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Posts Tagged ‘lineup’

Apple confirms it’s discontinuing its iMac Pro lineup

07 Mar

Apple has confirmed it will be discontinuing its iMac Pro lineup.

On Friday, March 5, Mac Rumors noticed Apple had added a ‘while supplies last’ notice to its iMac Pro product page and removed all optional upgrade options. In the past, Apple has done this in advance of a product or product line is being discontinued.

Mac Rumors then published a follow-up article yesterday, March 6, to say it’s since confirmed with Apple the iMac Pro lineup will no longer be available once the current supply runs out. Mac Rumors didn’t specifically quote the Apple representative it spoke with, but did have the following to say regarding the rationale for this discontinuation:

‘Apple says the latest 27-inch iMac introduced in August is the preferred choice for the vast majority of pro iMac users, and said customers who need even more performance and expandability can choose the Mac Pro.’

The 27″ iMac Pro was first released back in December 2017 and was meant to be a more powerful version of Apple’s longstanding iMac line. Since its release, the iMac Pro line has been a popular choice for creative professionals, due to its all-in-one design that matched impressive specifications with a high-quality display. The last iMac update was introduced in August 2020 and featured a 5K display, with up to a 10-core 10th-generation Intel Core i9 processor, up to 8TB of storage, up to an AMD Radeon Pro 5700 XT GPU and the option to upgrade to a 10 Gigabit Ethernet port.

Going forward, it sounds as though users will have the option to go with Apple’s standard iMac lineup or upgrade to the more powerful and modular Mac Pro if the iMac options don’t cut it. Apple is expected to announce new iMacs — and potentially a new Mac Pro — powered by its own chipsets after dropping Intel and releasing its M1-powered Mac Mini, MacBook Air and 13” MacBook Pro computers back in November.

Articles: Digital Photography Review (dpreview.com)

 
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Canon to Drop Its EOS M Lineup in Favor of Crop-Sensor EOS R Cameras

04 Jan

The post Canon to Drop Its EOS M Lineup in Favor of Crop-Sensor EOS R Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

Canon to drop its EOS M lineup

Bad news for Canon EOS M fans: 

The Canon EOS M lineup, which includes popular models such as the EOS M50 and the EOS M6 Mark II, may soon be no more.

This comes from Canon Rumors, which reports that “two sources…suggested that 2021 will be the last year of the EOS M lineup.” 

Over the better part of the last decade, Canon has developed two mirrorless camera lines: 

The dedicated APS-C EOS M series, and the full-frame EOS R series. 

But while sibling APS-C and full-frame cameras are nothing new, the EF-M mount is incompatible with the RF mount, forcing Canon to produce two independent sets of lenses. And as the EOS R series continues to soar in popularity, it seems that Canon has decided to throw all of its resources into expanding the RF-mount cameras and lenses while leaving the EOS M lineup behind.

Of course, this doesn’t mean Canon will stop selling its EOS M models; the EOS M50 Mark II was only announced this past fall, and EOS M cameras are, by all accounts, performing well. But I wouldn’t hold out hope for any additional EOS M cameras or lenses. According to Canon Rumors, “the EOS M50 Mark II was a ‘stop-gap for a couple of future RF-mount APS-C cameras’” – which implies that the M50 Mark II will be the last of the EOS M cameras, and that Canon will try to channel its APS-C demand into new RF-mount models.

Rumors of an APS-C EOS R7 have abounded for months now, but the crop-sensor RF-mount models discussed by Canon Rumors are likely entirely different, catering to beginner photographers, walkaround shooters, and vloggers. Canon Rumors also reports that “there will not be RF-S lenses for APS-C EOS R cameras.” Instead, “future lens design will ‘fill the void of no dedicated APS-C lenses.’”

In other words, you can expect a handful of full-frame lenses that will also appeal to APS-C shooters – in the form of lightweight, kit RF lenses – rather than lenses designed solely for APS-C R bodies.

Personally, I welcome this move away from the EOS M series, as it gives APS-C shooters the opportunity to work with higher-end RF glass while allowing Canon to focus its resources on a single camera lineup. But I can also understand the frustration that EOS M users will undoubtedly feel as Canon lets a successful camera series fade away.

Now over to you:

What are your thoughts about the end of the EOS M lineup? Are you happy? Frustrated? Worried? Do you think Canon will end production of its EOS M cameras anytime soon? Share your thoughts in the comments below!

