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Posts Tagged ‘Heads’

Platypod creators return with the new Platyball Ergo and Elite tripod heads

18 Jan

The Platypod creators are back with another product called Platyball, a new type of tripod head that features a unique design and more modern, convenient features. The Platyball is made with a weather-sealed aluminum unibody, steel components and polymer brake pads; it supports payloads of up to 10kg (22lbs).

Rather than featuring bubble indicators, the Platyball features a built-in leveling indicator offering an accuracy level of 0.5-degrees. The pricier Elite model is identical to the cheaper Ergo model, the only exception being its electronic leveling indicator system. The Platyball is designed for single-hand and gloved-hand use, plus it can be transported using a carabiner clipped to a bag or belt.

Other features include support for use in half a dozen directions, an adjustable brightness display for nighttime use, support for user calibration, an Arca-compatible twist collar, panning lock thumb wheel, two large buttons for locking and unlocking the device and support for standard A23 alkaline batteries.

The Platyball Ergo is offered to Kickstarter backers who pledge at least $ 199; the Platyball Elite for pledges of at least $ 249. The team estimates that shipping to backers will start in March 2021 and that the eventual retail prices will be $ 249 and $ 325, respectively. You can find out more and secure your pledge by heading over to the Kickstarter campaign.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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3 Legged Thing’s new tripods feature leveling base, video heads, table-top option and more

26 Nov

Tripod manufacturer 3 Legged Thing has announced a new range of premium tripods that are designed to suit both stills and movie photographers. Inspired by the skateboarding world, the Legends range will offer video heads for the first time as well as new leg locks, a leveling base as well as three detachable legs that can become monopods or booms arms for lights and microphones. The company has launched two models, Mike and Jay, and promises more for the future.

The 8-layer carbon fiber legs offer a lightweight tripod without compromising stability and rigidity according to the company, and new Rapid Latch locks on the tops of the legs make them quick and easy to open for those with disabilities.

Mike is the taller of the two, measuring 66.7cm (26.26in) when closed, but extending to a maximum height of 147.5cm (58.07in). Mike weighs 1.65kg (3.64lbs) and can support kit of up to 14kg (30lbs). Jay is designed to be travel-friendly and measures 40.5cm / 15.94″ when folded and extends to a maximum height of 111.2cm (43.78in). He weighs 1.41kg (3.1lbs) and can hold the same weight as Mike – up to 14kg (30lbs).

Jay has a minimum height of 10.0cm / 3.94″ and Mike of 13.5cm / 5.31″, but both models can have their legs removed and optional ‘footwear’ mini-legs attached so that they can be used very close to the ground or on a tabletop. With the mini-legs attached the leveling base can double as a 3-legged stabilizer for one of the main legs when used as a monopod.

The company has also released its first video heads, which offer left or right panning arm placement, fluid movement and adjustable tilt motion. The AirHed Cine comes with either an Arca-Swiss clamp and plate or a standard version, and both have a mounting thread for attaching accessories.

Mike will cost $ 549.99 / £499.99 on his own, or $ 849.99 / £729.99 with the AirHed Cine, while Jay costs $ 479.99 / £449.99 on his own, or $ 779.99 / £679.99 with the AirHed Cine. The AirHed Cine costs $ 349.99 / £299.99 by itself. The company says there will be more to come for the Legends system in the next few months.
For more information see the 3 Legged Thing website.

Press release:

3 Legged Thing Announces New Legends Tripod Range

The award-winning British tripod manufacturer introduces a new ultra-premium tripod range and the first three products.

Following the phenomenal growth in popularity of its Pro and Punks tripods, 3 Legged Thing is excited to announce Legends – the most radical departure from conventional tripod design ever developed. Designed and engineered in Stagsden, England, the new products deliver unbelievable strength, maximum versatility, and incredible build quality. It is the first time 3 Legged Thing has introduced products designed for both photo and video.

Taking its inspiration from skateboarder, musician, photographer and 3LT Pro Team member, Ray Barbee, the ethos of the Legends range is innovation, outstanding performance, and creativity.

3 Legged Thing’s CEO and Founder Danny Lenihan explains: “With every incarnation of tripods, we bring new and exciting technological advances, and upgrades to existing design and engineering. Legends is a back-to-the-drawing-board look at how we use and need tripods in modern photography and videography, with ideas dating back five years that we had previously left undeveloped. With emphasis on workflow and user-friendliness, we’ve simultaneously lowered the weight, and increased the load-to-weight ratio, without compromising stability or rigidity. We’ve added advanced functionality, the likes of which have never been seen before, and made major aesthetic changes for our most incredible tripod range to date.

