Beyond Megapixels » Reviews

Product Review: Case Logic SLR Camera/Laptop Backpack

Tiffany Joyce — Fri, 20 Jan 2012 07:00:43 +0000

I have a new go-to bag for extended travel. The Case Logic SLR Camera/Laptop Backpack (model SLRC-206) is everything I need for a road trip or plane trip. It is roomy enough to fit all of my essential equipment, but low-profile and lightweight enough to lug around all day or stash in overhead/under-seat storage on a plane.

My Canon Rebel, used for illustration purposes.

It’s got this great feature called the “Hammock Suspension System”, which suspends the camera inside the bag in a way that is easy to reach for quick retrieval. The top portion of the front panel zips open and is stopped by two small velcro straps covering the zipper, which prevent it from zipping all the way open unless you purposefully release the straps. The camera can be easily retrieved and replaced and is held secure by the suspension system. If you have a larger lens or lens with a hood (as is my case) you can remove the suspension system (which is held in place by velcro), and the camera will still be held in place by the inner storage framework and adjustable divider panels.

Hammock System, photo courtesy of Case Logic.

The laptop sleeve can hold up to a 17″ laptop, which is perfect for my needs – it seems to me that a lot of camera bags hold 15″ or 16″ laptops, but nothing as big as 17″. There are plenty of pockets, panels, and sleeves to hold memory cards, batteries, chargers, power cords, and various other peripherals. In addition, you can secure a tripod with straps along the side of the backpack, and it has a water-resistant base so you can feel confident setting it on the ground. Plus, it stands upright really well, even fully-loaded.

I used Case Logic's photo, because it was so much tidier than my gear!

Construction is very sturdy, and the straps are organized in such a way that there are no annoying, dangling lengths of strap. Everything is very well padded, I have no worries at all when it bounces around in the back of our Jeep when we go off-roading. The interior is a bright orange color, which, when you think about it, is very helpful. It’s so much easier to see black-colored lenses and accessories against the bright background.

I regularly carry my Canon EOS 7D with my 17-55mm f/2.8 IS attached, a 70-200mm f/2.8L II IS, a 50mm f1.4, a Speedlite 580EX II Flash, and my Sony VAIO 17.3-Inch Laptop. Everything fit easily, and if I had organized things a little differently I probably could have fit more. I highly recommend this camera/laptop backpack! It retails for $134.99, but is on sale RIGHT NOW (1/20/12) for $107.99.

*The Author received complimentary products in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Photography News from CES 2012

Tiffany Joyce — Thu, 19 Jan 2012 07:00:50 +0000

Here are a handful of the items that came out of the Consumer Electronics Show (held in Las Vegas last week, with a crowd of over 140,000) that I found to be the most intriguing:

Fujifilm announced the introduction of the X-Pro1, which sports a new CMOS sensor that is supposed to provide resolution that is equal to, if not better than, a full size sensor. Three lenses, the “XF18mmF2 R”, “XF35mmF1.4 R” and “XF60mmF2.4 R Macro” will be available immediately. Techradar has done a full hands-on review that you should check out if you’re interested in this little gem. (Photo courtesy of Fujifilm.)

Sigma Photo revealed the APO Macro 180mm f/2.8 EX DG OS HSM lens, which is the first lens of this focal length that maintains a 1:1 ratio with a constant f/2.8 aperture. It’s designed for full-frame cameras, but can also be used on crop sensor cameras for an effective focal length of 260mm. It also has optical stabilization for hand-held shots. I will be VERY interested to try one of these babies out. (Photo courtesy of Sigma Photo.)

Nikon revealed its new flagship D4, and is one of the few products to come out around the CES to state a price – a whopping $5,999.95 (why can’t they just make it $6k, really?). The ISO expands to 204,800. You read that right, TWO HUNDRED AND FOUR THOUSAND, EIGHT HUNDRED. You could find your way out of cave when your flashlight battery runs out, shot by shot. Other perks include an MP FX-format CMOS sensor, and 10 fps continuous shooting. (Photo courtesy of Nikon.)

Has anyone heard of Lytro? Yeah, me either. But they are releasing the world’s first light field camera, which has got the photography industry buzzing madly. As it is explained on the Lytro website, “…the Lytro camera captures the entire light field, which is all the light traveling in every direction in every point in space.” I am very, VERY interested in this camera. It’s currently retailing at $399 ($499 if you want red). (Photo courtesy of Lytro.)

So, friends! What neat gadgets came out of this year’s Consumer Electronics Show that you’re particularly excited about? Share with us in the comments, or over on our Facebook Page!

* All pictures, trademarks and brand names owned by corporations and entities as noted.

