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Posts Tagged ‘REVIEW’

Pentax K-1 II Review: Worth the upgrade?

07 May

79%
Overall score

The Pentax K-1 Mark II is a supremely weather-sealed, tough-built full-frame camera with a 36MP stabilized sensor. Billed as more a refinement of its predecessor than a replacement, the K-1 II gains a new hand-held Pixel Shift mode and sees improvements made to its AF Tracking algorithm – it also has a new pre-processor. Unfortunately, our testing reveals this additional processor applies full-time noise reduction to Raw files resulting in inferior image quality to that of its predecessor.

Key features:

  • 36.2MP full-frame CMOS sensor with no anti-aliasing filter
  • 5-axis sensor-shift image stabilization
  • 100% pentaprism viewfinder with 0.70x magnification
  • 33-point AF system (25 cross-type)
  • Updated AF Tracking algorithm
  • New hand-held Pixel Shift mode
  • Extensive weather-sealing
  • 1/200 sec flash sync speed
  • 14-bit Raw recording (DNG or PEF)
  • Built-in GPS with electro-magnetic compass and Astrotracer function
  • 4.4 fps continuous shooting (6.5 fps in APS-C crop mode)
  • 1080/30p video
  • Wi-Fi

The K-1 II faces stiff competition from other full frame models at this price point, many of which out-spec it across the board. But for landscape and adventure shooters, you’d be hard-pressed to find a full frame camera with as many useful and unique features, like built-in GPS, an Astrotracer mode for night sky photography, sensor shift technology, and LED lights on the body (to assist in the dark).

Over the course of several weeks, we’ve put the K-1 II through its paces in both the field and in our test lab. Read on to see how it performed and how it stacks up as a whole against the competition.


What’s new and how it compares

Here’s what’s new in the K-1 II plus how it compares to existing models from other companies.

Read more

Body and design

The K-1 II has a host of unique body features borrowed from its predecessor including its clever articulating LCD mechanism.

Read more

What’s it like to use

From landscapes to portraits, we’ve spent plenty of time shooting with the K-1 II in several different situations.

Read more

Image Quality

Our lab testing reveals the K-1 II’s image quality is actually a step back from that of its predecessor. Will you notice the difference?

Read more

Autofocus

The K-1 II’s 33-point AF system may have limited coverage, but it shows improvements over its predecessor when it comes to tracking.

Read more


Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV: Fujifilm X-H1 Review

06 May

Lions and tigers and bears, oh my! In this week’s episode of DPReview TV, Chris and Jordan go to the zoo with the Fujifilm X-H1. Watch as they photograph lemurs, red pandas and maybe even a Tyrannosaur while putting this camera to the test.

Read our in-depth X-H1 review for even more analysis, and be sure to subscribe to our YouTube channel for more from Chris and Jordan!

Read our X-H1 review

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Articles: Digital Photography Review (dpreview.com)

 
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Hex Raven DSLR Bag Review

29 Apr

Hex Raven DSLR Bag
$ 239.95 | HexBrand.com

Finding a backpack that doesn’t scream “I’m a camera bag,” but can still hold all of my gear while not killing my back has long been a struggle for me. I’m 5’3″ and most backpacks that can hold a lot of equipment are impossible for me to carry for any extended period of time. Living in a city, typically when I head out for an assignment close to home I’ll opt to bring less gear so that it will fit into a smaller, understated backpack. But for assignments that require more gear or travel, a smaller bag just won’t cut it.

The design looks different than your typical padded camera backpack

That’s why I was immediately intrigued by the Hex Raven DSLR bag – although I had never heard of the company before – as the design looks different than your typical padded camera backpack. The Hex’s square shape and matte black material were particularly appealing to me. It also looked like it could hold a ton of equipment – a very good thing considering I’d be spending a week in Austin, Texas covering SXSW and a short time later a week on the road touring with a band from Brooklyn. I knew that my typical one body, two lens, one speedlight setup just wasn’t going to cut it for these two jobs.

Specifications

  • Exterior: 20 x 12 x 8in / 50 x 30.5 x 20cm
  • Interior: 20 x 12 x 4in / 50 x 30.5 x 10cm
  • Laptop Compartment: 20 x 12 x 3in / 50 x 30.5 x 8cm
  • Weight: 5lbs / 2.3kg

Design & Construction

The Hex Raven DSLR bag’s exterior is made of matte black tarpaulin with waterproof zippers. The straps are thick, air-mesh padded. The front of the bag has two compartments. The top one is accessed by undoing the buckles. Beneath the flap is a zippered compartment that is fleece-lined and can hold up to a 17″ laptop as well as a small tablet. This section of the Hex is easily accessed, making it convenient to remove these larger items in the rush to get through airport security.

