360Photography

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  • China shares the first photo captured on far side of the Moon

    Photo captured and shared by the China National Space Administration (CNSA).

    The China National Space Administration (CNSA) has landed its Chang’e 4 spacecraft on the far side of the moon and sent back a photo captured from the surface. This marks the first time any spacecraft has landed on the far side of the moon.

    After touching down at 9:26 p.m. US eastern time, the spacecraft sent back a color photograph of its home inside the Von Kármán lunar crater, a formation on the southern pole of the moon that measures approximately 180 km in diameter.

    Lunar Orbiter 5 image of the Von Kármán lunar crater.

    Photographs of Von Kármán and the far side of the moon have been captured before, as seen in the above image captured bye Lunar Orbiter 5, but never from the surface of the moon.

    One of the major hurdles of landing a spacecraft on the far side of the moon is communications. Normally, with the moon in the way, there’s no way for direct communication for the spacecraft. To get around this limitation, the CNSA is using the Queqiao satellite as a relay point about 65,000 km above the surface of the moon.

    With the spacecraft now safely on the far side of the moon, it can begin its mission to take measurements in an effort to better determine the age and makeup of the Von Kármán lunar crater and southern pole of the moon.

    Articles: Digital Photography Review (dpreview.com)

  • Panasonic interview – ‘We are targeting the very highest level of durability in the industry’

    Yosuke Yamane, President of Panasonic’s Imaging Network Business Division.

    With the official launch of Panasonic’s new full-frame S1 and S1R getting close, we’re looking back to Photokina 2018, where we sat down with Yosuke Yamane, President of Panasonic’s Imaging Network Business Division. In our interview, Mr. Yamane discusses his hopes for the future, why Panasonic decided to go full-frame, and the challenges facing his industry.

    Why did Panasonic make the decision to move into full-frame?

    Five years ago, full-frame mirrorless cameras entered the market, and the trend [since then] has been moving towards full-frame mirrorless cameras. But at that time, we were not ready. Both in terms of technology, and also service and support, and so on. But now the time has come when our technology is ready to go.

    As you know, since we joined the camera business, we have introduced several worlds first technologies. [Full-frame] is a new challenge for us as an innovator. We believe that we can provide value in the full-frame camera market.

    You’ve said that the ’S’ stands for specialized – what are these cameras specialized for?

    They’re specialized for professionals. That is a core target for us but we’re also targeting high-end amateurs and enthusiasts.

    “Operability without compromise”

    What is your strategy for attracting professionals?

    Everything without compromise. Image quality, build quality, operability and performance. It takes all of our effort. As for image quality, we’re using newly developed 47 and 24MP full-frame sensors, and also a new processing engine, plus a high-quality lens lineup. And 4K 60p video. Fast, and very accurate autofocus, which is a combination of high-speed contrast detection autofocus and DFD technology. And this also includes deep learning Ai. Plus dual image stabilization and a high-precision, high-speed shutter.

    Also a very high resolution viewfinder – the highest-precision finder in the industry. Dual card slots, SD and XQD, which is essential for professionals, and a 3-axis tilting LCD. Operability without compromise.

    Our designers ran a lot of simulations and made a lot of prototypes of the grip, for example, to fit the needs of professional photographers. Also optimal button layout, for intuitive controls.

    Four mockups of the S1/R’s grip, which went through several rounds of refinement based on feedback from professional photographers.

    Is there a technical reason for the unusually large body size of the S1 and S1R?

    DSLRs incorporate mirror boxes, but we have double card slots, an in-body stabilization system and high-quality movie features. So the body obviously gets bigger because of those features. We didn’t want to compromise on features for the sake of body size. Maybe some customers think that mirrorless cameras should be small, but we think that as a professional tool, this body size is appropriate.

    The advice from professionals is that they place more importance on performance, not size

    We have made this camera with our Lumix ambassadors. We got a lot of feedback from them and most of the professionals don’t feel that [these cameras are] ‘big’. They feel that they are a very appropriate size.

    The advice from professionals is that they place more importance on performance, not size. For example the shutter. Most competitive cameras are guaranteed to 200,000 actuations. Our camera will be tested for more. That’s the kind of thing that we prioritize, for professional use.

