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  • Wolffepack Capture brings unique swinging access design to a photography backpack

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    Taking your backpack off once to grab your camera gear isn’t a big deal. Having to do it over and over throughout the course of a day is a royal pain. That’s why David Wolffe dreamed up the Wolffepack – a backpack designed so that the user can swing the main compartment in front of themselves while keeping the straps on their shoulders. With a few models already on the market, the company is now looking to produce the Wolffepack Capture, designed specifically for photographers.

    Sling and messenger-style bags are easier to swing around and grab gear out of while keeping your bag on your shoulder, but they don’t offer the even weight distribution of a backpack. Hence, the Wolffepack Capture employs a release cable that attaches to one of the straps. Pulling and releasing the cord lowers the pack while the straps stay fixed – the wearer can then swing the bag around front and grab their gear. Wolffepack calls this its ‘orbital trapeze technology.’

    The Wolffepack Capture includes a removable, padded ‘pod’ designed to hold a DSLR with lens as well as two additional lenses. The bag also makes room for a 15″ laptop and can hold a tripod in either of its two side pockets. The Capture is made of water-resistant polyester and a nylon waterproof rain cover is included. The cord attaching the main pack to the rest of the bag is made of Kevlar, carbon fiber and Dyneema, a combination that Wofflepack calls ’15x stronger than steel.’

    The Wolffepack Capture has launched on Kickstarter, where the company is looking for funding before putting the bag into production. They estimate the Capture will ship to customers in November. Currently, a pledge of $ 152/£115 will get you a Capture with camera pod – full MSRP is expected to be about $ 225/£170. 

    What do you think – a great idea or kind of wacky? Let us know in the comments.

    Press release:

    Wolffepack Capture: The Ultimate Backpack for Cameras and Access launches on Kickstarter

    July 20th 2016

    The award-winning team from Wolffepack have just adapted their unique Wolffepack access system for photography, and are now launching the Wolffepack Capture, the ultimate backpack for cameras and access.

    This follows their successful Kickstarter in November 2014 with their first concept, Wolffepack, the world’s first Orbital Backpack.

    Wolffepack Capture is a revolutionary new camera bag that allows you to swing your gear round to your front whilst still strapped to your back. It offers groundbreaking gains in easier access, better workflow and greater security.

    This innovation comes with a unique set of features:

    • Rapid Access: Wolffepack’s unique system swings your camera bag swiftly round to your front without unstrapping, for rapid and easy access.
    • Padded Carry: a custom-designed and removable padded pod to hold camera, lenses and accessories that sits inside the top of the backpack. Removing the pod converts the Capture into an access backpack for everyone.
    • Ergonomic Workflow: the top of the bag opens in a clean one-handed single movement, allowing the pod entrance to naturally open in an ‘aperture action’. This presents the camera in the perfect position to grab, shoot and replace.
    • Hands-free Platform: Wolffepack’s system allows you to stow the bag on your front, creating an ideal platform to work cleanly and hands-free on shooting, lens changes, or reloading storage.
    • Customisable Loading System: with a moveable internal shelf, there are spaces for both camera equipment and everyday gear in 3 different configurations

    Wolffepack’s radical new concept in backpack design has won an ISPO Award 2016 for product excellence, following its December 2015 Good Design Award from the Chicago Athenaeum Museum of Design, and its Good Design Award 2015 from the Japan Institute of Design Promotion in November. It has also been nominated for a prestigious 2017 German Design Council Award.

    Wolffepack Capture takes camera backpack design to a whole new level. The custom-designed padded pod includes all the pouches and compartments you need to safely carry and organise your camera, lenses and accessories. The customisable loading system stores away your belongings exactly how you need them – the camera pod docked and locked safely in one section, your day gear and belongings tucked away in the other. Alternatively, the 2 compartments can be converted into one large space. Stowing the bag to your front means you can work cleanly and safely without ever needing to put your backpack down on wet or dirty ground.

    The ingenious expetoSYSTEM®, a patented orbital trapeze technology that frees the bag to rotate around the body on a super-strong cord system, is now available to the world of photography. It incorporates durable, high-performance materials such as Dyneema cords (15 times stronger than steel), Kevlar and carbon fibre componentry, as well as the latest magnetic catches.

