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Posts Tagged ‘System’

Lensbaby announces the Edge 35mm optic, a wide angle tilt lens for its Optic Swap system

15 Mar

Lensbaby has released Edge 35mm Optic, a new wide angle tilt lens for its Optic Swap system.

The lens, which works in conjunction with the Lensbaby composer Pro or Composer Pro II, can be mounted to Canon EF, Nikon F, Sony E, Fuji X and Micro Four-Third systems. It is the third selective focus lens in Lensbaby’s Optic Swap lineup, rounding out the existing 50mm and 80mm options.

The lens features an aperture range of F3.5-F22 and a minimum focusing distance of 18cm / 7in. It has an eight blade aperture diaphragm and can tilt 15 degrees. Lensbaby doesn’t have specific dimensions or weight available at this time.

‘The Composer Pro II swivels and tilts on a smooth metal ball and socket design, providing a fast and intuitive way to switch between traditional straight lens photos and tilt photography,’ says Lensbaby in the press release. ‘Tilting the lens up or down results in a horizontal slice of focus; left or right a vertical slice; diagonally for a diagonal slice. After setting the tilt, rotating the focus ring moves that slice of focus through the image, from one side of the frame to the other.’

Below is a sample gallery of photos provided by LensBaby:

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The Edge 35mm Optic is available for pre-order alone for $ 249.95 or as a kit with the Composer Pro II for $ 449.95. The first lenses and kits will start shipping in early April.

Lensbaby Launches a New, Wide Angle Tilt Lens for their One-of-A-Kind Optic Swap System

Portland, OR — Lensbaby – makers of award-winning lenses, optics and accessories announces today the availability of its new wide angle tilt lens. The Composer Pro II with Edge 35mm Optic is available for use on Canon EF, Nikon F, Sony E, Fuji X, and Micro 4/3 interchangeable lens cameras. The Edge 35mm Optic is also available separately for anyone who already owns a Lensbaby Composer Pro or Composer Pro II lens body. Fans of this style of selective focus photography have been requesting a wider option beyond the company’s existing 50mm and 80mm lenses.

The Composer Pro II with Edge 35 Optic is a 35mm f/3.5 tilting lens designed for those looking for a wider focal length to create unique in-camera shots with a slice of tack-sharp focus and detail. By tilting this lens, users can place a slice of sharp focus through objects in both the foreground and background of an image at the same time, bordered by smooth blur. This in-camera effect helps artists tell their story in an uncommon way.

“Over the past 15 years, we’ve made optical tools to help you discover unique ways of seeing your world. A 35mm tilt lens, despite being our most requested new product offering since we introduced the Edge 80 in 2012, has been elusive and the results of our efforts have paid off in a lens that is far better than we thought possible when starting our design process. It was worth the wait.” said Craig Strong, Lensbaby Chief Creative Officer and Co-Founder.

The Composer Pro II swivels and tilts on a smooth metal ball and socket design, providing a fast and intuitive way to switch between traditional straight lens photos and tilt photography. Tilting the lens up or down results in a horizontal slice of focus; left or right a vertical slice; diagonally for a diagonal slice. After setting the tilt, rotating the focus ring moves that slice of focus through the image, from one side of the frame to the other.

“The Edge 35 has changed my traveling & portrait sessions for the better. I’m able to get into tight spaces and buildings and still be able to show the whole aspect of the story I’m trying to create,” said renowned portrait, travel and lifestyle photographer Stephanie DeFranco. “I find the wider slice of focus makes it easier to find the area I want to draw the viewer’s eye toward. With its 35mm focal length, this optic lets me create the same dreamy feel as the Edge 50 and Edge 80, but because of the wider slice of focus, also allows me to include more of a scene in the story.”

The Composer series of lenses are lenses that tilt to move a spot or slice of focus anywhere in the frame. They feature Lensbaby’s Optic Swap System. Users can simply purchase one lens, made up of a lens body with an included optic, for their camera system, then, swap out the optic that it came with for a new optic to completely change the effect and focal length of their Lensbaby lens.

The Composer Pro II with Edge 35 Optic will be available in April for $ 449.95, and by itself as an Optic for those who already own a Composer series lens, for $ 249.95.

Composer Pro II with Edge 35 Optic Product Specifications

  • 35mm focal length
  • f/3.5 – f/22
  • Focuses from 7” from the front element to infinity
  • Compatible with Full Frame; APS-C; and 4/3rds Sensors
  • Manual Focus
  • Internal 8-blade aperture
  • Up to 15 degrees of tilt
  • Dimensions: to come
  • Weight: to come
  • Mounts: Nikon F, Canon EF, Sony E, Fuji X, Micro 4/3

Articles: Digital Photography Review (dpreview.com)

 
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How Using the Zone System Can Improve Your Photography

05 Mar

The post How Using the Zone System Can Improve Your Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.

Have you ever wondered how some photographers can produce photos that look so radically different than what we can see with our eyes?

Window Light How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

Digital photography allows you to manipulate photos using a computer to make them look surreal. Some cameras include features that can make High Dynamic Range (HDR), multiple exposure and black and white photographs. These are not techniques I wish to address in this article. I like to keep it more natural.

Having a good understanding of certain techniques and the physics of light, you can produce unreal looking images in camera. You do not have to rely on modern camera technology or heavy use of post-processing.

A brief introduction to the Zone System

The Zone System has been around for decades. It was developed by Ansel Adams and Fred Archer based around sensitometry. It’s a tool designed to be used to help photographers plan and control exposure and processing.

Naturally, as it came about in the 1930s, it was created for use with film. Although there are arguments against applying this technique to digital photography, I believe it to be very useful.

Taking a Rest How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

Adams and Archer divided tone into eleven zones and designated a Roman numeral to each. Zone 0 is black, zone X is white and V is middle gray. Each zone is separated by one photographic stop.

The Zone System

Photographer Alan Ross, who worked as Adam’s darkroom assistant, tells us on his website the system was created “to give the photographer the ability to effectively evaluate the qualities of a scene and follow through with confidence that the information necessary for the photographer’s visualization would end up on the film.”

Most of what I’ve read over the years about the zone system I consider overly technical. I try not to be. Often the photos published alongside articles expounding the virtues of the system in more recent years are dull. This usually happens when photography tools are used for the sake of it and at the expense of creative expression.

Vendors How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

The Zone System – another tool in your kit

More guidelines than actual rules. This is how I prefer to regard the rules of photography.

