There was a time when I’d avoid a zoom lens as much as I’d avoid a swarm of midges. But in the digital age, the zoom lens has taken on new purpose, at least for me. Midges, however, are still a pest that is best avoided—especially when you’re changing lenses. And if you’re out in a marsh shooting spectacular scenic views, the Canon EF 11-24mm f/4L USM lens gives you the needed range of focal lengths so you can reign supreme over any landscape, as you avoid changing lenses while sidestepping concern that those midges will infiltrate your camera. READ THE ENTIRE REVIEW.
Posted 5/20/2015 on www.shutterbug.com.
There was a time when I’d avoid a zoom lens as much as I’d avoid a swarm of midges. But in the digital age, the zoom lens has taken on new purpose, at least for me. Midges, however, are still a pest that is best avoided—especially when you’re changing lenses. And if you’re out in a marsh shooting spectacular scenic views, the Canon EF 11-24mm f/4L USM lens gives you the needed range of focal lengths so you can reign supreme over any landscape, as you avoid changing lenses while sidestepping concern that those midges will infiltrate your camera. READ THE ENTIRE REVIEW. Posted 5/13/2015 on www.shutterbug.com. I thought that Tamron had outdone itself first with its 70-300mm lens and then with the 24-70mm f/2.8 and 90mm f/2.8 Macro lenses: all bearing the SP (super performance), VC (vibration compensation), Di (digitally integrated primarily for full-frame sensors), and USD (ultrasonic silent drive) monikers. There are of course other noteworthy lenses in the lineup, but these are the ones I tested for Shutterbug. Now comes the impressive Tamron SP15-30mm f/2.8 Di FC USD, which the company first previewed way back at photokina 2014. With this lens Tamron has created a near-flawless masterpiece in optics that simply blew me away! I tested this full-frame Tamron SP15-30mm f/2.8 lens on a Nikon D610, with Picture Control set to Standard (default settings). Raw images were processed first in Adobe Lightroom and, because Lightroom 5 doesn’t yet directly support this lens with a specific profile, I post-processed the files in Adobe Photoshop, which does offer a profile for this glass. Processing was carried out with sharpness at the default settings in each application. (Note: Lightroom CC now supports this lens.) READ THE ENTIRE REVIEW. I'm a big fan of photo backpacks, and always have been. I find them eminently suited to practically every type of shooting I do away from my home base. In fact, I keep specific gear packed in individual backpacks so I'll be ready to go, with just minor tweaks, as needed. Over the past few years, I've grown to love packs from Think Tank Photo, and more recently from their affiliated younger sibling, MindShift Gear. In fact, packs from these two companies have been my go-to bags for practically every photo outing and are the only backpacks I trust to do the job these days. Think Tank has packs geared more toward travel and location photography, whereas MindShift directs its efforts primarily toward the great outdoors, as well as travel. Bags from the two companies are distinctly their own - there's nothing else like them on the market. And each company's packs are easily distinguishable from the other. Now, with regard to the packs we're reviewing, the newest are (with the latest first), MindShift's FirstLight 20L and rotation180 Horizon, followed by Think Tank's StreetWalker. The FirstLight series is geared toward DLSRs with physically long lenses attached, whereas the rotation series aims at instant readiness in any environment, with considerably shorter lenses on the camera, to put it simply. The StreetWalker has been around for awhile. As the name implies, it's primarily designed for use on the street, but is so compact and utilitarian, you'll want to take it everywhere. These three packs are water-repellant and constructed with an ultra-strong, ultra-durable nylon shell. The MindShift packs in particular are designed to weather the harshest of conditions. All these backpacks are fully padded, with customizable interiors. What's more, they're relatively lightweight without compromising construction or their ability to protect my valuable gear. FIRSTLIGHT 20L (Click highlighted text for more info.) I loved this bag from the moment I laid eyes on it. First, it's sleek in appearance, with nice, clean lines. Second, there are two ways to carry a tripod built in--over the front or on either side. I carried a compact Sirui carbon-fiber pod, but my larger Giotto's would also have made a good fit. The side that's free can hold a water bottle (something in the order of a 16 oz bottle). The FirstLight 30L and 40L (L = internal capacity, in liters) will also hold a hydration bladder (optional), as well as more and bigger gear. Third, it comes with its own seam-sealed (translation: keeps water out) rain cover. To further ensure your comfort, the pack comes with an aluminum stay. The backpack suspension system is especially noteworthy. Unlike most photo backpacks, this bag is adjustable for torso length. This affects how you carry the pack and your comfort level for the long haul. The only pack in recent memory that was arguably a better fit is the rotation180 Pro. To further ensure your comfort, the pack comes with an aluminum stay. In addition to the heavily padded, contoured, breathable shoulder harness, the pack comes with airflow back padding with lumbar support, a fully adjustable sternum (chest) strap - with a whistle, no less, and fully padded and fully adjustable waist belt. In fact, the waist belt was designed to wrap around to the front so that it takes up less space in storage and to keep the padded wings (flaps) out of the way. There are also compression straps to further secure the bag and add to its comfort: load lifters attached to the shoulder straps on top, stabilizers on the waist belt. Remember, the basic idea behind all these adjustments is to take the weight off your shoulders during long hikes and to keep the bag stable on uneven terrain. The sternum strap also helps keep the shoulder straps from sliding off the shoulder. On city streets, you can make do with just the shoulder harness, as I did - makes removing the bag that much quicker. The only way they could have made this a more pleasurable experience is with an instructional video illustrating the torso adjustment and overall fit of the pack (I had to play around with it to get it just right). There is, however, a set of instructions inside the bag. The pack has two roomy front pockets, plus one small one on top (I would have also liked an organizer pocket for a pen, pad, and other small stuff). The largest of these pockets will hold up to a 15-inch laptop, but you'll have to provide your own padded sleeve. I'd normally carry a light jacket in that pocket. There are additional see-through pockets inside. Now to the key feature of the FirstLight series. These packs are designed to hold a DSLR (HD-SLR) with long lens attached. For the FirstLight 20L, maximum lens size attached to the camera body, according to MindShift, is a 200–400mm f/4 or 300 f/2.8, with room to spare for additional lenses, shoe-mount flash, and accessories. Because of the bag's shallow depth, some lenses that I would have stored vertically (upright) in another pack had to be stored horizontally (lengthwise). Still, what I particularly liked is that the bag holds the camera snugly in place. I had to adjust one of the vertical (long) partitions to accommodate the width of my Nikon D610, but that was it. The limited depth did have one other consequence: I had to detach the sling strap that I normally leave attached to the bottom of the camera (this may vary with sling strap design). The 30L should have no problem dealing with sling straps or with standing some lenses on end. That should be even less of a problem with the much more spacious 40L. Street price/FirstLight 20L: $229.99 direct; $229.99 @B&H ROTATION180 HORIZON (Click highlighted text for more info.) There isn't that much more to say about this version of the rotation180 other than it's bigger than the Panorama (read that review here). Well, concomitant with that larger size comes a roomier rotating waist-belt camera pack. Aside from that, the Horizon accepts the same optional camera insert as the Panorama, but leaves room to spare, which is a big plus in my book. With the insert, the Panorama left practically no room for anything else. Now, with the Horizon, you can store that light jacket, some snacks, and a guidebook or two, and even make room for a tablet, plus additional pockets give you added space. There is a pocket on the side that will hold a water bottle, but it's not mesh, meaning the bottle could slip out on a rugged trail. To counter that, this pack will also hold a hydration bladder (optional). Rain covers for the main pack and belt pack are optional. While not on the same level as the rotation180 Pro, the shoulder harness and related straps on this pack make for a comfortable and secure carrying system. Inexplicably, I found the waist belt release mechanism that governs the rotating belt pack easier to use on this backpack than on either the Pro or Panorama. Suffice to say, this pack has replaced both the rotation Pro and Panorama packs. I do wish it stood on its own (which is true of the Pro, as well as the other packs reviewed here). Still, it awaits the next snowfall, when I won't need to put the pack down on a wet or muddy surface to get at my camera with lens attached - that's what the rotating belt pack is for. And if I do set it down, I'll know I can access the remainder of my gear through the top panel, without laying the bag flat on the ground. Street price/Rotation180º Horizon: $259.99 direct; $259.99 @B&H STREETWALKER (Click highlighted text for more info.) The StreetWalker proved the ideal choice for a recent trip to Hawaii. I wasn't initially certain whether I'd be checking any luggage or not, but, in case I didn't, I wanted to be sure my camera bag would be big enough to hold the needed gear yet would fit comfortably and unquestionably underneath the seat in front of me on each flight, going and coming. And all this without compromising the security of the gear or my comfort. What I didn't know at the time is that the bag would have to fit in the storage compartment on a helicopter and a storage locker on a boat. Prior to this trip, I'd been using the StreetWalker Pro when tooling about town, but found it too spacious for my Nikon D610. Plus, as I mentioned, I wanted something small - something that would accompany me onboard as a "Personal" item if need be. When the smaller StreetWalker arrived, I inserted my D610 with a Tamron 15-30mm f/2.8 lens and Nikon SB-700 flash. That left room for the Samsung NX500 and any additional Samsung lenses I'd be receiving (on loan) during my Hawaii stay. And it all fit uncrowded yet snug enough so nothing would be bouncing around (I generally make use of unused dividers to ensure a snug fit, or add a couple of spares from an old bag). Several pockets, including an organizer pocket, keep you organized, with additional pockets for a water bottle on either side. Carrying a tripod with this pack is not as convenient as with the larger StreetWalker Pro, but is certainly doable and without any major inconvenience. And it comes with a rain cover. So, not only did the StreetWalker fit nicely underneath the seat on the plane, but it had no complaints when relegated to the storage area of either the sightseeing helicopter or the whale watching boat. And I was a happy camper - er, photographer. Street price/StreetWalker: $169.75 direct; $169.75 @ B&H and Adorama In Conclusion I can't say enough good things about MindShift Gear's newest FirstLight 20L as well as the rotation180 Horizon and Think Tank Photo's older StreetWalker. They're all comfy, do a great job keeping my gear well balanced on my back and protecting my gear, and are a perfect fit for my various needs, whether it's communing with nature, walking the streets of Chicago, flying in a helicopter, or whale watching in a motorized inflatable craft. I always felt assured that my gear was secure, and I never felt worn out after any shooting experience with these packs. (Click highlighted text for more info.) FIRSTLIGHT 20L ROTATION180 HORIZON STREETWALKER Which Backpack Should I Get?
