Equipment

Pixel RW-221 wireless remote camera trigger

Kevin

Some situations require remotely triggering a camera.  The RW-221 is an inexpensive remote trigger.  It looks well made and worked well in my initial testing, however … the first time I ever used the RW-221 for a real shoot, it broke.

There was a dense crowd of people in Boston that day and someone tried to squeeze between me and the shrubbery … I lost balance and pushed hard on the button of the RW-221.  The button slid into the plastic case such that it could not pop-up (the normal un-pressed state).  I was on location and had no backup for this tool.

Upon taking it apart, I found that the plastic button is supported by a very small plastic pin, which easily snapped under pressure.   Although I repaired it with a bit of glue, I have to conclude the following:
1) due to a design flaw, the RW-221 is not robust/reliable; be gentle.
2) always have a backup for your equipment
2) anyone who has this device or is purchasing it new, take it apart and re-inforce the pin with a bit of epoxy

 

Novoflex Super-Telephoto Lens

Kevin

Recently, my friend Tom loaned me a vintage Novoflex super-telephoto lens.  Since he already had adaptors for both Nikon and Canon EOS, we had no trouble fitting it to my full-frame Canon DSLR.

The Novoflexar pistol-grip lens, originally made in Germany, is a bit obscure here in the USA.  There were a few different models; one version has a single pistol grip, while this one here has two pistol grips. Focus control is built in to the rear pistol grip and a shutter release button on the front pistol grip (requires a cable that connects to the camera).  Theoretically, this allows an agile “run and gun” type of photography, but I used it on a tripod.

The main body of the lens is simply hollow with no glass. The glass is fully contained in a front tube that threads on to the main body.  Tom’s kit included a 400mm and a 600mm (some models have a 640mm instead of 600). Because there is not a lot of glass, the total package is relatively lightweight compared to some other super-telephoto lenses.

Squeezing the focus trigger moves the front tube forward and back.  (Novoflex called this “Rapid Focus” or “Super Rapid Focus”.) There is no focus ring (typical on most lenses); the focus mechanism does not involve any rotation of anything.  There is a focus lock, to lock the focus in one spot, which I used frequently because the distance to my subject often was very far away and unchanging.  Constantly squeezing the trigger with your fingers can be quite tiring.

The focus trigger only covers part of the focus range.  The trigger will not get you from minimum focusing distance to infinity. You first have to adjust one other thing, to get the focus “in the ballpark”.  In some situations, perhaps this would be problematic.  But on the positive side, the focus trigger is close to the camera, so you don’t have to extend your arm in order to reach a focus ring (as is true with some big super-telephoto lenses).

(click on any image for a larger view)

400mm
Crop from previous image

I used this lens wide-open.  That means f\5.6 for the 400mm and f\8 for the 600mm. The 600mm showed some color fringing at hightlight edges, particularly where highlight directly overlapped a dark area. This chromatic aberation gets worse with use of the Novoflex 2x multiplier.

The lens accepts a drop-in polarizing filter.  Although I tried to exchange this with a Nikon lens, the Novoflex filter and the Nikon filter were different thicknesses, so are not interchangable.

600mm
Crop from previous image.
Note the color fringe on the white shirt sleeve.

 The Novoflex aperature uses 24 blades, more than double most lenses. This is probably not significant to most people.  If you do get into a situation with flare, the flare will look more round, compared to the pentagram shape that occurs with a 5-blade aperature.

Conclusions

Pro

  • The pistol grip design may be well-suited for a mobile/agile type of photography
  • Price. Potentially, you might find one for less than $700 (US), but they are rare.
    (If you can borrow one, as I did, then free is great.)
  • Weight. Not very heavy because it does not use much glass and because you get two lenses in one
  • Sharpness of the 400mm is good (not great)

Con

  • This lens dates back to the 1970s, so it is manual focus and has no image stabilization. (That’s OK when using a tripod and photographing subjects that are far away.  In these situations, the pistol grip design is mostly unnecessary.)
  • The squeeze focus is a bit odd; I never quite warmed up to that feature.
  • The 600mm shows chromatic aberation (that is amplified by a 2x multiplier)
  • Sharpness: the 600mm seemed a bit soft to me
  • The pistol grip design makes this lens look like a bazooka.  Particularly with the 600mm front tube, it will turn heads … possibly security or law enforcement.