Many will teach you to learn the rules and then break them. I teach people to learn the rules so well the can apply them intuitively.

The zone system is based on scientific fact, you can’t break it. Learning to apply the technique will give you more freedom to be creative with your camera. Consider it another tool in your kit.

Like any tool, you need to first learn the basics of what it does and how you can make it do what you want it to. I’m not going to get into teaching the ‘how to’ in this article, as there’s already so many books, blogs and videos on the topic already.

My main intention here is to encourage you to check it out and show you some of the benefits of learning the photographic zone system.

Porter Portrait How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

Why bother learning the Zone System?

Averaged metering on modern cameras is designed to render a mid-tone across the whole composition. Camera metering is calibrated on everything being middle gray. But everything we see is not middle gray.

Photographing a black dog on a black rug, or a white rabbit in the snow is challenging. Your exposure meter will want to render both scenes as middle gray because that’s what it’s been programmed to do.

Compositions containing a limited mid-tone range do not pose modern cameras any problems. Especially when photographing them in soft, low contrast light. It’s easy to make a good exposure in these circumstances. But they can quite often look dull unless we boost them in post-production.

Learning the zone system will enable you to make decisions on how to get your photos looking the way you want them to. Using this system well allows you to translate your creative desires into technical choices.

Laughing Lady How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

Use it in line with your intent

Hard light and contrast always involves making decisions about exposure before you take a photograph.

Cameras cannot see the same way we do. At this stage of technological development, they are considerably more limited. This means we may see a scene different than how our camera will record it.

Your camera does not know what you are looking at. When you use the exposure meter, it’s programmed to give you an accurate reading for middle gray. This is why it was common in times past for photographers to carry with them a small sheet of 18% (middle) gray card. They could make a reading from the card in the prevailing light conditions and set their camera accordingly.

Setting your exposure for middle gray every time will often produce poor results when there’s a broad contrast range.

You are best to decide what part of the image is most important and make a meter reading from there.

Black Background How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

In my outdoor studio portraits, I take a spot meter reading from my subject’s face and set my exposure. I’ll use the same setting photographing against the black or the white background. This is because the light value reflecting off the person’s face is the same.

White Background How Using the Zone System Can Improve Your Photography

© Kevin Landwer-Johan

Having an understanding of the zone system equips you to make the best exposure choices in difficult situations.

It ain’t easy, but it’s not rocket science either

Like learning anything, you must practice to become proficient. To become an expert, you must practice a lot more.

The zone system is not so complicated. When you grasp the basics of it you can apply it as a part of your overall skill set. Then you can make extensive use of it and see the difference in your improved photographs.

The post How Using the Zone System Can Improve Your Photography appeared first on Digital Photography School. It was authored by Kevin Landwer-Johan.


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DJI brings its Geospatial Environment Online 2.0 system to airports in 32 European countries

13 Feb

DJI has launched its Geospatial Environment Online (GEO) 2.0 system in 32 European countries, the company has announced. Under this expansion, DJI has brought its more advanced bow tie-shaped runway safety zones as a replacement for its previous circle-based geofences. The drone company has tapped Altitude Angel as its partner for geospatial data on airports, Temporary Flight Restrictions, and other ‘sensitive areas.’

DJI first revealed its updated geofencing system for US airports in October 2018. With this version of the software, DJI’s system enables airports to better protect their runways and other sensitive areas from unwanted drones, helping avoid future incidents like the UK’s holiday airport shutdowns.

As the company previously explained, GEO 2.0 offers 3D safety zones with bow tie shapes, including low, medium, and high risk models that accommodate different security needs. Of the 32 European countries covered by this expansion, 19 weren’t previously included in DJI’s 2016 launch of its original GEO system; the other 13 countries were using its older software.

According to DJI, European countries will start getting access to GEO 2.0 this month. DJI drone owners in these countries will need to update their drone firmware and DJI GO 4 app to accommodate the new geofencing technology.

Articles: Digital Photography Review (dpreview.com)

 
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Olympus adds wireless flash commander FC-WR and receiver FR-WR to OM-D system

27 Jan

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In addition to a new weather-resistant flashgun, Olympus has announced a new wireless flash receiver FR-WR and wireless commander FC-WR, bringing additional wireless flash functionality to its OM-D system. The commander and receiver claim the same splashproof, freezeproof (to -10°C/+14°F) and dustproof durability as the new FL-700WR flashgun.

The FC-WR commander can connect with up to three different groups, and offers quick access to individual group settings via three dedicated buttons. The FR-WR unit includes a sync terminal for connection with commercial flash equipment.

The FC-WR commander will cost $ 350; the FR-WR receiver will cost $ 230. Both will be available in February.

OLYMPUS ADDS TO OM-D® SYSTEM WITH WEATHER RESISTANT WIRELESS FLASH FL-700WR, WIRELESS COMMANDER FC-WR, AND WIRELESS RECEIVER FR-WR

Flash System Designed for Wireless Radiowave Shooting

CENTER VALLEY, PA., January 24, 2019 – Olympus has today announced a new Electronic Flash, the FL-700WR, Wireless Commander FC-WR, and Wireless Receiver FR-WR, all coming in late February 2019 and designed to meet the growing demands of professional photographers. The electronic flash features dustproof, splashproof, and freezeproof (14°F / -10°C)1 performance, as well as wireless radiowave shooting compatibility with a maximum guide number of 422.

Designed for compatibility with the OM-D system, the FL-700WR wireless high-performance electronic flash offers radiowave-shooting capabilities. During wireless shooting, it functions as a commander or a flash with built-in receiver. The FL-700WR electronic flash, as well as the Wireless Commander FC-WR and the Wireless Receiver FR-WR, all feature dustproof, splashproof, and freezeproof (14°F / -10°C)1 performance. This durable construction makes it possible to control multiple flash units from the camera in various shooting conditions.

High-Intensity, Weather-Resistant Performance with a Maximum Guide Number of 42
This flash features a maximum guide number of 422 (ISO 100/m). The compact, lightweight design delivers excellent portability with high flash output. The weather sealed performance offers reliability when shooting in a variety of environments, including rain, when paired with the Olympus® OM-D E-M1X and other weather sealed body and lens combinations. The user can enjoy full flash power after charging for approximately 1.5 seconds3 for quick, comfortable and easy shooting. Because of the short charging time, sequential flash photography4 at 10 fps is possible.