    David Wolffe, founder and inventor, said: “Since our Kickstarter success in 2014, we’ve been inundated with enquiries and requests to design a camera bag. As a photographer myself I always thought we’d produce a design for cameras. Now the Wolffepack Capture is finally here it has come out even better than I imagined.“

    The Wolffepack Capture provides fast and easy access, comfort and convenience, not just for photographers but for everyone. It has been crafted with cameras in mind, but offers an innovative hands-free advantage for anyone on-the-go, from the commuter to the hiker, the parent to the traveller. With the camera pod removed, it’s the perfect backpack for access for everyone.

    The Wolffepack story started with a seed in the mind of David Wolffe, a former Finance Director who quit his corporate career to develop the Wolffepack® backpack. A successful initial campaign on crowdfunding website Kickstarter to boost the first production run of the Wolffepack® reached 157% of its funding goal and generated preorders in 28 countries.

    Some of the international acclaim the Wolffepack® has earned includes coverage on Channel 4 Television, in The National Geographic Traveller Magazine, The Independent, The Daily Express, The Daily Mail, The Telegraph, Der Spiegel and in many technology reviews including Neuerdings and Gizmag.

    Wolffepack Capture- The Ultimate Backpack for Cameras and Access

    Articles: Digital Photography Review (dpreview.com)

  • Getting up close: Canon EF-M 28mm macro hands-on review

    Hands-on review: Canon EF-M 28mm Macro

    This is the Canon EF-M 28mm F3.5 Macro IS STM. It is a compact, light weight, close-focusing lens designed exclusively for Canon’s EOS M lineup. It’s image-stabilized and uses a quiet stepping motor mechanism for autofocus. It’s priced at $ 299.

    Hands-on review: Canon EF-M 28mm Macro

    The lens comes with a removable cover for the front

    $ 299 places it below a majority of macro primes for cost. However, the Nikon Micro?Nikkor 40mm F2.8 does still beat it out in price by around $ 50, and is 2/3-stop brighter.

    All the trump cards held by the Micro-Nikkor fold when other features of the EF-M 28mm Macro are brought in to consideration, though. First, even though it is a wider FOV lens, its nearest focus distance is 3.7″, nearly 3″ closer than the Micro-Nikkor. Even taking the slightly longer field of view of the Micro-Nikkor in to account, the Canon is able to achieve a 1.2x magnification in “Super Macro” mode over the Nikkor’s 1x magnification.

    When working at such diminutive focus distances, there’s an inherent issue that many experienced macro photographers have learned to work around. The camera, lens, and sometimes even photographer start blocking light from the itty bitty subject. To get around this, macro photographers will use specialized lights, typically ring lights mounted to the filter thread. 

    Canon has gone the extra mile (inch?) and included a pair of LED lights (hidden under their cover in this shot) mounted on the left and right hand side of the front of the lens, diffused by a clear white ring, eliminating the additional requirement of a macro light kit for those extreme close-ups.

    Hands-on review: Canon EF-M 28mm Macro

    3.7″ is quite an extreme working distance, and this means a maximum reproduction ratio of 1.2x in ‘Super Macro’ mode. Image stabilization is included and is effective for shooting in a wide range of scenarios, although for the extreme close-ups it’s better left switched off and replaced with a tripod.

    A subject at minimum focus distance illuminated by the two LED’s together receives about 8.9 EV illumination in normal macro and 9.1 EV in super macro mode when measured with an incident light meter. The lights have two levels of brightness, and are switched on via a button on the lens barrel. Both come on with a single press, and a press and hold switches to one light only. Sadly, there’s no ability to have just one LED on at full brightness and the other dimmed. They’re either both on at the same power level, or illuminated independently.

    The lightweight construction and STM focus motor also help this lens focus reasonably quickly, especially when compared to the painfully slow-focusing macro lenses of yore. It isn’t as fast as some of the quickest we’ve seen, but does very well, especially considering how close its MFD is.

    Hands-on review: Canon EF-M 28mm Macro

    By itself, this lens weighs 130 grams, making it so light Canon boasts about the 28mm F3.5 being the ‘world’s lightest autofocus macro lens for an ILC system.’ When mounted to the EOS M3 the total weight is a featherweight 492 grams, exemplifying the lightness and convenience benefit of mirrorless systems compared to DSLRs. By comparison, a Nikon D5500 body weighs 420 grams. Add another 235 grams for the 40mm Micro lens, then another 200+ for an LED macro light kit, and the total comes out to 855 grams, or nearly double the weight of the Canon kit.

    This diminutive size means weight can also be saved when making a tripod selection, as long as it is sturdy enough for work that is incredibly sensitive to vibrations.

