pro
User-friendly, with lots of presets; very competent HDR application and plug-in, with numerous creative options; does a nice job whether shooting on a tripod or handheld; one foible: deghosting algorithms may not fully address subject movement.
 
Conclusions:
I may have found my new favorite HDR plug-in. Aurora HDR Pro delivers on many levels. I found the settings fairly easy to understand and use and the results compare favorably against the existing frontrunner in this arena. In fact, I’d say, the king is dead, long live the king.

There were fewer troubling artifacts, aside from ghosting, which only cropped up in extreme cases. Add to that, Aurora HDR Pro adds layering and painting of effects to a degree defined by the user, so they don’t overwhelm the image and instead contribute to restoring the scene to what you saw with your mind’s eye. I found that the resulting HDR images, when not taken to excess, were truly representational of the scene I originally envisioned.

System Requirements
Mac requirements:
  • Processor Core 2 Duo from late 2009 or newer
  • Minimum 4 GB RAM
  • OS X 10.9.5 Mavericks or newer
  • 2 GB free space on hard drive
  • Display resolution 1280 x 800 or higher
  • Retina displays supported
Image formats:
  • PNG
  • JPG
  • TFF 8-bit and 16-bit
  • GIF
  • PSD
  • Popular RAW formats: CR2, NEF, ORF, RAF, ERF, ARW, RW2, PEF and more
  • Color Profile settings supported
Supported devices:
  • Magic mouse or other multi-button mouse
  • Magic trackpad, force touch trackpad or other touchpad device
  • Wacom tablet or other tablets with pen

​Tested Platform/Hardware: 
Mac OS X 10.9 (Mavericks); 21.5” iMac equipped with a 3.1 GHz Intel Core i7 processor, 16 GB RAM, NVIDIA GeForce GT 650M 512 MB.

​Where can I get more info?
Aurora HDR Pro
 
Who publishes it?
Macphun Software
 
How much is it?
Aurora HDR Pro is available for $99 
Aurora HDR (the basic standalone version, which does not include the plug-ins) is available for $39.99 via the App Store.
 
Free trial available: Yes (click here)

To HDR or Not to HDR - That Is the Question
Read more about the in's and out's of HDR and how to produce the most effective HDR.

Read More
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Tamron SP 90mm F/2.8 Di VC USD 1:1 Macro Lens Review

4/8/2016

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Picture
Posted Apr 4, 2016 on www.shutterbug.com.

I’ve always preferred longer focal-length macro lenses in the 90-100mm range because they give you more breathing room between the camera and skittish subjects than do standard (50/60mm) macros. No wonder, then, that one of my earliest lenses ​was the original Vivitar Series 1 90mm f/2.5 macro, which I first 
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.
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Epson PictureMate PM-400 Personal Photo Lab: Tiny, easy-to-use inkjet photo printer that produces prints you’re proud to share, in sizes up to 5x7 inches

3/17/2016

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​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. 

​Features at a Glance
Easy to use — print oodles of 4 x 6" and 5 x 7" photos almost as effortlessly as turning on the printer.
Prints that stand out — surprisingly good quality for what is obviously more than a snapshot printer
Space-saving design —  compact and lightweight so it can be used practically anywhere in your home or office.
Total wireless solution — print from iPad, iPhone, tablets and smartphones; includes Wi-Fi Direct (wireless printing requires that certain conditions be met).
Fast output — print 4" x 6" photos in as fast as 36 seconds (according to Epson, color photo in Default Mode on Premium Photo Paper Glossy measured from start of paper feed. Actual print times will vary based on system configuration, software, and page complexity. For details, visit www.epson.com/printspeed).
Prints potentially last up to 200 years — in an album and under proper storage conditions (according to Epson, when using Epson ink and paper together).
Worry-free handling — photos are smudge, scratch, water and fade-resistant  when printed on Epson papers (again, according to Epson, when using Epson ink and paper together).
Convenient print packs — each supports printing of up to 100 4x6 prints with the included cartridge.
User-friendly interface — 2.7" color display and built-in card slot to preview and edit photos with tools such as Auto Photo Correction, crop, remove red eye and more.
Multiple printing options — color, black-and-white or sepia, with or without borders.
Note: PM-400 is designed for use exclusively with Epson cartridges 
PictureMate PM-400: What’s Cool…
  • Compact and lightweight
  • User-friendly interface
  • Quick startup
  • Simple single-cartridge required – no muss, no fuss
  • Choice of computer-driven (USB or wireless) or standalone operation (USB flash drive, SD card, USB-connected camera or other device)
  • Ink cartridges last for at least 100 4x6 prints
  • Colorful prints that often sparkle
 
…And What’s Not
  • No longer accepts matte papers (in contrast to older PictureMate devices)
  • No CD/DVD printing (which was available on older PictureMate devices, but not the PM-260)
  • Requires AC power (I would have preferred battery- or USB-driven, with an AC option included)
  • Using Apple AirPrint eliminates most of your printing options (not the printer’s problem, I might add)
 
PictureMate PM-400: Best Use
  • Prints to share with friends, family and strangers you meet along the way.
  • Educational and training purposes.
  • If you need to photographically document something quickly and on the spot, especially directly from the camera or SD card without computer intervention.
 
Worst Use
  • None that I can think of. I’d even go so far as to say the prints are worthy of framing or entering into competition (5x7 size only, provided this size is stipulated in the rules).

​Where can I get more info?
Epson’s website (click here for the PM-400 page).
 
Manufacturer:
Epson
 
How much is it?
Direct: $249.99 (B&H: $199.99 
Adorama: $199.99 - both with $50 instant rebate)
 
Epson Ink Cartridge*/paper pack** 320P (w/100 sheets 4x6 glossy paper): $38.21
Epson Ink Cartridge* only 320: $32.99
Note: Epson advises that you use only original, factory-sealed Epson ink cartridges. Ink cartridges for older-model PictureMates may not be usable with this printer, and vice versa.
 
**Paper packs are also sold separately and will range in price depending on size, quality, quantity and manufacturer. Epson’s claim regarding longevity and durability of prints applies only when Epson inks are used in combination with Epson papers.
 
Technical Specifications
Click here.
 
Manuals
Click here.
 
What’s in the Box
            PictureMate PM-400 personal photo lab
            Setup and instruction manual
            Power cord
            AC power adapter
            1 ink cartridge (CMYBK)
            Five Photo Paper Glossy sheets
Capsule Comments
Space-saving, easy-to-use, convenient, quiet, handy 4x6/5x7/3.5x5 color/b&w printer; uses one simple 4-color dye-based inkjet cartridge; relatively pricey (compared to full-size printers) but worth it for the compact size and convenience; admirable output.
 
