Lowepro’s worldwide #1 selling professional camera bag series, ProTactic, has been enhanced for better organization, access and protection with expanded modular system and accessories.
Upper Saddle River, NJ – September 19, 2018 – Lowepro, a company with a 50-year reputation in creating protective gear-carrying solutions for image makers, today announced the second generation of their worldwide #1 selling ProTactic Collection. The high-performance, tactical-inspired collection has been redesigned for better organization, access and protection, while staying true to the ProTactic promise of rugged versatility and armored protection. The new line offers the BP 350 AW II and BP 450 AW II enhanced backpacks plus an expanded modular system and accessories.
Featured ProTactic Technology
4-Point Access: Molded, turret-loading top, quick-grab from both sides, and full, back entry for set-up and security.
FormShell: Lightweight yet sturdy, composite-shell construction delivers superior impact protection.
SlipLock: System of compatible loops and tabs make it easy to add pouches and cases to larger bags so you can easily bring along water bottles, memory cards and more.
CradleFit Laptop Storage: Cleverly constructed compartment suspends and safeguards laptop in backpacks.
ActivZone: Delivers targeted support at shoulder blades, lumbar and waist for comfort on the move. Structured back panel allows for ventilation with integrated trolley strap.
All Weather AW Cover: a raincoat for your gear, our patented cover fits snugly over a bag and can be folded away when not needed. An innovative way to protect against rain, snow, dust and sand.
“In designing carrying solutions, we always listen closely to what our image makers are telling us,” explains Tim Grimmer, Senior Director of Product for Lowepro.
“They are seeking increased versatility, organization, and accessibility with the performance and protection ProTactic is known for.
We’re excited to offer this enhanced line-up featuring more adaptive interiors, always-ready access and a great collection of exterior attachments and accessories.”
The updated ProTactic collection includes:
Backpacks: The exceptionally adaptive second generation of our high-performance ProTactic backpacks, the BP 350 AW II and BP 450 AW II offer a more adaptive interior, multiple access points, modular exterior attachment capabilities and convertible utility belts. Both models include utility pouch, water bottle holder, tripod cup and two Quick Straps.
ProTactic BP 350 AW II – Fits 1-2 standard DSLRs, one with 24-70mm f/2.8 lens attached, up to 8 lenses/speed lights, small drone such as a DJI Mavic, gimbals like DJI Osmo, 360 camera, 13” laptop and small accessories
ProTactic BP 450 AW II – Fits 1-2 Pro DSLRs, one with a 70-200mm f/2.8 lens attached, up to 8 lenses/speedlights, small drone such as a DJI Mavic, gimbals like DJI Osmo, 360 camera, 15” laptop and small accessories.
Lens Cases: Purpose-built lens cases allow you to change out a lens with one hand. Dual-compartment design expands to temporarily hold 2 lenses during exchange. Cases feature SlipLock compatible attachment tabs, all Weather AW Cover, easy-grip main handle, neoprene side pocket for lens or body caps and removable/adjustable shoulder strap.
ProTactic Bottle Pouch – Securely holds up to 1L water bottles and canteens while keeping liquids insulated. Features stretchable padded insulated construction, drawstring toggle and closure and SlipLock compatible tab.
ProTactic Phone Pouch – Keep your communications handy with this simple and secure zip pouch. Mounts on ProTactic backpack harness, waist belt or on pack body for easy access. Features SlipLock compatible tab. Fits up to Plus size Apple or Android phone.
ProTactic Utility Belt – Designed to operate during a variety of missions, this belt is constructed for sturdy utility carry. Reinforced “duty” belt distributes weight evenly and keeps gear close at hand. Adjusts to fit 29” – 40” waists. Holds up to 16 SlipLock compatible accessories when adjusted to 40”.
ProTactic Quick Straps – Quick attach, quick release adjustable straps securely clip into any SlipLock attachment point. Includes two 1-inch webbing strap assemblies. Adjusts from 5 to 13.5 inches.
The Lowepro ProTactic BP 350 AW II Backpack and BP 450 AW II are available now at select Authorized Lowepro dealers. Lowepro ProTactic Lens Exchange, Utility Bags, and other accessories will be available early October.
My wife has two night-blooming cereus plants which were cut from her mother's decades old plant.