    Is it your intention that the S1 and S1R will be the most durable cameras on the market, when they’re released?

    Yes. We are targeting the very highest level of durability in the industry. [The S1/R] are 100% sealed against dust and water, and operate in very low temperatures – even exceeding the limits of the GH5. The GH5 actually went to the South Pole in minus 40 degrees C, and worked perfectly. Such kinds of ‘no compromise’ features are all incorporated [in the S1/R].

    There are a lot of photographers taking landscapes, sports, and nature, and we’re gathering feedback from all of them. The cameras need to work in all kinds of conditions from very warm to very cold. So we focus on all of the requests from consumers with the intention of making [these cameras] without any compromise.

    Panasonic claims that the S1 and S1R will offer the highest standard of durability in the industry, while offering professional-oriented feature sets and a very DSLR-like handling experience.

    Do you think that over time, your L mount lineup will grow to include entry-level products, or do you see it purely as a high-end system?

    The first generation will be specialized for professionals but in the future, of course we’re also aiming to attract entry-level users. In that eventually, we’ll study the question of performance versus size. But our image to professional users is very important. That’s why we’re attacking this segment [initially].

    We decided that it was better to collaborate, than to create our own standalone mount

    What is the strategic value of the L mount alliance, to Panasonic?

    We’ve had a good relationship with Leica for a long time – 17 years. Four years ago we renewed our contract. That contract included a technical collaboration, with our digital technology and their optical technology. There will be a convergence. In that contract we discussed a lot of things relating to the shared mount.

    Sigma produces very reliable high quality lenses, [and we knew that] in order to get into the new business, we needed a lineup of lenses. So we decided to collaborate with Sigma to make a big impact. I have a good relationship with Mr Yamaki, CEO of Sigma, I trust him and I respect his aggressiveness towards the market. This collaboration provides a lot of value for us, entering into a new market and becoming competitive in full-frame.

    Considering value for customers, we decided that it was better to collaborate, than to create our own standalone mount. This way we can provide lots of choices for lenses, and Sigma already has a large fanbase. Obviously Leica with its 100 year history also has a good base of users.

    The Leica L mount lineup includes APS-C products as well as full-frame. Is Panasonic interested in APS-C?

    No. We have our own Micro Four Thirds system and we think that [because of the greater difference in size between full-frame and M43] this is the best balance. We have no plans to develop APS-C products.

    In M43, we prioritize compactness. But in full-frame we set higher targets, to meet professional specifications

    Is designing lenses for full-frame easier or more difficult than designing for Micro Four Thirds?

    It’s more difficult. In the case of M43, we prioritize compactness. But in full-frame we set higher targets, to meet professional specifications. This camera [the S1R] incorporates a 47MP sensor, but to be futureproof, lenses should be capable of resolving more resolution than that. So we set very high specification targets for our full-frame lenses. We will develop our lenses without compromise. Other important factors are build-quality, and bokeh. These are both very important when it comes to creating photographs.

    Do you think Panasonic’s L-mount lineup could evolve in future to include products like the GH5S, which are optimized for video?

    One of our assets is our experience of professional video, over more than 40 years. This is one of the areas where we contribute to the market, so in the future it’s possible that [our L-mount lineup] will expand to include such products. But even the S1 has very good video capabilities. We cannot disclose the exact specification beyond saying that it will be capable of 4K/60p video but you can expect more. Even the S1 will be used, we believe, by professional videographers.

    The 24MP and 47MP sensors inside the S1 and S1R will be capable of high-quality 4K video capture as well as stills shooting.

    The sensors inside the S1 and S1R are described as ‘newly developed’. Are they fabricated by Panasonic?

    We cannot disclose that. I would love to tell you but I can’t – you’ll just have to imagine! Obviously we have sensor-manufacturing experience, but I can’t disclose anything. Even if we outsourced [sensor fabrication] the design would still be to our specifications. Picture quality is not only determined by the sensor. There’s also lens design, and processing technology.

    Can you explain how Panasonic and Leica work together in terms of lens design?

    Mainly, optical technologies and manufacturing technologies come from Leica. We provide our digital technology and interface technology to them. For the full-frame lenses, we designed them by ourselves, but the DNA of Leica is incorporated – of course.

    Is there any Panasonic DNA in Leica products?