Conclusions
This is an amazing little printer. It was up and running in no time, printing wirelessly from my desktop computer and iPad, or standalone from a USB flash drive (with other options available). I happily shared the prints with others, who were duly impressed. If only it worked on batteries or USB as well. That would have been the icing on the proverbial cake (and I love cake!).
 
I wouldn’t hesitate to buy this little printer if I were you. Just set it up anywhere – any small space, a spare corner on the desk or a countertop – and start printing. You don’t need to use any software if you don’t want to, or even a computer. Just attach any flash drive that someone may have given you, for example, and print from that. Stick a label and stamp on the back of the prints and use them as postcards or invitations – or even place cards (flip it over for a souvenir picture of the family, for example). What’s especially nice is that the prints are highly durable, withstanding pretty much anything, except perhaps an inquisitive cat or toddler. Keep probing paws, hands, and mouths away and you’ll have prints that last a lifetime.
 
Here’s a Tip
When printing from the computer, open the printer dialog window and navigate to Color Options. Select the Fix Photo option, and select a Scene Correction setting. You might want to play around with these, but in one test case, with a fiery sunset, I selected Landscape and Digital Camera Correction, and the result was a marked improvement over the normal print, with remarkably greater depth and impact. 
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Olympus Pen-F Mirrorless Camera First Look Review

2/3/2016

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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.

Picture
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Field Report: MindShift Gear’s UltraLight Dual 25L Photo Backpack – Light in Weight, Heavy in Functionality

2/1/2016

2 Comments

 
PictureMindShift Gear's UltraLight Dual series: 36L (far left), 25L (middle), 16L. Courtesy MindShift Gear.
​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).
​Gear Profile (as determined by MindShift Gear)
UltraLight Dual 25L:
  • Holds one standard-size DSLR (5DM3 or D810) and one standard zoom lens or two primes
  • Holds one large (un-gripped) Mirrorless body and two to three lenses
  • Fits up to a 15” laptop or most 2.5 liter hydration reservoirs
  • Fourteen liters of capacity for personal gear
  • Maximum lens size attached to body/DSLR: 24-70mm f/2.8 (in my experience, a 15-30mm f/2.8 or a 70-300mm – both Tamron - attached to a Nikon D610)
  • Maximum lens size attached to body/Mirrorless: 70-200mm f/2.8 equivalents

​MATERIALS
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating, plus the underside of the fabric has a polyurethane coating. It also has high-quality YKK Fuse zippers, 100D nylon shadow rip-stop, 420D high-density nylon, 210D velocity nylon, 320G UltraStretch mesh, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
 
Interior: 200D poly, velex, high-density closed-cell foam, belly-o mesh, 3-ply bonded nylon thread.
 
PRODUCT DIMENSIONS, VOLUME & WEIGHT
UltraLight Dual 25L
Exterior Dimensions: 10.2” W x 19.5” H x 6.7” D (26 x 49.5 x 17 cm)
Camera Compartment: 9.1” W x 7.5” H x 5.1” D (23 cm x 19 cm x 13 cm)
Laptop/hydration compartment: 10.2” W x 15.7” H (26 x 40 cm)
Weight: 2.8 lbs. (1.3kg)
Volume: 25 Liters
 
Where can I get more info?
MindShift Gear
 
Manufacturer:
MindShift Gear
 
How much is it?
Direct: $169.99 l ($169.99 at B&H). 
Who Should Use This?
Travel photographers who like to travel light, hikers, nature enthusiasts, street shooters.
 
Capsule Comments:
Superbly designed, practical and lightweight, highly durable photo backpack.
 
Conclusions:
You won’t pack the kitchen sink into this photo backpack, but, then again, it wasn’t meant for that. Photo gear mainly goes into the bottom section (which, on the two larger sizes, the 25L included, consists of a padded, removable shoulder bag), while personal items fit in the spacious top section. More than that, the pack offers quick side-panel access to photo gear, which for me is essentially a full-frame DSLR with attached f/2.8 zoom or longer lens (up to 70-300). There’s plenty of room in the top section for my flash in its padded case and a MindShift Switch Case with one or two extra lenses (or one lens plus one flash, if I want to condense things even further). Not surprisingly, MindShift’s UltraLight Dual 25L rides comfortably on my back. By the way, I chose the black (over the blue) version – the color scheme just seemed to have a classier feel to it.
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Sigma 20mm F1.4 DG HSM Art Lens Review

1/31/2016

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By Jack Neubart • Posted on www.shutterbug.com Jan 6, 2016
Picture
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.


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Software Review: Alien Skin’s Exposure X – More Than a Film Emulator These Days

1/19/2016

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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.
​​What Is the “X” in Exposure X?
Exposure X is not simply the Exposure app updated. Exposure has something “X”tra – new life and a new vitality. It’s now also a RAW converter, which means that you no longer have to first process your files before taking them to the next level. But how practical is Exposure X as a RAW processor? Regrettably, it's missing a number of things, not least of which is a histogram. But if you're not working in Adobe Lightroom or using Adobe Photoshop to process your RAW images (or any other RAW processor), then this is a quick and easy RAW converter. And it's non-destructive.

I personally use the software as a Lightware plug-in. I could also use it as a Photoshop plug-in, but Lightroom is where I do all my RAW processing.

Why I Don't Like Film Emulators 
The main reason I don’t believe in film emulation software is that film is variable: from batch to batch and with how the film was exposed, processed, and stored (before and after exposure), and if it was used beyond the expiration date. Professional photographers would buy film in bulk and control processing to minimize variables. And each would get from that roll of film a definable quality and consistency.

Today there are too many variables, not least of which is sourcing the film for testing.

So, Why Am I Even Bothering with This Software?
Because it’s fun to use and lends my images a distinct quality. No one who looks at the results asks, what film did you use or, more shrewdly inquires, what emulator did you use? No, they simply marvel at the images. I'll let the results speak for themselves.

I don’t even take notes on which presets I used, although a few stay with me. I just apply those presets that appear to best suit the image, and I of course tweak them to my taste.

Where can I get more info?
Alien Skin Software
 
Who publishes it?
Alien Skin Software
 
How much is it?
Direct: $149 

Free trial available: Yes


Some Tips From Alien Skin Software
Exposure uses the brush button to combine effects. You can stack two effects with this procedure:

* Open Exposure, select an image, and select the first preset from the presets pane.
* Click the brush button
* Select the second preset from the presets pane.
* Choose 'close' from the brush panel.
* The result is the second preset applied over the first.