The post Canon to Drop Its EOS M Lineup in Favor of Crop-Sensor EOS R Cameras appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Vazen announces the 65mm T2 1.8x anamorphic lens for MFT camera systems, rounding out the 3 lens lineup

01 Dec

Anamorphic lens specialist Vazen has announced its new 65mm T2 1.8x anamorphic lens for the Micro Four Thirds (MFT) system will cost $ 3,250 and is ready to ship immediately. The new lens completes the 1.8x MFT lens lineup, according to the company, alongside its 28mm T2.2 and 40mm T2 counterparts.

When used with the full 4:3 MFT sensor, the lens will produce a 2.39:1 ratio aspect image once the footage is desqueezed. Shooting in the 16:9 ratio, frames will end up 3.2:1 and will probably need cropping, so cameras that can record from the whole sensor work best. On a MFT camera, the horizontal angle of view will give users the width we’d expect using a 72mm lens on a full frame system, so this is the lens to use for portraits and moderately distant subjects.

In common with the other lenses in the series the 65mm T2 uses a front anamorphic design to make the most of oval out-of-focus highlights and the characteristic flare from point light sources. Vazen, however, claims the flare isn’t too saturated or over-powering. Like the 28mm, the 65mm lens does have a thread for filters, and accepts 86mm screw-in sizes or 95mm using the Vazen adapter. As you would expect, the focus and aperture rings are equipped with 0.8mod cine gears for focus pullers, and the focus throw is 300° from the closest position of 1.09m/3.6ft to infinity. The lens weighs 1.68kg/3.7lbs and measures 105x185mm.

These lenses are a good deal less money than models from most other anamorphic producers, such as Cooke, but are also bigger, heavier and more expensive than those offered by Sirui — though the Sirui lenses have a 1.33x squeeze rather than the 1.8x of these Vazen models.

Owners of the existing 28mm or 40mm lenses will be able to get a discount of $ 400 when they buy this new 65mm lens, and those wanting the whole set of three can buy a kit for $ 8950 instead of the $ 9750 cost of buying them individually. For more information see the Vazen website.

Press release:

Vazen launches the 65mm T2 1.8x Anamorphic Lens for Micro Four Thirds cameras

Shenyang China, Nov 30, 2020 – Vazen, a new Chinese cinema lens brand, has announced the pricing and shipping availability of the Vazen 65mm T2 1.8x Anamorphic Lens for Micro Four Thirds (M43) cameras. In addition to the previously launched 28mm and 40mm, the whole Micro Four Thirds 1.8x Anamorphic lens set is now completed.

All the Vazen 1.8x anamorphic lenses feature a front anamorphic design. It delivers a buttery smooth oval bokeh, signature blue but not overly saturated, horizontal flare and the widescreen cinematic look. The lens delivered an outstanding sharpness, even at wide open, which is unmatched by other anamorphic lenses with similar squeeze ratio. Vazen chose to adopt a 1.8x squeeze design to balance the anamorphic characters as well as the resolution of the image. The 1.8x produces a stronger anamorphic character than 1.33x / 1.5x anamorphic lenses. And when it’s paired up with 16:9 sensors, much less data (vs 2X anamorphic lens) is needed to be cropped away to create the desired 2.39:1 ratio.

The Vazen 1.8x works best with 4:3 ratio sensors like Panasonic GH5, Z-CAM E2, Panasonic BGH1 to produce the cinematic 2.39:1 ratio. It also works well with Blackmagic Pocket 4k cinema cameras.

The lens is designed with a 86mm filter thread and 95mm front diameter. Both aperture and focus rings are built with 0.8 mod gears.

Pricing & Availability

The lens is currently available to order from authorized resellers and in Vazen website (http://www.vzlens.com/). It is available to ship immediately.

The retail price in US is USD 3,250/pc. USD 400 discount will be offered to any existing Vazen 40mm / 28mm owners.

