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Meyer Optik Görlitz confirms rumor that Nocturnus was a rebranded Chinese lens

12 Mar

Meyer Optik Görlitz, the German brand that offered lenses through Kickstarter before its parent company filed for insolvency last year, has confirmed speculation that the Nocturnus lenses were slightly modified versions of a Chinese lens, and the Somnium lenses were modified versions of a Russian lens.

The brand’s new owner OPC Optics revealed its finding in a press release, stating that it had spent time analyzing the Meyer Optik products and planning how it would move forward with the brand. According to OPC Optics Managing Director Timo Heinze, ‘It’s fair to say that the previous organization and processes shocked us on occasions.’

Among other things, the company said it discovered that past speculation about the Somnium and Nocturnus lenses proved true, and as such it will discontinue both ranges ‘for the time being.’ The company didn’t say which lenses were used, but online speculation over the years had pegged the $ 3,000 Nocturnus as a modified $ 849 Mitakon Zhongyi Speedmaster 50mm F0.95 lens.

Heinze explained, ‘That is an absolute no go. As a German manufacturer using the ‘Made in Germany’ quality seal, this is a shameful indictment. These lenses may be perfectly good in their own right, but their production methods and marketing goes against all our principles.’

Heinze acknowledged that Meyer Optik may relaunch lenses ‘with similar characteristics’ under its ownership in the future, but they would not be rebranded, modified Russian and Chinese lenses. The potential future lenses ‘would, of course, be our own designs
and produced by us, in order to genuinely earn the ‘Made in Germany’ label,’ according to Heinze.

Via: PetaPixel

Articles: Digital Photography Review (dpreview.com)

 
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Manfrotto adds four new carry-on trolley bags to its Pro Light Reloader collection

11 Mar

Manfrotto has introduced four new carry-on trolleys to its Pro Light Reloader collection: the Pro Light Reloader Air-55, Air-50, Pro Light Reloader Switch-55 and Pro Light Reloader Spin-55. The Air-55 and Air-50 are fairly straightforward trolley cases, but both the Switch and Spin have a little more to offer, albeit with a higher price tag.

Pro Light Reloader Air-55

The Pro Light Reloader Air-55 can fit up to two pro-style DSLR, five lenses and a 17″ laptop. It features various zippered pockets on the front and side of the bags, as well as a handful of internal pockets for storing accessories. Gear organization is done with the help of large supportive dividers and 19 additional shock-absorbing dividers that can be maneuvered around to fit your needs.

The side of the bag has a dedicated strap system for holding tripods and there’s an integrated TSA combination zipper lock. Manfrotto notes the ripstop nylon fabric is water-repellent, but the bag also comes with a rain protector.

The Pro Light Reloader Air-55 is currently available at B&H for $ 379.99.

Pro Light Reloader Air-50

The Pro Light Reloader Air-50 is identical in design to its Air-55 contemporary, but slightly smaller with fewer zippered pockets and internal dividers. It can hold up to two pro-style DSLRs, four lenses and a 15″ laptop.

It too features various zippered pockets inside and out for organizing accessories and comes with two supportive dividers and 12 additional shock-absorbing dividers for making the most of the internal storage space. Manfrotto also includes the integrated TSA lock and accompanying rain protector with the Air-50.

The Pro Light Reloader Air-55 is currently available at B&H for $ 329.99.

Pro Light Reloader Switch-55

The Pro Light Reloader Switch-55 is similar to the Air-55, but has a little trick up its sleeve. In addition to working as a rolling carry-on case, it can also be turned into a backpack by taking a set of integrated shoulder straps out of its front pocket.

Like the Air-55, the Switch-55 can fit up to two pro-style DSLR, five lenses and a 17″ laptop. There are multiple internal and external zippered pockets as well as a side strap for attaching a tripod.

The Switch 55 comes with large supportive dividers and 14 additional shock-absorbing dividers for securing and structuring gear inside the bag. Manfrotto has included the TSA compliant three-digit lock and an accompanying rain cover.

The Pro Light Reloader Switch-55 is currently available at B&H for $ 389.99.

Pro Light Reloader Spin-55

Last up is the Pro Light Reloader Spin-55. As the name suggests, the Spin-55 features four wheels — instead of the two on the other Pro Light Reloader cases — that give it the ability to spin freely on the ground, whether you’re running through the airport or on-location at a shot.