Danny continues: “When I first saw Ray Barbee, as a teenager, making his Bones Brigade debut in the Powell-Peralta film, Public Domain, my perception of skateboarding instantly changed. Here was this kid, who had defied normal conventions of neon and garish 80s fashion, and replaced them with a tee, jeans, Vans and a baseball cap. His style was smooth, inimitable, flowing and utterly effortless, and it was this that inspired me most. The parallels between Ray Barbee’s ethos and creativity, and the ideas forming in my head were tangible and quantifiable. I wanted to bring this new range to life, with fluid workflow, effortless movements, and unbounded style. When I mentioned to Ray that we’d like to name a tripod as a tribute to him, he was incredibly modest and humble. I knew then that it was exactly the right thing to do. Whilst the Ray tripod isn’t the first in the range to launch, it is important to understand that the influence and inspiration for the rest of the range, and the three debut products, all stem from Ray Barbee’s commitment to the arts, and I look forward to launching his signature product in 2020.”

The first two tripods in the range are Mike and Jay, 3 Legged Thing’s first levelling-base, hybrid photo/video tripods. Equally useful for video makers or landscape photographers, levelling base systems enable smooth and fast set-ups on challenging terrain. Mike is a full size carbon fibre tripod, designed for incredible stability in any conditions, whilst Jay features shorter carbon fibre legs with more sections, creating a travel-friendly video option, the first of its kind.

Mike is named after one of the original Bones Brigade skateboarders, Mike McGill. Inventor of the McTwist (arguably the most iconic trick ever invented), Mike is one of the most famous skateboarders in the world, and a professional for over 30 years. Jay is named for the late Jay Adams, the Dogtown skateboarder, whose style was inspired by surfing, influencing a whole new generation of skaters.

Similarly, the tripods in the Legends range share this DNA of innovation. These tripods have not one but three detachable legs, adding a level of versatility rarely seen in a tripod system. The legs can be used as a monopod; as boom arms for lights or microphones, or both!

With the legs removed the tripod can be used on table-tops or at ground level by joining a set of 3LT’s tripod footwear to the leg hinges. This enables both Mike and Jay to be used for macro work, bringing photographers a varied range of perspectives from which to shoot. With the addition of 3LT footwear, the levelling base can also be used as a foot stabiliser for a monopod leg, adding an extra level of versatility to the products.

The tripods are constructed from 8 layers of 100% pure Japanese carbon fibre, and aerospace-grade, anodised magnesium alloy, providing incredible strength, rigidity, and durability.

The new tripods have 3 Legged Thing’s new Rapid Latch, a hardwearing anodised mag-alloy latch with auto-engage lock, which is used to open and position the legs. The Rapid Latch has been specifically designed to make adjusting the legs quick and simple, even if the user is wearing thick gloves. Rapid Latch is also designed to be friendly to those with disabilities or hand injuries, enabling them to easily change the leg angles without complication or fuss.

Each of the legs can be used at three optimal angles creating different shooting heights, and can be positioned independently for use on uneven ground. The tripods come with removable rubber Bootz, which can be replaced with one of four varieties of alternative footwear, to increase stability on even the most challenging surfaces.

The Legends range tripod leg locks have new external designs with raised O-Pads for improved, grip, leverage and water displacement. Internally, the locks have been engineered with a new design of Chicken Lips (shims) which give the locks greater strength and grip, and formidable anti-rotation.

Mike and Jay’s levelling base has a friction control that enables users to finely-adjust the positioning. Both tripods are also available in kits with 3 Legged Thing’s stunning new video head, the AirHed Cine.

Precision milled from aerospace-grade magnesium alloy, and featuring a distinctive spiderweb design, the AirHed Cine has an adjustable, fluid-motion, tilt mechanism that offers smooth movement and can be controlled directly, or with the included panning arm. The arm can be fitted to either side of the head for right or left-handed operation. The AirHed Cine is available with a choice of standard video clamp and plate, or an Arca-Swiss compatible clamp and plate, and features a ¼”-20 thread for externally mounted devices such as articulated arms.

The first two tripods in the Legends range are available for pre-order starting today. Mike’s suggested retail price is £499.99 / $ 549.99 for tripod only, with tripod kit including AirHed Cine SRP of £729.99 / $ 849.99. Jay’s SRP is £449.99 / $ 479.99 tripod only, and £679.99 / $ 779.99 for Jay Kit with AirHed Cine. The AirHed Cine is available separately with a suggested retail price of £299.99 / $ 349.99.