    Less weight means less fatigue and more reasons to bring the camera on location.

    It resolves well…

    This graph shows the maximum resolution (as a percent of Nyquist) attained by our copy of the lens at various apertures. It uses MTF-10 criteria, which is a measure of the finest detail that can be resolved with at least 10% contrast. If that sounds complicated, just keep in mind this figure is well correlated to total resolution, though isn’t as great a representation of perceived sharpness, which correlates more with MTF-50 measurements (more on that on the next slide).

    Our results here show that center resolution peaks at 80% the linear resolution that can be theoretically attained, at F5.6 – a decent result. If this were resolved across the frame, you’d get about a 16MP image from this 24MP sensor. Of course it’s not, but corners aren’t too far behind, at 67% by F6.3. Not bad when you consider the higher resolving power demands placed on the lens by the smaller APS-C sensor… but what about perceived sharpness?

    … and is fairly sharp

    The MTF-50 result – better correlated with perceived sharpness – tells a slightly different story, indicating only around 875 line pairs per picture height resolved, which translates to ~4.6MP, or 19% of the total sensor resolution. It’s not a terrible result, but does indicate that while the lens resolves a lot of detail, it doesn’t quite maintain as much contrast as a higher performing lens might. This is no surprise, given the lens’ size, weight, and price.

    While performance isn’t state of the art in terms of macro lenses (the Sony FE 90mm F2.8 deserves a shout out here), it does a good job throughout the aperture range, with good field uniformity, and fair ability to resolve fine detail, particularly when you factor in the disadvantages of the smaller APS-C sensor (which places high demands on lens’ resolving power). It doesn’t have L-series levels of contrast and perceived sharpness – but we wouldn’t expect it to.

    See our gallery for a set of infinity shots to see how this tiny macro resolves real-world detail on a flat plane.

    How well does it work with EOS M3?

    The EOS M3’s articulating touch screen is great for close-up work when using this lens. It takes a lot of strain out of working low when one doesn’t need to peer through a viewfinder or crouch low to see the screen. Magnifying the image for focus checking also works brilliantly on the M3. There’s no pixel binning or frame rate drops in 100% magnification mode, which helps the touch-enabled panning function to operate quickly and smoothly, helping ensure the narrow focus plane is placed exactly where you want it.

    It’s creative

    Even club soda can make an interesting photo when shooting this close

    Or rather, it can be used creatively. 1.2x magnification means that objects are 1.2 times their actual size on the sensor plane. This means objects, details or textures can completely fill the frame, creating wonderful abstract shots that aren’t usually possible without a fair bit of kit. Combine this ability with a set up that is easily carried around and opportunities for interesting shots begin to pop up everywhere, as it offers a whole new view on the seemingly mundane.

    It isn’t perfect…

    This image was taken with just the built-in LED lights for illumination, and was cropped and brightened in post.

    Well, for $ 300, expecting absolute perfection is unrealistic, especially in the photo world. 

    First, it isn’t the sharpest lens out there. It’s pretty good, but in the macro world there are better options. That said, none of them have those lovely lights and will probably cost more.

    The lights and image stabilization aren’t powerful enough to make this a hand-holdable macro, so don’t make the mistake of expecting that. The handheld spider shot above illustrates the pitfalls of lighting exclusively with the on board LEDs.  

    First, the light cast by the LEDs isn’t particularly intense. It’s bright enough to light subjects at minimum focus distance outdoors, but only when its overcast. Any direct sunlight will overpower the light and will make the lens’ shadow very obvious. By itself, the light needs to be combined with a tripod, and should be thought of as a way to avoid the complications of a ring light system (batteries, cables, etc) instead of an all-purpose fill light.

    Second, when working with a high reproduction ratio, depth of field is inherently incredibly shallow. The LED lights aren’t bright enough to allow for stopping down for deep depth of field while shooting handheld in dim ambient light. 

    …but is still very usable

    Using a narrow aperture can achieve deep depth of field when close focusing, but diffraction will decrease sharpness, as can be seen in this shot at F18.

    It is important to remember that shallow depth of field is a challenge with all macro lenses. One way to get around that issue is by focus stacking. There are many software solutions to focus stacking, and Olympus has even gone as far as to include it as an automatic function in some of its cameras. One can only hope Canon does eventually as well.

    The only other gripe is with the lights and their configuration. It would be nice to be able to rotate the lights 90 degrees for a sort of “clamshell” lighting instead of being stuck with the “copystand” lighting constantly, or to be able to have them configured either way regardless of wether the camera is being used in portrait or landscape orientation. 