You can also use brushing to apply an effect selectively.

* Open Exposure and select an image.
* Click the brush button.
* Choose the 'neutral' preset from the brush presets on the brush panel. Velvia affects the entire image.
* Select a dust texture from the overlays panel
* Choose the brush size, feather, and flow options
* Use the brush tool in the preview to add the effect.
* Choose 'close' from the brush panel.
* Repeat the procedure to add another layer, such as scratches.
* If you want to modify existing layers, select the pins in the preview area while the brushing panel is open. The selected pin has a black center.

In summary, opening the brushing panel and applying a preset will add a layer that affects the entire image. Opening the brushing panel and starting to brush will start a new layer that affects the regions you brush. 

As you may notice, changing the sliders in the editing panels doesn't modify the preset you applied. If you want to save a modified version of a preset for later use, you can save it as a new preset. We designed it this way to prevent presets from being accidentally modified.



​System Requirements
  • Apple Mac users need OS X Yosemite (10.10) or newer
  • Microsoft Windows users need Windows 8 64-bit or newer
  • An Intel Core 2 processor or compatible
  • A monitor with 1280×768 resolution or greater

Host Requirements
Exposure X can be used standalone or as a plug-in (Adobe Photoshop CS6 or Adobe Photoshop CC 2015 or newer; Adobe Lightroom 6 or Adobe Lightroom CC 2015 or newer)
 
Tested Platform/Hardware: 
Mac OS X 10.9 (Mavericks); 21.5” iMac equipped with a 3.1 GHz Intel Core i7 processor, 16 GB RAM, NVIDIA GeForce GT 650M 512 MB.
 
File Types Supported: 
RAW (all popular formats), TIFF, JPEG
​Capsule Comments
A film emulator that also does RAW processing. Exposure X offers numerous settings to let you tweak the results, but not enough to lend each image a distinct feel. When you process a true wet plate, for example, each and every image looks different. You don’t quite get that here with the wet plate options. That said, you can always go into Photoshop to finesse the image further and give it that distinctive quality.
 
Conclusions:
I was enamored of Alien Skin’s software way back, specifically Eye Candy and the now ill-fated Xenofex when Photoshop plug-ins were few and far between and well before I started using Lightroom. These plug-ins helped me produce some of my most creative composite images.
 
Sadly, I haven’t had them on my computer in a while and I miss them. But at least I now have Exposure X. No, it’s certainly not a replacement for those plug-ins, but it does let me add a new flavor to my images and one that no other film emulator has allowed me to do – and to achieve these results easily and efficiently.

​Despite some weakness (which I’m told will be addressed in time), Exposure X is a decidedly worthwhile addition to my image editing library.

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Field Review – MindShift Gear’s BackLight 26L – A Photo Backpack with a Difference

12/14/2015

3 Comments

 
​I’ve made a few things clear in past reviews of photo backpacks and in magazine features I’ve written on the subject. One is that I favor a backpack over a shoulder bag for most of my photography. Second, I’ll only use a backpack that’s a good fit – feels comfy and rides well on my back, holds the gear I need to carry securely and in an organized fashion, and lets me get at my gear relatively easily and quickly. Third, I prefer a backpack that lets me carry a water bottle and a few extras, such as a light jacket – in other words, has pockets where and in a size I need them.
 
All of which has led me in recent years to MindShift Gear photo backpacks. I’ve become increasingly enamored of these products. And the fact that this company continues to innovate without compromising the integrity or functionality of their bags speaks volumes.
 
However, when MindShift Gear announced the BackLight 26L, my first thought was: I have enough photo backpacks already. I’ll skip this one.
 
Glad I didn’t. But I also had to reconcile where this new photo backpack stood in relation to my other backpacks, especially the FirstLight, which had previously moved to the front of the pack, so to speak.

​Fast forward, from the day it arrived, the BackLight has become my go-to photo backpack – and for good reason. 