Listed in order of preference under each criterion... - If you carry a long, fast lens attached to the camera: FIRSTLIGHT 20L - If you carry a short, fast or short zoom lens attached to the camera and need it ready to go at a moment's notice: ROTATION180º HORIZON - If you're a wildlife, landscape, or travel photographer: FIRSTLIGHT 20L, ROTATION180º HORIZON - If you expect to be on foot for long periods at a stretch: FIRSTLIGHT 20L, ROTATION180º HORIZON - If you expect to be negotiating rugged terrain or spend extensive time in wilderness areas: ROTATION180º HORIZON, FIRSTLIGHT 20L - If you expect to be on snowy, wet, muddy terrain (especially anywhere you can't conveniently put the bag down to access gear): ROTATION180º HORIZON** - If you need a backpack that is airline-friendly*: STREETWALKER, FIRSTLIGHT 20L, ROTATION180º HORIZON - If you carry a tripod: FIRSTLIGHT 20L, ROTATION180º HORIZON, STREETWALKER - If you carry a laptop: FIRSTLIGHT 20L - If you carry a tablet: FIRSTLIGHT 20L, ROTATION180º HORIZON - If you want a backpack that's compact and cozy yet capable of carrying a small DSLR outfit comfortably: STREETWALKER - If you want a backpack for light travel photography: STREETWALKER *Subject to individual airline carry-on allowances. **The FirstLight 20L has a ruggedized bottom panel, but does require it to be positioned on the ground for access to gear, whereas you can grab a camera and lens out of the Rotation180º rotating hip belt on the fly while still wearing the pack. (Click highlighted text for more info.) FIRSTLIGHT 20L ROTATION180 HORIZON STREETWALKER Posted 5/11/2015 on www.shutterbug.com.
I’ve often wished I had a camera that could go from 24mm to 2000mm at the touch of a button and without being weighed down by a ton of glass. Okay, maybe not all the way to 2000mm and perhaps not in a power zoom, but you get my point. The Nikon Coolpix P900 superzoom (super-duper-zoom?) camera gives you that reach in a fairly compact body, relative to a lens with such a broad range of focal lengths. And the Nikon P900 does so in a camera build that looks and feels like a lightweight DSLR, more or less. This combination is what initially enticed me to take a closer look at this new Cooplix model from Nikon. But are the Nikon P900’s eye-popping zoom specs just glitz or is there a substantial picture-taking machine underneath this façade? READ THE ENTIRE REVIEW. Posted 4/1/2015 on www.shutterbug.com.
If you’re going to test a new camera, I can think of few places better suited than the Big Island of Hawaii. And that’s precisely what I, and a number of my colleagues in the photo press, had a chance to do recently with the new 28-megapixel Samsung NX500 camera. We put Samsung’s newest mirrorless compact system camera (CSC) through its paces in diverse settings on the island, each designed to challenge the NX500 and ourselves. READ THE ENTIRE REVIEW. Posted 4/15/2015 on www.shutterbug.com.
The first question I’d ask of any camera is this: Is this camera a good fit for me—for my hand, for my style of shooting, for what I want to shoot? I’ve been looking for a compact interchangeable-lens camera that I could easily carry around when I didn’t need my full-bodied Nikon D610. Yet, I don’t want to compromise image quality or the versatility that my D610 system affords me. So the obvious choices are a mirrorless compact system camera or just a smaller DSLR. With mirrorless, I’d have to invest in a whole new system. And with DSLRs, well, we have the same cost involvement—unless I remain faithful to the Nikon system. Which led me to the Nikon D5500 compact DSLR. This camera features an articulated touch screen for Live View movie shooting and still captures, along with a typical optical viewfinder for the bulk of my still photography—I like optical finders. And with its 24MP, albeit APS-C (cropped), CMOS sensor, I have the real estate to crop or print large. Moreover, the D5500 lacks an optical low-pass filter, which is a step toward capturing sharper images, a feature found in much more expensive cameras, such as the D810, as well as the new D7200. And the D5500 has the grit to tackle low light levels with its top ISO of 25,600. What’s more, wireless enthusiasts will welcome the built-in Wi-Fi, and video lovers will appreciate its full HD capture. And all this and more is driven by the EXPEED 4 image-processing engine. Still, that’s all well and good, but would the D5500 allow me to effectively respond to my subject and would it impinge on my shooting style? READ THE ENTIRE REVIEW. Posted 1/16/2015 on www.shutterbug.com. Originally published in Shutterbug Magazine.
One outing with the new Nikon D810 pro digital SLR convinced me that this camera is not only thoughtfully designed, a good fit, and easy to work with right out of the box, but that it’s also a solid performer that’s beautifully crafted. It has looks, smarts, and savvy, without being pretentious. And unlike enthusiast and entry-level cameras, it’s not filled with a bunch of useless toys no one really needs, wants, or uses (well, except for maybe a few of the post/retouching effects that seem to be wasted on this camera). Boasting a new and improved 36.3-megapixel CMOS sensor, the FX-format (full-frame) D810 ($3296, body only) is decidedly a serious camera aimed at the serious—translation, professional—still photo and video shooter. This camera incorporates features first introduced in the D610 and D7100, while paving new ground. Making it an even better camera than its D800-series progenitors is one missing element, for starters. READ THE ENTIRE REVIEW. Posted 9/14/2014 on www.shutterbug.com. (Editor’s Note: Shutterbug contributor Jack Neubart has been testing the new Nikon D810 pro digital SLR. Here’s his hands-on “first look” at the camera. His full review of the D810 will appear in an upcoming issue of Shutterbug magazine.) I became a Nikon convert back when the D300 was first introduced in 2007. I appreciated the camera’s handling, but mostly they got me with the Creative Lighting System, or CLS. Specifically, on the D300 it was the fully integrated wireless Commander mode via the built-in flash that grabbed my attention. But I wasn’t entirely happy in the APS-C sensor realm. I wanted a full-frame DSLR and the affordable D600 made that possible. With it’s built-in flash, the D600 let me continue to enjoy wireless flash photography sans peripherals, other than an SB-900 Speedlight. The new 36.3-megapixel Nikon D810 ($3,296) full-frame pro DSLR builds on that, sporting its own pop-up flash. I even built up my arsenal of FX-compatible lenses. I was largely done with having to extrapolate focal lengths and handholdable shutter speeds around a cropped sensor. More importantly, with the full-frame sensor, especially the one in the D810, I have the real estate to crop and still have plenty of image to play with. That’s especially relevant when correcting perspective in architectural shots in Lightroom. With the D810’s 36.3 million pixels occupying a CMOS sensor measuring 35.9 x 24mm (FX-format), you can take in the entire structure with plenty of room to spare to fully correct for converging verticals without fear of chopping off vital structural elements, such as the top of a bell tower. READ THE ENTIRE REVIEW. A DEER IN THE HEADLIGHTS. I photographed this male white-tail deer with a Nikon D610 and Tamron 70-300mm zoom, shooting handheld at 300mm with VC engaged. Direct on-camera flash resulted in a red-eye-like effect in the eyes. That aside, the flash brings out considerable detail that’s lacking in exposures made by available light. In Lightroom, I edited the image in Nik Silver Efex Pro, filtering out cyan in the eyes to lessen the “red-eye” effect. (ISO 1600, f/5.6, 1/125.) ©Jack Neubart. All rights reserved. Posted 12/19/2014 on www.shutterbug.com. Shoe-mounted flashes are handy tools. Where space or weight is a concern, a kit with two or three shoe-mounted flashes is much easier to carry than even the smallest power pack/head combo or a low-output monolight, and more versatile.
Case in point, on two separate photography assignments I employed no more than two shoe-mount strobes to light-paint the huge blue whale model exhibited at New York’s American Museum of Natural History (in collaboration with museum photo staff). In fact, there is an entire subculture among pros that favors shoe-mount strobes – aka “strobists” – over bulky and expensive studio lighting gear for location work and even in the studio. The dedication to the shoe-mounted flash for other than run-and-gun photography is largely centered on finding portable lighting gear that will reliably deliver the kind of results we expect of larger strobes. Among the “third party” shoe-mount strobes I’ve come to trust is the Metz brand. Reliable German engineering and a long-standing reputation reinforce that trust. And the company’s new flagship Mecablitz 64 AF-1 digital flash promises to keep that reputation intact. Metz also makes my favorite ring flash, the wireless and ultra-compact Mecablitz 15 MS-1, which also played a part in this review. The Mecablitz 64 AF-1 retails for $449 and is available in versions for Nikon, Canon, Sony, Olympus, Panasonic, and Pentax cameras. I tested the Nikon version of the flash. READ THE ENTIRE REVIEW. Posted Dec. 12, 2014 on Shutterbug.com.