Wireless Radiowave Communication
This product is equipped with a wireless radiowave communication function, which operates even in bright conditions, or when there are obstructions in the area. It can communicate up to a distance of 30 meters, making accurate communication possible even when the flash is set behind the subject.

The FL-700WR can function as a commander or a flash with built-in receiver. When used as a commander, it has the ability to connect to three groups and an unlimited number of flash units. The user can select which group they want to fire and not to fire, and configure the flash intensity compensation. It can also function in the conventional RC mode (optical communication) as a slave flash.

Equipped with Multi Flash mode5
Multi Flash mode5 makes it possible to express subject motion by firing multiple times during long exposures or bulb shooting. The intensity, interval (frequency), and number of shots can be configured to match the ideal settings for the subject.

Compatible with High Res Shot6, Focus Stacking, and Focus Bracketing
Features such as High Res Shot6, Focus Stacking, and Focus Bracketing, included on camera models such as the OM-D E-M1X and OM-D E-M1 Mark II, can function with this flash.

Other Available Features

  1. The super FP flash enables high-speed synchronization that exceeds the camera’s maximum sync speed.
  2. First-curtain and second-curtain sync fires when the shutter curtain opens or closes .
  3. TTL modes enable the pre-flash to measure the required intensity so the output automatically adjusts to the optimal level.
  4. An LED light for movies features a 77° angle of illumination and 100-lux brightness emittance from one meter away.
  5. The bounce angle can be adjusted within 180° horizontally and 90° vertically. It is equipped with a catchlight panel and wide panel. The firing angle covers the focal length of 7mm (14mm ) when using the wide panel.
  6. Equipped with auto zoom , the firing angle is supported by lenses with a focal length of 12-75mm (24-150mm10).
  7. The FL-700WR flash emits an electronic sound when charging is complete.

Wireless Commander FC-WR and Wireless Receiver FR-WR
The new wireless commander FC-WR and wireless receiver FR-WR offer the same dustproof, splashproof and freezeproof (14°F / -10°C)1 performance as the FL-700WR electronic flash. When combined with a weather sealed body and lens such as the OM-D E-M1X, users can enjoy shooting in even the harshest environments.

The FC-WR and FR-WR are compatible with a variety of items, such as the FL-900R, for wireless radiowave communication. The commander can connect to three different groups and an unlimited number of flash units. The user can also select which group they want to fire and not to fire, and adjust the flash intensity.

The FC-WR is equipped with independent buttons for groups A, B, and C, making it possible to quickly configure settings for each group as well as adjust the shooting mode and flash intensity while viewing the monitor. Groups and channels can easily be set and checked using the dials on the FR-WR. This design makes the unit intuitive, comfortable and easy-to-use during multi-unit shooting.

The FR-WR is equipped with a sync terminal that can connect to commercial flash units, such as a monoblock flash, and can be remotely fired using wireless radiowave communication. When flash11 charging is complete, the flash emits an electronic sound.

U.S. Pricing and Availability
The FL-700WR Electronic Flash, FC-WR Wireless Commander and FR-WR Wireless Receiver will be available in February 2019 with pricing as follows:

FL-700WR Electronic Flash $ 399.99 (U.S.), $ 449.99 (CAD)
FC-WR Wireless Radiowave Flash Commander $ 349.99 (U.S.), $ 399.99 (CAD)
FR-WR Wireless Radiowave Flash Receiver $ 229.99 (U.S.), $ 279.99 (CAD)

1 When using in a low temperature, please warm the battery by keeping it in a pocket etc.
2 Firing angle of 75mm / standard light distribution mode, ISO 100/m.
3 When using Ni-MH batteries. Approx. 2.5 seconds when using alkaline batteries.
4 Only when using OM-D E-M1X and OM-D E-M1 Mark II mechanical shutter. At a firing ratio of 1/16.
5 OM-D E-M1X, OM-D E-M1 Mark II, OM-D E-M10 Mark III, Olympus PEN E-PL9 only (As of January 2019). Continuous firing of the flash may adversely affect human subjects. Caution is required.
6 Only when using manual settings. The flash is not available while using Handheld High Res Shot on the OM-D E-M1X.
7 When the shutter curtain opens. (First curtain sync)
8 When the shutter curtain closes. (Second curtain sync)
9 35mm equivalent.
10 When using a Micro Four Thirds lens.
11 When connecting Olympus flash only.

Articles: Digital Photography Review (dpreview.com)

 
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The Live Planet VR System is an end-to-end solution for creating, streaming 4K 360º content

23 Jan

Live Planet has announced the Live Planet VR System, an end-to-end solution to capturing, editing and delivering immersive 360-degree content to viewers.

The idea behind the Live Planet VR System is to launch an all-in-one product that makes it easy to get a full VR production up and running without the need to hassle with multiple products and programs. In Live Planet’s own words:

VR video has yet to take off as a medium because no one has focused on solving the full range of production and distribution challenges. As a result, it has been very difficult to easily, quickly, reliably, and affordably produce VR video experiences at scale, in particular for live distribution.

At the core of the Live Planet VR System is its 16-camera 360-degree video array. The camera system uses an Nvidia Jetson Tx2 module to instantaneously stitch the video from all 16 cameras to create 4K30p footage on-camera — no need to offload the footage to stitch it all together.

In addition to taking the video off of the device for post-production, the resulting video can also be streamed directly to viewers using Live Planet’s accompanying VR apps or platforms that support VR streaming including: Samsung Gear VR, Oculus, Google Daydream, YouTube and more. Live Planet also offers a cloud-based storage via its Live Planet VR Cloud platform.

The Live Planet VR System is available for $ 9.950 USD and includes the stereoscopic VR camera, $ 1,000 credit toward VR Cloud storage and delivery services, a premium monopod, app licenses, ‘platinum support’ and a custom camera case.