The following are some of the images I shot while wearing the BackLight 26L. As you can see, this pack lends itself nicely to a wide range of situations.
Picture
BackLight 26L (green version). Courtesy MindShift Gear.
BackLight 26L: Key Features
These are features outlined by MindShift Gear in a press release (with my comments and observations).
  • Includes tripod/monopod mounting system on front or side. (I love having choices, and these work well.)
  • Padded waist belt for all day comfort on the trail, with webbing rail for attachment of additional MindShift accessories. (I always prefer a padded to an unpadded waist belt when it comes to a pack of this size/carrying capacity or larger.)
  • Quick fit waist belt adjustment for rapid and convenient fitting. (A properly fitting waist belt can make the difference between a comfortable hike and a tortuous journey. This one is on the money. When not needed, the waist belt wraps around the front, a feature MindShift introduced with the FirstLight series. However, this means you can’t access the bag while wearing it, because the waist belt must be cinched. So use this wraparound feature when transporting the bag in a vehicle and restore the waist belt to its intended function once you hit the trails or the streets.)
  • Adjustable neck strap keeps the back panel against your chest, providing unencumbered access to your gear. (This is for when you keep the bag on your person as you access the back panel. I removed this bungee cord – it kept coming undone - although I should perhaps learn to tie a better knot. Besides, I found it just as easy to hold the bag open with one hand. But try the bag with the cord and see for yourself. More on this below.)
  • Integrated insert with customizable dividers allows you to maximize the space for photo gear, personal gear, or a combination of the two. (Nothing beats a well-organized interior. Keep batteries inside in extreme temperatures, since the bag acts as an insulator.)
  • 2 large water bottle pockets with cinch cord fit a 32 oz. Nalgene. (I can appreciate a good-size water bottle pocket such as found here, although I still may attach a separate insulated pouch in hot weather. You can use one of these pockets for a tripod, or alternately carry the tripod over the front of the bag – everything you need for the tripod is built in, although an optional mode of tripod transport is also available.)
  • Side compression straps with locking SR buckles for additional lash points. (These come in handy when securing a tripod to the side of the bag.)
  • Air channel and lumbar support on rear-panel for all-day comfort. (Yup, agree whole-heartedly. Comfy! I should point out that I started working with the bag in warmer weather, so this feature definitely helped.)
  • Ergonomic zipper pulls are easily gripped with gloves or chilled fingers. (I love these zippers!)
  • Highest quality YKK RC Fuse zippers, 420D Velocity and 420D high-density nylon for long lasting durability and strength. (Highest quality materials and workmanship are important to this type of bag, and that’s what you get. The bag is made to last and should endure numerous adventures.)
  • Front stuff pockets for trail essentials: headlamp, gloves, and chargers. (I keep the outside front pockets filled with lightweight stuff, such as a light jacket. I don’t like keeping a laptop or anything heavy in the front pocket – throws the pack off balance.)
  • Top zippered pocket for quick access to essentials. (It’s small, but you can keep a pack of lens tissue or a lens cloth and a small screwdriver kit in there. When the temperatures are moderate, I may keep spare batteries in this pocket.)
  • Seam-sealed rain cover included; folds flat for use as a ground cover. (Haven’t had to use it yet, but glad to have it included. On its own, the bag is water-resistant – just not to a drenching downpour, hence the rain cover.)
BackLight 26L vs. FirstLight 20L
  • Going green. I was getting tired of black and gray backpacks, so I welcomed the green BackLight. I figured this color would blend in fairly well in woodland environments. Yet, at the same time, this pack would be easily spotted by cyclists on bike paths that traversed some of the woodlands I frequent – so far, so good. (In the evening, I attach a strobing LED flashlight to the pack as a precaution).
  • Bigger volume, not overall size, is important. The BackLight 26L adds nearly a full inch to the depth, which means you can store some lenses on end, making room for more gear while letting you more easily get at the lenses you need. With the 20L, that was not the case. (Of course, you could move up to a FirstLight 30L, but for me, that was too spacious).
  • Large water bottle pockets on the BackLight. I had to use an accessory water bottle pouch on the FirstLight 20L.
  • Spacious front pocket on the BackLight. Big enough to carry a light jacket comfortably, in place of a laptop, which I never carry into the field.
  • Less complicated can make a difference. The BackLight is a simpler bag to use overall. Unlike the FirstLight, there’s no torso length adjustment on this pack (yes, this could make a difference to a very tall person). Also unlike the FirstLight, there are no compression straps on the shoulder straps and waist belt of the new BackLight (that should only make a vital difference for a really rugged outdoor excursion – and even then, it’s arguable). MindShift also got rid of the whistle on the chest strap, but I can see the reasoning behind this: Put the bag on the ground and the whistle lands there as well. I leave the rest to your imagination. The airflow back panel is also different on the new pack, but I didn't see any practical difference while wearing either pack.
  • A simpler carry handle. The carry handle, while not a key feature, can make a difference. The BackLight uses a more basic, flexible loop-like carry handle, which I find eminently satisfactory and easy to grab when needed. The FirstLight has a substantially padded handle that adds to the height and makes it feel as if I’m carrying a suitcase – you can’t just quickly slip a couple of fingers into it; you need to grab it.
  • Gear access panel. The gear access panel affects the way you work and how secure you feel. The new BackLight features a rear access panel – away from prying fingers. The FirstLight uses the more conventional front panel. But what MindShift Gear is mostly touting about the BackLight is that you can wear the bag while accessing gear and changing lenses on the fly. I tried it, and my assessment follows below (see In the Field).
​In the Field
I loaded the bag (not fully) with a Nikon D610 and several lenses, including a Tamron 15-30 f/2.8, Tamron 90mm f/2.8 macro, and Tamron 70-300mm, plus Nikon SB-700 flash, and had plenty of room to spare. I could easily have carried a 300mm f/4 attached to my trusty old Canon EOS 5D, together with other Canon lenses instead. There was even a special space for my Giotto’s Rocket Blower and room to store a sling strap. And there was definitely space for a second camera body.
 
For the most part, I didn’t notice I was wearing the bag. However, I did find that the FirstLight 20L did ride a bit better on my back, without me having to readjust the position of the shoulder straps as I was walking about. That said, this was not a concern when shooting while wearing the BackLight 26L, which remained firmly and comfortably on my back. (I should point out that everyone will have a different experience with any backpack, so you’d do well to try it on, preferably filled with gear, and walk around a bit – something more easily done at home, when ordering online.)
 
Now, as to that thing about accessing the interior while wearing the pack. Okay, here’s the unvarnished truth. It’s doable – but mostly if you’re not wearing an open jacket or open photo vest, which tends to get entangled or snarled in the process of shifting the pack around. When I wear a vest as the outer layer, it’s always open. Ditto for a jacket as the outer layer, with an open vest underneath (or the other way around – depends on the situation). Open outer garments just make a mess of things, and I'm not about to zip up and then unzip afterwards, which only wastes time.

But when I did successfully manage to access my gear while wearing the pack, I found it best to position one knee under the pack for added support (set your foot on a step or mound). You can also try leaning the bag against a wall or tree. I didn’t feel entirely comfortable allowing the pack to float tethered to the waist belt, although I’ve done it with a light load.
 
And as I mentioned, I didn’t like using the neck tether. I should add the reason for that is, my hat kept getting in the way. (I keep the neckband in the pack in case I change my mind, or in the event I might need it to tie off something.)
 
I did try attaching a spare, lightweight, clip-on shoulder strap (a camera strap can also be used) to the carry handle as a means of supporting the bag. But again, my hat got in the way, and since this became such a production, hence counterproductive, I gave up on the idea. Besides, it also meant that I ended up with something dangling off the pack when the added strap was not in use. Still, you might try it. Just don’t wear a hat.
 
So, in the end, I found myself using the bag more conventionally. It just meant I had to find a convenient spot to lay the bag down. Which is not as easy as it sounds in many situations. Still, I expect that I'll go back and try using the pack as intended. Whenever I hit a stumbling block, I always try and try again. It's who I am.
Special Usage Note
Make sure to keep the waist belt securely cinched before attempting to rotate the bag around your waist.
 

The waist belt should tightly hug the waist, but not so tight as to hinder the bag’s movement.

On the other hand, if it’s too loose, like loose-fitting trousers, it will start sliding downward as you remove the shoulder straps.

​The process can get a bit tricky, which is why you should practice with a fully loaded pack until you’re confident you’ve got it.

​
​Conclusions
You may be asking, what about the Rotation180 Horizon 34L you gushed about in an earlier review? Clearly, any of the Rotation180 packs will give you fast access to your gear, much more so than the BackLight. However, the Horizon won’t fit long lenses in the rotating section. And it is bigger and bulkier overall. Plus it’s clearly intended for rigorous excursions.
 