Product Review – Black Rapid RS-7 Camera Strap

Steve Russell — Wed, 14 Dec 2011 05:00:54 +0000

Sometimes I’m convinced that the worst piece of equipment in photography is the camera strap that comes with your camera. Not only is it a marginally functional piece of equipment, you get the same strap no matter how expensive your camera might be. If you purchase a brand new DSLR for $600 you get a $5 strap. If you purchase a brand new DSLR for $2,500 you get a $5 strap.

So what’s wrong with them? The strap is designed to hang around the photographer’s neck. When you walk, unless you hold onto your camera with your hand, the camera bangs against your chest or abdomen, depending on how you have the strap adjusted. When you bend forward the camera swings forward, away from your body, threatening to impact against the closest immovable object. The biggest complaint, though, is that it’s flat uncomfortable. Especially if you’re carrying something like a Nikon D7000 with a 70-200mm lens mounted to the camera body.

I refuse to “wear” the strap that comes with a camera but I do wrap it around my wrist while holding the camera in my hand. That way the strap at least provides a small amount of security. The only problem is that either the strap becomes too tight to be comfortable or too loose to provide that tiny bit of security. You would think that somebody could design a comfortable camera strap that held the camera securely, kept it from banging against your body as you walked, was easy to keep the camera close to your body especially when bending forward and kept the camera within easy reach. Well, somebody did.

Enter the Black Rapid RS-7 Camera Strap . I know a couple of photographers that have this strap, love it and swear by it. I know at least one photographer who doesn’t have it and isn’t willing to try it because he thinks it would be too easy for the camera to come loose from the strap and fall on the ground. (I’ll get to that point a little later in the review.) Okay, there were two people raving about it and one thinking something bad might happen. I decided to give it a try.

Let’s first tackle the issue that one person didn’t like. Instead of attaching to the built-in “rings” on the sides of the camera body like most straps, the RS-7 attaches with a screw type FastenR-3 that screws into the tripod socket on the bottom of your camera, battery grip or lens.

The photographer I know who doesn’t like it is concerned that the fastener will work loose. I’ve used the strap numerous times and the fastener hasn’t loosened any at all. Yes, to be honest, I do double check it from time to time, but there haven’t been any issues.

The strap connects to the fastener using a locking swivel hook to connect it securely to the strap. When using the strap for the first time, once it’s connected to the camera it’s time to adjust the strap. Instead of me trying to explain the steps to complete the adjustments, watch this short video on the Black Rapid web site.

When adjusted to fit, the camera hangs at the photographer’s hip within easy reach. To use the camera think of a Wild West gunfighter reaching for his pistol. It’s that easy and that quick.

I have used the strap in the studio, at indoor events using an on camera flash, at crowded outdoor events like art festivals and while shooting wildlife outdoors. In each case the Black Rapid strap performed better than any strap I’ve ever used.

What I liked about it:

It’s unbelievably comfortable. I can’t imagine any other strap being as comfortable as the Black Rapid. I spent over four hours one day carrying a Canon 5D Mark II with battery grip and using a 70-200 f/2.8 lens and carrying the camera was as easy and comfortable at the end of the event as it was at the beginning.

It’s cool looking. Okay, it’s just a camera strap but it looks different and I get a lot of questions about it.

It’s simple to adjust. I once read a “review” post on Amazon.com saying that it was very difficult to get adjusted to where it fit properly and no one told them about the video I mentioned above. My experience – I purposely adjusted and used it without watching the video just to see how difficult it was to adjust. Trying to be nice here, I had it adjusted, attached to the camera and was using it in less than five minutes from the time I opened the package. Oh, and there was a reference to the video in the package.

What I didn’t like about it:

Actually, nothing. I’ve tried to find something negative to say about it and I keep coming up empty. I don’t think this is a negative at all, but because the camera hangs at your side about hip level when you’re not using it, I advise that you keep your hand on your camera if you’re in a crowd or someone will bang into it for sure.

I did see where one person complained that it didn’t work very well for left-handed people if you wanted to wear the camera on your left hip instead of your right hip. Maybe so, but the last time I checked, my camera didn’t work left-handed either. The shutter release button is on the right side of the camera as is the grip for holding the camera.

The strap was provided by Black Rapid for me to try and review. When a product is given to me to use and review, I always try to use it as much as I can and in a number of different situations so I can give a fair review.

I also got a Black Rapid bumper or back window sticker for my car. I wonder how many people have looked at the sticker and wondered what new rock band was named Black Rapid.

Tiffany has the model of the strap that is made for women that she will review in the future. I’ll let her explain why there’s a special model for women.