Top front storage

Undoing the bag’s buckles reveals a zippered compartment that offers a fleece-lined laptop sleeve and separate space for a tablet.

Lower front storage

There are two lower zippered pockets. The main space offers room to organize and store items you might want quick access to.

There are two zippered areas on the lower front of the bag, which are great for stashing keys, pens, notebooks, spare batteries or memory cards.

On the right side of the bag you’ll find two more small flat zippered pockets, which are fairly easy to access when the thing is on your back – they’re great for holding any odds and ends that you might need such as chapstick, business cards, a small wallet or your phone. On the opposite side of the bag there are straps to attach a tripod.

You can attach a tripod to the side of the backpack using the two straps. The opposite side has two very small zippered pockets.

Camera equipment is accessed through the bag’s back panel which is made of EVA foam and air-mesh. The back panel zips along three sides of the bag. The inside features padded partitions that are customizable depending on the amount of gear inside. There are also two zippered back pockets and a velcro pouch on the inside for even more storage options.

This bag features ample storage, has the ability to hold a ton of gear and its construction feels like it can handle life on the road while keeping your camera equipment safe. The zippers on the Hex bag were a little stiff right out of the box, but after a few weeks of use that stiffness has disappeared—I no longer feel like I have to fight with the Hex bag to access my gear.

A zipper on the very top of the Hex bag makes it easy to access your primary camera without having to open the main gear section.

Although the bag was quite flat when it was empty as I filled it up with my equipment to prepare for my trip to Austin I became skeptical—I wasn’t sure whether its bulk would become overwhelming.

In Use

I was thoroughly impressed by the amount of gear I was able to fit into the Hex: two bodies (a Canon 5D IV and a 5D III), four lenses (35mm, 50mm, 24-70mm and a 70-200mm), a speedlight, an LED on camera light, four batteries, two chargers, a point and shoot film camera, portable HD, a laptop, a laptop charger and an iPad. That being said, as I prepared to head to the airport and catch my flight to Austin I wasn’t sure that the monster would actually be able to fit under my seat (fully loaded the Hex was almost as large as my carry on roller bag).

The bag distributed the weight quite nicely

Although the Hex was certainly heavy with all of this gear, the bag distributed the weight quite nicely. Like many photographers, I’m used to feeling an acute amount of shoulder pain while carrying gear around; I didn’t notice this with the Hex bag.

The various storage options within the bag also made it easy to access the pieces of gear I needed, both while going through security and while waiting for my flight – without pulling everything out. Although getting the Hex under the seat in front of me (really my biggest concern in using the bag as a carry on for my flight) was a bit of a struggle, it wasn’t impossible. However, someone with longer legs might find the situation untenable. Here, the amount of individual storage spaces within the bag also made a big difference, as it was easy to grab what I wanted when I wanted it without unpacking the whole thing.

The Hex was great for safely and comfortably transporting and later storing large amounts of valuable camera equipment

Although having a bag with room for so many lenses and a backup body is a plus, realistically the Hex is just too oversized to make sense in the small music venues bands play during SXSW or a cramped photo pit at a larger show—but the Hex was great for safely and comfortably transporting and later storing large amounts of valuable camera equipment while I was traveling.

A few weeks later I was prepping to hit the road for a week with a touring band from Brooklyn. My gear storage needs were more or less the same but because we would be traveling by van, space was limited. My photo gear needed to take up way less space than the band’s gear, but still be easy to access so I could edit as we drove from city to city.

Its shape and style don’t make it immediately clear that it’s a camera bag

Although the Hex was still too bulky to be a good fit for inside the small venues where the band was playing, its non-descript look made me feel okay about leaving it inside the locked van in numerous cities with my back up equipment still inside. Its shape and style don’t make it immediately clear that it’s a camera bag, which I’d like to think makes it a little less of a target.

Bottom Line

The Hex Raven is well designed and feels like it is built to last. The amount of pockets make it easy to organize a large amount of equipment, and they’re functional when it comes to finding specific items in a hurry. It’s certainly a little pricey for a camera backpack, but considering the sheer amount of gear that it can accommodate, its durable construction and the classy design, it seems worth the price tag.