    I don’t know if they would admit that, but we do provide it! All of the Leica-branded lenses for our Micro Four Thirds system are checked according to Leica’s standards, and we have learned a lot through that process.

    What are the biggest challenges facing Panasonic?

    As you know, in the camera industry we don’t have a large market share compared to the likes of Canon and Nikon. They have much more history compared to ours – we’ve only been in the industry for 17 years. Our brand recognition is also not so high. However, a paradigm change has finally arrived. Canon and Nikon are creating new mirrorless systems, and we’re entering a new world thanks to the L mount alliance. This is a new start for the camera industry.

    Our slogan is ‘changing photography’. We want to create a new photo culture for the digital generation. In the full-frame world, I think that customers will appreciate our contribution. Rather than competing with Canon and Nikon we’re focused on conveying that message to the customer.

    We want to create a new photo culture for the digital generation

    When it comes to product planning, we have to anticipate how customers behavior will change in the future. These models [the S1 and S1R] are focused on professionals. We have to anticipate how professional photography and videography will change, and we’re constantly looking at those trends, and anticipating how professional behavior will change. And as professionals change, customers at the entry and mid-levels will change, too. We have to watch this very carefully, and we always plan our products in line with changing customer trends.

    What do you think are the biggest opportunities for Panasonic?

    The Olympic Games in 2020 will be a very big opportunity to showcase Panasonic’s technologies. I was born in 1964, which was the year of the last Tokyo Olympics. We will use the 2020 games as an opportunity to enhance our video technologies and photo technologies. After the Olympics, we will create a new generation of 8K video cameras, which are currently in development.

    Editors’ note: Barnaby Britton

    Panasonic is one of the most interesting companies in the photo industry. Although it enjoys only a modest share of the market compared to ‘giants’ like Canon and Nikon, Panasonic has consistently surprised us with its energy and innovation – particularly in the high-end video/stills space. Arguably, Panasonic is the only company that could have created the powerful GH5, and it’s hard to imagine another company having the confidence to make the even more narrowly-specialized GH5S.

    When it comes to high-end video capture in mirrorless cameras, Panasonic has been (along with Sony) a driving force in the industry, and that’s thanks to the company’s long experience in the video realm. While Lumix as a brand is less than 20 years old, Panasonic has been involved in video, in some way or another, for more than twice that long.

    The fact that Panasonic’s forthcoming S1 and S1R mirrorless ILCs will both offer powerful 4K video feature sets is not a surprise. What’s interesting is that they’re built around full-frame sensors. I’m inclined to think that moving into full-frame is a good decision for Panasonic, but it’s risky. I agree with Mr. Yamate that moving forward in partnership with Leica and Sigma will add more value to the market for enthusiast and professional photographers than creating yet another new lens mount, while also mitigating the potential risks of going it alone.

    Promising the highest level of durability in the industry and plenty of advanced features, the S-system has the potential to seriously challenge the ‘giants’

    While there are plenty of full-frame mirrorless systems available in late 2018, there is a conspicuous gap in the market when it comes to full-frame video systems. It is doubtful whether Nikon will try (or even feel the need to try) to create a video-oriented ILC in the near future, and Sony seems to have (probably only temporarily) paused the development of its a7S lineup.

    Panasonic, with its decades of experience making video cameras, must be keen to put a product into that gap. If the company’s intention is to lead the way in full frame video, similar to what it did with the GH series for Micro Four Thirds, it has the potential to disrupt the full frame market more than its current industry share might suggest. Joining the L-mount alliance is a great first step.

    But that’s the future. For now, Mr. Yamane’s company is dedicated to making the S1 and S1R as attractive as possible to professional photographers.

    Articles: Digital Photography Review (dpreview.com)

  • Olympus teases new enthusiast mirrorless camera due in January

    Olympus has posted a teaser video for a high-end mirrorless camera that the company plans to launch on January 24th. The video is short – under 20 seconds – and highlights the camera being used at sporting events. It also features everyone’s favorite: a shadowy camera silhouette. Wouldn’t be a teaser video without one, would it?

    Scenes in the video suggest that the camera will be rugged enough to stand up to some tricky conditions like a sand volleyball match, a point that’s driven home as the clip closes on the OM-D logo. Take a look for yourself at the video above and let the speculation begin.