    As a standard lens, it performs fine in normal working distances, but vignetting is strong wide-open, making the EF-M 22 F2 a better general use prime lens if you don’t need the macro performance. 

    Hands-on review: Canon EF-M 28mm Macro

    This image used a combination of the built-in lights and a back lit semi-transparent surface

    For beginners looking to shoot macro, the EF-M 28mm F3.5 Macro is a great place to start. Its close focus abilities mean it has a wide range of macro use cases, and the built-in LEDs mean one doesn’t have to budget for a set of lights when just getting started. It’s a great starting point for learning the challenges and pitfalls of macro photography, and will produce great results when applying those lessons.

    Click here to see our Canon EF-M 28mm F3.5 Macro Sample Gallery

    Articles: Digital Photography Review (dpreview.com)

  • All about control: Huawei P9 camera review

    DPReview smartphone reviews are written with the needs of photographers in mind. We focus on camera features, performance, and image quality.

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    Right behind the LG G5, the Huawei P9 is the second device to launch in 2016 with dual cameras. However, while on the LG the secondary module essentially acts as a wide-angle extension, Huawei’s approach is different. In the Huawei system, which has been co-engineered with German camera manufacturer Leica, a 12MP RGB main sensor is accompanied by a 12MP monochrome chip. Huawei says combining image information from both sensors makes the P9 camera 100% more light-sensitive than conventional smartphone cameras which should, at least in theory, result in superior low light image quality.

    The P9 is also capable of some other dual-camera tricks that we’ve seen before, such as simulating shallow depth-of-field. While the camera is no doubt one of the most interesting we have seen this year, with an octa-core chipset and fingerprint reader the non-camera specifications are flagship-worthy as well. Read our full review to find out how the Huawei P9 performs in the hands of a mobile photographer.

    Key Photographic / Video Specifications

    • Dual Sony IMX 286 12MP sensors with 1.25µm pixel size
    • 27mm equivalent focal length
    • F2.2 aperture
    • Laser-assisted AF
    • DNG Raw capture
    • Manual control
    • 1080p Full-HD video
    • 720p, 120fps slow-motion video
    • 8MP front camera with F2.4 aperture

    Other Specifications

    • 5.2-inch 1080p IPS screen
    • HiSilicon Kirin 955 chipset
    • 3GB RAM/32GB storage or 4GB RAM/64GB storage
    • microSD slot
    • 3,000mAh battery
    • Fingerprint reader

    Articles: Digital Photography Review (dpreview.com)

  • Top tips for composing great landscapes

    In this article I’ll try to outline a handful of the key elements that I look for when composing a photo in the field. The process of composing a photo can be daunting at times, but I hope that some of these tips will help you to lay the groundwork for developing an eye for composition in landscape photography.

    Compositional Visualization: See the ball, be the ball

    Developing an eye for composition in landscape photography is something that takes a great deal of time and practice in the field. Practice, persistence and due diligence do pay off and over time you will find yourself becoming more comfortable behind the lens.

    The Mossy Grotto in the Columbia River Gorge in Oregon is incredibly difficult to shoot due to the limited compositional choices. I hiked around for almost 30 minutes before I settled on this composition which had a lot of layering and some nice diagonal leading lines to help to lead the eye to the focal point.

    Mossy Grotto, Columbia River Gorge, OR

    Sony a7R, Canon 16-35mm F2.8, 16mm- multiple exposures used for focus stacking and water movement. 

    One thing that I’ve learned over time is that you absolutely have to pre-visualize your shot. This process starts with four key elements – the direction of the light, the focal point, the foreground and the leading line(s).

    The focal point is often the first thing that your eye gravitates toward. It could be a waterfall, a mountain or even a stand of trees. If your eye gravitates toward it chances are it may serve as a good focal point to build your composition around. The next step in the process is to look for a leading line that guides your eye through the scene to your focal point.

    I decided to use the river you see in this image as the leading line in this composition because it was able to the lead the viewer to the main focal point without detracting interest from it. I also enjoyed how the light in the composition added layers and depth to the image as well.

    Glacier National Park, MT

    Sony a7R, Canon 16-35mm F2.8, 16mm, F11, 1/15sec, ISO 160, single exposure

    The ‘line’ is figurative of course. It can be a rock formation, a river, a series of interesting trees, vegetation or foliage, flowers, or even a trail. Choosing the correct leading line can have a large impact on your image. It is important to note though that the leading line may not work depending upon the direction of the light in the scene.