I’ve worked with DxO's OpticsPro imaging software for several years and have watched this program evolve and make great strides as a Raw image converter. What the new DxO Optics Pro 10 version of the software brings to the table is a cadre of new features and improvements. But are these enough to catapult this software into the top tier, or is it still playing catch-up? READ THE ENTIRE REVIEW. Rotating belt pack streamlines access to camera. My go-to photo backpack of late, when on the streets of Chicago, has been the ThinkTank StreetWalker Pro. The bag is compact and lightweight, yet holds just the right amount of gear securely. But it’s not the best pack for nature outings. For the hiking trails, you need a backpack with hiker savvy: fully protective, carries what you need, and comfortable. Translation: something more robust than the StreetWalker is needed—a backpack that moves with you and which seemingly bends to your will. Something like the MindShift Gear rotation180° Professional. This bag is, in my view, the ultimate hiking/backpacking photo pack, with practically all the accouterments. But it’s big and somewhat heavy. We don’t always need something of that caliber designed for a tortuous journey into the woods or over rocky or watery terrain. Often, we need something smaller and lighter. And that’s where MindShift Gear’s rotation180° Panorama comes into play. Getting Familiar with the rotation180° Panorama Available in blue or charcoal, the backpack has two sections. The one that justifiably gets the most attention is the rotating waist, or belt, pack that is securely attached to the backpack at the bottom. Release a magnetic latch and pull to the front to reveal this pack. Unzip the lid, and voilà! Before releasing the small pack, first make sure to firmly secure the waistbelt end to end. Otherwise, you’ll pull the small pack free, with only a lightweight tether to keep it from dropping to the ground. This action might be enough to destabilize you and the pack on rough or uneven terrain, so exercise the proper precautions. Accessed via a zippered panel at the top is the upper section. This is where you stow personal stuff, like a change of clothing, insect repellants, and anything of a bulky nature, including some light camping gear. Or, if you splurge for the optional r180º Panorama Photo Insert, you can stow a camera body with attached lens, a couple of other lenses, and a shoe-mount flash in this fully padded and adjustable insert. However, be aware that this occupies the entire upper section, leaving no room for your other stuff. There are sadly few pockets, but I’ve managed to make do. The Panorama features the full complement of straps: fully padded, contoured shoulder harness with compression straps up top; adjustable chest strap; contoured and padded waist belt (which is part of the rotating waist pack). And it has an internal frame. In the Field Working with the waist pack takes a little getting used to. There’s a special bungee cord that’s designed to make the flap fly more easily out of the way, but I still seem to have problems. For some reason, I found this procedure—from releasing (and relocking) the magnetic buckle to freeing and rotating the small pack—easier on the Pro version than here. But I’m sure that will work itself out in time, as it did with this bag’s big brother. This design’s key advantage lies in that rotating belt pack. When you’re surrounded by water, snow, mud, or heavy vegetation, with no place to set the bag, the rotating pack is a lifesaver. It also works well on city streets and in public parks, where you don’t really want to turn your back on the scene in order to retrieve the camera. There’s really only enough room for a D-SLR, such as my Nikon D610, with an attached lens, such as my Tamron 24-70mm f/2.8 VC or Tamron 70-300mm VC. You can store more, individually on end (upright), if you don’t mind putting all the pieces together in the field. My problem with that is this: What if it suddenly starts to rain? Not so easy to get everything safely put away, is it? To allow me to carry more stuff for quick access, I use a photographer’s vest (using these pockets to hold a white balance test target, cell phone, lens tissue/blower, and lens cap when not in use). And I’ll wear MindShift Gear’s Lens Switch Case on my belt (or attach it to the pack). I usually keep a flash in this belt pouch, which was originally designed for a spare lens, or, more to the point, to make it easier to switch lenses on the fly. The r180º rain cover is optional and strongly recommended for heavy downpours and dusty environments. Evaluation I would have preferred more pockets, especially a pleated outside pocket for a light jacket since the camera insert took up the entire interior, and a roomier mesh water bottle pocket. But by and large, I was very happy working with the rotation180º Panorama. I took it on a nature hike for openers. I even found it useful in the city, so I wouldn’t have to put the pack down and watch my back when accessing my gear. Especially at a busy skate park. And I managed to fit a sling strap in the waist pack by refashioning the included dividers around the camera with attached lens (the trick is to create a “basement” level out of the dividers and slide the strap in here). Still, if I did need to get at more gear, I found removing and donning the Panorama easy enough. OK, I’m still getting used to the rotating belt pack, but that hasn’t interfered with me getting at my gear in an efficient manner when I needed it. And wearing summer or winter garb, I was always comfy wearing this photo backpack. Pros Comfy & wears well; stabilizes load on your back; breathable airflow back padding with internal frame; rotating (and removable) belt pack facilitates use of camera with attached lens in mucky, wet surroundings and on crowded streets; protective of camera gear; roomy (if you don’t add the optional camera insert); built tough; largely weather-resistant (but benefits from optional rain cover); hydration sleeve; carries tripod; numerous lash points. Cons Serious scarcity of pockets makes it necessary to use optional pouches; rotating belt pack takes a little getting used to. Best Use Serious or casual hikes over any terrain; nature, wildlife, and landscape photography; macro & close-up photography (keep straps secured while bending over); street photography. D-SLR system (full-size or compact). Worst Use None really, but I wouldn’t use it for wedding or portrait photography. Where can I get more info? www.mindshiftgear.com Manufacturer: MindShift Gear, 1105 N. Dutton Ave. Suite C Santa Rosa, CA 95401 Toll Free: 855-757-2727 International: 707-284-9999 How much is it? Direct: $199.99 ($199.99 at B&H or Adorama). Technical Specifications Overall size & weight: 9.8 W x 19.7 H x 8.3” L (25 x 50 x 21 cm); 3 lb (1.3 kg) Construction: coated nylon (durable & weather-resistant); 3-ply bonded nylon thread (keeps seems weather-tight), YKK zippers (you can’t do better than this); polyester lining; closed-cell foam (anti-shock). Does It Reach pixelPERFEXION? (100 pixels is best): r180º Panorama photo backpack: 95 pixels, practical, protective, comfortable. Tamron SP 90mm F/2.8 Di VC USD 1:1 Macro: A Short, Full-Frame Tele-Macro With Image Stabilization8/22/2014
When my fascination with macro began, all my work was done by available light. Getting sharp images at life-size magnification took all the resolve I could muster, especially when dealing with heat and humidity or frigid conditions. It’s tough to hold a camera steady in those situations. What I wouldn’t have given for image stabilization! Well, the new Tamron SP 90mm F/2.8 Di VC USD 1:1 Macro gives me my favorite macro focal length, plus adds Tamron’s proprietary image stabilization: Vibration Compensation, or VC. And I get all that in a lens designed for a full-frame D-SLR, in this case my Nikon D600 (currently the D610). (The lens is also available for Canon, and without VC for the Sony Alpha.) CLICK ON THIS LINK TO READ THE COMPLETE PUBLISHED REVIEW ONLINE: TAMRON 90mm MACRO PHOTO CAPTION
Lifesize Capture with Tamron 90mm f/2.8 Macro + Flash I prefer a macro in the short telephoto range because it's easy to handhold and gives me more breathing room between camera/myself and skittish subjects. For this shot, keeping the lens's Vibration Compensation (image stabilization) engaged, I disengaged autofocusing (AF), instead focusing manually. At these magnifications, AF becomes iffy and a time-consuming effort with any lens. (ISO 100, f/11, 1/125 sec flash exposure) PHOTO CAPTION Tamron 24-70mm at Maximum Aperture Pritzker Pavilion, in Millennium Park, Chicago, captured with a handheld Canon EOS 5D and Tamron 24-70mm f/2.8 lens with Vibration Compensation (VC) engaged. (@24mm, ISO 100, f/2.8, 1/15 sec.) The difference between a “constant” aperture zoom and other standard zooms is that when you increase the focal length on the standard zoom the maximum aperture becomes smaller. This might make the difference between being able to hand hold or not when zooming in, and may indeed force the use of higher ISOs. Known as “fast” lenses, constant aperture zooms are pricier and bulkier than their variable-aperture counterparts. And to sweeten the pot, we’ve seen more and more fast lenses with built-in image stabilization, which gets you even more low light and camera-shake-free capability.