The bag features a polycarbonate shell and a nylon insert that can be removed if needed. It features a front access compartment on the outside of the bag as well as multiple internal zippered pockets for additional accessories.

The Pro Light Reloader Spin-55 can hold two pro-style DSLRs, five lenses and a 15″ laptop. It features side and top handles as well as an attachment point for a tripod. An integrated TSA-approved lock is included as is a rain protector for those times when the weather gets a little rough.

The Pro Light Reloader Spin-55 is currently available at B&H for $ 399.99.

Articles: Digital Photography Review (dpreview.com)

 
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PSA: Don’t film laser tattoo removals unless you too want to fry a $2,200 camera

10 Mar

Laser systems used at concerts and even self-driving cars are known for damaging camera sensors, but now there’s one more thing to add to the list — tattoo laser removal lasers, even when the laser isn’t being pointed directly at the camera.

As unfortunately demonstrated in the 37-second video above, Andy Boyd destroyed the sensors inside his $ 2,200 Sony a7S II when he was filming a laser tattoo removal.

In the video description, he writes:

‘Hot tip: Don’t record laser tattoo removal on…anything. You can see with each pulse the sensor shows new damage. The repair cost was about as much as a new camera so try to avoid this. Club lasers can do this too but we’d never seen the reflection of a laser beam do damage, only when the beam itself hits the sensor.’

Hopefully you’re never in a situation where you’re asked to film a tattoo removal — especially one that reads ‘I am juicy’ with a strawberry next to it — but in the event you are, either use a camera you don’t mind destroying or pass up the opportunity as a whole.

Articles: Digital Photography Review (dpreview.com)

 
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Canon EOS RP vs EOS 6D Mark II: Which is right for you?

10 Mar

Introduction

Years back, Canon released the EOS 6D as its basic, ‘entry-level’ full frame DSLR to sit below the pro-oriented 5D-series. Not surprisingly, that was a recipe for success, with the 6D and follow-up 6D Mark II proving to be quite popular with all kinds of photographers.

But now we have the EOS RP, a new entry-level offering that is even more affordable and portable than the 6D’s that came before it. So how do they compare for various kinds of shooting? Here’s what we’ll be covering – click the link to hop straight to the section of your choice.

  • Travel
  • Video
  • Family and moments
  • Landscape
  • Candid and street
  • Sports

Travel

Canon EOS RP with EF 24mm F2.8 IS USM | ISO 100 |1/500sec | F7.1

Both cameras offer Wi-Fi and good JPEG image quality with pleasing color rendition right out of the box, a great combination for someone looking to share images on the fly. In-camera Raw processing is also offered by both cameras, making it easy to share photos from the road – no laptop required. GPS is offered in some form by both cameras (though we prefer the 6D II’s in-camera implementation over the RP’s use of smartphone location data) and selfie-takers can safely choose either camera as they both offer a screen that flips forward.

However, where battery life is concerned, the 6D II looks like the stronger option. There’s no getting around it – the RP is a mirrorless camera that draws a lot of power for constant Live View use, so its 250 shot CIPA rating is dwarfed by the 6D II’s rating of 1200 shots per charge. On the other hand, it’s not much of a burden to carry a couple of spare batteries for the RP as they’re smaller and lighter, and the camera supports USB charging where the 6D II doesn’t. Tack on the fact that the 6D II is weather-sealed whereas the RP offers no official claim of weather resistance and the 6D II keeps looking better and better.

Things swing back in the RP’s favor when you consider its incredibly compact size, even compared to the relatively light weight 6D II. But that advantage is somewhat reduced when you consider the RP’s native lens selection – right now the RF 35mm F1.8 is the best native option to keep size down. Adding an adapter and a smaller lens like the 50mm F1.8 STM or 24mm F2.8 IS doesn’t tack on too much extra bulk, but it’s not nothing. The RP still wins on compactness, but unless you’re happy shooting at 35mm until some more RF lenses come out, the camera’s small size isn’t as much of an advantage as it seems.

Video

See our full Canon EOS 6D Mark II sample reel

As far as headline video specifications go, the EOS RP stands ahead of the 6D II with 4K video recording (the 6D II tops out at 1080/60p). To be sure the RP’s 4K is heavily cropped, but it is 4K. The mirrorless camera also comes up with a headphone jack as well as a mic jack – the 6D II only offers a mic jack. It also comes with the inherent mirrorless advantage of offering video recording while using the EVF, which can be handy in bright light or for a little extra stabilization in a pinch. The RP’s 4K mode is also the only place you’ll find “cinematic” 24p recording between the two cameras.