    Articles: Digital Photography Review (dpreview.com)

  • Video: The history of B&H in 91 seconds

    B&H has grown to become an establishment in the world of photography since it first opened its doors in 1973. To celebrate more than 45 years in business, B&H has published a 91-second video that takes a brief look at the company’s history.

    Founded by a husband and wife — who used their names Blame and Herman as the inspiration for the brand — B&H has gone from a small shop in on 17 Warren Street in Manhattan, New York City to a three story building on 420 9th Avenue with more than 400,000 products on its shelves and 1,000 employees at the helm.

    While B&H’s history is a notable one, it isn’t without its blemishes. Since 2007, B&H has faced numerous lawsuits for various discrimination claims and to date has paid out more than $ 7.5 million in verified settlement claims.

    Articles: Digital Photography Review (dpreview.com)

  • Study finds news photography quality drops when non-professionals are used

    In 2013, the Times Herald-Record in Middletown, NY, laid off its entire photo staff, electing to replace them with a mixture of professional wire service photos and images taken by non-professionals. This business decision remains in effect years later, and a new study warns the publication’s news imagery has suffered as a result.

    The study, which was recently published in the journal Journalism & Mass Communication Quarterly, looked at 488 images taken by professionals and 409 images taken by non-professionals, all of them having previously been published by the newspaper. The photos were analyzed across four categories: Informational, Graphically appealing, Emotionally appealing and Intimate.

    According to the results, more than 8 in 10 images taken by non-professionals fell into the “Informational” category, which is described as photos that provide info but lack emotion and creativity. In comparison, 49% of professional news images fell into the Informational category.

    News images captured by non-professionals were often basic, lacking aesthetic and emotional appeal

    As well, the study found that only 10.3% of non-professional images were classified as Emotional versus 25.4% of professional images, and that 7.6% of non-professional photos were Graphically Appealing versus 23.6% of professional images. Finally, while 1.8% of professional images were considered Intimate, none of the non-professional images fell into that category.

    The researchers noted some other differences between the two photographer categories, including that professional photos were more likely to feature action and that the Times Herald-Record more often prominently featured images taken by professionals.

    Though some questions remain, such as whether professionals were given more options to capture compelling subject matter, the results are still clear: news images captured by non-professionals were often basic, lacking aesthetic and emotional appeal. Whether such conclusions will reverse the trend of laying off photo staff is yet to be seen.

    The outcome of the study is far from surprising, but it’s nice to see numbers back up what would seem like common sense. Sure, the best camera is the one you have with you, but a professional photographer with the right equipment in their hands is much more likely to create an impactful image, be it with emotion, composition, color, or some combination of all the above.

    Articles: Digital Photography Review (dpreview.com)

  • New ‘EZ’ E-6 film developer announced under Edwal brand

    On the back of the re-introduction of some Kodak Ektachrome films a U.S. photographic company has announced it will begin sales of its own slide developing kits under the Edwal brand. Edwal has been associated with photo chemistry for some time, and US photographic distributor OmegaBrandess owns the rights to the name and intends to produce E-6 chemistry kits aimed at making transparency development easier for the home user.

    The Edwal kits will contain developer, color developer and a single bleach/fix solution, and will be available in 1-quart/946ml and 1-gallon/3.8l sizes. The company claims the chemicals offer users some degree of flexibility with development times and the temperature of the solutions without adverse effects on the film.

    The 1-quart kit will cost $ 59.99 and the gallon kit will be $ 134.99. For more information see the OmegaBrandess website.

    Press release

    OmegaBrandess Press Release

    As the owner of the well-known EDWAL brand of photo chemistry, OmegaBrandess is proud to introduce the EDWAL E-6 32 OUNCE AND 1 GALLON DEVELOPING KITS.

    The overwhelming popularity of the recently announced Kodak Ektachrome film has spawned renewed interest in at-home and small batch film developing. To meet that demand OmegaBrandess Distribution is offering E-6 developing kits for the students and hobbyists out there to develop their own color slide film.

    Now available at many photo retailers are a 1-quart and 1-gallon developing kit under our Edwal branding.