Live Planet’s Industry Changing VR System Now Shipping, Empowering Anyone to Expand The Boundaries of VR With Integrated Capture and Delivery of Immersive VR Video

Stereoscopic Camera Stitches Perfect VR in Real Time Paired with a Powerful Cloud and Apps for Picture-Perfect Optimized Delivery That Revolutionizes VR, Allowing Anyone to Capture, Manage, and Deliver Live and Recorded VR Video to All VR Headsets and 360° Platforms

LOS ANGELES and SAN JOSE —? January 22, 2019? —? ?Live Planet, Inc.?, creator of next-generation media technologies, today announced the full-system release of its game-changing, end-to-end virtual reality (VR) video solution, the Live Planet VR System. In development over the last three years, the system is a powerful, fully-integrated solution for creating immersive video experiences, enabling anyone to easily and quickly capture and distribute dramatically better stereoscopic VR video easier than any other method. This complete system includes the full integration of best-of-breed VR camera, cloud and applications, delivering VR video live or recorded to all VR headsets and 360° platforms (e.g., Samsung Gear VR, Oculus, Google Daydream, YouTube, etc.).

Live Planet’s VR System enables anyone to easily and quickly unleash their vision for immersive video experiences and define new categories of VR application, expanding the visual mediums within and beyond television and film. The system makes it simple, practical, and affordable to create and deliver stereoscopic VR and 360° video. Creators can:

  • CAPTURE? picture-perfect, real-time automatically-stitched stereoscopic footage optimized for comfortable viewing for livestream or later use with the Live Planet VR Camera.

  • STORE? and manage their uploaded VR video easily and affordably from anywhere with the Live Planet VR Cloud.

  • DELIVER ?on-demand VR video and live VRcasts to audiences publicly or privately, even over mobile networks, to both Live Planet VR apps and social platforms.

“The vision of “Live Planet VR” is as the name suggests: to allow instantaneous immersion in the experiences that catalogue being human,” said Halsey Minor, founder and CEO of Live Planet. “VR video is more than just a new medium and those who have tried VR instinctively know something extraordinary is afoot — the capacity to share our lives, the arts, sports, celebrations and tragedies in profound new ways that are not mediated by others but directly experienced. Where the power of television leaves off, VR begins. Until now, creating VR video has been hindered by poor quality and insane complexity. Live Planet has put the industry’s best VR experience in the hands of mere mortals, enabling the innovation and growth the industry has so far lacked. Just as pundits have written off VR for its experiential issues and complexity, along comes the Live Planet VR System to change the game.”

While VR point solutions — including various headsets and cameras — have been around for the last few years, VR video has yet to take off as a medium because no one has focused on solving the full range of production and distribution challenges. As a result, it has been very difficult to easily, quickly, reliably, and affordably produce VR video experiences at scale, in particular for live distribution. Technical hurdles the Live Planet VR System has now overcome include:

  1. Capturing footage at the highest possible visual quality, stereoscopically, and in a manner consistent with the natural characteristics of human vision, providing a comfortable experience with no dizziness or nausea so viewers may dwell in content experiences for long periods of time.

  2. Generating automatic, perfectly-stitched footage in real time on the capture device, critical for live applications.

  3. Delivering all footage, whether live or recorded, reliably and of the highest quality over dynamic network conditions — including mobile networks — to the myriad VR and 360° platforms, each of which has its own specifications.

Live Planet has invested in addressing these technological hurdles, creating innovations that handle them “under the hood”, enabling the VR video industry to move forward with push-button simple solutions.

Live Planet uses the ?NVIDIA Jetson TX2? supercomputer on a module to stitch together 16 different image sensors to output 4K video at 30 frames per second — all inside the camera,saving creators days and dollars? in post production time and expense. With its camera and cloud in beta with VR enthusiasts over the last year, the VR System now enables creators and application developers to “share their world,” from transporting audiences to the stage with their favorite band, witnessing a Hail Mary from the 50 yard line, or attending Tim Cook’s next Apple WWDC keynote — the creative potential of the VR video medium is now available to anyone.

“VR provides a unique opportunity to tell immersive stories, but creating and editing high-quality scenes comes with its own set of challenges,” said David Weinstein, Director of VR at NVIDIA. “With the NVIDIA Jetson TX2, Live Planet simplifies the process with a system that provides stunning immersive environments, delivering a VR experience like no other.”

The Live Planet VR System is available for purchase at ?www.liveplanet.net? for $ 9,950 USD. The purchase price includes the stereoscopic VR camera, $ 1,000 credit toward VR Cloud storage and delivery services (additional services are priced a la carte), a premium monopod, app licenses, platinum support, and a custom camera case.

About Live Planet, Inc.

Live Planet, Inc. develops infrastructural technologies to transform the world of video toward a more compelling, controllable future for consumer and business applications everywhere. The company was founded in 2016 by serial entrepreneur Halsey Minor, a technology visionary behind notable successes including CNET, Uphold, Salesforce, Google Voice, OpenDNS and Vignette. Live Planet’s initiatives include:

  • ? The Live Planet VR System:? the end-to-end solution for easily creating and delivering live and recorded picture-perfect stereoscopic VR video programming and applications. For more information on the Live Planet VR System, please visithttps://www.liveplanet.net?. Creative professionals and innovators seeking to shape the future of immersive media may join our partners program by contactinginfo@liveplanet.net?.

  • ? The VideoCoin Network:? video infrastructure for the blockchain-enabled internet delivering decentralized video encoding, storage, and content distribution. For more information, visit ?https://videocoin.io?.

Articles: Digital Photography Review (dpreview.com)

 
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Fujifilm announces 100-200mm F5.6 lens for GFX system

17 Jan

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Fujifilm has announced its new GF 100-200mm F5.6 R LM OIS WR tele-zoom lens, for medium format. When attached to a GFX body, the lens covers an equivalent focal length range of 79-158mm (the GF 1.4x teleconverter is supported if you need extra reach). The lens is stabilized, with Fujifilm claiming 5 stops of shake reduction. Optical construction comprises 20 elements in 13 groups, including one aspherical and two super ED elements.

The 100-200 uses a linear motor for ‘silent and high-speed autofocus’ which locks in place when the camera is powered down. The minimum focus distance is 0.6m at wide-angle and 1.6m at telephoto, with a max magnification of 0.2x. The lens is weather-sealed and weighs just over a kilogram (2.3 pounds).

The GF 100-200mm F5.6 will be available in late February for $ 2000.

Press release:

FUJIFILM INTRODUCES NEW TELEPHOTO ZOOM LENS FOR THE GFX MEDIUM FORMAT MIRRORLESS SYSTEM

The FUJINON GF100-200mm F5.6 R LM OIS WR lens is a welcome addition for outdoor photographers

Valhalla, New York, January 17, 2019 – FUJIFILM North America Corporation today announced that it will release the FUJINON GF100-200mmF5.6 R LM OIS WR lens for the GFX Medium Format mirrorless digital camera system on February 14th, 2019. Designed with outdoor enthusiasts in mind, the camera has a durable, lightweight design paired with Fujifilm’s excellent image quality and five stop image stabilization features.