Using a stabilized lens with either camera will yield the best results, as neither offers in-body stabilization. While digital IS creates smooth footage, it also sacrifices some detail. The 6D II and EOS RP also both provide fully articulated screens with face detection autofocus, a benefit for vloggers.

The 6D II does provide the advantage of more control over autofocus while recording video, offering adjustments to Movie Servo AF speed and tracking sensitivity – both missing from the RP.

Family and moments

Canon EOS RP with RF 35mm F1.8 IS STM | ISO 1000 | 1/80sec | F1.8

The EOS RP introduces a new feature for Canon that will be particularly handy for photographers looking to capture candid moments: Pupil Detection in Servo AF. In our experience so far it’s not quite as impressive as Sony’s freaky-good Eye AF, but will do a good job of identifying and focusing on an eye without intervention from the user.

The RP’s compact size could be another benefit to family photographers who tend to chuck their camera into a packed bag or purse. As we saw when looking at using these cameras for travel, the size advantage of the RP is compromised once you attach an adapter and any sort of zoom lens to the camera. The RF 35mm F1.8 does keep things more compact, but you’ve really got to like 35mm if that’s the deciding factor for you.

Canon’s great JPEG image quality and color is a real bonus

The RP’s much lower battery life is another significant drawback here, since you’ll be more likely to run out of juice at an inconvenient time. But the good news is that its USB charging means you can re-charge it in the car, or top up the battery with the same kind of portable battery you may already carry for your phone.

Both cameras provide handy ‘tap to track’ functionality in live view, making it easier to focus on what you want. And we’ll say it again – Canon’s great JPEG image quality and color is a real bonus if you don’t want to fuss with photos too much before sending them out to the world.

Landscapes

Canon EOS RP with EF 24mm F2.8 IS USM | ISO 100 | 1/400sec | F7.1

We can’t say that the either the 6D II or the RP would be among our top recommendations for landscape shooters. Other options with more resolution and dynamic range will likely suit serious landscape photographers better. If that’s not your sole priority, both of these cameras would serve the casual landscape shooter just fine on travels or hikes, and their image quality will be roughly the same.

The 6D II’s robust battery life is a big plus in this category if you plan to spend a good deal of time away from a power source and don’t fancy carrying extra batteries. Another point in favor of the DSLR: weather-sealing. The 6D II is designed to handle the elements better than the RP, and that can make a big difference when you’re halfway into a hike and the weather rolls in.

Both cameras offer fully articulated screens to facilitate composing shots from low angles or working on a tripod

For obvious reasons, size and weight are real concerns for photographers who will carry gear along on hikes or all-day excursions. Again, the RP would seem to have an advantage here but current native RF lenses are quite large and few in number. Adding an adapter to the kit isn’t a huge amount of extra weight or bulk, but if every bit of space in your bag counts, it’s something to consider.

Both cameras offer fully articulated screens to facilitate composing shots from low angles or working on a tripod. Both cameras also provide a means of recording your location via GPS – the 6D II offers it in camera while the RP requires use of Canon’s smartphone app.

Overall, both cameras supply features that will certainly be appreciated by photographers who shoot landscapes among other things, but we’d hesitate to recommend either just for that purpose.

Candid and street

Canon EOS 6D Mark II with EF 24-105mm F4L IS II USM | ISO 1000 | 1/500sec | F8

Both the RP and 6D II offer a number of features that would appeal to a street photographer looking to keep a low profile and capture the decisive moment. Both offer great-looking JPEGs and a flip-out screen to aid shooting from the hip (paired with Canon’s excellent Dual Pixel AF). Unfortunately, neither camera truly offers silent shooting – it’s not available on the 6D II and the RP offers it as a scene mode without exposure controls.

There’s not much between the two cameras in terms of size either, once you account for the adapter you’ll almost certainly need (for now) on the RP. Both of these options also offer wireless connectivity for easy image sharing.

As we cautioned landscape-oriented folks, the limited dynamic range that the RP and 6D II offer may be of concern to some street photographers. If you’d like some flexibility in pushing shadows then you may want to look elsewhere, but between the two cameras neither presents a significantly better feature set for street photographers.

