MindShift Gear’s First Light Outdoor Photography Backpacks Feature Extreme Comfort, Airline Compatibility, and Big Glass Capacity
SANTA ROSA, CALIF – MindShift Gear’s First Light backpack series addresses the most pressing needs of outdoor photographers who travel and trek, especially those who carry their 200mm to 600mm “Big Glass” lenses. These high capacity backpacks come in three sizes and feature contoured, adjustable torso harnesses with 11 adjustment points for extreme comfort whether running through an airport or traversing a mountain. Designed to comply with airline carryon size requirements, First Light backpacks are built with ballistic nylon bottoms for durability, room for a laptop and personal gear, and in the two larger sizes, a dedicated pocket for hydration reservoirs.
“We heard loudly and clearly from outdoor photographers that they wanted dual-purpose backpacks they could use to transport their gear safely on airlines and also for carrying their largest lenses comfortably for hours while deep into their treks,” said MindShift Gear’s CEO and Lead Designer Doug Murdoch. “We were able to design backpacks sized to fit three different camera gear configurations that are the best made, most durable, most comfortable, and most reasonably priced in the market.”
Dedicated 3L hydration pocket on side (30L & 40L only)
Tablet or laptop fits into front pocket (20L & 30L = up to 15” laptop; 40L = up to 17” laptop)
Includes tripod/monopod mounting system on front or side
Better weight distribution for a more comfortable load enables easier all day use on the trail
Seamless rain cover (included) doubles as a ground cloth
When attached, rain cover allows small to medium tripods to be carried on front or side positions
2 front stuff pockets for travel or trail essentials; extra layers, a light jacket, headlamp, gloves, chargers
Adjustable high-density closed-cell foam dividers for large telephoto lenses, traditional photo gear, or personal items
Large water bottle or accessory pocket with drains and cinch cord for security
Top zippered pocket for quick access to essentials
Ballistic nylon bottom panel for durability in harsh environments
Shaped aluminum torso stay for additional support
Grab handles on 3 sides make it easy to hoist into an overhead bin, car, or trunk (2 handles on 20L)
Interior mesh pockets for storing filters, batteries, cables, etc.
Side compression straps with locking SR buckles for additional lash points
Shoulder straps and waist belt wrap to front for compact storage in overhead compartment
Whistle integrated into sternum strap buckle
Compatible with MindShift Tripod Suspension Kit, Lens Switch Case, and the filter cases
FirstLight 20L: Holds 1 standard-size DSLR and 4–6 standard zoom lenses. Holds 2 large Mirrorless DSLRs and 5–7 lenses plus a flash. Maximum lens size: 200–400mm f/4 detached or 300 f/2.8 attached.
FirstLight 30L: Holds 1 gripped DSLR and 4–6 standard zoom lenses, and 1 flash. Maximum lens size: 500mm f/4 lens detached or 400 f/2.8 attached.
FirstLight 40L: Holds 2 gripped DSLRs with 6–8 standard zoom lenses and 1–2 flashes. Maximum lens size: 600mm f/4 lens detached or a 500mm f/4 attached.
Exterior: For superior water resistance, all exterior fabric has a durable water-repellant coating; the underside of the fabric has a polyurethane coating. It also has the highest quality abrasion-resistant YKK RC-Fuse zippers, 420D velocity nylon, 420D high-density nylon, 1680D ballistic nylon, 210D nylon, 320G DuraStretch mesh, nylon webbing, 350G airmesh, nylon webbing, 3-ply bonded nylon thread.
FirstLight 20L: Exterior Dimensions: 11.4” W x 18.7” H x 7” D (29 x 47.5 x 17.8 cm) Interior Dimensions: 10.8” W x 17.5”H x 5.3” D (27.5 x 44.5 x 13.5 cm) Front Pocket: fits up to 15” laptop Weight: 4.4lb (1.9kg)
FirstLight 30L: Exterior Dimensions: 12” W x 19” H x 8.7” D (30.5 x 48.3 x 22 cm) Interior Dimensions: 11.2” W x 18.1”H x 7.1” D (28.5 x 46 x 18 cm) Front Pocket: fits up to 15” laptop Weight: 5.4 lbs (2.4 kg)
FirstLight 40L: Exterior Dimensions: 13.8” W x 21.7” H x 9” D (35 x 55 x 22.9 cm) Interior Dimensions: 13.4” W x 20” H x 7.3” D (34 x 51 x 18.5 cm) Front Pocket: fits up to 17” laptop Weight: 6.0 lbs (2.7 kg)
eBay (via Deals-All-Year, 100% Positive Feedback) has the Canon EOS 70D DSLR Camera (review) available for $805.60 with free shipping. Compare at $999.00 after $200.00 instant rebate.