“Outdoor photographers need to consider a plethora of challenges including lighting, environment and timing – all while battling the natural elements,” said Yuji Igarashi, General Manager, Electronic Imaging Division & Optical Devices Division, FUJIFILM North America Corporation. “As the first GF telephoto zoom lens that has a 35mm equivalent focal range of 79-158mm in a compact, weather-resistant design, this lens will meet the needs of outdoor and landscape photographers.”

Ideal to shoot landscape, travel and nature photography, the new telephoto zoom lens is resilient with its ability to operate in extreme temperatures (down to 14 °F) and sealed lens to resist dust and moisture –all without sacrificing image quality.

Key features of the FUJINON GF100-200mmF5.6 R LM OIS WR lens:

Ultra-High Image Quality: The lens is made up of 20 elements in 13 groups including two super Extra Low Dispersion Glass lenses and one aspherical lens to reduce chromatic and field curvature aberrations.

Powerful Image Stabilization: Equipped with an excellent five stop image stabilization (CIPA guidelines), the lens allows photographers to make the most of the GFX’s high image resolution performance even without the use of a tripod.

Silent and High-Speed Autofocus: The linear motor which drives the focus is accurate, quiet and fast. The lens also includes an enhanced mechanism for fixing the linear motor position when turning the power off or using playback mode to avoid any additional vibration.

Robust Durable Design, Appropriate for Tough Shooting Environments: The lens is sealed across 10 areas for dust and weather resistance allowing photographers to shoot with stability in tough environments.

GF1.4X TC WR Compatible: The 1.4x teleconverter (GF1.4X TC WR) extends the telephoto shooting range to 140-280mm (equivalent to 111-221mm in 35mm format) while maintaining superior image quality.

The GF100-200mmF5.6 R LM OIS WR lens complements the FUJIFILM GFX 50S and FUJIFILM GFX 50R as well as the full lineup of GF lenses for the Fujifilm GFX mirrorless digital camera system. GF lenses are known for top image quality using the finest optical design and production technologies to achieve high-resolution and rich tonal reproduction, making them popular among professional photographers and photo enthusiasts.

The GF100-200mmF5.6 R LM OIS WR lens will be available in late February 2019 in the U.S. and Canada for USD $ 1,999.95 and CAD $ 2,599.99.

Fujifilm GF 100-200mm F5.6 R LM OIS WR specifications

Principal specifications
Lens type Zoom lens
Max Format size Medium Format (44x33mm)
Focal length 100–200 mm
Image stabilization Yes
CIPA Image stabilization rating 5 stop(s)
Lens mount Fujifilm G
Aperture
Maximum aperture F5.6
Minimum aperture F32
Aperture ring Yes
Number of diaphragm blades 9
Optics
Elements 20
Groups 13
Special elements / coatings 1 aspherical + 2 super ED elements
Focus
Minimum focus 0.60 m (23.62)
Maximum magnification 0.2×
Autofocus Yes
Motor type Linear Motor
Full time manual Yes
Focus method Internal
Distance scale No
DoF scale No
Focus distance limiter Yes
Physical
Weight 1050 g (2.31 lb)
Diameter 90 mm (3.52)
Length 183 mm (7.2)
Materials Magnesium alloy
Sealing Yes
Colour Black
Zoom method Rotary (extending)
Power zoom No
Zoom lock No
Filter thread 67 mm
Hood supplied Yes
Tripod collar Yes

Articles: Digital Photography Review (dpreview.com)

 
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Colorado Tripod Company introduces ‘world’s first titanium tripod system’

08 Dec

The Colorado Tripod Company has introduced what it claims is the world’s first titanium tripod system, with a crowdfunding campaign on Kickstarter. Not only does the use of titanium make the ball heads lightweight and strong, but the design of the heads also allows the camera to drop to the side below the usual 90 degrees seen in other heads.

The Highline ballhead will be available in either titanium or aluminum. The titanium model will feature a hollow ball to reduce weight. Both versions will have a locking force of 54lb and will offer left-handed controls that allow users to hold the camera and shoot with the right hand. The titanium model will weigh less than 340g (12oz), while in aluminium the same unit weighs 510g (18oz).

To accompany these heads a new line of titanium and carbon fibre legs have also been introduced. The company says that by CNC machining from a solid block of titanium it can make its metal parts stronger than manufacturers that use metal casting. Milling also means the company can make its parts more precisely, and it says it can cut the amount of material used to help reduce weight. The carbon fibre used in the Centennial legs is ten-layered, and comes from Japan.

An additional ball head called the Aspen comes only in aluminium but offers a much wider range of camera positions, as it has no housing around the ball. This allows the camera to drop well below 90 degrees, while making the head quite lightweight at only 454g (16oz).

The Highline ball head in aluminium starts at $ 79 on Kickstarter, while the titanium version can be had for $ 399. The Aspen head costs $ 179 and the Centennial tripod is $ 249 in aluminium and $ 399 in titanium. Various kits combing these products are also available. Shipping is planned to start in March.

For more information see the Colorado Tripod Company’s Kickstarter campaign page.


Disclaimer: Remember to do your research with any crowdfunding project. DPReview does its best to share only the projects that look legitimate and come from reliable creators, but as with any crowdfunded campaign, there’s always the risk of the product or service never coming to fruition.

Articles: Digital Photography Review (dpreview.com)

 
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COOPH photo vest features smartphone-controlled heating system

29 Nov

If you appreciate the practicality of a photo vest but aren’t really into the beige or khaki safari design of most traditional models, the new COOPH photo vest might be worth a closer look.

The vest features a more modern reversible padded design and comes in several color options. There are plenty of storage options for gear, accessories and smaller lenses. COOPH also says the vest is easy to fold and carry when not worn. The outer material is a rip-stop fabric and sheep wool is used for insulation.

Despite the attractive design touches, the vest’s real highlight feature is smartphone controlled built-in heating. The optional THERM-IC Heating System warms the hand pockets and heats kidney, back and stomach regions.

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It is compatible with any 5V USB power bank and can be used as a simple “dumb” heating system. However, if you add the THERM-IC bluetooth dongle into the mix, it becomes smartphone-controllable. A dedicated app lets you control the temperature and a motion control mode provides more heat when you are static and reduces power while you are moving. An eco mode delivers a constant level of heat for best energy efficiency.