I would be interested in checking out a scaled-down version of the Hex for day-to-day use.

Although the bag is too bulky to be good for everyday use, as a travel bag I appreciate its understated design, storage options and the way in which it evenly distributed weight. I would certainly be interested in checking out a scaled-down version of the Hex for day-to-day use.

What We Like:

  • Ample organizational pockets for camera equipment and other odds and end
  • Understated design
  • Doesn’t scream ‘camera bag’
  • Padded shoulder straps + good weight distribution
  • Durable construction
  • Good travel bag

What We Don’t Like:

  • High price for a camera backpack
  • Not great for everyday use
  • On the bulky side when fully loaded with gear

Articles: Digital Photography Review (dpreview.com)

 
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DPReview TV Episode 1: Sony a7 III review

29 Apr

It’s official – we’ve joined forces with Chris Niccolls and Jordan Drake, formerly of The Camera Store TV, to bring you an all-new video series. To kick off the series, they take an in-depth look at the Sony a7 III. Take a look as they put the camera to work in the field – from landscapes in the Canadian Rockies to some low-light portraits at a local pinball spot.

Read our in-depth a7 III review for even more analysis, and be sure to subscribe to our YouTube channel for more from Chris and Jordan!

Read our a7 III review

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Review of Metabones Adapter Mark V – Canon EF to Sony E-Mount

25 Apr

For Canon shooters thinking about switching to Sony mirrorless cameras, the Metabones adapter is often suggested to help with the transition. Lens mount adapters are often frowned upon as they historically have had limited functionality, such as no autofocus and simply not working well or consistently.

But this latest generation of lens adapters is pretty impressive, offering nearly all of the same features that you would get with a native Sony lens. Here’s my take on the Metabones Adapter Mark V, as used with select Canon EF lenses and a Sony A7rIII and Sony a6300.

Review of Metabones Adapter Mark V - Canon EF to Sony E-Mount

Product Specifications

The Metabones Canon EF to Sony E Mount Smart Adapter Mark V officially debuted in July 2017. It’s all black and made of metal. Compared to previous generation adapters, the Mark V adds three key features:

  1. A dedicated on/off switch for SteadyShot (IBIS)
  2. Rubber gasket weather seals to protect the E-mount connection
  3. An indicator light for basic/advanced modes

Other features offered by the Metabones V include:

  • Fast contrast-detection and phase-detect autofocus
  • Eye autofocus (!!)
  • Powered by camera body (no external power source needed)
  • Support of image stabilization lenses
  • Auto “APS-C Size Capture” on full-frame cameras

Currently, theMetabones Adapter Mark V can be purchased for $ 399 USD.

Review of Metabones Adapter Mark V - Canon EF to Sony E-Mount

Here you see the adapter mounting a Canon EF lens onto a Sony body.

Metabones V Compatibility

Since there are lots of different cameras and lenses out there, so it’s difficult to verify that the Metabones V adapter will work in every case. The Metabones website has a long list of cameras and lenses that should be compatible with this adapter. In this case, the Metabones V adapter worked with the following setups:

  • Sony A7rIII and Sony A6300 camera bodies
  • Canon 70-200mm f/2.8 II
  • Canon 24-70mm f/2.8 II
  • Canon 16-35mm f/1.8 II
  • Canon 50mm f/1.8
  • Canon 35mm f/1.4
  • Canon 85mm f/1.8
  • Canon 100mm f/2.8 macro

Metabones V Canon EF Sony E-Mount adapter

What works well

It works as advertised

I tested the Metabones V adapter primarily with the Sony A7rIII and Canon 24-70mm f/2.8 II, as this is my preferred shooting setup. For comparison with how autofocus would function on a native Sony lens, I also shot with the Zeiss 55mm f/1.8 and Sony 24-240mm lenses.

While testing the adapter, I was blown away by the autofocus system’s speed and accuracy when using my Canon 24-70mm. Not only could I use most of the autofocus settings on the camera (with the exception of Zone area focus), but eye autofocus also worked extremely well. Even when shooting in continuous burst mode at 10 frames per second, there was no lag when using a Canon lens and the adapter.