If you’re looking for a super-telephoto for less than $1000.  I suspect there are better options available.  Specifically, the Tamron 200-500 SP AF Di LD and the Sigma 150-500 APO DG OS HSM.  Both Photozone.com and BobAtkins.com have published detailed reviews of the Tamron zoom.  Both Kenrockwell.com and CameraLabs.com have published detailed reviews of the Sigma zoom.  (Note that the Sigma includes optical image stabilization and the Tamron does not.)

 

Ultimate Lens for Sports & Wildlife

Kevin

There are telephoto lenses and there are telephoto zoom lenses.
Then there are tele-extenders which increase the magification of a lens.
And … then there is this; three telephoto zooms in one lens.

However, it is still not available today, though originally planned for release in mid-2011.
Price tag (yet to be announced) may cause shock or heart arythmia.

http://www.the-digital-picture.com/Reviews/Canon-EF-200-400mm-f-4-L-IS-USM-Extender-1.4x-Lens-Review.aspx

http://cpn.canon-europe.com/content/news/telephoto_zoom_lens.do

latest update:  http://www.canonrumors.com/tag/200-400/

 

(I would like to include the photo from Canon, but their website states: protected by copyright, kindly do not copy.)

Essential Photo Gear

Kevin

Among my photo equipment, perhaps the most critical accessory is also the simplest …  something to clean lenses and filters.  For this purpose, the microfiber cloth is the preferred tool. 

Microfiber cleaning cloth for optical usage (cameras, eyeglasses, electronic display screens, etc) have become ubiquitous. Lint-less, will not scratch, washable, and reusable. Technically, the term “microfiber” simply means the fabric is woven from thread having a diameter smaller than 1 denier, smaller than silk thread.  (Different brands may use different size threads.)
 

 

 

 

 

 

Microfiber cleaning cloths are availabe in patterns, colors, and even with detailed images on the cloth. You can get your own image custom printed onto the cloth.

Tip#1 – Use plain white.  It shows dirt and you will visibly see when it needs to be cleaned.  Anything other than white will obscure dirt.

Tip#2 – Select a cloth that has no hems or tags.  Potentially dirt can get trapped in the stitching.

Tip#3 – Hand wash.  You can try machine washing, just place the cloth in a lingerie bag so it does not get sucked down the drain.  However, my experience is that this does not do a very good job.  Hand wash with a light detergent such as Woolite.  Rinse multple times to ensure all detergent is removed.

Tip#4 – Have more than one available in your photo bag.  They are small and inexpensive.  If one cloth seems dirty, maybe not cleaning well, you will have another available as back-up.

 

Local Camera Store

Kevin

Having a local camera store is very nice; not everyone does.  North of Boston, there are a few.  My preferred store is Hunts Photo & Video, in Melrose.  Calumet has a store in Cambridge.  There are a few more stores directly within the city of Boston.  I have a friend who lives in Newton and he likes Newtonville Camera (but I have never been there).

More than a decade ago, Hunts would hold an annual camera show at the World Trade Center in Boston.  That was a terrific event!  But since they have ceased to do that show, they hold a small event twice per year in the Melrose store … and I believe once per year in their other locations.  This weekend is one of those events. There are several educational presentations throughout today and tomorrow, but only one that I thought might be interesting to me.  Honestly, the autumn event is better than the spring event.

I spoke with a Canon representative regarding the EOS 5D mk III.  Special pricing was a mere $50 rebate (or discount, I’m not sure).  That’s trivial.  If they have the camera in stock (I expect that they did have a few, but did not ask), that is more significant than a tiny discount, less than 3% the camera pricetag.  I did not bite.  While I may someday buy a 5D mk III, my current battery grip E-6 (which fits the 5D2) will not fit the 5D3; the cost of a new BG-E11 adds 10% to the cost of a 5D3 body.  (For me, the grip is a must-have accessory.)