COOPH claims an approximate five hours runtime with its own THERM-IC 5200 mAh battery. Vest and heating system (including battery and dongle) are available as a bundle for approximately $ 440 (389 Euros). More information can be found on the COOPH website.

Articles: Digital Photography Review (dpreview.com)

 
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Review: DJI Ronin-S gimbal stabilization system

28 Nov

The Ronin-S is DJI’s newest camera stabilization system, distilling the technology of the more expensive $ 900 Ronin-M, a two-handed stabilization system, into a more efficient single-handed model that retails for $ 750.

There are other, less expensive single-handed gimbals on the market, but the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot. DJI also says it uses the most powerful motors it’s ever used in a handheld gimbal.

In addition to stabilization, the Ronin-S will connect to a range of popular cameras and allow varying degrees of control, from video start/stop all the way up to remote focus and zoom control.

Key specifications

  • 3-axis motorized gimbal head
  • Auto-tune feature for quick gimbal calibration
  • 3.6kg (7.9 lbs) load capacity
  • Integrated follow focus knob
  • Remote camera control (depends on model)
  • Button to switch between three sets of custom settings
  • Fully configurable using smartphone app
  • 12-hour battery life

Like other gimbals, the Ronin-S provides three-axis stabilization using motors that can counteract the movements of your camera, as well as create automated (or guided) tracking and panning camera movements. DJI recently released nine additional accessories for the Ronin-S, including useful items such as focus motor to facilitate remote follow focus on additional lenses.

Controls on the Ronin-S include a dedicated focus wheel, a joystick, a trigger, and three buttons on the grip: power, start/stop, and the ‘M’ button. The focus wheel system can be attached to either side of the grip using an Allen wrench using either of the two 8-pin ports on the side of the gimbal’s base, and cables are included for follow focus and remote camera control.

Fully assembled Ronin-S including gimbal, handle (which houses the battery) and mini-tripod. The detachable tripod collapses to create an extended handle for two-handed support.

The gimbal is rated to support up to 3.6kg (7.9 lbs), nearly the same as the Ronin-M, and is capable of balancing fairly large zooms as well, including the Canon EF 24-105mm f/4L IS II USM, the Nikon AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR and the Sony E 18–200 mm F3.5–6.3 OSS LE.

In fact, the gimbal’s weight limit is much higher than the one kilo (2.2 lbs) weight of the Panasonic GH5S camera and 12-60mm f/2.8-4 ASPH lens that I used for testing. Balancing the diminutive GH5S and 12-60mm kept each axis so close to center that I wonder if there’s potentially a minimum weight restriction.

In terms of remote camera control, the Ronin-S supports a number of cameras from Canon, Panasonic, Nikon and Sony. Only certain camera and lens combinations will support full camera communications with focus pulling, but DJI continues to add additional support through firmware updates. An evolving list of compatible cameras and lenses can be found on the Ronin-S support page. (Look in the ‘documents and manuals’ section.)

…the Ronin-S stands apart thanks to a number of features, such as its easy-to-use setup app and its offset roll axis motor, which is lowered down behind the camera so you can more clearly see the back of the camera as you shoot.

DJI also provides a sliding attachment plate to mount the camera to the gimbal, which is compatible with the Manfrotto 501PL type quick-release plate, letting you transfer from the gimbal to some tripods without dismounting the camera. However, you can’t use a Manfrotto plate on the gimbal. DJI’s plate is proprietary, no doubt on purpose.

Balancing and setup

Broadly speaking, balancing a camera on the Ronin-S is similar to most other gimbals, though it handles some situations particularly well.

DJI has mitigated some of the pain in the balancing process by including bright white position scales on each of the adjustable bars for recording the perfect balancing positions of favored setups. With proper annotation, this process only needs to be performed once for each camera and lens combination.

Most of the setup and configuration process for the Ronin-S is conducted from a smartphone app. The gimbal connects easily and quickly (faster than most cameras) via Bluetooth. There’s a balance test available through the Ronin App (iOS or Android) to check and score each axis by its center of gravity. This helps you optimize balance, which helps minimize the amount of effort the gimbal has to make to keep the camera steady.

Balance is achieved by balancing each axis of the gimbal, working from the camera outward. Once balanced, the Ronin app can be used to run the Auto Tune function that configures the motor behavior. Each adjustable part includes helpful index lines, making it easy to record precise positions for a particular camera and lens combination.

By my second day of use I had developed a good feel for how the cameras and lenses would balance, and I could switch back and forth between the Panasonic GH5S and a much larger Canon 1D X Mark II within just a few minutes. DJI’s recommended process for balancing is based on a sequential approach by axis working from the camera outward, though I ended up going off-book, slowly centering gravity by weight, locking off each axis from the outside-in.

Once balanced, the Ronin app has an Auto Tune function that configures the motor behavior. It gives you a choice of three levels of ‘aggressiveness,’ depending on how extreme the motion you’re correcting is. This avoids the need to learn how to configure the motor behavior (though you can do so manually if you wish).

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds. The Ronin then vibrates (rather alarmingly, sometimes) each of its movement axes, to test its setup.

As well as making the whole setup process easier, Auto Tune also makes it easy to quickly re-calibrate the gimbal. Instead of using the app, you can also hold the trigger and M button down simultaneously for four seconds.

DJI says the use of strong motors mean that Ronin-S can cope with slightly mis-balanced setups, which is especially useful when working with zoom lenses. Small changes in weight distribution as you zoom in and out can be corrected-for, without having to re-position and re-calibrate the gimbal.

SmoothTrack

With the camera balanced, it’s worth investigating the ‘SmoothTrack’ settings in the Ronin App. These let you dictate how you want the gimbal to respond to your movements. There are three customizable parameters: ‘Deadband’ sets the threshold for how much user movement it should ignore before interpreting the motion as an intentional input. ‘Speed’ defines how quickly the motors move in response to that input and ‘Sensitivity’ lets you control how much additional acceleration should be applied if you make an extreme movement.

You can set up three SmoothTrack presets, each of which holds separate settings for each axis, so you could set up a slow preset that only responds to big, intentional movements, another that is faster and more responsive and a third that only responds to input in one axis (just panning, for instance).

The Ronin app allows you to adjust the gimbal’s SmoothTrack settings, which let you dictate how you want the gimbal to respond to your movements.

