As a landscape and travel photographer, I heavily rely on tripods. After making a number of wrong purchasing decisions early on in my photography career, I realized that a solid tripod and tripod head are very important – sometimes even more important than choosing a camera or a lens. A poor tripod setup can create many headaches and really mess up images, and tripod heads play a big part of that. Many cheap tripod heads sag even after they are tightened. Some can barely hold gear and shake like crazy in wind or when they are touched. Others have poor plates and attachments, making them very frustrating to use in the field. Unfortunately, many of us go through a number of bad tripod heads before realizing that we should have gotten something solid to begin with. For the past seven years, I have been very happy with the Really Right Stuff BH-55 ballhead. In fact, after using the BH-55 for a few years, I ended up buying a few more ballheads from RRS for other needs such as travel. However, after attending a few trade shows and seeing other options from other companies, I wanted to see if there was something even better than the RRS ballheads that I have come to trust and love. I bumped into FLM at Photo Plus New York last year and after talking to the company, I decided to give their ballheads a try and see how they compare to RRS. Thanks to FLM Canada, I was able to obtain three ballheads to test, the CB-58 FTR, CB-48 FTR and CB-32 F. In this review, I will go over these three ballheads in detail and discuss their pros and cons.
Both Hasselblad and Fuji got quite a bit of buzz in 2016 when they introduced the first mirrorless medium format cameras. The Hasselblad X1D-50c stole the show with its beautiful design, compact build and leaf shutter lenses, whereas the GFX 50S got Fuji fans excited with its functional camera body, modular EVF, tiltable LCD screen and a lower price point. Both cameras compete head to head when it comes to image quality, since they feature a very similar 44x33mm sensor, which is why I will be bringing them up quite a bit for side-by-side comparisons in this Fuji GFX 50S review. I have now been shooting with the GFX 50S for approximately six months, so the experience that I am sharing with our readers is based on quite a bit of field work, including international travel.
Less than a year ago, Apple introduced the iPhone 7 and iPhone 7 Plus phones to the market. The iPhone 7 Plus was the first Apple phone to have a dual lens design (28mm wide-angle and 56mm telephoto equivalent), so Apple put quite a bit of emphasis on photography with this model. Although I was quite happy with my iPhone 6 Plus at the time of the announcement, I decided to upgrade to the latest version, primarily because of these camera features the phone offered. Since then, I have captured thousands of images in different environments, which not only allowed me to get a deeper understanding of the camera capabilities of the phone, but also understand its many issues and limitations. In this review, I will be going over my experience with the iPhone 7 Plus camera and discuss its pros and cons.
Hasselblad created quite a bit of buzz when it released the Hasselblad X1D-50c in June of 2016. With its 44x33mm image sensor, 2.36 MP electronic viewfinder (EVF), dual SD card slots, 3″ touchscreen LCD, built-in Wi-Fi, leaf shutter, a super lightweight construction weighing only 725 grams with a battery and a very compact size, the X1D looked absolutely stunning both in terms of its specifications and its stylish design. Hasselblad priced the camera at $8,999 MSRP at introduction, which when compared to the traditional Hasselblad prices, looked like a bargain for the first time. Hasselblad called the X1D a “groundbreaking” camera and a game changer – pretty bold, but valid statements given “the world’s first medium format mirrorless” status. Despite the fact that the camera was delayed a number of times since its announcement due to high demand, I was able to get a hold of a sample unit back in March of 2017. So this review is based on 4 months of heavy shooting with the camera in different shooting environments.
In this in-depth field review, we are going to have a look at the Nikon telezoom DX lens the Nikon AF-P DX NIKKOR 70-300mm f/4.5-6.3G ED VR, which was launched in August of 2016. This is one of the three existing DX lenses featuring the new AF-P abbreviation, along with the Nikkor 18-55mm (VR and non-VR versions) and the new Nikkor 10-20mm VR wide-angle lens. AF-P stands for a new piece of technology – a pulsing / stepping focusing motor.