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto launches a trio of new center ball heads

09 Oct

Italian tripod maker Manfrotto has updated its line of ball tripod heads. The new 490 center ball head is an affordable model designed with simplicity in mind. The entire head is controlled via single knob, making sure the new model is easy to use. It comes with Manfrotto’s RC2 200LT-PL plate and allows for quick positioning of the camera into portrait orientation.

The company has also redesigned its 492 and 492LCD heads. Both models are manufactured in Italy and designed with ergonomics and convenience of use in mind. The LCD version comes with a cold shoe mount, allowing for mounting on top of a camera to hold external displays or others accessories via a 1/4-inch tripod mount.

The new heads are targeted at amateur photographers and have a payload of 4KG, making them ideal for smaller camera/lens combination, such as Micro Four Thirds mirrorless cameras or entry-level DSLRs.

At $ 50 (GBP 44.95) the 490 is the most affordable of the new center ball heads. The 492 is $ 60 (GPB 54.95) and the 292LCD will set you back $ 70 (GBP 64.95).

Articles: Digital Photography Review (dpreview.com)

 
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Using four Godox EC-200 extension heads as a quad-flash for beauty and close-up lighting

25 May

Flashpoint/Godox have just announced the EC-200 extension head, adding an effective and extremely low-cost tool for cosmetic and macro photography. These heads are exclusively designed for the Evolve 200 / AD200 pocket flash, a widely popular and highly efficient product, operated by long-lasting lithium batteries.

Throughout my career I have used various types of ring flashes and parabolic umbrellas. I also collaborated with Swiss lighting manufacturer Broncolor for over a decade on countless marketing and promotional projects, and shot their launch campaigns for the original Para 330 and Ringflash C.

Super model Iman for DeBeers global campaign (2003), shot with Broncolor Para330, and Fujifilm GX680III, on Fujifilm Provia film.

These types of lights are often used by fashion photographers, as they are both easy to work with and offer many options—the Broncolor Paras in particular, which range from the 88 to 330, can produce a wide variety of effects. However, neither types are ideal for extreme close up work when balanced, even front-lighting is required.

The new remote heads from China on the other hand, are small and light enough to allow for several of them to be mounted on a camera flash bracket and rail.

Selecting tiny but wide-angled reflectors, the resulting light is much less harsh, and more feathered than the output from a ring flash, in very close distance. The total weight of, let’s say, four extension heads with the small reflectors and including the bracket/rail set is just about 24 ounces, making handheld shooting is easy.

This new kind of ‘Quad Ring’ set up offers also the additional advantage over traditional ring flashes of allowing individual control of each of the flash heads in turn, which permits me to limit the output of the flash hitting the model’s face from underneath.

This is not as easily achieved with a ring flash.

Placed on tripod, the four extension heads are still mounted on the bracket and rail, but the camera is hand-held, so the four lights hit from a slight angle.

Fujifilm GFX 50S, GF 250mm lens, F8, 1/4000 sec, ISO 100

The Evolve 200 / AD200 pocket flash performs extremely well and reliably in HSS (High Speed Sync) mode, and when used for this ‘Quad Ring’ arrangement, provides output powerful enough to completely black out direct midday sunlight.

This four-light arrangement also makes an excellent off-camera light by simply setting the contraption on a tripod and shooting from various angles around it.

The ‘Quad Ring’ is also off-centered in this image. This time it’s placed to the camera angle, resting on a tripod.

Fujifilm GFX 50S, GF 120mm macro lens, F11, 1/125 sec, ISO 100

As evident by the unusual catchlights, the four extension heads are mounted on bracket and rail around the lens here.

Fujifilm GFX 50S, GF 120mm macro lens, F11, 1/125 sec, ISO 100

The announcement of the new remote heads is timely. The recent release of new macro extension tubes by Fujifilm for the mirrorless medium format GFX 50S (and the release of the GF 120mm macro lens) have ushered in a new era for macro photography. One can now easily shoot 1:1 handheld, with very fast and reliable autofocus, or manually focus while zoomed in.

Compared to previous systems, macro photography with medium format mirrorless cameras has become easy and accessible. Adding the creative options created by the convenient new remote heads, it has never been more fun to shoot close up!


About the Author: Markus Klinko is an award-winning, international fashion/celebrity photographer and director, who has worked with many of today’s most iconic stars of film, music, and fashion.

Klinko has photographed the likes of Beyonce, Lady Gaga, David Bowie, Jennifer Lopez, Britney Spears, Mary J. Blige, Mariah Carey, Kanye West, Anne Hathaway, Kate Winslet, Will Smith, Eva Mendes, Kim Kardashian, Naomi Campbell, and Iman. His editorial clients include Vogue, GQ, Vanity Fair, Harper’s Bazaar, and Interview magazine.

You can find more of his work on the Markus & Koala website or by following him on Instagram.