You may also be eligible for $16.11 in eBay Bucks with this purchase.
Note: This is likely a grey market item and therefore technically ineligible for a Canon USA warranty. However, the auction advertises that a 1-year warranty is provided by the seller and is "...same as manufacturer warranty."
To be honest, I thought the 24-70mm f/2.8L II would be easy to declare the winner and optically, it is the best of this list. However, the two f/4 lenses perform better in front of 50.6 megapixels than I expected.
The f/2.8L II is slightly sharper over then entire focal length range at f/2.8 than either of the f/4 lenses are at f/4. At the equal f/4 comparison, the f/2.8L II is noticeably sharper and is still sharper at f/5.6. At f/8, the differences are slight and at f/11, diffraction essentially evens the playing field. Choosing an image sharpness winner between the two f/4 lenses is a challenge, but more noticeable is the 24-105's higher CA and distortion levels.
The f/2.8 lens has a 1 stop wider aperture, giving it the ability to stop action in 1/2 as much light as the other two lenses and the ability to create a stronger background blur. The 24-70mm f/4L IS rules the maximum Magnification (MM) spec with a 0.70x rating vs. the competition's 0.23x and 0.21x specs. The two f/4 lenses have image stabilization, allowing them to be used handheld in far lower light levels than the f/2.8 lens (as long as the subject is not in motion). The 24-105 L has the benefit of reaching to 105mm on the long end.
The f/2.8L II is slightly larger than the 24-105mm f/4L IS, which is slightly larger than the 24-70mm f/4L IS. The f/2.8L II has a modestly more substantial lead in the weight category, weighing in 5 oz (142g) more than the 24-105mm f/4L and 7 oz (198g) heavier than the 24-70mm f/4L. These lenses are similarly well-built.
Small differences between these lenses include the 2012-introduced 24-70mm models having 9 blade apertures vs. the 2005-introduced 24-105mm's 8 and the f/2.8 lens having an 82mm filter thread size (vs. 77mm). A not-so-small difference is the f/2.8L II's price relative to the f/4L IS models.
All of these lenses are easily good enough for use in front of a 5Ds. The decision differences for many will come down to price, aperture and overall versatility.
If your investment in the 5Ds has left you monetarily strained, a good value may be your highest priority. In that case, the 10 year old 24-105mm f/4L IS, purchased in white box or refurbished condition would be a great choice. Canon omitted the 24-105 L from its EOS 5Ds Lens Recommendations List, but ... I think this model is very worthy of consideration.
If you need to stop action in low light or want to create the strongest background blur, you need an f/2.8 aperture and the choice is easy. While the 24-70mm f/2.8L II will impact your wallet the greatest and will leave you without IS, this is the most amazing lens choice optically.
For overall versatility, I'll give the nod to the 24-70mm f/4L IS. The smallest and lightest lens of the group, the 24-70mm f/4L IS offers great image quality along with the best-performing image stabilization system and a macro-lens-like close-focusing capability. While more expensive than the white box or refurbished 24-105 f/4L IS, the 24-70 f/4L IS has the same regular price as the 24-105 L and is also a good value.
The Ultimate 5Ds General Purpose Lens
While it would be easy to justify a decision for any of these three lenses, I'm going to declare the EF 24-70mm f/2.8L II Lens to be the ultimate EOS 5Ds general purpose lens. Canon apparently agrees with this choice as this is the lens shown mounted in the Canon-supplied EOS 5Ds product images. However, I will not be selling my 24-70 f/4L IS lens anytime soon.
Also available, DxO FilmPack v5.1.4 and DxO ViewPoint v2.5.6 are now fully compatible with Adobe Photoshop CC 2015
Paris – July 1, 2015 – DxO, one of the world leaders in digital imaging technology, announces the immediate availability of DxO OpticsPro v10.4.2, DxO FilmPack v5.1.4, and DxO ViewPoint v2.5.6 for Mac and Windows. These three updates allow these DxO solutions to support the Canon EOS 5DS and 5DS R cameras, and to allow DxO FilmPack 5 and DxO ViewPoint 2 to integrate perfectly with the 2015 edition of Adobe Photoshop CC.