Sports and action

Canon EOS 6D II and 70-200mm F4L @ 200mm | ISO 1250 | 1/1250 sec | F4

For sports and other fast-moving subjects, the 6D II and EOS RP trade punches back and forth. Generally speaking, mid-to-low-end EOS cameras with Dual Pixel autofocus haven’t handled fast-moving distant subjects very well. The 6D II offers an advantage here with its optical viewfinder and traditional AF system, which does a better job on distant subjects if you choose your own AF point, and you may find it easier to follow your subjects with the optical viewfinder than the EVF on the RP.

On the other hand, the RP offers the better subject tracking experience with viewfinder shooting, considering that it can use Dual Pixel with the EVF. Canon’s optical viewfinder tracking AF experience leaves something to be desired. On the other other hand, you get faster viewfinder burst rates with the 6D II (though you get faster Live View burst speeds on the RP). To the RP’s credit, it has a bigger buffer and offers CRaw to save you some storage space if you’re shooting Raw in burst mode.

One important point that you won’t find any spec sheet is how comfortable the camera will be in the hand for long periods of time. In our opinion, the 6D II is way ahead of the RP in this department. The DSLR will be better balanced with heavier lenses and offers a bigger, more comfortable grip. An add-on grip can be purchased for the RP to help things somewhat, but for our money, the 6D II is the one we’d rather hold on to for hours at a time.

Which one is right for you?

The Canon EOS RP and 6D Mark II share much of the same DNA when it comes to image quality, but their feature sets and implementations are still quite different. The 6D II provides the familiar comforts of a DSLR: robust battery life, a comfortable grip and plentiful lens options.

The RP brings many of the trappings of a modern mirrorless camera, including (decent) 4K video and use of Canon’s very good Dual Pixel AF system with the built-in viewfinder. But as it often does, the choice may come down to the lenses. It’s very early days for the RF mount, and the first lenses available for it are some real stunners, but they don’t seem particularly well matched the RP’s price point and target audience unless you really love shooting 35mm.

But even given the lack of native lenses, we tend to recommend the EOS RP over the 6D II for most use-cases. Experienced photographers may scoff, but for amateurs and even enthusiasts, the ability to see your exposure, white balance and get a better idea of critical focus with the RP’s full-time Live View on the rear screen or EVF will help you get more keepers more often. Plus, the RP’s full-time touchscreen controls are among the best in the business, and make up somewhat for the lesser amount of buttons compared to the 6D II.

Only you can choose what is best for you; the 6D II is the undisputed winner regarding its build quality, battery life and beefy grip. But for most people, we think the RP will be a better – and, dare we say, more ‘fun’ – photographic companion.

Articles: Digital Photography Review (dpreview.com)

 
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Flickr says it will spare all Creative Commons photos, announces ‘in memoriam’ accounts

10 Mar

Last November, SmugMug announced a number of changes the photo-sharing site would be undergoing in the coming months as part of a clean-up operation of sorts to help streamline Flickr assets and unused accounts. One of those changes was the news that free accounts would be limited to 1,000 images and any images over that limit would be deleted.

Almost immediately, Flickr caught flack for the decision, especially surrounding the vast amounts of Creative Commons images hosted on the photo sharing site. Within a week, Flickr announced it was sparing Creative Commons and public domain images and also sparing non-profits from the 1,000 photo cap.

Now, Flickr is going a step further. In a blog post, Flickr says it will not be deleting any public, freely licensed images from its platform, regardless of who’s operating the account.

‘In this spirit, today we’re going further and now protecting all public, freely licensed images on Flickr, regardless of the date they were uploaded,’ reads the blog post. ‘We want to make sure we preserve these works and further the value of the licenses for our community and for anyone who might benefit from them.‘

Flickr isn’t just rolling over though. To combat accounts from simply switching all their photos to Creative Commons without understanding what all it entails in hopes of still hosting their photos on the site, Flickr has disabled the bulk license change tools in the Settings menu.

‘We’ve done this to prevent community members from flipping all their images to a new license without first understanding the significant implications of the various free licenses we support. Any member (Free or Pro) can still change the license of any of their photos on the photo page.’

Additionally, Flickr is introducing ‘in memoriam’ accounts. These accounts come after concern from users about what happens to their images after they pass away (or late photographers who still have images on Flickr).

Flickr says ‘in memoriam’ accounts ‘will preserve all public content in a deceased member’s account, even if their Pro subscription lapses […] The account’s username will be updated to reflect the “in memoriam” status and login for the account be locked, preventing anyone from signing in.‘

Flickr has created this dedicated form to help identify accounts in need of ‘in memoriam’ status.