    Let the light guide your eye to the focal point in the image

    All of the elements need to work together to form a pleasing composition. Let the light guide your eye to the focal point in the image. Shadows and light play a huge role in guiding your eye through the scene and, when used correctly, can add a great deal of depth and interest to your photo.

    I chose the Lupine you see here as my foreground because I felt the colors complimented the sky well (blue/purple and yellows tend to work well together) and the light play in the flowers also helped to guide your eye through the scene to the focal point at the back of the image.

    Sony a7R, Canon 16-35mm F2.8L II, 16mm, F10, 1/50sec, ISO 100, multiple exposures for focus stacking and sunstar.

    Choosing the correct foreground can have a large impact on the success of your image. I always try to choose a foreground that offers a complementary color palette to the other elements in the scene such as the sky or mountains. I also tend to look for elements that add depth and interest to the overall image without overwhelming the viewer- it’s a bit of a balancing act in regard to keeping the image dynamic yet visually pleasing. I also try to choose a foreground that offers a color palette that helps to ‘connect’ the overall image. When colors work well together they can really help to solidify an already aesthetically pleasing image.

    Ted Gore recently published an excellent article on color theory that complements this article nicely. Using groups of colors that work in harmony and flow nicely can help to solidify an already robust composition and can add a whole new ‘layer’ of interest to the photo.

    Articles: Digital Photography Review (dpreview.com)

  • Blincam is a wearable camera that takes a photo when you wink

    A Tokyo-based startup has successfully crowdfunded a wearable camera concept called Blincam. Much the way Google Glass works, Blincam would attach to a pair of glasses and snap photos when the wearer winks or blinks. According to the team behind the product, the final product will be compatible with a mobile app that immediately provides access to photos taken with the camera.

    Blincam is said to feature a patent-pending Eye Movement Sensor that detects when the wearer blinks, as well as an integrated speaker for playing a shutter sound, an LED battery indicator light, Bluetooth connectivity, microUSB, 32GB of internal storage and an ‘HD CMOS’ camera sensor. 

    Blincam Co Ltd, the company behind the campaign, claims to have already developed an alpha version of Blincam, and that it has worked out most of the technical issues. The crowdfunding campaign is intended to raise part of the funds needed to launch the camera. The company anticipates starting deliveries to backers this coming December; as with other crowdfunding projects, however, it is possible the device will never come to fruition.

    Articles: Digital Photography Review (dpreview.com)

  • Mood Boards: Communicate Your Ideas To Your Creative Team

    This is the time to hear out others opinions (if you’re open to them, which →

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  • Bentley creates a 53 billion pixel car commercial

    There’s a car in this picture somewhere – zooming in to the full 53 billion pixel image allows you to find it.

    As part of its latest marketing campaign, car manufacturer Bentley has created a 53 billion pixel image, made up of more than 700 individual photographs. The extreme resolution allows viewers to zoom so far into the picture (above) that the needlework of Bentley’s logo on the seat cover of a car passing over the bridge can be seen – from 700 meters / 2297 feet away.

    When the whole image is viewed it isn’t obvious there’s a car in the frame at all, as the panorama shows the whole 1.2 mile span of the bridge and a good length of coastline as well, but as the zoom function is activated the image magnifies dramatically.

    The picture, which Bentley is calling the world’s most extraordinary car photograph, was shot by British photographer Simon Stock, using several Nikon D810 cameras fitted with lenses of between 300mm and 1500mm. The cameras were mounted on robotic heads that scanned the area in steps shooting a series of high-resolution long-lens pictures that were stitched together in post-production to create the final image.

    Simon explained some of the process to DPR:

    ‘The challenge was to create an image in which the viewer could experience the journey from an epic wide panorama of the Golden Gate Bridge and zoom through the image to the intricate stitching on the car’s seat in order to highlight the craftsmanship and obsessive attention to detail that makes Bentley cars so unique.

    To capture the giga-pixel image we used multiple robotic heads based on the NASA technology developed for photographing the surface of Mars. This breaks down the overall view into a large number of individual captures which we then stitch together to create the final image.’

    ‘I spent quite a bit of time testing all the various systems, cameras and lens combinations to get to the final result as no one had attempted this level of zoom before. One of the main issues working this way is that you can’t see the final result until you’re back in the studio and have stitched all the images together. This makes the testing quite a lengthy process.