    Each kit contains Developer, Color Stabilizer, and Blix- all the chemicals needed to process E-6 film. Easy-to-use liquid allows for variations in time and temperature! Also available at OmegaBrandess.com.

    Pricing
    The suggested retail price is $ 59.99 for the quart kit and $ 134.99 for the gallon kit.

    About OmegaBrandess
    OmegaBrandess has manufactured and distributed photographic and imaging products for over 75 years. A privately held company, OmegaBrandess supplies the photography industry with over ten thousand products from dozens of branded lines. For more information about OmegaBrandess and its represented brands, call 410-374-3250 or visit www.omegabrandess.com.

    Articles: Digital Photography Review (dpreview.com)

  • Join our team! DPReview is hiring three Software Development Engineers

    If your New Year’s resolution list includes a career move, we’ve got good news: DPR is seeking three Software Development Engineers at a range of experience levels to join our Seattle-based team. In addition to a Senior SDE, we’re looking to add two more engineers and help build the future of DPReview.

    In these roles, you’ll build on the full power of AWS and use the latest web standards and technologies to create industry-leading experiences for millions of visitors. With quick release cycles, you will test your ideas in the real world and get instant feedback from a passionate audience. With full-stack ownership, you’ll have direct impact on the look, feel and infrastructure of one of the web’s top photography websites.

    Find more information and a link to apply below.

    Apply now:
    Senior Software Development Engineer – Team Lead

    Apply now:
    Software Development Engineer
    (1+ years of experience)

    Apply now:
    Software Developer
    (4+ years of experience)

    Articles: Digital Photography Review (dpreview.com)

  • A Nokia 9 PureView promo video has been leaked showing off its 5 camera arrangement

    We’ve seen rumors of a new Nokia smartphone with a penta-lens camera setup floating around the Internet since last September. Now these rumors have been all but confirmed and it looks like we are pretty close to an official launch of the device.

    Website mysmartprice.com has published what looks like a promotional video for the as yet unannounced device. In addition “professional leaker” Evan Blass posted an image of the new device on his Twitter account. In the video the device is called the Nokia 9 PureView and can be seen with the rumored penta-lens camera on the back.

    According to the video, the camera captures five images simultaneously when the shutter is pressed. This results in more light being captured than on conventional cameras and therefore produces better-than-usual low light capabilities. Images can also be refocused after capture, but there is no talk about zoom performance.

    The new Nokia will allegedly also come with a 5.99-inch “PureDisplay” that supports the HDR10 standard and features an in-display fingerprint reader. The device will be powered by a Qualcomm Snapdragon 845 chipset and 6GB of RAM. 128GB of built-in storage are on board as well.

    While general specs are pretty much in line with other current high-end smartphones, the upcoming Nokia’s camera definitely will stand out from the crowd when the phone is made official. This could happen pretty soon and we’d expect the Nokia 9 PureView to be announced at the Mobile World Congress in February at the latest.

    Articles: Digital Photography Review (dpreview.com)

  • Canon EF-M 32mm F1.4 sample gallery

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    Users of Canon’s EOS M system got a treat this fall, with the announcement of the EF-M 32mm F1.4. Announced more than a year after Canon’s last EF-M lens (the EF-M 28mm F3.5 Macro), the new 32mm offers a native 50mm equivalent field of view, a metal mount, a focus limiter switch and overall solid construction. But how is it optically? Take a look through our sample gallery to get an idea of how it performs.

    Articles: Digital Photography Review (dpreview.com)

  • Review: Peak Design Travel Backpack 45L and ‘Packing Tools’ are pricey but versatile

    Introduction

    The Peak Design Travel Backpack 45L is the core item in the brand’s new travel line.

    The Internet has been abuzz with excitement over Peak Design’s new travel-oriented bag line which revolves around a 45L carry-on-sized backpack and set of organizational ‘Packing Tools’. The system is for those who love Peak Design gear and want to travel with their camera gear and personal items packed into just one bag.

    The system is for traveling with camera gear and personal items packed into just one bag

    The Kickstarter for said line of bags launched in July and crossed the finish line with over 10 times its initial goal raised. In more direct numbers, that’s 5.2 million dollars raised, with an initial goal of $ 500,000. Wow.