In fact, the origin of this night-blooming cereus goes back four generations with mothers passing down cuttings to their daughters.
If you're unfamiliar with this type of plant, an apt description can be found on Wikipedia:
Night-blooming cereus is the common name referring to a large number of flowering ceroid cacti that bloom at night. The flowers are short lived, and some of these species, such as Selenicereus grandiflorus, bloom only once a year, for a single night. Other names for one or more cacti with this habit are princess of the night, Honolulu queen (for Hylocereus undatus), Christ in the manger, dama de noche and queen of the night (which is also used for an unrelated plant species).
The night-blooming cereuses we have typically bloom once or twice a year, with the flowers appearing well after the sun goes down and wilting sometime around sunrise.
Once you see the white petals just poking out of the ends of the nearly enclosed buds, you know the flowers will be blooming later that night.
Having noticed the imminent blooms, I photographed one of the buds earlier in the day.
The leaf the bud was attached to was sticking out well beyond the railing of our back porch, giving me plenty of working room and few obstacles to shoot around if shooting from the side.
To photograph the bud, I set up a tripod-mounted Canon EOS 5D Mark III and EF 100mm f/2.8 USM Macro and pointed the camera alongside the railing to get a nice side view.
However, the background (a line of trees bordering our backyard) proved too distracting because a) the relatively narrow aperture I wanted to use did not diffuse it sufficiently for good separation and b) the colors of the background were too similar to the bud to create color separation.
To remedy the situation, I clamped a black foam core board behind the bud to eliminate the background.
Here's what the setup looked like:
At this time of the day (approx. 12:30pm Eastern Time), sunlight was filtering through the trees, giving it a soft quality, but the bud was still relatively well lit.
Therefore, I used the sunlight as my main light and simply held a white foam core board angled slightly below the bud to fill in the shadows caused by the high sun.
Of course, the sunlight was also illuminating the background, making my very dark grey foam core board less dark, but... I liked the effect.
Here's what the bud shot looked like after processing:
EXIF: f/10, 1/160 sec, ISO 200
Later that evening, the real show began. Around 10:00pm ET, we noticed that the flowers were starting to open up. I quickly grabbed the same tripod-mounted camera and lens and got to work.
This time, I used a shoe-mount flash diffused by a 24" collapsible softbox with grid positioned behind the flowing plant (rather high) to create a diffused backlit glow and rim light. I used the same white foam core board that I had used for the bud shot positioned below the flower for fill.
EXIF for the end result seen atop this post: f/8, 160 sec, ISO 400.
My mother-in-law questioned why I didn't shoot the flower from the front to show off its interesting structure, and many of you may be wondering the same thing.
Truth is, I captured many shots of the blooming flower from the front but didn't like them nearly as much. Here were the challenges that made photographing the flowers from the front less ideal:
The position of the bloom (sticking through the railing) limited where I could place off-camera flashes and modifiers (no rim/back lighting possible), leading to a rather dull image.
Night-blooming cereus flowers are very deep. Front lighting the flower from anywhere except the camera's axis results in dark shadows in the deepest part of the blooms.
Getting the entire flower in focus from the front of the petals to the back (within the depth-of-field) is very challenging. As I was photographing the flower while still attached to the plant, small movements made focus stacking an impractical solution.
Sometimes you just have to accept the limitations of a given situation and figure out a solution that works best.
New integration with Adobe Premiere Pro CC makes video editing faster, intuitive and more affordable; decision made based on community feedback
HELSINKI, Finland – September 19, 2018 –Loupedeck, the custom photo editing console built with an intuitive design that makes editing faster and more creative, has announced its first foray into video editing, beginning with its integration with Adobe Premiere Pro CC.
Following a year of success and innovation, the decision to include video editing functionalities is exclusively based on feedback from Loupedeck’s invested community.
The Loupedeck+ will make the video editing process faster, more intuitive and more affordable than the industry norm, offering a native integration with Adobe Premiere Pro CC, with all Premiere Pro functions available on the device.