Articles: Digital Photography Review (dpreview.com)

 
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Novoflex ClassicBall ball heads can be mounted upside-down for level panoramas

28 Apr

Novoflex has launched a trio of new Classicball tripod ball heads that can be mounted upside-down for producing level panoramas. The new lineup is comprised of the CB 2, CB 3 II and CB 5 II models, each able to accommodate cameras and gear weighing up to 5kg/11lbs, 8kg/17lbs and 12kg/26lbs, respectively. All three models feature a leveling bubble built into the base of the mount.

According to Novoflex, all three new Classicball models are compatible with all ‘common’ tripods, and each can be used with optional quick-release accessories. A lever on the side of the ball head clamps the camera into position; users can also adjust the friction using the blue 5-stop friction dial. Each model features a trio of 90-degree openings for positioning the camera fully backward, forward, and to the side. The ball head’s design allows for 360-degree rotation, including in reversed (upside-down) mode, which itself supports optional L-bracket, plate and quick-release accessories.

The new Classicball models are available on Novoflex’s website now for $ 495 (CB 2), $ 475 (CB 3 II) and $ 692 (CB 5 II).

Via: DIY Photography

Articles: Digital Photography Review (dpreview.com)

 
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Behind the scenes: An interview with the heads of Canon’s L lens factory

22 Mar
From left to right, Mr Hayakawa, Mr Okada and Mr Izuki, the three men in charge of development and keeping things running smoothly at Canon’s Utsunomiya lens plant. 

Following the CP+ 2017 show in Japan, we headed to Canon’s Utsunomiya lens factory to take a tour (see what we found) and interview the gentlemen who oversee all operations and development. This included Kenichi Izuki, the Plant Manager, Masato Okada, Deputy Chief Executive of Image Communication and Products Operations and Shingo Hayakawa, Deputy Group Executive of Image Communication and Products Operations.

The Utsunomiya plant is where all Canon’s L series, cinema, and broadcast lenses are produced. It’s also where all Canon lenses are designed. Many of those designs can be attributed to the three men pictured above. In fact just before we started the interview Mr Izuki informed us that he had been lead designer of the EF 35mm F2 IS lens we’d chosen to document the factory tour. So there’s also a pretty good chance you have one of them to thank for your favorite Canon glass!

Please note that this interview was conducted through an interpreter, and has been edited slightly for clarity and flow.


The magic place where all Canon L lenses are born.

What percentage of L lenses are manufactured in the Utsunomiya lens plant?

Because this is the ‘mother’ factory, 100% of L lenses are made here.

How many different lenses can be manufactured simultaneously in this plant?

Basically, we create all lenses every day [including L-series EF, Cinema EOS and broadcast]. The only exception is some of the broadcast lenses.

Which lenses in particular are the most difficult to manufacture and why?

Any large super telephoto lenses because of the size of the glass elements. In terms of skill required for lens assembly: the TV broadcast lenses are most difficult.

How many lenses are produced at this lens plant every year, both in terms of types of lenses and total units?

We do not disclose total production for this plant. That said, Canon has produced a total of 120 million lenses over the years. Of course, many of those are kit lenses, which are not produced here, but in our facility in Taiwan.

Mr Izuki, the plant manager, teaching us about the lens production process. 

Tell us a little bit about the history of the plant.

The facility as a whole has been here for forty years, however prior to 2005, we were located in an older building on the other side of the property. And the land where the current plant sits was initially owned by the Du Pont family. When they returned it to the prefecture, we bought it.

The current lens facility opened in 2005. When we moved in we completely revamped our lens-making machines and devices. Not all, but the majority. This helped to push [us] to a higher standard of quality.

Over the past 40 years, lenses have changed a lot, with autofocus introduced, aspherics, etc., what was the largest paradigm shift in lens technology?

We are reaching the 30th anniversary of the introduction of the EOS line. It was at that time, in 1987, that we moved into autofocus. When we did that, I believe we were the first ones to go fully-electronic mount autofocus. Because the motors were built into the lens we had a significant competitive edge.

As DSLR resolution increases, it can be a challenge to achieve precise focus because AF errors are more noticeable. How do you reduce this risk in the manufacturing and quality control process?

Overall precision is something customers are increasingly requiring. In this factory, we have increased the level of precision of our machines so that lenses have more accurate autofocus.

A lens going through QC testing. Information from the test will be saved on a chip in the lens.

During the tour it was mentioned that Canon lenses now store their quality control test data using on-board memory. Can that data be used to improve autofocus reliability?

We do store data from final lens testing on each unit. I won’t be able to speak in greater detail other than saying, yes, in theory, that data could be used to achieve higher autofocus performance [better AF precision] with a DSLR.