I give this strap my highest recommendation, so if you’re looking for something to buy for the photographer in your life during the holidays or if you want a hint to give to someone buying for you, this is an excellent product from my perspective.

Photo Credits:
All photos provided by Black Rapid

Review: Lensbaby Composer Pro

Tiffany Joyce — Wed, 30 Nov 2011 07:00:22 +0000

Oh, oh, oh, how I LOVE the new Lensbaby Composer Pro.

Lensbaby has revised their original Composer with heavier construction, a Double Glass 50mm selective focus optic with drop-in aperture discs, and upgraded swivel ball and focus mechanisms. Where the swivel and focus on the original Composer felt a little “gritty”, the swivel and focus on the Composer Pro are smooth as silk.

As I described in my original review, the Lensbaby Composer Pro possesses a very specific “sweet spot” focus point surrounded by graduated blurring, that can be manipulated in fascinating ways to provide very interesting perspectives. The apertures are physical discs that are placed on the lens itself, from f/2.0 to f/22. They are contained in an applicator tool, and at the end of the applicator tool is a magnetic wand that is used to insert and remove the apertures. The lens can be tilted to move the “sweet spot” of focus around while composing the photograph.

The Lensbaby must be used in either aperture priority or manual mode, and it is manually focused. Once you play around with it for a few minutes, you’ll easily get the hang of how the lens operates. I found that it was unnecessary to “lock” the focus in place once it was manipulated to my satisfaction – there was enough tension to hold it in place just fine. However, you can utilize the locking ring to lock the focus in place if needed.

Once I trained my eyes to recognize the sweet spot and determine focus, I found no end to the fascinating ways I could photograph the ordinary.

I was in Santa Fe last month. While there I spent a lovely hour early one morning with the Lensbaby Composer Pro in hand, wandering around the area of the historic Plaza. Here are some of my shots (click to see larger versions):

Lensbaby makes versions for Canon EF, Nikon, Sony Alpha, Minolta Maxxum, Pentax K, Samsung GX, Sigma and Olympus 4/3. Both the Lensbaby Composer Pro with Double Glass Optic for Canon Digital SLR (here’s the Nikon version) and the Lensbaby Composer Pro with Sweet 35 Optic for Canon Digital SLR (here’s the Nikon version) would make excellent and unique gifts for the photographer in your life (or yourself!).

Once you get your hands on one, you’ll quickly discover how addictive they are!

Photos copyright Tiffany Joyce

Product Review – Think Tank Airport Acceleration V2.0 Camera Bag

Steve Russell — Tue, 22 Nov 2011 05:00:30 +0000

To paraphrase Will Rogers, I never met a Think Tank product I didn’t like.

In November of last year I wrote an article reviewing the Think Tank Airport Security V 2.0 roller bag that I had recently purchased. I thought the bag was awesome then and I still think it’s awesome. An absolutely wonderful piece of equipment. At the time I had not been able to travel with the bag but since then I’ve flown with it and taken road trips with it. It rolls easy, has an extra long pull handle so I’m not banging it with the heel of my shoes when I’m pulling it and it holds all my stuff. Another great thing about it is that it comes with enough dividers that you can stack some items, one on top of the other, to get even more gear in the bag.

In travelling with the bag I discovered two minor problems. The first is that it holds so much gear that it gets really heavy. Of course that’s my fault. The bag performs very well even with all the weight, but it can be a bear to lift into some of the smaller overhead bins of an airplane. The second and real issue is that it can be difficult to place in the overhead bin of smaller aircraft like an older MD-80. On one flight I almost had to check the bag which was not something I wanted to do with my photography equipment.

I also have a Tanrac Cyber Pack 6 backpack camera bag that I was never really crazy about. It’s a good bag but there were a number of things that didn’t fit my needs. As a result, I’d been considering getting a Think Tank backpack camera bag that would fit in the overhead of an MD-80, that would not hold so much that I was tempted to put everything in it which in turn would make it overly heavy, yet still have all the advantages of the Airport Security V2.0 bag. Imagine my excitement when Tiffany and I were contacted by Think Tank Photo and asked if we were interested in reviewing some of their products. I was sent the Think Tank ~ Airport Acceleration V 2.0 bag and I immediately started using it.

Because I received the product in exchange for writing a review I wanted to make sure I really put it through its paces and make sure I was basing my review solely on the performance of the product. I’ve had it for almost 6 months now and have given it a thorough work out. I’ve carried it on commercial flights, taken numerous road trips, trekked through the woods, and carried it on location shoots. All in all, it gets an A+ from me.