Specifications

  • Focal Length 65mm
  • T-stop range T/2 – T/16
  • Angle of View Around 33°
  • Format Compatibility Micro Four Thirds
  • Filter Thread 86mm
  • Front Diameter 95mm
  • Min. Focusing Distance 1.09 m (3.6 feet)
  • Dimensions ? 105 x 185 mm
  • Weight 1.68 kg (3.70 lbs)
  • Mounts Micro Four Thirds

For more information about Vazen, please visit http://www.vzlens.com/

Articles: Digital Photography Review (dpreview.com)

 
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Pentax announces forthcoming 85mm F1.4 lens for its premium FA* full-frame lens lineup

24 Mar

Ricoh has announced it will release a new wide-aperture portrait lens for its full-frame cameras late this year, and that it will use the company’s Supersonic Direct-drive Motor to power the focusing system. The HD Pentax -D FA* 85mm F1.4 SDM AW with join the existing HD Pentax-D FA* 50mm F1.4 SDM AW and HD PENTAX-D FA* 70-200mm F2.8ED DC AW in a line-up of three models in the FA* range. Like the DA* lenses designed for APS-C cameras, these FA* models are intended to be premium quality and to represent a step-up from the standard lens series.

Pentax says that the new portrait lens uses three Super ED lenses to suppress chromatic errors while boosting contrast, and a single aspherical element to retain high resolution and focus across the frame. The aperture will be made from nine blades and the closest focusing distance will be 2.8ft. Although designed for the full-frame K-1 cameras, the KAF4 lens will also work on the company’s APS-C sensor cameras – due to the smaller sensor area it will offer the view that a 130mm focal length would on a full-frame model.

Pentax has yet to release the pricing of this new lens, but to give you an idea, the 50mm F1.4 FA* lens costs $ 1100/£1050 compared to $ 350/£400 for the standard SMC FA version.
For more information see the Pentax website.

Press release

Development of the new-generation D FA* high-performance single focus lens for digital SLR cameras

HD PENTAX-D FA* 85mmF1.4 SDM AW

RICOH COMPANY, LTD. and RICOH IMAGING EUROPE, SAS. are pleased to announce the development of the new-generation high-performance Star-series lens, the HD PENTAX-D FA* 85mmF1.4 SDM AW.

This product is the second “new generation D FA*” single focus lens following the “HD PENTAX-D FA* 50mm F1.4 SDM AW” which we presented as the first lens with a fixed focal length of the “New Generation D FA*”. This series is known for the perfect image quality and the lenses are characterized by the following parameters:

  • Best possible image quality with uniform sharpness from the center to the edges of the image.
  • Large aperture with a particularly expressive image effect.
  • High quality workmanship and materials with high robustness and easy handling

The D FA* 50mm quickly became one of the most popular lenses for the PENTAX 35mm system. Therefore many PENTAX photographers have demanded for an extension of this range of prime lenses. We are therefore pleased to announce the development of another lens in this series of high-performance lenses. With the HD PENTAX-D FA* 85mmF1.4 SDM AW, we follow the conquest of particularly high image quality without compromise.

Overview of the product under development

Model name: HD PENTAX-D FA* 85mmF1.4 SDM AW
Launch date: Scheduled to be launched in late, 2020

  • By incorporating three Super ED (Extra-low Dispersion) glass optical elements, it effectively compensates chromatic aberrations and produces brilliant, high-contrast images even from open aperture.
  • Adopts one aspherical lens and achieves high delineation performance with good correction of spherical aberration, coma and field curvature.
  • High speed and smooth operation with newly developed SDM (Supersonic Direct-drive Motor) equipped with high torque ring type ultrasonic motor
  • Developing as an AW (All Weather model) this lens features a dependable dustproof, weather-resistant structure to prevent the intrusion of water and dust into the lens interior.

Major Specifications

HD PENTAX-D FA* 85mm F1.4ED SDM AW

Focal Length 85mm
Max Aperture F1.4
Min Aperture F16
Angle of View 28.5 degrees
Mount KAF4
Min Focus Distance 0.85m (2.8ft)
Max Magnification 0.12x
Diaphragm Blades 9
Filter Diameter 82mm
Diameter/Length 95×123.5mm (3.7×4.9in)

Articles: Digital Photography Review (dpreview.com)

 
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JOBY launches new lineup of accessories for mobile content creators

03 Mar

JOBY has launched a new line of accessories for mobile content creators, including products for the latest Pixel and iPhone smartphones. The lineup features six new products, including variants for different mobile phone models, with prices ranging from $ 40 to $ 200.

The most notable of the new products is the GorillaPod Mobile Vlogging Kit, a bundle that includes three products: the Beamo Mini LED with Bluetooth control, GorillaPod Mobile Rig and Wavo Mobile microphone. The kit includes a GripTight PRO 2 smartphone mount for shooting in portrait and landscape modes. The bundle is available now for $ 200.

