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Buying Guide: The best instant cameras

09 Jul

The instant camera market has taken off in recent years and there are a lot of great options ranging from around $ 60 all the way up to several hundred dollars. Over the course of many fun weekends, we’ve shot with virtually all all of them, to find out which is the best. Below is a breakdown of the 4 instant formats:

Instant format Manufacturer Image size Shot per pack
Instax Mini Fujfilm 46 × 62 mm
1.8 × 2.4 “
10
Instax Square Fujfilm 62 x 62 mm
2.4 x 2.4 “
10
Instax Wide Fujfilm 99 x 62 mm
3.9 x 2.4 “
10
I-type Polaroid Originals 79 x 79 mm
3.1 x 3.1 “
8

Ultimately, this rebirth of the Instant camera market can be attributed to one word: Fun! There’s something about about having a tangible object to share that makes these cameras hugely enjoyable. They also make great gifts. Here are our recommendations:

Our pick: Fujifilm Instax Mini 70

The Fujifilm Instax Mini 70 strikes the perfect balance of price to features to make it our top overall pick – plus it makes use of the most affordable instant format. Available in six colors, the Mini 70 is among the most compact and lightweight instant cameras on the market, and also among the prettiest (in our opinion). The CR2 batteries it uses can be a little annoying to find, but battery life overall is great. And unlike rechargeable instants, the Mini 70 should still have some juice in it even if left on a shelf for several months.

But most importantly, it’s really easy to use. Users simply select their shooting mode – normal, macro, selfie, landscape, self timer or high key – and the camera does the rest. And unlike some of its competitors, focus is motor-driven (three positions) and set by the camera when your mode is selected. Exposure is fully automatic, though there is a +2/3rd EV option (that’s the high key mode). Overall, the Mini 70 does a good job balancing flash with ambient light thanks to a variable shutter.

Of course, for a little more cash, you can drive away in the Instax Mini 90, which adds negative exposure compensation, the ability to disengage the flash in normal mode and a bunch of creative modes. However its higher price and its more complex operation has us feeling you’d be better off spending that extra money on more film for your Mini 70.

Also recommended: Fujifilm Instax Wide 300

We prefer the quality and tonality of Instax film to I-type and if you are going to shoot Instax, why not shoot the largest format possible? If you follow that logic, than the Wide 300 is the instant camera for you.

The most affordable Instax Wide camera available, we’re big fans of its comfortable grip, automatic operation (with positive and negative exposure compensation modes), motor-driven focus (2 positions) and straightforward operation. Yes, it is enormous, but that’s par for the course with this format.


  • Our pick: Fujifilm Instax Mini 70
  • Also consider: Fujifilm Instax Wide 300

Instax Mini cameras

  • Fujifilm Instax Mini 9
  • Fujifilm Instax Mini 25/26
  • Fujifilm Instax Mini 90
  • Leica Sofort
  • Lomography Lomo’Instant
  • Lomography Lomo’Instant Automat
  • Lomography Lomo’Automat Glass
  • MiNT InstantFlex TL70 2.0
  • Polaroid Pic-300

Instax Square cameras

Fujifilm Instax SQ6 (SQ10)
Lomo Instant Square

Instax Wide cameras

Lomography Lomo’Instant Wide
MiNT Instantkon RF70 (just announced)

Polaroid I-type

Polaroid Orignal OneStep2

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: where to place a microphone to record great audio

08 Jul

There’s an old axiom in filmmaking which states that an audience will forgive a poor quality picture, but not poor quality sound. This week, Chris and Jordan bring in an audio pro to discuss different types of microphones, how to position them, and to demonstrate how a cheap microphone positioned correctly will outperform an expensive model placed incorrectly.

Make sure to subscribe to our YouTube channel to get new episodes of DPReview TV every week.

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Articles: Digital Photography Review (dpreview.com)

 
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PinBox is a DIY 120 format pinhole camera made from cardboard and an acid-etched aperture

07 Jul

Not all Kickstarters need to be overly-ambitious projects with goals reaching six figures. Sometimes, they can be humble, affordable, and downright fun. Case in point is PinBox, a DIY pinhole camera from the Hamm Camera Company.

The PinBox is a do-it-yourself 120 format 6×6 pinhole camera designed specifically to teach you how to make your own.

This is the second crowdfunding effort from Hamm Camera Company. The first was a Kickstarter for NuBox 1, a modular box camera that blew away its funding goal and started shipping out March 2018.

The PinBox kit, which is still available as a ‘super early bird’ special for $ 20, comes with pre-cut sections of cardboard for the frame of the camera, four film winding keys (two flat and two raised) and a precision-made acid etched aperture disk.