The BackLight is tamer, by comparison. It lends itself to a wider variety of environments, from city streets to woodland and is less of a nuisance on a crowded subway.
 
Which brings me back to my earlier comment: The BackLight 26L has become my go-to photo backpack. It carries what I need and in a fashion that is protective, makes my gear readily accessible, and it's smart-looking. I simply and utterly refuse to look at another photo backpack. That is, at least until MindShift Gear comes up with yet another winner.
 
Once you’ve got the hang of using the BackLight 26L, you can be assured of retrieving the camera and grabbing that shot when the opportunity to photograph a 10-point buck presents itself or ducking the camera back in the bag when that buck starts eyeing you suspiciously. There are definitely times when you do not want to put a pack down on the ground and turn your back on an animal just to get inside the bag.
 
So, the next time I find myself ankle-deep in mud or knee-deep in fresh powder, you can bet I’ll figure out a way to work around the hat, vest, and jacket I’m wearing and keep the BackLight 26L on my person as I retrieve the camera, change lenses, or return the camera to the bag. 
Capsule Comments
Sturdy, well crafted, stylish yet practical, does a great job protecting my gear.

Where can I get more info?
MindShift Gear BackLight 26L
 
Manufacturer:
MindShift Gear
 
How much is it?
Direct: $249.99 (same price at B&H, Adorama). 
 
Specifications
Exterior Dimensions: 11.4” W x 20.3” H x 7.9” D (29 x 51.5 x 20 cm)
Interior Camera Compartment: 10.2” W x 19.3” H x 5.9” D (26 x 49 x 15 cm)
Laptop Pocket: 10” W x 15.3” H x 1”D (25.5 x 38.8 x 2.5 cm)
Tablet Pocket: 9.3” W x 10.2” H x 0.6” D (23.5 x 26 x 1.5 cm)
Total Volume: 26L
Weight: 3.9 lb (1.8 kg)

3 Comments

Field Review – Think Tank Photo’s Retrospective Leather 5 Elegantly Compact Shoulder Bag

12/11/2015

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PictureThat's me wearing the Retrospective Leather 5 while shooting the full moon over the New York skyline from New Jersey. Photo ©Denis Finnin. All rights reserved.
Right off the top let me say that I’m not a shoulder-bag guy. In fact, I loathe shoulder bags. Want to know why? Look at any photographer who walks around stoop-shouldered from bearing the burden of a ton of gear on one shoulder. Even slung over the neck, it’s a wearisome weight to carry around. So why am I writing about Think Tank Photo's Retrospective Leather 5 shoulder bag, you ask?

Well, let me just add this. There is decidedly a place for a shoulder bag - for some people, on certain occasions. If I were a wedding photographer, I wouldn't want to show up at a wedding wearing the backpack I normally use. 
 
But I’m not a wedding photographer. In my role as nature/wildlife photographer and travel/street shooter, I head out these days with one of my MindShift Gear photo backpacks. When I have to travel light, as when I'm flying, I carry gear in my Think Tank Photo StreetWalker pack, because it’s compact yet holds a fair amount of gear - and it will fit under the airline seat in front of me. Provided I’m not carrying my clothes in a second, larger backpack, that is - which would be the case in this instance. Toting two backpacks just didn't make much sense. Which brings me to this compact shoulder bag.

My Camera Bag Solution 
For my recent trip to New York City, I needed a small camera bag, one that would easily fit inside the backpack. I wanted my hands free of any additional luggage and didn't want anything else hanging off my shoulder. What's more, if I'd decided to carry it separately, the bag had to be small enough to easily pass as my “personal” carry-on item when boarding the plane. 

That carry-on backpack, by the way, was originally a photo backpack from which I’d removed the padded insert. And, no, it’s not one from Think Tank Photo or MindShift Gear – I’d never relegate those packs to such lowly a task. I’d stopped using photo backpacks from other manufacturers to carry photo gear because I realized that they were not as comfortable or as practical or as protective of my gear as these packs from MindShift or Think Tank.

I knew of one bag that would fit my needs for this trip. My solution was Think Tank Photo’s Retrospective Leather 5, the smallest size in this series.
 
What I Had in Mind for This Bag
On this New York trip I was planning to carry my Nikon D610 with Tamron 24-70mm f/2.8 VC lens attached. And this bag was the perfect size for that. I wasn’t planning to take extra lenses.

I often set out with just one lens to challenge myself to explore the different perspectives and viewpoints in my compositions this lens would allow. What I especially like about this 24-70mm lens is that it’s image-stabilized. And it’s a great all-purpose lens, especially under dim lighting conditions!
 
What’s more, I don’t like carrying body and lenses detached because that slows down your response time immeasurably. Yes, carrying separate components – body and lenses - would have allowed me to carry an extra lens – but then what happens when you have to put the camera away, especially in a rush? There would be no room, unless you detached the lens. So why start out at a deficit was my argument! Not to mention, you may not be in a dust-free or weather-conducive environment when it comes time to attach or change lenses, or somewhere that you’re comfy letting your guard down while messing with the camera.
 
Oddly enough, I still had room for one more key item: my flash. I was able to comfortably stuff my Nikon SB-700 into the outside front pocket without bulking the bag out much. Yes, there was room for the flash inside the bag, but I found it hindered quick access to the camera, and worse, got in the way when trying to replace the D610 inside the bag. This proved to be the best and most practical carrying solution, giving me easy access to camera and flash.

(I should also note that I wear a photo vest - a great way to carry lots of small stuff, including a pocket camera, while getting around carry-on restrictions, although it does go through the airport security scanner, along with my bags.)
 
Retrospective Leather 5 Key Features
The leather Retrospective is a more elegant version of the all-canvas version released several years back. Not that the original wasn’t stylish in its own right. Still, leather, especially when it’s of good quality, does have a nice ring to it. And it’s considerably more fashionable. The leather series comes in three sizes, whereas the original Retrospectives are available in numerous configurations.
 
Here are the key features, from a Think Tank Photo press release (with my comments/observations added).