Here are some of the things I really like about the bag:

1. Quality of construction – Think Tank bags are rock solid and the Airport Acceleration is no exception. Made of very strong fabric, heavy duty zippers, high-end backpack quality straps and buckles, I’m convinced I’ll never need to replace it unless I lose it (touch wood). You can get a very good idea of the quality of construction just by holding it your hand.

2. Size – The outside dimensions of the backpack are 18.5” H x 13“ W x 7” D which means it’ll fit in the overhead storage compartment of most commercial aircraft. The internal dimensions are 17.75” H x 12.375“ W x 6.75” D which means there’s ample room for lots of equipment.

3. Capacity – I’ve carried two camera bodies with battery grips, a Canon 5D Mark II and a Canon 7D, a 70-200mm f/2.8 lens, 24-105mm f/4 lens, 300mm f/4, 100mm f/2.8 macro, 580 EX II Speedlight, and a Sekonic L-358 light meter and there’s still room for more stuff. It also comes with a padded computer case that will hold a 15-inch laptop. The computer case slides in the outside pocket of the back pack. Without the case, the outside pocket will hold a 17-inch laptop.

The bag will also hold a 500mm f/4 lens as seen in the image above. I don’t have a 500mm lens, yet, so I haven’t tried to fit it and the other stuff I want to carry into the bag.

4. Shape – Most backpacks, including most photography backpacks have a rounded top. That’s fine, I don’t profess to be a backpack designer but I like to put my two camera bodies at the very top of the pack. Somebody at Think Tank, at one time or another, must have had the same thought. The Airport Acceleration is as wide at the top as it is at the bottom giving it a rectangular shape. Guess what? Both camera bodies fit side by side at the top.

5. Comfort – I have a lot of experience with backpacks. Boy Scouts as a kid. Twelve years in the Army. Backpacking in the Olympics, Cascades and Sierra mountains using both external frame and internal frame backpacks. This backpack is very comfortable. It’s easy to adjust the straps and easily rides high on my back.

6. Handle on top – At first this seems like a ho-hum addition to the bag. However, when you’re trying to move the bag around in tight spaces, or just carrying it for a short distance, it’s a lot more comfortable to carry with the built-in, padded handle on the top than it would be grabbing one of the shoulder straps.

Here are some things I don’t like about the bag.

Actually there is only one thing I don’t particularly care for in the construction of the bag. Note that in item 5 above, I have a lot of experience with backpacks and am very comfortable with the standard plastic slide release buckles commonly found on backpacks. For some reason, Think Tank opted to put a differently designed buckle on the flap that closes the outer pocket that is used to carry a laptop. To me, the buckle was a little awkward getting used to. It doesn’t bother me now, but at first, every time I wanted open the flap I’d squeeze the side of the buckle and nothing would happen. I have to admit that it gives the bag a sleeker look and because of the way it’s designed, it won’t get caught on other stuff and that may be what the Think Tank designers had in mind when they put that particular buckle on the bag.

To be truthful, I guess I have to admit that I’m being a little on the picky side complaining about the buckle design, but sometimes old habits die hard.

If you want to learn more about the bag and it’s features you can go the Think Tank website and click on the features tab.

If you’re thinking about buying a backpack style camera bag, I highly recommend you consider this bag. At first you may think it’s a little pricey, but the design and quality of the bag makes it a great bargain.

All Photos provided by Think Tank Photo

*The Author received complimentary products in exchange for reviewing the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Review: Union Street Camera Bag by ONA

Tiffany Joyce — Wed, 02 Nov 2011 07:00:54 +0000

Like many photographers, I am constantly on the lookout for THE perfect camera bag. One that isn’t too big and bulky, but that carries everything I need for a day’s worth of shooting. One that is durable without being heavy, tastefully stylish, and multi-functional. One that is comfortable to carry around, even fully loaded, and keeps my gear easily accessible for those shots that always seem to pop up JUST as I’m putting my camera away.

In essence, I’m looking for the unicorn of camera bags.

Enter the Union Street Camera Bag by ONA. Per ONA’s press release, “The Union Street is a waxed canvas/leather camera and laptop bag for men designed to hold a DSLR, a 15” laptop, up to 3 lenses or small accessories, and personal items. The interior is lined with soft protective padding and 5 customizable dividers, including a removable divider for your laptop. The Union Street is made with premium materials, including Waxwear canvas, brass hardware, and top-quality leather.”

I will tell you right now, I LOVE THIS BAG. I use it every single day. It goes with me to work. It goes with me to photo shoots. It goes with me on trips. It doesn’t hold every bit of gear that I own (not many bags do without requiring something the size of a suitcase), but it DOES hold everything I need for a carefully considered day or weekend of shooting. And really, if you can’t get by with two or three lenses then you DO need a suitcase.