Three sets of these parameters can be defined and then selected from the gimbal. Each parameter sets allows you to configure different responses for each axis, letting you create presets to suit a range of shooting styles.

The presets also let you choose whether an axis will respond to you pushing the camera around, so that you can physically over-ride the motors.

Operating the Ronin-S

Once your camera is balanced, and any cables connected, you’re ready to start shooting. The controls on the Ronin-S provide a simple user interface that makes it possible to perform multiple functions quickly and easily at the tap of a button or nudge of the joystick.

Pressing the M button while you’re using the Ronin will cycle through your three SmoothTrack presets, with numbered LEDs indicating which you’re currently using. Having three presets makes it much easier to react to situations on-the-fly as you’re working, something that would be especially useful to documentary filmmakers.

A fourth setting, the Sport Mode, can also be found by holding down the M button until the indicator LED turns yellow. Sport Mode provides the maximum responsiveness possible from the gimbal in order to accommodate and counteract extremely rapid movements, ideal for tracking subjects that move around quickly or unpredictably.

The ‘M’ button on the grip of the Ronin-S allows you to quickly cycle between three groups of settings; holding the ‘M’ button switches to Sport Mode, which is useful for tracking fast moving subjects. The joystick can be used to independently control camera movement.

The joystick on the handle gives another way to re-direct the camera when you turn it, and again you’ll probably want to play with the settings until it responds to your liking. I found the default parameters to be too sensitive; a little flick of the joystick would move the camera too quickly for a refined camera move.

Finally, the trigger on the front of the handle serves multiple functions. Holding it down will lock the camera in the direction it’s pointing, cancelling all user movement, while a double-press of the trigger will recenter the camera if it drifts. I found this to be a very quick way to reset the camera to its default, centered position when switching from one shot to the next. A triple tap will reverse the camera 180º for a selfie POV shot, useful for the vlogger generation, I’m sure. Finally, four taps and a trigger hold will unlock joystick-drift corrections.

It’s also worth noting that the rubberized grip on the handle is comfortable and easy to hold, and the shape insures that you can tell which way it’s oriented at any time even without glancing at it.

Remote camera control

One of the most useful features on the Ronin-S is remote camera control, using either the MCC (multi camera control) or RSS (remote start/stop) cable, both of which are included with the gimbal. With the Panasonic GH5S that meant I was able to pull focus electronically using the focus wheel, as well as start and stop recording, capture photos, or trigger autofocus with the button on the handle. Support for remote control varies depending on your camera/lens combination, so I recommend reviewing the current list of compatible cameras and lenses found on the Ronin-S support page.

MCC (multi camera control) and RSS (remote start/stop) cables facilitate remote operation of the camera using the Ronin’s controls, though support varies depending on camera model and lens. With the GH5S I was able to use the Ronin’s follow focus knob, which worked smoothly and allowed for very precise adjustments.

Beyond this, the Ronin app contains a series of extra functions, beyond basic stabilization and camera control. Even a cursory dig into the controls unlocks an absolute litany of versatile camera movements, including options like barrel rolls, 360º of spin, head-over-heels, tailspins, and seemingly endless combinations thereof.

In use

At the base of the handle there are two female 1/4″-20 and 3/8″-16 threads for additional supports and tripods. An included mini tripod screws into this base, and it’s very helpful when rigging your camera. The mini tripod can also act as a second handhold when folded.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone.

The folded mini-tripod provides a boom-like extension for overhead shots, low-to-the-ground shots, and generally provides a better handhold than the handle alone. I also found the mini tripod could be used to prevent fatigue by using it as a belt rest. That’s good, because at 1.9kg (4.1lbs), the Ronin-S looks lightweight on paper, but adding any weight at all to a camera setup increases physical stress for even the most experienced gimbal operators. It’s much less of a workout than trying to manhandle the larger Ronin-M for any length of time, though.

The Focus Wheel worked very well when adjusting focus on my GH5S, and when racking focus I found it easy to make very subtle changes with focus peaking enabled. It’s possible to move this wheel to the other side of the handle if that works better for you ergonomically.

The front of the gimbal includes the trigger and USB charging port; the follow focus knob can be mounted on either side or removed completely. The base of the gimbal connects to the battery with a very solid lever.

The 2400 mAh battery promises roughly 12 hours of use on a two hour charge, and I found these estimates to be more or less in line with my experience. One gripe is that you have to charge the battery through the gimbal’s USB-C connection, meaning the battery and gimbal have to remain fully assembled in order to charge. If you want to charge the battery independent of the gimbal you’ll need to purchase DJI’s $ 39 Ronin-S Battery Adapter to do so.

In addition to providing exceptionally smooth camera movements, the Ronin-S has a few other tricks up its sleeve. Features like Panorama, Hyperlapse, Track, and CamAnchor allow time-lapses, panoramas, and programmed tracking shots from the Ronin App. Using the internal intervalometer, moves can be programmed in precise, repeatable patterns, with up to five keyframes that can create a segmented motion path for time-lapses and multi-shot panoramas for later stitching.

My overwhelming sense with the Ronin-S was just how easy it was for a novice to get going with it. With just a little thought given to the kinds of motion you want to make (and which you want the device to correct), it was pretty easy to get to the point where I could just start shooting and learn how to move with it.

The offset roll axis motor on the Ronin-S sits below the camera at an angle rather than being directly behind the camera. This design makes it much easier to monitor the rear screen on a camera when shooting.

Using a gimbal for the first time is something of a challenge to your inherent sense of spatial reasoning: the device over-rides some, but not all of your attempts to move the camera. But after a little time spent looking like you’re inventing your own Tai chi moves, you get a feel for how you need to move your hands and body to communicate your intentions to the gimbal. Using the app to create different SmoothTrack presets makes it easy to experiment and fine-tune the Ronin to perform different types of motion for different circumstances.

The verdict

Due to its small size and impressive performance, the Ronin-S should appeal to a variety of users ranging from filmmakers to wedding videographers.

For those not accustomed to working with a stabilization system, the Ronin-S may initially appear daunting, but it can deliver professional looking camera moves with surprisingly little experience. I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

I think most shooters who need this kind of solution for their work are going to look at it as a no-brainer compared to many other options, and with a bit of practice even beginners will be able to get great results.