PinBox has a focal length of 30mm and a variable aperture, depending on the disk you choose from. Hamm Camera Company suggests going with the F120 or F200 aperture disks, but says it’ll have ‘a whole range of apertures to choose form in the backer survey’ for ‘about’ $ 6 a piece and available in sets at a discount.

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Similar to the NuBox 1, the PinBox is meant to be tinkered with and altered. In Hamm Camera Company’s own words:

Our unique design changes the playing field of conventional cardboard pinhole camera. Our approach is to create a camera from cardboard that you can rapidly iterate. Want to double your focal length? Go for it.

Each kit comes with a digital PDF with layout and instructions so you can tweak and adjust your PinBox as you see fit. All photographs currently show the PinBox camera as plain cardboard, but the Kickstarter notes the team is still working on various finishes, including color options such as red, blue, yellow, grey and maybe more.

PinBox is set to ship ‘around the end of August 2018.’ Once the early bird specials are gone, it’ll cost you $ 27 for a complete PinBox kit, as well as an additional $ 7 for shipping in the United States and $ 14 for international shipping.

To find out more details and to pre-order your PinBOx, head on over to the Kickstarter campaign.

Articles: Digital Photography Review (dpreview.com)

 
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Sony Cyber-shot RX100 VI sample gallery updated

07 Jul

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With enough reach to land itself in ‘travel zoom’ territory, the Sony RX100 VI is well suited for a wide range of shooting situations. We’ve tested the 1″ compact with a 24-200mm equiv. zoom both in the office and out on summertime excursions, and our full review is imminent. In the meantime, take a look at our expanded gallery – now with converted Raw files.

Articles: Digital Photography Review (dpreview.com)

 
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US Postal Service ordered to pay $3.5m after using photo of Statue of Liberty replica

07 Jul
Robert Davidson’s replica Statue of Liberty sculpture in Las Vegas, Nevada. Photo by ADTeasdale, used under CC license 2.0.

The US Postal Service has been ordered to pay $ 3.5 million to sculptor Robert Davidson after a mixup resulted in the issuance of a Forever Stamp featuring the wrong Statue of Liberty. According to the lawsuit, USPS issued a new Forever Stamp design in December 2010 that features the Liberty Statue replica in Las Vegas created by Davidson rather than the original statue in New York.

The lawsuit explains that an official with the Postal Service began work on creating a new Forever Stamp design by acquiring stock images of the Liberty Statue. Options were narrowed down to three images, two featuring the original statue and one featuring the replica, though officials were unaware of the difference.

PhotoAssist was utilized to acquire digital files of the three final images, and the image of the replica statue was ultimately selected for the stamp design. USPS acquired a license to use the image from Getty Images for $ 1,500. Unaware that it was an image of the replica, the Postal Service failed to get Davidson’s permission or to attribute the work to him.

Davidson became aware of the issue after his wife purchased a book of stamps featuring the new design

Another stock photo agency informed USPS in March 2011 that its Forever Stamp featured an image of the replica statue rather than the original work. According to the lawsuit, the revelation started an internal evaluation at USPS as it determined how to respond. The Forever Stamp design remained in use until it was phased out in 2014.

Davidson became aware of the issue after his wife purchased a book of stamps featuring the new design. A copyright application for the replica statue was filed in January 2012 and issued in November 2013. That same month, Davidson sued USPS for its use of the image.

Though the government argued that the replica was too similar to the original to warrant protection, the court sided with Davidson, finding his statue was sufficiently original enough for copyright protections. The court stated:

We are satisfied that plaintiff succeeded in making the statue his own creation, particularly the face. A comparison of the two faces unmistakably shows that they are different. Although the record does not contain many pictures of the original, the magazine cover provided by plaintiff which bears a picture of the original Statue of Liberty’s face is sufficient. The differences are plainly visually observable, can be articulated, and are not merely “ideas.” … Mr. Davidson’s statue, although invoking an existing world-famous statue, is an original, creative work, and as such is the subject of a valid copyright registration.

The Postal Service sold 4.9 billion stamps, bringing in $ 2.1 billion in revenue and more than $ 70 million in profits. In its ruling, the court determined that Davidson is owed $ 3,554,946.95 in actual damages for the unauthorized use. USPS has not issued a statement on the ruling.

Via: NPR

Articles: Digital Photography Review (dpreview.com)

 
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Rumor: Samsung Galaxy S10 triple-cam to offer super-wide-angle and 3x tele

07 Jul

We’ve already heard rumors about Samsung launching three models for its upcoming Galaxy S10 flagship smartphone generation, including one featuring a triple-camera on the back.