The leather accents are very attractive, and the sturdy leather padded bottom protects your gear and keeps the bag standing upright. The front straps are adjustable in length to give you a bit of extra room to buckle the flap. Sure, the Union Street is marketed towards men, but I love its antiqued, slightly-distressed look. Personally, I think it looks just as good hanging off of my shoulder as my husband’s!

It holds a 15″ laptop comfortably (and would hold an iPad even more comfortably), but you can also stuff a 17″ laptop in there if you really need to. The gear compartments are generously padded and protect everything well (I had a heart-stopping moment when the fully-loaded bag toppled off of the bed and onto the carpeted floor one day, and everything was perfectly unharmed).

I generally carry the following, which all fits neatly into the bag and the flap buckles securely:

Canon EOS 7D
Canon EF 70-200mm f/2.8L II IS USM Telephoto Zoom Lens
Canon EF-S 17-55mm f/2.8 IS USM Lens
Canon Speedlite 580EX II Flash for Canon EOS Digital SLR Cameras
Extra camera battery
Camera battery charger
AA battery charger (for the flash)
Memory card reader
Microfiber cloth
Laptop
Kindle Keyboard 3G, Free 3G + Wi-Fi, 6″ E Ink Display
Wallet
Car keys
Cell phone

I have just a couple of slight quibbles. While the lenses fit comfortably with the hoods reversed, the camera body can only be stored with a shorter lens attached (like my 17-55, shown attached to my Rebel in the photo since I was using the 7D to take the photo) so that the flap will buckle – though if you’re not concerned about buckling the flap, storing it lens-down with a 70-200mm still leaves it accessible for a quick draw. A camera with a battery grip doesn’t fit very well when attached to a lens, but I’ve been moving away from using a grip during my walkabouts and just take extra batteries. Also, there isn’t quite enough room for all of the photographic accouterments required, PLUS a mouse and the power cord for the laptop. So, they usually get left in the car or packed in another bag. That’s not a big deal to me, since I tend to use the bag to take the laptop TO a place, then leave it (and the cord and mouse) behind if I end up walking around. The front zippered compartment is JUST a touch too narrow to pull fully open when the bag is full (probably intentional so you wouldn’t store bulky items and not be able to close the flap) and is only beneficial for storing very flat/small items. Finally, I would have like to have seen an inner clip for securing car keys.

None of those quibbles are a deal-breaker for me, and in no way detract from my enjoyment of the bag.

The real intent of this bag is, of course, to be out and about with it. There are certain things you can leave behind at home, in the car, or back at the hotel so you’re not weighed down (like the laptop and the chargers). The wide padded strap is very comfortable, even when walking around for hours, and seems to naturally position the bag just behind the hip which I found to be just the right spot. I took this bag to Santa Fe with me a couple of weeks ago, walked around the Plaza for HOURS, and didn’t suffer a sore shoulder! I’ve been getting a lot of compliments about it, and I use it daily as my briefcase to carry my laptop and all of my non-photography related items back and forth to work.

I wasn’t kidding when I said the Union Street Camera Bag is currently my favorite of ALL of my bags – camera or not. This would make an exceptional birthday or Christmas gift for the photographer (man or woman!) in your life – or a fantastic gift for yourself!

ONA has several other camera bags to choose from (the Brooklyn and the Venice are both gorgeous!) so be sure to stop by their website for lovely selections for men and women.

All photos copyright Tiffany Joyce.

Review: Studio Lighting 101 Workshop by SnapFactory

Tiffany Joyce — Thu, 27 Oct 2011 07:00:39 +0000

Last month I had the opportunity to attend the Studio Lighting 101 Workshop hosted by Mark Wallace and Snapfactory in Phoenix, Arizona. Mr. Wallace is a fixture in the photography world, well known for his approachable and engaging instructional videos on Adorama.tv’s Digital Photography One on One series, Pocket Wizard tutorials, and more.

The one day workshop started promptly at 10:00 in the morning, and ended just as promptly at 6:00 in the evening (per Mark, “If I didn’t have a hard stop at the end of the day we’d just keep going until midnight!”). The class is limited to just six attendees, to ensure that each student gets a quality, personalized experience. Students ranged from Phoenix-area residents such as myself, to individuals that flew in from other states to attend.

From 10:00 until noon (at which time a light lunch was provided), the students, Mark, and Mark’s producer/assistant Kelsey gathered around a conference table and discussed some foundational principles. The properties of light were discussed at length, accompanied by video demonstrations (some content coming from Mark and Snapfactory’s video Studio Lighting Essentials for Portrait Photography). Mark then discussed the types of equipment essential for studio photography.