Metabones V Canon EF Sony E-Mount adapter - 70-200mm lens mounted

Generally speaking, it felt nearly the same as using a native Sony lens on the A7rIII. The same can’t be said for the cheaper FotodioX lens adapter that I was using previously. This other adapter worked with only half of my lenses and had inconsistent and slow autofocus. In that sense, you truly get what you pay for when it comes to camera gear (the FotodioX is $ 99 compared to the Metabones at $ 399).

Small and compact

Weighing in at 5.3 ounces (150g) and measuring 2.6 x 1.4 x 3 inches (6.6 x 3.6 x 7.6 cm), this slick adapter is compact and easy to stash in a camera bag. It feels about equivalent in size to the Canon 1.4X EF Extender. The Metabones V adapter comes in a plastic box that can you use for long-term storage, but unfortunately, there is no carrying case.

Metabones V Adapter

You can easily receive firmware updates

Besides a couple of buttons and indicator lights, there’s also a micro-USB port that can connect the adapter to a computer for firmware upgrades.

Metabones V Canon EF Sony E-Mount adapter

What needs improving

For all of the excellent qualities of the Metabones V adapter, there are two shortcomings worth mentioning.

First is the occasional freezing of the camera screen while trying to autofocus. You can fix the problem by simply turning the camera off and on. However, this lag slows down your workflow and makes you question reliability. This problem happens sporadically, mostly with my Canon 24-70mm f/2.8 II, but it never happens when using native Sony lenses.

Another shortcoming is the loss of touchscreen autofocus when using a Canon lens and the Metabones V adapter. One of the biggest selling points of new Sony cameras such as the A7rIII is touchscreen autofocus. While it’s a bit laggy and imperfect even when using Sony lenses, touchscreen autofocus seems to disappear altogether when using adapted lenses. Hopefully, this will be fixed with future a firmware update.

In conclusion

If you’re transitioning from Canon to Sony, the Metabones Adapter Mark V is a must-have addition to your photography kit. It’s not perfect, but it is a solution that seems to get better over time. At $ 399, the Metabones V adapter isn’t cheap, but it seems to work more consistently than cheaper options such as the Sigma MC-11.

Have you tried the Metabones lens adapter before? What was your experience like? Let me know in the comments below!

Sample Photos Taken with Sony A7rIII, Metabones V adapter, and Canon lenses:

Metabones V Canon EF Sony E-Mount adapter

Metabones V Canon EF Sony E-Mount adapter

Metabones V Canon EF Sony E-Mount adapter

Metabones V Canon EF Sony E-Mount adapter

Metabones V Canon EF Sony E-Mount adapter

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Sony a7 III Review

23 Apr

Read our overall conclusion

Despite its billing as a ‘basic’ model, the Sony a7 III is a supremely capable full frame camera. Though it doesn’t have the most megapixels or shoot the fastest bursts, its well-judged mix of resolution, speed, features and price point make it an easy recommendation for all kinds of photographers and all kinds of photography.

Key Features:

  • 24MP full frame BSI CMOS sensor
  • 93% autofocus coverage (693 phase detection points, 425 for contrast detection)
  • Oversampled 4K/24p video taken from full width 6K (cropped-in 5K for 30p)
  • In-body image stabilization
  • 10 fps continuous shooting
  • 2.36m dot OLED viewfinder, 0.78x magnification
  • AF joystick
  • Touchscreen
  • Larger, ‘Z-type’ battery (CIPA rated to 710 shots)
  • Dual SD memory card slots
  • USB 3.1 Type C

Compared to its predecessor, the Sony a7 III has been updated in almost every way; when compared to other similarly priced full frame options, the a7 III looks to be a cut above in many respects. For generalist photographers, wedding and event shooters and even sports specialists, the a7 III gets an awful lot of things just right. But as with previous Sony mirrorless full-frame cameras, there are some foibles that persist with this new model.

We’ve now spent dozens of hours shooting the a7 III in our studio and out in the real world – read on to see how it performs.


What’s new and how it compares

Take a look at the key spec differences between the Sony a7 III and its predecessor and how it compares to existing models from other companies.

Read more

Body and design

Most of Sony’s (positive) ergo changes in other recent cameras have found their way to the a7 III, but there’s been some cost-cutting along the way.

Read more

What’s it like to use

We’ve gone beyond the spec sheet to discuss how the Sony a7 III performs in a wide variety of situations, from landscapes to weddings.