Now more information has surfaced about the specifications of the Samsung triple-camera and if the rumors turn out to be true, mobile photographers will have something to look forward to.

According to German website AllAboutSamsung, the South Korean manufacturer’s upcoming flagship will be the first smartphone to combine a super-wide-angle and a tele-lens with the primary camera. The super-wide-angle is expected to come with a 123-degree angle of view, the tele lens with a 3x magnification, offering a wider zoom range than any other smartphone.

If the rumored specs are close to the real thing… the new Samsung could be the smartphone for photography in 2019

The only current smartphone with triple-camera on the market, Huawei’s P20 Pro, doesn’t come with a super-wide-angle option and instead opts for a monochrome sensor for increased low light capabilities and a native monochrome shooting mode. The main options for smartphone users who want a built-in super-wide-angle, LG’s recent models, have to make do without a tele-zoom.

The rest of the rumored Samsung specifications sound promising, too: the super-wide-angle is expected to come with a 16MP resolution and F1.9 aperture, the primary camera will supposedly feature a 12MP sensor and dual aperture, and the tele uses a 13MP imager and F2.4 lens. No OIS or autofocus will be available on the super-wide-angle but given the angle of view those features might not be missed.

If the rumored specs are close to the real thing and Samsung’s engineers manage to merge image information from all three sensors in an efficient way, the new Samsung could be the smartphone for photography in 2019. We will know more in a few months time.

Articles: Digital Photography Review (dpreview.com)

 
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Video: 6 in-camera video transitions in 120 seconds

06 Jul

Whether you’re filming a camera review or working on your latest vlog, one of the easiest ways to take your video to the next level is to have clever transitions. To help you do just that, Rachel and Daniel of Mango Street have created a video showcasing six in-camera video transitions you can do with little more than a bit of planning.

The video summarizes six different methods in just 120 seconds: through the door, back in shot, whip tilt up and down, below ground, strafe blocking and prism wipe. Each method is detailed with a how-to shot and and a final result shot to show both how to get it done and what the final result looks like.

At the end of the video, all of the techniques are put together to create a seamless flow of footage using all six methods. It’s a short, simple video that manages to pack a punch in just under two minutes.

As noted by Mango Street in the description of the video, don’t forget, ‘focus on the story first. Transitions should only serve to enhance your story.’

Articles: Digital Photography Review (dpreview.com)

 
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Controversial copyright ruling based on ‘faulty understanding’ but shouldn’t set precedent

06 Jul

A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.

The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”

A faulty understanding of the fair use doctrine

The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.

Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.

‘Fair use’ in US copyright law includes the consideration of four basic tests:

  • The purpose and character of the use, including whether such use is of a commercial nature. . .
  • The nature of the copyrighted work
  • The amount and substantiality of the portion used in relation to the copyrighted work as a whole
  • The effect of the use upon the potential market for or value of the copyrighted work.

The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.

In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’

The downloading of an image off of a website to use on another website is hardly a new or unexpected use.

“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”

The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.

In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents

Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”

Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”

The court’s ruling in the case can be found in its entirety here.

A copyright ruling against a photographer whose work was re-used has been criticized as a “very poor decision,” based on “a faulty understanding of the fair use doctrine,” by copyright lawyer Bert Krages.

The widely-reported ‘Brammer v. Violent Hues LLC’ case in the Eastern District of Virginia appeared to accept that the use of a crop of a photograph without permission as fair use. However, while Krages questioned the decision, he also stressed that “the decision does not serve as precedent in other cases,” though he thinks “it’s likely that other defendents in copyright cases will cite to the case in the hopes of getting a favorable decision.”

A faulty understanding of the fair use doctrine

The legal matter began in 2017 after photographer Russell Brammer filed a complaint against Violent Hues Productions, LLC, for using one of his images on its website without first receiving permission. The image had been taken in 2011 and was uploaded to Flickr with an “All Rights Reserved” copyright notice.

Violent Hues removed the image upon being contacted by Brammer, but the photographer sued, both for copyright infringement and for removing copyright information from the image. The court dismissed the copyright removal claim but then made a controversial ruling that Violent Hues’ use was covered by the ‘fair use’ exemption from copyright protection.

‘Fair use’ in US copyright law includes the consideration of four basic tests:

  • The purpose and character of the use, including whether such use is of a commercial nature. . .
  • The nature of the copyrighted work
  • The amount and substantiality of the portion used in relation to the copyrighted work as a whole
  • The effect of the use upon the potential market for or value of the copyrighted work.

The court decision works through each of these tests but Attorney at Law Krages said “The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served.