How long does it take a lens like the Canon EF 16-35mm f/2.8L III USM to make its way from start to finish in the assembly line?

From raw material being polished, to the final tested product being boxed: about 24 hours of work, in theory. But the physical production would actually take longer. This is because we are producing parts in batches and there are machines that need to be fitted. These variables aside, if you take the actual time of labor, assembly and packaging, it is about 24 hours.

You mentioned you were looking to hit an 80% automation rate in this facility. What kind of efficiency gain does that represent?

It’s difficult to say in terms of time, but I can say it use to take about 70 people to make a lens like that prior to automation, now we need about 6 or 7.

As production becomes more automated will you require fewer skilled manual workers?

In one sense yes. But it’s not about firing the rest of these people, it’s about allowing them the time to build up their skills. This way they can face challenges and difficulties like increasing precision and performance. So we’ve essentially been able to allocate these workers to a different environment.

A lens in the final assembly process. It can take 25-30 years to become an Assembly Meister at Canon’s Utsunomiya plant. 

Typically how long does someone train before they attain the title of ‘Meister’?

In terms of the level of ‘Lens Meister,’ it would take 30-35 years. For ‘Assembly Meisters”, 25-30 years.

Now that the process for assembly, element polishing and quality control is so automated, we’re curious how many lenses pass QC the first time vs those that have to go back for re-calibration.

In terms of maintaining a level of quality before going into mass production, we do a lot of checking and scenario building [using a super computer] to make sure everything will go right. Once a lens goes into mass production we can safely say that we have seen no lenses returned for further calibration.

What impact did the 2011 have on this facility and how long did it take to recover?

A lot of the ceilings came down. We took a big hit in that regard. But, we were able to come back into operation within about 2 to 3 months.

While not the most exciting photo, if you look very carefully, you might see some minor impressions on the linoleum. This is (subtle) evidence of the 2011 earthquake, which caused some ceilings to collapse. The yellow tape line is used by computerized robots in the factory.

Did you implement any changes as a result of the earthquake?

We have fortified the building, so that it is more earthquake-proof. And the assembly tools we use are put together in such as way that they are shake-proof.

Are there major differences in how you QC test broadcast and cinema lenses vs EF lenses?

The concept for testing is basically the same. But, in terms of broadcast/cinema lenses there are some unique customizations that we offer depending on the particular cameraman or filmmaker. If they want to zoom by hand, for instance, we can accommodate the pressure of the mechanism to their requirements.

A lot of your users use EF lenses for video creation. Has that changed the way you design some EF lenses?

In terms of stills shooter, when it comes to autofocus, the faster the better. On the other hand, videographers tend to require a variance in autofocus speed. Sometimes they want a slow effect. So we had to create a motor that could actually do both fast and slow focus. This is why we introduced Nano-USM. It’s in both the 18-135mm F3.5-5.6 IS USM and the 70-300mm F4-5.6 IS II USM.

Will that kind of autofocus be used more in the future as video becomes more of a requirement for users?

Yes. 

At any given time, how many new lenses are in development at this facility?

I can not give you a number, unfortunately. But I can say that new lenses are in development as we speak. So I hope you look forward to them.

Results of a QC test.

Editors note (by Dan Bracaglia):

Let me begin by saying how grateful I was to be given access to Canon’s lens factory and what an honor and privilege it was to sit down and interview the creators of some of Canon’s most legendary glass. In my six and a half years writing about photography, this was one of my most memorable and rewarding experiences. 

As you might expect, there were nearly endless points of fascination. Some of which are covered in this interview, others in our factory tour slideshow. Something that particularly interested me is the fact that all the information from a lens’ final calibration and quality control check is saved on a chip within the lens itself. The idea here is this information can been used, in theory, when a lens comes back in for cleaning or recalibration. It also means that at some point, perhaps camera bodies will be able to access this information, which could lead to better AF precision. This is solid forward thinking on Canon’s part. 

I was also intrigued to find that Canon manufactures every L lens in the same factory. Not only that but every current lens in the L series is being made every day. As you might imagine, security at the facility is very tight. 

“Canon, it seems, recognizes just how important pushing lens development is”

Also hearing Canon put a concrete number on their automation goals (80%) was interesting. Of course you could read that as Canon displacing workers with machines, but throughout the tour and the interview, our guides made it clear that automation wasn’t about replacing workers, rather dedicating more workers to research and development. Canon, it seems, recognizes just how important pushing lens development is, all while maintaining a high level of quality control. Automation offers just this. 