Read more

Image Quality

From our lab and real-world testing, we’ve found the Sony a7 III is capable of excellent image quality – with one or two exceptions.

Read more

Autofocus

The autofocus system in the Sony a7 III is lifted from the company’s advanced a9 pro sports model, and in short, it rocks.

Read more

Video

Despite its relatively affordable price point, the Sony a7 III is one of Sony’s most capable interchangeable lens cameras for video to date.

Read more

Articles: Digital Photography Review (dpreview.com)

 
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Review of the Lensbaby Burnside 35 Special Effects Lens

15 Apr

Review of the Lensbaby Burnside 35 Special Effects Lens

A Lensbaby lens is a dream come true for artistic, creative, and ground-breaking photographers. A company made famous by their innovative effect lenses and optics, Lensbaby has captivated the industry for nearly 14 years. This company’s newest pride and joy is the Lensbaby Burnside 35, an f/2.8 lens that is unlike any other in their arsenal.

Swirly Bokeh

The Burnside 35 features the iconic “swirly bokeh” that Lensbaby is famous for. This effect is seemingly influenced by the Petzval objective which causes a swirly bokeh and vignette, and it is created by pairing two doublet lenses with an aperture stop in between.

The first lens corrects spherical aberrations and the second lens corrects for astigmatism. However, the pairing creates the swirly distortion that we all love.

You can adjust the intensity of the swirly bokeh by changing the aperture: f/2.8 will be most intense, while something like an f/16 won’t have any swirl at all. The thing that I find most compelling about Lensbaby is the fact that all of the effects are in-camera/in-lens, hence saving you a lot of time on the editing front.

Review of the Lensbaby Burnside 35 Special Effects Lens

Built-in vignetting

I was very intrigued to stumble upon this lens, as it has a feature I have never before seen in any other – a built-in vignette slider. Instead of needing to darken the edges of your photograph in post-processing, you can do an in-camera effect and save yourself the editing trouble.

Review of the Lensbaby Burnside 35 Special Effects Lens

Review of the Lensbaby Burnside 35 Special Effects Lens

It’s a manual lens

That being said, much like other lenses in the Lensbaby collection, this one is fully manual. The aperture is adjusted by rotating the aperture cuff at the very back of the lens rather than in the camera as is common for other lenses. The vignette slider is located near the cuff on the opposite side of the lens.

When rotating either the vignette slider or the aperture ring, you can feel each stop as there feels to be a minor indent that pops into place – a welcome feeling when wanting to make quick adjustments without looking up from the lens.

Review of the Lensbaby Burnside 35 Special Effects Lens

The focus is also manual, which may cause a bit of a learning curve for photographers that rely heavily on autofocus. However, I found that it was rather easy to see when the focus was captured or not and I was able to become proficient in a matter of a half hour.

Keeping the fully manual aspect of the lens in mind, this may not be the right piece of equipment for fast-paced action shooting. That being said, the artistic look of Lensbaby Burnside 35 can even make out of focus images look intentionally fuzzy (although any stylistic choice should look intentional, not as a mistake).

Review of the Lensbaby Burnside 35 Special Effects Lens

Build

The lens’s build feels incredibly sturdy (it’s made of metal) and it is visually striking. Though I’d consider the lens fairly light in comparison to other 35mm lenses, it is still a significant weight that adds to the impression of a very sturdy build.

The lens does not come with a case, and I’d highly recommend one. Despite a sturdy build, a good bump could crack something, and that’s not a risk worth taking.

The metal front lens cap is easy to slide on and off but holds very tight when it’s on; exactly how you’d want it to be. The rear mounting cap is equivalent to all the ones I’ve seen from other lenses. The box comes with a user guide with tips and tricks on how to get the most out of your lens, a welcome addition to any lens purchase.

Review of the Lensbaby Burnside 35 Special Effects Lens

The vignette slider in action

The vignette slider makes a significant, visual difference in the image. It’s great to be able to see right-off-the-bat how the image will look at the various vignette stops. As well, from a purely aesthetic perspective, it can be rather fun to watch the vignette open and close on the glass itself – it’s a bit like a reptilian creature blinking.

Do keep in mind that the frame will darken significantly when the vignette slider is set at its most closed point. As such, I actually found myself using the vignette slider almost like a neutral density filter to bring out the colors of a very bright sky.