To help preserve the accounts of members who have already passed away, Flickr is asking for help to identify existing accounts that are deserving of ‘in memoriam’ status. A dedicated article has been added on Flickr’s Help Center to help explain the process.

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Why waveforms are better than histograms

09 Mar

Most serious photographers are familiar with histograms, but what about waveforms? Chris and Jordan explain why this tool from the video world may just be the best way to judge exposure for still photos too – and why all cameras should have them.

Get new episodes of DPReview TV every week by subscribing to our YouTube channel!

  • Introduction
  • Histogram limitations
  • How waveforms work
  • Waveform advantages
  • Why don't stills cameras offer waveforms?
  • Waveforms for photo editing
  • Wrap-up

Articles: Digital Photography Review (dpreview.com)

 
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Video: Leica Q2 overview

09 Mar

Though it’s a bit impractical for most photographers, the Leica Q2 is nevertheless a camera that will draw a lot of attention thanks to its good looks and street-shooter-friendly features. Take a quick look at what’s new and drool-worthy on the second-generation Q.

Articles: Digital Photography Review (dpreview.com)

 
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Hipster offended after mistaking himself for hipster in study about lookalike hipsters

09 Mar

Gideon Lichfield, editor-in-Chief of MIT Technology Review, recounted a hilarious story of mistaken identity on Twitter this week. According to Lichfield, the publication received an angry email from a man who accused the site of using his portrait without permission to illustrate an article about hipsters who all look the same. The problem? This unnamed complainant wasn’t the man in the image.

The issue began when MIT Technology Review published an article detailing a study called The Hipster Effect: When Anti-Conformists All Look The Same. The article includes a properly licensed header image depicting a prototypical hipster sourced from Getty Images, but the angry email writer didn’t know that, instead believing it was an image of himself.

The publication’s Creative Director Eric Mongeon contacted Getty Images to verify the photo’s model release, and that’s when the mystery was solved:

Lichfield’s amusing Twitter story seemingly underscored the study’s premise, but sadly it didn’t include an image of the email writer for comparison.

Articles: Digital Photography Review (dpreview.com)

 
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Leica Q2: What you need to know

08 Mar

Leica Q2: What you need to know

Almost four years since the original Q was launched, Leica has unveiled the Q2, which adds a higher-resolution sensor, revamped interface and improved video capabilities. Those changes come at a higher price, with the Q2 retailing for $ 4995, compared to $ 4250 on the original model.

Here’s everything you need to know about Leica’s new luxury compact.

New 47MP sensor

The original Q offered a variant of the 24MP sensor used in the SL and M Typ 240, but the Q2 debuts a new 47MP sensor which we suspect is similar the one used in the new Panasonic Lumix DC-S1R (and presumably a future Leica SL model). As such, it’s almost certainly not related to similar resolution sensors used in current Nikon and Sony mirrorless cameras.

Expanded ISO range

The new sensor brings an expanded ISO sensitivity range, from ISO 50 up to 50,000. Although we haven’t yet completed our full testing, the base of ISO 50 appears to be a true ‘native’ base ISO, which should offer additional dynamic range in Raw mode compared to ISO 100.

35mm, 50mm and 75mm equivalent crop modes

All those pixels makes cropping a little more practical than it was on the 24MP Q. The Q2 now includes three cropped capture modes instead of two, offering fields of view equivalent to 35mm, 50mm and 75mm. Resolution in the ’35mm’ mode is a more than usable 30MP, dropping to 15MP at ’50mm’ and 6.6MP at ’75mm’.

Redesigned controls

Imagine an original Q crossed with an M10 with a splash of CL thrown in, and that’s the Leica Q2, basically. The lens controls are unchanged – there’s a large, locking focus tab and faux mechanical aperture dial there if you need them, and a neat auto/manual focus ring with a collar-type macro switch, all of which we loved in the Q and still love in the Q2.

Redesigned controls

The big changes are on the rear, where the five rear buttons of the Q have been whittled down to three, with the video button removed entirely. Meanwhile a push button serves as a customizable control at the hub of the main dial on the top of the camera. The touchscreen can also be used as a control surface for positioning the AF point and reviewing photos you’ve taken.

Dust and splash-resistant build

The Q2 is build to withstand moderate use in tough conditions, offering the same IP52 rating as the SL. Technically this should guarantee “limited protection against dust ingress [and] falling drops of water, if the case is disposed up to 15 degrees from vertical”. While this might not sound particularly impressive, consider that most photographic equipment is not rated by its manufacturers at all, and as such, even a modest IP rating should inspire a degree of confidence in wet or dusty conditions.