Enter Tamron’s new SP 24-70mm F/2.8 Di VC USD Model A007. Selling for $1299, it’s not cheap, although less expensive than comparable OEM lenses. The image-stabilized Tamron 24-70mm F/2.8 VC is available for D-SLRs from Canon (tested on a Canon EOS 5D) and Nikon (also for Sony sans built-in stabilization). The lens is targeted at full-frame cameras, but is also compatible with APS-C (cropped) sensor D-SLRs, upon which you’d be working with around a 36-105mm equivalent focal length, depending on camera model. CLICK ON THIS LINK TO READ THE COMPLETE PUBLISHED REVIEW ONLINE: TAMRON 24-70mm A handheld meter is not just for studio work. Tricky lighting situations, high contrast, and unusual subject tonalities can often pose problems for camera metering systems, as advanced as they are. Beyond that, the camera meter can’t help with studio flash. The first step toward taking tighter control with a broader range of lighting situations is to use a handheld meter. Enter the new Sekonic LiteMaster Pro L-478DR (PocketWizard version). Out of the box, it measures incident light. This exposure meter will also prove valuable when working with studio (or any manual) flash or a mix of ambient light and flash. CLICK ON THIS LINK TO READ THE COMPLETE PUBLISHED REVIEW ONLINE: SEKONIC L-478DR PHOTO CAPTION
The New Sekonic L-478DR vs My Old Sekonic L-558R. Compare the new with the old. My trusty, but huge, L-558R offers one distinct benefit - a built-in one-degree spot meter, whereas the new L-478DR is ultra-compact with a touch-control user interface, with added functionality (read the review for more details). A very capable, compact, and lightweight folding carbon fiber tripod. There was a time when we wouldn’t have put much stock in a lightweight tripod, especially one with 5 leg sections. But with the use of carbon-fiber technology, the picture has changed. Carbon fiber brings us vibration-dampening tripods nearly on a par with wood tripods. What’s more, carbon fiber is much more user-friendly than metal under extreme temperatures. And, owing to its lighter weight, carbon fiber is more practical than either wood or metal when it comes to travel photography. Also, carbon fiber tripods support heavier loads, compared with metal tripods of the same or similar size and design. That brings us to the Sirui T-025X carbon fiber tripod. I can’t say enough good things about this little wonder. Does it have its limitations? Well, let’s see… The Sirui T-025X: An Overview The Sirui (pronounced Soo-ray) T-025X is an 8-layer carbon fiber support. The more layers, the stronger the tripod. Most carbon fiber tripods feature 6- or 8-layer construction. This is a folding pod. That means that the legs fold back on themselves to shorten the overall length, making it easier to stow in luggage, should the need arise. It also means that the ball-and-socket head (ballhead)—in this case, the C-10X that’s included—is compact enough to fit this profile. Interestingly, when I travel with the T-025X attached to a photo backpack, I find I need to either extend the leg sections or lower the legs to a normal position so that the pod has enough length to properly fit the tripod bracing on a backpack. The T-025X features variable leg angles, by way of spring-loaded leg release mechanisms. This is what allows you to fold the legs back on themselves for storage. To use, you press on the mechanism while pushing the leg inward a drop to release, and while continuing to hold down the release mechanism, pull the leg outward. If you release the mechanism at some point along the way, the leg will lock in one of the detented positions. Aside from collapsing the tripod by this means, you’d use this to set the tripod on uneven ground (with one or two legs raised higher) or spread the legs out to further stabilize the pod. The Sirui T-025X: A Closer Look Hand warmers cover the topmost section on two of the legs. While your hands won’t freeze to the legs, the legs still get cold in winter. Plus this keeps oils from your hands off the legs and further protects them from bumps and bruises when the tripod is fully collapsed. Some tripods use hand warmers on only one leg; others feature them on all three. It’s a cost and design issue. Once you unfold the legs, the first thing you’ll notice is that the 8” center column is already extended. Actually, it’s not—it’s simply there. Twist the knurled knob at the top to truly extend it further, although I don’t really recommend doing that in order to ensure stability. This center column can be unscrewed, and the tripod head can then be screwed onto the spider (the area where the legs come together). This will give you even greater stability, but an uncomfortably shorter tripod, unless you’re seated. I find, when standing, I have to stoop or scooch down to use this tripod even with the center column in place (but not extended), but it’s a price I’m willing to pay in exchange for its compactness and light weight. You can also use the T-025X as a tabletop tripod by returning all legs to their shortest length and splaying out the legs. Remove the center column, detach the ballhead, then reattach the head directly onto the leg assembly, so the camera is closer to ground level. It’s All in the Legs… The legs feature twist locks. A half turn twist to the left and the leg section is unlocked. You can actually unlock all the leg sections at once, if your hand is large enough to cover the four twist locks (and likewise lock them in place, once the legs are returned to their original positions). The leg sections extend smoothly in one motion. Don’t jerk them out, though. Be sure to lock (twist to the right) each leg section firmly, but don’t overtighten. Once all legs are locked in place, stand the tripod on firm ground and press downward on each leg to ensure each section is secured. ...And the Head The head is an integral part of any tripod. One wouldn’t think much of the tiny C-10X ballhead that comes with this tripod by looking at it, or hefting it. Like the leg assembly, the head is a pleasant surprise. Provided you don’t overburden it with a physically long, heavy lens, this head will do the job nicely. The load capacity doesn’t take into consideration torque forces that act to induce vibration. The head features an Arca-style quick release (QR). The QR plate is small but does the trick. There is a security pin on the head to prevent inadvertent sliding off of the camera when mounted, but don’t let that lull you into a false sense of security. First make sure the plate is properly seated and secure by locking it in place with the knurled knob. Release the knob to remove the camera. The main knob serves double duty, controlling drag (friction) and locking/releasing the movement for up/down, side-to-side, and angular placement—achieving this movement very smoothly. Panoramic movement via a separate knob is also silky smooth. For utmost stability, ensure that the lens protrudes over a forward-facing leg. To further stabilize the tripod in windy conditions, you can hang a weight down from the center. Instead of a hook, Sirui chose to use a closed metal ring and carabiner (included) from which to hang a weight—a small bag or water bottle, for instance. The added weight, combined with the camera rig and head, should not exceed the total allowable load stipulated for the tripod. In Use When using the Sirui T-025X, I kept to such combinations as the Nikon D610 and Tamron 24-70 f/2.8 lens and the D300 with Tokina 50-135mm f/2.8 (the latter attached to the head via the tripod mount on the lens) so as not to overburden the head. The T-025X with C-10X ballhead had no trouble delivering sharp results from 2-second exposures of Buckingham Fountain taken with my Nikon D610 and Tamron 24-70mm f/2.8 lens at 48mm. Further tests back home showed the tripod could support a Nikon D300 with Tokina 50-135mm f/2.8 lens at 135mm (202mm, 35mm equivalent) for up to 20 seconds (not tested beyond this point). A 10-sec. self-timer was used for the test shots at home; self-timer settings were variable for the fountain, shooting a sequence of exposures to capture the light show at different points. How Does It Add Up? Quite brilliantly, as our friends across the pond are wont to say. As I pointed out, there was one hitch when attaching to my backpack, but once that was resolved, I was on my way to Chicago’s Michigan Avenue, Cloud Gate (“The Bean”), and Buckingham Fountain. Despite the tripod’s light weight, I can’t say I didn’t feel the added weight on my back. After all, anything that extends outside the boundaries of the backpack itself will exert some outward force, but it was minimal, not interfering with my comfort in the least. The T-025X is a breeze to set up and break down (collapse and fold up). This tripod does best on solid ground, since it lacks spikes. Spikes prevent a tripod from sliding around on dirt and gravel, as well as uneven mounds, hilly areas, and embankments. Most important perhaps, it’s really a no-brainer to use. You don’t need to have any experience with a tripod to use it successfully the first time out. Nothing could be simpler, or more effective in this weight class. However, you are paying a premium for carbon fiber. If you’re willing to pay the price, then you’ll have a tripod at your beck and call wherever you go. Stick it in a suitcase en route to your destination and slap it to the back (or side) of your photo backpack when heading out to shoot. It might not be the ultimate backpacker’s tripod (for want of spikes), but it will capture the grandeur of any landscape or waterfall. What’s more, the quick operation and small footprint (when set up) lends this tripod nicely to any tour group setting, where you may be granted only a few minutes to take pictures, and in any tourist mecca, where you’ll often find yourself among throngs of people or crowded into small spaces. Pros: Compact and lightweight; easy and fast setup/breakdown. Cons: Short height for many of us means you have to bend down to view through the camera’s viewfinder when standing; head lacks spirit levels. Best Use: landscape photography; also works as tabletop tripod. Worst Use: wildlife photography with long, heavy lenses. Where can I get more info? www.argraph.com Manufacturer: Sirui Distributor: Argraph Corp. www.argraph.com 111 Asia Place Carlstadt, NJ 07072 sales@argraph.com Phone: 201 939-7722 Fax: 201 939-7782 How much is it? B&H & Adorama: $239.95 (incl. ballhead) Does It Reach pixelPERFEXION? (100 pixels is best): Sirui T-025X Carbon Fiber Tripod with C-10X Ballhead: 95 pixels—a pleasure to use; literally doesn’t let you down. Technical Specifications/Sirui T-025X Tripod: Composition: Carbon fiber Type: Folding No. leg sections: 5 Variable-angle legs: Yes (3 positions via spring-loaded detents + folded back) Max. leg diameter: 22mm Min. leg diameter: 10mm Min. height: 4.1”/10.5 cm Max. height: 48.6”/121.3 cm Max. height w/ctr. col. ext.: 54.5”/139.1 cm Folded height: 12.2”/31.0 cm Weight: 1.7 lb/0.8 kg Max. load: 13.2 lb/6 kg Technical Specifications/Sirui C-10X head (included): Type: Ball & socket head (ballhead) Height: 3.3”/8.5 cm Weight: 0.5 lb/0.22 kg Max. load*: 28.7 lb/13 kg QR plate included: Yes (TY-C10) *Base the max. load on the value given for the tripod, namely 13.2 lb, which is what the legs will support. A tiny flash with awesome capabilities. No doubt about it, a camera’s pop-up flash is handy. There’s nothing extra to carry around or leave home. And there’s no added expense. But as convenient as it is, this built-in flash also drags you down, limiting what you can do. Recycling times are painfully slow; it prematurely exhausts the camera’s battery; the light reach is fairly restrictive at low ISO levels; a long lens barrel or lens shade (hood) can get in the way and obstruct part of the light (toward the bottom of the frame); and it almost invariably produces red-eye in people and many animals. What’s more, the lighting is flat and harsh when used as a primary light source. Enter the accessory shoe-mount flash, or simply shoe-mount. This flash slides into the camera’s hot shoe (“hot” meaning there’s a singular electrical contact point whereby releasing the shutter triggers the flash). Making things even simpler, on practically every camera today that accepts an external flash, that hot shoe features a camera brand-specific array of “dedicated” contact points that allow the camera and flash to communicate with