The Beamo Mini LED, a compact and portable 1,000 lumens LED light, is available as a standalone accessory for $ 69.95; it includes double cold shoe mounts, plus it is rugged and waterproof. Joining this is the Beamo LED, which is brighter with 1,500 lumens and more expensive at $ 89.95.

Likewise, creators can order the Wavo Mobile, a portable, lightweight microphone designed for use with mirrorless cameras and smartphones. This model features a cold shoe mount, Rycote shock mount and included TRS and TRRS cables. The model is available now for $ 39.95. Joining the Wavo Mobile is the Wavo, a model with a wider frequency response, larger size and more durable construction. This model is available now for $ 79.95.

Finally, JOBY’s new lineup features StandPoint, a smartphone case with three built-in tripod legs connected with a hinge. When not in use, these legs can be folded into the case; when needed, the user can unfold them to prop up the phone for filming or quickly capturing shots. The model is available for the Pixel 4, Pixel 4 XL, iPhone 11 and iPhone 11 Pro for $ 39.95 each.

Articles: Digital Photography Review (dpreview.com)

 
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Nikon Dropping 1/3rd of Its DSLR Lineup in Move to Mirrorless

04 Jul

The post Nikon Dropping 1/3rd of Its DSLR Lineup in Move to Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.

As of July 2019, Nikon has eight active DSLR models.

And of these eight models, three of them are rumored to be the end of their camera lineup. In other words, there will be no replacement for these bodies; they’ll be the last of their kind.

Now, Nikon will come out with followup models for the Nikon D5, the Nikon D850, the Nikon D750, and the Nikon D7500.

But for the Nikon D3500, the Nikon D5600, and the Nikon D500, it’s the end of the line. According to Nikon Rumors, these camera models will “likely be replaced by mirrorless models.”

(There is no information on the Nikon Df, which came out in 2013 and hasn’t seen an update since.)

Is this a surprise? Or is it what we’ve come to expect in an increasingly mirrorless world?

As for the mirrorless replacements, we know of two new Nikon mirrorless bodies in the works: a 900 dollar mirrorless body and a D5 equivalent. It’s unlikely that the D5 equivalent will be replacing any DSLR, but is instead meant to expand the appeal of Nikon mirrorless cameras to professional photographers. Whether the 900-dollar mirrorless body is a replacement for the D3500, the D5600, or the D500 remains to be seen.

Notice that two of the three DSLRs slated to be dropped are entry-level – in fact, the D5600 and the D3500 are Nikon’s only entry-level DSLR lines.

What does it say that Nikon plans to end both of them?

Clearly, Nikon wants to keep their advanced and professional-level DSLRs going for at least a few more years. This suits serious photographers who are attached to their DSLR kit and plan to hang on for a while longer.

But beginner photographers won’t have much of a choice, as far as Nikon is concerned. Either they can choose what quickly becomes outdated technology, or they can go mirrorless. And if Nikon’s making this move, Canon may not be far behind.

So for beginner photographers, mirrorless cameras are coming for you…

…whether you like it or not.

Now, I’d love to hear your thoughts.

If you’re a beginner or enthusiast photographer, how do you feel about this move to mirrorless?

And if you’re an advanced photographer or a professional, how will you (or other photographers in your field) handle this shift? Is this the end of DSLRs?

Let me know in the comments right now!

The post Nikon Dropping 1/3rd of Its DSLR Lineup in Move to Mirrorless appeared first on Digital Photography School. It was authored by Jaymes Dempsey.


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Kodak-branded SMILE lineup includes two instant cameras and a new instant printer

10 Jan

New Jersey-based C+A Global has launched new Kodak-branded products, including an instant camera and two instant printers. Called the Kodak SMILE Instant Print, this product line offers the SMILE Classic Instant Print Digital Camera, SMILE Instant Print Digital Camera, and SMILE Instant Digital Printer.

The KODAK SMILE Classic Instant Print Digital Camera features a vintage camera body design coupled with a ZINK instant printer, pop-up viewfinder, automatic strobe flash, microSD card slot, and 10-second timer. Despite its retro appearance, the model has Bluetooth and works with the Kodak Instant Print Companion mobile app.