  • Hook-and-loop “Sound Silencers” eliminate the noise of front flap hook and loop. (You can take this route and use the clasp, but I found it’s faster and easier to work with the hook-and-loop fasteners, if a bit noisier - but easily overlooked on a noisy New York City street. For quicker access maybe just silence one of the fasteners.)
  • High quality YKK zippers, metal hardware, leather accents, premium build. (The YKK zippers really do make a difference in any bag. There’s plenty of leather, so it’s more than just “accents.” From what I’ve read on the Internet, Dakota leather, which is used here and by BMW, is very durable. But don’t expect that heavy leather smell, which, frankly, I was looking forward to.)
  • Adjustable cushioned nonslip shoulder strap for all day comfort. (Works nicely! That said, I wear the bag sling-fashion, which is doable with a light load. The strap webbing goes all the way around. This level of support is especially important in the largest bag.)
  • Easily accessible front organizer with key tether. (I never use key tethers in a bag, but I can appreciate the organizer pocket. There are also side pockets that hug the bag – perfect for spare batteries, although batteries should be stored inside the bag in freezing cold weather to take advantage of the insulation.)
  • Stiffened, padded removable dividers. (Since I carry the camera with lens attached, I take some of these dividers and form an added cushioning layer at the bottom, as a buffer in case I set the bag down too hard. I do the same with all my backpacks. Essentially, I “float” these dividers so there’s a layer of air underneath, which still leaves plenty of room to position the camera with the grip up for a fast grab. And there's room to stow small items such as filters in this new "compartment.")
  • Inner zippered pocket for important documents. (I keep overlooking this option. There’s also a zippered pocket on the back, against your body. There is also a pair of inner side pockets for batteries in cold weather.)
  • Removable carrying handle for grab and go convenience. (Don’t remove it. When you board the plane, tuck the shoulder strap inside – it’s not detachable. Now carry this more compact bag by the handle and conveniently stow it under the seat in front of you.)
  • Webbing attachment points to accommodate modular pouches or a carabineer. (I attach a water bottle or pouch here on either side.)
  • Seam-sealed rain cover included. (Very, very nice touch!)
 
In the Field
For starters, the bag was a perfect fit under the seat in front of me, even on a relatively small commuter jet, Endeavor Air, to be specific.
 
Because the bag was so small and held a minimum amount of gear, carrying it was not uncomfortable in the least. In fact, I slung the shoulder strap over my neck. I hate it when a shoulder bag keeps sliding off the shoulder. ​I should add that the shoulder pad on this bag is quite nice, with strips on the underside designed for a secure purchase on the shoulder.

​Still, simply carrying the bag on your shoulder invites someone on the street to grab it. Which is also a good reason for using a sling strap on the camera. And, thankfully, there was room enough for that camera sling strap as well inside the bag.

Picture
Retrospective Leather collection. Courtesy Think Tank Photo.
​Concluding Remarks
If you’re into shoulder bags and, like me, don’t want to get weighed down with a big bag, then Think Tank Photo’s Retrospective Leather 5 is the perfect choice.

Of course, if you’re a wedding or portrait shooter, the Retrospective Leather 30, the largest in this new series, would be a logical alternative to a roller case, especially if you constantly need both hands free to shoot while moving about. And it would reflect a certain air of professionalism and sophistication while providing quick access to gear.
 
But, again, I needed a bag that was compact and lightweight and would hold just one DSLR with wide-to-tele zoom attached, and this was a good fit.

​Whether boarding a plane, or walking around the streets of New York or in the subway system, or shooting in the American Museum of Natural History, I always felt assured that I had my camera readily accessible and well protected.
Capsule Evaluation
Very practical, very well constructed - and spiffy.

Where can I get more info?
Think Tank Photo Retrospective Leather 5
 
Manufacturer:
Think Tank Photo
 
How much is it?
Direct: $199.75 (same price at B&H, Adorama).
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Epson SureColor P600 Wide Format Printer Review:  User-friendly, desktop, 13x19-inch pigment-ink inkjet printer with wireless capability

12/3/2015

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​With few exceptions, and largely due to publishing demands, printer reviews are written rather hastily. I decided to take my time with this one to see how well this printer would do when left idle for weeks at a time. Usually that’s when you see problems crop up with the print heads. Well, the Epson SureColor P600 performed admirably right after I unpacked it and months later, after extended periods of idleness – without a hiccup, where the print heads were concerned. Ink delivery was always spot on, to borrow a British expression. And in contrast to some competitive products, installation was a breeze and operation went smoothly, for the most part. The only glitches lay entirely on my shoulders.
 
A Little Background
I’ve used Epson printers exclusively for many years. Some years back I reviewed the Stylus Photo R2880—an early predecessor to the new P600 in the 13x19-inch printer arena. And I fell in love with that printer. One of the things lacking, however, was wireless capability.
 
Both the R2880 and P600 are 9-ink cartridge systems, with one substantial difference—well, actually more than one, as you’ll soon see. The one particular feature that annoyed me when I worked with the R2880 was that I had to exchange ink cartridges – matte in place of photo black, or the other way around – when using matte or glossy paper, respectively. To top it off, I couldn’t feel assured that the removed cartridge would remain viable for long, despite being stored inside two zipped baggies.
 
Well, the new SureColor P600 remedies both situations. It features wireless connectivity. So now I don’t have to feel claustrophobic with a large desktop printer fencing me in or have to deal with tripping over overly long USB cables when the printer was positioned some distance away (or having to plug/unplug the cable each time I used the printer to get around that problem).

What’s more, this printer employs both matte and photo black inks as part of the 9-ink system—without you having to physically swap them out. Meaning, they both reside inside the printer, ready to go when called upon.

And there are of course numerous other improvements, not least of which is the new and improved ink set - Epson UltraChrome HD (it seems everyone likes to get in on the “HD” craze these days).
 
Features at a Glance
  • Advanced media handling up to 13 inches wide – front-in and front-out paper path; print with a wide variety of media, including fine art papers; roll-paper printing for panoramas over 10 feet long (roll-paper holders included)
  • New ink set with denser blacks – Epson UltraChrome HD pigment ink delivers black density richer than previous Epson pigment ink printers for the richest blacks
  • Greater productivity with high-capacity cartridges – nine 25.9 ml pigment ink cartridges with auto-switching photo and matte black inks
  • Versatility – prints on canvas, art boards, and CD/DVDs
  • Intuitive interface – easy-to-use 2.7-inch tilting touch panel color LCD
  • Optimized dot placement – for more precise dot placement and enhanced image quality
  • Professional control – Advanced Black-and-White Mode for professional level neutral or toned B&W prints
  • Enhanced connectivity – Apple AirPrint and Google Cloud Print support; USB 2.0; Wireless n, Wi-Fi Direct, and 100Mbit Ethernet
 
What’s Special About the P600
First, it’s sleekly styled yet unassuming in design, with functionality standing at the forefront. The very inviting interface consists of a control panel with three buttons and touch panel, making the P600 even less intimidating to first-time wide-format printer users than the R2880.
 