With the plethora of available stabilization kits in the market, DJI has done an exceptional job of setting the Ronin-S apart through clever engineering and, most importantly, heightened toolsets at a similar price point to many other, far simpler stabilization kits. More advanced movements will require a bit of time to master the programming, but can result in great looking shots. For those who are novices to gimbals and stabilization systems, DJI has done a really great job in balancing the complexity of the device with simplified, ready to go, out of the box operations.

What we like:

  • Easy setup and calibration
  • Remote camera operation, including follow focus (depending on camera model)
  • Very effective at creating smooth, steady video

What we would like to see improved:

  • Battery charging adapter included with purchase
  • Support for additional camera models and lenses
  • App-based instructions as to how each axis interacts

Articles: Digital Photography Review (dpreview.com)

 
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How Using the SpiderPro Camera System V2 Changed My Life

27 Nov

As a professional wildlife and adventure photographer, I am accustomed to carting heavy camera equipment from location to location. You’ll know what I mean if you’ve ever used 500mm+ lenses and pro-bodies. Nevertheless, in most situations, these larger-than-normal set-ups are used in conjunction with super-sturdy tripods with gimbal heads and or other supports such as bean bags, which comfortably take the weight and more importantly, the strain.

1 How Using the SpiderPro Camera System V2 Changed My Life

When I set up my UK-based dog photography business a few years ago, I rocked up to my outdoor on-location dog photo sessions with a lot less equipment than I was used to – which was awesome!

So I thought!

Holding Heavy Equipment

On most dog photography shoots there are periods where I’m holding a pro-body, with a 70-200mm f/2.8 or 24-70mm f/2.8 lens attached. I hold this in my right hand while using my left to attract my subject’s attention with squeakers, toys, balls, treats and more. I use my thumb to control the back-button focusing while using my index and middle fingers to control a multitude of features. I am crouched, lying down while looking up, standing while looking down, in water, or snow. You name it; I do it!

Now, I’ve always been a reasonably fit individual and look after myself, so when I started to suffer from a few unusual aches and pains, alarm bells rang.

First off, I experienced chronic muscle twinges and aches in my right shoulder. Then, depending on the demands of the shoot, I frequently suffered from lower back pain. These two issues were bad enough. However, the most painful affliction was in the index and middle fingers on my right hand. I only had to knock these two digits against something and the pain, although momentary, was excruciating.

So, after a couple of x-rays the verdict was in – Repetitive Strain Injury (RSI). After I discussed my experiences with three fellow pet photographers with comparable stories, RSI was confirmation of what I suspected.

However, they are no longer sufferers, and each put their freedom of pain and increased productivity down to a couple of products from the SpiderPro range: the SpiderPro Camera Holster and the SpiderPro Hand Strap.

2 How Using the SpiderPro Camera System V2 Changed My Life

Their shared experiences were endorsement and encouragement enough to test-drive the SpiderPro Camera System V2 system and discover the potential benefits for myself.

SpiderPro Single Camera System v2

The Belt and Holster

The SpiderPro Pro 2 Belt features an improved design, over the original that is more optimized for comfort and flexibility and now features a heavy-duty triple-lock buckle. The whole belt and holster system is super-tough and expertly constructed with durable and wear-resistant materials.

My immediate impression, when first wearing the holster, is just how comfortable and secure everything feels. The build quality is excellent with stainless steel and hardened aluminum. The plate and pin system, that screws on to my camera’s base and engages with the Holster feels bulletproof and is not going anywhere.

3 How Using the SpiderPro Camera System V2 Changed My Life

The SpiderPro Camera Holster takes the weight of my pro gear away from my upper body relieving the strain on my upper back. The holster relieves strain in my shoulder areas, and distributes it at my waist, which according to Spider is “the most ergonomic place to carry heavy gear – just ask a carpenter with a full tool belt!” Moreover, I have to agree.

The SpiderPro Camera Holster features a two-position lock designed for flexibility – unlocked for quick draw action shots or auto-locking for security in any shooting situation.

4 How Using the SpiderPro Camera System V2 Changed My Life

5 How Using the SpiderPro Camera System V2 Changed My Life

The Plate

The improved Pro2 Plate attaches to any professional DSLR and has is redesigned for a more balanced and comfortable carry. The new plate also features an improved and more secure pin and anti-slip rubber grips to keep the plate in place. It can be swapped easily for carrying on the left or right and is compatible with any tripod.

6 How Using the SpiderPro Camera System V2 Changed My Life

If you want a camera on each hip, you can now upgrade the single system instead of purchasing the dual system. The Dual Camera Upgrade v2 requires no tools, which makes adding a second holster extremely easy.

7 How Using the SpiderPro Camera System V2 Changed My Life

 

The SpiderPro Hand Strap

Over the years I’ve experimented with various hand straps and none, and I mean none, have worked for me. They’ve all lacked one or two crucial features such as comfort, performance and or ergonomic functionality.

The SpiderPro Hand Strap, however, is different. It has all of the features that make a good hand strap and has been an absolute game changer for me.

8 How Using the SpiderPro Camera System V2 Changed My Life

My hand slides in effortlessly.

The ‘S’ curved leather strap is particularly snug and follows the contour of the back of my hand, ensuring the weight of the camera is evenly distributed and secure. However, more importantly, the straps’ clever design ensures the correct position for shooting while allowing my thumb, index and middle fingers to operate the camera unrestricted.

Trust me – that’s a major coup.

9 How Using the SpiderPro Camera System V2 Changed My Life

The Strap is compatible with extended battery packs, vertical grips, and any tripod or Spider plate. There’s also clear access to the memory card slots. It’s available in a variety of colors, which is an extra touch.

10 How Using the SpiderPro Camera System V2 Changed My Life

In Conclusion

I’ve been using the SpiderPro Camera Holster System, v1 and v2, in conjunction with the Hand Strap now for over a year and my strain-related pains have all but gone.

Photography, like many professions, can be physically demanding and you need to look after yourself. So, when a brand, like SpiderPro, takes on the challenge of designing and producing a product that not only enhances our lives but also increases our productivity, then I have to take my hat off to them.

Nowadays, manufacturers can tap into social media and online forums for real-time user feedback on their products. Armed with valuable, in-the-field insight, they’re able to improve each product based on what we, the consumer, would like to have.

The adage of ‘if it ain’t broke, don’t fix it’ very rarely applies to camera systems and camera accessories. SpiderPro’s products are indeed a testament to this.

All images courtesy of Spider Holster.

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