New video editing functionalities of the Loupedeck+ include:
Faster and more intuitive video editing and color correction. All basic tools for color grading are simply labeled on the console
Total flexibility with Premiere Pro CC, allowing editors to make their own configurations to fit their workflow
Ability to export/import a editors’ personal Loupedeck configuration setups and easily transfer them to another computer
Lumetri Color workspace compatibility for color grading
Ability to toggle between your favorite LUTs, serving as a significant time saver
Flexible timeline navigation, content trimming and clip adjustment
Option to customize console buttons to preferred Adobe Premiere shortcut demands or use preinstalled functions
“Our mission is to keep on improving the editing workflow, so it’s only fitting our next step is in the video editing space,” said Mikko Kesti, Founder and CEO of Loupedeck.
“Just like we developed the Loupedeck+ exclusively from community feedback, we felt it was imperative to listen to what our users had to say and make the device’s functionality even more well-rounded, providing all the same editing functions that photographers have at their fingertips to videographers.
Users can now count on Loupedeck+’s intuitive design and user-friendly approach to enhance their video editing quality and increase their output.
Our ongoing partnership with Adobe made introducing these new capabilities with its Premiere Pro CC suite an easy decision.”
Additional video software integrations will be announced later this year.
On the photo editing side, the Loupedeck+ will include future integrations with Skylum’s other products, including Skylum Luminar.
It is also currently in beta with Capture One, with full integration on the way, as well as additional photography software integrations to follow later this year.
Wes Brewer, CEO ProGrade Digital has published a comparison between two emerging memory standards: SD Express and CFexpress.
Recently, the SD Association (governing body for SD card development and standardization) announced finalization of revision 7.0 for the card SD specification. This revision now includes a section 8.0, which adds an NVMe compliant, PCIe interface option. Like the announcement of CFexpress 1.0 made by the CompactFlash Association in August of 2016, the PCIe interface with NVMe provides a scalable path for improved performance in flash-based storage devices, and conforms to industry standards in use for devices such as SSDs.
This white paper provides an objective look at variances between the two standards SD Express and CFexpress.
Santa Rosa, Calif. – With Think Tank Photo’s new Emergency Rain Covers, photographers need no longer be caught off guard by bad weather. The Emergency Rain Covers are a simple, compact solution for protecting photo gear from sudden downpours or dusty conditions. These seam-sealed rain covers can be quickly and easily deployed when outdoor conditions change.
The covers are designed to fit both DSLR and Mirrorless cameras and are available in two sizes to accommodate a range of full-frame lenses. The Emergency Rain Cover – Small protects a 16–35mm f/2.8, a 14–24mm f/2.8, a 24–105mm f/4, or a 24–70mm f/2.8 lens. The Emergency Rain Cover – Medium protects a 24–70mm f/2.8 or a 70–200mm f/2.8 lens.
“When compressed, the Emergency Rain Cover fits into a small pouch, so it’s easy to bring along even if rain is a distant concern,” said Think Tank’s President and Lead Designer Doug Murdoch. “It takes up so little room in your bag, yet could save your gear when a sudden downpour or dust storm hits. Every photographer who shoots outdoors should keep one tucked one away in their camera bag.”
Seam-sealed for extreme protection in downpour or dusty conditions
Compresses into an included compact carrying pouch
Oversize window to view your LCD and controls
Ability to access your camera through one cinchable sleeve
Mountable to tripod or monopod
Dual viewing configurations for varying conditions
Hot-shoe mount keeps cover secured to camera during use
Non-slip, adjustable strap attaches directly to the lens hood
Santa Rosa, Calif. – With Think Tank Photo’s upgraded Hydrophobia rain covers, stormy weather will never again prevent photographers from getting “The Shot.” These popular rain covers feature waterproof construction that protects camera gear from downpours and dusty conditions. The Hydrophobia V3.0 rain covers are available in five sizes to fit DSLR cameras and the Sony full-frame mirrorless systems, and a variety of lenses.