The most outstanding aspect of the workshop, in my opinion, was the afternoon session. After lunch a model arrived, and everyone trooped into the studio. A vast array of lighting equipment and props were available, and Mark demonstrated the functionality of many of them. He went into detail about how to use a light meter, and demonstrated how to properly light the model using a standard three-light setup. Each student was given the opportunity to use the provided Sekonic light meters including the L-358 Light Meter and the L-758DR Light Meter. We were taught how to meter for individual light sources and average the metering for correct exposure, as well as the importance of flash sync speed and custom white balance. We were also taught how to properly handle various lights, stands, cables, and power sources. Finally, all students were provided with Pocket Wizard products (such as the PocketWizard PWP-TR 801-125 PLUS II Transceiver) to sync with the studio strobes.

Once the students were taught the fundamentals, each student was given the opportunity to direct the lighting setup however they wished, using the other students as assistants to move equipment and set up props. The “lead” student instructed the model (a wonderfully professional, friendly and PATIENT young woman named Brenda) according to their vision for the photo shoot, including poses, outfits, and sets, which lasted for about forty minutes for each student. After the lead student completed his or her shoot, the other students were given the opportunity to use that setup to take a few shots themselves. Each of the six students had the opportunity to have their own photo shoot, and six very different lighting styles were demonstrated according to the student’s preferences. Mark and Kelsey only stepped in when asked, to add their expertise and advice – throughout, Mark offered invaluable advice on how to work with and communicate with a model. The outcome of the photo shoot provided each student with a very solid start on a personal portfolio, and a very solid understanding of how to manipulate light sources to effect photographic styles.

The session completed with a brief overview about a standard digital workflow, including color balancing using the X-Rite ColorChecker Passport. When the class wrapped up, each student was provided with a model release signed by Brenda allowing the use of the photographs taken in the class.

The Studio Lighting 101 Workshop was, quite simply put, the most instructional, beneficial, and entertaining workshop I have ever participated in. Mark was funny, engaging, quirky, and above all an absolute professional and EXPERT in every photographic topic discussed. It was clear that every single student was reluctant to end the day, which is where the firm 6:00 pm cut-off became necessary. We WOULD have stayed much longer but for that. If you are in the Phoenix area for any reason, I would HIGHLY recommend this class to anyone wishing to gain studio education. If you can’t make the workshop, be sure to avail yourself of the Studio Lighting Essentials for Portrait Photography DVD (review forthcoming).

Mark’s next workshop is scheduled for November 21st, 2011, with additional workshops scheduled regularly. Be sure to keep checking back on their website for future dates!

All photos copyright Tiffany Joyce, taken during the Studio Lighting 101 Workshop.

Review: Canon EF 100-400 f/4.5-5.6L IS USM Telephoto Zoom Lens

Tiffany Joyce — Wed, 07 Sep 2011 07:00:01 +0000

The Short Review: DEAR LORD I LOVE THIS LENS. I am going to buy it at my earliest opportunity. It went immediately on my wish list.

The Somewhat Longer Review:

The Canon EF 100-400mm f4.5-5.6L IS USM Telephoto Zoom Lens is an excellent lens for photographing action taking place in bright sunlight. Due to its aperture I wouldn’t use it for indoor sports or low light situations, but if you’re photographing wildlife or sports in bright outdoor ambient light, this is most certainly the lens for you.

I rented this lens from the good folks at Pro Photo Rental for my trip to the Indianapolis MotoGP weekend last August. I knew I would be outdoors all weekend long, trying to capture in-motion shots of motorcyclists traveling at speeds exceeding 100 miles per hour, and often close to two hundred. The focal range was exactly what I needed – whether I was trackside a mere 50 feet from the riders, or up in the stands over 400 feet away. I actually toyed with the idea of taking my Canon EF 70-200mm f/2.8L II IS USM Telephoto Zoom Lens, but since I was already packing my Canon EF-S 17-55mm f/2.8 IS USM Lens I figured I had my focal lengths covered. As it was, I barely used the wide-angle lens and never missed the 70-200.

The lens features two image stabilizer modes – mode one compensates for horizontal and vertical vibration, while mode two is specifically helpful during panning shots when mono-directional stabilization is required. There are also two focal range settings – mode one is used for subjects within 1.5 meters, and mode two is used for distant subjects up to infinity.

The lens is a push-pull zoom, which was a bit tricky to get used to. I imagine the intent is to set it at a specific focal length and leave it there, rather than adjust the focal length while in action. The push-pull functionality itself took some effort, at least in the copy I used. It’s possible to adjust the tension on the push-pull so that it moves more easily, but I can see where the tension would be useful to keep the lens at a specific focal length so that it doesn’t slip when pointing the lens upward or downward.