The versatility of this lens is also notable enough to bring up. You are certainly not obligated to photograph at a low aperture number and a shallow depth of field, when bumping the aperture up to f/16, architectural photographs are exceptional at the 35mm focal length. Add the vignette slider and you have a dramatic image worthy of any gallery.

Review of the Lensbaby Burnside 35 Special Effects Lens

The vignette slider at the dark end of the scale.

Review of the Lensbaby Burnside 35 Special Effects Lens

Review of the Lensbaby Burnside 35 Special Effects Lens

Review of the Lensbaby Burnside 35 Special Effects Lens

The vignette slider at the light end of the scale.

Overall

This 35mm lens is nice and wide and can focus up to 6 inches away from the glass itself, excellent for macro photography. There isn’t much distortion on the subject that is in focus in the center, which is much appreciated.

Compatible with both full-frame cameras and crop sensors, I tested the Burnside 35 on my Canon 5D Mark IV (full-frame) and Canon 7D Mark II (crop sensor) to see how well it performed. I was brilliantly satisfied with its abilities for both, though it was clear to see that the full-frame yielded even more fantastic results than the crop sensor.

It’s worth mentioning that I was exceptionally pleased with how fluid the manual focus was as well as the vignette slider, both moved with ease and can be adjusted with just one or two fingers! This lens is exceptionally sharp when the focus is right, making sure that whatever you want to be the subject is very clear.

The equipment is small and easy to carry, another welcome sight in lenses.

Review of the Lensbaby Burnside 35 Special Effects Lens

At a retail price of $ 499.99 (available now), the Lensbaby Burnside 35 is worth every penny if I do say so myself. The Burnside 35 is available in the following mounts: Canon EF, Nikon F, Sony E, Sony Alpha A, Fuji X, Micro 4/3, Pentax K, and Samsung NX.

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Quick Video Review – What is the Best Camera Bag or Way to Carry Your Gear?

07 Apr

There are many ways to carry around your precious camera gear – so which is the best? Well, that is a very subjective question, that only you can answer. In this video from the Camera Store, Jordan demonstrates some of the pros and cons of the most popular options.

?

Here is a list of all the camera carrying bags, straps and other options mentioned in the video and a few extras.

List of camera straps mentioned:

  • Op/Tech Pro Loop Neoprene neck strap
  • BlackRapid Curve Strap Ultra Padded
  • Cotton Carrier Camera System
  • Lowepro S&F Technical vest system
  • Lowepro S&F Technical Belt
Video Quick Review - What is the Best Camera Bag or Way to Carry Your Gear?

Holdfast Moneymaker dual camera strap system

Photography backpacks:

  • Pro Trekker 650 AW Camera Backpack
  • Manfrotto Pro Light camera backpack RedBee-210
  • Lowepro Tahoe BP 150 backpack
  • Lowepro Slingshot Edge 250 AW
Video Quick Review - What is the Best Camera Bag or Way to Carry Your Gear?

Agua Versa 90 backpack

Other kinds of bags:

  • Domke Journalist Chronicle Shoulder Bag
  • Kelly Moore Luna fashion bag
  • Ona makes stylish designer leather bags
  • Jill-e Designs also make fashionable bags
  • Filson makes stylish unisex bags

OR read this to avoid having a bag collection in your closets like I do – 5 Camera Bag Hacks to Help You Curb the Temptation of Buying More.

Others options not mentioned:

  • Wrist straps
  • Holster systems (like the Cotton Carrier G3 Strapshot Holster)

What do you use?

So of all those options, which do you use to carry your gear? Are their other options we’ve missed? Please tell us in the comments below.

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Review of the New Cotton Carrier G3 Strapshot Holster

04 Apr

As more camera harnesses and holsters hit the market, it seems that traditional camera straps are becoming a thing of the past. The latest takes the form of the Cotton Carrier G3 Strapshot Holster.

Designed by professional landscape photographer Andy Cotton, this holster is made for the active photographer. The compact carrying system attaches your camera to any bag for easy access while keeping your hands free and your gear safe. The G3 Strapshot launched in October 2017 and I tested it out to see if it was a viable camera holster option. Here’s what I found.

What’s in the box

The G3 Strapshot Holster is available in two color choices: Charcoal Grey and Realtree Xtra Camouflage. The latter color is intended for wildlife photographers wishing to blend in with a variety of habitats.