Joining the retro-styled Classic camera is the slimmer, modern SMILE Instant Print Digital Camera, a 10MP digital camera with a ZINK Zero Ink printer, microSD card slot, automatic flash, LCD viewfinder, and 10-second timer.

The SMILE line’s new instant digital printer offers instant printing for images captured with a smartphone, the Kodak Instant Print Companion app, and a Bluetooth connection. The digital printer and digital camera will cost $ 100 each, while the Classic camera will cost $ 150. Kodak hasn’t yet revealed the products’ launch date.

Articles: Digital Photography Review (dpreview.com)

 
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Epson adds textured paper to Legacy photo inkjet lineup

27 Oct

A new textured paper has been introduced to the Epson Legacy range of premium inkjet media that the company claims allows dense blacks, vibrant colors and ‘outstanding’ print permanence. Epson Legacy Textured Paper promises to ‘simulate old-world handcrafted watercolor papers’ with a heavily textured surface, according to Epson, and is aimed at photographers who exhibit and sell their work as art pieces.

No optical brighteners have been used in the paper, and Epson says that it will have excellent lightfast properties. Permanence figures are not quoted, as the paper is still being evaluated by Wilhelm Imaging Research.

The matte finish paper is 100% cotton, using randomly layered fibres to prevent curling in sheets as well as in long rolls, and will weigh 310 GSM. The paper is due to ship in December this year. For more information see the Epson website.

Size Sheet/roll Price
8.5” x 11” Cut Sheet (25 pack) $ 45
13” x 19” Cut Sheet (25 pack) $ 119
17” x 22” Cut Sheet (25 pack) $ 179
17” x 50′ Roll $ 189
24” x 50′ Roll $ 249
44” x 50′ Roll $ 499
60” x 50′ Roll $ 679

Press release:

Epson Launches New Legacy Textured Paper

New Paper Provides Textured Surface and Matte Finish in Epson’s Distinguished Legacy Paper Line

Epson today introduced Legacy Textured, the latest addition to its sophisticated Legacy Paper line, offering the ultimate in quality and longevity for artists selling their work. Legacy Textured is comprised of a mould-made paper base that lays cotton fibers down randomly to virtually eliminate curl, and a heavily textured surface that simulates old-world handcrafted watercolor papers. In addition, Epson today announced that its popular Metallic Photo Paper in Luster and Glossy are now Signature Worthy® papers, moving into Epson’s line of paper designed for photography, art illustration and fine art prints. Both the Legacy Textured and the Metallic Photo Papers will be on display at PhotoPlus Expo in New York City from Oct. 25-27, 2018 at Epson’s booth, #707.

“A heavy, textured paper is what helps my images blur the line between photography and painting,” said Brooke Shaden, fine art photographer, author and motivational speaker. “Though my work is all photographic, having a painterly style has always been important to my aesthetic, and Legacy Textured provides that feeling of mixed media.”

Legacy Textured offers a heavily textured surface with a matte finish and is 100 percent cotton on a mould-made base. The 310 GSM textured paper is free of OBAs (optical brightening agents), delivers a high Dmax for deep blacks, an expanded color gamut volume, and accepts a high ink load. The cotton fibers are laid randomly to dramatically minimize curl in large rolls.

“Realizing the need for a heavily textured fine art paper, we collaborated with industry-leading photographers and artists to help develop a media that blends qualities of old-world handcrafted paper with the latest digital imaging enhancements,” said Jeff Smith, product manager, Professional Imaging, Epson America, Inc. “Designed to produce rich blacks and vibrant colors, Legacy Textured exhibits unparalleled qualities for artists looking to create and sell exhibition quality prints without compromising print quality.”

The Epson Legacy Textured paper is currently undergoing comprehensive eight-factor print permanence testing at Wilhelm Imaging Research (WIR), the world’s leading independent permanence testing laboratory. Testing includes color and black and white prints made with the current generation of improved-stability Epson UltraChrome® HD, Epson UltraChrome HDX, and Epson UltraChrome PRO pigment inks featured on Epson’s SureColor® P-Series printers. WIR is also testing Legacy Textured paper with high CRI (Color Rendering Index) museum-quality LED illumination. While final results are not yet available – the greater the lightfastness, the longer the test times – Epson is confident the new paper will exhibit outstanding print permanence.