And I’m not ordinarily one to be starstruck, but when Mr. Izuki told me he designed the Canon EF 35mm F2 IS, my jaw dropped a little. There’s nothing quite like standing of front of the creator of one of your favorite lenses. Speaking of favorites, we also asked Mr. Hayakawa, Mr Okada and Mr Izuki which Canon lens they’ve designed/worked on over the years they are most proud of. We got some great answers. We’ll be posting those in a separate article soon, so stay tuned!

Barney, just prior to entering the factory floor. We also went through a room that blasted us with air. Dust is the enemy in a lens factory. 

 

Articles: Digital Photography Review (dpreview.com)

 
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Bowens introduces Generation X studio and portable flash heads with TTL radio control

07 Oct

UK flash manufacturer Bowens will use the PhotoPlus Expo to launch its new range of Generation X flash heads in the USA. The new range has a completely new design and features a portable model that is powered by an in-body rechargeable battery.

There are four heads in the new range: the XMT 500, XMS 500, XMS 750 and XMS 1000, all of which offer radio controlled triggering and control via new on-camera transceiver XMSR Trigger. The XMS mono-block heads are designed for indoor and in-studio use while the XMT 500 takes a removable lithium ion cell that the company claims delivers up to 500 full power bursts per charge. This portable head also offers TTL control for Canon, Nikon and Sony users.

All of the new heads have a high speed sync mode that allows shutter speeds as short a 1/8000sec, and the XMSR radio remote allows such high speed shooting with any brand of camera. The XMT 500 has a minimum flash duration of 1/10,309sec, and the XMS heads have shortest durations of 1/5180sec, 1/4800sec and 1/4400sec, which makes them all suitable for freezing action and moving subjects.

The XMS 500 has 7 stops of adjustable power, while the XMS 750 and XMS 1000 offer 8 stops. The XMT can manage 9 stops and has a lowest output of just 2Ws. The battery-operated head has recycle times of between 0.01 and 2 seconds, and the XMS 1000 can also recover from a full power burst in 2 seconds. Bowens claims each of the heads has a flash-to-flash consistency of +/-30°K and +/-0.05 stops.

Bowens is particularly proud of a new adjustment lever that allows the heads to be tilted very quickly without the user having to wind open a bolt. The new lever just flips open to allow the angle of the head to be adjusted and then flips back to lock the head in position.

XMT 500            $ 1,799.99/£1199
XMS 500            $ 1,099.99/£799
XMS 750            $ 1,299.99/£899
XMS 1000          $ 1,499.99/£999
XMSR Trigger    $ 289.99

For more information see the Bowens website.

Press release

Bowens Launches Game Changing Generation X Flash Range

Upper Saddle River, N.J. (October 5, 2016) – Manfrotto Distribution, Inc., distributor of Bowens products in the United States, proudly announces the launch of the new Generation X flash range by Bowens. These innovative units will debut in the U.S. at PhotoPlus Expo in New York City later this month and mark a renaissance for the legacy lighting manufacturer.

Generation X comprises two new flash systems: XMT – an all-in-one battery unit for location lighting and XMS – engineered to be the go-to system for photographers who need a function-rich and completely reliable flash in the studio.

Announcing the launch, David Hollingsworth, Marketing Manager, said, “Generation X is just the first step in relaunching Bowens to the imaging world. These barrier-breaking new products combine state-of-the-art technology and cutting-edge design and are the result of many months of very intense market research and product development. They will be the vanguard of our plans for ongoing and regular new unit roll-outs in coming months and years.”

Added Hollingsworth, “We believe these are simply the best lights in their class available on the market today. New-look Bowens is creating beautifully designed and engineered products, tailored to our customers’ needs.”

John Gass, Technical Director said, “Generation X is the result of highly-focused analysis of our customers’ feedback through the years. These new units are revolutionary products which we believe are absolutely unbeatable in their class in terms of functionality, aesthetics and cost.”

He added, “For decades, customers have frequently described our products as ‘workhorses’ in the studio and on location. Now the workhorse has been transformed into a stallion; we tested the XMS at full power every five seconds over consecutive days and we couldn’t force this product to overheat.”

Generation X – at a glance:
The all-new 500Ws XMT boasts TTL and high speed sync functionality (up to 1/8000s) compatible with Canon, Nikon and Sony cameras: 9-stops of flash power adjustment; flash durations as short as 1/10309s: faster recycle times than ever before (as rapid as 0.01s): easy swap lithium-ion battery provides up to 500 full power flashes per charge: rear curtain sync; sync delay and strobe mode allow creative set-ups on the move.