It is a fact that as content creators, we are always in need for more storage. Thanks to all the latest and greatest cameras on the market that offer incredible detail with their high resolution sensors, we find ourselves constantly reassessing our storage requirements. Old computers are getting too slow to handle all the media and data we have to deal with, while storage solutions that used to be good enough a few years back do not seem to cut it anymore. Our clients have become technology-savvy and they are now demanding to see high resolution media files to deliver exceptional experience to their viewers, so we have to keep up. While building a fast computer for photography needs is definitely not for everyone, one does not have to go through the same process when assessing storage needs. Since there are a number of great, low-cost storage solutions out there that do a phenomenal job and provide excellent connectivity options, I have been in favor of such arrays instead of running a beefy tower computer. One such array that I recently have been introduced to, is the QNAP TVS-882T. In this review, I will provide detailed information about the TVS-882T and compare it to my Synology DS1815+ that I have been running for the past few years, along with the latest DS1817+ that I will be thoroughly testing soon.
This is an in-depth review of the flagship Nikon AF-S NIKKOR 70-200mm f/2.8E FL ED VR lens that was released in October of 2016. Every seven to ten years, Nikon updates its top-of-the-line lenses with the most current technology and tries to push the performance envelope to a whole new level. After a long wait, Nikon finally delivered the new generation 70-200mm f/2.8E FL ED VR in a lighter and more versatile package. Nikon completely redesigned the lens from the ground up, featuring a fluorite lens element to make it roughly 100 grams lighter, an “E” type electronic diaphragm, an updated Vibration Reduction / Image Stabilization mechanism and a drastically different optical formula featuring a total of 22 elements to deliver superior sharpness across the frame. The lens elements have also been treated with all the latest lens coating technologies, including Nano Crystal Coat and fluorine coating in order to reduce ghosting and flare, as well as repel dust and moisture from its front element. Based on user feedback, Nikon also took care of the focus breathing issue that was present on the VR II version of the lens. Ever since the lens was introduced to the market, I have had a chance to shoot with a couple of samples of the Nikon 70-200mm f/2.8E FL VR, so my experience and review are based on many months of shooting with this lens.
This is an in-depth review of the Nikon 19mm f/4E PC, also known as PC NIKKOR 19mm f/4E ED, a special purpose wide-angle lens designed for architecture, cityscape and landscape photography. “PC” stands for “Perspective Control”, but I will refer to this type of lens as “tilt-shift” in this article. Architecture and cityscape photographers often work with straight lines and tilt-shift lenses give the ability to avoid the convergence of vertical lines by shifting the lens upwards or downwards. Landscape photographers often want to keep everything in focus, especially when dealing with close foreground objects. Stopping down to very small apertures results in diffraction, which impedes sharpness. Tilt-shift lenses offer an alternative to stopping down by tilting the plane of focus, putting both closest and furthest objects in focus. Focus stacking in post-processing software is another way to achieve maximum focus without stopping down excessively, however, the technique also has its pros and cons, making tilt-shift lenses unique in their own ways. The ability to apply selective focus on a particular part of the image via lens tilting allows distant subjects to appear “miniaturized”, although this effect can be reproduced in image editing software, as well.
In this article, I’m going to review the Palette Gear Expert Kit. This is a control surface that consists of buttons, dials and sliders, all of which are meant to be used with a variety of photo and video editing programs. They can also be used with everyday computer operation such as web browsers and operating systems. Personally, I use it with Lightroom for working with photos, Premiere Pro for working with videos, and Chrome for web browsing.
This is a quick review of the FotodioX Nikon F to Fujifilm G-mount adapter, which allows mounting Nikon G-type lenses on the new Fuji GFX 50S camera. While it is always ideal to use native lenses on any camera system, the idea of using a lens from a different camera system on a mirrorless camera can be appealing for a number of reasons. Aside from potential savings, one can take advantage of the mirrorless technology (see mirrorless vs DSLR for details) and use the ability to zoom in on a subject while framing to potentially yield a higher number of in-focus shots compared to a DSLR. In addition, lens adapters also open up opportunities to use specialty lenses that are not yet available for the system, which in the case of the new Fuji GFX 50S, is certainly worth looking into, since the system is very new and only three native mount lenses are available at the moment. While shooting with the Fuji GFX 50S, I wondered how well my Nikon lenses would do on the medium format camera, so I decided to give the FotodioX Nikon F to Fuji G-mount adapter a try.