The Hydrophobia D 24–70 V3.0 Rain Cover for DSLR camera bodies and the Hydrophobia M 24–70 V3.0 Rain Cover for Sony full-frame mirrorless camera bodies fit a 24–70mm f/2.8, a 24–105mm f/4, a 16–35mm f/2.8, or a 14–24mm f/2.8 lens. The Hydrophobia D 70–200 V3.0 Rain Cover for DSLR camera bodies and the Hydrophobia M 70–200 V3.0 Rain Cover for Sony full- frame mirrorless camera bodies fit a 24–70mm f/2.8, a 70–200mm f/2.8, a 80–400mm f/5–6.3, or a 100–400mm f/5–6.3 lens. The Hydrophobia DM 300–600 V3.0 Rain Cover for DSLR and Sony full-frame mirrorless camera bodies protects a 150–600mm f/5.6–6.3, a 300mm f/2.8, a 400mm f/2.8, a 500mm f/4, a 600mm f/4, a 200–500 f/5.6, or a 200–400 f/4 lens.
The Hydrophobia V3.0 rain covers are constructed with a durable 3-layer material comprised of 210T seam-sealed rip-stop, polyurethane film and 70D nylon tricot, and are Polyurethane seam-sealed for downpour or dusty conditions. The covers feature weather resistant zippers, nylon webbing, and a rubberized laminate. The eyepieces (sold separately for Canon, Nikon, Sony and Olympus) allow full access to the viewfinder while protecting the camera. Other key features include:
Other key features include:
Oversize window to view LCD and controls
Ability to get hands directly on the camera through two cinchable sleeves gives you easy access to all camera functions
Integrated shoulder strap (excluding 300–600) allows the camera to be worn on the shoulder while cover is attached. Can be replaced with a favorite strap, if desired
Mountable to tripod or monopod
Eyepiece flap folds into a visor or, when not in use, shields viewfinder from rain or dust
DWR coating for an extra layer of protection
An eyepiece pocket is built into the bottom of the Hydrophobia rain cover (eyepiece sold separately)
Rainproof front element cover is included for additional protection
Non-slip, adjustable strap attaches directly to the lens hood
Camera strap can be secured inside the cover
Carrying pouch included for transportation and storage
Hydrophobia D 24-70 V3.0 Rain Cover
Hydrophobia M 24-70 V3.0 Rain Cover
Dimensions: 13.8” long x 3.9”–5.5” Diameter (35 x 10–14 cm)
Weight: 9.5 oz (275 g) rain cover only
Hydrophobia D 70-200 V3.0 Rain Cover
Hydrophobia M 70-200 V3.0 Rain Cover
Dimensions: 18.1” long x 3.9”–5.5” Diameter (46 x 10–14 cm)
Weight: 10.5 oz (300 g) rain cover only
Hydrophobia DM 300-600 V3.0 Rain Cover
Dimensions: 27.1” L x 5.1–7.9” Diameter (69 x 13–20 cm)
600mm Lens Extension Sleeve Dimensions:
Weight: 14.9 oz (424g) rain cover only
With the announcement of the EOS R, many may be wondering if diving into Canon's new mirrorless system is the right step forward in regards to their next camera upgrade or if the Canon EOS 5D Mark IV is the better choice.
Therefore, we're going to take a closer look at these two cameras to see which might be the better choice for your needs.
Canon EOS R & Canon EOS 5D Mark IV Shared Primary Features
Sensor Resolution: 30.4 MP Dual Pixel CMOS AF full-frame sensor
Shutter Speed: 30-1/8000 sec
Auto Exposure Bracketing: +/-3 stops in 1/3- or 1/2-stop increments
Lowest and Highest ISO: L:50, H1: 51200, H2: 102400
White Balance Settings (including Ambience/White Priority AWB)
Flash x-Sync: 1/200sec
No built-in flash
Hot Shoe/PC Terminal: Yes / Yes (although EOS R PC terminal only available via BG-E22 accessory)
4K video recording up to 30p with Movie Servo AF
4K screen grab
USB 3.0, mic/headphone jacks, HDMI out
Operating Environment: 32 – 104 °F (0 – 40 °C), 85% or less humidity
Primary Advantages of the Canon EOS R
RF Mount: Compatible with significantly more lenses via adapter
DIGIC 8 processor
More AF Points: 5,655 point AF system vs. 61
More Sensitive AF: EV -6 – 18 vs. EV -3 – 18
Eye Detect AF vs. N/A
Built in LED AF assist beam
Higher Burst Rate: 8 fps vs. 7
Larger RAW Buffer: 47 vs. 21
Flexible priority AE vs. N/A