The XMS, available in 500,750 and 1000Ws models (all fully controllable via the XMSR 2.4 Ghz radio control and trigger) features multi-voltage operation. These units offer outstanding specification with faster recycling times and flash durations. The XMSR model includes groundbreaking Bowens ‘Sync Offset’ functionality, enabling photographers to embrace any brand of camera to shoot at high sync speeds – up to 1/8000s.

The following models will be available this fall:
XMT 500 $ 1,799.99
XMS 500 $ 1,099.99
XMS 750 $ 1,299.99
XMS 1000 $ 1,499.99
XMSR Trigger $ 289.99

For additional information or to learn more about Bowens products, visit: https://www.manfrotto.us/bowens.

Articles: Digital Photography Review (dpreview.com)

 
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Godox to launch AD600 battery-powered mono-block heads

05 Aug

Kenko Professional imaging has announced that it will officially launch a 600Ws mono-block style flash head that will be available for TTL and manual control. The Godox AD600 head will come in two versions – the AD600-TTL and AD600-M, both of which will have options for Bowens S or Godox mounts for accessories. Both TTL and manual versions will be able to be triggered remotely optically or via the Godox 2.4GHz radio wireless system, while the TTL model offers remote output control from Nikon i-TTL or Canon E-TTL cameras.

The lithium-battery powered heads are designed for outdoor use and offer a guide number of 87m/285ft at ISO 100 when fitted with a standard reflector. According to the company the battery will provide 500 full-power flashes and the head can recycle in 0.01-2.5 seconds. A high speed sync mode allows shutter speeds as short as 1/8000 sec, and output can be varied down to 1/256th power in nine steps from full power. The modeling light is LED and emits up to 10W and has three brightness options.

The head weighs 2.66kg/5.86lbs, and measures 220x245x125mm/8.66×9.65×4.92in. Current pricing is only available in Japanese Yen, with the AD600-TTL head costing ¥118,000 (roughly $ 1170/£890). The heads will be available from August 17th.

For more information see the Kenko website (translated version).

Articles: Digital Photography Review (dpreview.com)

 
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Fotodiox launches flicker-free LED100WB lighting heads with dimmable daylight output

11 Jun

Accessories and lighting manufacturer Fotodiox has introduced a new LED lighting head that it claims is flicker-free and suitable for high speed photography. The LED100WB head comes with a 5600k daylight balance and offers a more consistent color rendition than the company’s previous models. Fotodiox claims the heads have a CRI of >95 and while they only draw 100 watts they deliver dimmable output of more than 400 watts. The heads run cool so are ideal for a wide range of subject matter indoors and out, and will suit both stills and motion photographers.

The company claims the output is flicker-free so frame rates as high as 120fps can be used for slow motion video, and that the bulbs have a life of 30,000 hours. The bulbs can be dimmed via a knob on the top of the housing or by using a wireless remote control. Fotodiox claims that the advantage of using their LED heads over tungsten when dimming is that the LED’s retain their color temperature.

In a change from the company’s previous WA heads, which used a Bowens S mount for accessories, these new WB models take Alien Bee modifiers. The new heads are more compact than the WA heads, but they weigh the same and don’t offer a choice of temperature or power.

The heads are sold on their own with a power adapter, reflector dish, a diffuser sock for the dish and a stand. A three head kit that also features folding softboxes with speed rings and a rolling case that fits the whole kit. The single head costs $ 299.99 while the 3-head kit costs $ 999.99.

For more information visit the Fotodiox website.


Press release:

Fotodiox Pro Announces Compact, Powerful LED100WB for High Frame Rate Shooting

Fotodiox Pro, creator and distributor of several lines of specialty solutions for videography, cinematography and photography, has announced the LED100WB: a soft light with powerful luminance for photographers and filmmakers. Built upon Fotodiox Pro’s award-winning LED technology, the LED100WB features a compact form factor and draws a mere 100 watts while outputting the rough equivalent of a 400+ watt Tungsten light. A perfect tool for portraits, tabletop photography, video interviews, short films and even special effects like slow-motion and time-lapse capture, the LED100W is available now as a single light or three-light kit from FotodioxPro.com.

“The world is shooting in 4K, and we wanted to create something that would stand up to its amazing creative potential,” says Bohus Blahut, marketing director for Fotodiox Pro. “In addition to already being quite versatile and ready to use right out of the box, the LED100WB is a perfect light for exciting visuals like time-lapse and slow motion. Go ahead and bump frame rates up to 120fps – we’ve designed the LED100WB to provide powerful, beautiful, uniform soft light, with no flickering.”