each other. This dedicated hot shoe gives any flash unit amazing capabilities centering on the ability to effortlessly deliver usable exposures tailored to the subject and surrounding conditions automatically, with little or no user input, aside from switching on the camera and flash and selecting TTL mode on the flash. What this does is, when using any camera autoexposure (AE) mode, it directs microprocessors in both the camera and flash to talk to each other to determine a proper exposure for a given subject and situation. And all by reading light through the camera lens (TTL), much the way normal ambient-light exposures are made—and the way the built-in flash works. This is what allows camera and flash to deliver balanced fill-flash so that backlit faces are not lost to the murky depths of shadowland. TTL flash is also usable when the camera is set to Manual mode, but here you have to set both the lens aperture (f-stop) and shutter speed. With shutter-priority autoexposure mode, you need to set a flash sync speed or slower so that the flash is triggered at the right moment. If you use aperture-priority AE mode, the camera should set a suitable flash sync speed, and in program AE mode, the camera also sets the required f-stop as well. TTL flash, in any camera mode, does away with having to manually calculate flash exposure when: the flash is bounced, filters and/or lens extension is employed, and the flash is used off-camera—it’s all calculated automatically. Of course, there is one piddling little problem with a shoe-mount. Most are big clunkers, whereas the small ones can’t really do much. So a flash worth carrying is often a pain to carry around and it weighs the camera down when mounted. Well, that picture has changed with the new Nissin i40. This is the one shoe-mount flash you’ll want to carry with you all the time. Unlike its more robust siblings, the Di866 Mark II and MG8000 Extreme, the i40 is not a bells-and-whistles kind of flash. There’s no fancy display. It’s understated in size and appearance, yet packs a punch where it counts. You might say it’s flashy without being obvious. And it’s small. Really small. Just Dial It In In contrast to some of the more high-tech flashes, with their fancy and sometimes colorful LCD panels, the i40 simply relies on two mechanical dials and accompanying indicator lights to set modes and output. Unfortunately, for those of us who need reading glasses, using the mode (“function”) dial unaided can be a chore and, for anyone, reading even the larger output (“power”) dial under low light levels is not an easy task. A flashlight would be handy (or your cell phone). The main mode is TTL. When TTL is selected, a white indicator light glows next to TTL and a corresponding white indicator light glows alongside the power dial setting, where you adjust output upwards or downwards, up to +/- 2 steps. Whereas detents on the mode dial are positive enough to lock in the mode without fear of moving the setting, the same can’t be said of the output dial. I’ve noted the setting inadvertently changed by apparently a slip of a finger. So that’s something to keep an eye on. There’s also an Auto setting, but this deactivates the power dial, so, for me, this setting is meaningless. However, you might feel more comfy with it if you don’t fully understand when and by how much to override the flash exposure. (Tip: use plus settings for more fill light or when encountering overly reflective subjects; minus settings for the opposite effect.) Manual mode is something you’ll rarely use, so one wonders why Nissin bothered with it on this flash. Select this mode and the power dial selections switch to the left side. You can choose full (“1/1”) to 1/256th power output. The reason to choose Manual is where you don’t want the camera controlling output. Specifically, unlike TTL flash, where output can vary from one exposure to the next just by the inclusion of an object passing through the frame or by reframing, Manual output is constant. You have tighter control over a sequence of exposures. If you hadn’t guessed, Manual mode requires a more studied approach. Manual mode is also the only mode that supports manual zooming. In contrast to the majority of TTL flash units, which offer manual zoom overrides in practically any mode, that’s not the case here. Disappointing that Nissin chose to take this route, but it’s not a major flaw. One little extra you’ll find on this flash is a built-in video light. Consisting of two white LEDs, light output can be increased or decreased with the power dial. Frankly, this light is not strong enough to be of practical value, but it does make a great flashlight. Since it’s a mode and not a separate function, it can’t be used to help with focusing in flash photography. Tilt & Swivel The i40 has both tilt and swivel functionality, although it does lack a couple of things. For one, there’s no negative (macro) tilt to lower the flash head for close-ups, but this is not a feature ordinarily found on compact shoe-mounts. Also lacking is a locking mechanism that prevents head movement when the head is fully raised. That means that attaching accessory flash panels such as the weighty Rogue FlashBender is an iffy proposition because the flash head might plop down under the weight. In fact, the detent positions are not all that secure—they’re fine to work with, but can easily be knocked out of position if the head brushes up against something. Not a major concern, but something you should watch for when running around. That being said, raising and rotating the head is made that much simpler because there is no lock-releasing mechanism to deal with. Wireless Operation In wireless operation, the flash can be used remotely, that is, off camera, without any sync cords connecting flash to camera. A triggering pulse (the “Master”) triggers the remote flash (the “Slave”). That triggering pulse can come from a camera’s built-in flash (where that function is provided—it’s not available with all cameras or all camera models), or from another flash (again provided this function is built in) or triggering device seated in the camera’s hot shoe. There are different kinds of wireless technologies. This describes a simple scenario, and when all connections and devices support TTL auto flash operation, it’s known as “TTL wireless” or “wireless TTL.” The mode dial features several wireless settings. The i40 supports TTL wireless flash when the mode dial is set to A, B, or C. These represent Groups, which must correspond to the Group setting on the Master/transmitting pulse. In theory, any number of flash units can be assigned to any Group. TTL wireless operation on the i40 is omni-Channel. That is, there is no Channel selection required and the flash responds to pulses from any Channel on the Master/triggering unit. Normally, you’d select a Channel for the Master/triggering flash and that same Channel on the Slave/Remote flash to avoid other flashes from triggering yours if they’re on the same frequency (Channel). That is only likely to happen when you’re among a crowd of photographers, and only if they’re using compatible flash units specifically set to trigger remote strobes. Which is rare, so it’s not a real concern. Nissin offers two additional wireless modes. In contrast to the TTL A/B/C settings at one end of the Mode dial (where output is controlled by the Master device, whether that be the Master flash or the camera, in the case of the Nikon D610/D300 that I was using), the SF and SD modes let you select output by way of the Power dial. Unfortunately, you need to access the e-manual to find out how to use these modes. And, frankly, as often as I’ve written about it, I don’t entirely get the SD mode. Normally, any wireless flash (other than Nissin) that I’ve worked with made jumping through such hoops unnecessary—it was all controlled by the microprocessor. That said, SF wireless mode is a nice touch. SF allows the flash to be triggered by any flash pulse, so the i40 can be used as a kicker or fill light when used together with a conventional studio strobe. Otherwise, you’d need an optical Slave connected to the flash, which in this case would not be possible, since there are no input terminals on the flash. Keep in mind that wireless operation with the i40 and compatible triggers requires a direct line of sight. Also, outdoors bright or glinting light can interfere with the signal. And distance between trigger and remote flash should be kept short. Indoors you have more leeway, but don’t place the flash in a different room or otherwise block the sensor from receiving the triggering pulse. The signal will bounce off walls and furniture, but it won’t go through them. In Use I loaded up the i40 with four freshly charged Ansmann 2850 mAh NiMH batteries and hit Chicago’s Michigan Avenue and surroundings. The flash was seated in the hot shoe of my Nikon D610, with Tamron 24-70mm f/2.8 VC lens attached. When I work with my Nikon flashes, I typically attach the included diffusion dome (dome diffuser). It may reduce overall output and reach, but the dome softens the light, making on-camera flash less harsh, and produces a more uniform light spread. And often I’ll use the dome in conjunction with bounce flash. Yes, outdoors there’s nowhere to bounce light off of, but the flash in this instance either provides a kicker or fill for a candid portrait or, again, creates a less harsh light when shooting close-ups. So, I employed the diffusion dome that came with the i40, with the head in bounce mode, where warranted. I must admit. This tiny flash surprised me, very nicely, I might add. Okay, it’s not perfect. Light distribution on the raw head (sans diffusion), when used with a Nikon D300 and 60mm Micro lens (sans lens shade), was uneven. It was visibly weighted toward the upper half of the frame (horizontal format), with some vignetting occurring in the bottom corners. I brought the i40 indoors for a simple studio still life, to test wireless flash. I set up a resin figure inside a rectangular light tent with both my new Nikon SB-700 and the Nissin i40 providing all the light, triggered by the D610’s built-in flash serving as Commander (Master/triggering pulse). I set up output for each flash on the D610’s menu, with the camera in Manual mode and each flash in TTL mode. I often prefer Manual mode on the camera for tighter control, whereas TTL mode on the flash allows camera and flash to talk to each other and deliver the best exposures without worrying about light lost with diffusion and bouncing and flash-to-subject distance. Of course, things aren’t really that simple in the real world. You do have to play around with settings to arrive at the right combination for the two flashes, as well as positioning each relative to the subject. A practiced hand can do this in minutes. Give yourself time if you’re new to wireless photography. And if you don’t have a second flash, no worries. Use a bounce card instead. There are always workarounds. Conclusions: You really can’t go wrong with this flash, especially for travel. Although it doesn’t automatically adjust beam spread for sensor size, the Nissin i40 worked flawlessly with my Nikon D610 and D300. In wireless TTL mode, I had no problem triggering the flash with the pop-up strobe on either camera in the corresponding Group (A/B/C) setting. One small thing that concerned me: the lack of a low-battery indicator. The flash does enter standby mode (on/off indicator—aka test flash button—blinks) after a short spell. However, it doesn’t respond directly to the camera’s on/off/standby status, unlike Nikon’s dedicated strobes. But it’s easy enough to press the microswitch on the flash and turn it off when it’s not needed. Besides, after 60 minutes of sitting idle, the flash shuts itself off. Pros: Very user-friendly; tiny size; lightweight; appears to be ruggedly built—certainly feels that way; wireless functionality (remote only); durable metal foot; included dome diffuser proved very handy in a variety of situations. Cons: Difficult to remove flash from camera hot shoe (not for arthritic hands); flash head does not lock in position; output dial can too easily be moved to another setting; mode dial is difficult to read (both dials are difficult to read in very low light); requires the e-manual for a fuller explanation of how to use the flash. Compatibility: Canon, Nikon, Sony DSLR systems; 4/3 & Fujifilm mirrorless (Canon E-TTL II/ E-TTL, Nikon iTTL, Sony PTTL, 4/3 TTL, Fujifilm TTL). Tested version: Nikon iTTL. Where can I get more info? www.nissindigital.com E-manual: www.nissindigital.com/files/EN_i40_rev_1_1.pdf Manufacturer: Nissin Distributor: Minox USA. P.O. Box 123 Meriden, NH 03770 TEL: 866-469-3080 / 603-287-4840 / FAX: 603-287-4834 www.minox.com/usa usa@minox.com How much is it? $269. At B&H and Adorama. What’s in the box? Nissin i40 flash, mini stand, dome diffuser, quick guide instruction sheet, padded soft case. Does It Reach pixelPERFEXION? (100 pixels is best): Nissin i40: 90 pixels—eminently practical for travel and everyday use, and a great kicker/fill light for the home studio. Leave the padded case at home and you won’t even know the flash is in your jacket or vest pocket. Selected Specifications: For complete specs, visit: http://www.nissindigital.com/i40_spec.html Guide Number (GN) @IS) 100/ft: 89 (at 35mm zoom position) Auto zoom range: 24 – 105mm Bounce/tilt: Yes/Yes Interface: 2 dials (modes & power output); on/off button Special features: video light; spring-loaded release Power: 4 x AA Recycling: 0.1 – 4 sec Color temp: 5600K Size: 3.35” (H) x 2.4” (W) x 3.35” (D)/85 x 61 x 85mm Weight: 7.16oz (w/o batteries)/203g Design and specifications subject to change without prior notice. Give your portraits a facelift.System Requirements: Mac: Intel Mac OS X (10.6 or later) Microsoft Windows: 8/7/Vista/XP 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: PortraitPro Standard edition supports JPEGs, TIFFs, and PNGs with 8 bits per color sample (24 bits per pixel); PortraitPro Studio and PortraitPro Studio Max also support TIFF and PNG with 16 bits per color sample (48 bits per pixel). (I worked with RAW files.) RAW File Support (Studio and Studio Max editions only): Adobe (.dng), Canon (.crw; .cr2), Fuji (.raf), Kodak (.tif; .kdc; .dcr), Minolta (.mrw), Nikon (.nef), Olympus (.orf), Pentax (.ptx; .pef), Sony (.arw; .srf; .sr2), Sigma (.x3f), Epson (.erf), Mamiya (.mef; .mos), Panasonic (.raw), Phase One (.tif), Imacon (.fff) Where can I get more info? www.portraitprofessional.com Who publishes it? Anthropics Technology A16 Block A 56 Wood Lane London W12 7SB United Kingdom UK: +44 117 230 7792 How much is it? PortraitPro Studio Max edition: $159.95 on Amazon.com; direct from portraitprofessional.com: $149.95 (limited time discounted price). PortraitPro Studio edition: $79.95 ($89.95 on Amazon). PortraitPro Standard edition: $49.95 ($59.95 on Amazon). Free trial available: Yes Evaluation: As I noted in my earlier review of PortraitPro 11, this software is designed to largely automate facial retouching. It provides intimate control over practically every facial feature, via presets and numerous parameters controlled by sliders, with pop-up wizards to guide you along the way. And the new PortraitPro 12 takes portrait retouching to a remarkably new level. This is a clever and robust software that really delivers—but made even better now with “Skin Lighting Controls.” This new feature seemingly takes you back in time, so you can modify your lighting during a photo shoot without actually being there. Okay, not exactly re-lighting and it won’t fill in all the shadows that your lighting missed. But it does much to help shape and sculpt the face. In a sense, it feels like sleight of hand and the results, when not overdone, may indeed take your breath away. Aside from this, there are other enhancements, but none jumped out at me as much as the skin lighting tools did. All in all, this is a very user-friendly package that will pleasantly surprise you with its results. While it is largely automated, you’d do well to carefully assess the image and the Control Points that define facial features, and tweak them as needed. (Tip: view the magnified image and focus on how Control Point adjustments affect the image.) That notwithstanding, the process really is easy and flows smoothly from start to finish. Granted, you should start with a fully processed RAW file (working from JPEGs puts you at an immediate disadvantage with any photograph). Beginning in Lightroom 5 for RAW processing, I employed the PortraitPro plug-in that’s included with Studio Max (as well as the Studio Edition—for Adobe Lightroom, Adobe Photoshop, and Apple Aperture). After analyzing facial features, PortraitPro applies a Preset, which you can override and modify (or create your own Presets). Couldn’t be simpler. Okay, granted, you have to keep a close eye on what’s being done. You especially want to avoid artifice and artifacting, which some Presets and sliders are prone to create. I did, for example, detect some artifacting in the iris when certain eye adjustments were made, so I corrected for it by pulling back on the requisite sliders. Same with lighting controls. Taken too far, they become sorely evident, so use restraint. (Tip: here, too, view the magnified image to assess the changes.) If certain areas need a personal touch, use the Touch Up Brush. Depending on the mode, this acts much like the Healing tool in Lightroom or Photoshop, in its most basic form—but don’t use it full-strength for retouching, as that may overdo it. Elsewhere the Touch Up Brush lets you further refine the mask that defines how the face will be retouched and sculpted. Conclusions: While I may still find myself resorting to Photoshop for cloning (to fill out the eyebrows and lips) and possibly add a few other subtle touches, my work was largely done the moment I opened the file in PortraitPro—in a fraction of the time it would have taken otherwise. Still, there are a few improvements I’d like implemented. For one, more Control Points, or, better yet, the option to add my own Control Points. Some areas need to be better defined and existing Control Points don’t go far enough. Also, I’d like a fill-lighting slider. The Picture Controls are awkward to use, since they fail to show corresponding values and a histogram is absent, which is especially needed for Tone Curve adjustment (it’s not merely a single slider setting). What’s more, I’d be careful when using the Batch processing feature in Studio Max. First, when working with RAW files, the program converts them for use, which means that further adjustments will be made to this converted file, not the original RAW file—and that translates to less than optimal image editing. Second, and equally important, you still have to go into each image and edit it individually in PortraitPro. I selected three images: one with a baby girl, a second with a toddler (boy) and baby sister, and a third with the entire family of five: mom, dad, sister, and two brothers. PortraitPro correctly identified the little girl in photos 1 and 2, but mis-ID’d the boy as a girl (and his hair was close-cropped!). In the group shot, the program correctly identified only the mother, which meant I would manually have to outline facial features for the rest. It’s not that big a deal, but when you’re talking about batch processing to simplify and speed things up, I don’t think we’re talking about the same thing here. So, in the end, it seems more prudent to tackle portrait retouching on an as needed basis. Begin with a fully adjusted RAW file, and go from there. That notwithstanding, the results are without doubt a quantum leap better than if I’d painstakingly addressed each individual facial feature on my own. As to which version to buy, I’d recommend the Studio edition, at a very inviting $79.95 ($89.95 on Amazon). If you just shoot JPEGs, then save $30 and go for the basic PortraitPro 12. For the most part, the feature set is identical for all editions, including support for 64-bit processing. (For more information on the product’s features, please refer to the earlier archived blog entry.) Does It Reach pixelPERFEXION? (100 pixels is best): PortraitPro Studio Max 12: 95 pixels, for comprehensive feature set and ease of use (it gets easier the more you use it); the new Skin Lighting Controls are something else entirely and worth the price of admission alone. Field Report: Flashpoint 3Pod P4CFH Carbon Fiber, Flat-Folding Tripod/Monopod with H2 Ballhead4/6/2014
Review by Jack Neubart. ©Jack Neubart. All rights reserved. Fairly compact, reasonably priced, 4-leg-section, carbon fiber camera support. As tripods go, this one ain’t bad. In fact, I’d say the 3Pod P4CFH is a very reasonable choice. Especially when you consider the inviting price tag for a carbon fiber pod: $229.95, after a $70 instant rebate. Most carbon fiber tripods easily cost $100 to several hundred more. Granted, those pricier pods do come with a more recognizable brand name and reputation, but sometimes the lesser-known names can surprise you. And, when you consider that the ballhead is included and that this pod converts to a monopod, that makes this a sweet deal—at least on the face of it. Flat-Folding What do we mean by “flat-folding”? When the legs on the P4CFH are collapsed to their original position, they lie flat, one next to the other—two-dimensional, in a sense. That works really nicely when attaching the pod to a photo backpack. It also makes it easier to stow the closed pod in a suitcase, since it won’t crowd out other essentials. The 4-Section Legs The twist (knurled collar) leg locks work fine. A quick twist to release and lock. As with many other tripods of this ilk, simply grab all four collars on each leg in turn, then twist, and each leg section is released. You can take the legs apart—something that should only be done when a leg section is damaged. Be careful when unscrewing the leg sections, as two plastic pieces come loose. These have to be properly fitted and aligned to allow the leg to be re-attached and work smoothly. If you feel the least resistance in sliding the leg up, you did it wrong. That said, I don’t see leg sections listed as an option. Which means, damage a leg, and you may have to replace the entire tripod, unless you can send it in for repairs. That’s one of the benefits of buying a brand-name tripod from a company that specializes. They can supply the replacement parts. There are 3 preset leg locking positions. Pull out the catch/lever (easier said than done—don’t even try it with gloves on) and pull the leg out. Regrettably, the stops are not ratcheted or spring-loaded so they don’t just lock in position. The best method is to pull the leg out all the way, then push and hold the lever with your thumb until it engages at the required leg angle at you collapse the leg. I should also add that the spider has both a spirit level and a compass. The compass is pretty much useless, from a practical standpoint. I never used the spirit level, finding it impractical, instead relying on the camera for assistance. The Ever-Present Center Column You have to attach the center column before use and detach when traveling. It’s not recessed, as with most tripods. You have to screw it onto the spider (or shoulder, or hip, if you will, where the legs attach) and it just stays up there, extending the height of the pod by about 7.5 inches. This center column extends up further, but the height of the tripod with the column as is was good enough, so thankfully, I never had to extend and test the limits of the column—and you shouldn’t have to. If the tripod is not a convenient height as is, then maybe you should look elsewhere. Once the column is attached I leave it in place, until time to break down and fully collapse the tripod for the trip home, or between waypoints. For short hops from point to point, it’s just easier to let it be. When attaching to a backpack, definitely remove the column. But here’s where it gets interesting. You don’t need the center column, if you can deal with the height of the leg assembly on its own. Simply mount the head onto the spider, after first removing the ballhead mount (a collar of sorts) and handstrap. Caution: Make sure you remember to add the ballhead mount and handstrap between column and head. Otherwise you may find that the screw goes into the column so tightly after securing the head that you’ll need a wrench to loosen it. It can happen—and did. Converting to a Monopod The instructions tell you to simply attach the ballhead to the leg that you just unscrewed. Easy to tell which leg it is—the only one with the leg warmer. What the instructions fail to mention is that, should you desire to also attach the center column with ballhead attached, you first need to add the 3/8” screw (included). This