    The whole kit I tested: Travel Backpack 45L (right), Packing Cube (top-middle), Shoe Pouch (bottom-middle), Camera Cube (top-left), Tech Pouch (middle-left), Wash Pouch (bottom-left).

    For the sake of this review I’ll be looking at the Travel Backpack 45L, on page one. On page two I’ll look at the rest of the system, including the Tech Pouch, Wash Pouch, Shoe Pouch, Rain Fly, Packing Cube (small), and Camera Cube (medium). Combined these items add up to $ 545.

    It’s important to note this bag and its accessories should be viewed almost as a gear carrying ecosystem, not unlike owning a Macbook, iPhone, AirPods, etc. These products are designed to be used together, but I believe its important to remind both myself and anyone else interested in these bags you certainly can choose to use other brands alongside the different pieces of the Peak Design (PD) ecosystem. I’ll go in depth with the main bag, then share my notes on the each of the smaller items, and lastly return to how all of these things fit together.

    Peak Design Travel Backpack 45L
    $ 299.95| PeakDesign.com

    The most important part of the Travel Line is the backpack itself. It’s big, sleek, and surprisingly boxy, though I’ll get to why that’s not such a bad thing later. As mentioned, this bag is oriented towards travelers, photographers, videographers and anyone in between. It blends some design principles of a traditional ‘backpacking’ bag with the sensibilities of a camera luggage bag, sans-wheels.

    Specifications

    • Carrying Capacity: 30L – 45L
    • Height: 56 cm (22″)
    • Width: 33 cm (13″)
    • Depth: 23 – 29 cm (9″ -11″)
    • Weight: 2.05kg (4.52lb)
    • Back panel and dual side loading/access
    • 2 Expandable side pockets with drainage holes
    • Front access organization panel with 5 zippered compartments
    • Passport/travel document pocket in back panel
    • Laptop/Tablet sleeve in back panel interior, fits 15″ laptop
    • Storable hip and shoulder straps
    • 12 gear attachment loops across bag
    • 400D weatherproof, 100% recycled nylon canvas outer shell
    • 900D weatherproof bottom liner
    • Durable water repellent, polyurethane coated interior
    • Weatherproof zippers for back, front and side panels
    • Padded ultralight foam around entire bag

    Compared to other bags

    There aren’t a lot of direct competitors to the Travel Backpack, but two that comes to mind are Osprey’s Porter 46 Travel Pack and Mind Shift’s Firstlight 40L. These two bags represent the different focuses that Peak Design is trying to blend: a long distance travel backpack (Osprey) and a camera gear bag (Mind Shift).

    The Porter is nearly identical in size, fits many of the same things and weighs only 1.5kg, or .5kg less than the Peak Design – it also costs $ 140, less than half of Peak Design’s $ 300 price tag. That being said, the Porter doesn’t have quite the gear readiness of Peak Design’s bag and is also missing the 900D bottom liner, though it does boast 420D weatherproof nylon, as opposed to PD’s 400D.

    Peak Design’s Travel Backpack 45L packed with the Camera Cube (medium)

    Meanwhile, the Firstlight has 5L less carrying capacity and an interior depth of 18.5cm compared to PD’s 23cm at the low end. The Firstlight also costs $ 330, $ 30 more than Peak Design but the key difference here is that the Firstlight comes readily equipped with padded dividers in the main compartment of the bag – not the case with the PD option. With the Firstlight you lose some of the flexibility and travel-focus of Peak Design’s bag, but you actually end up spending less in the long run if what you’re looking for is a gear-focused bag.

    Design and construction

    This bag really surprised me out of the gate. Design-wise, it boasts a simple facade that has all kinds of pockets, straps, and secret stash areas. The boxiness of the bag seems like a departure from Peak Design’s more angular, triangle-based design you see in the Messenger and Everyday Backpack. This bag doesn’t ask for attention in its appearance.

    The Travel Backpack has a simple design with little flashiness.

    In the Black version (tested here), everything blends together seamlessly. None of the straps, loops, or zippers call attention to themselves and everything has a James Bond-esque coolness to it. The Sage color also looks classy.

    Nothing feels flimsy and all the zippers are smooth. Every strap feels like it belongs and helps the user carry the bag in whatever method is most convenient in the moment. I particularly appreciate the addition of the duffel-style strap in the center of the back panel. I’m a huge fan of Peak Design’s padded handles on both the tops and sides of their bags so to see another one in another place I didn’t realize I wanted it until I had it is a joy.