I spoke with an Epson rep regarding special pricing on the 3880 printer. He said the price is $1230, but as an Epson rep, he would take off $80 because he can.  With a $250 rebate, the final price is $900.  A good price, but is no better than what anyone can order from B&H any day of the week.

In the end, I purchased nothing today. (But I might yet return and trade in an old Gitzo ball head for a new fluid head.)

New cameras for HD, 2K, and 4K video

Kevin

In 2008, Vince Laforet shocked the film-making world with a short film called “Reverie” (http://vimeo.com/7151244).  He shot this in just two days using a borrowed Canon EOS 5D mk II (borrowed from Canon) before the camera was released.

Since then, the 5D mk II has become a serious tool for film-makers, particularly because it is much smaller than existing cameras (those specifically designed for cinematography) … and also because the cost is a small fraction of those cinematography cameras.
Recently, Canon announced a successor for 2012, the EOS 5D mk III.

The overwhelming success of the 5D mk II for video purposes was somewhat surprising to everyone, including Canon and Nikon.  Just a couple months prior to introduction of the 5Dm2, Nikon had introduced the first DSLR that supported 720 HD (not 1080).   By most accounts, Nikon trailed behind the success of the 5D2, but successfully “caught up” with cameras such as the D7000,  D4, and D800, all of which offer excellent 1080 HD video capture.  By some measures, the D800 trumps the Canon 5D mk III.

All these cameras are built around CMOS image sensors that are far larger than what you find inside video camcorders.  When combined with a system of interchangable lenses, film-makers can create effects and quality not possible with consumer or prosumer video camcorders.

Since the success of the 5D mk II, Canon has been on a mission to create new cameras specifically for cinematography (movies & television).  Enter … the new EOS C300, EOS C500, and EOS 1D C  (“c” is for cinema).  Both the C500 and EOS 1D C can capture at digital resolutions higher than 1080 HD.  While the EOS 1D C is an SLR that can shoot still images and video, the C300 and C500 are pure video machines that will capture 12-bit 4:4:4 color, compared to 8-bit 4:2.2 color in any DSLR.

While the EOS 1D C is the same size as the EOS 1D and 1Dx, it can capture 4K video at 24 fps or 1080 video at 60 fps.  That’s a data output somewhere around 500 Megabytes/sec. 
Canon recruited film-maker Shane Hurlbut to test out the new camera.  He created a short film, entitled “The Ticket“.
http://www.hurlbutvisuals.com/blog/2012/04/looking-inside-the-canon1dc-dslr-4k-capture-project-the-ticket/

Canon’s new cinematography play is priced well for serious indie film-makers, but not for consumers.  So, another interesting camera for 2012, is the new Blackmagic Cinema Camera, which shoots 2.5K video and costs less than $3K.

 

720 HD  = 1280 x 720  (16:9)
1080 HD = 1920 x 1080 (16:9)  Panavision Genesis, Sony CineAlta, Canon C300
           and DSLRs: Canon 5D mk II, Canon 5D mk III, Canon 1Dx, 
                               Nikon D7000, Nikon D800, Nikon D4

2K   = 2048 x 1080 (17:9)   Ari Alexa, Silicon Imaging SI-2K, Canon C500
2.5K = 2432 x 1366 (16:9)   Blackmagic Cinema camera
4K   = 4096 × 2160 (17:9)   RED One, Red Scarlet, Canon C500, Canon 1D C

 

Photography base camp on wheels

Kevin

 A photographer has to travel.  Staying in hotels can be expensive.  So here is my alternative, a camper.

Famously, outdoor photographer John Shaw has said that a nature photographer’s idea of a six course meal is five granola bars and an apple.  That’s because a nature photographer has to be out in the field when most people are back at the lodge eating breakfast or eating dinner.  But this pace cannot be maintained every day.  Today I was post-processing images from yesterday and doing laundry.  So I had the luxury of cooking dinner.

 

Winter Boots

Kevin

If your photography travels this winter will take you down a trail or up a mountain, here’s a short summary of winter footwear for both warmth and safety.