then lets you attach the center column to the leg. The topmost screw, by the way, is 3/8-1/4” reversible, should you opt to use another head. No adapter bushing is included. These bushings are optionally available for a few bucks. (You’ll also find a hex, or Allen, wrench, included for tightening the legs. Haven’t needed it, but the legs should not need it under normal use.) One more thing: make sure to attach the handstrap and bullhead mount, to avoid the problem noted earlier. H2 Ballhead It’s heavy, hence woefully unsuited to the monopod, but it does fit nicely on the leg assembly of the tripod. And it works smoothly. There is a bit of give when tightening the head in place, but nothing that you can’t easily work around by very slightly elevating the camera angle first. Granted, this does make ultra-precise positioning somewhat questionable, but for the price I can live with it. Other than this, I hadn’t noticed any drift once the head is locked in place. There’s no separate drag (friction) control and for many of us, that’s not a problem. You can control drag to match the load on the head simply by first tightening the main knob until there's the proper amount of resistance to match the load on top (not all the way), setting camera angle, then locking in the position. The only down side, where the head is concerned, actually resides with the tripod. It lacks a set screw to lock the head in place and prevent it from coming loose. In use, it didn’t appear to be a problem, but there’s always that possibility. Caution: never walk around with the tripod draped over your shoulder when the camera is attached. The camera or ballhead may come loose and take a dive. Quick-Release Camera Plate The Arca-Swiss-style quick-release (QR) plate is large enough for the average-size DSLR and even for use with a tripod collar on a lens, provided it’s not an overly long lens. I tested with a Nikon D300 and a Tokina 50-135mm zoom, which has a built-in collar, and Nikon 18-200mm, as well as with a D600 and Tamron 70-300mm (the last two lenses without collar). The QR camera plate features two security pins to keep it from sliding off the head. However, to seat the plate, you first have to fully open the locking knob and unscrew to remove. Many heads simply let you slide the plate in place with the use of a safety catch, which is also engaged when removing the head—thereby speeding up and simplifying the process even further. The plate has rubberized elements to grip the camera. They seem to do the trick. The one deficiency on the plate is the camera screw. It uses a very uncomfortable and what appears to be rather flimsy handle and entirely lacks a coin slot as an alternative means for securing the plate to the bottom of the camera. Fortunately, this can be replaced with the QR plate of your choice. However, you will likely lose that safety pin feature, meaning that you have to be extra careful when seating the camera/plate onto the head so they don’t slide off. Evaluation The 3Pod P4CFH carbon fiber tripod is a good value overall. Some minor quirks, but I was happy to use it. Hard to say how long this support will last, but on the surface, this tripod appears to be well constructed. That is, provided you don’t have to replace any of the leg sections. There is even a hook from which to hang a ballast, for added stability in the wind. However, you can’t reverse the column for ground-hugging close-ups. While the tripod overall is fully functional, the best part appears to be the H2 ballhead. In fact, the pod appears to be outmatched by the head. Although I’d replace the quick-release plate at some point. Perhaps most relevant is my 10-second test. Using the self-timer (to allow vibrations to subside from contact with the camera) on the D300 with 18-200mm VR lens at 200mm (300mm full-frame equivalent) (VR disengaged), the pod held steady both without the center column and with the center column attached (but not extended). (Note: 10 seconds was a practical limit, given available-light conditions and practical f-stop selection, without stopping down too far and incurring a reduction in sharpness owing to diffraction.) Closing Comments Carbon fiber tripods are pricey. This one is not. You can either save your pennies until you can afford a brand-name pod, or get something you can use right now. Will this tripod last and last and last? Hard to say, but for the time I had it, it didn’t look like it would fall apart any time soon. And the well designed padded carrying case is a nice added touch. You may be wondering if there’s any practical benefit to a 4-section over a 5-section pod. The more leg sections, the more compact the tripod. In reviewing a range of 4- and 5-section tripods, I found no practical difference, provided they were carbon fiber. In metal, with rare exception, I’d avoid a 5-section support. Three-section tripods are best in the studio, although some may argue this point. So, all in all, I'd say the 3Pod P4CFH is worth a shot. Manufacturer's Selected Specifications Tripod material CNC forged carbon fiber Max. load capacity 28.6 lb Max. height (column extended) 65.5" Max. height (w/o column) 50” Min. height 13" Column Screw-on, 2 sections (not split) Folded length 18" Leg sections 4 Leg locks Twist Weight 5.75 lb Where can I get more info? http://www.adorama.com/FP3PP4CFH.html Where can I get it? Adorama or www.adorama.com How much is it? $229.95 (includes $70 instant rebate) Platform:
Beautune: Mac OS X 10.6 or later; Windows XP/Vista/7/8 Portrait Professional 11: Mac OS X 10.5 or later; Windows XP/Vista/7/8 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. Operating Modes/File Types Supported: Both apps support a wide range of file types. Beautune works with RAW files out of the box. To use Portrait Professional 11 (Portrait Pro 11, for short) with RAW files, you need the Studio or Studio 64 (64-bit) edition. I found that opening files with Beautune could be quite quirky. The easiest way is to drag-and-drop a file onto the Beautune workspace. The program failed to recognize files located on folders other than the Pictures folder on my internal drive. Portrait Pro 11 did not exhibit such quirks. Beautune is strictly standalone, working outside and independent of any other image editor or RAW converter. The basic Portrait Pro 11 is standalone. Portrait Pro 11 Studio (tested edition) and Studio 64 (64-bit) edition, however, work both as standalone and, more importantly, as a plug-in (Adobe Photoshop/Photoshop Elements, Adobe Lightroom, Apple Aperture) – and this is largely how I use it, primarily from within Lightroom 5. When using the app as a plug-in, first work your magic in your image editor or RAW converter; then summon Portrait Pro from within these programs the way you would normally work with a plug-in (in Lightroom, select “Edit In” under Photo in the main Menu, or via mouse-click selection on the thumbnail). Like most plug-ins, the file is first converted to TIFF or JPEG (as you wish) prior to export, and the retouching is then applied to this new file upon export back to the host application. How It Works: Each one of these apps is designed to make retouching faces easier. However, how they go about it is like night and day. But if you think that each is a magic genie that, once uncorked, does all the work for you, think again. That’s not exactly how it works. Portrait Pro 11 does have the advantage in that the process is largely automated, but you still have to exercise discretion. Moreover, you can finesse the image with various tools. Beautune is entirely manual – that’s good and bad; good, if you have a good eye for this sort of thing; bad, because it’s more labor-intensive and time-consuming. To do justice with either program, you really need a makeup artist’s eye and hand. And a Wacom graphics tablet will prove particularly handy with either, for more precise retouching. However, my Wacom Intuos 3 had limited support in either application. Features/Beautune: Fully manual facial retouching that targets three areas (via settings specific to each): face, eyes, mouth. Most settings give you control over brush size and intensity. However, brushes do not automatically detect the target areas, so it’s easy to stray with the brush onto unintended parts of the face. The use of some settings would benefit from a makeup artist’s touch and a fully supported Wacom graphics tablet. Face settings encompass Foundation; Smooth (softening of pores, fine lines, and such) and Wrinkle Remover (a stronger healing brush); Blemish Fix (essentially a healing tool to remove blemishes and other flaws to match the surrounding skin – it’s a one-click process – you don’t paint with it, simply click on the spot); and Blush Boost. Reshape nudges pixels, and it’s very easy to overdo it. Set the intensity to a low value to avoid disastrous errors. In fact, you’d do well to set intensity to a moderate or low level for any brush – this way you have more control and can layer the effect on, instead of attempting to do it in one fell swoop. Weight Loss is a misnomer. It simply squishes the entire frame from the sides in order to create a leaner figure. So it doesn’t simply make a person look slimmer. It has the same effect on the surroundings as well. So, I’d avoid this one, unless your subject is entirely isolated or set against a neutral backdrop. The Eyes settings feature a Red-Eye Remover that indiscriminately removes color, so use it carefully. Enlarge Eyes lets you open the eyes by nudging surrounding pixels – a one-click operation that also works to pump up muscles (with repeated clicks). Eye Pop is a brush that gives the whites of the eyes a brighter appearance (interestingly, it also darkens already dark areas, such as the iris). You can also adjust eye tint, mascara, eyeliner, eye shadow, and use an eyebrow pencil, with various colors/shades for each (except mascara, which is governed only by brush size and intensity). For the Mouth you have two options: lip tint and teeth whitening. Again, these touch-ups have to be applied carefully. Interestingly, you can use the teeth-whitening brush to add a hair-light effect to the hair, or to strengthen an otherwise weak hair light. Advanced options cover cropping; adding Detail (Clarity in Lightroom/Adobe Camera Raw) – a brush that basically punches up local contrast along edges/borders (I used this to give the eyes greater intensity); a blurring brush (“Defocus” – great for pulling attention away from distracting backgrounds or unwanted features – as long as they’re not in areas of the face that we expect to see in focus); and a Clone tool (not a brush – click on a spot to clone and a set a target area). Next we have Effects – which affect the color of the image uniformly or convert to a monochrome/black-and-white. The effects are only labeled by number, but you can adjust intensity for each. The final option is Frames, also only identified by numbers, with a fairly cheesy selection and no options for any of them. Important caveats/Beautune. As you may have inferred, the tools here are not specific to the areas identified as targets. They can just as easily be applied indiscriminately to adjacent areas if the brush strays. So, for instance, when whitening teeth, that process may also affect the area immediately adjoining the teeth, namely, the lips or gums. Features/Portrait Professional 11: Largely automated facial retouching that gives you total control over practically every facial feature, via presets and numerous parameters controlled by sliders. It’s a clever and robust package that really delivers. It might be intimidating at first, but taken one step at a time, it can be readily mastered. You begin by selecting the face type: male, female, boy, girl. The program then maps out the face – targeting the shape and position of the eyebrows, eyes, nose, lips, chin, and overall contours of the face. Presets (sets of actions that simply require one click to activate) take over after that, targeting the entire face or just parts of it, and/or you can choose to identify different facial areas on your own, adjusting parameters via sliders. To deactivate a set of parameters, click on the Green button to make it disappear, or click to make it re-appear and make those settings active (this is a good approach when using presets – so you can see what works and what doesn’t, and to visualize the effect these – or adjusted – settings have). There