The LED100WB features a quick-release front mount compatible with Alien Bee accessories; one simple twist allows the user to mount or remove a whole host of light modification accessories. Each LED100WB comes with a metal reflector, a diffuser and a portable folding 24” Softbox, making it easier than ever to start shooting in seconds. Adding to its great versatility is a decidedly compact form factor – perfect for more creative positioning on a shoot – as well as the option to add barndoors, round and strip softboxes, and creative reflectors to each purchase. For ultimate portability, the three-light kit includes three light stands inside a custom-fit, luggage-style rolling case.

To learn more about the LED100WB and Fotodiox Pro’s additional photography and filmmaking accessories, please visit FotodioxPro.com. View unboxing videos and product demonstrations via youtube.com/user/FotodioxInc.

Articles: Digital Photography Review (dpreview.com)

 
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Broncolor launches battery-powered Siros studio heads for location photographers

18 May

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Swiss lighting manufacturer bronocolor has announced the Siros 400 L and 800 L, a pair of battery-powered studio heads. Both models use an interchangeable lithium-ion cell that the company says is powerful enough to provide 440 full-power bursts from a single charge in the 400L, and 200 in the 800L. The cells recharge from flat in 75 minutes.

The new heads use the same modifiers as the current Siros range, and the 25-watt LED modeling light matches the color temperature of the bulbs used in the company’s mains-powered heads. The Siros 800 L has a maximum output of 800 joules, while the smaller 400 L head manages half of that. Both can produce flash durations as short as 1/19,000sec, and both can be controlled via Wi-Fi and the broncolor bronControl app for iOS and Android devices. To help the user identify which light is being adjusted from the app, it is possible to color code each head using the LEDs built into the body of the head’s housing.

These new Siros L heads can only be powered via their batteries, which fit inside the head rather than acting as external packs connected by a cable. Spare batteries will cost £215 plus tax. The heads will be available sooner than the press release states.

  • Siros 400 L Head – £1,515 + VAT
  • Siros 800 L Head – £1,755 + VAT
  • Siros 400 Outdoor Kit 2 (Two head kit) – £2,995 + VAT
  • Siros 800 Outdoor Kit 2 (Two head kit) – £3,495 + VAT

For more information visit the broncolor website.


Press release:

broncolor presents its new compact device – battery-powered studio quality

With the Siros 800 L, we have succeeded in producing one of the most powerful compact devices currently available on the market. The Siros 800 L is, like the somewhat smaller version, the Siros 400 L, a true genius in offering discerning photographers optimum lighting both indoors and outdoors.

Siros L – optimum lighting, compact and mobile
The Siros L is broncolor’s new battery-powered compact device, which provides ambitious professional photographers with the opportunity to enjoy the perfect lighting, be this in a mobile form in the studio, or for external shots – offering both very fast, and also long, flash durations.

The device has the most up-to-date lithium ion batteries – thanks to this, the device can achieve 440 flashes at full power; and the lower the power, even more flashes are available. The battery-pack can be used over a very wide temperature range from -10° to 60°C (14° to 140°F). Once its power has been used up, it can be completely recharged in only 75 minutes, allowing just two batteries to be switched and recharged during a shoot if there is a power supply available.

The Siros L uses the Swiss manufacturer’s ECTC technology, which has already been used in the well-known Scoro and Move generators – thus, Siros L has flash durations of up to 1/19’000 s (t0.5) and, of course, a guaranteed constant colour temperature over the entire control range.

All the Siros L’s functions are easily and remotely controlled by the “bronControl” app, which establishes its own WiFi network; this then allows the control of several devices by means of a smartphone or tablet. In order to ensure that the photographer knows which device he is currently addressing, the devices all have different LED colour codes – this ensures that the Siros L is easy to use, both indoors and outdoors.

Thanks to its compact size and battery-operation, the Siros L is absolutely ideal for outdoor use. It can, of course, also be used in the studio where it can be easily integrated into existing broncolor studio equipment.

The 25-watt LED modules offer a bright modelling light with a colour temperature of 3000 K, matching the colour temperature of the halogen modelling lamps of the Siros mains powered units.

In addition to the 800 J version for photographers who refuse to compromise in respect of power, there is the Siros 400 L version which is somewhat smaller and lighter and thus offers about 50% of the energy of its bigger brother.

The Siros L can be used with the entire broncolor light-shaper range. Many light-shapers, such as softboxes, open reflectors and especially Paras, are parabolic and can only guarantee an optimum light output and quality if the light source is placed as close as possible to the focal point in the interior of the reflector. This is why, with the Siros L, broncolor has deliberately opted for an external flash tube, providing perfect lighting.

The Siros L will be available in shops from 1st July 2016.
Would you like to know more? Please visit broncolor’s website at www.broncolor.com

Articles: Digital Photography Review (dpreview.com)

 
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