Second, it’s fairly easy to set up and use right out of the box. You don’t really have to know anything about inkjet printing to get started right away, although it does help to have an understanding of how to get prints to look the way you want them to. Everything went smoothly, from unboxing to setup and making my first print.
 
Third, the P600 features an Advanced Micro Piezo AMC print head with ink-repelling coating technology incorporated in the new ink set. The nozzles lay down ink with a minimum droplet size of 2 picoliters (compared with 3 picoliters on the R2880). And I can’t emphasize it enough: You no longer need to switch out photo and matte black – the printer automatically selects the correct ink (based on paper settings). You have to see the results for yourself to fully appreciate all of this.
​Setting Up the P600
Setting up the printer was a breeze. The toughest part probably was removing all the packing tape. Just follow the instruction sheet and you should be fine.
 
Ditto installing the print cartridges.
 
Except one thing: when inserting a cartridge, make sure you hear it snap into place. I initially installed them just short of that when I realized my mistake—it takes a bit more pressure to get the cartridge to go down all the way—click! Oh, and be sure to shake each cartridge (gently, you’re not on the dance floor) and be super-diligent to remove the yellow tape (hard to miss when it’s practically staring you in the face).
One more thing, if you’re new to inkjet printing, especially on Epson, be careful to not touch the green chip on each cartridge. That chip is how the printer communicates with the cartridge, and vice versa.
 
When setting up, once you plug in and turn the printer on, don’t leave it idle too long, or the display will black out. If and when that happens, don’t touch the screen if you haven’t completed the setup process. I made that mistake and ended up choosing German as my language. With a little backtracking, I managed to correct the error. Henceforward I learned to simply hit the power button to turn the display back on.
 
It does take the printer a few minutes to initialize for the first time, which includes charging the print head. But once that was done, I was ready to print.
​Printing with the P600: Auto Sheet Feeder
I can’t emphasize enough how effortless the process of printing was with the P600, at least when using auto sheet feed. That is, once I made one or two adjustments.
 
There were a few critical settings that I had to make in Lightroom and in the Epson printer software before printing: namely, setting paper type and size and setting Epson color management (managed by printer, not Adobe Lightroom, the software I used for printing). Using Epson color management follows Epson’s recommendation, and I have to say it was on the money. I was especially pleased with prints that featured good color depth, rich colors, and clean blacks and whites. There was no need to soft-proof when following this approach. (Some may argue with this.)
 
Printing on Fine-Art Paper: Manual Feed
This is where things can get a bit tricky. Nothing bad, only somewhat circuitous. Be sure to follow the instructions to the letter. The most prevalent problem I encountered was with the paper being fed askew (ever so slightly, I might add). I figured out a workaround: I place a finger along the edge of the paper to make sure it lies flush against the right side—with very gentle pressure, releasing as the paper starts to feed. (Manual feed is actually semi-automatic: once you’ve positioned the paper and directed the printer to move to the next step, the process once again becomes fully automatic.)
 
Once the paper is ready at the printer’s end, you can return to the computer and click Print (or make your settings, if you hadn’t already done so).
​
Don’t be intimidated. On-screen prompts (on the printer, not the computer) guide you step by step. Just be sure to position the paper with the print side up. If you get an error message after you hit Print on your computer, retrace your steps. In your software, make sure you’ve set the correct paper type, set “Matte” (where applicable), and set the applicable color management (for Epson papers, I used “Managed by Printer”). There was no need for Print Adjustment. Again, I’m using Lightroom CC for my printing.
 
Manual feed works with fine art media with a thickness ranging from 0.012 to 0.028 in. (0.3 to 0.7mm). Unfortunately, paper thickness on the package is given in “mil.” (Equivalent values in “mm” are given below.)
Working with Epson Papers
Epson sent a generous selection of papers, mostly letter-size, but also one 13x19 pack. A fellow photographer that I showed sample prints to was duly impressed by the output.

My recommendation is to limit switching back and forth between papers requiring different black inks. More to the point, gang all jobs that use either photo or matte black ink together, where possible. As it turns out, you waste considerable ink in the process, as Jon Canfield pointed out in his review of the larger Epson SureColor P800 on shutterbug.com. This would, of course, apply to any papers, regardless of manufacturer. By the way, the P800 would be a good desktop choice in a 17-inch printer if you don’t want to step all the way up to a floor-standing model but still want larger prints that the P600 can deliver.
 
The papers I tested, and which produced truly admirable and striking results, included the following. But what it really comes down to is this: You have to try each of these (and the other available Epson papers) for yourself. Choice of paper is always personal, although end use and subject may dictate or at least influence those choices.
 
Epson Photographic Papers (papers tested with photo black and auto-sheet feeder). Sheet size tested shown.
 
PERSONAL OBSERVATION: a good choice for everyday printing, although, of the three listed, I tend to favor the metallic media for their added depth.

  • Ultra Premium Photo Paper Luster (letter-size & 13x19). 10 mil (= 0.254mm). USAGE NOTE: a more economical, all-around paper – really handy, especially if you’re handing out free or sample prints.

  • Metallic Photo Paper Luster (letter-size). 10.5 mil (= 0.2667mm). USAGE NOTE: according to the guidelines that came with this paper, it should use the manual feed slot, although I had no problem using the auto-feeder. I like the look and feel of these metallic papers. It’s different.

  • Metallic Photo Paper Glossy (letter-size). 10.5 mil (= 0.2667mm). USAGE NOTE: according to the guidelines that came with this paper, it should use the manual feed slot, although I had no problem using the auto-feeder. Choose Glossy if you prefer a slicker look.
 
Epson Fine Art Papers (papers tested with matte black and manual sheet feed). All tested papers were letter-size.
 
PERSONAL OBSERVATION: I love these papers! I don’t know why anyone would use papers from another manufacturer, especially given the fact that, in combination with the P600, prints come out deliciously rich without soft-proofing or profiling.

  • Exhibition Watercolor Paper Textured (letter-size). 22 mil (= 0.5588). USAGE NOTE: you can fairly easily detect the printable side. It has a rough feel to it. The prints have a soft, painterly quality, but with a certain richness to them.