are numerous presets out of the box – geared toward men and women (from natural to glamorous, at varying age levels), as well as others that target specific facial features, but you also can create your own presets. While you can address certain imperfections with a Touch Up Brush, much of what happens is controlled via those sliders, so it’s important to verify and update the affected areas using brushes that aid in creating a mask that identifies the target areas. All that really means is painting over the area using specific brushes available under the different settings. You can identify the masked area easily enough - it’s a translucent color overlay that disappears when you exit brush mode. You can undock the control panel to give you more room to work, by moving it elsewhere. Initially, it’s easier to leave it where it is. Also, you can work full-screen, which expands the workspace to some degree. I can’t say enough nice things about this application. I only wish there was a cloning tool so that I wouldn't have to resort to Photoshop for this functionality. But I love the way Portrait Professional seems to instinctively target different parts of the face and that you have control over this aspect of the program. I would need considerable space to outline and discuss the various settings. Suffice to say broadly, these are the key targeted adjustments: face sculpting; skin smoothing; eyes; mouth and nose; skin coloring; skin lighting; and hair. The Picture Controls put exposure, contrast, white balance, tone, and vibrance at your disposal. It really is a complex array of settings, which is why the presets are awfully handy for the uninitiated. With time, you should learn to finesse these settings – or make the effort sooner rather than later if you plan to be a portrait artist. Important caveats/Portrait Pro 11. If you’re wearing a hat, it might get mistaken for hair. When reshaping the contours of the face, that will affect areas surrounding the face, so this is best done against a backdrop free of straight lines or recognizable shapes (with the subject against a plain wall or seamless paper, for example). And very, very important, if you are opening a file in the standalone app, make sure it’s a copy of the original. Whether used as standalone or plug-in, if you decide not to go through with the changes but select the Return from Plugin option under File, the program will overwrite the original image file with the changes you made, in the process of exiting. If you select Save after opting to Quit PortraitProfessional under the main Menu, the file will be overwritten – so be sure it’s a copy (easy to forget if you put it aside for awhile). To exit without using the changes, select “Don’t Save” after opting to Quit PortraitProfessional from the main Menu. One more thing: when left to its own devices – that is, working with presets unchecked - the program may introduce unwanted artifacts. So monitor the results closely. I’ve only noticed this so far with selected high-contrast images. Why opt for the 64-bit version of Portrait Pro 11? If you need the plug-in and you work with RAW files, get the Studio edition. The 64-bit version of the application (provided your computer employs 64-bit processing) is more efficient. You won’t see a difference in the quality of the work you do, but in the speed in which you accomplish it. Before buying the 64-bit edition, verify that it’s compatible with your computer and operating system. Evaluation: Portrait Professional 11 Studio (or Studio 64) Edition would be my first choice as a professional seeking to make his clients happy. It gives you all the essential tools, except a way to change hair styles or add facial hair. I would like to see the Touch Up Brush finessed with even more control. And, while cloning tools are absent, Photoshop users will not be bothered by this omission. The program is full-bodied. More importantly, it delivers. And if you’re wondering, will it work on faces shot at an angle or in profile, the answer is a qualified yes. It gets a little tricky when any face is not staring straight into the camera, but it’s doable. If not overdone, Portrait Pro 11 will invigorate a portrait. Beautune is quite different, albeit with the same aim of making portraits look better. On the one hand, it is practical and effective; on the other, the process is more laborious. There are features that I like - namely those that, when properly applied – let me coax parts of the image that need coaxing just enough to make a difference. In fact, I can see Beautune used as an adjunct to Portrait Pro, if only because Beautune’s uncomplicated interface lends itself better to applying certain touch-ups. If they took this app to the next level – as a plug-in, I would recommend it more highly. Essentially, Beautune does what it sets out to do, in a largely uncomplicated fashion. Despite some reservations, I do like this app. In fact, I appreciate having more intimate control over the retouching, without being dictated to by automatic actions. Closing Comments: Will they do the job? Definitely. While it is largely automatic, Portrait Pro 11 presents a somewhat intimidating interface initially. At the outset, you need to make some decisions, but, beyond that, let the program work its magic or lend a hand, as you see fit – or as far as your stylist’s eye and hand will allow. Beautune has more of an inviting interface, but is more labor-intensive. Either way, it takes a trained eye/hand to do justice to the faces you’re retouching. And we should add that, while the face is the focus of each application, you can extend retouching to other parts of the body (or the background), although not necessarily with the same intensity. In either case, you would do well to consult with your clients first before attempting extensive retouching. And it wouldn’t hurt to have a makeup artist at your side, or even at the controls. What you have to be careful about with either application is reshaping a person so that he/she becomes someone else entirely. Think twice before removing moles that may be beauty marks or birthmarks, or reshaping the contours of a face. Sure, you may make someone prettier in the process, but you may also be creating a whole new persona, and is that what you and especially your portrait client really want? It’s very easy to get carried away with either application. Remember, discretion is the key. If someone has to ask, Who is this, you know you’ve overstepped your hand. Closing Comments First, lighting. Much of this work can be alleviated with proper lighting. If you use harsh lighting, you accentuate wrinkles and facial blemishes. Use soft lighting (bounce lighting off nearby surfaces, umbrella lighting, softbox) and fill lighting (and/or a bounce card or collapsible reflector) and you not only reduce the appearance of facial flaws – without any magic elixir, but also lessen wrinkles and disturbing creases in clothing. Second, for a more ethereal or romantic effect, take it to the next level. Soften lines and blemishes with a soft-focus or diffusion filter over the lens, a prime soft-focus lens, a Lensbaby soft-focus lens system, a soft-focus plug-in effect (for example, Nik Color Efex Pro), or even by reducing Clarity (or Structure, or its variants – depending on your application). If you’re only worried about blemishes and moles, you can simply use healing or cloning tools available in any imaging application. Where can I get more info? Beautune: http://www.everimaging.com/software/beautune/ Portrait Pro 11: http://www.portraitprofessional.com Publisher: Beautune: Everimaging Portrait Professional: Anthropics Technology (Elkhart, IN) How much is it? Beautune/Mac edition: direct: $29.99; Mac App Store: $14.99 (limited-time offer) Beautune/Windows edition: (select 32-bit or 64-bit) direct: $29.99 Portrait Professional 11 (Mac or Windows): Amazon: $49.95 ; direct: $39.95 (limited-time offer) (upgrades available to Studio & 64-bit editions) Portrait Professional Studio 11 (Mac or Windows): Amazon: $69.95; direct: via upgrade Portrait Professional Studio 64 v.11 (64-bit edition: Mac or Windows): Amazon: $129.95; direct: via upgrade Trial Version Available? Yes, for both Beautune and Portrait Professional 11, via the respective website. Does It Reach pixelPERFEXION? (100 pixels is best): Beautune: 75 pixels, for general usability and fun factor; lost points due to failure to target specific areas with the available tools and lack of full graphics tablet support. Portrait Professional 11: 90 pixels, for comprehensive feature set and ease of use (when using presets – more complex when you address individual features on your own); lost points owing to the complexity of the program (those personalized touches I just alluded to), but at the same time this is also what makes it such a vital tool for the portrait photographer. Also, points lost for lack of full graphics tablet support. By Jack Neubart • Posted: Sep 27, 2013 • Published in SHUTTERBUG MAGAZINE: Aug 1, 2013 The Phottix Odin is a radio frequency-controlled system, or simply radio remote. The basic package includes two units: a transmitter and a receiver. Additional receivers are optional. You only need one transmitter to sit in the camera’s hot shoe and trigger compatible i-TTL strobes, but you need a receiver for each off-camera flash. And recently, Phottix introduced a new combo pack that includes one additional receiver—perfect for my two-speedlight setups. The unit tested here is for Nikon and I worked with my Nikon SB-900 speedlights. The Odin Transmitter is also the Control Unit (which is why it’s called a TCU), and it sports an easily readable, user-friendly digital display. In fact, if you’ve used your Nikon in Commander mode, it’s not a big leap to work with the Odin. I even found the Odin simplified working with off-camera flash when using Nikon’s WU-1b wireless mobile adapter with my D600 and iPad. CLICK ON THIS LINK TO READ THE COMPLETE PUBLISHED REVIEW ONLINE: PHOTTIX ODIN PHOTO CAPTION
Tabletop: Light Ratio Mode The light ratio mode (via the Option menu screen) lets you easily adjust TTL lighting when only two Nikon SB-900 speedlights are used. In these two examples (shown with Odin light ratio settings that I used), I first positioned the Group A flash (with diffusion dome) in the front-left corner of the set aimed into the ceiling but angled slightly downward toward the subject. Then I added the Group B strobe, on the floor, bounced into the wall at an upward angle so that it hit the white plastic sweep at the back. A silver card was added on the right for fill. You can see the effect that adjusting the light ratios has on this still life. I prefer the shot where the key light is stronger (4:1) because it gives the crystal goblet more of a high-key feel, while giving the candy wrappers increased presence. ©Jack Neubart PocketWizard ControlTL System For Nikon: A TTL Wireless Radio Remote System For Speedlights10/7/2013
By Jack Neubart • Posted: Sep 11, 2012 • Published in SHUTTERBUG MAGAZINE: Aug 1, 2012 While I’ve found Nikon’s wireless TTL system to be a great asset, I also understand that it has inherent weaknesses when used around obstacles that block the signal, as well as outdoors beyond a few feet or under sunlight. Enter PocketWizard’s ControlTL (Control The Light) TTL-auto radios for Nikon (originally introduced for Canon). These radios are designed to respond in every respect as a dedicated extension of the Nikon CLS/i-TTL system. And they have the potential to do that, provided you keep on top of firmware updates (www.pocketwizard.com/support). I conducted my tests using my Nikon D300 together with the Nikon SB-900 speedlight (verified by PocketWizard as compatible) and briefly an SB-700 (not confirmed at time of testing). CLICK ON THIS LINK TO READ THE COMPLETE PUBLISHED REVIEW ONLINE: POCKETWIZARD CONTROLTL I wanted to give this fountain, located in Arlington Heights, Illinois, a bit of color, so I set up one Nikon SB-700 with a blue gel on one side, an SB-900 with a green gel on the other, each high up on a light stand around 10 or 15 feet from me. A FlexTT5 was fitted to each. For most shots, only the SB-700 responded to the on-camera MiniTT1, but in this shot I did manage to get both lights contributing. Later PocketWizard explained that water could interfere with radio signals. © Jack Neubart |
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