Wider Metering Range: EV -3 – 20 vs. EV 0 – 20
Larger Auto ISO Range: 100 - 40000 ISO vs. 100 - 32000
5-axis Digital IS vs. N/A
Higher Shutter Durability Rating: 200,000 shots vs. 150,000
More Flexible/Higher Resolution LCD: Vari-angle touch screen 3.15" (8.01cm), approx. 2.1 million dots, 60p vs. Touch screen 3.2" (8.10cm), approx. 1620K dots, 30p
Built-in Bluetooth vs. N/A
Smaller Size: 5.35 x 3.87 x 3.32" (135.8 x 98.3 x 84.4mm) vs. 5.93 x 4.58 x 2.99" (150.7 x 116.4 x 75.9mm)
Lighter Weight: 23.3 oz (660g) vs. 31.4 oz (890g)
Primary Advantages of the Canon EOS 5D Mark IV
EF Mount: Compatible with significantly more native-mount lenses
Wider Exposure Compensation: +/-5 EV in 1/3 or 1/2 stop increments vs. +/-3 EV
Higher Burst Rate with AF tracking: Max. approx. 7 fps. vs. 5
Larger JPEG Buffer: Unlimited vs. 100
Built-in NFC vs. N/A
Built-in GPS vs. optional via GP-E2 GPS accessory
Dual Memory Card Slots: CF/SD (UHI-I) vs. SD (UHI-II) only
Water & Dust Resistant
Higher Battery Life: 900 shots vs. 370
Other Differences Between the Canon EOS R and Canon EOS 5D Mark IV
Electronic viewfinder vs. optical
384-zone metering vs. 252-zone, 150,000-pixel RGB+IR metering sensor (315-zone in Live View)
RAW, C-RAW and Dual Pixel RAW vs. RAW, M-RAW, S-RAW and Dual Pixel RAW
MP4 4K (16:9) 3840 x 2160 vs. MOV 4K (17:9) 4096 x 2160 (Motion JPEG)
Who should opt for the Canon EOS R?
The EOS R is the first Canon camera to feature an RF [mirrorless] mount. And upon the camera's release, the selection of RF lenses will be relatively small (four, to be exact).
While that may seem limiting, the truth is that the EOS R with its RF mount will be even more versatile than the 5D Mark IV with the tried-and-true EF mount if adapted lenses are taken into consideration.
With the Canon Mount Adapter EF-EOS R, Control Ring Mount Adapter and Drop-In Filter Mount Adapter, the EOS R is compatible with EF/TS-E/MP-E and – in a first for Canon full-frame cameras – EF-S lenses as well.
So while the selection of RF lenses may be limited for the time being, the unique capabilities afforded by Canon's mount adapters will make the EOS R very attractive for a lot of photographers.
Which photographers, precisely? Landscape photographers, portrait photographers and videographers will especially appreciate the benefits of the Drop-In Mount Adapter.
How often do landscape photographers want to use CPOLs (circular polarizers) or ND (neutral density) filters with wide angle or ultra-wide angle lenses that are incompatible with front filters?
Up until now, using filters with such lenses required the use of cumbersome 3rd-party front filter adapters.
With the EOS R, those photographing the great outdoors can enjoy the benefits of a lighter camera body as well as a universal CPOL/vari-ND filter solution for their existing lens collection when traveling to their favorite sunrise location.
Landscape photographers often want to stack a circular polarizer with an ND filter on a wide angle lens featuring front filter threads, but the resulting mechanical vignetting (and the increased likelihood of stuck filters) makes using the combo impractical.
The Drop-In Filter Mount Adapter with Variable ND filter –with 1.5 - 9 stops of density – can easily be paired with a front-mounted circular polarizer like the B+W XS-Pro CPOL.
A B+W XS-Pro CPOL will allow landscape photographers to cut through glare to capture dark blue skies and saturated foliage yet is thin enough not to cause mechanical vignetting on most wide angle lenses.
And with a rear-mounted variable ND, a photographer can simultaneously reap the benefits of a long shutter speed to capture the movement of flowing water, clouds, rustling trees, etc.
Those shooting portraiture will certainly appreciate the EOS R's Eye Detection AF, especially when a wide aperture prime lens is being used either natively or with an adapter.