    The final image was made up of approximately. 700 hi-res images and ended up at 53 billion pixels in size. To give you an idea of scale, if this image was printed it would be the size of a football pitch.’

    ‘The time it took to capture the entire image varied between 2 and 4 hours depending on the focal length of the lens being used – the longer the focal length the more captures were required to make up the final wide view.

    One unforeseen problem was the fact the Golden Gate Bridge can move up to 26ft in either direction when it is windy ! This made stitching the captures together quite complicated.

    Mustard Post, who worked on the post-production, had to find new ways of working on such a large image as no one had tried to retouch on this scale before.

    The post-production on such a large image was a real challenge because just opening and saving the file could take a couple of hours, even though we were using the most powerful Apple Mac Pro available.’

    To see the full, zoomable image, visit the Bentley Motors website. The Bentley Mulsanne Extended Wheel Base that features in the picture starts at £275,000/$ 400,900.

    Articles: Digital Photography Review (dpreview.com)

  • Slow motion video shows glass shattering at 343,000 fps

    YouTube channel ‘The Slow Mo Guys’ has posted a new video showcasing its fastest frame rate content to date: 343,915 fps, to be precise. The duo behind the channel, Dan and Gav, used a Phantom v2511 camera to record glass Pyrex dishes shattering with speeds starting at 28,546fps. At its fastest frame rate, the camera captured the glass shattering at a rate 13,756 times slower than real time.

    At the fastest frame rate, the Phantom camera recorded for a duration of 5.1 seconds and during that time captured 19.5 hours’ worth of video footage. 

    If you’re having trouble sleeping, you can check out the full 19+ hour slow-motion shatter video here. 

    Via: Bokeh

    Articles: Digital Photography Review (dpreview.com)

  • SmugMug Films: Point, Click, ShootTokyo

    SmugMug’s latest film features street photographer Dave Powell, the man behind the popular blog ‘Shoot Tokyo’. In the video, Powell takes us on a tour through the streets of one of the most visually distinctive cities on earth. In an accompanying interview, Powell explains why he moved to Tokyo, and what it is about the city that keeps him inspired as a photographer. 

    SmugMug Interview: Dave Powell

    Check out the latest video above and subscribe to the SmugMug Films YouTube channel to get first access to each new episode!

    Articles: Digital Photography Review (dpreview.com)

  • SLIK introduces SLIK LITE tripod line

    Tripod maker SLIK has introduced its new LITE series. The new models feature a ball head and come in a variety of sizes. Both aluminum and carbon fiber versions are available. All models feature a detachable LED flashlight in the bottom of the center column which should make it easier to find and setup your equipment in the dark.

    The Rapid Flip Mechanism (RFM) comes with a newly designed lever which makes locking and unlocking of the tripod legs faster and easier than on previous models. It also allows for flipping of the legs by 180 degrees, offering easier storage and improved portability.

    “We are extremely excited about the design of the LITE series […] SLIK’s long history allows it to spot trends in camera support and improve on those trends, bringing better designed tripods to photographers. The new easier to use Rapid Flip Mechanism and LED Flashlight in the center column make the LITE series the best travel tripods available.”

    Michael Burnham – SLIK Marketing Manager.

    The SLIK LITE tripods are available now at slikusa.com and at photographic retailers. Pricing ranges from $ 99.95 for the 40-inch aluminum model LITE-AL-420S to $ 329.95 for the 70-inch carbon fiber model LITE CF-422.

    SLIK USA Introduces New Tripod Line: The SLIK LITE Series

    HUNTINGTON BEACH, Calif., July 20, 2016 /PRNewswire/ — SLIK USA, manufacturer of tripods for various uses, is launching its latest line of tripods for photographers: The SLIK LITE Series. This new line of tripods, which is available now at slikusa.com and other retailers, brings to the table a variety of innovations,

    The LITE Series features a detachable LED light, which is an industry first. It was designed to help photographers find their gear in darker settings. No more fumbling around for a flashlight or your iPhone. The Rapid Flip Mechanism (RFM)

    SLIK USA, Inc. is a leading manufacturer of high performance tripods for all levels of photographers. SLIK Tripods was founded in Japan in 1948 and for the past 68 years has been an industry leader in camera support innovation. Over that time, SLIK products have received numerous design awards. The USA imprint of SLIK has brought this technology to the US and begun to expand its brand.

    Articles: Digital Photography Review (dpreview.com)