Epson Professional Paper Line
Epson offers a complete line of professional papers to meet varying photography and fine art needs, no matter the finish or price point:

Standard Photo Paper: Available in multiple finishes, including glossy, semigloss, matte, semimatte, and velvet, Epson’s standard photo papers offer a solution for any photographer. Delivering high-performance output quality and color performance with extreme sharpness and clarity, these papers are offered in a range of cut-sheet and roll sizes for producing vivid, lifelike images.

Signature Worthy Paper: Epson Signature Worthy Papers represent the finest in color fidelity, smoothest tonal transitions, and exceptional Black density and longevity, each paper has been developed and tested at the highest levels to work collectively with Epson’s industry-leading professional printers and inks. The most demanding creative professionals use Signature Worthy papers because their reputations are on the line with every print.

Legacy Papers: As Epson’s most advanced line of photographic papers, Legacy Papers were designed in collaboration with many of the world’s greatest artists. The unique papers were developed for those who intend to exhibit and sell their prints, both to art collectors and investors. Working closely with revered European papermakers, galleries and chemical engineers to develop the finest papers available, the Epson Legacy Paper line produces outstanding black density and color fidelity, along with exceptional archival properties required for collectible works of fine art.

Availability and Pricing
The new Legacy Textured will be available in Dec. 2018 through authorized Epson Professional Imaging resellers.

For additional information, visit www.epson.com/legacypapers, www.epson.com/signatureworthy or www.proimaging.epson.com.

Articles: Digital Photography Review (dpreview.com)

 
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Think Tank Photo launches dual-access, water-resistant Lens Case Duo lineup

18 Sep

Think Tank photo has launched a new line of protective lens cases it calls Lens Case Duo. The six cases in the lineup feature a soft, padded liner and two zippered access points: one from the top of the case and one from the side.

Each of these cases can be used on their own or together as a modular system. The two methods of accessing the lens inside make it easy to pair with either a belt system or stuffed inside a backpack — whatever your setup requires. The larger cases, designed for massive primes and telephoto lenses, include a shoulder strap in the event you prefer to carry it as a sling of sorts.

Currently, the Lens Case Duo comes in six different sizes: 5, 10, 15, 20, 30 and 40. The smallest of the cases (5) is meant to hold a small prime or kit lens. On the other end of the spectrum, the biggest case (40) can hold telephoto zoom lenses, such as Canon and Nikon 70-200mm F2.8. You can find a full list of suggested carrying capacities on Think Tank Photo’s announcment page. Each of the bags come in black and green colorways, feature a water-repellent coating, and have two small neoprene pouches on the front.

These bags bear a striking resemblance to Think Tank Photo’s waist belt lens pouch line-up, so it’s nothing new, really. The only notable difference we see is the ability to access the pouch from the side in addition to the top. Also, these don’t feature a built-in rain pouch like Think Tank Photo’s belt system pouches do.

The Lens Case Duo 5, 10, 15, 20, 30 and 40 are available for $ 21, $ 22, $ 27, $ 29 and $ 33, respectively.

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto adds new two-in-one tripod to its Befree lineup

14 Sep

Manfrotto has added a new two-in-one tripod to its Befree Live lineup — a tripod it calls ‘the most versatile model in the Befree range.’

Appropriately named the Manfrotto Befree 2N1, the contraption is both a tripod and monopod. ‘The Befree 2N1 is made to enable quick and easy switching from a tripod to a monopod,’ says Manfrotto. ‘After a half-turn anticlockwise, a red rubber ring will appear on the tripod leg, providing the user with visual feedback that the tube can be safely removed for use as a monopod.’

The Befree 2N1 comes in two versions: one with Manfrotto’s Quick Power Lock lever setup and one with its M-Lock twist setup. Both versions, which use Manfrotto’s 494 Ball Head with 200PL PRO Plate for mounting the camera to, hold up to 8.07kg/17.8lbs and fold down to 40.64cm/16in long. The legs extend using four dedicated sections and extends just shy of 152cm/60in for both models.

There’s also a kit version of the lever-lock Befree 2N1 that comes with Manfrotto’s fluid head and a dedicated case. This system is oriented more towards videography content capture.

Both versions of the Manfrotto Befree 2N1 tripods will retail for $ 220, while the video-centric kit version will retail for $ 240. You can pre-order all three models on B&H now. They’re set to ship later September 2018.

Articles: Digital Photography Review (dpreview.com)

 
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