Despite its new weatherproofing, the Q2 maintains the same shape and size as the original Q, thanks (according to Leica) to a redesign of some internal components.

New 3.68M-dot OLED viewfinder

While the Q2’s electronic viewfinder appears to offer the same resolution as its predecessor (3.68 million dots) the original Q’s finder was of the field-sequential type, which only showed you 1.04 million dots at a time. The Q2’s finder is OLED, which offers a significant step up in terms of sharpness and contrast, compared to the older camera. Blacks are actually black, and you no longer have the rainbow effect associated with field-sequential displays. The finder is also slightly larger, offering 0.76X magnification and improved optics. Leica claims that the eye-sensor has been improved too, and should operate without any perceptible delay.

Automatic image stabilization

The Q2 takes the optical image stabilization system of the original Q and adds an extra layer of control. As well as on and off, stabilization can be set to kick in only at exposure times of longer than 1/60 sec, to save on power drain at faster shutter speeds where camera shake isn’t likely to be a significant concern. How much difference this makes to total battery life in normal shooting situations remains to be seen but it’s a feature that makes sense on a fixed focal length camera.

Improved battery life

Compared to the original Q, the Q2’s battery life has increased by 30% from a stated 270 shots to 350 (CIPA). The Q2 uses the more powerful battery originally found in the SL, and we’d expect that in normal use, you should expect a lot more than 350 shots per charge out of it if you shoot sensibly.

Extended shutter speed range

Easy to miss on a spec sheet, but the Q2 benefits from a redesigned shutter, with mechanical shutter control up to 1/2000 sec – the same as the Q – but now flash sync has been given a boost, from a maximum of 1/500 to 1/2000 seconds in the new camera. The shortest shutter duration using electronic shutter has is now 1/40,000 sec, compared to 1/16,000 in the older model.

SD Cards and 4K video

Thanks partially to the change in batteries, the Q2 now has a separate door for the SD card and also supports the faster UHS-II card format (the original Q would only operate at UHS-I speeds). This will be especially handy for fast burst shooting and the addition of 4K video.

While the form factor of the Q-series might not lend itself naturally to serious videography, the option of high-quality video capture in such a small lightweight camera is pretty appealing. The Q2 offers DCI / UHD 4K at up to 30p, and Full HD at 120p for slow-motion capture. The new ‘true’ base ISO of 50 should reduce the need for neutral density filters when shooting video in bright light, too, as well as offer respectable dynamic range – something we’re currently putting to the test.

The rest

In all, we find the improvements Leica has made to the Q2 are well judged and all the more impressive considering the camera is almost the exact same size as the previous model. The basic formula remains the same, and the Q2 should promise to be just as engaging a tool for discerning photographers as the original.

Is the Q2 the camera for you? For those of you that have owned or used an original Q, what do you make of the new model? Let us know in the comments.

Articles: Digital Photography Review (dpreview.com)

 
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GimbalGun aims to spread the load for videographers

08 Mar

If you find your biceps bursting through the arm of your shirt at the end of a day’s video shoot you might be glad of something to make your gimbal feel a little less heavy. A project about to be launched on Kickstarter claims to have the answer – GimbalGun.

GimbalGun is a support system that aims to take the weight of a gimbal and associated accessories off the operator’s arm and onto his or her shoulder and upper back. The device consists of a long metal box to which a single-handed gimbal can be mounted and a shoulder strap that helps redistribute the weight of the gimbal and camera. GimbalGun has a number of 1/4in thread holes that allow monitors, microphones, tripods and a host of other accessories to be attached as well, so the whole set-up can be supported on the same system.

The manufacturer claims that GimbalGun lets videographers shoot longer without getting tired, and that it also provides the means to mount monitors and microphones in more effective positions than when they are simply attached to the gimbal handle. Users can choose whether to suspend the GimbleGun from a shoulder using the strap, or to mount it on the shoulder like a bazooka.

The device is made from lightweight aluminium alloy and is hollow, but it is also quite big and must add a significant weight itself to any videographer’s kit. Sample footage is available for inspection on the GimbleGun website…that was shot while the videographer drank a coffee with his spare hand.

The Kickstarter page is in draft mode and the campaign hasn’t started yet, but you can see more information there. It looks as though GimbalGun will cost $ 200, but discounts will be available for early-bird supporters.

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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