Enhanced Canon EOS 5DS and 5DS R images Renowned for its unequaled management of highlights, outstanding color rendering, and the spectacular results of its ultra-high-quality PRIME denoising feature, DxO OpticsPro 10 now supports RAW files from Canon EOS 5DS and 5DS R cameras. Digital noise is removed; details and color saturation are preserved, particularly in dark areas; and textures are preserved, even when shot at the highest sensitivities — perfect tools for these two extremely high-resolution cameras from Canon, which offer a wide range of sensitivities and high accuracy.
25,000 available DxO Optics Modules for unrivaled optical corrections DxO OpticsPro v10.4.2 also adds 789 new camera/lens combinations to its DxO Optics Modules library, thus offering support to lenses from Canon, Samsung, Sigma, Sony, Tamron, Tokina, Voigtlander and Zeiss for numerous Canon, Nikon, Panasonic, Samsung and Sony cameras.
Developed in the laboratory using an exclusive calibration process, DxO Optics Modules contain all of the information about the characteristics of each camera and lens. This database, the most unique in the world, allows DxO OpticsPro to automatically correct distortion, vignetting, chromatic aberrations, and lens softness with an unparalleled level of quality.
Compatible with the 2015 edition of Adobe Photoshop CC Praised by professionals for the high fidelity of its analog renderings, DxO FilmPack allows users to reproduce the characteristics of the films that made photo history. Its ultra-simple interface allows users to apply numerous original renderings, filters, tonings, and visual effects — all of which can be combined in an infinite number of ways — all while preserving the image quality, thanks to DxO FilmPack’s RAW format support.
DxO ViewPoint fixes even the most complex perspective problems and easily restores the natural shapes of subjects located on the edges of images. Benefitting from all of DxO’s optical calibration know-how, it corrects barrel, pincushion, and fisheye distortion.
DxO FilmPack and DxO ViewPoint can be used both as standalone applications as well as plugins for Photoshop, Elements, Lightroom, Aperture, and DxO OpticsPro. As either a standalone application or as a plugin for DxO OpticsPro, they allow users to directly process TIFF, JPEG, or RAW images. As plugins, they offer an extremely flexible workflow with Adobe and Apple solutions.
Prices and availability DxO OpticsPro v10.4.2, DxO FilmPack v5.1.4, and DxO ViewPoint v2.5.6 are immediately available at photo resellers.
Photographers who acquired a DxO OpticsPro 9 license on or after September 1, 2014, are entitled to a free upgrade to version 10. Photographers who purchased a DxO FilmPack 4 license on or after September 1, 2014, are entitled to a free upgrade to version 5. All owners of DxO ViewPoint who acquired a license on or after August 1, 2013, are entitled to a free upgrade.
"Fireworks are one of the most inspiring and photogenic, yet challenging subjects, to capture. And unfortunately, this is one of those shooting situations where fully automatic exposure and focusing may not help. However, with these tricks up your sleeve, a few accessories and a willingness to experiment, you'll capture amazing fireworks photos this Fourth of July!"
Check out the full CPN Article for all the helpful tips.
We have some very big news to share with you, our valued customers. Promark International, Inc., a leader in photographic tools, has added Photoflex to their growing family of brands. Together, Promark and Photoflex will focus on delivering high quality, industry-defining lighting solutions for photographers of all skill levels.
Here at Photoflex headquarters, business will go on as usual. Photoflex will continue to develop photographic lighting tools and work hard to meet a wider set of customer needs with the support of Promark International.
We look forward to growing the Photoflex brand and continuing the momentum we have gained over the last 30 years in the industry. Thank you for your continued support.
Note: This is likely a grey market item and therefore technically ineligible for a Canon USA warranty. Also keep in mind that there may be risks associated with eBay purchases as auction retailers may not be as easy to deal with (compared to Authorized Retailers) if there is an issue with your order.
For another, I can't understand why Canon would include the EF 50mm f/1.8 II (and to a lesser degree, the EF 50mm f/1.4 USM) in the recommended lenses list. I personally would not consider their wide-open image quality to be optimal for such a demanding sensor. [Sean]
Note: I changed "EF 200mm f/2L II USM" to "EF 200mm f/2L IS USM" because, of course, there is no such lens (I did not notice the discrepancy when posting but linked to the correct lens). It is our belief that it's a simple typo – the second "I" should have been an "S." Below is a screenshot of the source document that also contained the error.
In this episode of B&H Wedding Tips, professional NYC Wedding Photographer Ryan Brenizer shares his post production workflow from start to finish. Ryan walks us through his best practices including his post wedding media management, Lightroom tips, and tricks to sharing your work with your clients.