Cotton Carrier G3 Strapshot Camera Holster

I opted for the neutral Charcoal Grey option and appreciated its tough yet stylish synthetic canvas material. The product arrives in an accessory-laden box. Here’s what you get:

  • Velcro-Wrap holster
  • Mounting strap
  • Hand strap
  • Quick release safety tether
  • High-Impact split ring
  • Two sets of camera attachment pieces (an aluminum camera hub and rubber washer with screw)
  • One set of tripod mount attachment pieces
  • Allen key (to tighten screws)
  • 3-year warranty against manufacturing defects

Setting up

Given all of the accessories in the box, one of the best inclusions was a visual setup guide. You should absolutely read the instructions at least twice as the initial setup can take some time.

One thing to note is that you don’t necessarily need to use all of the accessories in the box. For example, the hand strap seems optional as you could use the holster just fine without it.

Attach the holster to your bag

Initiate set up the system by attaching the Velcro-wrap holster to your bag or belt of choice. Big Velcro flaps make it quick and easy to attach to straps or belts of just about any thickness. You’ll notice a long strap up top known as the Top Tether, which is adjustable and can be looped through the top handle of your bag for extra security.

Mount attachments to your camera

Next, attach the aluminum camera hub and rubber washer to your camera’s tripod mount. This is when you can also add the hand strap as part of it attaches to the camera in the same area. Secure everything using the included screw and Allen key.

If you added the hand strap, finish attaching it by looping the velcro through your camera’s built-in metal loop (where you would normally attach a neck strap).

Cotton Carrier G3 Strapshot Camera Holster

Finally, the camera is secured one last time via the bottom quick release camera tether. This strap attaches to your camera using the included High Impact split ring. You can also secure the tether through your camera’s built-in metal loops if they are big enough.

Now you’re ready to secure the camera to the G3 Strapshot Holster. Simply slide the camera in at 90 degrees and twist to lock it into place. Your camera is now secured to the holster.

Cotton Carrier G3 Strapshot Camera Holster

What works well

Lots of extra security

First off, I greatly appreciate the extra security build-ins factored into the G3 Strapshot Holster. Having used many other “alternative” camera holding systems, I’ve had my fair share of them fail, resulting in broken cameras and lenses. The G3 Strapshot gives you not one but several extra tethers to make you feel like your camera is ultra secure.

You get a hand strap

The inclusion of the hand strap was a nice surprise. Even though it doesn’t seem absolutely necessary in order to use the G3 Strapshot it’s a compact, well-built accessory that you can use on its own.

Cotton Carrier G3 Strapshot Camera Holster

The hand strap in action.

Solid construction

Finally, the overall construction of the G3 Strapshot Holster is very solid and feels like it would hold up well over time. The Velcro-Wrap holster is made of durable canvas, and the big flaps make it very easy to add and remove from a bag.

Compare that to other holsters that might be smaller, but require tedious fiddling with small screws and knobs just to secure it to your bag.

What could be improved

Too many accessories

As you can probably tell from the summarized setup instructions above, there are lots of pieces to the G3 Strapshot Holster. This can be initially very overwhelming and a potential problem if you ever wish to use your camera without the holster. The same problem of having too much stuff also applies to the extra straps and tethers included with the holster. Yes, they give you added security, but at the cost of a more bulky rig.

Cotton Carrier G3 Strapshot Camera Holster

The awkward fit on small cameras

Initially, I tried the G3 Strapshot on a Sony a6300 with the kit lens attached. Even after following the instructions, the camera didn’t securely lock into place. That is, it felt locked into the G3 Strapshot’s proper mount and wouldn’t fall out, but the camera itself freely spun around in circles. After calling Cotton Carrier directly to see if this was an issue, they insist it is part of their design.

Cotton Carrier G3 Strapshot Camera Holster

Small cameras such as the Sony a6300 with 16-50mm kit lens tend to sit at an awkward angle, probably due to not enough weight to hold them in place properly.

Once I tried the G3 Strapshot on my bigger, heavier Canon 5D Mark III with a 24-70mm f/2.8 lens attached, it felt like a more secure connection. While it was still possible to spin the camera around even when in the mount, the weight of the camera held in place.

Conclusion: the G3 Strapshot seems to work better with DSLRs or heavier cameras. It’s not necessarily a good option for small point and shoots or really compact mirrorless cameras with small lenses attached. Also on that note, the hand strap also feels too big when attached to smaller cameras, but it fits my DSLR perfectly.