In particular, he expressed surprise at the court’s assessment of the character of the usage. The ruling states that Brammer’s work was ‘promotional and expressive,’ whereas Violent Hues’ was ‘informational,’ and that the usage was, therefore ‘transformative.’

The downloading of an image off of a website to use on another website is hardly a new or unexpected use.

“The District Court seems to have failed to recognize that a finding of transformative use requires that the source work has been used in a completely new or unexpected way,” he says. In particular, he questioned the case cited in the ruling: “Although the court cites to a Fourth Circuit decision that held that the use of papers written by high school students in a database intended to detect plagiarism was “transformative” because the purpose was different, In this case, the downloading of an image off of a website to use on another website is hardly a new or unexpected use.”

The ruling goes on to suggest the nature of the copyrighted work was a factual representation of the world, even though it contained creative elements, and therefore decided in favor of fair use on the second test. It dismissed the third test by saying that Violent Hues had cropped the image so that only the amount “necessary to convey the photo’s factual content” was used. It then concluded that Brammer had managed to sell the image after Violent Hues had used it, and hence the use hadn’t undermined the work’s value.

In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents

Krages disagrees: “The four fair use factors are neither exclusive nor are they to be given equal weight. The court seems to apply the factors in a way that excuses the infringement as opposed to applying them in a way to determine if the societal interest in fair use is served. Violent Hues purpose for using the image was to make its website look better, and the usage did nothing to promote public interests such as commentary, news reporting, and scholarship. Violent Hues did not use the image to comment on the image as art, to report that someone had made an interesting image, or in connection with a scholarly work on photography. The image obviously had value or Violent Hues would not have wanted to use it. In my opinion, this was nothing more than an unfair misappropriation of an artist’s talents.”

Ultimately, though, Krages has reassuring words: “Although it is likely that other defendants in copyright cases will cite to the case in the hopes of getting a favorable decision, hopefully it will not encourage other parties to engage in infringement. In any case, it should not prevent similarly-situated plaintiffs in other cases from receiving just compensation.”

The court’s ruling in the case can be found in its entirety here.

Articles: Digital Photography Review (dpreview.com)

 
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Kodak Alaris brings 35mm Pro Image 100 film to Europe

06 Jul
Mani.Rae/Flickr used under CC BY-ND 2.0, shot on Kodak Pro Image 100

Kodak Alaris has announced its 35mm Kodak Professional Pro Image 100 film is now available in Europe.

Until now, there was no official means of acquiring Kodak Professional Pro Image 100 film in the European market. Released in 1997, the film has a strong presence in Asia as well as a handful of South American countries, but it’s never been distributed through official Kodak retailers in Europe (or North America for that matter).

The decision to bring the film stock to Europe comes after Kodak Alaris ran a trial period in the UK, which apparently proved successful. Andrew Church, Printing and Operational Supplies and Film Capture Product Manager of Kodak Alaris, says ‘Pro Image 100 gained such positive feedback during its trial period in the UK that the decision whether it should be made available in further countries became easy for us. We are really pleased to offer this popular film to the whole European market.’

In Kodak’s own words, Pro Image 100 color negative film ‘is a medium speed (EI 100) film that features high color saturation, accurate color and pleasing skin-tone reproduction, and good underexposure latitude.’ Kodak adds ‘it is intended for portrait and social applications, and can be stored at room temperature—even in hot, humid climates. Its printing characteristics are similar to those of KODAK GOLD Films to help simplify printing for photofinishers.’

Both Lomography and Flickr have a great collection of photos captured on Pro Image 100 film.

Kodak Professional Pro Image 100 is currently available in packs of five rolls through all Kodak film dealers in Europe.

Articles: Digital Photography Review (dpreview.com)

 
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3 Legged Thing launches ‘one of world’s tallest monopods’

05 Jul

Tripod manufacturer 3 Legged Thing has launched what it is describing as one of the world’s tallest monopods, alongside a heavy duty model and a new monopod foot stabilizer. Trent, a ‘punks’ monopod, will have a maximum extended height of 2m/80in, which is indeed extremely tall for a monopod.

Five-section ‘Alan’ will extend to 1.49m/58.7in but packs down to just 1.49m/58.7in for storage

Trent will be made from ‘aircraft-grade magnesium alloy’ and will be able to support kit weighting up to 30 kg / 66 lb, while a further monopod, Alan, will be made in carbon fibre and alloys and will carry up to 60kg/132lbs. Five-section Alan will extend to 1.49m/58.7in but packs down to just 1.49m/58.7in for storage – and fitting into cabin baggage with many airlines. Alan will weigh 0.6 kg / 1.34 lbs and four-section Trent will weigh 0.63 kg / 1.4 lbs.