  • Velvet Fine Art Paper (letter-size).  19 mil (= 0.4826). USAGE NOTE: I don’t know why Epson clearly labels some print packages as the printable side and not others. In this case, much more so than the watercolor paper, it’s difficult to discern the printable side – even by touch. When I have difficulty, I hold my papers up to the light at an angle to see which side looks more heavily textured – look for an embossed (stippled/dimpled) look. If that doesn’t work, a neat trick is to very mildly dampen thumb and index finger (saliva will do – apply to one finger then gently rub fingers together); next, hold the paper between these two fingers, pressing firmly, on one corner (supporting the rest of the sheet so it doesn’t bend). Whichever side really sticks – that’s the printable side. However, if you print full-bleed (borderless), this may mar the print in that corner, so proceed with caution. This is my favorite paper of those tested for this review. Prints have a tactile quality and beautiful depth, yet easily hold their crisp clarity.

  • Hot Press Bright (letter-size).  18 mil (= 0.4572). USAGE NOTE: even though the package label identifies the printable side, both sides are printable (from information gleaned from other Epson websites). On the P600, select the option Ultrasmooth Fine Art paper.
 
You can find more information on Epson professional imaging media by clicking here.  
 
Epson also sent a couple of roll papers, but I didn’t have any panoramas that I felt worthy of using that much ink. When I do, I’ll update this review. (One of these rolls is canvas, and previous experience has taught me to be careful when using this substrate, to prevent clogging of print heads. So, even though it’s possible to simply print standard print sizes and manually cut as needed, I’m opting not to go this route.)

​Conclusions:
The Epson SureColor P600 is a great choice, whether you’re stepping up from a letter-size or all-in-one printer or updating your current wide-format workflow. It’s easy to use, and, in combination with Epson papers, delivers output of outstanding quality.

I should point out that Advanced Black-and-White Mode was particularly beneficial and rewarding for monochrome printing. (This setting is found under Printer Settings/Print Mode under Print Settings.) You have a choice of neutral, cool, warm, or sepia.
 
If you’re looking to treat yourself this holiday season or to treat that special photographer in your life for the holidays, this 13x19 printer would be a solid and affordable investment. Keep that small printer for the daily grind and dedicate this printer to producing meaningful, archival, artistic prints you and others will appreciate and treasure for years to come.

Want a Less Expensive Large-Format Experience?
Give the Epson SureColor P400 a try. This machine is not quite on the same level as the P600, but it’s an easier-to-use starter printer for large format (13x19 in.) and may be more economical overall. It’s still a big step up from letter-size printers (in terms of overall quality) and an even bigger step up from all-in-ones, especially for those of you who only print occasionally but still want top-quality output. I haven’t tested this one so I can’t compare. As for myself, I’ll stick with the P600.
​
For more information, click here.

Click here to read Jon Canfield's excellent review of the Epson SureColor P800 on shutterbug.com.
SureColor P600: What’s Cool…
  • Sleek styling
  • User-friendly touch-screen interface
  • Quick startup (relatively speaking)
  • No need to manually swap out photo and matte black cartridges (it’s automatic)
  • Wireless control (goodbye USB cable – unless you choose that route)
  • Ink cartridges appear to last a long time (enough for numerous letter-size prints)
  • Epson color management leads to usable prints without soft-proofing or profiling, when using Epson papers (based on a sampling of Epson’s professional imaging media)
  • Advanced Black-and-White Mode is really cool!

…And What’s Not
  • Manual feed for fine-art papers can be tricky (requires a little care and patience - but don't read too much into this: it really is fairly straightforward)
  • Auto-swapping of photo/matte black ink uses up considerable ink in the process (stick to papers using either ink alone as much as possible)
 
SureColor P600: Best Use
  • Professional imaging applications, including fine art and archival printing.
 
Worst Use
  • Office documents, PDFs, and things of that nature would be a waste of this printer’s talents, albeit doable.
 
Where can I get more info?
Epson’s website (click here for the P600 page).
 
Manufacturer:
Epson
 
How much is it?
Direct: $799.99 ($549.99 after $250 mail-in rebate) (On back-order at this time at B&H 
and at Adorama.)
 
Ultachrome HD Ink for the P600:
$31.99 per cartridge (you may be able to save by buying all 9 cartridges in one kit)
 
Technical Specifications
Click here. 
 
What’s in the Box
  • Epson SureColor P600 Photo Inkjet Printer
  • Power Cable (USB and Ethernet cables not included – but you shouldn’t need them if you go wireless)
  • 9 UltraChrome HD ink cartridges (Photo Black, Matte Black, Cyan, Vivid Magenta, Yellow, Light Cyan, Vivid Light Magenta, Light Black, Light Light Black)
  • Roll-paper holders
  • CD print tray and software
  • Accessory box
  • Printer documentation
  • CD-ROM containing printer drivers and software (Windows and Macintosh)

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Affinity Photo Software Review: Has Photoshop Met Its Match?

8/12/2015

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

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

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

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

Well, Affinity Photo from Serif Labs is here to address the naysayers among us. First of all, it’s available at a one-time price, and a very inviting one at that: for $49.99, you get not only the software, but also all future updates and releases. Affinity Photo is available from the Mac App Store—currently (and likely for the foreseeable future) Mac OS X only, 10.7 or later, 64-bit processor—courtesy of Serif Labs. READ THE ENTIRE REVIEW.
Picture
DEVELOP PERSONA. Open a Raw file and you’re immediately taken to this module, where you’ll find all the classic Raw processing tools. In this image, I used the WB picker icon (on the far left, looks like Saturn) to read white balance, and the app responded nicely. I then corrected converging verticals in the Lens panel, added a grid, and engaged cropping. It would have been nice if I’d had the option for automatic cropping (they’re considering it). ©Jack Neubart. All rights reserved.
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Adobe Photoshop Lightroom CC Software Review

8/12/2015

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

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

I wasn’t convinced of the necessity to dive into the cloud when Photoshop CC was first introduced, choosing instead to remain firmly grounded with CS6. But things took a turn that would force my hand when Adobe chose to no longer support Lightroom 5 with updates. When testing new cameras and lenses, I found myself resorting to Photoshop CS6 so I’d have access to the latest Adobe Camera Raw (ACR). I was at a crossroads. Creative Cloud, show me what you’ve got. READ THE ENTIRE REVIEW.
Picture
Vertical panorama created in Lightroom CC. Original images shot with Samsung NX500, in Hawaii.
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Canon EOS 5DS R DSLR First Look Review

8/12/2015

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

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

And undoubtedly your mouth started watering.

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

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


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Canon EF 11-24mm f/4L USM Lens Review

8/12/2015

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

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

Picture
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Tamron SP 15-30mm f/2.8 Di VC USD Lens Review

8/12/2015

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

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

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

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