Also, if a photographer's off-camera flashes are not capable of high-speed sync, the Drop-In Filter Mount Adapter with Variable ND can enable use of a shutter speed below the camera's x-sync speed (for the R, 1/200 sec.) while using flash and a wide aperture for great subject/background separation.
Videographers will likely make use of the Drop-In Filter Mount Adapter, especially when used with the variable ND to record video at optimal shutter speeds (typically, 2x the frame rate).
With filters attached to the back of lenses, lens changes can occur more quickly (no need to unscrew/mount a separate ND filter) and the variable ND could easily replace numerous traditional ND filters in a filmmaker's kit.
Both the EOS R and 5D Mark IV sample the center of the sensor for 4K recording which results in a crop factor of 1.75x.
However, the EOS R is compatible with EF-S lenses (the 5D Mark IV is not), meaning wide-angle framing does not have to be sacrificed.
For those on a limited budget, an EOS R costs significantly less than an EOS 5D Mark IV, even if you add the cost of an EF-EOS R adapter.
Who should opt for the Canon EOS 5D Mark IV?
The EOS 5D Mark IV has at least one very significant benefit over the EOS R – dual memory card slots.
While the EOS R and RF 50mm f/1.2L and RF 28-70mm f/2L USM would seem to be an extremely good kit for wedding coverage, the R's single memory card slot means that a card failure could prove absolutely disastrous.
For that reason alone, the 5D Mark IV will be a better option for recording once-in-a-lifetime moments.
Sports photographers will certainly appreciate the 5D IV's faster continuous burst rate with autofocus tracking for capturing the peak of action, although the R does have a significant edge in the RAW buffer department allowing for longer shooting at its rated speed.
While the EOS R's battery life is proving to be better in real-world shooting than its official specification would indicate, those shooting long events or in situations where battery changes aren't practical (such as heavy rain) may prefer the 5D Mark IV's higher expected battery life.
Some photographers will appreciate the 5D Mark IV's built-in NFC and GPS features while others won't blink an eye at the EOS R's lack of them.
Those using super telephoto lenses may also prefer the 5D Mark IV's larger size and increased weight to better balance out the camera/lens combination.
The 5D Mark IV also benefits from the refinements and reliability found in a mature product line, resulting in a very user-friendly, familiar interface that can be depended upon to work in even challenging conditions.
Being Canon's first professional-grade full-frame mirrorless camera, with never before seen features (like the Mult-Function Bar), may take some getting used to and will ultimately have to prove its worthiness of the "refined camera" label.
The Canon EOS R and EOS 5D Mark IV were designed to be jack-of-all-trades and can be used effectively to capture... just about anything.
The EOS R's ability to use adapted lenses, and the unique capabilities provided by the adapters, makes Canon's full-frame mirrorless introduction a camera you can effectively use now and well into the future, taking full advantage of all the new RF lenses headed down the pipeline.
However, its lack of dual memory card slots (along with a few other differences) mean that the EOS 5D Mark IV will remain the better option for a sizeable number of photography professionals.
Upper Saddle River, NJ – September 18, 2018 – Manfrotto, world leader in the photography, videography, imaging equipment and accessories industry, has expanded its video tripod range with two new twin-leg video tripods made of carbon fiber.
The two brand-new, twin-leg video tripod models are the perfect solution for professional videographers looking for robust, rigid and lightweight support. A 50% increase in rigidity* is achieved thanks to the combination of carbon-fiber tubes and a new patent-pending internal leg lock mechanism.
Manfrotto’s two new twin-leg carbon-fiber video tripods are available in two models: middle spreader and ground spreader and both feature:
100mm bowl with a 75mm aluminum adapter for compatibility with a wide range of video heads.
Fully adjustable & removable spreader allowing for precise positioning based upon the creators needs.
Rubber feet with spiked option making them adaptable based on location.
All Manfrotto video tripods are engineered with a focus on quality and dedication to continuous innovation. These products are the perfect solution for all videographers looking for a great support for their video shooting. Both twin-leg carbon-fiber tripods are available in combination with Manfrotto Nitrotech N12, N8 and 504 video heads.
Manfrotto Twin Carbon Fiber Video Tripods and Kits are available now at select Manfrotto Authorized Dealers.