Both models will feature 1/4”-20 and 3/8”-16 threads at both ends allowing them to be used as microphone booms as well as to support cameras.

The company is also introducing a new three-legged foot plate called Docz that is designed to add stability. Docz has an adjustable ball-and-socket fitting that can be used to alter the pressure required to move the monopod in the mount – to assist smooth panning and angling. The legs spread to 30cm/12in and fold upwards for storage.

All three products are available on the 3 Legged Thing website and are due to ship from 1st August.

  • Alan – £129.99 / $ 149.99
  • Alan Kit (Alan + Docz) – £169.99 / $ 199.99
  • Trent – £69.99 / $ 79.99
  • Trent Kit (Trent + Docz) – £109.99 / $ 129.99
  • Docz – £49.99 / $ 59.99

Press release

The 1 Legged Thing

Winner of the Lucie Technical Awards Tripod of the Year, British Tripod Manufacturer, 3 Legged Thing, announces the release of two new monopods, and a rugged foot stabiliser.

Complementing their highly-acclaimed range of tripods and accessories, and inspired by the Bletchley Codebreakers and 90s industrial metal (there’s a sentence you never thought you’d read), 3 Legged Thing has announced the release of Alan, a rugged carbon fibre professional monopod; Trent, an ultra-tall Punks monopod; and Docz; a foot stabiliser that works with both monopods, and which is also available separately.

“It’s been five years since we last had a monopod in the range, and it was really important that we made sure that anything we develop is relevant in the current market place,” commented Danny Lenihan, Founder and CEO of 3 Legged Thing. “With these two monopods, kitted with our Docz foot stabiliser, we have straddled the divide between photo and video, without compromise, and at a price point that makes them hugely competitive.”

The perfect blend of size, weight and capability, Alan is built for versatility and resilience. Ideal for action and sports photography and to add stability when creating video footage, Alan has a stored height of 45 cm / 17.5 ”, and is compact enough for transportation in hand luggage. Alan extends to a maximum height of 1.49 m / 58.7 ”.

Formed from 8 layers of 100% pure carbon fibre and aircraft grade alloys, ensuring he is both light and incredibly strong, Alan can support a maximum load of 60 kg / 132 lb – almost 100x his own weight!

Both ends of the monopod feature dual 1/4”-20 and 3/8”-16 threads allowing Alan to connect to a variety of accessories, and to be used as a camera or microphone boom. The patented Tri- Mount plate has three hollowed spurs for the attachment of accessories, and the unique Big Grip provides maximum grip for security and has deep channels designed to disperse moisture.

Punks monopod Trent’s full extended height is over 2 m (80”) making him one of the tallest monopods in the world today. Formed from aircraft-grade magnesium alloy, Trent is both strong vertically, and is capable of lateral loads making him ideal for use as a camera or microphone boom. Trent’s maximum load capability is 30 kg / 66 lb, giving him an impressive load-to-weight ratio of 50:1.

Trent features 3 Legged Thing’s unique Bubble Grip technology on the leg locks and column grip. This offers users improved leverage, and maximum grip in inclement weather conditions. Like Alan, Trent also has dual 1/4”-20 and 3/8”-16 threads at either end allowing for use with a variety of accessories.

Both Alan and Trent have a detachable rubber Boot at the bottom, which can be replaced with any of 3 Legged Thing’s footwear – Heelz, Stilettoz, and Clawz – or can be used with the new foot stabiliser Docz.

Docz is a rugged foot stabiliser with a 30 cm /12 “ base, designed specifically to add stability to monopods. With an alloy base construction, a rugged ABS top cover and rubber boot adjuster, Docz adds a stable, solid base for monopods with no flexing. The rubber adjuster controls the friction and tension settings on Docz’ ball mount, enabling an ultra-smooth motion for action and sports photography. The ball mount has a 3/8”-16 thread, and can also be locked upright for extra stability.

Docz legs can be folded upwards, creating a more compact footprint for transportation.
Alan, Trent and Docz will each be available separately, as well as in kits with the following suggested retail pricing:

Alan – £129.99 / $ 149.99
Alan Kit (Alan + Docz) – £169.99 / $ 199.99
Trent – £69.99 / $ 79.99
Trent Kit (Trent + Docz) – £109.99 / $ 129.99
Docz – £49.99 / $ 59.99

All products are available to pre-order online now and via retailers worldwide, and will ship in time for the official release date of 1st August 2018.

Articles: Digital Photography Review (dpreview.com)

 
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