The sharpness that this lens delivers is absolutely excellent. Take this shot below. Click on it to zoom all the way in to its original size, and just observe how incredibly tack sharp the details of the rider came out (it looks even better in Lightroom):

This lens is NOT light. Weighing three pounds, if you add that to a larger body (as in my 7D) and a battery grip, you’re really going to want a tripod or monopod. I had neither during the race, so I skipped the grip and just kept extra batteries in my pocket. It was still quite heavy, so I found myself grateful to share the photographic responsibilities with my husband (who kept saying, “Are you done? Is it my turn now?”).

I was EXTREMELY pleased with the motion blur this lens captured. I shot in aperture priority all day, between f/8.0 and f/12.0, and got consistently tack-sharp subjects with great motion blur around the wheels and the passing landscape and ground. Check this one out – the subject has just enough blur to be aesthetically pleasing, but the ground is fantastically blurred, and the wheels seem to glow:

So! To summarize, I was extremely pleased with the results of this lens. I would highly recommend that you add it to your arsenal – I had SO MUCH FUN with this lens that I can’t wait to get my own copy!

The Digital Picture has a great in-depth review of this lens, if you’d like more technical details.

Photo credits (all): Tiffany Joyce

*The Author received complimentary rentals in exchange for mentioning the Provider’s products and/or services on this website. Such compensation received did not and will never influence the content, topics or posts made on this website. We will only endorse products or services that we believe, based on our expertise, are worthy of such endorsement.

Giveaway: How to Succeed in Commercial Photography

Tiffany Joyce — Wed, 10 Aug 2011 23:51:17 +0000

How to Succeed in Commercial Photography: Insights from a Leading Consultant by Selina Maitreya is an excellent guide for any photographer looking to break into the professional world. Maitreya offers sensible, concise advice on being competitive, building a team, developing a powerful online portfolio, setting and meeting goals, overcoming fear, and accepting success. She encourages photographers to build their business based upon their values, balancing their priorities in their personal life with those in their professional life. Throughout the book she provides excerpts of interviews with commercial photographers who offer advice on how to avoid the pitfalls they themselves have experienced.

In honor of Selina Maitreya’s August 10th-12th blog tour (kind of like a virtual book tour) we are giving away one FREE COPY of “How To Succeed In Commercial Photography: Insights from a Leading Consultant”. All you have to do is leave a comment on this post expressing your interest in receiving this book. On Wednesday August 17th the winner will be randomly selected and announced on our Facebook page!

Following is an article, reprinted with permission, that provides an example of the excellent advice and perspective that Maitreya offers.

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Photographers have asked me for years for the magic formula for success in business. I’ve said there was none. I was wrong. When I look closely at the steps taken by photographers who have achieved successes, I see a different variation of the same process; I call the formula, THE MIX.

First of all, let me be clear, the successful photographers I am talking about are not the Annie Leibovitz’s, of the world. I am talking about photographers you may never hear of, or read about in PDN. They may sit next to you at an APA and ASMP meetings. You might have seen their post on a photoeditor.com but most likely you’ll never even know they exist. However, they are successful, as each one at different times in their career has reached their creative and financial goals. They have achieved their success, by employing not one or two steps of the MIX but by putting all of the essential steps needed into place. They went for the full Monty they worked the complete mix. That’s the key.

You don’t need every sales option, but some components can’t be left out and you will need to choose one option from each section of the process.

Here’s the formula: (*= Must be included)

* A talent based body of work ready to sell, (this means a defined visual approach around a specific subject with enough samples to build trust in potential clients.)

* A deep database of appropriate contacts (and a smaller more researched group of contacts for in person visits)

* 4-5 different marketing/sales channels (including direct sales see below for options)

* Marketing materials that are visually branded to move the visual message forward

*Perseverance

*Faith

*Patience (allowing for a 2-4 year timeline before seeing consistent results)

Notice that I wrote that those who were successful worked ALL of the steps above not just one or two of them. While there are 8-10 options for sales and marketing tools, you will need to employ at least 4-5 of them.

Effective marketing for any business, starts with branding and style combined with an up-to-date database. Marketing is a simple equation and is effective when diversified and done consistently.

Notice the words “diversified” and “consistent”?

For years I have met photographers who get a piece of the MIX but don’t jump in completely. Maybe they get the vision piece and then decided to send direct mail out to promote themselves. That’s it, direct mail. Maybe 4 to 6 times a year, period.

Then there are Creatives who believe in sending out visual email once a month. End of story. Of course if they just came back from PHOTO in NYC and heard a panel of art buyers talk about how much email they get, they decide to no longer send email, now they are onto social networking.