Cotton Carrier G3 Strapshot Camera Holster

Best used on a backpack (or upright surface)

Cotton Carrier’s website claims that the G3 Strapshot Holster will “fasten to the strap of a backpack, sling style bag, or even your belt.” While it’s entirely true that the holster can fasten to all of those straps, it isn’t necessarily comfortable in each scenario.

I tried attaching the holster to my Think Tank TurnStyle Sling Bag. Everything secured properly, but it was very uncomfortable to wear the bag with the holster attached to a strap running diagonally across my body. I also found it challenging to remove my camera from the holster since it has to line up in a certain way that is hard to do from a diagonal angle.

Cotton Carrier G3 Strapshot Camera Holster

In Conclusion

Overall, it’s tough to give the Cotton Carrier G3 Strapshot Holster a conclusive rating. On one hand, it seems perfect if you’re shooting with a heavy DSLR and wearing a backpack. But if you’re attempting a more compact setup such as a small mirrorless camera and a bag other than a backpack, it leaves much to be desired.

Overall rating: 7/10 – It would be a 9/10 if I was still shooting primarily with a DSLR and a backpack, but a 7/10 when using a mirrorless with a sling bag (my current go-to setup).

The post Review of the New Cotton Carrier G3 Strapshot Holster appeared first on Digital Photography School.


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The Gnarbox 2.0 SSD lets you backup photos, make selects, review footage and more

03 Apr

If you’re looking to seriously speed up your on-location photo and video workflow without carrying around a laptop, the new Gnarbox 2.0 SSD should probably be at the top of your gear wishlist.

Debuted earlier through crowdfunding platform Kickstarter, Gnarbox 2.0 SSD allows you to backup your photos and video in the field, review and rough-cut footage, cull and edit images, showcase selects, and seamlessly transition all of this into your professional workflow once you’re back in the studio.

Gnarbox does so much it’s kind of hard to describe, but the video above and Gnarbox’s own description from the Kickstarter campaign below do a pretty good job.

GNARBOX 2.0 SSD is a rugged backup device for content creators who prefer to travel without a laptop. Unlike other portable hard drives, we have assembled an ecosystem of mobile applications that serve the professional workflow from the field to the studio.

With single-step backup, dedicated workspaces for photographers and videographers, and integrated access to professional editing software, GNARBOX will save you time and make you a more reliable creator.

The Gnarbox 1.0—which we actually recommended in last year’s holiday gift guide—provided a compelling solution for photographers and videographers who do a lot of work on-location. And everything 1.0 could do, the Gnarbox 2.0 SSD can do better and faster.

Inside the newest build you’ll find a 2.4 GHz Intel Quad Core processor, 4GB of RAM, and up to 1TB of NVMe SSD storage; photos and video can be uploaded to the device using either the SD card slot or one of the two USB-C ports; and the whole thing is powered by a replaceable battery that promises enough juice to back up 36,000 photos, review up to 10 hours of 4K video, and transfer one full TB of data.

All of that hardware works together with a set of dedicated apps—Safekeep, Selects, Sequence, and Showcase—that allow this little computer-in-a-box to do all of the things mentioned above.

  • Safekeep: The most complete field backup experience, with tailored file/folder organization and sleek tools to manage file transfers across your devices.
  • Selects: Provides super-fast RAW image preview and easy-to-use tools to mark your selects, manage metadata, and save time preparing your shots for edit.
  • Sequence: Has the tools you need to review footage, start rough cuts in the field, and seamlessly transition your video project to the studio.
  • Showcase: Lets you view your photos and videos in high resolution on any HDMI-enabled screen.

Here’s a closer look at the new Gnarbox 2.0:

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As we said at the top, this is a pretty compelling solution for on-location photographers and videographers who don’t want to carry a laptop. And apparently, we’re not the only ones who think so: it only took 39 minutes for the new Gnarbox 2.0 to breeze past its Kickstarter funding goal.

As of this writing, with 59 days to go, the company has already raised nearly $ 200,000, which makes us pretty confident they’ll deliver product come December.

To learn more about the Gnarbox 2.0 SSD or order one for yourself—pledges start at $ 300 for a 128GB version and max out at $ 700 for the largest 1TB build—head over to the Kickstarter campaign. If you’re quick, you might even snag one of the very last Early Bird deals still available when we hit Publish.

Articles: Digital Photography Review (dpreview.com)

 
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