    Back of the Travel Backpack 45L, note the duffel handle in the middle

    I think the area that Peak Design seems to excel the most is producing bags that feel sturdy and warrant the trust we give them with our gear. Another stellar addition here is the 900D weatherproof bottom liner, something you rarely even see in more outdoor-oriented bags.

    The only design flaw that really stands out to me is the hip straps’ locking mechanism feels particularly unfamiliar. I like that Peak Design chooses to use hard metal joiners, like for the sternum strap, but for me I would’ve been perfectly happy with a hard plastic buckle.

    Hip Strap Sternum Strap

    In Use

    I actually found this bag to be much more comfortable on my shoulders than my backpacking bag from REI. The hip straps aren’t quite as load-bearing, though I still find they take some of the weight off my shoulders and I think part of this is to do with the fact that a) I’m skinny, and b) the metal hook used to secure the hip straps doesn’t have quite the same tension as a buckle.

    That said, the magnetic latches that allow you to store the hip straps in the back panel are super helpful for keeping things streamlined without a bunch of straps flapping in the wind when you’re moving around. And yes, this bag weighs more than others, I didn’t find it to be excessively heavy but ultimately that’s going to depend on how you pack it.

    Strap storage, brought to you by: magnets!

    I first used this bag (along with the medium sized camera cube) like a gear suitcase traveling from Seattle to Portland to shoot a wedding and found it more than adequate for moving my equipment in a safe, comfortable manner.

    I later used it without the camera cube as my main pack to travel around Europe for a few weeks and it was also pretty great. I opted to keep all my clothes and miscellaneous belongings in the main backpack and then carried Peak Design’s 10L Sling separately to keep my camera, extra lenses, journal, Kindle, etc. protected. Although it’s not really possible with the 10L Sling, Peak Design’s 5L sling can fit inside the Travel Backpack no problem, though you won’t have the same side panel access you could have with the camera cubes.

    There are a lot of features packed into this bag and they take time to learn

    The compression down to 30L is nice for those who want to use it, but I found the bag still felt too large for use as a ‘day pack’, even compressed down. The compression is achieved by folding two buttons on the top of the bag back onto their button counterparts, making the bag more angled down its face. There are a lot of features packed into this bag and honestly one of the biggest hindrances of enjoying them is they take time to learn. I’d highly recommend anyone interested in using using this pack for extended travel consider taking it out on a short weekend excursion first to learn some of the ins and outs. I didn’t initially realize that the front zipper panel with 4 zipper pockets could actually be rolled up and stowed for a more simple 1 compartment approach (see below).

    My biggest usage gripe with the bag (which also extends to Peak Design’s Everyday Backpack) is that the side pockets really don’t expand much and can only fit some pretty small things. My 32oz Nalgene bottle for example, had to be attached on one of the gear loops because it didn’t fit in the side pockets. My guess is that this tightness is based around keeping things like tripods snug against the side of the bag. On the other hand one thing I like most about this bag is it stands upright on its own, unlike some of Peak Design’s other packs.

    The pocketed divider can be stowed to create one big main pocket with immediate front access.

    Conclusion: Peak Design Travel Backpack 45L

    Overall, I really enjoy using this bag and think I’ll be relying on it more to come in the future. The build quality is stellar, it’s stylish but subdued and it offers a lot of possibilities in terms of approaching how you carry all your stuff with you.

    On it’s own this backpack offers a really awesome option for traveling light. It can fit enough to live out of, but doesn’t make you feel like a turtle. The sturdy design of the bag gives buyers a chance to manipulate the space within it as effectively as possible, unlike other backpacking bags that require you to stuff things in from the top down.

    What we like:

    • Stylish design
    • Lots of space and versatility
    • Comfortable fit
    • Packed with tons of features
    • Durable and naturally protective

    What we don’t:

    • Too large for daypack use
    • Pricey
    • Features can be overwhelming at first
    • Small side pockets

    Peak Design Travel Backpack 45L rating:

    Head to page 2 for a breakdown of the rest of Peak Design’s Packing Tools and our overall conclusion.

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