Winter boots are also known as snow boots or pac boots. These are designed for walking, snowmobile, hunting, snowshoeing, etc.  The fit is typically loose and comfortable.

Mountaineering boots are very stiff and the soles have little or no flex.  The biggest reason for this is to allow the use of crampons. Truthfully, most mountaineering boots are designed with emphasis on ice climbing, to the detriment of walking comfort. Most feel rather big and clunky (like the shoes of television character Herman Munster). Some have a plastic shell much like ski boots. Perhaps the most important thing to know is that not all “winter” mountaineering boots have insulation for warmth.

Some insulated boots can have insulation that is removable; some don’t. If you intend to do any winter camping, choose boots with removable insulating liner. Overnight, keep the liners close to your body so they don’t freeze up.

Insulated mountaineering boots range in price from $250 to $850. However, it is not impossible to score a pair of boots on sale for under $200. You can also get used boots at stores that accept trade-ins.

Crampons (pointy metal teeth that attach to the bottom of your boots) are most often designed for ice climbing, but some are designed for trekking (hiking/walking). Crampons for climbing typically have 12 points (teeth), though some have 14. Trekking crampons typically have only 10 points.

Not all crampons fit any boot. Crampons attach to your boots either via straps or a metal bar at the front and rear. Straps can be attached to just about any winter boot or mountaineering boot. However, it is important to note that some crampons have more flex than others. If you plan to use crampons on non-rigid winter boots, look for strap-on crampons that have a good deal of flex in the middle.

“Step-in” crampons clamp onto your boots with a metal bar or clamp at the toe and heel, requiring mountaineering boots designed for this.  See the photo attached to this post. 

Some “hybrid” crampons (also called semi-step) have a metal bar/clamp at the heel and a strap at the toe.  But as with full-step-in crampons, your boot must have the proper design to accept this type of crampon.

 

Mo’ Gitzo

Kevin

This week I took advantage of a trade-in program offered by Manfrotto and Gitzo, to replace my small tripod with smaller “traveller” model, small enough to pack in a suitcase.

I tend not to be brand-loyal about anything, though I have owned three Gitzo tripods. I looked at Giotto when they began offering carbon fiber tripods a couple years ago, but I did not like the fact that the leg locks require more turning compared to Gitzo. This week I looked at tripods by Fiesol (www.feisol.net); solid lightweight carbon fiber construction and 30% less expensive than Gitzo. However, with a trade-in and a rebate, the cost of a Gitzo was reduced to a price akin to Feisol. Price no longer a differentiator … I bought my fourth Gitzo. (www.gitzo.com)


In the trio of tripods shown here, notice that two do not have a center column. I personally like this configuration because the tripod can lower all the way to the ground without the center column getting in the way. The big model 410 shown here is quite heavy and is overkill for most applications. The mid-size tripod is carbon fiber, to replace the big heavy 410. The small one with center column was just replaced, but I could not justify the large price tag without trading-in the one shown here. The old tripod was more than 20 years old, made in France before Gitzo was purchased by Vitec Group.

River Video using a DSLR and CineMover

Kevin

Recently travelling through northern New Hampshire, I was driving along the Ammonoosuc River shortly before sunset.  This short video is a compilation of shots all filmed that evening along the river.  The key scene is a dolly move along a metal bridge. 

Driving that evening, I was looking for photo opportunities along the river when I spied the new bridge next to the old bridge.  Then I noticed the long smooth railing and and remembered that I had the CineMover dolly with me. 

 The CineMover is an inexpensive dolly created by J.G. Pasterjak.  Take a look for yourself here:

http://moveyourcamera.com

The CineMover is designed with vertical wheels and horizontal wheels, ideal if you have a long flat rail with a square profile.  However this railing here did not entirely favor the CineMover as the railing shape is basically a half oval.  There is nothing here to insure that the wheels track straight.  Additional care was required because the rail had a significant dent that could easily cause the rig to jump a bit.  But after several attempts, I managed to keep the rig mostly level along the 12 or 15 feet of uninterrupted rail; this move is not flawless, but it is pretty nice shot!