Get the drift? Photographers may now understand that they need to market but most have not yet embraced the concept of incorporating the MIX.

•

Selina Maitreya has been a highly regarded consultant to commercial photographers for the last 30 years. She is the author of “How to Succeed In Commercial Photography: Insights From a Leading Consultant”, available now at selinamaitreya.com.

“How to Succeed In Commercial Photography”, speaks through Selina’s voice and the voices of photographers, clients and other consultants all who share information and inspiration with photographers on how to have a life in photography. It is sold worldwide.

Review: ThinkTank Retrospective 20

Tiffany Joyce — Fri, 29 Jul 2011 07:00:19 +0000

The Short Review: I really like it. It’s cool. It’s functional. It’s stylish. You should get one.

The Somewhat Longer Review:

The Think Tank Retrospective 20 is designed with the professional photographer in mind, who doesn’t want to lug around baggage that screams, “I have a fantastic Nikon and thousands of dollars of gear! Come steal me!” However, its very reasonable price range puts it within easy reach of beginners, amateurs, enthusiasts, hobbiests, and the like. The bag is very ruggedly built and has so many features that I was still discovering new ones weeks into getting my hands on one. And now I pass this information on to you, gentle readers. After reading this post, you will be armed with all you need to know to make an informed purchasing decision.

So. Here we go again with another one of my Pool Table Product Reviews. You know you love them! Also, since I seem to review a lot of camera bags and backpacks, may I just mention now that it’s darned hard to take photos of the interiors of camera bags? There’s nobody to play assistant for me and hold it in various positions so I can get good angles. Still, I believe my unique techniques and home-grown “studio” lend a certain authenticity to my reviews, don’t you? A bit of appeal? Right? Well, that’s what I tell myself anyway.

Onward!

(As usual, click on any picture to view a larger image.)

I thought a little perspective was in order, so I stuck in a soda can. This bag is certainly bigger than a breadbox, but not to the point that it’s unwieldy. And as you can see, it’s very unprepossessing while still managing to be quite posh. The material is quite thick without being inflexible, and feels almost like a combination of canvas and corduroy.

This is the back view. As you can see there are two straps – one over-the-shoulder type (which is extremely well-padded and quite comfortable), and one handle-type. The zippered back pocket is the narrow sort that’s excellent for thin file folders or documents (or a stack of model releases!).

This is the front view with the top flap opened up. The pocket in the front expands forward quite a bit and you can stuff a LOT of things in there. Books, PDA’s, the included rain cover, 2x converters, an external flash, a water bottle, lunch, your toy poodle, etc. etc.

Here’s the underside of the top flap, which sports a slot for business cards, and these unique silencing patches. The hook and loop found under the front flap can be adhered to one another, so the hook side doesn’t engage with the loop side on the camera bag itself when the flap is closed. This, in effect, removes the “latch” when the front flap is closed, so you can flip it open and closed soundlessly. Which is great when you’re switching out lenses in the middle of a church wedding. It’s just one of those ingenious, SIMPLE little features that make Thinktank products so awesome.

Here’s a somewhat awkward interior shot. Two of the provided divider panels are installed, forming three separate compartments. There is a long built-in sleeve on the left-hand and right-hand side of the interior, for various accouterments (don’t squint, you can’t really see them that well in this shot, but they’re there!). Another zippered compartment at the back runs the length and width of the bag.

The bag comes with a rain cover and additional divider panels for added customization.

This is what it looks like with the rain cover attached. There are no instructions provided, and I spent quite a few minutes trying to figure out how to put the darn thing on before I gave up and turned to the Internet. Fortunately, ThinkTank has provided a video that demonstrates the technique. It’s not intuitive, that’s for sure, but it’s not hard once you learn the trick of it.

Finally, here’s a shot with my typical day trip gear packed inside. My Canon 7D with a Canon EF 70-200mm f/2.8L II IS USM Telephoto attached and pointed downward into the bag (lens hood reversed), my EF-S 17-55mm f/2.8 IS USM Lens, and my Speedlite 580EX II. I’d removed one of the dividing panels, and as you can see there’s still plenty of room for a few more things in the main compartment (I didn’t have anything in the front pocket in this shot).

To conclude, I must say that the ThinkTank Retrospective 20 would be an excellent solution for carrying gear for daily use or short trips. I’ve used it for both; I’ve taken it on client shoots, and I’ve walked city streets for hours with it strapped over my shoulder. Buy one for yourself, and buy one as a gift for the photographer in your life. Because it’s a ThinkTank, you really can’t go wrong.

All Photos (and poor attempts at humor): Copyright Tiffany Joyce